[...]
(we are ="trms">traveling behind its possible meaning-fields)
de-shamanization and ="trms">translation /(non-transparency should rule='qstn'>?!)
are we ="trms">trapped in a grid of grievance='qstn'>?
="trms">different forms of ‘maybe’ (i am trying to install='qstn'>?)
how ="trms">complaint is then ="trms">situated in ‘becoming’='qstn'>?
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='lgc'>[...='lgc'>] ="trms">complaint haunts our era of desperate justice (="frds scrmbld">Xiri, ="frds scrmbld">Sana, ="frds scrmbld">Varinia)
. a calling-="trms">system='qstn'>? a GPS that has lost its signal='qstn'>?
maternal super-ego
political passion emerging as a defensive strategy
(='at'>@="frds scrmbld">Xiri, is she trying to add-on the super-ego for her concern of ="trms">social justice='qstn'>?)
so, does ="trms">complaint prevent the arrival of change or make way for new forms of ="trms">sociality='qstn'>?
“I can't ="trms">complain.” ='lgc'>='lgc'>--> (a blockbuster;) those in stubborn destitution ='lgc'>='lgc'>--='lgc'>--that there is no address in the era of the becoming anonymous of God. ‘Who would pick up your call='qstn'>?’
however, “the friend, whether ghostly, futural, or closely bound in time, receives the brunt of the ="trms">complaint” ='lgc'>--friends structurally ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listens to disappointed expectation, disappointed ="trms">worldliness
what-should-have-been
On what approved ="trms">contingencies, contractual loopholes, or ="trms">transferential coordinates could I possibly befriend another='qstn'>?
="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical ="trms">heritage of friendship (... reconfigured personhood)
(how can I do things without being a psycho about it='qstn'>?)
(How do I know by which politics of friendship, grid or ="trms">writing practice I am being called up='qstn'>?)
a ="trms">vocabulary existed to designate, approximate certain ="trms">routines
R_dzvJYDZXM
CrGJIS3quYY
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(30.03.2017) Rabih Mroue and Hito Steyerl duo='lgc'>: concern for injustice and conservative justice call disguised under an elaborated and augmented ="trms">complaint (in the ="trms">aesthetic terms of contemporary art ="trms">market), non-rese="trms"nttrm="search">archers of their subjects and topics, they have no ‘topic’ only ‘resource’ (in the making of their own myth of the figure of artist,) ='lgc'>[='lgc'>='lgc'>=/= when something becomes a topic for you, it bounds you to the unsettling commitments of curiosity and research and hard work.='lgc'>]
="prgrph">-in their notion of “Artist in the Reign of Terror” they ask disturbingly “but many individuals have died and it means nothing='qstn'>?!” with a sneer (artwork as puzkhand پوزخند ='lgc'>='lgc'>--> ='at'>@="frds scrmbld"nttrm="Alice,Shariati">Ali )
='lgc'>[='strcls'>**“sneer” is a contemptuous or mocking smile, remark, or tone, coming from a family of sarcastic ="trms">tropes of ="trms">complaint and ironizated ="trms">complaining='lgc'>]
="prgrph">-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’
="prgrph">-for Hito and Rabih='lgc'>: zeitgenössisch (contemporary)='lgc'> = grausam (atrocious)
="prgrph">-they dichotomize (fact/="trms">fiction, real/unreal, etc.), rather than allowing a novel and ="trms">interesting ="trms">question to be raised
="prgrph">-what is the state of unknown in one's practice='qstn'>? rather than being a news ="trms">agency
='lgc'>[negativity='qstn'>?='lgc'>]='lgc'>='lgc'>--> your bad feelings ='lgc'>='lgc'>--> غر ghor ="trms">complaint ='lgc'>--(turn it into)='lgc'>='lgc'>--> critique ='lgc'>--(start doing)='lgc'>='lgc'>--> research ='lgc'>--(get)='lgc'>='lgc'>--> diploma ='lgc'>--(turn it into)='lgc'>='lgc'>--> phd ='lgc'>--(make your)='lgc'>='lgc'>--> department of studies ='lgc'>--(into)='lgc'>='lgc'>--> ="trms">craft tradition
='lgc'>[you don't have to start with negativity!='lgc'>]
='lgc'>[you don't need to end in your own myth tradition!='lgc'>]
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='at'>@="frds scrmbld">Anouk (='at'>@her “breathing archive”)='lgc'>: (="ppl">Lev ="ppl">Manovich's) ="trms">relationship between ‘="trms">interface’ and ‘="trms">database,’ ‘perceptable’ to ‘information’. ='lgc'>[="trms">Database as ="trms">Symbolic Form='lgc'>: http://courses.ischool.berkeley.edu/i290-1/s04/="trms"nttrm="already,spread">readings/manovich_="trms">database.pdf='lgc'>]
what is for ="frds scrmbld">Anouk ‘information’='qstn'>? and what is for her the ="trms">relationship between information, knowl="trms"nttrm="knowledge,Knowledge">edge, ="trms">interface, and perceptable='qstn'>?
