[...]ad shall be unclean

every swarming thing that swarms upon the earth is an abomination; it shall not be eaten. whatever goes on its belly, and whatever goes on all fours, it whatever has many feet, will the swarming things that swarm upon the earth, you shall not eat; for they are an abomination.

='lgc'>}='lgc'>-- Douglas='lgc'>='lgc'>--> (intent is) disciplinary ='lgc'>=/= doctrinal


="large lg2" stl="font-size:111%"> ...as X ... disposed to believe Y

clean animals
animals animated by other beings (superhuman, demonic, etc.)

="large lg1" stl="font-size:148%"> ='thdf'>the idea of allegorical exegesis ='lgc'>='lgc'>--> “each law about forbidden foods has its deep reasons”
“cloven-hoofed animal which part their hooves ='lgc'>: all our actions must betray proper ethical distinction and be directed towards righteousness”
“chewing the cud ='lgc'>: memory”

old testament
="lsts lst1">•blessing='lgc'>: source of all good things
="lsts lst1">•withdrawal of blessing='lgc'>: source of all dangers


xxxxxx

="brkr">
='lgc'>='lgc'>--='lgc'>--='lgc'>--='lgc'>--='lgc'>[how can we ask without question mark='qstn'>?='lgc'>]
='strcls'>*="frds scrmbld">Lili='lgc'>: through acts/gestures, by creating relationality, and by using reiterational processes
='strcls'>*="frds scrmbld">Esta='lgc'>: my body knows the answer of what i ask, other states of body, what is mark='qstn'>? ='lgc'>='lgc'>--> culture/context specific
='strcls'>*="frds scrmbld">Seba='lgc'>: finding the best questions in beauty is about learning pronunciation, the issue of pronunciation instead of questioning (or their merge='qstn'>?), (statement/question) ='lgc'>='lgc'>--> doubt ='lgc'>='lgc'>--> postponing an immediate answer (“but before you answer...”) ='lgc'>='lgc'>--> death of question
='strcls'>*="frds scrmbld">Esteban='lgc'>: not to do='lgc'>: impose an answer, not triggering in the other, expecting an idea of an answer
='strcls'>*="frds scrmbld">Arianna='lgc'>: deep truth involved, process, point of passage (the axis of child traverses your axis) what you say to the other is a container
='strcls'>*Joke='lgc'>: question ='lgc'>--to='lgc'>='lgc'>--> invitation, creating the invitation
='strcls'>*="frds scrmbld">Pierre='lgc'>: posting a problem is not about general sentences, it is about finding new relations in the existing fabric of the world, problematizing our intuitions into problems, therefore it is important to have the “='qstn'>?”
='strcls'>*="frds">Sina='lgc'>: remembering beyond history

='lgc'>--------='lgc'>[how can we enter something and not enter it at the same time='qstn'>?='lgc'>]
='strcls'>*="frds scrmbld">Thiago='lgc'>: nonpresence ='lgc'><--> thinking, without body='qstn'>?!
='strcls'>*="frds scrmbld">Aela='lgc'>: is about ='thdf'>the question of distance and inside/outside, by practicing openness, it is about when something enters ‘you’
='strcls'>*="frds scrmbld">Sana='lgc'>: physical-presence ='lgc'>=/= imagination (mental activity ='lgc'>~= dream) ='lgc'>{She needs to see ="ppl">Miyazaki='lgc'>}
='strcls'>*Roger='lgc'>: we do it all the time, for him it is more about active engagement, role of feelings, moments that you are pushed out by the entity
='strcls'>*="frds scrmbld">Maarten='lgc'>: no! enter ='lgc'>=/= not-enter, research depends on definitions
='strcls'>*="frds scrmbld">Juan='lgc'>: layers of realities are involved, it is about expanding the consciousness by charming it into 90='prcnt'>% presences, theater gives a yes/no quality to ='thdf'>the question of entering, actors, stage as Dystopie of presence
='strcls'>*="frds scrmbld">Xiri='lgc'>: yes! this is[...]

[...]rational processes
='strcls'>*="frds scrmbld">Esta='lgc'>: my body knows the answer of what i ask, other states of body, what is mark='qstn'>? ='lgc'>='lgc'>--> culture/context specific
='strcls'>*="frds scrmbld">Seba='lgc'>: finding the best questions in beauty is about learning pronunciation, the issue of pronunciation instead of questioning (or their merge='qstn'>?), (statement/question) ='lgc'>='lgc'>--> doubt ='lgc'>='lgc'>--> postponing an immediate answer (“but before you answer...”) ='lgc'>='lgc'>--> death of question
='strcls'>*="frds scrmbld">Esteban='lgc'>: not to do='lgc'>: impose an answer, not triggering in the other, expecting an idea of an answer
='strcls'>*="frds scrmbld">Arianna='lgc'>: deep truth involved, process, point of passage (the axis of child traverses your axis) what you say to the other is a container
='strcls'>*Joke='lgc'>: question ='lgc'>--to='lgc'>='lgc'>--> invitation, creating the invitation
='strcls'>*="frds scrmbld">Pierre='lgc'>: posting a problem is not about general sentences, it is about finding new relations in the existing fabric of the world, problematizing our intuitions into problems, therefore it is important to have the “='qstn'>?”
='strcls'>*="frds">Sina='lgc'>: remembering beyond history

> ='lgc'>--------='lgc'>[how can we enter something and not enter it at the same time='qstn'>?='lgc'>]
='strcls'>*="frds scrmbld">Thiago='lgc'>: nonpresence ='lgc'><--> thinking, without body='qstn'>?!
='strcls'>*="frds scrmbld">Aela='lgc'>: is about ='thdf'>the question of distance and inside/outside, by practicing openness, it is about when something enters ‘you’
='strcls'>*="frds scrmbld">Sana='lgc'>: physical-presence ='lgc'>=/= imagination (mental activity ='lgc'>~= dream) ='lgc'>{She needs to see ="ppl">Miyazaki='lgc'>}
='strcls'>*Roger='lgc'>: we do it all the time, for him it is more about active engagement, role of feelings, moments that you are pushed out by the entity
='strcls'>*="frds scrmbld">Maarten='lgc'>: no! enter ='lgc'>=/= not-enter, research depends on definitions
='strcls'>*="frds scrmbld">Juan='lgc'>: layers of realities are involved, it is about expanding the consciousness by charming it into 90='prcnt'>% presences, theater gives a yes/no quality to ='thdf'>the question of entering, actors, stage as Dystopie of presence
='strcls'>*="frds scrmbld">Xiri='lgc'>: yes! this is often the case, we are between 2nd-chances and being-torn-apart

='lgc'>--------='lgc'>[who told the first joke='qstn'>?='lgc'>]
='strcls'>*="frds scrmbld">Gerald='lgc'>: objects ='lgc'>=/= actual life (absurdity andty and absoluteness of objects) (contemplating about object ='lgc'>==> inner smile)
='strcls'>*="frds scrmbld">Nicolas='lgc'>: father (by not getting it right), not mother (she is not the teller type), the tickler is about lunching possibilities
='strcls'>*="frds scrmbld">Vladimir='lgc'>: God, ="frds scrmbld">Vladimir thinks this is theological and therefore axiomatic (that means self-evident or unquestionable)
='strcls'>*Lise='lgc'>: Monty Python, specifically the philosopher soccer video, in the way that makes you laugh
='strcls'>*="frds scrmbld">Elke='lgc'>: God, God said “this is reality” (but we didn't get his joke)
='strcls'>*="frds scrmbld">Steven='lgc'>: some funny kid in the street when he was 5 or 6, and it wasn't really a joke more a story

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

i like to set up a synonym-finder machine
(looking at mutations of ...)
='lgc'>='lgc'>--> the same way that in ="ppl">Attar's birds, one birds trying to convince another birds, is living by a roaming assemblage of assertions, and not really an argument='lgc'>--i am also not having any argument in that sense
[...]

[...]s their mutuality='qstn'>?, standard-testing='lgc'>--which sectors of existence it is traversing='qstn'>?, pre-technological traces of cognitive normalization, the very little difference between specification and “the real thing,” THE origin of the demand for rigorous specification, migration of questions out of the areas of instrumental fitness, human relation to the surrounding world, impoverished zoologies='lgc'>--under techno-epistemo-anthropocentric values, squeezing prehistoric modes of weakening subjectival normativity='lgc'>--a field that today gets heavily technologized,

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

="large lg1" stl="font-size:145%"> to bring our needs and lures towards each other
bring my lure to the table (that thing which i can't stop following)

who/what are you pregnant with='qstn'>?

(that is what you are proposing)

(that is to play with the ‘histories of body and mind’ ='lgc'>[="ppl">="ppl">Haraway='lgc'>] you inherit ='lgc'>='lgc'>--> for me is to play with the pre-subjective singularities)
='lgc'>[inheritance is of great importance for our research. it is about the passing of obligations from something ghost-like. i am sure we have other modes of response available to us other than how Hamlet takes in what is inherited to him, other ways of responding to the ghostly beings that talk to us from death. (inheritance ='lgc'>~= inhabiting spirit ='lgc'>[they cannot be possess as a piece of property='lgc'>], reading inflaming flashes of remote spirits ='lgc'>[='lgc'>='lgc'>--> is this hear from one another looks like='qstn'>? is technology placed at the source of this reflection='qstn'>?='lgc'>--technology itself answers the call='lgc'>--(="ppl">Avital)='lgc'>]) could we work with Ophelia's kind of ='at'>#Wortsalad instead='qstn'>? (Salad-e Kalame, khoresht-e kalame; same thing happens to Shirin of in Khosro Shirin, but unlike ="ppl">Shakespeare, ="ppl">Nezami allows another poetic drift;) ="ppl">Heidegger's “die Sprache spricht” ='lgc'>: language is monologue ='lgc'>--='qstn'>?='lgc'>='lgc'>--> schizophrenia and schizophrenic discourse ='lgc'>--='qstn'>?='lgc'>='lgc'>--> structure of speaking='lgc'>]
='lgc'>[speaking asserts a certain temporal priority which we must undermine='lgc'>]
="prgrph">-listening ='strcls'>*before='strcls'>* speaking
="prgrph">-“We hear language speaking” (="ppl">Heidegger); a non-organic speaking; language is not equipped with organs of speech='qstn'>? (="ppl">Avital)


serious joking / joking seriousness ='lgc'>[="ppl">="ppl">Haraway='lgc'>]
joke/jest/gesture
a space of play ='lgc'>--> where ideas come in to being
(story of ‘or’. is it where the original joker came='qstn'>? using or instead of and)
(there is no ‘or’ in nature!='qstn'>? what are the earlier forms of or that we can trace in cave paintings or tool makings='qstn'>?)

='strcls'>**if you don't take my idea seriously i will be utterly incomprehensible='strcls'>**

="large lg2" stl="font-size:111%"> crafts-person for the building of lures of propositions ='lgc'>--> ‘abstractions’
(abstraction is fragile and can hold worlds together)


="large lg1" stl="font-size:140%"> where Europe comes from='qstn'>? (woher kommst du='qstn'>? i am born in, i am born in, ...)


what animates us rather than what civilizes us



(to ="frds scrmbld">Shabnam='lgc'>:) to ‘mourn with’ rather than ‘mourn abou[...]

[...]kespeare, ="ppl">Nezami allows another poetic drift;) ="ppl">Heidegger's “die Sprache spricht” ='lgc'>: language is monologue ='lgc'>--='qstn'>?='lgc'>='lgc'>--> schizophrenia and schizophrenic discourse ='lgc'>--='qstn'>?='lgc'>='lgc'>--> structure of speaking='lgc'>]
='lgc'>[speaking asserts a certain temporal priority which we must undermine='lgc'>]
="prgrph">-listening ='strcls'>*before='strcls'>* speaking
="prgrph">-“We hear language speaking” (="ppl">Heidegger); a non-organic speaking; language is not equipped with organs of speech='qstn'>? (="ppl">Avital)


="large lg1" stl="font-size:118%"> serious joking / joking seriousness ='lgc'>[="ppl">="ppl">Haraway='lgc'>]
joke/jest/gesture
a space of play ='lgc'>='lgc'>--> where ideas come in to being
(story of ‘or’. is it where the original joker came='qstn'>? using or instead of and)
(there is no ‘or’ in nature!='qstn'>? what are the earlier forms of or that we can trace in cave paintings or tool makings='qstn'>?)

='strcls'>**if you don't take my idea seriously i will be utterly incomprehensible='strcls'>**

crafts-person for the building of lures of propositions ='lgc'>='lgc'>--> ‘abstractions’
(abstraction is fragile and can hold worlds together)


where Europe comes from='qstn'>? (woher kommst du='qstn'>? i am born in, i am born in, ...)


="large lg2" stl="font-size:110%"> what animates us rather than what civilizes us



(to ="frds scrmbld">Shabnam='lgc'>:) to ‘mourn with’ rather than ‘mourn about’
(-about ='lgc'>=/= -with)
(structure of mourning)


to break in the philosophical and biological headquarters (and steal their stories, their abstractions, etc.)
exchanging and sharing instruments and languages

="large lg1" stl="font-size:115%">

this is about building something that is ‘good enough’ to get you through...

these practices doesn't necessarily produce ‘separate entities’ (indivis)
am i fantasizing creating a monolithic structure of ideas='qstn'>?


critique is an art that tangles with what you are proposing
(like an octopus in a lure)

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

stories that can interrupt death (of our time, anthropocene, etc.)
(='thdf'>example of biology-story into culture-story='lgc'>: (1) ladder of evolution ='lgc'>--> progress (2) sperm/egg story ='lgc'>--> gender performance)

to change stories so that they are more livable
we live stories

to make mistakes as fast as possible

="large lg2" stl="font-size:110%">
... move across earth space and narrative space


situated stories
they can't tell everything, but what is needed here


https://en.wikipedia.org/wiki/Refugium_(population_biology)

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

ontological choreography
vital sort of play that the participants invent out of a history of body and mind they inherit

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

possible performances
='strcls'>*two doors, ='qstn'>?, talk, model, puppet
='strcls'>*using stop-motion animation, clay formation, material animal facial properties

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

seeing a car crashing, is seeing a causation, seeing a[...]

[...]fect and neutrality is without affect is chemically bizarre) ='lgc'>-- neuro-chemistry of a certain kind of self-collection
refusing the division between material and immaterial
to call information-world immaterial is wrong
(this is the base of ='mywrk'>my work related to ="ppl">="ppl">Haraway)
in the case of vision='lgc'>: the material and the semiotic always implode ='lgc'>[the apparatus and the flesh='lgc'>] ='lgc'>='lgc'>--> the effect of ='strcls'>*disembodiment is a technologically produced effect='strcls'>* (that is also always affectional) (we have to get good at producing it)
='lgc'>[...so she was among (1983 ="ppl">Marxist) feminists (and the figure of cyborg is already in circulation for her='lgc'>--about the questions of reproduction technologies related to the situation of women) without biological education='lgc'>--not only that, many of her feminist allies thought of biology as the enemy ='lgc'>[='lgc'>='lgc'>--> antinatural rejection of the sciences in feminist the agreement “that ‘nature’ is our enemy and that we must control our ‘natural’ bodies ='lgc'>='lgc'>--> escalating logic of counterdomination='lgc'>] so her manifesto is all about that. biology is (a rich fabulous practice and) never innocent, and it is something that ‘we mean’. in the sense of ‘what do you mean='qstn'>?!'='lgc'>] ='lgc'>[we are always telling knowledge stories that we need ='lgc'>='lgc'>--> noninnocent='lgc'>]

(something is) boring ='lgc'>=='qstn'>?='lgc'>=> (something is) wrong

why do i joke='qstn'>? it has to do with storytelling.
anything anybody tells me i tend to believe='lgc'>--what i learn from whores

working within an apparatus of thinking in order to get somewhere in a sustained way and not to drift into associations as fast as... ='lgc'>='lgc'>-->
i can't finish the sentence until i can pay attention to what interrupts it. and if i syntactically require to come to the end of sentence, syntactically commits me to a position i don't hold. the technical requirement of clarity (and coherence='lgc'>--must learn how to do it). my storytelling is about how not to reach the end of sentence. (that Peter noted as suspension)
<br /> ='lgc'>['thinking pushed into syntax’ ='lgc'>--> ='mywrk'>my work lecture-performances are about a thinking excessing out of syntax. not all argumentation is made in syntax(= how a sentence must end), and turn it into a skill of nonsyntactical pragmatic language craft tradition, advocating the ='strcls'>*exceedingly agential='strcls'>* world ='lgc'>~= there is always ‘a whole lot is going on'='lgc'>]

the iterative and fractal quality of sentences
partial connections (of distinct entities) ='lgc'>~= analogy
analogy allows one part contaminate systematically another part and vice versa

(="ppl">="ppl">Haraway on feminism)
feminist theory is especially good in getting at in particular ways doctrines of nature's work to enforce ways of life on women, on people of color, on the enslaved, on those who do not possess the qualities of mind and self-possession, on those who are on the marked categories to the unmarked. the feminist have been particularly good at getting how genre works. gender, in this regard. ='lgc'>[...[...]

[...]ection of the sciences in feminist the agreement “that ‘nature’ is our enemy and that we must control our ‘natural’ bodies ='lgc'>='lgc'>--> escalating logic of counterdomination='lgc'>] so her manifesto is all about that. biology is (a rich fabulous practice and) never innocent, and it is something that ‘we mean’. in the sense of ‘what do you mean='qstn'>?!'='lgc'>] ='lgc'>[we are always telling knowledge stories that we need ='lgc'>='lgc'>--> noninnocent='lgc'>]

(something is) boring ='lgc'>=='qstn'>?='lgc'>=> (something is) wrong

why do i joke='qstn'>? it has to do with storytelling.
anything anybody tells me i tend to believe='lgc'>--what i learn from whores

working within an apparatus of thinking in order to get somewhere in a sustained way and not to drift into associations as fast as... ='lgc'>='lgc'>-->
i can't finish the sentence until i can pay attention to what interrupts it. and if i syntactically require to come to the end of sentence, syntactically commits me to a position i don't hold. the technical requirement of clarity (and coherence='lgc'>--must learn how to do it). my storytelling is about how not to reach the end of sentence. (that Peter noted as suspension)

='lgc'>['thinking pushed into syntax’ ='lgc'>='lgc'>--> ='mywrk'>my work lecture-performances are about a thinking excessing out of syntax. not all argumentation is made in syntax(= how a sentence must end), and turn it into a skill of nonsyntactical pragmatic language craft tradition, advocating the ='strcls'>*exceedingly agential='strcls'>* world ='lgc'>~= there is always ‘a whole lot is going on'='lgc'>]

the iterative and fractal quality of sentences
partial connections (of distinct entities) ='lgc'>~= analogy
analogy allows one part contaminate systematically another part and vice versa

(="ppl">="ppl">Haraway on feminism)
feminist theory is especially good in getting at in particular ways doctrines of nature's work to enforce ways of life on women, on people of color, on the enslaved, on those who do not possess the qualities of mind and self-possession, on those who are on the marked categories to the unmarked. the feminist have been particularly good at getting how genre works. gender, in this regard. ='lgc'>[...='lgc'>] ='lgc'>--> that female by nature is committed to the species and the male by nature committed to transcendence.
='lgc'>[our inherited binaries ='lgc'>-->='lgc'>] formulations of nature='lgc'>: executive/non-executive organs, immanence/transcendence, maintenance/novelty, catabolic(foru-sakht فرو ساخت, sukht سوخت)/anabolic(tarkib-saz ترکیب ساز) functions, ,,
="prgrph">-in ="ppl">Darwin's writing, non-theological account of diversity on earth, we find both interrupters and continuers of these particular notions of nature

='thdf'>the question of model, what is the model for what, what is similar to what='qstn'>?
='strcls'>****how do we do comparative thinking='qstn'>? comparative thinking depends on similarity  judgment and difference judgment, and depends on good-enough models, and depends on a certain kind of rhetorical work of ='strcls'>*crafting tropes='strcls'>*
 ='lgc'>--> figures of similari[...]

[...](this is ‘building’ ='strcls'>*among='strcls'>* us)
(how do i decide to compare two things='qstn'>? Shirin and Ophelia, etc)

models are built rhetorics
history of models
the power of models is that they are not the ‘same as’

circuits of meaning and power that flow through (materials and bodies)

mondial ='lgc'>~='qstn'>? situated knowledge
the idiom ‘situated’ makes people think ‘local’ (instead of global)
by situated she means the ‘knot’ which always means some place and somewhere, but that someplace/somewhere could be in materiality a distributed digital network. the situated is always open. the point is that it is not nowhere and no place.

="large lg1" stl="font-size:114%">
epidemic friendly

the flow of disease are major international research matter

eco-feminism, veganism is for ="ppl">="ppl">Haraway is genocidal position, a position that advocates violence, a position dedicated to the destruction of ways of life and living beings including animals, ='lgc'>[a position that='lgc'>] ='strcls'>*concise all working animals to being nothing but evidence of the destructive and violating imposition of human will on natural stuff='strcls'>*, and “that domestic animals of all kinds are victims and demonstrations of human hubris گستاخى, and they have been made into tools” ='lgc'>~= an extreme developemnt of liberal theory ='lgc'>='lgc'>--> the (work) animals are not self-defining subjects, are violations and victims, and should not exisit, except as='lgc'>:
="lsts lst1">•heritage-animals
="lsts lst1">•rescue-animals
="lsts lst1">•wards of guardianship
(='mywrk'>my work on ="nms">ajayeb and ='thdf'>question of heritage has been exactly against that position)

the radical anti-food-industry position is a radical liberal theory turns all working animals into (at best) ='strcls'>*heritage-animals='strcls'>* ='lgc'>~= animal to be preserved as much as possible separate from human use ='lgc'>='lgc'>--> “all human use is bad”
(='lgc'>--='not'>✕='lgc'>='lgc'>--> we know that ='thdf'>the question of use and instrumentalism cannot for mortal finite beings rid out of liberation theory and practice)
='lgc'>[='thdf'>for example the disposition of the film How to Train Your Dragon='lgc'>: The Hidden World, where at the end dragons are better off their human partners ='lgc'>~ kabutar ba kabutar baz ba baz کبوتر با کبوتر باز با باز='lgc'>]

='strcls'>**killing is not something mortal beings can avoid='strcls'>** (us or them)

='strcls'>*the human beings have regularly and in complex ways produced other living entities as killable='strcls'>*
='lgc'>[category of killable='lgc'>: a killing that doesn't quite count as killing='lgc'>]

killing your pet when she is too sick='lgc'> = a judgment in responsive relationship that is not equal

to say that “meat culture everywhere and always are acts of violation” is wrong

“post-”, ='thdf'>the notion of ‘surpassing’ that is inevitability built into the “post-”, is in our way politically
the project of critique ='lgc'>: finding that point of violation where you can say “got you!”, ‘I nailed you’ ='lgc'>--> the practice of critique='lgc'> = to define wha[...]

