[...]erklammern (with ="frds scrmbld">Foad)
="lstsrd">5. san'at-e mojarad-sazi (صنعت مجردسازی with ="frds scrmbld">Foad)
="lstsrd">6. garden (باغ)
="lstsrd">7.


='at'>#what am i learning from Hiwa's Chicago Boys project='qstn'>?
="trms">history, recent region departures, study group, music, jam, more and more people together with their voices and ="trms">stories, faces, sing, play, discomfort in ="trms">instrument, tour, collectivity, sojourn in ="trms">stage, conviviality, cover song,
="prgrph">-when i look at the videos of the project i feel like i want to do or be part of something like that, i want those qualities, i want the way people are looking and feeling like there.

="large lg2" stl="font-size:110%"> ='at'>#i am learning from ="ppl">Kohn that the survival is complicated, from ="ppl">="ppl">Haraway that ="trms">world works by ="trms">excess and therefore filled with hope, with ="ppl">Sennett and ="ppl">Delanda a better account of ="trms">socio-="trms">material ="trms">history, from ="ppl">Ahmed a ="trms">different understanding of psychoanalysis, from ="ppl">="ppl">Barad ="trms">poetry and argumentation, from ="ppl">Scher the effort needed to become ="trms">interested, from ="ppl">="ppl">Kenney that there is no need for a “standard ="trms">language” to describe your ="trms">interventions or to produce a body of knowl="trms"nttrm="knowledge,Knowledge">edge about your ="trms">matters of concern,

(this is one place that i am recognizing and foregrounding a binary structure='lgc'>:)
="lsts lst1">•women in my life='lgc'>: ="ppl">Avital, ="ppl">="ppl">Haraway, ="ppl">Ahmed, ="ppl">Scher, ="ppl">="ppl">Barad, ="ppl">="ppl">Despret, teaching me ="trms">science and art, attentive modes of ="trms">differential ="trms"nttrm="already,spread">reading and ="trms">writing, practices of care and concern
="lsts lst1">•men in my life='lgc'>: ="ppl">Serres, ="ppl">Sennett, ="ppl">Delanda, ="ppl">Levinas, ="ppl">Anand, teaching me a non-guilt-driven knowl="trms"nttrm="knowledge,Knowledge">edge of ="trms">history and ="trms">past, a ="trms">different mode of re="trms">membrance which provokes a ="trms">different mode of ="trms">response and ="trms">responsibility


="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

alive ='lgc'>--='lgc'>[='lgc'>]='lgc'>='lgc'>--> dead ='lgc'>--='lgc'>[='lgc'>]='lgc'>='lgc'>--> ="trms">ancestor

what provokes ="trms">storytelling='qstn'>?

(="ppl">="ppl">Harawayian) inhabiting ='lgc'>==> ="trms">responsibility ='lgc'>='lgc'>--> alignment

(a split-self at home with) contra="trms">dictions ='lgc'>==> dealing with ="trms">situated knowl="trms"nttrm="knowledge,Knowledge">edge ='lgc'>}='lgc'>='lgc'>--> this is about ‘ongoing’

note to self='lgc'>: not to throw away the contaminated concept that we have, (='thdf'>for example ‘human intentionality,’ ‘human ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rights,’ etc) ='strcls'>*but to hold on (while knowing how contaminated it is) to any concept (which are always unsettled) until it gets a particular (="trms">situated) job done
(which job i am try to get done with my good and bad concepts='qstn'>?)

where are we headed with our syntax='qstn'>?

“-s="trms">cene” ='lgc'>: the ‘now’ of the ="trms">species ='lgc'>[='lgc'>='lgc'>--> pleisto="trms">cene image='lgc'>] also, a sharp change in the graph/diagram ='lgc'>[https://en.wikipedia.org/wiki/File:Extinction_intensity.svg='lgc'>]

="ppl">Sa'di, thinking not with the capital T, rather with the flower, with the cut tail of the animaux

competency ='lgc'>+ competency (of ="trms">different ="trms">animal, human, machine, pigeon, etc) ='lgc'>[='lgc'>=/= subtraction, taboo, ="trms">obligation ='lgc'>='lgc'>--> deficiency='strcls'>*='lgc'>]
(additive competencies)

“="trms">excess” is the name of the ="trms">world
there is always more that we don't know; what yet has to come; the ="trms">world is constantly doing stuff; (='lgc'>--='not'>✕='lgc'>='lgc'>--> accelerate manifesto, apocalyptic ="trms">narratives)
(i am drawn to and by ="trms">excess, and i am engaged in it='lgc'>: in my ="trms">lectures, talkings, ="trms">writings, and I take it up also visually in my drawings. my ="nms">ajayeb hypertext search is ="trms">contingent and opportunistic, and its se="trms"nttrm="search">arches are non-="trms">systematic)

in ="nms">apass what my project is all about='lgc'>: ='strcls'>*="trms">loving to tell you about what i am ="trms"nttrm="already,spread">reading='strcls'>* (why it seams too difficult, complicated and impossible to understand!='qstn'>?)
="prgrph">-“to provides a feast of ="trms"nttrm="already,spread">reading pleasures”

holding each other's unasked-for patterns (='at'>@="frds scrmbld">Luisa)
taking up each other patterns ='lgc'>[which are sometimes obvious, sometimes cryptic='lgc'>]
(what is the other name of the practices of “string figures” in ="nms">Iran='qstn'>? ='lgc'>='lgc'>-->='lgc'>[stars, facts, ="trms">fabulations, “far”s, patternings,='lgc'>]='lgc'>='lgc'>--> all ="trms">cosmopolitical, ="trms">composes the “we”)

="lsts lst1">•a “we” com="trms">positional
="lsts lst1">•an “="nms">ajayeb” com="trms">positional
="lsts lst1">•

