[...]ugoslav republic commercials (as anti-capitalist and anti-commercialist hero)
•Ceausescu in commercials in Romania (old footage of him walking his dog in car tires ads)
•
}--Imre--> (blending) *top-down history lessons* + the work of *popular memory* ==> punctuate contemporary continuities with the communist regime that are taboo in official narratives but prevalent in popular perceptions of history
(==Georgescu==> counter-memory <-- does it assist coming to terms with the past, processing the paralyzing past and the humiliating present of globalization coupled with reactionary state control)

socialist advertising (--> promoted products and services that had not competition in the absence of a real market) ==now==> a sense of awkwardness (absurdity of an era) --> an oxymoron ==> (the ads’) appeal ==guarantee==> the authenticity of remembering + mutual recognition (among members of the nostalgic community) ----> *longing for a bond specific to an elusive era*


(for late socialism --Imre-->) [*]nostalgia: a popular and essential compensatory gesture to make up for the loss of a contradictory temporality
+
a mode of continuity with an era that was already nostalgic for the unrealized transformative potential (of real socialism)


(Yurchak's) *frozen present* = the time of nostalgia
}<== late socialist culture itself lived in a nostalgic mode, at a certain ironic, knowing distance from what it was supposed to be according to the memories of the heroic 40s-50s and the remnants of socialist propaganda --> *a familiar ironic mode of experiencing history vicariously* (in a way that is experienced in the imagination through the actions of another person)


(looking at televisual nostalgia -->) late socialism ==> an affect & epistemology that can only access the “authentic” through contradiction ambivalence self-reflective irony
<--Holdsworth-- expression of present anxieties about history and memory in general

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

___[notes Tehran 2023]___

semiotics: study of the differnce between “what you say ~/= what they understand”

(my fundamentals:)
*sharing =/= communicating*


آشپز دیو سپید
it is said that the White Div had a cook --> exploring the cosmology of Div (in Shahnameh) with food, hunting for eating, bestiary, cooking technology, taste
(inspired by anime JYfdfDU9JUY)
#short story: narrartor describes the story after the defeat of the White Div (Div-e Sefid) by Rostam. “rather than worring about the kingsmen X, he was more interested in what is for dinner...”. there is another being. a baby hayula (non-formity)... what other beings Div hunts for meat? (list, bestiary) “he would think about the next hunt X and get excited about the kabab of X...”  “immediately asked for more”

dungeons and dragons --> a non-cartographic space, there are no maps and one only learns by dying many times
dungeon has nothing to do with the medieval prison, it is a deterritorialized habitat, defined precisely by not having a map (or guide) --> are we in a dungeon?

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

journalism: professional discursive pursuit (of truth, of propaganda, etc.)
=/= journalism: proximity to the event + the risks that that entails

(Ghazzi's notion of) *affective proximity* : (a mode of consideration, a way) to make sense of local media practitioners’ reporting and witnessing of suffering in their country
--> a media practitioner =/= the event they are representing and participating in
affective proximity : what locals navigate to reconcile their emotional and embodied entanglement within events in their country =/= discursive

*emotional labour* of media practices of local reporters and witnesses

what the word “revolution” mediates (in Syria, Iran, etc.) [~/?= civil war]
1. an indication of commitment to a desired goal
2. an identity marker based on a past-oriented lament over what was sought but not achieved

study of affect and emotion in global news --(contextualized within)--> unequal power relations (==> journalistic roles & modes ofrepresentaiton)

user-generated-content
political economy of global war reporting
living with violence

journalism <--?---> affect

affective proximity
==shape==> the boundaries of journ0alism and activism
--> captures the feeling of being close to violence:
•fear for one's life and that of others
•having to deal emotionally logistically with deaths of loved ones (escape, exile) [--> that is why we need an *anthropology of the exile*]
}--> living-in-violence =/= encounter, exposure

(Ghazzi is too fast in favoring “affective proximity =/= western rationalism”, as an iranian I am more exposed to an *affective jurnalism* [~= activism: politically motivated and highly emotive role] =/= journalism as a modernist and rationalist institution)
“activism ~= jurnalism” ~=> they need to:
1. project authenticity and emotion onto news narratives
2. act as objective witnesses able to produce truthful accounts

(more and more i feel the iranians need for ‘activism =/= jurnalism’ --> what one wants to happen =/= understanding what is happening)--> epistemology [the question of how one makes sense of one's practices --> in the case of Syria (also Iran): *affective proximity to violence* ==> sense]

...negotiating the distance of mediation when viewers and producers in the Global North are witnessing the suffering of others

(in Iran) activism + art = the human body as tool, medium, symbol, metaphor

[*]affect: circulation + stickiness of emotion (onto and between bodies, texts, objects, experiences) (Ahmed)

journalism = represent + narrate

(the ‘trick’ of) relying on the *outsourcing of emotional labour* to non-journalists (by:)
•having them express their emotions
•having the journalist describe them

(Ghazzi conceptualising the emotional field in journalism -->) ***unequal power relations ==> emotioal labor***

proximity (--> what i heard so much when i went back to iran: to ke inja insti nemiduni تو که اینجا نیستی نمیدونی)

*aesthetic of authenticity* in news reports (<-- mobile phones)
political economy of foreign reporting
politics of hope (with an ambition to inspire all Syrians to rebel)
...emotional attachment to political goals


*revolution: the event that changes people's lives and in relation to which they locate themselves politically
•conflict in Syria began as an uprising, it ended up an international war, which in 2020 appears to have mostly concluded in the favour of the regime =/= revolution
•the word “revolution” means something else to activists in Syria (how the meanings projected on the term changed in accordance to circumstances)
◦(most of the time, artists and activists) ****use a word to galvanise their emotions and bodies**** and inspired them to take actions they would not have imagined to pursue [use of words --> what people hope =/= descriptive]
◦word (for example “revolution”): a marker of an *inward-looking description* of belonging to a broad political community defined by opposition
•“the revolution” --> affectively consumed the pursuit of truth
•an identity-marker (based on a political orientation) --> an inward-looking signifier to mark who one is + what political community they belong to [--> a politics of what one had wanted =/= describe what one observes]
•(revolution:) personified and humanised as a well-meaning political agent (that sometimes strays from its goals by committing errors)
•motivating people to get involved in activism
•

(Said's Orientalism -->) subaltern others (are typically considered) living within a constant state of violence <-- much older Western regime of representation perceived them as culturally close to violence

(Ghazzi > Badiou >) some events are felt as historic as they galvanise the energies of political actors who imagine themselves as ‘mounting the stage of history’ --Koselleck--> acts of information dissemination are engulfed by the event and are aimed at bridging the temporal distance between the desired and experienced ==> “journalism ~= activism”

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

collective memory --> historical victimhood --> consolidating power
(meta-history -->) a view of history as a series of juncture[...]