[...]ent
•the ways we experience livability through places
(has to do with my own broken/corrupt/fubar link with ancestry <-- only “your people” can show you how to imagine it, the center/home)

transportation --{traumatic & distruptive}--> transformation

time of surprise ==> nonanimal (udyr)
-nature-culture patchworks
-perspectival and performative
-contaminative and communicative
*fantastic and real vision*
-things that don't fit together, yet, there *are* together --> sym (=/= bifurcation) --> awkward relations & interrupting categories
•(necrophobia)
•schizophrenic relations to...
•deconstruction of presence...

(for you there is also) ***many fantastically large set of contexts within which to say “yes”***

(Tsing's) *contaminated diversity* (complicated, ugly, humbling) [=/= ‘endangered species’ and cultures (innocent victims of human progress)]
-implicates survivors in histories of greed, damage, and destruction --> cacophony of troubled stories --might--> help to learn something about the cultural and natural histories at stake
-difficult to love and relate

joint organs {part plant, part fungus} interspecies phisiology ==> *mushroom*



*tumble: falll down as if collapsing (from upright position), thrown together (in mess, and very difficult to rewind)
=/= transcend
=/= entropy

•bodies tumble into bodies --> monsters
•histories tumble into histories --> ghosts
•stories tumble into stories --> lures

(material lifeworld tumble into) forests tumble into fables tumble into politics tumble into ...

***dispersal & entanglement*** {
•dispersal --> shattered, torn, broken, dispersed, made particulate, whisked away on the breeze (--> smoke, Urashima turning into particls, dud to cough with سرفه sorfe) [<-- Jassem and Mia] --> time is crossed out ويرانه
•entanglement --> patchwork, care, weave, (together, reconnected, acknowledging care and entanglement) [<-- Kirsten] --> time of the hut کاشانه
} “&” --> ??? stories? reciprocal capture ==> immanent new modes of existing (in damage and loss) [<-- Sina] --> time (and things) are diffractivelly/differentially constituted


as humans we also have these qualities:
•our plasticity
•our ability to be affected
•our ability to hybridize


(modern human activity, burning man insults ==>) [*]monsters: ajayeb-e wonders of symbiosis (threats of ecological disruption, multispecies entanglement)
(Tsing, a useful figure to think with ==>)
•they help to pay attention to (ancient chimeric) entanglement
•they point to monstrosity of man
•they point toward life's symbiotic entanglement across bodies
monsters: nature suddenly u[...]

[...]re to think with ==>)
•they help to pay attention to (ancient chimeric) entanglement
•they point to monstrosity of man
•they point toward life's symbiotic entanglement across bodies
monsters: nature suddenly unfamiliar (acting like udyr)

[*]ghosts: phantoms inside [your] (natural) history, layered temporalities of living and dying (==shape==> landscapes), creatures of ambivalent entanglement --> (help us read) *life's enmeshment in landscapes*


suffering from the ill of another species (or people):
•bacteria inside (<== pollution, radiation)
•people next door (<== war, politics)
}--> this is the condition of anthropocene entanglement



[productive horror of our civil performance--Kirsten, Sina, Jassem and Mia:]

temporalities of ruin, body, optics
                   |     |     |
       matrix of rage, lure, desire

rage (violently affective contact)
--> ghosts: [--> Jassem and Mia's performance ~ “big story"]
•**histories tumbled into histories** (“ghosts” <== bad death <== settler colonialism + expansive capitalism --> they brought with them a peculiar kind of time: looking straight ahead to the future [==> optimization & salvation of a *single past*] --> ruthless ambition & [modernity's time:] metronomic synchrony 🕓)
•animating feral and partial connections
•remind us of an *impossible present* (that we live in)
* (embodied) contingency, asymmetry, indeterminacy *
•hauntings (are not immaterial!) : presumptive absence (presumed in the absence)

lures
--> monsters: [--> Kirsten's objects ~ small stories, little niches with ghostly contours (like a car's tire) ~ things growing in abundant]
•**bodies tumbled into bodies** (“monsters” <== assets and wastes (animal entanglement with the burning man) <-- bad symbiosis)
* unspectacular afterlife of discarded things * (debris of capitalist waste)
•weaving magical figures, conjuring fictions
•constant speculation, that are fed and touched, reparative and tender
•textured, formful, colorful
*lure: things that evoke or capture feelings and responses ==> to lure out relational responses

desire (superposition)
--> optics: (a form of distance) [--> Sina's stories ~ superposition [different scales] of dispersed times [~ unruly temporalities], multiple practice of knowing smallbig spacetime mattering]
•**positions tumbled into positions** (tumbled into politics: some instruments of seeing producing perspectives are more guilty than others)
* (disembodied) multiple practices of knowing --> landscapes: arrangement of life and afterlife, space that grows from ‘endings’ <== ‘death of’(s) ~~> contaminated (stories/diversities)
--> diagram: http://ajayeb.net/?q=rationalizable
(Sina performing) [...]

