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RESUMEN Este artículo plantea un acercamiento a ontologias no hegemónicas con el propósito de aportar a la configuración de lugares teóricos desde los cuales se enriquezcan las concepciones de cuerpo, lenguaje y territorio. Se realiza, entonces, un recorrido por tres nociones (naane, kirigai, jabuaienán) procedentes de diferentes lenguas nativas del mundo indígena andino-amazónico: las lenguas magütá (tikuna), minika (variante dialectal del uitoto) y camênts á. Esta aproximación se vale del mecanismo de transducción literaria, en el que convergen investigaciones en el campo de la antropología, la lingüística y los estudios literarios. ABSTRACT This article proposes an approach to non-hegemonic ontologies with the purpose of contributing to the configuration of theoretical places from which conceptions of body, language, and territory are enriched. We make a tour of three notions (naane, kirigai, jabuaienán) coming from different native languages of the Andean-Amazonian indigenous world: the Magútá (Tikuna), minika (Varante dialectal of Uitoto), and Camênts á languages. This approach uses the mechanism of literary transduction, where research converges from the fields of anthropology, linguistics, and literary studies. RESUMO Este artigo propõe uma aproximação a ontologias não hegemónicas com o propósito de contribuir à configuração de lugares teóricos a partir dos quais se enriqueçam as conceções de corpo, linguagem e território. Realiza-se, então, um percurso por três noções (naane, kirigai, jabuaienán) procedentes de diferentes línguas nativas do mundo indígena andino-amazónico: as línguas magútá (Tikuna), minika (variante dialectal do uitoto) e camênts á. Esta aproximação utiliza mecanismo de transdução literária, onde convergem pesquisas no campo da antropologia, da linguística e dos estudos literários.

The practice of Ontography deployed by OOO, clarified and expanded in this essay, produces a highly productive framework for analyzing Salvador Dalí’s ontological project between 1928 and 1935. Through the careful analysis of paintings and original texts from this period, we establish the antecedents for Dalí’s theorization of Surrealist objects in Cubism and Italian Metaphysical art, which we collectively refer to as ‘Ontographic art,’ drawing parallels with the tenets of Graham Harman’s and Ian Bogost’s object-oriented philosophical programmes. We respond to the question raised by Roger Rothman concerning Object-Oriented Idealism in Dalí’s work by showing pivotal changes to Dalí’s ontological outlook, from Idealism to Realism, across the aforementioned period, positing the Ontographic intentionality of Dalí’s ontological project in Surrealist art.

I explore two walks, one by Henry Thoreau on a hot day in 1851 and one by a line as it winds its way into a doodle today. Walks, I contend, generate circuits of energies and affects, some issuing from people, some from elsewhere. The goal is to accent how ahuman energies and affects inscribe themselves upon selves and inflect their positions and dispositions. Borrowing a term from Lorenz Engell, I call this inscriptive inflection an ›ontographic‹ procedure. Ontography will mark the operations of a creative cosmos, of a more-than-human world continuously impressing itself upon us. At the end, I leave the ontographic to return to the linguistic, to human attempts to ›write up‹ the ahuman ontographies they experience

The notion of ontography is characterizable as open-source, both due to its collaborative development, its heterogeneous backgrounds and its broad applicability. In my paper, I concretize these open-source aspects of ontography firstly by redefining it with reference to E. Winkler’s dialogue Die Erkundung der Linie and secondly by applying it to the Gestalttheoretical topics of figure-ground reversals and bidirectional part-whole relations.

I explore two walks, one by Henry Thoreau on a hot day in 1851 and one by a line as it winds its way into a doodle today. Walks, I contend, generate circuits of energies and affects, some issuing from people, some from elsewhere. The goal is to accent how ahuman energies and affects inscribe themselves upon selves and inflect their positions and dispositions. Borrowing a term from Lorenz Engell, I call this inscriptive inflection an ›ontographic‹ procedure. Ontography will mark the operations of a creative cosmos, of a more-than-human world continuously impressing itself upon us. At the end, I leave the ontographic to return to the linguistic, to human attempts to ›write up‹ the ahuman ontographies they experience.

In a number of recent philosophical works, the concept of ontography has been raised to involve a revaluation of figurative and visual thinking against logico-conceptual thinking— i. e. a revaluation of a philosophical practice that supplements or departs from the traditional site of philosophy, language. This paper investigates the ontographic dimensions of Charles S. Peirce’s diagrammatology by focusing on his system of »existential graphs« as ontography avant la lettre.

Ontography is distinguished from ontology in the way it pursues historical or ethnographic case studies, rather than general philosophical reflections on the nature of being. Ontography takes classical metaphysical problems, such as how to distinguish between natural entities and human technologies, but instead of offering a general solution to those problems it describes how socially, historically, and institutionally situated agents address and provisionally resolve those problems. Examples of such investigations are practical efforts to resolve the difference between research artifacts and evidence of microscopical entities in laboratory research, and cases in intellectual property law which deploy a distinction between products of nature and compositions of matter.

Ontography is intended to represent the epistemological counterpart to the ancestral ontology as well as the genuine functioning of certain media technologies. Using the media technology of digital imaging and processing as an example, the paper discusses the problem of a simple distinction between ontological and ontographic procedures .

This paper reports on a co-laborative laboratory ethnography in a molecular biology laboratory conducting research on environmental epigenetics. It focuses on a single study concerned with the material implications of social differentiation. The analysis briefly raises biopolitical concerns. Its main concern lies with an understanding of the human body as local in its working infrastructure or "inner laboratory", an understanding that emerges from the co-laborative inquiry between biologists and anthropologist. This co-laborative mode of inquiry raises productive tensions within biology as to the universal or local nature of human nature and within anthropology as to the status of human biology within social theory. The paper cannot resolve this tension. Rather it explores it as an epistemic object in the context of interdisciplinarity, ontography and co-laboration. In concluding, it specifies co-laboration as temporary, non-teleological joint epistemic work aimed at producing new kinds of reflexivity.