for her what is the ="trms">relationship between ‘information’ and ‘in="trms">finite’='qstn'>? (in="trms">finite as the universe of all possible images)
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='strcls'>*="frds scrmbld">Pierre's ‘="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rights of nerves’ ='lgc'>='lgc'>--> “talking to everybody”
='lgc'>[="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rights of nerves='lgc'>: you are promted to do what you do out of disgust, outrage, fear, or driven by ="trms">anxiety, you don't know why, you are compelled towards an object or project or thing or unthing='lgc'>]
='strcls'>*="frds scrmbld">Seba='lgc'>: for him “="trms">narrative ='lgc'>='lgc'>=/= complex” (the ="trms">question of “complexity's ="trms">situatedness”) for him='lgc'>: “multiple perspectives ='lgc'>=='lgc'>=> coherency (='lgc'>='lgc'>=/= bi-rabt بی ربط, na-ham-dusti ناهمدوستی ='qstn'>?)” (is his idea of “coherency” leads to ‘friendship’='qstn'>? is for ="frds scrmbld">Seba ‘amity’ ='lgc'>[ravabet-e hasane روابط حسنه='lgc'>] at stake='qstn'>? )
="frds scrmbld">Seba's ="trms">epistemological object(='qstn'>?)='lgc'>: ‘evidence’ (='lgc'>=/='qstn'>?='lgc'>=>! cordial dis="trms">positions)
(complexity is the name of our game. ="ppl">="ppl">Haraway)
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my current work and ="trms">interest involves the investigation of individualized subject formation (tajarode nafs تجرد نفس ='qstn'>?); ="trms">interrogating the production of ="trms">language; and tracing the divisible distinguishing limits between ="trms">categories of human, ="trms">animal, and ="trms">monstrous.
='at'>#subjects of ="trms">interest='lgc'>: The ="trms">translator, ="trms">language, the ="trms">sublime, ="trms">animals/="trms">animality, ="trms">technicity/mechanicity, the divine/sacred,
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the myth of Poros, Penia, and Eros for ="frds scrmbld">Aela='lgc'>:
(in ="ppl">Plato's ="trms">Symposium;) Penia, the “="trms">child of poverty,” decides to forcefully impregnate herself with the inebriated Poros, “the personification of plenty,” who is always in op="trms">position with aporia, (='lgc'>~ snafu before aporia,) “puzzlement, which breaks with the logic of identity,” and thus defining aporia. The result of this union is Eros...