[...] have been made into tools” ='lgc'>='lgc'>~= an extreme developemnt of liberal theory ='lgc'>='lgc'>--> the (work) animals are not self-defining subjects, are violations and victims, and should not exisit, except as='lgc'>:
="lsts lst1">•heritage-animals
="lsts lst1">•rescue-animals
="lsts lst1">•wards of guardianship
(='mywrk'>my work on ="nms">ajayeb and ='thdf'>question of heritage has been exactly against that position)

the radical anti-food-industry position is a radical liberal theory turns all working animals into (at best) ='strcls'>*heritage-animals='strcls'>* ='lgc'>='lgc'>~= animal to be preserved as much as possible separate from human use ='lgc'>='lgc'>--> “all human use is bad”
(='lgc'>--='not'>✕='lgc'>='lgc'>--> we know that ='thdf'>the question of use and instrumentalism cannot for mortal finite beings rid out of liberation theory and practice)
='lgc'>[='thdf'>for example the disposition of the film How to Train Your Dragon='lgc'>: The Hidden World, where at the end dragons are better off their human partners ='lgc'>~ kabutar ba kabutar baz ba baz کبوتر با کبوتر باز با باز='lgc'>]

='strcls'>**killing is not something mortal beings can avoid='strcls'>** (us or them)

='strcls'>*the human beings have regularly and in complex ways produced other living entities as killable='strcls'>*
='lgc'>[category of killable='lgc'>: a killing that doesn't quite count as killing='lgc'>]

killing your pet when she is too sick='lgc'> = a judgment in responsive relationship that is not equal

to say that “meat culture everywhere and always are acts of violation” is wrong

“post-”, ='thdf'>the notion of ‘surpassing’ that is inevitability built into the “post-”, is in our way politically
the project of critique ='lgc'>: finding that point of violation where you can say “got you!”, ‘I nailed you’ ='lgc'>--> the practice of critique='lgc'> = to define what we are against ='lgc'>}='lgc'>==> develop political movement that are fairly self-certain about what we are against ='lgc'>==> you will find yourself (perhaps) property addressing a particular issue but having no ability ='strcls'>*to make political connection='strcls'>* (='lgc'>~= to think beyond the category) ='lgc'>--> you find yourself crippled

posthumanist think of themselves as “better than”, more in possession of a “real” understanding of the nature of contemporary world, beyond the critique of technology

the politics of it all...

="large lg1" stl="font-size:148%"> ='lgc'>[we have never been ='lgc'>='lgc'>-->='lgc'>] human ='lgc'>: being on the side of the one who developed technology to realize intention of their mind in the matter ='lgc'>[= The Iron Man='lgc'>]
='lgc'>=/= what it is to be people
we don't need fancy epistemological justification (such as posthumanism), people know the world in ordinary ways and we can learn from eachother, in all the (cultural, historical, power, wealth) differences among us ='lgc'>[='at'>@="frds scrmbld"nttrm="Leonardo">Leo='lgc'>] ='lgc'>='lgc'>--> ='strcls'>***partial translations happen all the time='strcls'>***
to take the risk of making a mistake ='lgc'>--='lgc'>[the only way you can='lgc'>]='lgc'>='lgc'>--> affirm something positive ='lgc'>: the positive knowledge pins on the possibility of mistake ='lgc'>--(='at'>@="frds scrmbld">Setareh; ="frds scrmbld"nttrm="Godard">Goda wants to avoid mistakes='qstn'>?)

(learning from ="ppl">="ppl">Foucault='lgc'>:) power='lgc'> = actual arrangem[...]

[...]’ ='lgc'>--> the practice of critique='lgc'> = to define what we are against ='lgc'>}='lgc'>==> develop political movement that are fairly self-certain about what we are against ='lgc'>==> you will find yourself (perhaps) property addressing a particular issue but having no ability ='strcls'>*to make political connection='strcls'>* (='lgc'>~= to think beyond the category) ='lgc'>--> you find yourself crippled

posthumanist think of themselves as “better than”, more in possession of a “real” understanding of the nature of contemporary world, beyond the critique of technology

the politics of it all...

='lgc'>[we have never been ='lgc'>-->='lgc'>] human ='lgc'>: being on the side of the one who developed technology to realize intention of their mind in the matter ='lgc'>[= The Iron Man='lgc'>]
='lgc'>=/= what it is to be people
we don't need fancy epistemological justification (such as posthumanism), people know the world in ordinary ways and we can learn from eachother, in all the (cultural, historical, power, wealth) differences among us ='lgc'>[='at'>@="frds scrmbld"nttrm="Leonardo">Leo='lgc'>] ='lgc'>='lgc'>--> ='strcls'>***partial translations happen all the time='strcls'>***
to take the risk of making a mistake ='lgc'>--='lgc'>[the only way you can='lgc'>]='lgc'>='lgc'>--> affirm something positive ='lgc'>: the positive knowledge pins on the possibility of mistake ='lgc'>--(='at'>@="frds scrmbld">Setareh; ="frds scrmbld"nttrm="Godard">Goda wants to avoid mistakes='qstn'>?)

(learning from ="ppl">="ppl">Foucault='lgc'>:) power='lgc'> = actual arrangement of the world (and not something ‘out there’)
(learning from ="ppl">Derrida='lgc'>:) responsibility is about the excess of it all (and not the irony of it all ='lgc'>[='strcls'>*irony='lgc'>: incongruity of expectation and occurrence='lgc'>])
(learning from biology about='lgc'>:) differences organize themselves by ecologies (and not by binaries) ='lgc'>='lgc'>--> ecologies have many scales (of temporality and physicality)='strcls'>***

scientific research ='lgc'>+ artistic research ='lgc'>+ contemporary philosophical critical inquiry ='lgc'>==> ='strcls'>*topographies of difference='strcls'>* ='lgc'>[='lgc'>='lgc'>--> important for ="frds scrmbld"nttrm="Godard">Goda's use of the term “privilege” flattening differences='lgc'>]
(“='lgc'>+” are exchange zones, i am learning their differences of idioms)

='lgc'>[apass='lgc'> = partners locked into mimesis='lgc'>]

(my problem with ='thdf'>the idea of) privilege='lgc'>: a special right, advantage, or immunity granted to a particular group or individual ='lgc'>--assume='lgc'>='lgc'>--> the only way for a particular demographic to advance is at the expense of another
="lsts lst1">•communism which was a form of collectivism (defined itself against privileges) wiped out large populations
="lsts lst1">•it is easier to politicize gender and sexuality ='lgc'>--to='lgc'>='lgc'>--> demand change


="large lg1" stl="font-size:148%"> ='at'>@="frds scrmbld"nttrm="Leonardo">Leo='lgc'>: ='thdf'>the question of (should this be the way of) ‘how do we inhabit our situation and to make connection with each other’ ='lgc'>='lgc'>--> (='qstn'>?can i suggest to ="frds scrmbld"nttrm="Leonardo">Leo) to drop the stance of comprehensive theoretical political position ='lgc'>[without giving up the labor-intensive work of theory='lgc'>]


(to talk about...) as an abstraction of seriousness
='strcls'>*if one is really serious about the kinds of interupted and entangled abstractions it is no longer good enough to do it from the Greeks-on='strcls'>*
(not scol[...]

[...]actions it is no longer good enough to do it from the Greeks-on='strcls'>*
(not scolding post-colonial but actually) not to let philosophy or science or any other rest of it any longer be that unmarked set of categories
='strcls'>*situated ground='lgc'>: that we know something='strcls'>*
(not to let='lgc'>:) ‘not to know something’ (about living and arriving at the time of human-induced mass-extermination and mass-genocide) as the only way of being a serious person ='lgc'>~ extinguish abstractions in order to act
='lgc'>[learning from ="ppl">="ppl">Haraway ='lgc'>+ ="ppl">="ppl">Latour:='lgc'>] ‘to take something seriousness’ is not to run off and explain it by something else, is to be at risk to it's ‘thisness,’ to be available to it, to be undone and redone at encounter ='lgc'>='lgc'>~-> specualtive thought
(always asking) what other abstractions are to think with='qstn'>?
='lgc'>[my interest in the past ='lgc'>-->='lgc'>] your head screwed backward, not so much looking for relevant novelty ='lgc'>[and not in search for meaning='lgc'>] (not so of past but also) not quite so enamored of the new and of the creative
="prgrph">-extinctions are happening at extraordinary rate that are difficult to deal with the perceptual apparatuses of the bipedal hominid ='lgc'>[='thdf'>for example sayinig ‘everything is collapsing’ is one of those categories, collapsology takes world's doom as a priori='lgc'>]
="lsts lst1">•knowledge ='lgc'>=='qstn'>? production of novelty, product of novelty ='lgc'>[that you need is not at all novelty for someone else='lgc'>]
="lsts lst1">•knowledge ='lgc'>=='qstn'>? reduction of memory, production of memory
="lsts lst1">•knowledge ='lgc'>=='qstn'>? cat's cradling each other
='strcls'>*what constitute flourishing='qstn'>?='strcls'>* ='lgc'>[='at'>@collapsology ='lgc'>=/= one is seduced, curious, interested, and intrigued ‘to what is going on there='qstn'>?'='lgc'>]
='lgc'>[species are often='lgc'>] risks for your ongoingness
(work of) ='lgc'>[='strcls'>*='lgc'>]hope='lgc'>: care not being possible out of the place of sheer joy

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my issues with the commons
i have a problem with the conceptual and material apparatus called ‘resource’ that the commons takes uninterrogated. (and there is no way out of it because commons must take ‘a’ definition of resource for granted='lgc'>--and that makes it too easy to deconstruct). and it is too embedded within a political framework and vocabulary. and political is the most difficult syntax to start with, which won't allow it to access other literacies.
in this way the commons alone cannot properly address issues such as pollution, extinction, human-animal problems, rhetoric, inheritance, logic, alienation, and so on, that need multidisciplinary thinking.

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="lsts lst1">•what is ‘feeling’ for ="frds scrmbld">Lili
="lsts lst1">•the issue of ‘similarity’ for ="frds scrmbld">Luiza
="lsts lst1">•zones of connectivity and presubjective singularities for ="frds scrmbld">Xiri. (what is even better than justice='qstn'>? kindness='qstn'>?)
(="frds scrmbld">Xiri's use of the implicit element of ‘surprise,’ she is trying to communicate the ‘importance’ of her contents.) (trauma-story almost always silences other stories. ='lgc'>-- she is compelled by her own storytelling ='lgc'>='lgc'>--> baring witness to the injust[...]

[...]elled by her own storytelling ='lgc'>='lgc'>--> baring witness to the injustice therefore resisting it.) ='lgc'>--when the victimized personal veils the larger context of evil, the illusion of the true perpetrators - which is around you. (she stated the danger which is all around us.)
="prgrph">-the issue of immediacy for ="frds scrmbld">Xiri
="prgrph">-‘you can only heal what you have wounded’ (Wagner's Parsifal “only the weapon that made it will ever cure the wound.”)='lgc'>--what does this mean for our caring activities='qstn'>? ='at'>@="frds">Sina='lgc'>: is this what you mean by western modern rationalization, and ='thdf'>that is why you are thinking within the western/eastern philosophies, is the modern tools the antidote to themselves='qstn'>? (this is too soon for me to say and understand this question.)

what is my ‘will to’='qstn'>?
="frds scrmbld">Xiri wants to abolish injustice='qstn'>?
="frds scrmbld">Thiago, abolish selfishness='qstn'>?
="frds scrmbld">Maarten, abolish weakness='qstn'>?
="frds scrmbld">Aela, abolish entropy='qstn'>?
="frds scrmbld">Sana,
="frds scrmbld">Seba, abolish enmity='qstn'>?
="frds scrmbld">Lili, abolish feelings='qstn'>?
="frds scrmbld">Varinia, abolish obedience='qstn'>? ='lgc'>[='lgc'>--what shortens our leash='qstn'>?='lgc'>]
="frds">Sina, abolish selfhood='qstn'>?
="frds scrmbld">Vladimir, abolish non-disambiguity='qstn'>?

='at'>@="frds scrmbld">Esta, her enunciated need for “framework” ='lgc'>[='lgc'>~->='qstn'>? instruments of economization='lgc'>], could she be needing “pathway”='lgc'>: path instead of frame, and way instead of work. ='lgc'>[frame ='lgc'>=/=='qstn'>? overflowing (='lgc'>='lgc'>--> my method of script='qstn'>?); identity ='lgc'>=/=='qstn'>? avidity, hers;='lgc'>]
interplay of scales
the scale of intimacy, (of skin, of shared heartbeats and feelings)
data and surveillance and seduction
intimacy='lgc'>: still an unpredictable force='qstn'>?
intimacy='lgc'>: the biological spring from which affect drinks='qstn'>?
how ="frds scrmbld">Esta's proposal is capable of traversing from the lovers’ bed to the wild embrace of the crowd to the alien touch of networks='qstn'>?

='lgc'>[and when i say “abolish,” i am using a word that is about rendering something obsolete, mansukh, canceling, making reading to get rid of it, and this is not the same as destroying.='lgc'>]

='at'>@="frds scrmbld">Arianna, ‘cleaning agents,’ to toxicity='qstn'>? how can we learn to live with “toxic animacy”(="ppl">Chen)='qstn'>? dirt='lgc'>: “consequences overwhelming their cause” (="ppl">="ppl">Latour)
="prgrph">-narratives about urgent necessity='lgc'>: that we need to understand more in order to cure, prevent, construct, excel, survive.
='strcls'>*afterlife toxicities (='qstn'>?)

='at'>@="frds scrmbld">Lili='lgc'>: cycle of planets instead of heartbeat of a planet. tuning in the soup of planets, instead of getting the pulse of a singular planet. the nebulous milk way of liquid bodies, instead of rigid mass of individual blood='lgc'>--Pluto.

='at'>@="frds scrmbld">Varinia='lgc'>: (in her dog video, regarding her engagement with the law and ='thdf'>the question of comparative thinking='lgc'>:) what is the model for what, what is similar to what='qstn'>?
="prgrph">-is her model based on ='thdf'>the idea that beings exist as individual='qstn'>? (is this a ‘difference’ that her work produces='qstn'>?)

='at'>@="frds scrmbld">Agnes='lgc'>: you are a response to the bed, making the bed and being made by its caress and embrace. it is not that you want all the audience in the wo[...]

[...]sm. like the variety of bed sheets, we are proposed with answers that vary, before posing any question.
to reformulate the question that was posed to you='lgc'>: how your proposal is capable of traversing from the bed to the wild='qstn'>?


pre-historic personhood

='mywrk'>my work is concerned with connections, mediation and passages.

="large lg2" stl="font-size:112%">
what you take for granted, is in another words, what that you can't not know.


(my proposal='lgc'>:)
the past is not absolute!

="large lg1" stl="font-size:117%"> the idea is that the mythical became the mythological ='lgc'>--> Things could be treasured for their beauty as opposed to
their utility or their numinousness.


(="ppl">Martha ="ppl">="ppl">Kenney's) “wild facts”
facts that won't hold still
fables
fables of ="nms">ajayeb, creatures of imaginations, (im)possible worlds

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your institutional hacks


three things to consider in ='mywrk'>my work:
projection, immersion, and synthesis

seeking to be at once inside and outside the topic

the issue of topology ='lgc'>-- what remains invariant as a result of transformation

suggestive power of the figure

="large lg2" stl="font-size:112%"> ="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

synthesis ='lgc'>=/=='qstn'>? genesis (to originate something, to design)
genesis ='lgc'>=/=='qstn'>? apocalypse

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................
="large lg1" stl="font-size:145%">
in research, contrast between method and subject, is a tool
(in studying natural history)

in critique, contrast between effect and affect, is a tool
(assumed quality of the object and one's own named experience)
='lgc'>[these tools are perhaps cognitive objects='lgc'>]

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Enlightenment as cultural European phenomenon versus a scientific British one

(the theatrical function of natural philosophy in the England Enlightenment)

the function of natural philosopher in 18th century was to use experimental science machines to turn inert matter into active power, light/fire/heat/etc. to lecture an wealthy and polite fee-paying audience, in order to save them from irrationality, that inside all matter there is life and power, and that life was divine.

(however all this was all swept away in the industrial revelation)

William Herschel, an amateur natural philosopher discovering Uranus 1781
(Enlightenment was all about people changing their disciplines)
project of constructing a new theory of heavens

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................
="large lg2" stl="font-size:111%">
='strcls'>*i can't give you a direct grasp but i hope i can give slowly accuracy

='strcls'>*the ‘details’ of grasping
(zoom in the ‘grasp’)

="large lg1" stl="font-size:122%">

from contingencies to certainties


i spend so much time with painting and computers, which were about compositions and hacks

i think there are few fields/figurations/skills we need to get good at:[...]

[...]built world / thought world / described world / descripted world
='strcls'>*producing knowledge ='lgc'>--to='lgc'>='lgc'>--> participating in knowledge projects
='strcls'>*to explain ='lgc'>--to='lgc'>='lgc'>--> to explain in terms of...
='strcls'>*place/location ='lgc'>--to='lgc'>='lgc'>--> neighborhood (ask ‘why this neighborhood='qstn'>?’ instead of place)


="nms">ajayeb helps me to work on='lgc'>:
="prgrph">-history
="prgrph">-poetics
="prgrph">-animality ='lgc'>='lgc'>--> inhabiting material and semiotic positions ='lgc'>='lgc'>--> how to find a descriptive act that is not in terms of the impressions it makes on our senses='qstn'>? / this is about the places things take and occupy in our phenomenal world. / it is difficult to discuss the night-sky without first breaking it up into constellations. (="ppl">Matthew ="ppl">="ppl">Carey)

i have been building my own islamology or islam-studies department, through a low-voice critical mildly blasphemic rant about imagination
(anthropology of non-experimental imagination in the islamicated worlds)
='lgc'>[there is a difference between ='strcls'>**experimental imagination='strcls'>** and imagination='lgc'>]

we are at the edge of extinctions
many species and lives are migrating to “where” and nowheres, pushing to the oblivion.

="large lg1" stl="font-size:141%"> my issue with the ‘timing of understanding’ ='lgc'>--> i don't want to be understood by you, i want to be loved by you ='lgc'>==> messenger ='lgc'>+ message ='lgc'>--> so how do i produce lovers='qstn'>? (='lgc'>=/= Don ="frds scrmbld">Juan's type of love) ='lgc'>--> there is a genius in your everyday talks that transforms me and has nothing to do with understanding (with the information that i grasp)


(using ="ppl">Martha ="ppl">="ppl">Kenney thinking='lgc'>:)
i am interested in crafting words, phrases, and languages that reworlds us. (reworlding is about reorienting us in the world differently. ='lgc'>--> is that what i meant by changing the rhythm of somebody's story='qstn'>?) what is important for me is ='strcls'>***what words ‘do’ rather what words ‘point at.’='strcls'>*** ='lgc'>--> if not evidence then ‘what’='qstn'>?! ='strcls'>*****the magic of the right word='strcls'>*****

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

communicating knowledge is always also making it
(false='lgc'>: backstage making knowledge, finding truths, connections etc. and then all of this gonna be communicated by publication, teaching, exhibition, etc.)
all the useful ideas i ever had, have happened in the process of deliberating, communicating, exchanging, and so on.
='strcls'>**trying to communicate is the same as making knowledge
(i don't make, i communicate)

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

from paf='lgc'>:
="prgrph">-lunching a counter-exotic movement toward the Book of Wonders='lgc'>: (1) postponing immediate information. (2) ...
="lsts lst1">•if everything is not exotic then nothing is.
="lsts lst1">•framing as ‘tool,’ every tool is and has power, and is built in a discourse of power. tools are not innocent, nor can we do without them. they make us. what would be an idea of the ‘worst tool’ you can work with='qstn'>? poetics for me='qstn'>? ='lgc'>[to write-about ='lgc'>=/= to write-with the Book of Wonders. to use a language-tool that produces the most ambiguitie[...]

[...]n crafting words, phrases, and languages that reworlds us. (reworlding is about reorienting us in the world differently. ='lgc'>--> is that what i meant by changing the rhythm of somebody's story='qstn'>?) what is important for me is ='strcls'>***what words ‘do’ rather what words ‘point at.’='strcls'>*** ='lgc'>--> if not evidence then ‘what’='qstn'>?! ='strcls'>*****the magic of the right word='strcls'>*****

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................
="large lg1" stl="font-size:143%">
communicating knowledge is always also making it
(false='lgc'>: backstage making knowledge, finding truths, connections etc. and then all of this gonna be communicated by publication, teaching, exhibition, etc.)
all the useful ideas i ever had, have happened in the process of deliberating, communicating, exchanging, and so on.
='strcls'>**trying to communicate is the same as making knowledge
(i don't make, i communicate)

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

from paf='lgc'>:
="prgrph">-lunching a counter-exotic movement toward the Book of Wonders='lgc'>: (1) postponing immediate information. (2) ...
="prgrph">- if everything is not exotic then nothing is.
="lsts lst1">•framing as ‘tool,’ every tool is and has power, and is built in a discourse of power. tools are not innocent, nor can we do without them. they make us. what would be an idea of the ‘worst tool’ you can work with='qstn'>? poetics for me='qstn'>? ='lgc'>[to write-about ='lgc'>=/= to write-with the Book of Wonders. to use a language-tool that produces the most ambiguities and most misunderstandings, but that is the only way, there is no tool that can prommis clarity. evey tool produces its own ‘clear'='lgc'>--for someone, for some purpose. these makings are all tool-specific='lgc'>: making dichotomies, making similarities, making diferences, stc.='lgc'>]
="lsts lst1">•how far your research can host an encounter with alterity='qstn'>? and how this encounter can help you undo your prommises of communication, positionality, and conceptual buildings='qstn'>? weave new worldling entanglements with the problem='lgc'>--not to solve it, but stay with it. dissolve essential differences between dichitomies such as='lgc'>: knowledge and expression (or ‘knowledge’ and the ‘communication of knowledge’), experimental and ethical, joke and seriousness, interiority and exteriority, mysterious and clear, uncovering and veiling. produce creative impossibilities that do not resolve to bionary answers easily, that unstable possitionality for good, that open for forms of consiounesses to experience thoughts which differ from itself. to think and entertain both particularities and generalities (of logic, ethics, politics, aesthetics, etc.) encounter can be both infinitly singular and general. that is a form of suggestive work that can deal with the specific as well. (think about ‘chicken’ as an anstract idea in our semiotic world and as an individual being in our material world)
="lsts lst1">•using ='thdf'>the notion of delinking (reminded by ="frds scrmbld">Juan) with ='mywrk'>my research on the Book of Wonders. going from parable-thinking ='lgc'>--to='lgc'>='lgc'>--> religious-thinking ='lgc'>--to='lgc'>='lgc'>--> poststructuralist-thinking ='lgc'>--to='lgc'>='lgc'>--> poetic-thinking ='lgc'>--to='lgc'>='lgc'>--> riddle-thinking ='lgc'>--to='lgc'>='lgc'>--> bi[...]