[...]affective contact)
--> ghosts: [--> Jassem and Mia's performance ~ “big story"]
•**histories tumbled into histories** (“ghosts” <== bad death <== settler colonialism + expansive capitalism --> they brought with them a peculiar kind of time: looking straight ahead to the future [==> optimization & salvation of a *single past*] --> ruthless ambition & [modernity's time:] metronomic synchrony 🕓)
•animating feral and partial connections
•remind us of an *impossible present* (that we live in)
* (embodied) contingency, asymmetry, indeterminacy *
•hauntings (are not immaterial!) : presumptive absence (presumed in the absence)

lures
--> monsters: [--> Kirsten's objects ~ small stories, little niches with ghostly contours (like a car's tire) ~ things growing in abundant]
•**bodies tumbled into bodies** (“monsters” <== assets and wastes (animal entanglement with the burning man) <-- bad symbiosis)
* unspectacular afterlife of discarded things * (debris of capitalist waste)
•weaving magical figures, conjuring fictions
•constant speculation, that are fed and touched, reparative and tender
•textured, formful, colorful
*lure: things that evoke or capture feelings and responses ==> to lure out relational responses

desire (superposition)
--> optics: (a form of distance) [--> Sina's stories ~ superposition [different scales] of dispersed times [~ unruly temporalities], multiple practice of knowing smallbig spacetime mattering]
•**positions tumbled into positions** (tumbled into politics: some instruments of seeing producing perspectives are more guilty than others)
* (disembodied) multiple practices of knowing --> landscapes: arrangement of life and afterlife, space that grows from ‘endings’ <== ‘death of’(s) ~~> contaminated (stories/diversities)
--> diagram: http://ajayeb.net/?q=rationalizable
(Sina performing) diffractive optics of knowing ==> ongoing articulation [=/= perspective]


•i shouldn't be talking, opening this
|
•remembrance --> Bambi's mother studies {what if remembering is something totally different than “lost member"}
|
•fox story --> animal trap:
◦perception {rhetorical perception, evil perception, etc.}
◦lure 🌀 can't stop following, trap: nearby-ness, becoming bodily, engaged in perspectival game and will ==> fox's relation to the forest [he is suspicious and rend =/= *lured into desiring & trusting* : we bring our lures and needs towards each other, (sometimes it is) critique is an art that tangles with what you are proposing, like fox in a lure (octopus is much better with lures than fox)]
◾propositions
◾abstractions --> (i love) ideas: to animate humans, erotic lure for soul ==> *metamorphic attention*
|
•omen --> potent sign of alarm
|
•evil {category cros[...]

[...]sten's objects ~ small stories, little niches with ghostly contours (like a car's tire) ~ things growing in abundant]
•**bodies tumbled into bodies** (“monsters” <== assets and wastes (animal entanglement with the burning man) <-- bad symbiosis)
* unspectacular afterlife of discarded things * (debris of capitalist waste)
•weaving magical figures, conjuring fictions
•constant speculation, that are fed and touched, reparative and tender
•textured, formful, colorful
*lure: things that evoke or capture feelings and responses ==> to lure out relational responses

desire (superposition)
--> optics: (a form of distance) [--> Sina's stories ~ superposition [different scales] of dispersed times [~ unruly temporalities], multiple practice of knowing smallbig spacetime mattering]
•**positions tumbled into positions** (tumbled into politics: some instruments of seeing producing perspectives are more guilty than others)
> * (disembodied) multiple practices of knowing --> landscapes: arrangement of life and afterlife, space that grows from ‘endings’ <== ‘death of’(s) ~~> contaminated (stories/diversities)
--> diagram: http://ajayeb.net/?q=rationalizable
(Sina performing) diffractive optics of knowing ==> ongoing articulation [=/= perspective]


