[...]nner
mardi مردی manly combat

[Sina, Ehsan -->] in the manner of *narrative men* --> typical for the thousand and one nights--whose protagonists of merchants (often thrift sons of rich merchants, who embark on travel after they have wasted their fortune with false friends)
•save himself by his inventiveness, strong determination, physical strength
•there is no single predestined future but a variety of options whose eventual practical course depends on the protagonist's active intervention
•(Sinbad left behind on an island where) the Ruhh has laid its eggs (spirit's eggs تخم های روح 🥚🥚🥚)
•althought most of them kill other people in order to survive, their action is spontaneously motivated by the needs of the moment
•

با هزار زحمت with a thousand efforts


customary formal “hearing is obeying”


pitfalls
“[...]When I returned home, my wife had died. They lifted her up, took me along, and brought us to that cave. With a rope they let me down and blocked the entrance of the cave. After they had lowered the [body of my dead] wife and the [bundle of] clothes and I had regained my senses, I got up and saw a tremendously large cave. I installed the wick and lit the lamp, chose a place by the side, cleaned it and made a bedstead. And when every two days they threw somebody down there alive, I killed that person with my knife and took the supplies of three days bread and water, until one day they deposited in that cave my former wife’s sister alive, together with her dead husband. When she saw me, she recognized me and consented to marry me. I slept with her and had several children with her. Some time later I started to dig the ground in a corner of the cave with my knife until I had made a [large] hole to the side of the sea. Every day I would sit there, until I finally saw a ship. I attached a piece of cloth to a stick and waved it, until the ship came close and took me and my children aboard. They also asked me the same question [i. e. why my children had heads like horses], I told them my story, and they delivered me to my country. I had many more children with that woman. This is the story of my children and their ancestry.”


moral obligation of contemporary society
...the king would use the slave girl as muslim men would do = for entertainment of all kinds (including sexual intercourse, but not eating them)


relief after hardship فرج بعد از شدت

urdu romance bagh o bahar باغ و بهار

(the considerably older) misogynous motif of the unfaithful wife
husband and sife being buried together

--> part and parcel of the **narrative stock** talented storytellers would exploit to construct their tales

intertextual references
•cannibal black men
•the one-eyed person whose one eye had been picked out by a bird (a well-known narrative from premodern arabic and persian tradition, a one-eyed character is taken as an ill omen, whereas here he figures as a friendly advisor and helper)
•
--> ***stock characters*** of premodern middle eastern literature

Marzolph --> concider texts as artful creations composed by a talented narrator =/= taking texts as the products of an anonymous popular “fold” tradition that would indiscriminately غيرمشخص lump together all kinds of material ==> belittling the creative act of a single individual

*intertextual allusions (to themes, motifs, concepts familiar to the audience) : a highly effective narative technique for linking new and unknown tales to a web of tradition the audience shares*

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

*~._

all the familiar landmarks of your thoughts that you find in somebody else's


عجایب نامه ajayeb (doing it here in europe): the exotic charm of another system of thought (~= its limitation)

[*]zoo: terrible grounds that the child [= us] enjoys = primal scene of conquest (of nation building, of state power) --carceral--> scene of sadistic pleasure, where bodies become “flesh” [<-- telegram is all of this]
(Hayward + Borges)

[*]child: a primal scene = the promise of the social, the human, and the future --> ***child is necessary for the ongoingness of colonialism*** [---> go to the children in The 100 TV series <-- *white child: an explorer of terrible grounds*]
•conscripted labor
•enslavement
•necropolitical economy
•
--elaborating-proliferating--> productive engines of empire

}--Hayward--> how might the effects of colonialism always find children enjoying terrible places?


the subtending (entgegensetzend) logic of the zoo

sadism: the trouble of enjoying terribleness

(Lacanian) imaginary --desires--> coherence (=/= fragmentation) ==generates==> a compromise : an idealization of the self as whole, between the unbearability of interiority and exteriority
*imaginary is unavoidable, the obligatory state of existence (for speaking subjects) ==constitutes==> real effects

•Borges --> imaginary --> a world in pieces (monstrous fragmentation), impossible world of ‘that’
•Lacan --> imaginary --> tentatively precariously constitutes a sense of self through alienation

(Hayward > Borgesian) ****zoo --constitutes--> a primal scene of colonial violence though which fantasy and imagination, dragons and unicorns, are articulated, organized, rendered as “elsewhere” =/=? ajayeb premodern


zoo
one of the most ancient institutions
transformed by the event horizon of modernity