[...] and the ‘communication of knowledge’), experimental and ethical, joke and seriousness, interiority and exteriority, mysterious and clear, uncovering and veiling. produce creative impossibilities that do not resolve to bionary answers easily, that unstable possitionality for good, that open for forms of consiounesses to experience thoughts which differ from itself. to think and entertain both particularities and generalities (of logic, ethics, politics, aesthetics, etc.) encounter can be both infinitly singular and general. that is a form of suggestive work that can deal with the specific as well. (think about ‘chicken’ as an anstract idea in our semiotic world and as an individual being in our material world)
="lsts lst1">•using ='thdf'>the notion of delinking (reminded by ="frds scrmbld">Juan) with ='mywrk'>my research on the Book of Wonders. going from parable-thinking ='lgc'>--to='lgc'>='lgc'>--> religious-thinking ='lgc'>--to='lgc'>='lgc'>--> poststructuralist-thinking ='lgc'>--to='lgc'>='lgc'>--> poetic-thinking ='lgc'>--to='lgc'>='lgc'>--> riddle-thinking ='lgc'>--to='lgc'>='lgc'>--> biological-thinking ='lgc'>--to='lgc'>='lgc'>--> deconstructionist-thinking ='lgc'>--to='lgc'>='lgc'>--> ...
="lsts lst1">•this other universe is always at the beyond='lgc'>--the other cosmos is a lure (='qstn'>?)
="lsts lst1">•all cages have wheels
="lsts lst1">•boat, as an image for both construction and destruction
="lsts lst1">•i don't need to be alone in destroying the boat
="lsts lst1">•how to move the boat ='lgc'>=/= destination


="large lg1" stl="font-size:111%">

possible workshops for ="frds scrmbld">Einat's project='lgc'>:
="lsts lst1">•moonwalk dance
="lsts lst1">•database programing ='lgc'>='lgc'>--> how to live well with databases, not waging a quixotic war on database designers. we must learn how to read and understand database early in elementary school. databases are fundamental parts of our political social ethical cultural processes...
="lsts lst1">•regular expression ='lgc'>='lgc'>--> how computer programming reads and patterns text
="lsts lst1">•text-based internet ='lgc'>='lgc'>--> cyberfeminism
="lsts lst1">•intervention in the digital hegemonies (digital ='lgc'>==> cultural ='lgc'>==> material) (changes to the built digital environments, possiblities of reconfiguration ='lgc'>='lgc'>--> production of space, articulations about ‘us’)
="lsts lst1">•what does it mean to look at a code='qstn'>? (a critical introduction to computer programming for artists)
="lsts lst1">•How to implement a programming language in (JavaScript='qstn'>?)='lgc'>--parsing, regexps, (http://lisperator.net/)
="lsts lst1">•teaching German with ="ppl">Holderlin's “Andenken” poem
="lsts lst1">•to create a ='strcls'>*feast='strcls'>* (to celebrate is to become free of the habitual, becoming inhabitual. celebration is the tensional coming together of the unlikes ='lgc'>='lgc'>--> through which human beings and gods could meet and greet. The festiveness that the celebration encourages constitutes the original Greeting. ='lgc'>[="ppl">Avital='lgc'>])


="large lg1" stl="font-size:114%"> ="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

what i have beeing trying to mean by saying that i have been dependent on others to create spaces that a telling can happen, is actually a fundamnetal ellement of storytelling='lgc'>: the ='strcls'>***community. i need and depend on community in my tellings. (this has noting to do with the imperative of “communication” or having a “message”)<[...]

[...]the specific as well. (think about ‘chicken’ as an anstract idea in our semiotic world and as an individual being in our material world)
="lsts lst1">•using ='thdf'>the notion of delinking (reminded by ="frds scrmbld">Juan) with ='mywrk'>my research on the Book of Wonders. going from parable-thinking ='lgc'>--to='lgc'>='lgc'>--> religious-thinking ='lgc'>--to='lgc'>='lgc'>--> poststructuralist-thinking ='lgc'>--to='lgc'>='lgc'>--> poetic-thinking ='lgc'>--to='lgc'>='lgc'>--> riddle-thinking ='lgc'>--to='lgc'>='lgc'>--> biological-thinking ='lgc'>--to='lgc'>='lgc'>--> deconstructionist-thinking ='lgc'>--to='lgc'>='lgc'>--> ...
="lsts lst1">•this other universe is always at the beyond='lgc'>--the other cosmos is a lure (='qstn'>?)
="lsts lst1">•all cages have wheels
="lsts lst1">•boat, as an image for both construction and destruction
="lsts lst1">•i don't need to be alone in destroying the boat
="lsts lst1">•how to move the boat ='lgc'>=/= destination



="large lg1" stl="font-size:140%">
possible workshops for ="frds scrmbld">Einat's project='lgc'>:
="lsts lst1">•moonwalk dance
="lsts lst1">•database programing ='lgc'>='lgc'>--> how to live well with databases, not waging a quixotic war on database designers. we must learn how to read and understand database early in elementary school. databases are fundamental parts of our political social ethical cultural processes...
="lsts lst1">•regular expression ='lgc'>='lgc'>--> how computer programming reads and patterns text
="lsts lst1">•text-based internet ='lgc'>='lgc'>--> cyberfeminism
="lsts lst1">•intervention in the digital hegemonies (digital ='lgc'>==> cultural ='lgc'>==> material) (changes to the built digital environments, possiblities of reconfiguration ='lgc'>='lgc'>--> production of space, articulations about ‘us’)
="lsts lst1">•what does it mean to look at a code='qstn'>? (a critical introduction to computer programming for artists)
="lsts lst1">•How to implement a programming language in (JavaScript='qstn'>?)='lgc'>--parsing, regexps, (http://lisperator.net/)
="lsts lst1">•teaching German with ="ppl">Holderlin's “Andenken” poem
="lsts lst1">•to create a ='strcls'>*feast='strcls'>* (to celebrate is to become free of the habitual, becoming inhabitual. celebration is the tensional coming together of the unlikes ='lgc'>='lgc'>--> through which human beings and gods could meet and greet. The festiveness that the celebration encourages constitutes the original Greeting. ='lgc'>[="ppl">Avital='lgc'>])

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

="large lg2" stl="font-size:112%"> what i have beeing trying to mean by saying that i have been dependent on others to create spaces that a telling can happen, is actually a fundamnetal ellement of storytelling='lgc'>: the ='strcls'>***community. i need and depend on community in my tellings. (this has noting to do with the imperative of “communication” or having a “message”)
(is it what ="ppl">="ppl">Stengers calls to promote an “oikos”='qstn'>?)


='lgc'>[="ppl">="ppl">Stengers='lgc'>]
“the ='strcls'>*predominance='strcls'>* of the ='strcls'>*concern for relevance='strcls'>* (-rabt-) builds up memory and experience”

political ecology ='lgc'>: there is NO knowledge that is (both) relevant and detached
political ecology ='lgc'>: relevance ='lgc'>+ attachment='lgc'> = knowledge

art of staging='lgc'> = designing a scene

='lgc'>[the House TV series, the issue of the protagonist is='lgc'>] the distinguish between the figure of the expert and the figure of the diplomat.
='strcls'>*expert='lgc'>: ones whose practic[...]

[...]br /> ="lsts lst1">•what does it mean to look at a code='qstn'>? (a critical introduction to computer programming for artists)
="lsts lst1">•How to implement a programming language in (JavaScript='qstn'>?)='lgc'>--parsing, regexps, (http://lisperator.net/)
="lsts lst1">•teaching German with ="ppl">Holderlin's “Andenken” poem
="lsts lst1">•to create a ='strcls'>*feast='strcls'>* (to celebrate is to become free of the habitual, becoming inhabitual. celebration is the tensional coming together of the unlikes ='lgc'>='lgc'>--> through which human beings and gods could meet and greet. The festiveness that the celebration encourages constitutes the original Greeting. ='lgc'>[="ppl">Avital='lgc'>])


="large lg1" stl="font-size:149%"> ="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

what i have beeing trying to mean by saying that i have been dependent on others to create spaces that a telling can happen, is actually a fundamnetal ellement of storytelling='lgc'>: the ='strcls'>***community. i need and depend on community in my tellings. (this has noting to do with the imperative of “communication” or having a “message”)
(is it what ="ppl">="ppl">Stengers calls to promote an “oikos”='qstn'>?)


="large lg1" stl="font-size:141%"> ='lgc'>[="ppl">="ppl">Stengers='lgc'>]
“the ='strcls'>*predominance='strcls'>* of the ='strcls'>*concern for relevance='strcls'>* (-rabt-) builds up memory and experience”

political ecology ='lgc'>: there is NO knowledge that is (both) relevant and detached
political ecology ='lgc'>: relevance ='lgc'>+ attachment='lgc'> = knowledge

art of staging='lgc'> = designing a scene

='lgc'>[the House TV series, the issue of the protagonist is='lgc'>] the distinguish between the figure of the expert and the figure of the diplomat.
='strcls'>*expert='lgc'>: ones whose practice is not threatend by the issue under discussion ='lgc'>--> knowledge='lgc'> = relevance
='strcls'>*diplomat='lgc'>: ones who provide a voice for those whose practice, mode of existence, (and what is offen called) identity are threatened by a decision. to cause the experts second thoughts. ='lgc'>--> knowledge ='lgc'>~= decision
='lgc'>[this is core in storytelling='lgc'>] ='lgc'>[then, i am political. i used to use the word embassador, but it means also ‘diplomat.’ stories that can hold another story hanging. ="frds">Sina's shy embassador ='lgc'>~=='qstn'>? ='lgc'>] (but what about the weak ones, the idiot, the one's who ‘rather not’ contribute to the political project='qstn'>?)
="prgrph">-diplomats are situated='strcls'>*
='lgc'>[for ='strcls'>*="frds scrmbld">Lili this is also a delima, she is torn apart between her expert self and diplomat who crafts relevance
diplomat='lgc'>--the relevance of feelings ='lgc'>='lgc'>--> what is the knowledge in the kiss='qstn'>? (the kiss that she rendered as ‘irrelevant’)='lgc'>] ='lgc'>[for me kiss is essentialy important. “it (everything) started with a kiss."='lgc'>]

universal knowledge ='lgc'>=/= relevant knowledge


="large lg1" stl="font-size:139%"> ‘trust’ is one of many names for love
“you can never be indifferent to the trust you inspire” (="ppl">="ppl">Stengers)

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................
="large lg2" stl="font-size:111%">
='at'>#workshop='lgc'>: “the magic of the right word”
(against Sherlock Holmes)
(12-step recovery program for people suffering from) addiction to the truth

(to energize the connections to the things that animate us.)

="lstsrd">1. g[...]

[...] and detached
political ecology ='lgc'>: relevance ='lgc'>+ attachment='lgc'> = knowledge

art of staging='lgc'> = designing a scene

='lgc'>[the House TV series, the issue of the protagonist is='lgc'>] the distinguish between the figure of the expert and the figure of the diplomat.
='strcls'>*expert='lgc'>: ones whose practice is not threatend by the issue under discussion ='lgc'>--> knowledge='lgc'> = relevance
='strcls'>*diplomat='lgc'>: ones who provide a voice for those whose practice, mode of existence, (and what is offen called) identity are threatened by a decision. to cause the experts second thoughts. ='lgc'>--> knowledge ='lgc'>~= decision
='lgc'>[this is core in storytelling='lgc'>] ='lgc'>[then, i am political. i used to use the word embassador, but it means also ‘diplomat.’ stories that can hold another story hanging. ="frds">Sina's shy embassador ='lgc'>~=='qstn'>? ='lgc'>] (but what about the weak ones, the idiot, the one's who ‘rather not’ contribute to the political project='qstn'>?)
="prgrph">-diplomats are situated='strcls'>*
='lgc'>[for ='strcls'>*="frds scrmbld">Lili this is also a delima, she is torn apart between her expert self and diplomat who crafts relevance
diplomat='lgc'>--the relevance of feelings ='lgc'>='lgc'>--> what is the knowledge in the kiss='qstn'>? (the kiss that she rendered as ‘irrelevant’)='lgc'>] ='lgc'>[for me kiss is essentialy important. “it (everything) started with a kiss."='lgc'>]

universal knowledge ='lgc'>=/= relevant knowledge


="large lg1" stl="font-size:138%"> ‘trust’ is one of many names for love
“you can never be indifferent to the trust you inspire” (="ppl">="ppl">Stengers)

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

="large lg2" stl="font-size:110%"> ='at'>#workshop='lgc'>: “the magic of the right word”
(against Sherlock Holmes)
(12-step recovery program for people suffering from) addiction to the truth

(to energize the connections to the things that animate us.)

="lstsrd">1. gathering, basckets of concepts, objects, things, words, etc.
="lstsrd">2. excersises, physical to-dos (cleaning, cooking, sport, sawing, etc.) while telling (this is about removing the codes of acting and representation process that interupt the telling)
="lstsrd">3. everyday mundane talks, no stage. ‘you’ in it. (is it a one-to-one mentoring='qstn'>?)
="lstsrd">4. convert into language the objects from the basket, write them down. since we are going to work with sign-language
="lstsrd">5. make the connections (probably together)
="lstsrd">6. special activities during the workshop='qstn'>? (cooking, drinking, etc.)
="lstsrd">7. ending of the workshop. what would be the closure='qstn'>? what do we build='qstn'>? how do we evaluate='qstn'>?


='lgc'>[what are you summoned by='qstn'>? write about the person you see in the light of reverie='qstn'>? how to survive humanism='qstn'>?='lgc'>]

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

='at'>#workshop, fables
fable seen as a site where one formulates concepts and narratives that reorient one within one's own research practices
="prgrph">-(how can we) participate in shaping our objects of knowledge (='lgc'>--> relational empiricism)
="prgrph">-learn through participating in different (though not fixed nor mutually exclusive) ='strcls'>*microworlds='strcls'>* ='lgc'>[microworld='lgc'>: a space where [...]

[...]one mentoring='qstn'>?)
="lstsrd">4. convert into language the objects from the basket, write them down. since we are going to work with sign-language
="lstsrd">5. make the connections (probably together)
="lstsrd">6. special activities during the workshop='qstn'>? (cooking, drinking, etc.)
="lstsrd">7. ending of the workshop. what would be the closure='qstn'>? what do we build='qstn'>? how do we evaluate='qstn'>?


="large lg1" stl="font-size:132%"> ='lgc'>[what are you summoned by='qstn'>? write about the person you see in the light of reverie='qstn'>? how to survive humanism='qstn'>?='lgc'>]

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

='at'>#workshop, fables
fable seen as a site where one formulates concepts and narratives that reorient one within one's own research practices
="prgrph">-(how can we) participate in shaping our objects of knowledge (='lgc'>--> relational empiricism)
="prgrph">-learn through participating in different (though not fixed nor mutually exclusive) ='strcls'>*microworlds='strcls'>* ='lgc'>[microworld='lgc'>: a space where protocols and equipments are standardized to facilitate the emergence and stabilization of new objects. (="ppl">="ppl">Kenney)='lgc'>]
="prgrph">-“banal and ordinary sites of getting on in collective life” (="ppl">Verran)
="prgrph">-bring your ‘found objects’ (objects, categories, stories, concepts, insights, writing under influence, etc.) and put them in ‘telling’ (telling stories about the lives of your found objects ='lgc'>=/= insisting on the solidity of our found objects='lgc'>----='lgc'>[solidity='lgc'> = stability ='lgc'>+ authority='lgc'>] and in telling practices ='lgc'>=> (re)materializing your empirical objects ='lgc'>=/= generating reliably-managed microworld)
="prgrph">-found objects are objects with which we inhabit worlds (or microworlds of our practices)
="prgrph">-(not claiming to occupy an) ontological no-man's-land outside of the microworlds ='lgc'>--> my frame is no more free of metaphysics than any other
="prgrph">-towards an ongoing untidy recursive theory ='lgc'>--> keeping our objects, concepts, and insights in a state of generative transformation
="prgrph">-which “affective economies” animate our own bodies as artist and as people='qstn'>?
="prgrph">-what feelings inform our works='qstn'>?

staying with linguistic differences (in each of our stories or praxiography) is a way of investigating the ontological commitments embedded in language.
ontological ='lgc'>--> worlding ='lgc'>--> how language participates in shaping our lived worlds in some ways and not others.='strcls'>*** “it is not common for speakers of a language to examine what type of material objects their language commits them to.” (="ppl">Verran)

solidity of found objects, in my case, the graphs and images i am making about ="nms">ajayeb ='lgc'>--> the graphs now reiterate for me as rituals in ='mywrk'>my research microworld.
with these graphs i am trying different ways of arranging space, time and matter when speaking a ='strcls'>*sentence='strcls'>*. ...each language figures space, time, and matter into different kinds of objects. in my writing tools with ="nms">ajayeb, what type of material objects my language, or Hemedani or Qazwini's language, commits us to='qstn'>? my graphs are “spatiotemporal particulars” and “sortal particulars”. tryi[...]

[...]eakers of a language to examine what type of material objects their language commits them to.” (="ppl">Verran)

solidity of found objects, in my case, the graphs and images i am making about ="nms">ajayeb ='lgc'>--> the graphs now reiterate for me as rituals in ='mywrk'>my research microworld.
with these graphs i am trying different ways of arranging space, time and matter when speaking a ='strcls'>*sentence='strcls'>*. ...each language figures space, time, and matter into different kinds of objects. in my writing tools with ="nms">ajayeb, what type of material objects my language, or Hemedani or Qazwini's language, commits us to='qstn'>? my graphs are “spatiotemporal particulars” and “sortal particulars”. trying to talk about ontological assumptions embedded in the English (and any other) language. the diagrams are ='strcls'>*rigs='strcls'>*. i am using rigging instead of framework. ='lgc'>--> clever technological rigs, are provisional constructions, setup for a specific myth and dismantled after. sometimes old rigs are reused or repurposed for new rigs.
="prgrph">-resist peaceful naturalization
="prgrph">-uncomfortable software
="prgrph">-building/creating technologies as one way to do ontological politics (in postcolonial context)
="prgrph">-my experiments with ="nms">ajayeb='lgc'>:
 ="prgrph prgrph2">-(the danger in using) computer software to archive ="nms">ajayeb's or ="nms">ajib knowledge ='lgc'>=/= lively collective memory tool
 ="prgrph prgrph2">-the software that is slick and seamless runs the risk of the digital media appear as ='strcls'>*self-sufficient representations='strcls'>* (='lgc'><--='not'>✕='lgc'>-='lgc'>-> living context)
 ="prgrph prgrph2">-archived and frozen in time
="prgrph">-sorting operations

(if i continue with digital tech in reading ="nms">ajayeb i have to ask) how the digitized ="nms">ajib knowledge can resist appropriation and translation into an idiom that will not sustain its metaphysics='strcls'>****
="lsts lst2">◦powerful relational work that numbers (also='qstn'>?='lgc'> = ='lgc'>=/= ='lgc'>-='lgc'>-> ='lgc'>=> etc.) perform ='lgc'>-> “numbers are a particularly smooth and manipulable meaning-making tools. they hide their seams well. they are slick and trustworthy” (Porter) ='lgc'>-='lgc'>-> they are “materialized relations” (how can we tell a story of relations that for example numbers/math materialize='qstn'>?)
="lsts lst2">◦highlighting parts of ="nms">ajayeb='lgc'>: as part of a material reading practice ='lgc'>--> “highlighting” could easily be understood as metaphor of disembodied vision; highlighting is not about making things clear but about scribbling (bad-khat بدخط) as a mode of attention ='lgc'>=/= (="ppl">Descartes’) “natural light of reason”


='prcnt'>%report on fables of objects ='at'>#workshop (22.02.2017 HWD ="nms">apass)='lgc'>: attention to the sense and feeling of disparity, dispersity, stability, sublimity, authority, epicness, weakness, severity, solidity, scale, (a)social connections, and tangibility in the character of the object of each participants in the stories we wrote. where were active and passive qualities located='qstn'>? how were agencies distributed='qstn'>?
="lsts lst1">•origin story ='lgc'>--> evolution story, love story ='lgc'>[the object falls in love with...='lgc'>]
="lsts lst1">•daily story
="lsts lst1">•beast feeding story ='lgc'>--> training [...]

[...]of material objects my language, or Hemedani or Qazwini's language, commits us to='qstn'>? my graphs are “spatiotemporal particulars” and “sortal particulars”. trying to talk about ontological assumptions embedded in the English (and any other) language. the diagrams are ='strcls'>*rigs='strcls'>*. i am using rigging instead of framework. ='lgc'>--> clever technological rigs, are provisional constructions, setup for a specific myth and dismantled after. sometimes old rigs are reused or repurposed for new rigs.
="prgrph">-resist peaceful naturalization
="prgrph">-uncomfortable software
="prgrph">-building/creating technologies as one way to do ontological politics (in postcolonial context)
="prgrph">-my experiments with ="nms">ajayeb='lgc'>:
 ="prgrph prgrph2">-(the danger in using) computer software to archive ="nms">ajayeb's or ="nms">ajib knowledge ='lgc'>=/= lively collective memory tool
 ="prgrph prgrph2">-the software that is slick and seamless runs the risk of the digital media appear as ='strcls'>*self-sufficient representations='strcls'>* (='lgc'><--='not'>✕='lgc'>--> living context)
 ="prgrph prgrph2">-archived and frozen in time
="prgrph">-sorting operations

(if i continue with digital tech in reading ="nms">ajayeb i have to ask) how the digitized ="nms">ajib knowledge can resist appropriation and translation into an idiom that will not sustain its metaphysics='strcls'>****
="lsts lst2">◦powerful relational work that numbers (also='qstn'>?='lgc'> = ='lgc'>=/= ='lgc'>-='lgc'>-> ='lgc'>=> etc.) perform ='lgc'>-> “numbers are a particularly smooth and manipulable meaning-making tools. they hide their seams well. they are slick and trustworthy” (Porter) ='lgc'>-='lgc'>-> they are “materialized relations” (how can we tell a story of relations that for example numbers/math materialize='qstn'>?)
="lsts lst2">◦highlighting parts of ="nms">ajayeb='lgc'>: as part of a material reading practice ='lgc'>-='lgc'>-> “highlighting” could easily be understood as metaphor of disembodied vision; highlighting is not about making things clear but about scribbling (bad-khat بدخط) as a mode of attention ='lgc'>=/= (="ppl">Descartes’) “natural light of reason”


='prcnt'>%report on fables of objects ='at'>#workshop (22.02.2017 HWD ="nms">apass)='lgc'>: attention to the sense and feeling of disparity, dispersity, stability, sublimity, authority, epicness, weakness, severity, solidity, scale, (a)social connections, and tangibility in the character of the object of each participants in the stories we wrote. where were active and passive qualities located='qstn'>? how were agencies distributed='qstn'>?
="lsts lst1">•origin story ='lgc'>--> evolution story, love story ='lgc'>[the object falls in love with...='lgc'>]
="lsts lst1">•daily story
="lsts lst1">•beast feeding story ='lgc'>--> training story
evoking temporality of evolutionary time, face-to-face time, historical time, tiny scale time,
 ="prgrph prgrph2">-each story has a music, texture of colors, pattern of meaning and affect
="lsts lst1">•bodyguard ='lgc'>--> fantastic creature invented to protect an organism (your “object”). this bodyguard can be organic, nonorganic, cyborg, any form, but always an agent. tell us why/how this or that feature helps the bodyguard with its task
="lsts lst1">•generation stories, describe and follow your object in three generations, its[...]