•i shouldn't be talking, opening this
|
•remembrance --> Bambi's mother studies {what if remembering is something totally different than “lost member"}
|
•fox story --> animal trap:
◦perception {rhetorical perception, evil perception, etc.}
◦lure 🌀 can't stop following, trap: nearby-ness, becoming bodily, engaged in perspectival game and will ==> fox's relation to the forest [he is suspicious and rend =/= *lured into desiring & trusting* : we bring our lures and needs towards each other, (sometimes it is) critique is an art that tangles with what you are proposing, like fox in a lure (octopus is much better with lures than fox)]
◾propositions
◾abstractions --> (i love) ideas: to animate humans, erotic lure for soul ==> *metamorphic attention*
|
•omen --> potent sign of alarm
|
•evil {category crossing monsters [~= ajayeb's context of evil], force of liberation, beauty, complexity}
|
•Ursula's sea (from little mermaid):
◦the way she says “yes” {multisensorial call “yes” and “more"}
◦her laughter {develish perception, perceptual joke, joy of corrupting her morality [~ her heroism: who the hero is and how to live happily ever after]}
◦fish-story --> aqua culture
|
•Ursula La Guin --> Urashima story
|
•finish with evil laughter


(follow the departure from ‘evil’ to ‘misunderstanding’ or ‘perspective’ in Disney's animated movies)


[according to *creation ancestral dreamings*(~ founding ancestors):] sh[...]

[...]'your subjects’ into ‘subjects of conversation’ with others --> موضوع
•غیر قابل حل کردن =/=
•تفکیک کردن
(مطرح کردن به صورت که تکه تکه کرد)


[*]research: problem of entering a culture from outside


points of the lecture:
-a nano-expose
-of kicking off this...
-not dramatically pitched at you
-cartography of collapse and sublime
-coming down or crushing down the watching post
-(disclosures and) promises of frontier technology
-


ghosts of the project:
/poltergeist --> not really capable of knowing different things and different types of relations they are entered into, bad at perspectival communication
/Hamlet's father --> wanting you to remember ~= revenge
/Cinderella --> doesn't show any psychological symptoms (she has no psychology?), she is not the master of anything, not even her name
/ruin --> place of unsettled identities

questions of:
•doom [=/= adjustment, management]: “contamination = end”
•subject surging to bear an affect, subject who goes with the flow in an intoxicated moment
•traumatic realism
•(endangered ==>) survival: fighting for “your right against others”
•less-than ideal livable collaborations
•
•constructing interest (not that ‘you want to know’ --> historically crafted and naturalized modalities of “knowing more”)
•contingent (~ lure, abstraction, fragile [--> they create interested bodies]) =/=? analytical [--> they create disembodied subjects]

[poem can do all of these:]
/proposition --> right/wrong declaratives
/exposition --> systematic explanation
/disposition --> affective orientation ~~> attitude ==> perspectives ==> selves

poet [=/= archivist] can be responsible for the ‘remainders’ --> good at greeting =/= traumatic realism


(1) traumatic realism
(real understood as traumatic:) “shock ==> subject”
a way of figuring that fails to bring the inflicting force (of real) into the symbolic order ==> mime, miming: you bring it into the present literally over and over (re-present)
|
(2) atmospheric attunement
a way of being in the noise
labor-intensive process that stretches across imaginaries [such as travel, house, haunt] --> responding to ” “
actual affects of modes of living brought into being
intimacy with a world [visiting families in Alta]
|
(3) phantom arm
“social = present-absent” (=/= Star Trek's interculturalism) (=/= Lacan's subject: proper sense of absence and loss)
connectivity does not require physical contiguity
-force of piled-up phantom limps
-hum of the palce, dormant noise --> worlding of a place [<-- material and sensory labor of attending to it][...]

[...]r /> practically --> we have to learn their tricks to be able to approach them

**a matter of finding the procedures that attest to the pertinence of explanations** (=/= a matter of explaining/understanding them)


enigma --{(like good detective stories) inscribes the protagonists in a relation of}--> rivalry هم اورى : if you want to understand them you must try to be as smart and cunning than they are (not letting oneself be duped by appearances)

politeness --> suspicion ~= respect (‘re-spectare’ to look twice)
•confidence without verification offers little guarantee as to its robustness

we want to witness in a reliable manner = we want that which we learn from the ravens is to be treated with confidence = we want to define ourselves as authorized by them to speak in their names = we want to (required to) offer them the opportunity to show what they can do (with the *great flexibility of our interpretation*)