poverty ='lgc'>+ ='lgc'>{plenitude ='lgc'>× aporia='lgc'>} ='lgc'>=='lgc'>=> eros ='lgc'>: ='lgc'>{="trms">agency of passivity ='lgc'>+ resourcefulness='lgc'>}
="lstsrd">1-="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical inquiry begins from ‘aporia’
="lstsrd">2-rationa="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list inquiry begins from ‘a ="trms">priori’
="lstsrd">3-="trms">="trms">empiricist inquiry begins from ‘tabula rasa’ (hakim's beginning)
/
/
="lstsrd">4-mystical inquiry begins from ‘="trms">affective a posteriori’ (effect, ="trms">wonder, heyrat, tahayor)
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sci-fi is ="trms">imagining the elsewhere inside mortality. (='lgc'>=='lgc'>=> feminism stakes in SF)
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='strcls'>*make a series of studio photos with white clear backs, two ="trms">different genders ="nms">iranians having a physical/="trms">verbal fight or some ="trms">sort of aggressive encounter
='strcls'>*the idea is to ="trms">write a script for a movie or short series, combining the ="trms">historical 14th century ="nms">Iran with the 14th century ="trms">imaginal ="trms">beast ="trms">fables from the ="nms">ajayeb. the camera creats a non-exotic continuation between the two
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='lgc'>[with ="ppl">="ppl">Kenney='lgc'>]
="prgrph">-how to let emerge a ="trms">seriousness as collective ="trms">matters of care='qstn'>?
="prgrph">-how to stimulate ="trms">pragmatic ="trms">questions about how to ="trms">craft relevant knowl="trms"nttrm="knowledge,Knowledge">edge='qstn'>?
speculation is all about ="trms">pragmatism
capita="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list speculation ='lgc'>: “one must speculate to accumulate” ='lgc'>='lgc'>=/= relating ='and'>& ="trms">narrating
="trms">scientific speculation ='and'>& venture capital ='lgc'>=='lgc'>=> big ="trms">epistemic/financial pay-offs or costly dead ends ='lgc'>[='lgc'>='lgc'>=/= (="ppl">="ppl">Stengers's notion of speculative) ='strcls'>*being at risk with ones claims='strcls'>* ='lgc'>='lgc'>=/= received notions of ="trms">authority or rationality='lgc'>]
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(an abstract challenge='lgc'>:) to bring ="trms">specificity and ="trms">imaginative traction
='strcls'>*speculation is a more feral practice
(="trms">wild) speculation ='lgc'>[always improper='lgc'>] ='lgc'>='lgc'>=/= proper ="trms">science ='lgc'>: rational production of univerasal knowl="trms"nttrm="knowledge,Knowledge">edge
="prgrph">-speculation is not about what there is but what there might be
="prgrph">-speculation is on the side of the possible ='lgc'>='lgc'>=/= probable (='lgc'>='lgc'>--> ="ppl">="ppl">Stengers)
speculative operations (quietly) insist that ='strcls'>*another ="trms">world is here='strcls'>* (='lgc'>='lgc'>--> my ="nms">ajayeb) ='lgc'>='lgc'>=/= the smooth operation of business-as-usual (,, ="trms">interrupting it)
for my ="nms">ajayeb, how can i carve out a space to nurture my idea='qstn'>? ='lgc'>='lgc'>--> nest-building ='lgc'>--="trms">position/place='lgc'>='lgc'>--> digging out a bit of earth
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='strcls'>*speculative ="trms">="trms">empiricism ='lgc'>: ="trms">scientific ='lgc'>+ ="trms">narrative
working with ="nms">ajayeb so that it might stimulate a specualtive ="trms">="trms">empiricism for ="trms">composing more livable ="trms">worlds ='lgc'>='lgc'>--> ="nms">ajayeb's storied biospheres
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='thdf'>the notion of ‘magic’ in popular TV series, such as ‘Harry Potter’ franchise and ‘The Magicians’ among many others, and ="trms">instrumentalization. magic as information ="trms">technology that is completely ="trms">instrumentalized. the capita="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list ideology of ‘tool’ and ‘usefulness’ are insinuated heavily in the hipster figures of ‘The Magicians’ in the way that they ="trms">interupt ="trms">history and knowl="trms"nttrm="knowledge,Knowledge">edge-burdened living. “stop the ="trms">history lessen! tell me how do we kill the ="trms">beast with it='qstn'>?” (the stupidity of the hipster hero moving through the matrix of merely teleological ="trms">phenomena, stripping pleasure off thinking...)
(utopian='qstn'>?)
what a magic spell is good for if it is not a leverage='qstn'>?
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='lgc'>[title='lgc'>]
The Magicians and The Absolute Freedom and Terror
(‘The Magicians’='lgc'>:) magic='lgc'>: ="trms">instrumentalizing the [...]