[...]ilding/creating technologies as one way to do ontological politics (in postcolonial context)
="prgrph">-my experiments with ="nms">ajayeb='lgc'>:
 ="prgrph prgrph2">-(the danger in using) computer software to archive ="nms">ajayeb's or ="nms">ajib knowledge ='lgc'>=/= lively collective memory tool
 ="prgrph prgrph2">-the software that is slick and seamless runs the risk of the digital media appear as ='strcls'>*self-sufficient representations='strcls'>* (='lgc'><--='not'>✕='lgc'>-='lgc'>-> living context)
 ="prgrph prgrph2">-archived and frozen in time
="prgrph">-sorting operations

(if i continue with digital tech in reading ="nms">ajayeb i have to ask) how the digitized ="nms">ajib knowledge can resist appropriation and translation into an idiom that will not sustain its metaphysics='strcls'>****
="lsts lst2">◦powerful relational work that numbers (also='qstn'>?='lgc'> = ='lgc'>=/= ='lgc'>-='lgc'>-> ='lgc'>=> etc.) perform ='lgc'>-> “numbers are a particularly smooth and manipulable meaning-making tools. they hide their seams well. they are slick and trustworthy” (Porter) ='lgc'>-='lgc'>-> they are “materialized relations” (how can we tell a story of relations that for example numbers/math materialize='qstn'>?)
="lsts lst2">◦highlighting parts of ="nms">ajayeb='lgc'>: as part of a material reading practice ='lgc'>--> “highlighting” could easily be understood as metaphor of disembodied vision; highlighting is not about making things clear but about scribbling (bad-khat بدخط) as a mode of attention ='lgc'>=/= (="ppl">Descartes’) “natural light of reason”


='prcnt'>%report on fables of objects ='at'>#workshop (22.02.2017 HWD ="nms">apass)='lgc'>: attention to the sense and feeling of disparity, dispersity, stability, sublimity, authority, epicness, weakness, severity, solidity, scale, (a)social connections, and tangibility in the character of the object of each participants in the stories we wrote. where were active and passive qualities located='qstn'>? how were agencies distributed='qstn'>?
="lsts lst1">•origin story ='lgc'>--> evolution story, love story ='lgc'>[the object falls in love with...='lgc'>]
="lsts lst1">•daily story
="lsts lst1">•beast feeding story ='lgc'>--> training story
evoking temporality of evolutionary time, face-to-face time, historical time, tiny scale time,
 ="prgrph prgrph2">-each story has a music, texture of colors, pattern of meaning and affect
="lsts lst1">•bodyguard ='lgc'>--> fantastic creature invented to protect an organism (your “object”). this bodyguard can be organic, nonorganic, cyborg, any form, but always an agent. tell us why/how this or that feature helps the bodyguard with its task
="lsts lst1">•generation stories, describe and follow your object in three generations, its child and grandchild
="lsts lst1">•='lgc'>[for the second day or warm-up first day='qstn'>?='lgc'>] constraint based writing='lgc'>: (="ppl">="ppl">Kenney > ="frds scrmbld"nttrm="Christianson">Christian Bök's “literary genetics” poetics of encryption of data; poetic vectors, to “infect” the language;) describe/story your object (or an operative “verb” within your discourse) with univocalics='lgc'>: without using “e” or only using a single vowel. or, first write with 3, then 2, then 1 vowel.

="prgrph">-the workshop is about='lgc'>: what other stories (of your object) are possible='qstn'>?
="prgrph">-in the workshop (I take a temporary position to) challenge[...]

[...]escribe and follow your object in three generations, its child and grandchild
="lsts lst1">•='lgc'>[for the second day or warm-up first day='qstn'>?='lgc'>] constraint based writing='lgc'>: (="ppl">="ppl">Kenney > ="frds scrmbld"nttrm="Christianson">Christian Bök's “literary genetics” poetics of encryption of data; poetic vectors, to “infect” the language;) describe/story your object (or an operative “verb” within your discourse) with univocalics='lgc'>: without using “e” or only using a single vowel. or, first write with 3, then 2, then 1 vowel.

="prgrph">-the workshop is about='lgc'>: what other stories (of your object) are possible='qstn'>?
="prgrph">-in the workshop (I take a temporary position to) challenge others to re-tell the story of their ((epistemological) found) objects
="prgrph">-a ‘generative constraint’ might help opening up paths before you, away from our habits of storytelling
="prgrph">-it is about getting a feeling for the resistances and potentials of language in our (sometimes mundane) descriptive practices, “strange richness of missing the letters we need” (="ppl">="ppl">Kenney)

the metaphors are dormant in our routines of talking and noticing each other. how then, by traversing the routine, our “knowledge” and “community” took on new meaning, as they get a chance of being rearticulated in different languages (or differenlty infected literature)
='lgc'>~-='qstn'>?='lgc'>==> changing the system of classification (of thought)

="prgrph">-in a way the workshop is about an ='strcls'>*approach='strcls'>* to knowledge generation (and not necessarily a rigorous critique nor directly evaluating the production of our knowledges)


='strcls'>***nothing is never merely a metaphor='strcls'>***

='lgc'>[some fables from science studies:='lgc'>]
="lsts lst1">•="ppl">Emily ="ppl">Martin's egg/sperm story ='lgc'>--> stories of atomism, distribution of agency, ='lgc'>----='lgc'>[The Egg and the Sperm='lgc'>: How Science Has Constructed a Romance Based on Stereotypical Male-Female Roles='lgc'>]
="lsts lst1">•="ppl">="ppl">Hayward's microscope ='lgc'>--> tropes of natural history docu, ='lgc'>----='lgc'>[Enfolded Vision='lgc'>: Refracting The Love Life of the Octopus='lgc'>]
="lsts lst1">•="ppl">="ppl">Kenney/Haraway's origin/nature fable ='lgc'>='lgc'>--> the omnipotence of the “origin” story in our descriptions and interactions with the natural world
="lsts lst1">•="ppl">Scott ="ppl">="ppl">Gilbert's immunological “bouncer” story ='lgc'>=/= immune systems as inclusive agents of symbiosis
="lsts lst1">•Lynn ="ppl">="ppl">Margulis='lgc'>: life (made possible) by “combat” ='lgc'>[the survival fable that TV series “The 100” and “Kelile Demne” for instance is based on='lgc'>] ='lgc'>--='not'>✕='lgc'>='lgc'>--> life by networking
="lsts lst1">•="ppl">="ppl">Haraway='lgc'>: the tale of “organism='lgc'> = a system of division of labor with executive functions” (='lgc'>==> extraction of wealth among us)
="lsts lst1">•="ppl">="ppl">Morton's causality-story
="lsts lst1">•brain/body story ='lgc'>='lgc'>--> where the “move” came from='qstn'>?
="lsts lst1">•="frds">Sina's “standing on the shoulders of giants” ='lgc'>='lgc'>--> knowledge/continuity, role of authority and humility in science ='lgc'>='lgc'>--='lgc'>--='lgc'>[http://www.sinaseifee.com/giants.html='lgc'>]
="lsts lst1">•="frds">Sina's 3 little pigs ='lgc'>='lgc'>--> architecture/tech/ echics of encounter ='lgc'>='lgc'>--> story of the center and periphery ='lgc'>='lgc'>--='lgc'>--='lgc'>[http://www.sinaseifee.com/pigs.html='lgc'>]
="lsts lst1">•“weapon fathered man” ='lgc'>='lgc'>--> Kubrick's afri[...]

[...]age in our (sometimes mundane) descriptive practices, “strange richness of missing the letters we need” (="ppl">="ppl">Kenney)

the metaphors are dormant in our routines of talking and noticing each other. how then, by traversing the routine, our “knowledge” and “community” took on new meaning, as they get a chance of being rearticulated in different languages (or differenlty infected literature)
='lgc'>~-='qstn'>?='lgc'>==> changing the system of classification (of thought)

="large lg1" stl="font-size:121%"> ="prgrph">-in a way the workshop is about an ='strcls'>*approach='strcls'>* to knowledge generation (and not necessarily a rigorous critique nor directly evaluating the production of our knowledges)


='strcls'>***nothing is never merely a metaphor='strcls'>***

='lgc'>[some fables from science studies:='lgc'>]
="lsts lst1">•="ppl">Emily ="ppl">Martin's egg/sperm story ='lgc'>='lgc'>--> stories of atomism, distribution of agency, ='lgc'>='lgc'>--='lgc'>--='lgc'>[The Egg and the Sperm='lgc'>: How Science Has Constructed a Romance Based on Stereotypical Male-Female Roles='lgc'>]
="lsts lst1">•="ppl">="ppl">Hayward's microscope ='lgc'>--> tropes of natural history docu, ='lgc'>='lgc'>--='lgc'>--='lgc'>[Enfolded Vision='lgc'>: Refracting The Love Life of the Octopus='lgc'>]
="lsts lst1">•="ppl">="ppl">Kenney/="ppl">="ppl">Haraway's origin/nature fable ='lgc'>='lgc'>--> the omnipotence of the “origin” story in our descriptions and interactions with the natural world
="lsts lst1">•="ppl">Scott ="ppl">="ppl">Gilbert's immunological “bouncer” story ='lgc'>=/= immune systems as inclusive agents of symbiosis
="lsts lst1">•Lynn ="ppl">="ppl">Margulis='lgc'>: life (made possible) by “combat” ='lgc'>[the survival fable that TV series “The 100” and “Kelile Demne” for instance is based on='lgc'>] ='lgc'>--='not'>✕='lgc'>='lgc'>--> life by networking
="lsts lst1">•="ppl">="ppl">Haraway='lgc'>: the tale of “organism='lgc'> = a system of division of labor with executive functions” (='lgc'>==> extraction of wealth among us)
="lsts lst1">•="ppl">="ppl">Morton's causality-story
="lsts lst1">•brain/body story ='lgc'>='lgc'>--> where the “move” came from='qstn'>?
="lsts lst1">•="frds">Sina's “standing on the shoulders of giants” ='lgc'>='lgc'>--> knowledge/continuity, role of authority and humility in science ='lgc'>='lgc'>--='lgc'>--='lgc'>[http://www.sinaseifee.com/giants.html='lgc'>]
="lsts lst1">•="frds">Sina's 3 little pigs ='lgc'>='lgc'>--> architecture/tech/ echics of encounter ='lgc'>='lgc'>--> story of the center and periphery ='lgc'>----='lgc'>[http://www.sinaseifee.com/pigs.html='lgc'>]
="lsts lst1">•“weapon fathered man” ='lgc'>--> Kubrick's african genesis, technology ='lgc'>+ prehistory (in postwar period) “tool ='lgc'>==> man”
="lsts lst1">•
fables popular in ="nms">apass='lgc'>:
="lsts lst1">•“a work ='lgc'>[of art='lgc'>] should speak for itself”
="lsts lst1">•“the very last stage of the creative process is purely intuitive” ='lgc'>--> when people say they stop “reading” or “knowing” when they want to create artwork
="lsts lst1">•“look really hard inside yourself for what you really want”
="lsts lst1">•“you are an agent of change” that means art or thinking or being ought to be operative, active, transformative, (even destructive) and that is “political” ='lgc'>[='lgc'>--> this fable in found in language; ='lgc'>-='lgc'>--> ='gtrw'>go to ="ppl">Barthes’ ='thdf'>fable of the woodcutter='lgc'>]
="lsts lst1">•


="large lg1" stl="font-size:143%">

no need for “conflict” nor “hero”
(in the way we give feedback, relate, narrate, story, and tell eachother our matters of care and concern, and where we create zones of attachment; both[...]

[...]perm='lgc'>: How Science Has Constructed a Romance Based on Stereotypical Male-Female Roles='lgc'>]
="lsts lst1">•="ppl">="ppl">Hayward's microscope ='lgc'>='lgc'>--> tropes of natural history docu, ='lgc'>='lgc'>--='lgc'>--='lgc'>[Enfolded Vision='lgc'>: Refracting The Love Life of the Octopus='lgc'>]
="lsts lst1">•="ppl">="ppl">Kenney/="ppl">="ppl">Haraway's origin/nature fable ='lgc'>='lgc'>--> the omnipotence of the “origin” story in our descriptions and interactions with the natural world
="lsts lst1">•="ppl">Scott ="ppl">="ppl">Gilbert's immunological “bouncer” story ='lgc'>=/= immune systems as inclusive agents of symbiosis
="lsts lst1">•Lynn ="ppl">="ppl">Margulis='lgc'>: life (made possible) by “combat” ='lgc'>[the survival fable that TV series “The 100” and “Kelile Demne” for instance is based on='lgc'>] ='lgc'>--='not'>✕='lgc'>='lgc'>--> life by networking
="lsts lst1">•="ppl">="ppl">Haraway='lgc'>: the tale of “organism='lgc'> = a system of division of labor with executive functions” (='lgc'>==> extraction of wealth among us)
="lsts lst1">•="ppl">="ppl">Morton's causality-story
="lsts lst1">•brain/body story ='lgc'>='lgc'>--> where the “move” came from='qstn'>?
="lsts lst1">•="frds">Sina's “standing on the shoulders of giants” ='lgc'>='lgc'>--> knowledge/continuity, role of authority and humility in science ='lgc'>='lgc'>--='lgc'>--='lgc'>[http://www.sinaseifee.com/giants.html='lgc'>]
="lsts lst1">•="frds">Sina's 3 little pigs ='lgc'>--> architecture/tech/ echics of encounter ='lgc'>--> story of the center and periphery ='lgc'>----='lgc'>[http://www.sinaseifee.com/pigs.html='lgc'>]
="lsts lst1">•“weapon fathered man” ='lgc'>--> Kubrick's african genesis, technology ='lgc'>+ prehistory (in postwar period) “tool ='lgc'>==> man”
="lsts lst1">•
fables popular in ="nms">apass='lgc'>:
="lsts lst1">•“a work ='lgc'>[of art='lgc'>] should speak for itself”
="lsts lst1">•“the very last stage of the creative process is purely intuitive” ='lgc'>--> when people say they stop “reading” or “knowing” when they want to create artwork
="lsts lst1">•“look really hard inside yourself for what you really want”
="lsts lst1">•“you are an agent of change” that means art or thinking or being ought to be operative, active, transformative, (even destructive) and that is “political” ='lgc'>[='lgc'>--> this fable in found in language; ='lgc'>-='lgc'>--> ='gtrw'>go to ="ppl">Barthes’ ='thdf'>fable of the woodcutter='lgc'>]
="lsts lst1">•


="large lg1" stl="font-size:119%">

no need for “conflict” nor “hero”
(in the way we give feedback, relate, nate, narrate, story, and tell eachother our matters of care and concern, and where we create zones of attachment; both in your “art work” and the mundane everyday of ‘getting on together’ ='lgc'>--> interrupting one's own framework)

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

='at'>#workshop, on question, feedback method, to improve the questions we ask each other
="prgrph">-what are the questions (i could ask) that make you the most articulate='qstn'>?
="prgrph">-the question that asks what are the good questions that offer an interesting becoming for those to whom the question is addressed
="prgrph">-to ask='lgc'>: does this apparatus has stakes in docility or availability='qstn'>?
="prgrph">-more interesting questions ='lgc'>==enable='lgc'>='lgc'>==> more articulated answers ='lgc'>='lgc'>==> more articulated identities
="prgrph">-asking (questions) (is not about ‘you want to know,’) is about constructing interest ='lgc'>='lgc'>==> chance of interesting answers
="prgrph">-asking about the differential productions,  “='lgc'>=/=” or “=” or “='lgc'>='lgc'>==>” in each other practices. these assessments are propo[...]

[...]ould speak for itself”
="lsts lst1">•“the very last stage of the creative process is purely intuitive” ='lgc'>--> when people say they stop “reading” or “knowing” when they want to create artwork
="lsts lst1">•“look really hard inside yourself for what you really want”
="lsts lst1">•“you are an agent of change” that means art or thinking or being ought to be operative, active, transformative, (even destructive) and that is “political” ='lgc'>[='lgc'>--> this fable in found in language; ='lgc'>-='lgc'>--> ='gtrw'>go to ="ppl">Barthes’ ='thdf'>fable of the woodcutter='lgc'>]
="lsts lst1">•


="large lg1" stl="font-size:134%">

no need for “conflict” nor “hero”
(in the way we give feedback, relate, narrate, story, and tell eachother our matters of care and concern, and where we create zones of attachment; both in your “art work” and the mundane everyday of ‘getting on together’ ='lgc'>--> interrupting one's own framework)

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

='at'>#workshop, on question, feedback method, to improve the questions we ask each other
="prgrph">-what are the questions (i could ask) that make you the most articulate='qstn'>?
="prgrph">-the question that asks what are the good questions that offer an interesting becoming for those to whom the question is addressed
="prgrph">-to ask='lgc'>: does this apparatus has stakes in docility or availability='qstn'>?
="prgrph">-more interesting questions ='lgc'>==enable='lgc'>='lgc'>==> more articulated answers ='lgc'>='lgc'>==> more articulated identities
="prgrph">-asking (questions) (is not about ‘you want to know,’) is about constructing interest ='lgc'>='lgc'>==> chance of interesting answers
="prgrph">-asking about the differential productions,  “='lgc'>=/=” or “=” or “='lgc'>='lgc'>==>” in each other practices. these assessments are propositional and poetic remarks, guessing the artificialities that we live with, not finding of matters of fact
="lsts lst2">◦asking about particularizations (تخصیص) and generalizations (تعمیم)

='strcls'>**literature begins, ="ppl">Blanchot writes, “at the moment when literature becomes a question”='strcls'>** (this is completely different than asking or question-marking in literature) ='lgc'>[...='lgc'>] this question “is posed to language by language that has become literature” (the question that the meaning of the text asks is the question asked by literature; ='lgc'>[of course at the moment of reading='lgc'>]) ='lgc'>[then what is a text before becoming a question='qstn'>? complaining='qstn'>? revolution='qstn'>?='lgc'>]='lgc'>--='prcnt'>%(negation wishes to realize itself.)

='lgc'>='lgc'>--> Rorty's critique of ="ppl">Descartes's way of asking questions

we have to be careful with our practice of questioning, because we often end up privileging a group of people by attributing it to “higher” levels cognition and of being “critically” in the world (='lgc'>=/= animal, nonpeople, other people with other ways of being in/with the apperceptive world that don't use the technology of questioning, as it is crafted historically and naturalized in the west for the univerasal method of ‘knowing more’)

="large lg1" stl="font-size:132%"> ="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

='at'>#workshop, reading group
="lsts lst1">•reading as passionate betrayal. (hunting for precious empirical details[...]

[...]='lgc'>==> more articulated answers ='lgc'>==> more articulated identities
="prgrph">-asking (questions) (is not about ‘you want to know,’) is about constructing interest ='lgc'>==> chance of interesting answers
="prgrph">-asking about the differential productions,  “='lgc'>=/=” or “=” or “='lgc'>==>” in each other practices. these assessments are propositional and poetic remarks, guessing the artificialities that we live with, not finding of matters of fact
="lsts lst2">◦asking about particularizations (تخصیص) and generalizations (تعمیم)

='strcls'>**literature begins, ="ppl">Blanchot writes, “at the moment when literature becomes a question”='strcls'>** (this is completely different than asking or question-marking in literature) ='lgc'>[...='lgc'>] this question “is posed to language by language that has become literature” (the question that the meaning of the text asks is the question asked by literature; ='lgc'>[of course at the moment of reading='lgc'>]) ='lgc'>[then what is a text before becoming a question='qstn'>? complaining='qstn'>? revolution='qstn'>?='lgc'>]='lgc'>--='prcnt'>%(negation wishes to realize itself.)

='lgc'>--> Rorty's critique of ="ppl">Descartes's way of asking questions

we have to be careful with our practice of questioning, because we often end up privileging a group of people by attributing it to “higher” levels cognition and of being “critically” in the world (='lgc'>=/= animal, nonpeople, other people with other ways of being in/with the apperceptive world that don't use the technology of questioning, as it is crafted historically and naturalized in the west for the univerasal method of ‘knowing more’)

="large lg1" stl="font-size:140%"> ="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

='at'>#workshop, reading group
="lsts lst1">•reading as passionate betrayal. (hunting for precious empirical details, refigurative, reparative, poaching, reading can be a betrayal of textual authority and an act of survival)
="lsts lst1">•addressing /present='strcls'>* differences, not already pre-figured differences
="lsts lst1">•(condition of friendship, staying close to the text) staying close as a reader, as someone who could hold the text of the Other, receiving it in the withdrawal / Entzug  (drug rehabilitation)
="lsts lst1">•i am in no position of ‘understanding’ or being clear about the text
="lsts lst1">•(i understand now that) it is not up to me to tell you how to read
="lsts lst1">•what makes you write or scratch a text='qstn'>?
(aaaakh... our alphabetico-logical cultures...!)
="lsts lst1">•if everything is not fundamentally unreadable (snafu) we wouldn't be reading
="lsts lst1">•it is about to situate the place of a (un)learning
="lsts lst1">•throwing access to each other (not only in terms of transferential intensity ='at'>#sss)
="lsts lst1">•which appetites and tastes are required to fulfill the ='strcls'>*ethics and erotics of curiosity='strcls'>* (that I am cultivating and depending on)='qstn'>? flourishing (of my ="nms">ajayeb) depends on a reading that is more like “mutual partial digestion” (="ppl">Katie ="ppl">King, ="ppl">="ppl">Haraway) ='lgc'>[='lgc'>=/= “eating well"='lgc'>] the text
="lsts lst1">•“every time i read X, something new shows up”

my practice of ‘rhetorical reading’ (='lgc'>=/= ‘close reading’; or more li[...]