(Fanon dramatizing) colonialization is animated by zoonomia as phantasy: “when the settler seeks to describe the native fully in exact terms he constantly refers to the bestiary”

*we = sadism's children*

how imaginary beings and *fantastic zoology* always carry a colonial logic

biological essentialism : a dangerous and reactionary basis upon which to build a politic

...racial and colonial violence of slavery

prison: anti-trans necropolitical institution
+ its abolition: a critique of anti-black legal/sovereign violence and for the radical potentiality of social tranformation
(=/= prison in Orange Is the New Black TV series)

[*]trans: an effect of white supremacist thinking that needs incoherent genders to make gender matter at all****
--Hayward--> when trans becomes ‘this’ (an effect of gender) then it can only serve regimes of power


[Hayward's (expected and a bit cliche)] transfigurations: (cascading provocations) suggesting questions without answering them, to break from an interpretive paradigm that demands solution-making over and against problem-generating


native
a zoological term

Derrida's blackness (skin color): unsovereign and stateless, criminal and beast

(promise of love -->) relinquishing the body to [*]flesh: pre-discoursive material, a zone of non-personhood, a state of anjection (<-- according to Hayward)
anatomo-political)

soma-politics of the body (of the racial-colonial category of the human)

carno-political question of flesh (under the regime of racial capitalism) --> human/animal divide
•animals in the afterlife of slavery are rendered as flesh (under the regime carno-political regimes of racial capitalist valuation) [<-- Hayward's misrecognition of contemporary society as “regime"]

genre of animal

Gossett + Hayward's argument --> the psychic life of zoophobia and zoophilia are tied up with negrophobia and negrophilia ~= species divides (human/animal) are technologies of race (human/black)


maroon: escaped cattle


typography: domain of style, of appearance, of aesthetic

glyph “*”
asterisk
a diminutive star
limb-y reach
a grasping
erring on the side of over-population, over-use, excessiveness
“*” can denote a database search or censorship
designate multiplication
a disclaimer
mark genetic identity
pseudonyms that have been changed
* --> *the star of life*

xenogenesis --> proliferating difference (genesis) built through pessimism (xeno)

Sun Ra (in Space is the Place ~= earth is “nowhere,” no longer a place [+ Octavia, Delany]) signaled the failed projects of planetary humanist and earthly liberalism, inviting blacks living in Oakland to leave the gratuitous violence of the world
afro-futurism is about the impossible, the unbearable, the failure of the world <--> afro-pessimism (blackness as loss, as nothingness)
(mode of imagination:) “anti-black racism ==> radical politics of abolition”
==> “being (white) is made possible thourgh and with black bodies cannibalized by a racial capitalism and its scientific jaws” [<-- Hayward's politically correct and simple fantasy about good and bad]

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

*body* --> sociohistorical construct & constrain
=/=
*embodiment* --> sense of being bodily (pain, ...) [<-- my focus has been on this one more than the other] --> **never embody ironically!** (<-- maybe irony is OK in visual or written medium?)
•embodiment goes beyond body (my body is still my body but also not)

•to pose
•to transpose

in my work, i transpose: walk through readings (=/= transform: performative “true” embodiment)
•transposition: a mapping of senses, to change something into another form (+ its foreclosures, refusals, limits) = expressive excitation, provocation of difference that cannot be resolved by penetration or collapsed selves =/= interpenetration

border crossing: forces and excitations of location, of neighborhood

sensation: a composite of affects and percepts

personal =/= individual

Hayward's story is shaped by repression : a wish to be seen as she wants to be seen =/= Sina

story: act of violence and deception

medicalized legacy of transsexual's self-narrativizing --> synchronous field of wrong body-ness ==> account

accurate accounting =/= describe transitional sensations

described: formalistically detailed transpositional

post-animal: the afterward of the animal is meat


bumptious coherence of bodies

(neighborhoods) designed to make some vulnerable while others safe
percussed by bullets or by traffic
*threat as invitation*

جراحی زیبایی who alter themselves through surgeries and hormonoes *to feel themselves differently*
(shia in iran is islam after a cosmetic surgery to feel their religion differently)

