[ANM] / rigs / making of edges and scenes
“scene”layered textures of scenes and selves, are made of efficient handles and staging of nature. Scene relates both to temporal and spatial scales of importance.
we are dealing with our multi-dimensional inhabiting of space with trans-species affair, sometimes vivid mythical scenes, and sometime worlds rendered dead.
we are dealing with our multi-dimensional inhabiting of space with trans-species affair, sometimes vivid mythical scenes, and sometime worlds rendered dead.
“diffraction”[*]diffraction: an effect that limits the ability of a lens (or a system of lenses) *to resolve an image*
• (to evolve a creative tension,) a trade-off, between the resolution of detail and diffraction effects, between geometrical and physical optics
ajayeb's ecologies mixed (less of) reflection and (much more of) diffraction, are taken from a yet not detachments of the experience of phenomena and the apparatuses of its description, of percepts and affects
• (to evolve a creative tension,) a trade-off, between the resolution of detail and diffraction effects, between geometrical and physical optics
ajayeb's ecologies mixed (less of) reflection and (much more of) diffraction, are taken from a yet not detachments of the experience of phenomena and the apparatuses of its description, of percepts and affects
“prisma”* dragging agency into a منشور prismatic affective structure * [prismatic: flickering, gathered into lines, angles of light or motion to attune to, =/= simply present and knowable]
[c](paying attention to pressure points of ajayeb ==>)
in ajayeb, what is
- maintained as a prized possession
- left to rot
- hardened into little mythic kernel
- morphed into a cold dark edge
- hopeful
-
-
in ajayeb, what is
- maintained as a prized possession
- left to rot
- hardened into little mythic kernel
- morphed into a cold dark edge
- hopeful
-
-
“we”[*]“we”: constituted by the assemblage of different (animal-, nonhuman-, machine-, human-)beings equipped with an apparatus aimed at making them talk well --{by taking an interest in what constitutes the appropriateness of a material apparatus that transforms those it interrogates}--> fully agreeing to situate oneself in a regime of transformations and accomplishments =={that mingle with and give form to}==> *desires*
-researcher's desire is one the modes of their efficacity
-“our” problems are not a priori
to be sensitive to different original origins
[different origins that speak also truthfully]
(the question of) “what treasure have we inherited? how can we claim it?” --> to answer those questions not without each other
-researcher's desire is one the modes of their efficacity
-“our” problems are not a priori
to be sensitive to different original origins
[different origins that speak also truthfully]
(the question of) “what treasure have we inherited? how can we claim it?” --> to answer those questions not without each other
“disarticulation”(*)disarticulation: the question of who/what gets to be imagined (and in which way)
“ajayeb”عجایب المخلوقات (ajayeb is made of elements that were) a thing sensed with certainty (yet made up of a shifting, edgy composite)
[a sentient shadow called Jinn, God, darkness of a pit, a cycle, etc.]
--or--> made scenic *as a site of a world's potential* (= ajayeb)
[a sentient shadow called Jinn, God, darkness of a pit, a cycle, etc.]
--or--> made scenic *as a site of a world's potential* (= ajayeb)
“reading”• reading and space of the text: a joint page of a book when opened wide, the meaning and influence of the reading animates itself like a Rig, coming into movement, flow and inflow as the result of the muscular skeletal gesture of a “reader” who has two hands: mechanical animacies of the act of reading set in time and space by the “writer”
“cause”**local causal structures --> one component {effect} is marked by another component {cause} (in their ‘differential articulation’ [~= intelligibility]) }--> in science this is called “measurement”
“position”(*)position (~ specific physical arguments, [=/= well-defined abstract concepts, inherit attribute of independently existing objects]--> go to critique of ‘positionality’)
“position” only has meaning when a rigid apparatus with fixed parts is used (for example a ruler is nailed to a fixed table in the laboratory ==> establishing a fixed frame of reference for specifying “position.”) --> any measurement of “position” using this apparatus cannot be attributed to some abstract independently existing “object” but rather is a property of the ‘phenomenon’ : ***the inseparability of “observed object” and “agencies of observation”***
--> simultaneous indeterminacy of “position” and “momentum” [*momentum*: material arrangement involving movable parts] [--> deconstructing the material exclusion of “position” and “momentum”]
“position” only has meaning when a rigid apparatus with fixed parts is used (for example a ruler is nailed to a fixed table in the laboratory ==> establishing a fixed frame of reference for specifying “position.”) --> any measurement of “position” using this apparatus cannot be attributed to some abstract independently existing “object” but rather is a property of the ‘phenomenon’ : ***the inseparability of “observed object” and “agencies of observation”***
--> simultaneous indeterminacy of “position” and “momentum” [*momentum*: material arrangement involving movable parts] [--> deconstructing the material exclusion of “position” and “momentum”]
“atlases”atlases habituate the eye, they are explicate rival cosmologies
mission of all atlases to characterize (not simply inventory) phenomena
(to characterize, not invent; mixed in ajayebnameh عجایبالمخلوقات / عجایب نامه?!)
one problem of atlases is that they have to decide what nature is
(making a ‘language atlas’?)
constructs of universals / transformational grammars: that have nothing of substance to say about the prodigality of language atlas
mission of all atlases to characterize (not simply inventory) phenomena
(to characterize, not invent; mixed in ajayebnameh عجایبالمخلوقات / عجایب نامه?!)
one problem of atlases is that they have to decide what nature is
(making a ‘language atlas’?)