[*]trap
(enigma of the apparently inexplicable behavior) --> *how to ask the ravens, with the same politeness, to take a position in relations to all the possible conjectures of the investigation?* how to ask them to teach us the good explanation, the right motive? ==> the researcher will have to learn the ***art of the trap and the net*** = the art of the lure and the trick = ***the art of learning from those whose enigma you are trying to solve*** (and have no intention of helping you) --> ‘how that which counts can count for them’
•*the art of metis / cunning intelligence* : the particular form of intelligence that the greeks (learning from hunters and fishermen) cultivated = intuition شهود + cunning مکر + perspicacity فراست + dissimulation فریب + improvisation بدیهه + vigilant attention هوشيار + sense of timeliness بجا (<-- this type of “getting to know” was constituted exaclty to be found in a domain where human intelligence is constantly at grips with the land or sea animals in an are where humans saw their intelligence and techniques transform in learning from animals**** [-how to prolong the possibility of this transformation?]) <-- *it is the only way of getting to know that can hope to address intelligent highly flexible* (Despret > Heinrish) = ravens who require of those who want to know them the same flexibility and the same intelligence
}-->[reading ajayeb bestiary as enigma; Bambi's mother studies; little mermaid; (using Despret's ethological research to think about) art of feedback ~= getting to know you =/= audience engagement]


strange politeness
art of cunning (lures + manipulation) --> enticing ravens
*seeing without being seen*
obliging them : luring them to actualize the choices : ***creating situations as if they were natural*** (so as to let the birds do the talking)
(it is a matter of) rendering them more robust [givin[...]

[...]e is constantly at grips with the land or sea animals in an are where humans saw their intelligence and techniques transform in learning from animals**** [-how to prolong the possibility of this transformation?]) <-- *it is the only way of getting to know that can hope to address intelligent highly flexible* (Despret > Heinrish) = ravens who require of those who want to know them the same flexibility and the same intelligence
}-->[reading ajayeb bestiary as enigma; Bambi's mother studies; little mermaid; (using Despret's ethological research to think about) art of feedback ~= getting to know you =/= audience engagement]


strange politeness
art of cunning (lures + manipulation) --> enticing ravens
*seeing without being seen*
obliging them : luring them to actualize the choices : ***creating situations as if they were natural*** (so as to let the birds do the talking)
(it is a matter of) rendering them more robust [giving them the occasion to resists, of giving them *the power to send the researcher/storyteller to work* =/= to disarticulate (what Ferdosi does in Shahnameh to the Div)]


to find an enticement that interests them ~= to let himself be recruited by them
[from Latin “cresc-” grow, rise ==> crescent, crew, decrease, crescendo, recruit]

to trust them = to act like them
@apass feedback (differential knowledge that is created because of not trusting)


the lure could be used to respond to this question: the ravens fall for the trick
...not only do the ravens not respond to questions but they pose new ones

-how could we ask them (the ravens, trees, etc.) to verify our hypothesis (about them)?

*he has no answers =/= he has nine hypothesis*


biological detective stories

curiosity (for the things you discover that you don't know) <== the more you know

more cunning
more imagination
more activities
--to--> obligate ravens to choose between hypothesis

{ Heinrish: “It is still dark, and I'm already being awakened by raven calls! Several birds are flying over Kaflunk making short, high-pitched calls that are unlike the usual quorks. These calls convey excitement. The birds are flying to a kill! I feel it. Even I can understand, and I too am recruited” }--Despret--> ***if this recruitment by nonhumans was able to acquire such an efficacy, it is because the human was transformed by those whose enigma he was trying to understand*** [=/= animal rights activist ==> evidence arrive in the form of a weakened raven that has to be saved]

***letting himself be drawn into their enigma = converting the environment into a little more of himself ==> he learned to become sensitive to what makes the ravens sensitive*** (Cinderella's mice learned that about her)

Heinrish --> I, as a mammal f[...]