*changing sex is about changing senses and species* @Foad


depending on my needs, i pretend not to understand

instrumentalization of animal life
surgically changing body


technique of eschew اجتناب
eschewing a nature or culture distinction


sex in pieces
spheres of imagination


[my work:] transhistorical diagnosis: reading in pieces neighborhoods of imagination (opposed to what is available)
#sleep-walking


web-building beasts (spiders) [webbing =/=? weaving: a feminine trope?] }--> expression of the body
my fleshy referent 🕷
over-reaching subjects
*spider's web ==propose==> home and territory are of and with the body*
spiders are scenes of arachnophobia and revultion
extending bodily substance through sexual transition
(arrangment of) sensorial milieu of the self + profusion of the world
(trope for fear as emancipation)
an urban designer
weaver of cityscapes
[*]web: skeletalization of the surface, extension of the surface affects of the spider, dynamic threshold of sensibility --Hayward--> (the body is strengthed) react through a spatial and temporal generativity --> body: inter- and intra-threadings of many sensuous vectors that relay like the spider in its web ~= cities, web-builders
*center of her web = her touch world*
-moves quickly, even uncannily, there/then not, sill/in motion, unsettling/reassuring (seems to trap only dust)
*lived-web = optic skin, a resounding connective tissue
(spider's capacities to) create, syncopate, improvise
(spider and me in the appartment) we resonate in relation to our different movements and processes

[*]trap: a mouth, a mode of utterance, the “O” curve of lips and throat that sounds out and names the apprehension of being embodied
--> ***positionality ~/= situatedness = to be trapped*** (to speak and receive ranges of sensuous input from one's environment) --> *our bodies are not endlessly available to intentionality*

[*]articulation: speaking oneself into culture and history, but also creating a site, a gap, making room in cultural and political fabrications, and finding a tempo, a beat


•utopic inclusion (sexual, national, racial)
•*sexuality imagined as political promise* (radical force of nonnormative sexuality) [=/= (for Freud) sex is regressive]
•trans: energetic and fantastic space between objects

(racial, economic) **divisions = dependencies**

(Lyotard: we must) construct the anatomy of polymorphous perversion, unfold the immense membrane of libidinal body =/= system of parts

irreverent intimacies


thresholding: an intensity that must be exceeded for reaction to occur
“here is my home, i am freshly aware that my body is a threshold, an entry between rooms”

limits (of my body) = energized zones


sadomasochism stitches


*carnal improvisation* <-- paradigm of performance art in europe (---> go to karaoke in KHM, role of my body as medium in the circuit of transmissions, poetically imagine the shape of a new pattern)


pastpresent: an always present past in the present

*patterns longer than lived experience*

[*]history: libidinal tracings, erotogenic intensities, psychical cartographies


{ porosity = poiesis }--> collapse the boundary between the embodied self + its world + others ==> consitute a specific place


•puberty = the fantasy that this disfiguration will make me more myself
•teenager = you spend hours before the refracting reflection of your transmutating *body = your most intimate other* --> enact boundaries, sometimes lovingly, but also brutally


(senses are) reactive to the sensual abundance of the world but limited by affected perceptual milieus


[*]texture: residue of unmetabolized and metabolized sensations of animate forces --> emergence of bodiliness (<-- Hayward's rhetoric)

transitional body = textural body

architecture: the most binding part of the communal rhythm

appearance ~= metonymic
appearance allows her to emerge situationally as a woman, a gendered neighbor, a historical subject


(being under the influence of the moon:) enfleshing elements of your (celestial) environment within yourself and expressing parts of yourself back into the (terrestrial social) environment


identification: “i am like you = i know you” ==> resolve the divide of difference

(let's not make that kind of garden again -->) inclusion in Adam's nameable Eden of belonging (=/= Cinderella's transbestiary)

cross-species rejoiners
mended spiderwebs


error is (still a kind of) expression


human: composites of zoo-intensities, animated movements, bio-differentials


(i always felt like this) my perceptions are refracted through psychic forces
anxious
uncertain
paranoid
“is everyone staring at the morphing ‘it’ that is me”


(understanding of art in contemporary european performance -->) art = intensifying bodily substance, to resonate otherwise, to feel different corpo(realities) through zones of transition and intervention, provocation = responses to our *capacities to resonate*


...medicalization, recognition, subjectification, instrumentalization, and responsiveness being with animals

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

what does the maze mean for the rat?
what a maze can mean?

experimental psychology --> subjects conform most often to the expectations of their experimenters [--Despret--> they are *artifactual*]
-*the scientists think that the subject respond to the question that is posed to them, but the subject in fact respond to another question* -->{question that is addressed to them = protocol to which they are submitted}--> they can take a position in relation to what is proposed to them in scientific research [=/= Cinderella's mice subject]

the idea that (the assumption that) their subjects could be influenced by what the[...]