constructs of universals / transformational grammars: that have nothing of substance to say about the prodigality of language atlas
“concept”(*)concept: specific material arrangements, concepts are defined by the circumstances required for their measurement
“perspective”talking back and forth --> exchange judgments about intentions --> adjusting the intentionalities (between human and animal; [--> ‘I know that you know what I intend to do’]--)--> language as a mean for creating an overlapping awareness between two speakers (Despret, Hearne, Sennett) =/= language “populates” each of the beings present with perspectival propositions, which are so many propositions of intentionality:
• one makes say
• one makes ask
• one puts oneself ‘in’ the place of
• one doesn't interpret
• one experiments
•
--> these are perhaps non-immediate form of knowledge
--> these practices inscribe the animal and human in the world of “speaking”
--> these are “perspectives” that “populate” our world
[*] (each) perspective is made up of translation of intentions*
(animal breeders are perspectivists)
• one makes say
• one makes ask
• one puts oneself ‘in’ the place of
• one doesn't interpret
• one experiments
•
--> these are perhaps non-immediate form of knowledge
--> these practices inscribe the animal and human in the world of “speaking”
--> these are “perspectives” that “populate” our world
[*] (each) perspective is made up of translation of intentions*
(animal breeders are perspectivists)
“assemblage”assemblage at various levels and sublevels characterizes *explanations* and *practices*
ajayeb (+ my work on it ?) is a pragmatic project to fabricate a different kind of knowledge assemblage (Stengers > Kenney > Sina)
=/= (21st century) logics of capitalism
=/= toxic categories of modernity
ajayeb (+ my work on it ?) is a pragmatic project to fabricate a different kind of knowledge assemblage (Stengers > Kenney > Sina)
=/= (21st century) logics of capitalism
=/= toxic categories of modernity
“analysis”• objects of analysis: “compositional elements of thrown together worlds”
“critique”• objects of critique: “associative account of the modification and reciprocity of bodies and actions, environs, senses, rhythms, tones, and proprioceptions”[: sense of the position of parts of the body, relative to other neighbouring parts of the body]
[*]“critique”: an art that tangles with what you are proposing (like fox in a lure, trapped)
~ detour into descriptive eddies (گرداب کوچک مخالف) and attach to trajectories
[or:] curious and experimental to face an overbundance of things to be described or imagined
[*]“critique”: an art that tangles with what you are proposing (like fox in a lure, trapped)
~ detour into descriptive eddies (گرداب کوچک مخالف) and attach to trajectories
[or:] curious and experimental to face an overbundance of things to be described or imagined
“database”• objects of database: “are socially, poetically, materially compositional”
“traps”[title]
(with Alberti) trap-thinking for ajayeb storytelling --> to make capable of knowing different things, invoking, quoting, reciting, citing, exicing, inciting different kinds of knowledge [cit- : to call, start] --> mobilizing #citational apparatuses --> they enter into a ‘type’ of relation particular to each
[*]traps(/pots): bodies fully engage in perspectival communication and battles of will, variously constructed and provided with affects and capacities, capable of knowing different things and of inciting different kinds of knowledge through the types of relations they entered into
(with Alberti) trap-thinking for ajayeb storytelling --> to make capable of knowing different things, invoking, quoting, reciting, citing, exicing, inciting different kinds of knowledge [cit- : to call, start] --> mobilizing #citational apparatuses --> they enter into a ‘type’ of relation particular to each
[*]traps(/pots): bodies fully engage in perspectival communication and battles of will, variously constructed and provided with affects and capacities, capable of knowing different things and of inciting different kinds of knowledge through the types of relations they entered into
“stick”**the movement between signs converts into affect
feeling <--> fetish commodity
in Freudian model, the movement between objects is intrapsychic --> trace of how histories remain alive in the present*** [regarding ajayeb's histories, histories that “stick” and which does not need to be declared, #fohshe heyuan/heyvan فحش حیوان/حیوون sideways movements...]
-(ajayeb's) past histories of naming
objects, the author of emotions
impressions of coherence, “sticking together”
(that is perhaps why dictionaries and bestiaries are interesting: because their elements do not “stick together” in the sense of an affective economy [of inquiry and narrative] #lists)
feeling <--> fetish commodity
in Freudian model, the movement between objects is intrapsychic --> trace of how histories remain alive in the present*** [regarding ajayeb's histories, histories that “stick” and which does not need to be declared, #fohshe heyuan/heyvan فحش حیوان/حیوون sideways movements...]
-(ajayeb's) past histories of naming
objects, the author of emotions
impressions of coherence, “sticking together”
(that is perhaps why dictionaries and bestiaries are interesting: because their elements do not “stick together” in the sense of an affective economy [of inquiry and narrative] #lists)
“vision”*vision: a sensory system that has been used leap out of the marked body ==> a gaze from nowhere
-“Vision is always a question of the power to see--and perhaps of the violence implicit in our visualizing practices”
-also, the visual metaphor allows one to go beyond fixed appearances, which are only the end products. The metaphor invites us to investigate the varied apparatuses of visual production (including: the prosthetic technologies interfaced with our biological eyes and brains.)
-“Vision is always a question of the power to see--and perhaps of the violence implicit in our visualizing practices”
-also, the visual metaphor allows one to go beyond fixed appearances, which are only the end products. The metaphor invites us to investigate the varied apparatuses of visual production (including: the prosthetic technologies interfaced with our biological eyes and brains.)
“pop-up”[this] pop-up book is an argument, for the pleasures of discovering a descripted world, a descriptive world, a world is like a pop-up map of possibilities, not a map hylomorphically onto meaning. The pop-up book is full of condensed points of precision, things that happen, popping, prompting, mobile and immobile flickering thing that can be physical “if the eye is quick enough,” a crystalline image of the deforming of a form, bending itself in refraction. it is not an intimate register of knowledge, rather a conceptual machinery of cutting edges, compositional jumping-off points, made of particulars to become a hinge [لولا], mixing of shiny elements, the expansive mapping of joints in play, a ‘lifted out of,’ a ‘being-moved in.’