[...] 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

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

[with Kenney]

-how to let emerge a seriousness as collective matters of care?
-how to stimulate pragmatic questions about how to craft relevant knowledge?

speculation is all about pragmatism


capitalist speculation : “one must speculate to accumulate” =/= relating & narrating

scientific speculation & venture capital ==> big epistemic/financial pay-offs or costly dead ends [=/= (Stengers's notion of speculative) *being at risk with ones claims* =/= received notions of authority or rationality]

(an abstract challenge:) to bring specificity and imaginative traction

*speculation is a more feral practice
(wild) speculation [always improper] =/= proper science : rational production of univerasal knowledge
-speculation is not about what there is but what there might be
-speculation is on the side of the possible =/= probable (--> Stengers)

speculative operations (quietly) insist that *another world is here* (--> my ajayeb) =/= the smooth operation of business-as-usual (,, interrupting it)

for my ajayeb, how can i carve out a space to nurture my idea? --> nest-building --position/place--> digging out a bit of earth

*speculative empiricism : scientific + narrative
working with ajayeb so that it might stimulate a specualtive empiricism for composing more livable worlds --> ajayeb's storied biospheres

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

the notion of ‘magic’ in popular TV series, such as ‘Harry Potter’ franchise and ‘The Magicians’ among many others, and instrumentalization. magic as information technology that is completely instrumentalized. the capitalist ideology of ‘tool’ and ‘usefulness’ are insinuated heavily in the hipster figures of ‘The Magicians’ in the way that they interupt history and knowledge-burdened living. “stop the history lessen! tell me how do we kill the beast with it?” (the stupidity of the hipster hero moving through the matrix of merely teleological phenomena, stripping pleasure off thinking...)
(utopian?)

what a magic spell is good for if it is not a leverage?

[title]
The Magicians and The Absolute Freedom and Terror

(‘The Magicians’:) magic: instrumentalizing the logos
knowledge is literal --> magic spells are literal {the result of magic spell is predetermined}. in this case, the magic is both an instrument of power and renunciation of knowledge
(Heideggerian) techne of the Western project is an instrumentality that takes over, arrests, or enframes what it desires to manipulate or contain. (Christian Hubert's notes)
=/= poiesis, a bringing-forth (in Heidegger: blooming of the blossom) (also Greek)

“[(for the techno-monster-magicians) everything is] code to be cracked”

a kind of fantasies that Don Ihde calls techno-fantasy, which have been part of the transhumanism since 19th century

the toxic distinction between techne from episteme (since Homer). ‘The Magician’ suggests magic as a technology or tool apart from its context of involvements and referentialities : a hermeneutic or alterity relation =/= (Heidegger:) the tool is an embodiment relation
(one of the characters even states that humans without magic invented computers as replacement)

‘The Magician’ dismisses the generation of knowledge in the praxis of tool-use. science/magic is pragmatic relation of equipment or tools as ready-to-hand. the ideology of a knowledge relation: magic (as tool) is present-at-hand --> ontological relationship to the world (----the characters want to go and have an icecream when they are finished with all the magical fights.)
this notion of magic as tool (=/= epistemological object) in use achieves (what Don Ihde calls) *instrumental transparency* --> It “withdraws” when in use, but becomes conspicuous again when broken or missing [--> this is precisely the standard account of technology in high-techno-scientific capitalist sunny societies] --> the idea that magicians can “forget” (or “lose”) their magic suggests a guarantor of instrumental transparency of magic (or knowledge).
-the popular vision of magic hinges around the desire for total transparency**
-this instrumental rationality is the heart of the modernizing project (which characterizes capitalism) --> the value-free calculable efficiency of administrative processes (--> a project of domination and denial of dependence) (=?=> Auschwitz)

(how to make The Magician's bounded utilitarian individualism unthinkable?)

(Frankfurt School:) technology ~= instrumental reason ~= reification (madiat, jesmiat) as reason
(Habermas:) systems rationality, economic and bureaucratic rationality (==> patterns of meaning rendered functional) =/= communicative processes that sustain the lifeworld

the same Platonic tradition produces: {theory =/= practice} ==> {mind =/= body} ==> {"conceptual” =/= “material"} (and privileging one over the other)
(for the Frankfurt School) truth = "a moment of correct praxis”

what is at stake is the way ‘The Magician’ heroes’ way of non-relating to an entire environment and with it to an implicit “world” that they inhabit.
...that science is an ‘account’ of reality not a ‘tool’ for coping with it
...when the world and the instrument interact
descriptions of the affordances of indissoluble instrument / world complexes are at stake

then how can we think magic/knowledge/science without instrumentalization (‘something in order to’)?


the notion of ‘world’ and ‘worlding’ in other Hollywood sci-fi franchises, and the way a world (for example survival in Mars in ‘The Martian,’ surviving “outer space” in ‘Gravity,’ “pure wonder” and “abyssal unknown” in many Icarusian space exploration moves and movies, the deprived Earth in ‘Interstellar,’ and so on) is rendered dead or dangerous or prosperous, ideologies of anthropocentric extensionalism.