[...]al manner


what a maze can mean? --Despret--> **translating what happens to rats in terms of meaning**
(drawing on Uexküll's theory of Umwelt) --> open up for the animal the question of point of view

a concrete or lived Umwelt ==> the animal endowed with sensory organs different from our own, cannot perceive the same world as we do

{**perception: an act of creation =/= a form of reception**}--> the animal **fills its environment with perceptual objects**, it constructs its environment by *peopling* it with perceptual objects (=/= perceive passively)
*the activity of perception = an activity that confers meaning* = only that which has meaning is perceived, only that which can be perceived (~= is important of the organism) is *accorded a meaning* (~= accordance)
•butterfly lives in a world of luminous intensities and of odors
•tick lives in a world of butyric acid released by the sebaceous follicles of mammals
•spider lives in a world of...
•rat lives in a world of...
•

for a spider?
for a rat?
time, space, place, path, way, house, odor, enemy,,, --> each event (in the perceived world) “signified” which is not perceived except in that it signifies ==> ***animal = subject = a “lender” of meaning***

[*]subject: that which accords meaning

the object is constituted in action (the animal never enters into a relation with an object as such) --> meaning does not emerge from the object = objects are not alone in having meaning accorded to them

Umwelt: an environment of relations

no animal can be neutral of another (in the environment) <--if-- it can be seen to be accorded a meaning

***strange lures ==make=possible==> types of research***

Cinderella to the mice : alluring producer of sociality (lure: enticement for meaning) <== *lures are frequently required in order to convey the meanings of an animal*

a human can take on the meaning of *socius* (comrade, friend, ally)
a human can learn what a socius means in the like of a jackdaw (to be taken for a material socius)
--> ‘associating with' = carry out various activities together

you want to be taken by somebody from another species for a material socius (that is also why people have pets) =/= pray


meanings are not fixed once and for all, flowing from elementary needs of the organism: meanings are flexible, can apply to other beings, extend to unforseen situations, change, and even invent and create new relational uses (<-- this is what i experience in translational working with meanings in farsi literate in my lectures)


(Cinderella asking) when observing rats, what can produce the activity of translating their behaviors in terms of meanings?


one confuses the term “examine” with[...]

[...]ronment by *peopling* it with perceptual objects (=/= perceive passively)
*the activity of perception = an activity that confers meaning* = only that which has meaning is perceived, only that which can be perceived (~= is important of the organism) is *accorded a meaning* (~= accordance)
•butterfly lives in a world of luminous intensities and of odors
•tick lives in a world of butyric acid released by the sebaceous follicles of mammals
•spider lives in a world of...
•rat lives in a world of...
•

for a spider?
for a rat?
time, space, place, path, way, house, odor, enemy,,, --> each event (in the perceived world) “signified” which is not perceived except in that it signifies ==> ***animal = subject = a “lender” of meaning***

[*]subject: that which accords meaning

the object is constituted in action (the animal never enters into a relation with an object as such) --> meaning does not emerge from the object = objects are not alone in having meaning accorded to them

Umwelt: an environment of relations

no animal can be neutral of another (in the environment) <--if-- it can be seen to be accorded a meaning

***strange lures ==make=possible==> types of research***

Cinderella to the mice : alluring producer of sociality (lure: enticement for meaning) <== *lures are frequently required in order to convey the meanings of an animal*

a human can take on the meaning of *socius* (comrade, friend, ally)
a human can learn what a socius means in the like of a jackdaw (to be taken for a material socius)
--> ‘associating with' = carry out various activities together

you want to be taken by somebody from another species for a material socius (that is also why people have pets) =/= pray


meanings are not fixed once and for all, flowing from elementary needs of the organism: meanings are flexible, can apply to other beings, extend to unforseen situations, change, and even invent and create new relational uses (<-- this is what i experience in translational working with meanings in farsi literate in my lectures)


(Cinderella asking) when observing rats, what can produce the activity of translating their behaviors in terms of meanings?


one confuses the term “examine” with that of “neutralize” --> (Watson, scientist) removed the rat's eyes, olfactory bulb, and whikers, which are essential to the sense of touch in rats, before throwing it into the exploration of the maze...
--Despret--> if the world had probably lost all meaning for this de-sensed rat, the rat itself had lost all meaning for its experimenter (if it ever had one for him)
-this is the goal of the procedure: search out the lowest common denominator, the left-over, the automation, the behavior that from one species to another wi[...]

[...]m white, 40 years old, Italian, … and than you speak from that - it actually excludes possibility of hybridization)
we are not available to intentionality all the time [i need to take some time to think with this sentence]


time focuses on individual
trapping implies relationality
a trap/trapper/the trapped ones

...................................

a story from Kalila and Dimna: rabbit, mouse, frog are trapped together and they bond about how to get rid of it. eventually they start to move from within it (not from escaping the trap) as a monstrous hybrid.


Fables: Cinderella precarious situation
I want to break with Artaud idea (“to be powerless” is a bad idea): plea for traps:
care, writing, work happens when you are trapped!

...................................