[...]ore’)

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

='at'>#workshop, reading group
="lsts lst1">•reading as passionate betrayal. (hunting for precious empirical details, refigurative, reparative, poaching, reading can be a betrayal of textual authority and an act of survival)
="lsts lst1">•addressing /present='strcls'>* differences, not already pre-figured differences
="lsts lst1">•(condition of friendship, staying close to the text) staying close as a reader, as someone who could hold the text of the Other, receiving it in the withdrawal / Entzug  (drug rehabilitation)
="lsts lst1">•i am in no position of ‘understanding’ or being clear about the text
="lsts lst1">•(i understand now that) it is not up to me to tell you how to read
="lsts lst1">•what makes you write or scratch a text='qstn'>?
(aaaakh... our alphabetico-logical cultures...!)
="lsts lst1">•if everything is not fundamentally unreadable (snafu) we wouldn't be reading
="lsts lst1">•it is about to situate the place of a (un)learning
="lsts lst1">•throwing access to each other (not only in terms of transferential intensity ='at'>#sss)
="lsts lst1">•which appetites and tastes are required to fulfill the ='strcls'>*ethics and erotics of curiosity='strcls'>* (that I am cultivating and depending on)='qstn'>? flourishing (of my ="nms">ajayeb) depends on a reading that is more like “mutual partial digestion” (="ppl">Katie ="ppl">King, ="ppl">="ppl">Haraway) ='lgc'>[='lgc'>=/= “eating well"='lgc'>] the text
="lsts lst1">•“every time i read X, something new shows up”

my practice of ‘rhetorical reading’ (='lgc'>=/= ‘close reading’; or more like close reading and letting go. “close” is itself a metaphor, a rhetoric of reading;) doesn't work with ='thdf'>the idea that there is something ‘in’ the text per se (coded or encoded meaning or some sort of knowledge made and installed by an author), or that the writer wants to say something to the reader, or that the text is symptomatic with meaning and that its intentions needs to be listened to. rather, in a post-="ppl">Lacanian critique, i work the text like a pattern of language, an organization of space, text as word-sequencer. it is like looking at an image, still starting from top-left to bottom-right of the page, a process of highlighting or embodied attention that produces non-zero clusters of salient words that come to glow different than others. but the way they become highlighted is not due to some idea of significance of the text but because of my='lgc'>--the reader's='lgc'>--interests, past readings and educated meaning-associations. this mode of reading is not at all suggested to newbies in literature, sorry but this requres some degree of advancement in one's abilities and skills of writingreading, that means the reader already enjoys an ongoing well-articulated interest before coming to a particular sitting with a piece of writing, and this means the rhetorical reader's encounter with the text is highly situated and is not a blind date. in this case reading is a radical meaning-making practice full of adventures and preparations, drawings and graphs, diffractions and detours, connections and risks of (mis)understanding[...]

[...]is ‘reading’ looks very much ‘writing’ alike.
="prgrph">-the reading becomes ='strcls'>*rereading past writing='strcls'>*, re(past)ed(writ)ing, a reading that has writen itself in palimpsestic lines. in a ="ppl">Derridean sense='lgc'>: (one is equiped with the question) “what is writing itself (in this text)”='qstn'>?
="prgrph">-two speculative spheres meet in rhetorical reading='lgc'>: one of the text and one of the reader, but they have to ‘stick’ to one another, the stickiness of your reading matters in consequential ways. this is against ='thdf'>the idea that we read and each understand personally whatever.
="lsts lst1">•my second issue with ‘close reading’='lgc'>: there is no correlation between the speed of reading and comprehension/apprehension

='strcls'>*reading practices='strcls'>*
ontology usually decides what reading is ='lgc'>--> ='strcls'>*book-binding is reading. editorial compositional reformating and remodeling of the space of the text is reading.

(="ppl">="ppl">Stewartian) reading that happens in the writing='lgc'>: you can't do any kind of exegesis of the reading تفسير, rather='lgc'>: ='strcls'>*you have to become related to the reading in what you are writing='strcls'>*


in research='lgc'>:
="lsts lst1">•skills of reading and writing
="lsts lst1">•(more abstract) skills of conceptualizing and analysing

="large lg1" stl="font-size:137%"> ='at'>@="nms">apass='lgc'>: begin with the generation of research question ='lgc'>='lgc'>==> importance of language
(you flag the importance of language whenever research is marked by question. “='qstn'>?” is a linguistic construct)

="lsts lst1">•the skill/craft is to select a research question that works better for certain descriptive purposes (than does previous tools)
="lsts lst1">•(realism='lgc'>:) research question ='lgc'><='lgc'>==outcome='lgc'>== different concerns and emphases

rigor of conceptualization ='lgc'>: quality of an access to part of a world “out there”

research method='lgc'>:
="lsts lst1">•“mapping into knowledge” ='lgc'>: co-fabrication between the researcher and the diverse others engaged in the process ='lgc'>--> (problem of) ‘positionality ='lgc'>='lgc'>==> data’ (='thdf'>the idea that the researcher produces knowledge or “facts”)
="lsts lst2">◦positionality ='lgc'>==='qstn'>?='lgc'>='lgc'>==> politically correct jargon in artistic research environment ='lgc'>[has positionality backfired into a language of trying to change a public opinion in your favour='qstn'>?='lgc'>]

‘fantasy of the unproblematic mode’

="large lg1" stl="font-size:114%"> ="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

regarding biographical work according to ="frds scrmbld">Pierre, ok i am working even on the border of solipsism
what i am doing is not autopoiesis (self-making, making a poem out of yourself) rather sympoiesis (with-making, with people from different worlds and pasts)

trying to contain every available mode of interpretation in ='mywrk'>my work
(collecting all the modes of interpretation)

(for the psychoanalyst as writer,) the ='strcls'>*unconscious functions as a ='strcls'>*trope
unconscious ='lgc'>~=='qstn'>? trope

='strcls'>*my actual interest is in “the place of study”
which is embodied by its participants, is shared and full of stories that hold foster curiosi[...]

[...] certain descriptive purposes (than does previous tools)
="lsts lst1">•(realism='lgc'>:) research question ='lgc'><='lgc'>==outcome='lgc'>== different concerns and emphases

rigor of conceptualization ='lgc'>: quality of an access to part of a world “out there”

="large lg1" stl="font-size:141%"> research method='lgc'>:
="lsts lst1">•“mapping into knowledge” ='lgc'>: co-fabrication between the researcher and the diverse others engaged in the process ='lgc'>--> (problem of) ‘positionality ='lgc'>='lgc'>==> data’ (='thdf'>the idea that the researcher produces knowledge or “facts”)
="lsts lst2">◦positionality ='lgc'>==='qstn'>?='lgc'>='lgc'>==> politically correct jargon in artistic research environment ='lgc'>[has positionality backfired into a language of trying to change a public opinion in your favour='qstn'>?='lgc'>]

‘fantasy of the unproblematic mode’

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

regarding biographical work according to ="frds scrmbld">Pierre, ok i am working even on the border of solipsism
what i am doing is not autopoiesis (self-making, making a poem out of yourself) rather sympoiesis (with-making, with people from different worlds and pasts)

trying to contain every available mode of interpretation in ='mywrk'>my work
(collecting all the modes of interpretation)

(for the psychoanalyst as writer,) the ='strcls'>*unconscious functions as a ='strcls'>*trope
unconscious ='lgc'>~=='qstn'>? trope

="large lg1" stl="font-size:120%"> ='strcls'>*my actual interest is in “the place of study”
which is embodied by its participants, is shared and full of stories that hold foster curiosity and learning. a place where hybrid agents of interpretation are alive and at work, partly technological partly human partly animal shared knowing processes.
="prgrph">-one of our strongest ethical obligations is curiosity


="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................
="large lg2" stl="font-size:111%">
='lgc'>[="ppl">Nietzsche='lgc'>]

(in writing) if i could choose i would promote something that comes close to the texture of the softening that opens and glides, allowing for sudden shocks and slippages.

the personality needs to be able to flow in order to move past anything that establishes itself firmly

Submitted to constant critique and revision

(="ppl">Nietzsche) “We can destroy only as creators='lgc'>--But let us not forget this either='lgc'>: it is enough to create new names and estimations and probabilities in order to create in the long run new ‘things’”

="large lg2" stl="font-size:110%"> invention's power over new things

work on aphorism and irony
radical critique of reason and truth
will to X ='lgc'>='lgc'>--='lgc'>-- feeling of power, primitive form of the will  (='lgc'>=/=='qstn'>? play)
arguing that knowledge is contingent and conditional


="ppl">Nietzsche's campaign against morality ='lgc'>:

(contrast between good and evil ='lgc'>='lgc'>-->) ='strcls'>*master-morality ='lgc'>: charity, submission to the other, selflessness, etc. ='lgc'>='lgc'>--> you hate yourself

(denying the inherent inequality ='lgc'>='lgc'>-->) ='strcls'>*slave-morality ='lgc'>='lgc'>--> weakness is a matter of choice ='lgc'>==> nihilism


='strcls'>*transvaluation
(N[...]

[...]us functions as a ='strcls'>*trope
unconscious ='lgc'>~=='qstn'>? trope

='strcls'>*my actual interest is in “the place of study”
which is embodied by its participants, is shared and full of stories that hold foster curiosity and learning. a place where hybrid agents of interpretation are alive and at work, partly technological partly human partly animal shared knowing processes.
="prgrph">-one of our strongest ethical obligations is curiosity


="large lg2" stl="font-size:111%"> ="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

='lgc'>[="ppl">Nietzsche='lgc'>]

(in writing) if i could choose i would promote something that comes close to the texture of the softening that opens and glides, allowing for sudden shocks and slippages.

the personality needs to be able to flow in order to move past anything that establishes itself firmly

Submitted to constant critique and revision

(="ppl">Nietzsche) “We can destroy only as creators='lgc'>--But let us not forget this either='lgc'>: it is enough to create new names and estimations and probabilities in order to create in the long run new ‘things’”

invention's power over new things

work on aphorism and irony
radical critique of reason and truth
will to X ='lgc'>---- feeling of power, primitive form of the will  (='lgc'>=/=='qstn'>? play)
arguing that knowledge is contingent and conditional


="large lg2" stl="font-size:110%"> ="ppl">Nietzsche's campaign against morality ='lgc'>:

="large lg1" stl="font-size:122%"> (contrast between good and evil ='lgc'>-->) ='strcls'>*master-morality ='lgc'>: charity, submission to the other, selflessness, etc. ='lgc'>--> you hate yourself

(denying the inherent inequality ='lgc'>-->) ='strcls'>*slave-morality ='lgc'>--> weakness is a matter of choice ='lgc'>==> nihilism


='strcls'>*transvaluation
(="ppl">Nietzsche hated christianity for its non-affirmation of life. for him sex was a fundamental affirmation of life, christianity's elevation of chastity (including, for example, the story of Mary's virginal pregnancy) is counter to the natural instincts of humanity, and therefore a contradiction of “natural values”.)
="lsts lst1">•promise of an illustrious afterlife
="lsts lst1">•desires would be the product of stimuli rather than the product of “will”


="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

to ='strcls'>*adjust (our/your) question

="large lg2" stl="font-size:112%">
="large lg1" stl="font-size:136%"> ...to have no positive knowledge claim


appropriate ='lgc'>~= zabt o rabt ضبط و ربط



(let me) fast forward to ‘nowhere’
chance-encounters in your/my efforts of ecriture (in San'an text)
(it is not possible to choreograph chance, we can only report our encounters with it)

like San'an, many of us are facing an anxiety of withdrawal from the world that claims us

i am interested in to-link to that which (suddenly) interupts my reveries


to sharpen my capacity for incapacitation


not being afraid to look into many archives of mistakes (aj[...]

[...]r />
invention's power over new things

work on aphorism and irony
radical critique of reason and truth
will to X ='lgc'>---- feeling of power, primitive form of the will  (='lgc'>=/=='qstn'>? play)
arguing that knowledge is contingent and conditional

="large lg1" stl="font-size:137%">
="ppl">Nietzsche's campaign against morality ='lgc'>:

="large lg2" stl="font-size:112%"> (contrast between good and evil ='lgc'>-->) ='strcls'>*master-morality ='lgc'>: charity, submission to the other, selflessness, etc. ='lgc'>--> you hate yourself

(denying the inherent inequality ='lgc'>-->) ='strcls'>*slave-morality ='lgc'>--> weakness is a matter of choice ='lgc'>==> nihilism


='strcls'>*transvaluation
(="ppl">Nietzsche hated christianity for its non-affirmation of life. for him sex was a fundamental affirmation of life, christianity's elevation of chastity (including, for example, the story of Mary's virginal pregnancy) is counter to the natural instincts of humanity, and therefore a contradiction of “natural values”.)
="lsts lst1">•promise of an illustrious afterlife
="lsts lst1">•desires would be the product of stimuli rather than the product of “will”


="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

to ='strcls'>*adjust (our/your) question

="large lg2" stl="font-size:110%">
...to have no positive knowledge claim


="large lg1" stl="font-size:129%"> appropriate ='lgc'>~= zabt o rabt ضبط و ربط



(let me) fast forward to ‘nowhere’
chance-encounters in your/my efforts of ecriture (in San'an text)
(it is not possible to choreograph chance, we can only report our encounters with it)

like San'an, many of us are facing an anxiety of withdrawal from the world that claims us

i am interested in to-link to that which (suddenly) interupts my reveries


to sharpen my capacity for incapacitation


not being afraid to look into many archives of mistakes (="nms">ajayeb='qstn'>?)


‘will to scientific knowledge’



='lgc'>[Latour='lgc'>]

(certain) seperation is political ='lgc'>:
when we are talking about (re)uniting curricula, linking fields in humanities we are talking about not bringing together two things that are separate, but actually interogating the distribution of power, a way a distributing agancies.

it is not a “common world” to discover, it is a common world to be produced. and the only way to produce it, is through the usual tools that we have in our disposal, which are comming from ‘representation.’

="large lg1" stl="font-size:145%"> compose ='lgc'>=/= discover/uncover

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

enterances in ="nms">ajayeb work, already generating form='lgc'>:
='strcls'>*-fire (talking fire)
='strcls'>*-darkness (Zolmat)
='strcls'>*-jinn
='strcls'>*-veil (="nms">pardeh)='lgc'>--purity of veiled origin; hidden matrix of signification (on which theoretical work secretly depends='qstn'>?) ='lgc'>[also reading the secularization and the lifting of the veil, prostitute paradigm, conceptions of love,='lgc'>]
='strcls'>*-wall(='qstn'>?)

[...]

[...]tive knowledge claim


appropriate ='lgc'>~= zabt o rabt ضبط و ربط

="large lg2" stl="font-size:111%">

(let me) fast forward to ‘nowhere’
chance-encounters in your/my efforts of ecriture (in San'an text)
(it is not possible to choreograph chance, we can only report our encounters with it)

like San'an, many of us are facing an anxiety of withdrawal from the world that claims us

i am interested in to-link to that which (suddenly) interupts my reveries


to sharpen my capacity for incapacitation


not being afraid to look into many archives of mistakes (="nms">ajayeb='qstn'>?)


‘will to scientific knowledge’



='lgc'>[="ppl">="ppl">Latour='lgc'>]

(certain) seperation is political ='lgc'>:
when we are talking about (re)uniting curricula, linking fields in humanities we are talking about not bringing together two things that are separate, but actually interogating the distribution of power, a way a distributing agancies.

it is not a “common world” to discover, it is a common world to be produced. and the only way to produce it, is through the usual tools that we have in our disposal, which are comming from ‘representation.’

="large lg1" stl="font-size:114%"> compose ='lgc'>=/= discover/uncover

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

enterances in ="nms">ajayeb work, already generating form='lgc'>:
='strcls'>*-fire (talking fire)
='strcls'>*-darkness (Zolmat)
='strcls'>*-jinn
='strcls'>*-veil (="nms">pardeh)='lgc'>--purity of veiled origin; hidden matrix of signification (on which theoretical work secretly depends='qstn'>?) ='lgc'>[also reading the secularization and the lifting of the veil, prostitute paradigm, conceptions of love,='lgc'>]
='strcls'>*-wall(='qstn'>?)


“truth” is veild, according to middle east (truth ='lgc'><='lgc'>--='lgc'>--> ="nms">pardeh پرده)
begining with the Greeks’ notion of basanos, relating truth to torture, a strictly constellated confluence of acts equally troubling to ="ppl">Aristotle and Aristophanes.

="lsts lst1">•="nms">pardeh-dari پرده دری, hajeb حاجب (after neghabat نقابت is hejabat حجابت ='lgc'>[Beyhaghi='lgc'>]) (="ppl">Nezami in Leili-o-majnun='lgc'>: haft arus-e noh emari bar dargah-e to be ="nms">pardeh-dari (هفت عروس نو عماری بر درگه تو به پرده داری) ='lgc'>--='qstn'>?='lgc'>='lgc'>--> angelology) ='lgc'>=/=='qstn'>? ="nms">hayula(ism) هیولی


="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

="large lg1" stl="font-size:114%"> hermeneutics regarding Jurisprudence (feghh فقه) and theology depend on the exegesis of written texts. in both cases the process of understanding is an act of application(='qstn'>?)

interpretation/hermenutice ='lgc'>=/= commons/collectivsm
(ta'vil bayad dar jahate axe harkate jami va moshtarek bashad)

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

(="ppl">Kohn) to “provincialize” (rustayi روستایی, bastani باستانی='qstn'>?) language in order to make room for another kind of thought='lgc'>--a kind of thought that is more capacious, one that holds and sustains the human.

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

my po[...]

[...]ribution of power, a way a distributing agancies.

it is not a “common world” to discover, it is a common world to be produced. and the only way to produce it, is through the usual tools that we have in our disposal, which are comming from ‘representation.’

compose ='lgc'>=/= discover/uncover

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

enterances in ="nms">ajayeb work, already generating form='lgc'>:
='strcls'>*-fire (talking fire)
='strcls'>*-darkness (Zolmat)
='strcls'>*-jinn
='strcls'>*-veil (="nms">pardeh)='lgc'>--purity of veiled origin; hidden matrix of signification (on which theoretical work secretly depends='qstn'>?) ='lgc'>[also reading the secularization and the lifting of the veil, prostitute paradigm, conceptions of love,='lgc'>]
='strcls'>*-wall(='qstn'>?)


“truth” is veild, according to middle east (truth ='lgc'><='lgc'>--='lgc'>--> ="nms">pardeh پرده)
begining with the Greeks’ notion of basanos, relating truth to torture, a strictly constellated confluence of acts equally troubling to ="ppl">Aristotle and Aristophanes.

="lsts lst1">•="nms">pardeh-dari پرده دری, hajeb حاجب (after neghabat نقابت is hejabat حجابت ='lgc'>[Beyhaghi='lgc'>]) (="ppl">Nezami in Leili-o-majnun='lgc'>: haft arus-e noh emari bar dargah-e to be ="nms">pardeh-dari (هفت عروس نو عماری بر درگه تو به پرده داری) ='lgc'>--='qstn'>?='lgc'>='lgc'>--> angelology) ='lgc'>=/=='qstn'>? ="nms">hayula(ism) هیولی


="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................
="large lg1" stl="font-size:148%">
hermeneutics regarding Jurisprudence (feghh فقه) and theology depend on the exegesis of written texts. in both cases the process of understanding is an act of application(='qstn'>?)

="large lg2" stl="font-size:110%"> interpretation/hermenutice ='lgc'>=/= commons/collectivsm
(ta'vil bayad dar jahate axe harkate jami va moshtarek bashad)

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

(="ppl">Kohn) to “provincialize” (rustayi روستایی, bastani باستانی='qstn'>?) language in order to make room for another kind of thought='lgc'>--a kind of thought that is more capacious, one that holds and sustains the human.

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

my point in animals without narrative is that the apparatus that is working for ="ppl">Attar in his representation of birds is the same as the narrative tool in the so-called wildlife documentary series which produces nature='lgc'>----a sy.


transcend is about traveling from trope to truth (obur az majaz be haghighat عبور از مجاز به حقیقت,) from virtual to concret. but that is too easily reversible. my point is to stop this transference and interrogate the trope itself. ='mywrk'>my work in amazon book is about this ‘majaz’ (مجاز), an interface that we are inhabiting.

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................
="large lg1" stl="font-size:147%">
the main (and only='qstn'>?) question in ='mywrk'>my work/performance/lecture is ‘when’ the gift will/have pass(ed) on.
='lgc'>--> holding on to, preparing, strategizing, spontaneity, and so on

="prgrph">-my texture aversion and preference in soft/hard fabric of language and material tonality='qstn'>? ='lgc'>--> the “inanimate affections” (that give us pleasure in life) ='lgc'>--> we often give each [...]

[...]tic stories and the otherworldly hauntingly familiar in the lost faces of forest (called ="nms">Tehran='qstn'>?)

(accourding to Egyptian 1550 BCE,) book='lgc'>: a loose collection of magic spells intended to assist a dead person's journey through underworld, and into the afterlife and written by many priests
="prgrph">-are lists the origin of writing='qstn'>? (...way before the installation of the modern scriptural apparatus)


="large lg1" stl="font-size:133%">
theory-minded academics have rigorously repudiated='lgc'>----or forgotten poetry. ='lgc'>='lgc'>----> poetic deprogrammmg

="large lg2" stl="font-size:111%"> cohabitation of two sovereign linguistic attitudes='lgc'>----the grammars and behaviors that we associate with figures of literary performance and philosophical positing

18th century
rise of increasingly more mathematical and symbolic logics
more literary types of discursive formations,


="ppl">Wordsworth, ="ppl">Rilke, and ="ppl">Keats disavowing ="ppl">Paul ="ppl">de Man='qstn'>?!
="ppl">Freud without ="ppl">Goethe or ="ppl">Schiller='qstn'>?!
Benjamin off ="ppl">Baudelaire='qstn'>?!
="ppl">Derrida deprived of ="ppl">Mallarme, Ponge, or ="ppl">Celan='qstn'>?!
="ppl">Heidegger abandoned by Trakl or ="ppl">Holderlin='qstn'>?!


increasing technicization of critical language


="large lg2" stl="font-size:111%"> colloquy, soliloquy
they are called to witness distinct regions of being ='lgc'>==> assuming the destiny of difference
='prcnt'>% denken und dichten is at stake in the ='strcls'>*theory of mourning

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................
="large lg1" stl="font-size:142%">
='lgc'>[="ppl">="ppl">Stengers='lgc'>]

the storyteller ='lgc'>: “some people love to divide and classify, while others are bridge-makers='lgc'>--weaving relations that ='strcls'>**turn a divide into a living contrast='strcls'>**, one whose power is to affect, to produce thinking and feeling”

(regarding my footnote fetish) ... because writing such footnotes implies ='strcls'>*feeling the text='strcls'>* as an ='strcls'>*animating power='strcls'>*

philosophy ='lgc'>=='qstn'>? a form of textual animation ='lgc'>{='lgc'>='lgc'>--> approaching the work of ="nms">ajayeb='lgc'>}

to turn the ='lgc'>[="nms">ajayeb='lgc'>] (animist) modes of experience (existence), awareness, and knowledge into living contrasts (intensely powerful bridge-making tools)

can we reappropriate without reanimate='qstn'>? ='lgc'>----> i think if we deconstructively talk about the reappropriations of meaning we might allow animation to constitute itself.