(this directly concerns my ajayeb apass research about the past, because hollywood constantly making science fictions about the past.)

[as much as Matt Damon is schizo-constructing a social environment (on “dead” Mars trying to contact “home”), Cinderella's schizo-affective relation with the talking animals is doing the same: talking back to a world that talks to her, where Matt is only able to talk to home station. I think we have better chances with Cinderella's kind of split personality.]


Modernity --> “Project of Enlightenment” : religion =/= metaphysics --> science + morality + art -->  objective science + universal morality + law  ----{each with its own “inner logic"}
(Luhmann; transition to modern:) stratified and hierarchical organization --to--> “functionally differentiated” organization
(project of modernity requires) a universally assumed but nowhere concretely localizable lifeworld*** (=/=? situated knowledges)
modern person : the self-fulfilling and self-justifying observing subject

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

(Freud's) ego: the record of abandoned object cathexes
(cathexes ~= electrical charge; the libidinal energy invested in some idea or person or object)

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

(15.02.2017) three objects from apass:
-complaint
-evidence
-monologue


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

on futurity; in SF capital (Mark Fisher) the information (somewhere between cybernetic futurism and “New Economy”) is a direct generator of economic value ==> ‘the information about the future’ circulates as as increasingly important commodity* (Eshun)

SF: engineering feedback between its preferred future and its becoming present --✕--> future --> manufacturing tools capable of intervention (=/=? disruption; the Sun Ra, character in the movie The Place is The Space, disrupts when he enters the youth club.)

@Ale --her--> predatory features/futures : (a space for researching[?] dimensions of) anticipatory designs, projects of emulation, manipulation, parasitism, interpellation into a bright corporate tomorrow <== faces smiling at screens (-->? a bitter joke)
-in her criticism of “eurocentrism” how are afrofuturism and arabfuturism located? (curatorial) let's invite them as her allies in Hansaring Studio.

countermemorial mediated practices

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

خودشیفتگی khodshiftegi:
[narcissistic personality disorder]
(exaggerated feeling of) self-importance, self-absorbed, self-perception of being unique, situated within self-presentation, sense of entitlement حق به جانب and self-centeredness schema
adult neurotic's sense of omnipotence --> relic of the old megalomania of infancy (~ all paranoic disorders) (~-> hurt with denial)

(Freud's) primal state: {id ~= ego ~= external world}--(not differentiated)
one could not lay hold of oneself as other ==> narcissism expires
(Lacan's) ego = another }==> the specular ego (in the mirror stage) =/= narcissistic
(‘=/=’ : erotic attraction or aggressive tension)

Nietzsche: the utterance “I am ugly” created “the beautiful”
[does this mean: “I am beautiful” created “the ugly” (in the other and world)?]


sublimation is passion transformed
or, object displacement, transformation of instincts,
a desuxualization (from primary to secondary narcissism) (--> what is Aela's “thirst for knowledge”?)~~--> unfolding into (differentiated elements of a oneness of) instinctual-spiritual experience. (Aela's) ‘oneness’ [an original unity + one hidden and defended against] stays alive as connection? --> the question of desire for Aela is about this hidden linkage.
[transitional objects, play, modifications of the pleasure principle, genital function,]
,
(noted by Christian Hubert: for Loewald:) *eroticism is genuine sublimation* : a reconciliation in the area of ego development and of internalization. (@Aela)
-desublimation (of reason?)
objective of sexuality conceptual transformation into Eros --> (asking Aela with Marcuse:) what is the non-repressive sublimation of the resexualized body? (=/= neurotic reactivation of narcissistic libido)
why Eros is so powerful? what kind of sublimation is the culture-building power of Eros?

in Derrida, narcissism is the passage to the Other, and not necessarily merely a collapse into oneself.

auto-erotic solipsism

باطل کردن طلسم ضمیر the ego appears [displaced elsewhere in the world as an effect] as the result of primary narcissism?
(batel kardan-e telesm-e zamir) dispulsion of ego
*ego forms in the world* (Lippit)

auto-erotic economy

the ego in the island, finding footprints of the others
(Freudian protocols of existence:) there is no world, there is only islands. --> multiplicity of isolations ~-> individuation

“In narcissism the ego disappears from the world and reappears in the imaginary realm of invisible interiority.” (Lippit)

{the erotic attachment to outside objects}<--pervert =/= narcissist-->{withdraw, calls it “instinct for self preservation"} (a shortcut: my way of undering my own narcissistic tendencies has been through perversity.)