________________

...................................

trap


[*]trap
(enigma of the apparently inexplicable behavior) --> *how to ask the ravens, with the same politeness, to take a position in relations to all the possible conjectures of the investigation?* how to ask them to teach us the good explanation, the right motive? ==> the researcher will have to learn the ***art of the trap and the net*** = the art of the lure and the trick = ***the art of learning from those whose enigma you are trying to solve*** (and have no intention of helping you) --> ‘how that which counts can count for them’
•*the art of metis / cunning intelligence* : the particular form of intelligence that the greeks (learning from hunters and fishermen) cultivated = intuition شهود + cunning مکر + perspicacity فراست + dissimulation فریب + improvisation بدیهه + vigilant attention هوشيار + sense of timeliness بجا (<-- this type of “getting to know” was constituted exaclty to be found in a domain where human intelligence is constantly at grips with the land or sea animals in an are where humans saw their intelligence and techniques transform in learning from animals**** [-how to prolong the possibility of this transformation?]) <-- *it is the only way of getting to know that can hope to address intelligent highly flexible* (Despret > Heinrish) = ravens who require of those who want to know them the same flexibility and the same intelligence
}-->[reading ajayeb bestiary as enigma; Bambi's mother studies; little mermaid; (using Despret's ethological research to think about) art of feedback ~= getting to know you =/= audience engagement]

...................................

strange politeness
art of cunning (lures + manipulation) --> enticing ravens
*seeing without being seen*
obliging them : luring them to actualize the choices : ***creating situations as if they were natural*** (so as to let the birds do the talking)
(it is a matt[...]

[...]s in an are where humans saw their intelligence and techniques transform in learning from animals**** [-how to prolong the possibility of this transformation?]) <-- *it is the only way of getting to know that can hope to address intelligent highly flexible* (Despret > Heinrish) = ravens who require of those who want to know them the same flexibility and the same intelligence
}-->[reading ajayeb bestiary as enigma; Bambi's mother studies; little mermaid; (using Despret's ethological research to think about) art of feedback ~= getting to know you =/= audience engagement]

...................................

strange politeness
art of cunning (lures + manipulation) --> enticing ravens
*seeing without being seen*
obliging them : luring them to actualize the choices : ***creating situations as if they were natural*** (so as to let the birds do the talking)
(it is a matter of) rendering them more robust [giving them the occasion to resists, of giving them *the power to send the researcher/storyteller to work* =/= to disarticulate (what Ferdosi does in Shahnameh to the Div)]

...................................

to find an enticement that interests them ~= to let himself be recruited by them
[from Latin “cresc-” grow, rise ==> crescent, crew, decrease, crescendo, recruit]


to trust them = to act like them
@apass feedback (differential knowledge that is created because of not trusting)

...................................

the lure could be used to respond to this question: the ravens fall for the trick
...not only do the ravens not respond to questions but they pose new ones

...................................

---> the story of birds entrapped escape away with the cage

...................................

THE prey and THE visible (both are categories of forest life survival stories. also have high stakes in iranian culture, thought, and philosophy)
--> what is important for a living self?


(bab-e) hekayat-e dusti-e kabutar o zagh o mush o bakhe o aahu o ...
بابِ / حکایت دوستی کبوتر و زاغ و موش و باخه و آهو و ...
[everyone?]
[the story of the friendship of these animals; the quality, properties, and pitfalls of relation]
•what is (re)activating the *imaginary friend*? (is it really fully on shut-down?) ---> trap to abstract thought? ---> this ‘abstract thought’ is dangerous for “sadness” to get lost in it, but it is amazing for “joy”
•how much we need sadness?


why jackal is so persistent and play-full (full of “plays”) in Kelile o Demne's bestiary?

...................................

bird people
,
fox people


,


‘shekar’ [شکار prey] and[...]

[...]x's escape = olisthcinein (in greek: an athlete whose body, rubbed with oil, slips through the grasp of his adversary)