="prgrph">-how to train yourself in spotting relevant questions and unilaterally ='lgc'>[einseitig='lgc'>] imposed questions='qstn'>? (their differences) ='lgc'>[='lgc'>~='qstn'>? mofti مفتی, fatva فتوا ='lgc'>=/= khotbe خطبه='lgc'>]
(to put the ‘question’ at risk)

="large lg2" stl="font-size:112%"> ='strcls'>*milieu-thinking='strcls'>* (to think by the milieu) ='lgc'>:
1. no reference to the ground
2. never separating from milieu

(Virgin Mary requires a milieu ='lgc'>[of symbolic efficacy, categories of belief, etc.='lgc'>])

what is the milieu of ="nms">ajayeb='qstn'>? (ghalamrov قلمرو, mohite ejtemayi محیط اجتمایی‌, its ecology)


“natural”='lgc'>: that which science will eventually explain ='lgc'>==> nature ='lgc'>=/= “natural”

“nature”:[...]

[...]tation of two sovereign linguistic attitudes='lgc'>----the grammars and behaviors that we associate with figures of literary performance and philosophical positing

18th century
rise of increasingly more mathematical and symbolic logics
more literary types of discursive formations,


="ppl">Wordsworth, ="ppl">Rilke, and ="ppl">Keats disavowing ="ppl">Paul ="ppl">de Man='qstn'>?!
="ppl">Freud without ="ppl">Goethe or ="ppl">Schiller='qstn'>?!
="ppl">Benjamin off ="ppl">Baudelaire='qstn'>?!
="ppl">Derrida deprived of ="ppl">Mallarme, Ponge, or ="ppl">Celan='qstn'>?!
="ppl">Heidegger abandoned by Trakl or ="ppl">Holderlin='qstn'>?!

="large lg1" stl="font-size:134%">
increasing technicization of critical language


colloquy, soliloquy
they are called to witness distinct regions of being ='lgc'>==> assuming the destiny of difference
='prcnt'>% denken und dichten is at stake in the ='strcls'>*theory of mourning

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

='lgc'>[="ppl">="ppl">Stengers='lgc'>]

the storyteller ='lgc'>: “some people love to divide and classify, while others are bridge-makers='lgc'>--weaving relations that ='strcls'>**turn a divide into a living contrast='strcls'>**, one whose power is to affect, to produce thinking and feeling”

(regarding my footnote fetish) ... because writing such footnotes implies ='strcls'>*feeling the text='strcls'>* as an ='strcls'>*animating power='strcls'>*

="large lg1" stl="font-size:111%"> philosophy ='lgc'>=='qstn'>? a form of textual animation ='lgc'>{='lgc'>='lgc'>--> approaching the work of ="nms">ajayeb='lgc'>}

to turn the ='lgc'>[="nms">ajayeb='lgc'>] (animist) modes of experience (existence), awareness, and knowledge into living contrasts (intensely powerful bridge-making tools)

can we reappropriate without reanimate='qstn'>? ='lgc'>='lgc'>--='lgc'>='lgc'>--> i think if we deconstructively talk about the reappropriations of meaning we might allow animation to constitute itself.

="prgrph">-how to train yourself in spotting relevant questions and unilaterally ='lgc'>[einseitig='lgc'>] imposed questions='qstn'>? (their differences) ='lgc'>[='lgc'>~='qstn'>? mofti مفتی, fatva فتوا ='lgc'>=/= khotbe خطبه='lgc'>]
(to put the ‘question’ at risk)

='strcls'>*milieu-thinking='strcls'>* (to think by the milieu) ='lgc'>:
1. no reference to the ground
2. never separating from milieu

(Virgin Mary requires a milieu ='lgc'>[of symbolic efficacy, categories of belief, etc.='lgc'>])

what is the milieu of ="nms">ajayeb='qstn'>? (ghalamrov قلمرو, mohite ejtemayi محیط اجتمایی‌, its ecology)


="large lg2" stl="font-size:112%"> “natural”='lgc'>: that which science will eventually explain ='lgc'>==> nature ='lgc'>=/= “natural”

“nature”='lgc'>: that larger, older, and wiser configuration that gets credit for ingenuity (instead of the creature's bodily know-how) by the call of the scientist

="large lg1" stl="font-size:114%">
عجایب ="nms">ajayeb's relations to the world, rhizomatic connections to other practices that likewise explore a metamorphic (rather than representational) relation


Earth ='lgc'>=/= cradle


Surrealists’ automatism to cultivate lucid trances is missing the techniques of imagination developed by ="ppl">Ibn ="ppl">Arabi, (or by ="ppl">Sohrevardi, and others)
(="ppl">Breton's subj[...]

[...]easing technicization of critical language


colloquy, soliloquy
they are called to witness distinct regions of being ='lgc'>==> assuming the destiny of difference
='prcnt'>% denken und dichten is at stake in the ='strcls'>*theory of mourning

="large lg1" stl="font-size:147%"> ="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

='lgc'>[="ppl">="ppl">Stengers='lgc'>]

="large lg2" stl="font-size:110%"> the storyteller ='lgc'>: “some people love to divide and classify, while others are bridge-makers='lgc'>--weaving relations that ='strcls'>**turn a divide into a living contrast='strcls'>**, one whose power is to affect, to produce thinking and feeling”

(regarding my footnote fetish) ... because writing such footnotes implies ='strcls'>*feeling the text='strcls'>* as an ='strcls'>*animating power='strcls'>*

philosophy ='lgc'>=='qstn'>? a form of textual animation ='lgc'>{='lgc'>='lgc'>--> approaching the work of ="nms">ajayeb='lgc'>}

to turn the ='lgc'>[="nms">ajayeb='lgc'>] (animist) modes of experience (existence), awareness, and knowledge into living contrasts (intensely powerful bridge-making tools)

can we reappropriate without reanimate='qstn'>? ='lgc'>----> i think if we deconstructively talk about the reappropriations of meaning we might allow animation to constitute itself.

="prgrph">-how to train yourself in spotting relevant questions and unilaterally ='lgc'>[einseitig='lgc'>] imposed questions='qstn'>? (their differences) ='lgc'>[='lgc'>~='qstn'>? mofti مفتی, fatva فتوا ='lgc'>=/= khotbe خطبه='lgc'>]
(to put the ‘question’ at risk)

='strcls'>*milieu-thinking='strcls'>* (to think by the milieu) ='lgc'>:
1. no reference to the ground
2. never separating from milieu

(Virgin Mary requires a milieu ='lgc'>[of symbolic efficacy, categories of belief, etc.='lgc'>])

what is the milieu of ="nms">ajayeb='qstn'>? (ghalamrov قلمرو, mohite ejtemayi محیط اجتمایی‌, its ecology)


“natural”='lgc'>: that which science will eventually explain ='lgc'>==> nature ='lgc'>=/= “natural”

“nature”='lgc'>: that larger, older, and wiser configuration that gets credit for ingenuity (instead of the creature's bodily know-how) by the call of the scientist


عجایب ="nms">ajayeb's relations to the world, rhizomatic connections to other practices that likewise explore a metamorphic (rather than representational) relation

="large lg2" stl="font-size:112%">
Earth ='lgc'>=/= cradle


Surrealists’ automatism to cultivate lucid trances is missing the techniques of imagination developed by ="ppl">Ibn ="ppl">Arabi, (or by ="ppl">Sohrevardi, and others)
(="ppl">Breton's subjectivity is still hopelessly European)

='lgc'>=='qstn'>?='lgc'>=> to recuperate our physical force (old good Tasavof-='qstn'>?)


‘ideas’ ='lgc'>--> to “animate” humans ='lgc'>~= erotically lure the human soul='strcls'>**
(="ppl">Plato knew this)
to lure us into relevant metamorphic attention='strcls'>*

(="ppl">Deleuze and ="ppl">Guattari='lgc'>:) my existence is my very participation in assemblages
in order to determine what is “really” responsible for what ='lgc'>[= agency='qstn'>?='lgc'>].
="prgrph">-an agency that doesn't belong to us (who is ‘us’ in ="ppl">="ppl">Stengers='qstn'>?)

the efficacy of assemblages (in ="nms">ajayeb)
[...]

[...]/> Surrealists’ automatism to cultivate lucid trances is missing the techniques of imagination developed by ="ppl">Ibn ="ppl">Arabi, (or by ="ppl">Sohrevardi, and others)
(="ppl">Breton's subjectivity is still hopelessly European)

='lgc'>=='qstn'>?='lgc'>=> to recuperate our physical force (old good Tasavof-='qstn'>?)

="large lg1" stl="font-size:137%">
‘ideas’ ='lgc'>--> to “animate” humans ='lgc'>~= erotically lure the human soul='strcls'>**
(="ppl">Plato knew this)
to lure us into relevant metamorphic attention='strcls'>*

(="ppl">Deleuze and ="ppl">Guattari='lgc'>:) my existence is my very participation in assemblages
in order to determine what is “really” responsible for what ='lgc'>[= agency='qstn'>?='lgc'>].
="prgrph">-an agency that doesn't belong to us (who is ‘us’ in ="ppl">="ppl">Stengers='qstn'>?)

the efficacy of assemblages (in ="nms">ajayeb)
(assemblage ='lgc'>--> landscape ='lgc'>[in farsi='lgc'>: چشم انداز cheshm-andaz, is related not to the land but to the eyes, literally meaning the projection of gaze='lgc'>])

(the point is) to play a referential game that puts one at risk (instead of protecting via quote)

(let's immediately turn off that) monotonous little critical or reflexive voice whispering that (the only defense we have against fanaticism and the rule of illusions is that) we should not accept being mystified



="large lg1" stl="font-size:130%"> commenting ='lgc'>=/= touching
(lams kardan لمس کردن ='lgc'>=/= ezhare nazar kardan اظهار نظر کردن) ='lgc'>--> an issue in art criticism in ="nms">Iran ایران


='lgc'>[='at'>@="frds scrmbld">Foad='lgc'>]
='strcls'>**our senses are not for detached cognition but for participation='strcls'>**(="ppl">David ="ppl">Abram)
="prgrph">-“The ways the senses themselves have, of throwing themselves beyond what is immediately given, in order to make tentative contact with the other sides of things that we do not sense directly, with the hidden or invisible aspects of the sensible.”
="prgrph">-“suggestions offered by the sensible itself.”
="prgrph">-we never step outside the “flux of participation.”


="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

='lgc'>[Thomas Keenan='lgc'>]

reading='lgc'>: that which happens when we cannot apply the rules ='lgc'>--> experience of responsibility ='lgc'>=/= moment of security or cognitive certainty

rhetorical reading

who speaks, writes, and reads='qstn'>? not simply humans

="large lg2" stl="font-size:111%"> “how can we have any chance of finding a way to say what we don't know how to say if we don't pay attention to the silence of the other inside us='qstn'>?”

="large lg1" stl="font-size:140%"> literature, is then understood as the experience of risk, chance, the undecidable ='lgc'>=/= pathos of resolution


(in Western ethical, political, and literary traditions='lgc'>:) responsibility='lgc'>: a matter of articulating what is known with what is done ='lgc'>=/= (="ppl">Keenan='lgc'>:) ='strcls'>*responsibility='strcls'>*='lgc'>: an asymmetry or an interruption between the orders of cognition and action

fable ='lgc'>--> an exemplary ='strcls'>*allegory of decision='strcls'>* (='lgc'>~~> installing or restoring subjectivity)
fables open abyssal aporias='lgc'>:
="lsts lst1">•to teach ‘singularity’ it offers ‘comparison'[...]

[...] cheshm-andaz, is related not to the land but to the eyes, literally meaning the projection of gaze='lgc'>])

(the point is) to play a referential game that puts one at risk (instead of protecting via quote)

="large lg1" stl="font-size:134%"> (let's immediately turn off that) monotonous little critical or reflexive voice whispering that (the only defense we have against fanaticism and the rule of illusions is that) we should not accept being mystified



commenting ='lgc'>=/= touching
(lams kardan لمس کردن ='lgc'>=/= ezhare nazar kardan اظهار نظر کردن) ='lgc'>--> an issue in art criticism in ="nms">Iran ایران


='lgc'>[='at'>@="frds scrmbld">Foad='lgc'>]
='strcls'>**our senses are not for detached cognition but for participation='strcls'>**(="ppl">David ="ppl">Abram)
="prgrph">-“The ways the senses themselves have, of throwing themselves beyond what is immediately given, in order to make tentative contact with the other sides of things that we do not sense directly, with the hidden or invisible aspects of the sensible.”
="prgrph">-“suggestions offered by the sensible itself.”
="prgrph">-we never step outside the “flux of participation.”


="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

="large lg1" stl="font-size:127%"> ='lgc'>[Thomas ="ppl">Keenan='lgc'>]

reading='lgc'>: that which happens when we cannot apply the rules ='lgc'>--> experience of responsibility ='lgc'>=/= moment of security or cognitive certainty

rhetorical reading

who speaks, writes, and reads='qstn'>? not simply humans

“how can we have any chance of finding a way to say what we don't know how to say if we don't pay attention to the silence of the other inside us='qstn'>?”

literature, is then understood as the experience of risk, chance, the undecidable ='lgc'>=/= pathos of resolution


(in Western ethical, political, and literary traditions='lgc'>:) responsibility='lgc'>: a matter of articulating what is known with what is done ='lgc'>=/= (="ppl">Keenan='lgc'>:) ='strcls'>*responsibility='strcls'>*='lgc'>: an asymmetry or an interruption between the orders of cognition and action

fable ='lgc'>--> an exemplary ='strcls'>*allegory of decision='strcls'>* (='lgc'>='lgc'>~='lgc'>~> installing or restoring subjectivity)
fables open abyssal aporias='lgc'>:
="lsts lst1">•to teach ‘singularity’ it offers ‘comparison’
="lsts lst1">•to underline ‘independence’ it resorts to ‘necessity’

='lgc'>[(the experience of) aporia ='lgc'>=='qstn'>?='lgc'>=> morality, politics, responsibility ='lgc'>=/= when the path is given='lgc'>]='lgc'>--> Germany is moving towards the removing of aporia ='lgc'>[='lgc'><-- a general panic popular in sci-fi='lgc'>]
(the very condition of possibility of) ='strcls'>*responsibility='strcls'>*='lgc'>: a certain experience of the possibility of the impossible ='lgc'>~ aporia ='lgc'>}='lgc'>=='lgc'>=> the impossible invention ='lgc'>--> ='strcls'>*responsibility must be an invention='strcls'>*
='lgc'>[-Germany's notion of law='lgc'>: like any idea of law, are not by themselves motivators for morality or immorality, it is really upon (human) culture to do that.='lgc'>]


fable ='lgc'>=='lgc'>=> possibility of another kind of reading ='lgc'>--> exposure to something that breaks with the regimes of meaning and sense


politic[...]

[...]ity)
fables open abyssal aporias='lgc'>:
="lsts lst1">•to teach ‘singularity’ it offers ‘comparison’
="lsts lst1">•to underline ‘independence’ it resorts to ‘necessity’

='lgc'>[(the experience of) aporia ='lgc'>=='qstn'>?='lgc'>=> morality, politics, responsibility ='lgc'>=/= when the path is given='lgc'>]='lgc'>--> Germany is moving towards the removing of aporia ='lgc'>[='lgc'><-- a general panic popular in sci-fi='lgc'>]
(the very condition of possibility of) ='strcls'>*responsibility='strcls'>*='lgc'>: a certain experience of the possibility of the impossible ='lgc'>~ aporia ='lgc'>}='lgc'>=='lgc'>=> the impossible invention ='lgc'>--> ='strcls'>*responsibility must be an invention='strcls'>*
='lgc'>[-Germany's notion of law='lgc'>: like any idea of law, are not by themselves motivators for morality or immorality, it is really upon (human) culture to do that.='lgc'>]


="large lg1" stl="font-size:143%"> fable ='lgc'>=='lgc'>=> possibility of another kind of reading ='lgc'>--> exposure to something that breaks with the regimes of meaning and sense


politics of difficulty

...to fall back on the conceptual priority of the subject, agency, or identity as the grounds ='lgc'>--='not'>✕='lgc'>='lgc'>--> we have politics because we have no ground

(="ppl">Keenan suggests) “deconstruction” is not offered here as an antiauthoritarian discourse, an attack on grounds, but as an attempt to think about this removal as the condition of any (political) action ='lgc'>}='lgc'>~= democracy


="large lg1" stl="font-size:121%"> (according to fables) responsibility begins in the bad example (='lgc'>='lgc'>--> the concept of conflict ='lgc'>='lgc'>~=> the ethics and politics of responsibility)

the classical subject ='lgc'>--(the passage through the bad example)='lgc'>='lgc'>--> installed in its stance of responsibility and the safety of identity

="large lg2" stl="font-size:112%"> “What is at stake in the fable is, more than anything else, the interpretation and practice of responsibility-our exposure to calls, others, and the names with which we are constituted and which put us in question.” (="ppl">Keenan)

...practical effectivity of literature


="lsts lst1">•(for Annabel Patterson='lgc'>:) fable accomplishes a speculative Aufhebung ='lgc'>: “='lgc'>[...='lgc'>]the role of metaphor is to mediate between human consciousness and human survival, ='lgc'>[and here='lgc'>] the mind recognizes rock bottom, the irreducibly material, by rejoining the animals, one of whom is the human body”
="lsts lst1">•(for Louis Marin='lgc'>:) fable='lgc'>: uncertain model of praxis
="lsts lst1">•(for ="ppl">Hegel='lgc'>: Aesop was a “misshapen humpbacked slave” and his) fable='lgc'> = witty, witzig ='lgc'>=/= spirit, depth, insight, vision, poetry, philosophy
="lsts lst1">•(for ="ppl">Lacoue-Labarthe='lgc'>:) fable='lgc'>: a name for the mutual implication and asymmetrical interference of literature with philosophy ='lgc'>--> the suspension of the self-evidence of the categories “literature” and “philosophy” in order to use each to put the identity of the other into question. ='lgc'>[to think the world as fable. Is it possible='qstn'>?='lgc'>]
="lsts lst1">•(for ="ppl">Keenan='lgc'>:) fable superimposes the relation of an address to the other in its singularity and in its anonymity (responsibility for the other) onto the traditional predicament of an articulation between the order of [...]

[...]have no ground

(="ppl">Keenan suggests) “deconstruction” is not offered here as an antiauthoritarian discourse, an attack on grounds, but as an attempt to think about this removal as the condition of any (political) action ='lgc'>}='lgc'>~= democracy


="large lg1" stl="font-size:123%"> (according to fables) responsibility begins in the bad example (='lgc'>='lgc'>--> the concept of conflict ='lgc'>='lgc'>~=> the ethics and politics of responsibility)

the classical subject ='lgc'>--(the passage through the bad example)='lgc'>='lgc'>--> installed in its stance of responsibility and the safety of identity

“What is at stake in the fable is, more than anything else, the interpretation and practice of responsibility-our exposure to calls, others, and the names with which we are constituted and which put us in question.” (="ppl">Keenan)

="large lg2" stl="font-size:110%"> ...practical effectivity of literature


="lsts lst1">•(for Annabel Patterson='lgc'>:) fable accomplishes a speculative Aufhebung ='lgc'>: “='lgc'>[...='lgc'>]the role of metaphor is to mediate between human consciousness and human survival, ='lgc'>[and here='lgc'>] the mind recognizes rock bottom, the irreducibly material, by rejoining the animals, one of whom is the human body”
="lsts lst1">•(for Louis Marin='lgc'>:) fable='lgc'>: uncertain model of praxis
="lsts lst1">•(for ="ppl">Hegel='lgc'>: Aesop was a “misshapen humpbacked slave” and his) fable='lgc'> = witty, witzig ='lgc'>=/= spirit, depth, insight, vision, poetry, philosophy
="lsts lst1">•(for ="ppl">Lacoue-Labarthe='lgc'>:) fable='lgc'>: a name for the mutual implication and asymmetrical interference of literature with philosophy ='lgc'>--> the suspension of the self-evidence of the categories “literature” and “philosophy” in order to use each to put the identity of the other into question. ='lgc'>[to think the world as fable. Is it possible='qstn'>?='lgc'>]
="lsts lst1">•(for ="ppl">Keenan='lgc'>:) fable superimposes the relation of an address to the other in its singularity and in its anonymity (responsibility for the other) onto the traditional predicament of an articulation between the order of knowledge or cognition and that of action, ethico-political or otherwise ='lgc'>='lgc'>--> ='strcls'>*responsibility in Western philosophical tradition='lgc'>: an address to an other='strcls'>*


="large lg1" stl="font-size:136%"> ...the rhetorical event of a comparison

='at'>#='lgc'>[the theater of example='lgc'>]

the threat of example's excess

fables of responsibility ='lgc'>==securing='lgc'>='lgc'>==> ='strcls'>*the morality of the subject who means='strcls'>* (who can they finally be submitted to the logic of an ='strcls'>*evaluative destination='strcls'>*)

(="ppl">Derrida's) mode of enunciation and the literary vehicle entrusted with its exemplification ='lgc'>:
='strcls'>*='lgc'>[...='lgc'>]it is sufficient to introduce, into the fold of speech acts, a few wolves of the type (“undecidability” or “unconscious”) for the shepherd to lose track of his sheep='lgc'>: one is no longer certain where to find the identity of the “speaker” or the “hearer,” ... where to find the identity of an intention.='strcls'>*
='lgc'>--='qstn'>?='lgc'>='lgc'>--> wolf in sheep's clothing ='lgc'>[='lgc'>='lgc'>--> also the problem/fantasy of the “integration” project (as the space of ethics and politics)='lgc'>~~>(“Appearances are deceptive"[...]