[for Juan:] (artistic) narcissism =/=? fossilization (~->? mimesis)

*mimesis* is not about form
in order to represent the character of the supposed ‘word’ of another
mimesis + techne ~= copy (@Juan)

diegesis =/=? mimesis
(telling) -- (showing)
(recounted) -- (enacted)
}--> poiesis _////(actually a useful and necessary difference, synthesized by the Greeks--Plato and Aristotle)
(...and what about the question of the medium?)

*Juan's relationship with the (in)dependency of the individuated self of the artist--in this case himself--by means of mimetic techne is to overcome the visual artist's narcissism?

(Pierre:) being alone --> mimesis --> through mimetic intra-acting with the other
(Sina: there is no “being alone” only ‘feeling lonely’ which is itself a form of intra-acting : internalizing an external phenomena. “loneliness” is a belief that one has.)

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

narcissism as a mimetic and performative mode
transindividual narcissism --Maitra--> movement of the subject beyond ethnicity (ethnic formations that the bio-political processes of interpellation demand of the subject)
remediation of ethnic narcissism

[Maitra's queer diasporic reading practice of] (in diaspora media theory) performing an identity (that is “Iranian” for example)

*intermedia* (=/= multimedia: fuse disparate media)
frictions between different media
conceptual interplay between media
space of alchemical transformation
(at the level of) conflict of interpretations
radical understanding of interdisciplinarity

diaspora: no longer having a clear answer to “where are you from?”

what might we learn from narcissism (from mimesis)?
mediate and fracture the writing of the self

wound: disconnected event
not adding up to a comprehensive narrative of the ethnic self

*ego-under-construction*
Freud's primary narcissism, we love ourselves before loving others
(for the child) narcissism = intermediate
(secondary) narcissism: the processes by which the distinction between the ego and external object is lost
(Lacan) loss of distinction between the ego and its reflection in the mirror
--> narcissism helps the infant in trying to distinguish himself from the mother/other

narcissism beyond infantile sexuality -->
narcissism: structure (=/= state) <== when the burden of desire on the subject becomes intolerable

(?what are new structures of) artistic narcissism
*an occasion to erotisize your own body*
to erotically emphasize a particular memory
stitching together of the naked ethnic body

hupersexuality
...those who are undersexed

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%note on Alice's workshop:
how the idea of mimesis came when we were not sure what she meant by “make note.” the signifier of “note” defined itself in a collective mimetic semi-conscious way.
(=/=? my work on how signifiers transmit and transform --> parasitism, rumorology, etc. ... weaker neighborhoods of thought)

Alice's notions:
•explosion <--> dance
•the “generative” notion in her discourse (--> notion of “active,” and “conscious intentionality” [--> a property of human agency and agential exceptionality. (the metric of) her work/workshop distinguishes the self-aware active entity from non-communicative receptive entity, ***intransitive =/= transitive-->{her privileged object}, and that distinction is not useful for me right now])
•the authority of the trope “practice” for Alice
(what would be a nonmimetic understanding of eachother? @Juan)
•the workshop was not her ‘thinking’ or ‘making’ in process or an open question or a not-knowing, rather the workshop was based on her (finished) ‘notions,’ with her ‘indisputables,’ her ‘literal’ objects; (dance, active, body, imagination, practice, generative, creative, etc.)
•production of the “I” in her work; (a nasty side-effect: collateral individuation) (when were the moments in the workshop that an interesting “we” was created and for whom?)
•the problematic difference between ‘literal’ and ‘metaphorical’ at the footing of her thinking (--> my whole apass research is about this)
•(artist's) imagination as a magic wand that can transform things

*what helped me was the idea of thinking with a ‘dormant metaphor’ (in my own work) and ‘activate’ it, in a way that the problems and pleasures of thinking with that metaphor is felt. by ‘dormant metaphor’ what i mean is an operative word that one is using often and is left uninterrogated. for example the problems of “landscape” as a particular ontological tool for me became apparent only after i committed myself to that metaphor in the course of the interview with Pierre and Alice. to stay with a story, to live its contradictions. (and the position of it in a sentence)
•“it was ‘landscape’ talking; not me!”
•why i was seeing Tehran as the ‘ghostly landscape’? (matter of a confrontation with Tehran? exteriority of my subjecthood is at stake? ~->!? the arbitrary position of “genius loci” : that from a genius position one can see for good. -how to make myself nonarbitrary--not subject to individual determination--in relation to Tehran? --> towards ‘situated knowledge’)
•what kind of material-discursive practices thinking with “landscape” committed me to? [to explore and feel this commitment (and its consequences) is ‘staying with the trouble’ for me]

it felt like Alice believes that people, we, have control over our metaphors, but in the course of the workshop there were many occasions that was not the case:
Sina, landscape --> optics
Esta, building/house --> geometry --> security
Agnes, supermarket --> exchange
Juan, crime --> arrest
Zoumana, garden (~-> fecundity) --> immunity
Eszter, ele[...]