--Detienne--> *it was not in nature that the Greeks found this type of reversal behavior in animals, but rather in their own minds (in the conception that they formed of metis)*
(metis is not something that is “out there”? ---> go to ajayeb bestiary)


octopus
(to the Greeks) octopus = a knot made up of a thousand arms, a living, interlacing, network, a poluplokos being (coil چنبره snake with its coils and folds, labyrinth, Typhon: multiple creature “with a hundred heads” whose trunk tapers out into its eel-like limbs)
*octopus mechane: enables it to merge with the stone to which it clings
*octopus logos: poluplokos
-it too knows how to disappear into the night, but it is a night which it can itself secrete (the ink, this dark cloud, this impenetrable night which defines one of the essential features of the octopus and of the cuttlefish)--> *pathless night* --> metis: only they can discover a poros
cephalopod -->  *oblique creatures*: they have neither front nor rear, they swim sideways with their eyes in front and their mouth behind, their heads haloed by their waving feet ==> confusion of directions --> aporia (aporai)


living traps --> they exploit a device (that Plutarch calls) sophisma: fish lurer


fox + octopus --define-->
•a type of human behavior: *present a different aspect of yourself to each of our friends*(!)
•a model for a form of intelligence (i call it *coiled intelligence* هوش مارپیچ) --trap--> the net in which his adversary becomes entangled [=/= chamaeleon: metamorphoses produced by fear]




fox + octopus --> *master of bonds*
[*]bond = weave + twist
[*]net: invisible (mesh of) bonds <-- favorite technique of metis


arm = bond
every part of its body is a *bond* which can secure anything (but nothing can seize)


*fox = a living bond* (can bend, unbend, reverse its own position at will)


Oppian is all about bonds, ropes, cords
pieces are joined end to end to form the “well twisted withies” (which the good hunter always carries with him)


Hermes: living web of interweaving (sumplekein), stations himself *close to the door*, mobile as the mime


[*]lecture-performance: art of (bending and) interweaving logos


the fisherman's “cloud” is the unyielding answer to the “cloud” of the cuttle-fish
*It is only by himself becoming, by means of his net, a bond and a circle, by himself becoming deep night, endless aporia, an elusive shape, that the man of metis can triumph over the most cunning species in the animal world.*
(Detienne)


[*]metis: i[...]

[...], that the master-disciple relationship doesn't affirm the divine order.
and San'an is also against the notion that Sufi man is without the need of a feminine principle.
we are presented with will of the Tarsaa, the destination of San'an, and the poetic representation is feminine. the female image is strong. although at the end it has to give up -- she converts to his style. the will of the disciple is not replaced by the will of the guide, the master himself doesn't have a will.


The Tarsaa is supervising San'an's diet, sleep, and speech


[I have become more interested in the term ‘tradition'---and more suspicious of preoccupations such as ‘invention’ as modernized and capitalist terms.]
tradition: an act of memory based on a salience-effect of shared knowledge
(ein Akt der Erinnerung basiert auf einer Hervorspringen-Effekt der gemeinsamen Kenntnisse)
-there is a sequence (where is the individual terms within it?)
-my storytelling is about: describing relations of inversion, extension, inclusion, analogy, etc. between mythical, lyrical, or even scientific ‘beings’ that are (1) *conventional* (recognizable repertoire), and (2) *closed* (refer to certain predefined situations and symbols)
==> I work-with and bypass with these aspects in Attar, Hafez, Ajā'ib al-makhlūqāt, etc.


the performance of ‘stop’ in San'an
sign-functions that cannot be stopped

the master-pupil lock
‘locken’ is also to lure, seduce, etc.


thank you for becoming my students, temporarily
we are not locked, and not necessarily unlocked



what is concealed behind the special effects of the awesome signifier in San'an's story?


concealed =/= canceled



in Rumi every word is pass-word. you don't translate a password! (fallacy of the literal)


•all same-sex relationships are hierarchical and dyadic (of two, ‘paarweise’ in German)?
and are based on the cultural diagram of the master-disciple relationship in Sufi orders?

Sufi order =/=? flirtation


mystic, is one mode of subjectivity emerged in the middle eastern thought--- a prototype of closeness and removal.



in Rumi--Masnavi's third book--the un-concentrated Sheikh (- story of Daghughi - شیخ دقوقی) is scandalously abandoned by his devotees. they broke his heart.
[Plot: Daghughi and his disciples are in deep trance beside a beach. a ship comes and sink in a sudden theatrical storm right in front of them, but miraculously the passengers survive. the students check with each other if any of them have prayed for the God's help's redirect to the sinking ship. no, they deduce it must have been their sheikh who saved those people: “he is distracted by the world.” finally wh[...]

