[...]sing a secret or indexing a moral blemish (lakedar لکه دار), a pigmentation... (how to read it?)
-blush manages to register a complaint and it signs off [concludes] at an unspoken accusation...
-blossoming of senses, cultural significance, who is capable of blushing? --> (decency's) *outrage* (--> libidinally charged, prompting a political arousal --> still a vitality stirs in the complaint--*the complaint can bring movement*) [Luiza's climate of resistance and her integrated modality of ‘struggle'] --> **inner life of morality**
-flush?

[complaint,] is it issued from a place of impotence or does it have the potential to move mountains? (Avital--Sina's emergency supply of meaning)
can it arrive at any destination whatsoever?
‘complain’ and ‘explain’ relationships
(laughter as a form of complaining)
‘complain’ and ‘politeness’ relationships
what complaint has to do with our anger-management programs?

complaint ~/= lament (complaint won't shut up but lament desires its ending)
lament is fined to mourning and loss ~/= complaint (resisting a fixed relation to loss) seems unable to mourn
*complaint cannot mourn. [complaint as a form of mourning-disorder]
(is mourning busy with ‘continuity in life’? a world that is not made of connections: zendegi bi/ba tadavom زندگی‌ بی/با تداوم, jahani ke be ham mortabet nist جهانی‌ که به هم مرتبط نیست)

is any critique not a complaint? not throwing something in the field of complaint? (--> Luiza, Lili; certain forms of protest dominates their utterances)
--different morphs of civic grief--
(why am i concerned with complaint of my friends? this is about checking my own infrastructural concerns about zones of encounter and redirecting oversized libidinal aggressions, [and pain-relief? {is my work all about (philosophical/artistic) pain-relief?}])

complaint =/= staying within the boundaries of coded gracefulness
(...credit reserved for non-complainers) ,,, ((minor scales of)) protest and breaking rhymes (of master discourse?) (@Sana, perturbed by manners of injustice; her libido [zist-maye زیست مایه, shur-e hayat شور حیات] is at stake)
--when complaint takes over and you don't even know if there is an injury anymore at the root of it.
(we are traveling behind its possible meaning-fields)

de-shamanization and translation /(non-transparency should rule?!)


are we trapped in a grid of grievance?

different forms of ‘maybe’ (i am trying to install?)

how complaint is then situated in ‘becoming’?

[...] complaint haunts our era of desperate justice (Xiri, Sana, Varinia)
. a calling-system? a GPS that has lost its signal?

maternal super-ego
political passion emerging as a defensive strategy
(@Xiri, is she trying to add-on the super-ego for her concern of social justice?)

so, does complaint prevent the arrival of change or make way for new forms of sociality?

“I can't complain.” --> (a blockbuster;) those in stubborn destitution ----that there is no address in the era of the becoming anonymous of God. ‘Who would pick up your call?’
however, “the friend, whether ghostly, futural, or closely bound in time, receives the brunt of the complaint” --friends structurally listens to disappointed expectation, disappointed worldliness

what-should-have-been

On what approved contingencies, contractual loopholes, or transferential coordinates could I possibly befriend another?

metaphysical heritage of friendship (... reconfigured personhood)

(how can I do things without being a psycho about it?)
(How do I know by which politics of friendship, grid or writing practice I am being called up?)
a vocabulary existed to designate, approximate certain routines


R_dzvJYDZXM

CrGJIS3quYY


(30.03.2017) Rabih Mroue and Hito Steyerl duo: concern for injustice and conservative justice call disguised under an elaborated and augmented complaint (in the aesthetic terms of contemporary art market), non-researchers of their subjects and topics, they have no ‘topic’ only ‘resource’ (in the making of their own myth of the figure of artist,) [=/= when something becomes a topic for you, it bounds you to the unsettling commitments of curiosity and research and hard work.]
-in their notion of “Artist in the Reign of Terror” they ask disturbingly “but many individuals have died and it means nothing?!” with a sneer (artwork as puzkhand پوزخند --> @Ali )
[**“sneer” is a contemptuous or mocking smile, remark, or tone, coming from a family of sarcastic tropes of complaint and ironizated complaining]
-their art-work finds and flourishes in a terrain of terror. in their nonspeculative work there is no “but, what if” or “but, not yet” and therefore no ‘becomings’
-for Hito and Rabih: zeitgenössisch (contemporary) = grausam (atrocious)
-they dichotomize (fact/fiction, real/unreal, etc.), rather than allowing a novel and interesting question to be raised
-what is the state of unknown in one's practice? rather than being a news agency




[negativity?]--> your bad feelings --> غر ghor complaint --(turn it into)--> critique --(start doing)--> research --(get)--> diploma --(turn it into)--> phd --(make your)--> department of studies --(into)--> craft tradition
[you don't have to start with negativity!]
[you don't need to end in your own myth tradition!]

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

@Anouk (@her “breathing archive”): (Lev Manovich's) relationship between ‘interface’ and ‘database,’ ‘perceptable’ to ‘information’. [Database as Symbolic Form: http://courses.ischool.berkeley.edu/i290-1/s04/readings/manovich_database.pdf]
what is for Anouk ‘information’? and what is for her the relationship between information, knowledge, interface, and perceptable?
for her what is the relationship between ‘information’ and ‘infinite’? (infinite as the universe of all possible images)

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

*Pierre's ‘rights of nerves’ --> “talking to everybody”
[rights of nerves: you are promted to do what you do out of disgust, outrage, fear, or driven by anxiety, you don't know why, you are compelled towards an object or project or thing or unthing]


*Seba: for him “narrative =/= complex” (the question of “complexity's situatedness”) for him: “multiple perspectives ==> coherency (=/= bi-rabt بی‌ ربط, na-ham-dusti ناهمدوستی ?)” (is his idea of “coherency” leads to ‘friendship’? is for Seba ‘amity’ [ravabet-e hasane روابط حسنه] at stake? )
Seba's epistemological object(?): ‘evidence’ (=/?=>! cordial dispositions)

(complexity is the name of our game. Haraway)

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

my current work and interest involves the investigation of individualized subject formation (tajarode nafs تجرد نفس ?); interrogating the production of language; and tracing the divisible distinguishing limits between categories of human, animal, and monstrous.
#subjects of interest: The translator, language, the sublime, animals/animality, technicity/mechanicity, the divine/sacred,

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

the myth of Poros, Penia, and Eros for Aela:
(in Plato's Symposium;) Penia, the “child of poverty,” decides to forcefully impregnate herself with the inebriated Poros, “the personification of plenty,” who is always in opposition with aporia, (~ snafu before aporia,) “puzzlement, which breaks with the logic of identity,” and thus defining aporia. The result of this union is Eros...
poverty + {plenitude × aporia} ==> eros : {agency of passivity + resourcefulness}
1-metaphysical inquiry begins from ‘aporia’
2-rationalist inquiry begins from ‘a priori’
3-empiricist inquiry begins from ‘tabula rasa’ (hakim's beginning)
/
/
4-mystical inquiry begins from ‘affective a posteriori’ (effect, wonder, heyrat, tahayor)


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

sci-fi is imagining the elsewhere inside mortality. (==> feminism stakes in SF)

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

*make a series of studio photos with white clear backs, two different genders iranians having a physical/verbal fight or some sort of aggressive encounter

*the idea is to write a script for a movie or short series, combining the historical 14th century Iran with the 14th century imaginal beast fables from the ajayeb. the camera creats a non-exotic continuation between the two

[...]