[...]o mediate between human consciousness and human survival, ='lgc'>[and here='lgc'>] the mind recognizes rock bottom, the irreducibly material, by rejoining the animals, one of whom is the human body”
="lsts lst1">•(for Louis Marin='lgc'>:) fable='lgc'>: uncertain model of praxis
="lsts lst1">•(for ="ppl">Hegel='lgc'>: Aesop was a “misshapen humpbacked slave” and his) fable='lgc'> = witty, witzig ='lgc'>=/= spirit, depth, insight, vision, poetry, philosophy
="lsts lst1">•(for ="ppl">Lacoue-Labarthe='lgc'>:) fable='lgc'>: a name for the mutual implication and asymmetrical interference of literature with philosophy ='lgc'>--> the suspension of the self-evidence of the categories “literature” and “philosophy” in order to use each to put the identity of the other into question. ='lgc'>[to think the world as fable. Is it possible='qstn'>?='lgc'>]
="lsts lst1">•(for ="ppl">Keenan='lgc'>:) fable superimposes the relation of an address to the other in its singularity and in its anonymity (responsibility for the other) onto the traditional predicament of an articulation between the order of knowledge or cognition and that of action, ethico-political or otherwise ='lgc'>='lgc'>--> ='strcls'>*responsibility in Western philosophical tradition='lgc'>: an address to an other='strcls'>*


...the rhetorical event of a comparison

='at'>#='lgc'>[the theater of example='lgc'>]

="large lg1" stl="font-size:117%"> the threat of example's excess

fables of responsibility ='lgc'>==securing='lgc'>='lgc'>==> ='strcls'>*the morality of the subject who means='strcls'>* (who can they finally be submitted to the logic of an ='strcls'>*evaluative destination='strcls'>*)

(="ppl">Derrida's) mode of enunciation and the literary vehicle entrusted with its exemplification ='lgc'>:
='strcls'>*='lgc'>[...='lgc'>]it is sufficient to introduce, into the fold of speech acts, a few wolves of the type (“undecidability” or “unconscious”) for the shepherd to lose track of his sheep='lgc'>: one is no longer certain where to find the identity of the “speaker” or the “hearer,” ... where to find the identity of an intention.='strcls'>*
='lgc'>--='qstn'>?='lgc'>='lgc'>--> wolf in sheep's clothing ='lgc'>[='lgc'>='lgc'>--> also the problem/fantasy of the “integration” project (as the space of ethics and politics)='lgc'>~~>(“Appearances are deceptive” ='lgc'>==> exclusion of the parasite ='lgc'>+ identification of subjects as the task of responsibility); -what would mean for the German shepherd to lose track of his sheeps='qstn'>? (to go from) the ='thdf'>fable of ='strcls'>*the oriented sheepfold='strcls'>* ='lgc'>--to='lgc'>='lgc'>--> the ='thdf'>fable of ='strcls'>*losing count='strcls'>*='lgc'>]
="prgrph">-the vexed relation between sheep and wolf, slave and master


="large lg1" stl="font-size:115%"> (='mywrk'>my work is all about='lgc'>: can we please look at) some ='strcls'>*other='strcls'>* “interior of the system”
(system never has only one interior ='lgc'>[='lgc'>=/= conspiracy='lgc'>: system's singular interiority='lgc'>])


="lsts lst1">•literature's (ir)responsibility to philosophy
="lsts lst1">•art's (ir)responsibility to journalism


Xanthus the philosopher decides to buy a slave, goes with his students to the slave market, and encounters the disfigured Phrygian Aesop (recently granted the power of speech after assisting a priestess of Isis and hence become too difficult for his previous master to handle). Their first exchange is exemplary, as th[...]

[...]ble='qstn'>?='lgc'>]
="lsts lst1">•(for ="ppl">Keenan='lgc'>:) fable superimposes the relation of an address to the other in its singularity and in its anonymity (responsibility for the other) onto the traditional predicament of an articulation between the order of knowledge or cognition and that of action, ethico-political or otherwise ='lgc'>--> ='strcls'>*responsibility in Western philosophical tradition='lgc'>: an address to an other='strcls'>*


...the rhetorical event of a comparison

='at'>#='lgc'>[the theater of example='lgc'>]

the threat of example's excess

fables of responsibility ='lgc'>==securing='lgc'>='lgc'>==> ='strcls'>*the morality of the subject who means='strcls'>* (who can they finally be submitted to the logic of an ='strcls'>*evaluative destination='strcls'>*)

(="ppl">Derrida's) mode of enunciation and the literary vehicle entrusted with its exemplification ='lgc'>:
='strcls'>*='lgc'>[...='lgc'>]it is sufficient to introduce, into the fold of speech acts, a few wolves of the type (“undecidability” or “unconscious”) for the shepherd to lose track of his sheep='lgc'>: one is no longer certain where to find the identity of the “speaker” or the “hearer,” ... where to find the identity of an intention.='strcls'>*
='lgc'>--='qstn'>?='lgc'>='lgc'>--> wolf in sheep's clothing ='lgc'>[='lgc'>='lgc'>--> also the problem/fantasy of the “integration” project (as the space of ethics and politics)='lgc'>~~>(“Appearances are deceptive” ='lgc'>==> exclusion of the parasite ='lgc'>+ identification of subjects as the task of responsibility); -what would mean for the German shepherd to lose track of his sheeps='qstn'>? (to go from) the ='thdf'>fable of ='strcls'>*the oriented sheepfold='strcls'>* ='lgc'>--to='lgc'>='lgc'>--> the ='thdf'>fable of ='strcls'>*losing count='strcls'>*='lgc'>]
="prgrph">-the vexed relation between sheep and wolf, slave and master


="large lg1" stl="font-size:129%"> (='mywrk'>my work is all about='lgc'>: can we please look at) some ='strcls'>*other='strcls'>* “interior of the system”
(system never has only one interior ='lgc'>[='lgc'>=/= conspiracy='lgc'>: system's singular interiority='lgc'>])


="lsts lst1">•literature's (ir)responsibility to philosophy
="lsts lst1">•art's (ir)responsibility to journalism


Xanthus the philosopher decides to buy a slave, goes with his students to the slave market, and encounters the disfigured Phrygian Aesop (recently granted the power of speech after assisting a priestess of Isis and hence become too difficult for his previous master to handle). Their first exchange is exemplary, as the philosopher interrogates the slave in order to determine whether “he knows anything,” receives equivocal replies, and finishes by asking, “Do you want me to buy you='qstn'>?”
(Life of Aesop)


="large lg1" stl="font-size:136%"> thinking fable as language ='lgc'>: ‘Fabula’ (narration or account), derived as it is from the Latin root ‘fari’ (to speak) and linked to the Greek ‘phanai’ (to speak or to say), finally implies nothing other than language as such

Mythos and logos, the one is not more true (or more false, deceptive, fictive, etc.) than the other


(to open to the) alterity of an ungoverned figuration


hero='lgc'>: the adventure of an identification that can only occur in the com[...]

[...]lity to philosophy
="lsts lst1">•art's (ir)responsibility to journalism


="large lg1" stl="font-size:139%"> Xanthus the philosopher decides to buy a slave, goes with his students to the slave market, and encounters the disfigured Phrygian Aesop (recently granted the power of speech after assisting a priestess of Isis and hence become too difficult for his previous master to handle). Their first exchange is exemplary, as the philosopher interrogates the slave in order to determine whether “he knows anything,” receives equivocal replies, and finishes by asking, “Do you want me to buy you='qstn'>?”
(Life of Aesop)


thinking fable as language ='lgc'>: ‘Fabula’ (narration or account), derived as it is from the Latin root ‘fari’ (to speak) and linked to the Greek ‘phanai’ (to speak or to say), finally implies nothing other than language as such

Mythos and logos, the one is not more true (or more false, deceptive, fictive, etc.) than the other


(to open to the) alterity of an ungoverned figuration


hero='lgc'>: the adventure of an identification that can only occur in the comparison that a fable demands

Horace's dictum='lgc'>: “with a change of names, the fable is told about you” (a trans-subjective movement, a tropological system ='lgc'>=/= metaphor or metonymy, )


(for ="ppl">Nietzsche) responsibility='lgc'>: the ability to make and keep one's promises='lgc'> = being (able to be) held accountable (not simply by another but) already in advance by and for oneself ='lgc'>: to answer to oneself in the place of the other
="lsts lst1">•="ppl">Nietzsche's ='thdf'>fable of morality='lgc'>: lamb ='and'>& bird of prey (“eagle is evil ='lgc'>='lgc'>==> lambs are good”)='lgc'>='lgc'>--> ='lgc'>[the fable enacts the victory:='lgc'>] the lambs triumph in gaining the ability (and then the right) to hold the birds of prey responsible for doing what they do, for being what they are ='lgc'>--claim='lgc'>='lgc'>--> the strong man is fee to be weak, the bird of prey free to be a lamb ='lgc'>==gain='lgc'>='lgc'>==> the right to make the bird of prey accountable for being a bird of prey
="lsts lst2">◦morality='lgc'>: a fabulous narrative about language and how it gets turned (with animals playing its roles) into an ethical and epistemological system ='lgc'>--> the medium of the exploitation (='strcls'>*putting to use or the abuse of a linguistic possibility='strcls'>*)
="lsts lst2">◦the interpretation or institution of the birds as subjeets (choosing, willing
agents) depends on a fiction, a fable='lgc'>: the doer is merely a fiction added to the deed
='lgc'>==="ppl">Nietzsche='lgc'>='lgc'>==>
="lsts lst1">•='strcls'>*responsibility='lgc'>: an exploitation of a verbal possibility='strcls'>*
="lsts lst1">•='strcls'>*fable='lgc'>: turning the merely grammatical subject into the fiction of the acting='strcls'>* ='lgc'><='lgc'>== zoomorphism (='lgc'>=/= anthropomorphism)


='thdf'>fable of the eagle and the raven
the story of the raven that, having once watched with envy as an eagle snatched a lamb from the flock and carried it off, later attempts a similar feat. But a raven is not an eagle, and his claws get stuck in the fleece of a wether (not a lamb)='lgc'>: his prey becomes his tr[...]

[...]s

Horace's dictum='lgc'>: “with a change of names, the fable is told about you” (a trans-subjective movement, a tropological system ='lgc'>=/= metaphor or metonymy, )


(for ="ppl">Nietzsche) responsibility='lgc'>: the ability to make and keep one's promises='lgc'> = being (able to be) held accountable (not simply by another but) already in advance by and for oneself ='lgc'>: to answer to oneself in the place of the other
="lsts lst1">•="ppl">Nietzsche's ='thdf'>fable of morality='lgc'>: lamb ='and'>& bird of prey (“eagle is evil ='lgc'>='lgc'>==> lambs are good”)='lgc'>='lgc'>--> ='lgc'>[the fable enacts the victory:='lgc'>] the lambs triumph in gaining the ability (and then the right) to hold the birds of prey responsible for doing what they do, for being what they are ='lgc'>--claim='lgc'>='lgc'>--> the strong man is fee to be weak, the bird of prey free to be a lamb ='lgc'>==gain='lgc'>='lgc'>==> the right to make the bird of prey accountable for being a bird of prey
="lsts lst2">◦morality='lgc'>: a fabulous narrative about language and how it gets turned (with animals playing its roles) into an ethical and epistemological system ='lgc'>--> the medium of the exploitation (='strcls'>*putting to use or the abuse of a linguistic possibility='strcls'>*)
="lsts lst2">◦the interpretation or institution of the birds as subjeets (choosing, willing
agents) depends on a fiction, a fable='lgc'>: the doer is merely a fiction added to the deed
='lgc'>==="ppl">Nietzsche='lgc'>='lgc'>==>
="lsts lst1">•='strcls'>*responsibility='lgc'>: an exploitation of a verbal possibility='strcls'>*
="lsts lst1">•='strcls'>*fable='lgc'>: turning the merely grammatical subject into the fiction of the acting='strcls'>* ='lgc'><='lgc'>== zoomorphism (='lgc'>=/= anthropomorphism)


='thdf'>fable of the eagle and the raven
the story of the raven that, having once watched with envy as an eagle snatched a lamb from the flock and carried it off, later attempts a similar feat. But a raven is not an eagle, and his claws get stuck in the fleece of a wether (not a lamb)='lgc'>: his prey becomes his trap. He is captured by the shepherd, his wings are broken and taken from him, and he is given to the shepherd's children as a plaything
="lsts lst1">•identity checkr /> ="lsts lst1">•the bird begins the fable without (knowing) its name
="lsts lst1">•establishment of the raven as an (ir)responsible agent, one that can be called to respond for itself ='lgc'><-- an “I” has a name and a choice about its action, because it could have done otherwise
="lsts lst1">•raven's errancy consists precisely in wandering away from its name ='lgc'><-- in the past ='lgc'>=/= now (now I know well that i am a rauen) we can act responsibly
="lsts lst1">•act in accord with the fate prescribed for you by your name ='lgc'>--> restore the proper name ='lgc'>='lgc'>==> establishment of the responsible agent
="lsts lst1">•critical system of “error ='lgc'>--> correction ='lgc'>--> I='lgc'> = name” ='lgc'>==fix='lgc'>='lgc'>==> the link between the order of cognition (whether false supposition or true knowledge) ='and'>& that of action (take a lamb / as
the eagle did)
="lsts lst1">•don't compare yourself with what you are not ='lgc'>--> reader is you are asked to compare yourself with the raven (follow its example)
='lgc'>}='lgc'>--> ='thdf'>fable of responsibility='lgc'> = a story about language and its danger (raven ma[...]

[...]putting to use or the abuse of a linguistic possibility='strcls'>*)
="lsts lst2">◦the interpretation or institution of the birds as subjeets (choosing, willing
agents) depends on a fiction, a fable='lgc'>: the doer is merely a fiction added to the deed
='lgc'>==="ppl">Nietzsche='lgc'>='lgc'>==>
="lsts lst1">•='strcls'>*responsibility='lgc'>: an exploitation of a verbal possibility='strcls'>*
="lsts lst1">•='strcls'>*fable='lgc'>: turning the merely grammatical subject into the fiction of the acting='strcls'>* ='lgc'><='lgc'>== zoomorphism (='lgc'>=/= anthropomorphism)


='thdf'>fable of the eagle and the raven
the story of the raven that, having once watched with envy as an eagle snatched a lamb from the flock and carried it off, later attempts a similar feat. But a raven is not an eagle, and his claws get stuck in the fleece of a wether (not a lamb)='lgc'>: his prey becomes his trap. He is captured by the shepherd, his wings are broken and taken from him, and he is given to the shepherd's children as a plaything
="lsts lst1">•identity check
="lsts lst1">•the bird begins the fable without (knowing) its name
="lsts lst1">•establishment of the raven as an (ir)responsible agent, one that can be called to respond for itself ='lgc'><-- an “I” has a name and a choice about its action, because it could have done otherwise
="lsts lst1">•raven's errancy consists precisely in wandering away from its name ='lgc'><-- in the past ='lgc'>=/= now (now I know well that i am a rauen) we can act responsibly
="lsts lst1">•act in accord with the fate prescribed for you by your name ='lgc'>--> restore the proper name ='lgc'>='lgc'>==> establishment of the responsible agent
="lsts lst1">•critical system of “error ='lgc'>--> correction ='lgc'>--> I='lgc'> = name” ='lgc'>==fix='lgc'>='lgc'>==> the link between the order of cognition (whether false supposition or true knowledge) ='and'>& that of action (take a lamb / as
the eagle did)
="lsts lst1">•don't compare yourself with what you are not ='lgc'>--> reader is you are asked to compare yourself with the raven (follow its example)
='lgc'>}='lgc'>--> ='thdf'>fable of responsibility='lgc'> = a story about language and its danger (raven may be like an eagle, but it is not an eagle) ='lgc'>--> “know your name ='lgc'>+ do what it say” ='lgc'>='lgc'>--> ='strcls'>*responsibility='lgc'>: the response to the name by which one is called='strcls'>* ='lgc'>='lgc'>--> ='thdf'>the idea that ='strcls'>*supposing ='and'>& knowing='strcls'>* belong to one and the same homogeneous system='strcls'>*

(the art of) supposition='lgc'>: disguise, false knowledge (guess, surmise, premise)
='lgc'>--or='lgc'>='lgc'>--> ungovernable and unrecoverable force of ='strcls'>*positing='strcls'>* (position or imposition)

="large lg1" stl="font-size:125%"> (generation of the pure name in ='thdf'>fable of the eagle and the raven='lgc'>:)
non-symmetrical movement from nameless bird ='lgc'>--to='lgc'>='lgc'>--> birdless name (a wingless not-eagle)


why fables are important='qstn'>? ='lgc'><='lgc'>-- others and their traces are always working within us already, in a space and time that cannot be reduced to that of consciousness (or self-presence)
="lsts lst1">•profound linguistic or rhetorical complexity of the call and response

the raven resounds (it does not just start talking) ='lgc'><='lgc'>-- it starts with the others='lgc'>: eagle, wether, shepherd

Lacoue­ Labarthe ='lgc'>='lgc'>--> identificatio[...]

[...]me in order to be what you are”

wolf in sheep's clothing (Aesop's “A Case of Mistaken Identity”)
a wolf thought that by disguising himself he could get plenty to eat. Putting on a sheep­ skin to trick the shepherd, he joined the flock at grass without being discovered. At nightfall the shepherd shut him with the sheep in the fold and made fast all round by blocking the entrance. Then, feeling hungry, he picked up his knife and slaughtered an animal for his supper. It happened to be the wolf.
='lgc'>='lgc'>-->  a character that does not belong to one can involve one in serious trouble



='lgc'>[='strcls'>*='lgc'>]fable='lgc'>: (name of the) ='strcls'>*literary thing='strcls'>* that aime to ='strcls'>*teach responsibility='strcls'>* ='lgc'>--="ppl">Keenan='lgc'>='lgc'>-->  self-understanding of the free subject (='lgc'><='lgc'>--fable='lgc'>--we are exposed to something in language that troubles the possibility of that understanding)

='lgc'>[in ='mywrk'>my lecture performances with='lgc'>] fable ='lgc'>[I aim to='lgc'>] offer an allegory-of unreading, of reading without limits and without guarantees ='lgc'>='lgc'>--> freedom

governmental concepts='lgc'>:
="lsts lst1">•subject
="lsts lst1">•agency
="lsts lst1">•will
="lsts lst1">•choice
="lsts lst1">•freedom
="lsts lst1">•rights
='lgc'>}='lgc'>--deconstruction='lgc'>='lgc'>-->  limitation of ethico-political responsibilities

for ="ppl">Keenan='lgc'>: ='strcls'>**='thdf'>question of respon­sibility='lgc'> = ='thdf'>question of freedom='strcls'>**

="large lg1" stl="font-size:147%"> the free community of rational beings cannot simply be (regulatively) invoked

calculable ='and'>& programmable law

responsibility='lgc'>: (names the predicament in which) ='strcls'>*coincide the necessity/inevitability of action ='and'>& the failure of law='strcls'>*

="large lg2" stl="font-size:111%"> ="lsts lst1">•politics (and ethics) ='lgc'>--name='lgc'>='lgc'>--> the urgency and necessity of a response
="lsts lst1">•responsibility (and freedom) ='lgc'>--name='lgc'>='lgc'>--> the impossibility of response with guarantee

           ethical ='lgc'>=/= actual
                |                   |
impossibility ='lgc'>=/=  totality of what is

='strcls'>***impossible ='lgc'>=/= not-possible='strcls'>***
='lgc'>--="ppl">Derrida='lgc'>='lgc'>--> the impossible occurs at every moment (that belong to the effort of reading)

“have we not acquired the right to say everything='qstn'>?” (Sade)

who reads, and how, a text addressed to no one='qstn'>?
what status does it have='qstn'>?

="large lg1" stl="font-size:140%">
='lgc'>[Lode Lauwaert='lgc'>]
for ="ppl">Blanchot Sade (libertine aristocrat novelist) was the writer par excellence
we should think about Sade in explicitly revolutionary terms ='lgc'>[Sade's work ='lgc'>~= ="frds scrmbld"nttrm="Robin,Robot,Robert,Robocop">Robespierre's Reign of Terror='lgc'>]
="lsts lst1">•Sade's ideal of society is a reactive reality (it takes form specifically in reaction to something external) ='lgc'>--> undertaken endlessly efforts against modes of social organization that are based on an stable internal point of reference
in Sade='lgc'>:
="lstsrd">1. selfishness has an ontological (not a moral) meaning ='lgc'>: ‘the essence of man='lgc'> = negation of the value of the other's existence’ (='lgc'>+ a destruction of the positive meaning other people have in normal life) ='lgc'>=/= being-for-the-other
="lstsrd">2. characters with theocentri[...]

[...]e wolf.
='lgc'>='lgc'>-->  a character that does not belong to one can involve one in serious trouble



="large lg2" stl="font-size:110%"> ='lgc'>[='strcls'>*='lgc'>]fable='lgc'>: (name of the) ='strcls'>*literary thing='strcls'>* that aime to ='strcls'>*teach responsibility='strcls'>* ='lgc'>--="ppl">Keenan='lgc'>='lgc'>-->  self-understanding of the free subject (='lgc'><='lgc'>--fable='lgc'>--we are exposed to something in language that troubles the possibility of that understanding)

='lgc'>[in ='mywrk'>my lecture performances with='lgc'>] fable ='lgc'>[I aim to='lgc'>] offer an allegory-of unreading, of reading without limits and without guarantees ='lgc'>='lgc'>--> freedom

governmental concepts='lgc'>:
="lsts lst1">•subject
="lsts lst1">•agency
="lsts lst1">•will
="lsts lst1">•choice
="lsts lst1">•freedom
="lsts lst1">•rights
='lgc'>}='lgc'>--deconstruction='lgc'>='lgc'>-->  limitation of ethico-political responsibilities

for ="ppl">Keenan='lgc'>: ='strcls'>**='thdf'>question of respon­sibility='lgc'> = ='thdf'>question of freedom='strcls'>**

the free community of rational beings cannot simply be (regulatively) invoked

calculable ='and'>& programmable law

responsibility='lgc'>: (names the predicament in which) ='strcls'>*coincide the necessity/inevitability of action ='and'>& the failure of law='strcls'>*

="lsts lst1">•politics (and ethics) ='lgc'>--name='lgc'>='lgc'>--> the urgency and necessity of a response
="lsts lst1">•responsibility (and freedom) ='lgc'>--name='lgc'>='lgc'>--> the impossibility of response with guarantee

="large lg1" stl="font-size:147%">            ethical ='lgc'>=/= actual
                |                   |
impossibility ='lgc'>=/=  totality of what is

='strcls'>***impossible ='lgc'>=/= not-possible='strcls'>***
='lgc'>--="ppl">Derrida='lgc'>='lgc'>--> the impossible occurs at every moment (that belong to the effort of reading)

“have we not acquired the right to say everything='qstn'>?” (Sade)

who reads, and how, a text addressed to no one='qstn'>?
what status does it have='qstn'>?


='lgc'>[Lode Lauwaert='lgc'>]
for ="ppl">Blanchot Sade (libertine aristocrat novelist) was the writer par excellence
we should think about Sade in explicitly revolutionary terms ='lgc'>[Sade's work ='lgc'>~= ="frds scrmbld"nttrm="Robin,Robot,Robert,Robocop">Robespierre's Reign of Terror='lgc'>]
="lsts lst1">•Sade's ideal of society is a reactive reality (it takes form specifically in reaction to something external) ='lgc'>='lgc'>--> undertaken endlessly efforts against modes of social organization that are based on an stable internal point of reference
in Sade='lgc'>:
="lstsrd">1. selfishness has an ontological (not a moral) meaning ='lgc'>: ‘the essence of man='lgc'> = negation of the value of the other's existence’ (='lgc'>+ a destruction of the positive meaning other people have in normal life) ='lgc'>=/= being-for-the-other
="lstsrd">2. characters with theocentric universe (who deliver extended theological discussions)
="lstsrd">3. blasphemous passages (negation of God's existence) ='lgc'>='lgc'>--> Sade’s specific philosophy of nature (reference to nature is enough for a proper understanding of reality)
="lstsrd">4. ='strcls'>*every type of destruction always ultimately serves nature='strcls'>* ='lgc'>='lgc'>--> nature (by virtue of her desire for optimum production) is forced to destroy her products continuously ='lgc'>[='lgc'>--then='lgc'>='lgc'>--> how to annihilates nature='qstn'>?='lgc'>] ='lgc'>--(essence of Sade's world)='lgc'>='lgc'>--> ='strcls'>**radical negation='strcls'>**

[...]