[...]cler*
•defeating Apep: basematerial outputs (spit) --to--> elemental properties (fire) --to--> man-made weaponries (lance, knife) --to--> fetishistic physiologies (the left foot) --to--> sympathetic magic (tearing apart of effigies


(sectarian logic?)
desire for clear reactional materiality [=/= sadistic or paranoiac serial killings]

teratological and semi-demonological turn
interjecting thingness, fiendishness, and monstrosity into our midst

night: indefinite definite ~=> nihilistic force of closure

(from) orthodoxy --to--> dramaturgy


(Mohaghegh's theory of) fanatical sovereignty in pagan thought --> ultimate keeping & violation of the law ~= obsessive form & apocalyptic formlessness
(reconciling) *the toxic dialectics of presence & absence* behind every theo-political order : gods walk among us in immanent ambush, hiding in night's open view (of many faces, masks, tongues, robes, tastes, proportions, and gestures), adopt infinite visages, apparels, pseudonyms, and dialects [=/= monochrome trappings of daily identity]


Ahriman =/= fire-god
omnimalevolent side
first destructive spirit
twins of the primeval choice
==> crises of perception
dwelling in non-being
shape-stealer
self-cutting (cooking of his own paranormal tissue)

earthly creation = ruse, net, and temporary prison (a decorative window-dressing to lure the false god away)

a sunless place

mortal transactions (of civilizational, philosophical, religious, and moral trials)


night-raid
nocturnal fierceness
asceticism of the warrior
asceticism of the night-watchman


(Goda riding with the) exponential disinformation of legend

learn to talk with night <-- not indicative of a knowing subject
--> to become both hypnotized & hypnotic whisper

language of mood (subtle movements of):
•temperature drops
•intermittent gusts of air and wind
•snapping of tree branches
•shooting comets of sky


Bronze Age eschatologies

queen of riddles
cosmic idolater
her language never argues, only propositions



dark thoughts

evanescing moon

...guerilla leader who fled into the mountains and froze to death beneath the night sky

thoughts of
•obvious separation (from family, lovers)
•potential victory and loss (fatalistic struggle)
•futility of human experience amid insects and animals creeping in his midst (transfigured)

*night <--tied--> wondering*
*night <--tied--> uprising*
*night <--tied--> possession + dispossession*
*night <--tied--> countdown* شمارش معکوس
*n[...]

[...]orative process (across media)
= processes: people engage in varying degrees and forms of intensity and with varying collaborative possibilities -->{fandom: an interactive engagement that is culturally ambiguous =/= ‘society that values property,’ or ‘unique creations by single artists'}
(such media is) inspirational exactly because *so much is left out*, so much invites elaboration
•gossipy pleasures
•extratextual information
•many layered joke
•alerting the refrain of male friendship
•

like other kinds of SF Star Trek also often does replicate the very aspects of culture and society we find at the root of a range of social injustices, racism, sexism, homophobia, and others

Star Trek, understood by cultural studies, is complexly contradictory, full of progressive possibilities + structures that shut down such possibility
--study--> cultural sites of struggles for power and for competing visions of justice

Kirk speaks Spock's funeral address and movingly says: “his soul was the most human.” --> “human” simultaneously creates unities across races and nationalities (as a universal term for courage or compassion), just as it also valorizes and makes superior the species “human” ==> new inequality between humans and nonhumans

...................................

wmst601fall10.blogspot.com Katie King

zoo spelled backwards

http://www.ediblegeography.com/cross-species-dining-an-interview-with-natalie-jeremijenko-and-mihir-desai/
Jeremijenko @Sarah
edible lures
bio-amplification that happens through the food web

the New York of...
the Brussels of...
(there is always) the Tehran of X [trees, dogs, rats, moms, thugs, etc.] (=/= the X of The Tehran)


approach: targeted drug delivery --> doing focused interventions =/= treating the whole system

links of how *shared interdependent transsex* [shared rearrangement of sex and re/production] is unfolding
-responding to this rearrangement not through fear of the eco-catastrophic assumptions

*shared interdependent* =/= dependence, independence

prefix -sphere =/= -scape
bioscape --> life and energies (not necessarily “alive”) in relation to an imperfect spherical earth, but also its relations to multiple other possible planes, elements, assemblages, and processes (beyond the biosphere)
(jetscapes, oilscapes, foodscapes, microwavescapes, surveillancescapes, mountainscapes, sunscapes, waterscapes, etc.) -Kier


you could love in a goose's world ==> you are *goosomorphous* (~ producing a goose body & being produced yourself by a new identity --> a not-attributing anthropomorphic love)--> *anthropomorphic: to add new definitions to what it is to be a human being*
[*]anthropo-zoo-genetic practice: practice of domestication, [...]