[...] the writer par excellence
we should think about Sade in explicitly revolutionary terms ='lgc'>[Sade's work ='lgc'>~= ="frds scrmbld"nttrm="Robin,Robot,Robert,Robocop">Robespierre's Reign of Terror='lgc'>]
="lsts lst1">•Sade's ideal of society is a reactive reality (it takes form specifically in reaction to something external) ='lgc'>--> undertaken endlessly efforts against modes of social organization that are based on an stable internal point of reference
in Sade='lgc'>:
="lstsrd">1. selfishness has an ontological (not a moral) meaning ='lgc'>: ‘the essence of man='lgc'> = negation of the value of the other's existence’ (='lgc'>+ a destruction of the positive meaning other people have in normal life) ='lgc'>=/= being-for-the-other
="lstsrd">2. characters with theocentric universe (who deliver extended theological discussions)
="lstsrd">3. blasphemous passages (negation of God's existence) ='lgc'>--> Sade’s specific philosophy of nature (reference to nature is enough for a proper understanding of reality)
="lstsrd">4. ='strcls'>*every type of destruction always ultimately serves nature='strcls'>* ='lgc'>--> nature (by virtue of her desire for optimum production) is forced to destroy her products continuously ='lgc'>[='lgc'>--then='lgc'>='lgc'>--> how to annihilates nature='qstn'>?='lgc'>] ='lgc'>--(essence of Sade's world)='lgc'>='lgc'>--> ='strcls'>**radical negation='strcls'>**

each individual negation involves affirmation (of the other, humanity, God, nature) ='lgc'>--="ppl">Blanchot='lgc'>='lgc'>--> (Sade's oeuvre =) a movement of radical negation that is nothing but its ='strcls'>*negative power='strcls'>* (it never affirms something)

="large lg1" stl="font-size:143%"> Sade='lgc'> = permanent resistance ='lgc'>+ radical negation (of the other)

“nothing resembles the virtue as a great crime.”
(="ppl">Blanchot > Sade)

="ppl">Blanchot's interpretation of the Terror ='lgc'>+ French Revolution (='lgc'><== ="ppl">Hegel)
revolution ='lgc'>='lgc'>--> freedom (formerly situated in a divine sphere) operates from a purely immanent perspective
='thdf'>the idea of efficacy of the freedom ='lgc'>='lgc'>--> destroys what is given radically ='lgc'>--='not'>✕='lgc'>='lgc'>--> old regimes
='lgc'>--(understood absolutely)='lgc'>='lgc'>--> Saint-Just and ="frds scrmbld"nttrm="Robin,Robot,Robert,Robocop">Robespierre demanded that the new French citizens lived out their pure freedom in a radical way

break free from='lgc'>:
="lsts lst1">•(highly personal) pleasures
="lsts lst1">•(highly personal) affairs
="lsts lst1">•

="ppl">Blanchot ='lgc'>+ Sade ='lgc'>--> ='strcls'>*one cannot use one's freedom to establish a new political order='strcls'>*
freedom not contaminated by a particular creation ='lgc'>--> Reign of Terror='lgc'> = (a horrible state of) “between” the overthrow of the old ='and'>& the establishment of the new regime
(='lgc'>~~> contemporary ="nms">Iran's political state's endless resistance)
="lsts lst1">•endless resistance ='lgc'>=/= enduring constitution (='lgc'>~= institution)
="lsts lst1">•negation ='lgc'>=/= affirmation

Sade's three different forms of inconvenience='lgc'>:
="lstsrd">1. cruel tableaux vivants ='lgc'>--> emotional inconvenience
="lstsrd">2. contradictory unreasonableness (for example “religion should be abolished  ='lgc'>==> a republican man to be a good husband and father” ='lgc'>+ “family should be destroyed, all women belong to all men”) ='lgc'>--> intellectual inconvenience
="lstsrd">3. (grotesque goal of) Sade aims at describing the whole of [...]

[...]e for optimum production) is forced to destroy her products continuously ='lgc'>[='lgc'>--then='lgc'>='lgc'>--> how to annihilates nature='qstn'>?='lgc'>] ='lgc'>--(essence of Sade's world)='lgc'>='lgc'>--> ='strcls'>**radical negation='strcls'>**

each individual negation involves affirmation (of the other, humanity, God, nature) ='lgc'>--="ppl">Blanchot='lgc'>='lgc'>--> (Sade's oeuvre =) a movement of radical negation that is nothing but its ='strcls'>*negative power='strcls'>* (it never affirms something)

="large lg1" stl="font-size:126%"> Sade='lgc'> = permanent resistance ='lgc'>+ radical negation (of the other)

“nothing resembles the virtue as a great crime.”
(="ppl">Blanchot > Sade)

="ppl">Blanchot's interpretation of the Terror ='lgc'>+ French Revolution (='lgc'><== ="ppl">Hegel)
revolution ='lgc'>='lgc'>--> freedom (formerly situated in a divine sphere) operates from a purely immanent perspective
='thdf'>the idea of efficacy of the freedom ='lgc'>='lgc'>--> destroys what is given radically ='lgc'>--='not'>✕='lgc'>='lgc'>--> old regimes
='lgc'>--(understood absolutely)='lgc'>='lgc'>--> Saint-Just and ="frds scrmbld"nttrm="Robin,Robot,Robert,Robocop">Robespierre demanded that the new French citizens lived out their pure freedom in a radical way

break free from='lgc'>:
="lsts lst1">•(highly personal) pleasures
="lsts lst1">•(highly personal) affairs
="lsts lst1">•

="ppl">Blanchot ='lgc'>+ Sade ='lgc'>--> ='strcls'>*one cannot use one's freedom to establish a new political order='strcls'>*
freedom not contaminated by a particular creation ='lgc'>--> Reign of Terror='lgc'> = (a horrible state of) “between” the overthrow of the old ='and'>& the establishment of the new regime
(='lgc'>~~> contemporary ="nms">Iran's political state's endless resistance)
="lsts lst1">•endless resistance ='lgc'>=/= enduring constitution (='lgc'>~= institution)
="lsts lst1">•negation ='lgc'>=/= affirmation

Sade's three different forms of inconvenience='lgc'>:
="lstsrd">1. cruel tableaux vivants ='lgc'>--> emotional inconvenience
="lstsrd">2. contradictory unreasonableness (for example “religion should be abolished  ='lgc'>==> a republican man to be a good husband and father” ='lgc'>+ “family should be destroyed, all women belong to all men”) ='lgc'>--> intellectual inconvenience
="lstsrd">3. (grotesque goal of) Sade aims at describing the whole of reality (seeking to say the last word about reality, ='strcls'>*to say everything='strcls'>*) ='lgc'>--="ppl">Blanchot='lgc'>='lgc'>--> ='strcls'>*the fury of writing='strcls'>* or ='strcls'>*the revolt of writing='strcls'>* (Sade='lgc'> = abundant prolific excessive writer, ='strcls'>*writing in an exuberant way='strcls'>* ='lgc'>[while in prison for 32 years='lgc'>]) ='lgc'>='lgc'>--> anesthetic inconvenience

="ppl">Blanchot's Sade='lgc'> = ideal writer
="lsts lst1">•we should not understand Sade's oeuvre in an intellectual way (there is no message or insight)
="lsts lst2">◦disappearance of meaning in the materiality of language ='lgc'>='lgc'>-->='lgc'>{death of content ='lgc'>==Saussure='lgc'>='lgc'>==> ‘the signifier'='lgc'>}='lgc'>='lgc'>--> reading Sade='lgc'> = accessing the rough meaningless materiality of language itself
="lsts lst1">•we should not understood Sade's content as a reflection of an authentic self (un moi profond) ='lgc'>='lgc'>--> Sade as a person disappears into the background
="lsts lst2">◦we should not understood his writing as an instrument he uses to express content ='lgc'>='lgc'>--> ‘language='lgc'> = an independent reality’ (='lgc'>=/= Sade as a master of language)

(="ppl">Hegel and) ="ppl">Sartre ='lgc'>='lgc'>--> literary works must be engag[...]

[...]able worlds ='lgc'>='lgc'>----> taking texts as worlds, taking people as worlds
="prgrph">-(when talking about your project) you are teaching me what makes you move. ='lgc'>--> that means i need to learn how to be affected differently (other than my own projects terms) in order to affect (others) differently ='lgc'>[='at'># my bow and arrow intervention='lgc'>] ='lgc'>---- to give intense attention to your gestures (expressing desires, expectations, affects) and to respond to them in remarkable way.



critical hedonism (="ppl">="ppl">Archer)
='lgc'>--> refusal of the “embodied anxiety”

affective economies (="ppl">Ahmed)
='lgc'>--> which affective economies animate our own bodies as scholars/artist/... and as people



(asking) is this practice good for the subjects involved='qstn'>?
='lgc'>--> we create (involuntary) differences, the question is, is the world enriched by these differences='qstn'>? (by ="frds">Sina, ="frds scrmbld">Xiri, ="frds scrmbld">Aela, etc.)
="prgrph">-(also be careful with) “differences as raw material” in a “delocalized cultural capitalism (geopolitics of knowledge)” ='lgc'>--(="frds scrmbld">Renan in conversation with ="ppl">Peran)='lgc'>='lgc'>--> “internal colonialism,” “local difference as an object of study and raw material,” and “cooptation of imagination in the networks of information-connection.”
="prgrph">-(looking for other metaphors of) alignments ='lgc'>=/= operational references to co-production
(="ppl">Marti ="ppl">Peran) “The surplus of images has reached the maximum degree of pollution. In turn, the planetary connection ensures the exchange of images regardless of the visual regimes from which they come from. Images no longer speak anywhere. In this situation, the political task is to return to the linguistic battlefield. It won't be possible to do things differently if we do not start talking differently. The most urgent imperative is a language inventiveness.”


(atomism)
="prgrph">-constant and precarious self-management of molecular projects in a horizon-less future
="prgrph">-artists in the operation of self-making ourselves


='at'>#the image i made for ="ppl">Sohrevardi; allegory of ="ppl">Sohrevardi; the image's discursive architecture and its diverse inventiveness; (being careful with being) seductive in staging diversity; ='lgc'>--> “an ecology of monologues”='qstn'>? (="frds scrmbld">Renan);
="prgrph">-“The monologue is a linguistic space freed from negotiation.” ='lgc'>[...='lgc'>]  “Now, it seems that everything could be solved by the universal application of mediation, participation, collaboration processes ='lgc'>[etc.='lgc'>] without realizing that this entails the strengthening of the social cohesion model that becomes universally inclusive.” ='lgc'>[...='lgc'>] “The monologue, in this perspective, is a form of silence, a way of disappearing. One way to cease-to-be when we are forced to be.” (="ppl">Peran)

="large lg1" stl="font-size:115%"> how can i stop and resist “self-exploitation”='qstn'>? ='lgc'>--> instead of thinking about transindividualism and commons, etc.

“An artwork executed from fatigue ‘exposes’ its intensity.” (="ppl">Peran)
A “tired” artwork

(="ppl">Marti ="ppl">Peran)
[...]

[...] melancholy
“is this not a mere “don't like” that re-enters the spiral of our mobilization='qstn'>?”
“we are left with just the option of making an index, a collection of trails and marks ='lgc'>[...='lgc'>]”
sunday='lgc'>: “empty time that forces us to fill it through apparently free decisions that, if they are resolved properly, please us and re-constitute us” (="ppl">Peran)
='strcls'>*freedom of action for self-realization='strcls'>* ='lgc'>--> unstoppable egocentric machine
space of perpetual connection (='at'>@ERG's website)
(pseudo) communicative action by way of technological devices ='lgc'>--> camouflaged alienation
“The promise of self-realization and the demand for visibility organize the mobilization of desire, turning it into work.”



="large lg1" stl="font-size:128%"> do we need to formulize and formalize our uncomfortable concerns and experiences='qstn'>?
='at'>@="nms">apass, artist research



="large lg2" stl="font-size:112%"> i want to ='strcls'>*give connections='strcls'>*

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

='at'>#semester/seminar on destruction
="prgrph">-care, suffer, fubar,
='lgc'>[fubar='lgc'>: “fucked up beyond all recognition"='lgc'>--a term from veterans returning to the United States in 1960s='lgc'>]



='at'>#semester on Hojum
(surge,) on performance, media, sculpture, and surplus
Hojum has to do with the hojum (='lgc'>~=='qstn'>? ‘bodies’) of people to get in front of the line, the hojum of enemy, of friend, of information, also includes the plural form of ‘hajm’ (حجم)

="large lg1" stl="font-size:137%">

='at'>#seminar on the history of translation
archaeology, interpretation, spaces of difficult translation, reading out of time, technology and transformational studies, semiotics, poetry, writing,

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

='at'>#on Situated Knowledges
="prgrph">-approach the text by creating intensity and my own partial perspective
="prgrph">-the elephant parable (against it)
="prgrph">-objectivity (disembodied view from nowhere)
="prgrph">-neutrality (biologically insane)
="prgrph">-marked people (my own story)
="prgrph">-situatedness of the situated
="prgrph">-The cyborg is a figure in which situatedness makes possible adventures with the beyond.
="prgrph">-globalization-as-situatedness='lgc'>: global is precisely space/place/time/situation
="prgrph">-the figure of the so-called scientist gathered around certain metaphors since the begining of the 17th cebtury, namely ‘objectivity’ and all its related adjectives='lgc'>: neutrality, perspective, universality, disembodiment (for certain race and sex), etc.
="prgrph">-metaphors create perspectives ='lgc'>[the view that looks at blind men looking at the elephant='lgc'>]
="prgrph">-situatedness is different than ‘positionality’='lgc'>: a way of systematic error correction
="prgrph">-(resolving) specificity of vision ='lgc'>--> scientific objectivity (is achievable)
="prgrph">-="ppl">="ppl">Haraway expresses her informed dissatisfaction with (the metaphysical substrate that supports) ‘social constrctivism’ and ‘traditional realism’ ='lgc'>--> representationalist belief in the power of the words to mirror preexisting phenomena. th[...]

[...]ble)
="prgrph">-="ppl">="ppl">Haraway expresses her informed dissatisfaction with (the metaphysical substrate that supports) ‘social constrctivism’ and ‘traditional realism’ ='lgc'>='lgc'>--> representationalist belief in the power of the words to mirror preexisting phenomena. they both believe that scientific knowledge (in its representational formats='lgc'>: theoretical concepts, graphs, particle tracks, photographic images, etc.) mediates our access to the material world, whether it represents “nature” or “objects” of science both groups are subscribed to representationalism.
focus on the nature and production of scientific knowledge ='lgc'>--(shift to science studies)='lgc'>='lgc'>--> dynamics of the actual practice of science ='lgc'>}='lgc'>='lgc'>--> on ongoing pattern of situated activity

="prgrph">-(disembodied scietific) objectivity='lgc'>: that only certain people are allowed to have no body (Gender, race, etc.) and that high science in practice is not acting on textbook objectivity at all.

absent referents, deferred signifieds, split subjects, and the endless play of signifier

="ppl">="ppl">Haraway is feeling nervous with two views on objectivity='lgc'>:
(1)the ‘social constructionist’ view on this='lgc'>: getting to know the world ‘effectively’ by practicing the sciences ='lgc'>--> knowledge is knowledge-game (on an agonistic power field) ='lgc'>==> science is rhetoric ='lgc'>: artifacts and facts are parts of the powerful art of rhetoric ='lgc'>~=  practice is persuasion. ='lgc'>{this view will use the nasty tools of semiology and deconstruction to insist on the rhetorical nature of truth.='lgc'>} ='lgc'>--> ="ppl">="ppl">Haraway calls this ‘The imagery of force fields’ (also an imagery of high-tech military fields and of automated academic battlefields) ='lgc'>{will to power='lgc'>} (for ="frds scrmbld">Luiza)
epistemological electroshock therapy
(feminists protecting their) sense of collective historical subjectivity and agency and our “embodied” accounts of the truth ='lgc'>--> these are just excuse not to learn
(2)Humanistic ="ppl">Marxism (structuring theory about the domination of nature in the self-construction of man) (='lgc'>[young ="ppl">Marx, influenced by ="ppl">Feuerbach ='lgc'>=/= ="ppl">Hegelian idealism, saying that:='lgc'>] man's essential nature is that of a free producer, freely reproducing their own conditions of life ='lgc'>[='lgc'>--however='lgc'>='lgc'>--> under capitalism individuals are alienated from their productive activity, etc.='lgc'>])

='lgc'>='lgc'>--> “chance for life”

="large lg1" stl="font-size:132%"> science='lgc'>: Global System, universal knowledge ='lgc'>='lgc'>--> translation, convertibility, mobility
of meanings, and universality

money in capitalism ='lgc'>~= reductionism in science

...when we are talking about genes, social classes, elementary particles, genders, races, or texts

='strcls'>*vision='lgc'>: a sensory system that has been used leap out of the marked body ='lgc'>==> a gaze from nowhere
="prgrph">-“Vision is always ='thdf'>a question of the power to see='lgc'>--and perhaps of the violence implicit in our visualizing practices”
="prgrph">-also, the visual metaphor allows one to go beyond fixed appearances, which are only the end products. The meta[...]

[...]scietific) objectivity='lgc'>: that only certain people are allowed to have no body (Gender, race, etc.) and that high science in practice is not acting on textbook objectivity at all.

absent referents, deferred signifieds, split subjects, and the endless play of signifier

="ppl">="ppl">Haraway is feeling nervous with two views on objectivity='lgc'>:
(1)the ‘social constructionist’ view on this='lgc'>: getting to know the world ‘effectively’ by practicing the sciences ='lgc'>--> knowledge is knowledge-game (on an agonistic power field) ='lgc'>==> science is rhetoric ='lgc'>: artifacts and facts are parts of the powerful art of rhetoric ='lgc'>~=  practice is persuasion. ='lgc'>{this view will use the nasty tools of semiology and deconstruction to insist on the rhetorical nature of truth.='lgc'>} ='lgc'>--> ="ppl">="ppl">Haraway calls this ‘The imagery of force fields’ (also an imagery of high-tech military fields and of automated academic battlefields) ='lgc'>{will to power='lgc'>} (for ="frds scrmbld">Luiza)
epistemological electroshock therapy
(feminists protecting their) sense of collective historical subjectivity and agency and our “embodied” accounts of the truth ='lgc'>='lgc'>--> these are just excuse not to learn
(2)Humanistic ="ppl">Marxism (structuring theory about the domination of nature in the self-construction of man) (='lgc'>[young ="ppl">Marx, influenced by ="ppl">Feuerbach ='lgc'>=/= ="ppl">Hegelian idealism, saying that:='lgc'>] man's essential nature is that of a free producer, freely reproducing their own conditions of life ='lgc'>[='lgc'>--however='lgc'>='lgc'>--> under capitalism individuals are alienated from their productive activity, etc.='lgc'>])

='lgc'>='lgc'>--> “chance for life”

science='lgc'>: Global System, universal knowledge ='lgc'>='lgc'>--> translation, convertibility, mobility
of meanings, and universality

money in capitalism ='lgc'>~= reductionism in science

...when we are talking about genes, social classes, elementary particles, genders, races, or texts

='strcls'>*vision='lgc'>: a sensory system that has been used leap out of the marked body ='lgc'>==> a gaze from nowhere
="prgrph">-“Vision is always ='thdf'>a question of the power to see='lgc'>--and perhaps of the violence implicit in our visualizing practices”
="prgrph">-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='lgc'>: the prosthetic technologies interfaced with our biological eyes and brains.)

unmarked body='lgc'>: the power to see and not be seen
objectivity in scientific and technological, late-industrial, militarized, racist, and male-dominant societies

(she asks for='lgc'>:)
“So, I think my problem, and “our” problem, is how to have simultaneously an account of radical historical contingency for all knowledge claims and knowing subjects, a critical practice for recognizing our own “semiotic technologies” for making meanings, and a no-nonsense commitment to faithful accounts of a “real” world, one that can be partially shared and that is friendly to[...]

[...] disembodiment ='lgc'>: to distance to know
the visualizing technologies (='lgc'>--> my amazon project)

a perverse vision that has produced ‘techno-monsters’ (what does she mean by that='qstn'>?)
='lgc'>--> second birthing='qstn'>? transcendence='qstn'>?
='lgc'>[the frankenstein's techno-monsters, is modeled after who='qstn'>? and who is modeled after it='qstn'>? wondrously, murderously walking around...='lgc'>]
(‘second-birthing’='lgc'>: one of the deadly stories of killing='lgc'>: in the first-birthing we have merely birth to the earthly soil from the woman, and then the achievement of the tragically self-realized purpose of tragic consiousness, concretized and distilled by ="ppl">Sartre) “dire myths of self-birthing”... ='lgc'>--> we must resist the stories of guilt laden knowledge and consciousness

="large lg1" stl="font-size:137%"> unrestricted vision
presented as utterly transparent

='strcls'>***particularity and embodiment (of all vision) ='lgc'>[not necessarily organic='lgc'>]
usable and not innocent

“We need to learn in our bodies, endowed with primate color and stereoscopic vision, how to attach the objective to our theoretical and political scanners in order to name where we are and are not, in dimensions of mental and physical space we hardly know how to name.”

‘partial perspective’ (what does she mean='qstn'>?)
='lgc'>==> become answerable for what we learn how to see. (Helen ="ppl">Verran='lgc'>: accountability; ="ppl">Isabelle ="ppl">="ppl">Stengers='lgc'>: milieu thinking; ="ppl">="ppl">Latour='lgc'>: ground;)
(partial way of organizing world)
unlocatable ='lgc'>=='qstn'>? irresponsible (knowledge claims)
partial ='lgc'>--> possibility of webs of connections='lgc'>: solidarity in politics and shared conversations in epistemology
="prgrph">-to unfold the problem of relativism='lgc'>: ‘the elephant parable’ promisses seeing equally and fully. “equality” of positioning='lgc'>: relativism (another “god trick”) (!='lgc'>=/= single-vision, totalization) ='lgc'>=/= partial locatable='lgc'>] ='lgc'>[mythic cartoon of pluralism='lgc'>] ='lgc'>[myth of exact knowledges, dream of perfectly known, and politics of closure='lgc'>] ='lgc'>--> positioning is at stake here

“all eyes, including our own organic ones, are active perceptual systems, building on translations and specific ways of seeing”

how to see ‘faithfully’... (what does she mean by that='qstn'>?)

appropriating the vision of the less powerful='lgc'>:
to see from the peripheries
to see from the depths

...this not unproblemat (why she uses double negation so often='qstn'>?)

“But how to see from below is a problem requiring at least as much skill with bodies and language, with the mediations of vision, as the ‘highest’ technoscientific visualizations.”

“Science has been utopian and visionary from the start; that is one reason “we” need it.” (what does she mean='qstn'>?)
(“utopian,” “visionary,” other old metaphors in science)

“Passionate detachment” requires more than ‘acknowledged and self-critical’ partiality. (being acknowledged and self-critical is not enough!!! how deos she mean='qstn'>?)<[...]