="trms">anthropo="trms">cene ="trms">system thinking
="lsts lst1">•feedback loops
="lsts lst1">•thermodynamics ='and'>& 18th century mathematics (='lgc'>=/= hyperbolic mathematics in ‘crochet’ ='lgc'>='lgc'>--> ="trms">excess of surface, ='lgc'>='lgc'>--> ="trms">story of ="trms">interface)
="lsts lst1">•comparative ="trms">interpretive thinking (a dominant western model of knowl="trms"nttrm="knowledge,Knowledge">edge production='lgc'>--which i am using!)
="lsts lst1">•="trms">modern synthesis='lgc'>: restrictive ="trms">system theories within evolutionary theories
="lsts lst1">•="trms">systems idea
="lsts lst1">•
='strcls'>*“The global scale takes precedence='lgc'>--because it is the scale of the model.”='strcls'>* ="ppl">Tsing

='lgc'>[title='lgc'>]
Bi="trms">lingual ="trms">Stories for Ajayeb ="trms">NatureCultures
(...="trms">stories ‘for’ ='lgc'>=/= ...="trms">stories ‘of’)

does Brexit and Trumplandia changes the landscape of English use as a ="trms">language='qstn'>?

the image of pedagogy ='lgc'>: ="trms">semiotic ="trms">apparatus (& ="trms">technological) (='lgc'>='lgc'>--> the ritual of Simpson strangling Bart)


(why am i cultivating the) ='strcls'>*non-inventive ="trms">imagination='strcls'>* (and its anti="trms"nttrm="metaph,metamorph,metabol,metal">metabole ='lgc'>[or chiasmus, chiastic patterns of antithesis='lgc'>]='lgc'>: non-="trms">imaginitive invention)
often we find ourselves inventing everything (in political animation) ='lgc'>=/= to figure out what are we attached to

(in="trms">heriting something ='lgc'>=/=='qstn'>? being heir to something)

the ="trms">scientist inside me begs me to narrow my temporal scale, choose an epoch, let's say middle ages, choose a century let's say 15th, choose a year, choose a day, a moment, a micro-second slice of the cake of the milieu that you are ="trms">interested in, the instance in the bazar with Halaj in the sun and so on.

(my old school) ="trms">obligatory knowl="trms"nttrm="knowledge,Knowledge">edge ='lgc'><='lgc'>-- salon of ="trms">scietific entertainment
='lgc'>}='lgc'>-> (is about creating) proper witness='strcls'>***

the ="trms">tropes i am building in my current research, do they help build a better ="nms">Iran='qstn'>? and how='qstn'>?
="trms">interms of='lgc'>:
="lsts lst1">•an ="trms">ongoingness
="lsts lst1">•a commitment to a recent future thinking

‘homo-’='lgc'>: stuff of the soil, that figures of b="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right and sunny image of the same

='at'>#="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs and ="trms">syms='strcls'>*
="lsts lst1">•games
="lsts lst1">•="trms">technological designs
="lsts lst1">•plots
="lsts lst1">•mechanisms
="lsts lst1">•sfs
="lsts lst1">•="trms">jokes
="lsts lst1">•="trms">jests
="lsts lst1">•

="large lg3" stl="font-size:110%"> ='lgc'>[title='lgc'>]
critical ="trms">bestiaries
critique-="trms">bestiary

belonging='lgc'> = achievement (dastavard دستاورد) ='lgc'>+ violence (khoshunat خشونت)

...the ways we renounce the ="trms">world through the use of the word “real” and “really”

(="ppl">="ppl">Stengers='lgc'>:) weaving='lgc'>: not secular nor ="trms">religious, not traditional nor ="trms">modern, is ="trms">sensuous

="large lg4" stl="font-size:112%">
='at'>#='lgc'>[nodes and notes='lgc'>]

the emptyland, terrestrial life, ‘per-’ instead of ‘her’ or ‘his’
="prgrph">-the way i started with ="ppl">="ppl">Haraway was through the way i ="trms"nttrm="already,spread">read her notion of ‘critter,’ juju (جوجو) in ="trms">Farsi, jako junevar (جک جونور), little life animators often easy and ok to kill, a term in ="trms">farsi for kids that ="trms">worlds for them in particular ways
bio (“qualified life”) ='lgc'>=/= zoe, juju, “bare life” (="ppl">Agamben)='lgc'>: that which is killable ='lgc'>--='qstn'>?!='lgc'>='lgc'>--> that which must be transformed
='lgc'>[="trms">stories of o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginary ex="trms">="trms"nttrm="cluster,club">clusion and com="trms">position of body='lgc'>]

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

="large lg5" stl="font-size:122%"> the form and function are having too tight fit. no no no!
(cities) being in="trms">="trms"nttrm="cluster,club">clusive but not ="trms">integrative

(setar ="trms">different ="trms">technique of vibrato and ="trms">measure for instance in Saba and Ghavami, which part of the finger or body, one works in certain way for one and not for the other musician ='lgc'>='lgc'>--> the explicit unpacking of the activity ='lgc'>: what was formerly tacit ='lgc'>[zemni, khamush, ='lgc'>=/= habit='lgc'>] becomes dr="trms"nttrm="knowledge,Knowledge">edged into explicit ='lgc'>[='lgc'>=/= expressive='lgc'>] consciousness, precisely because there is a resistance, that there is something not ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right for the musician ='lgc'>==> reconsidering, reexploring ='lgc'>='lgc'>--> the ="trms">technique then again disappears into the tacit realm ='lgc'>='lgc'>--> ="trms">technique becomes variegated)
='strcls'>**tacit ='lgc'>='lgc'>--> explicit (='lgc'>~= that which becomes available for reconsideration)='strcls'>**

when one masters a ="trms">skill it is about being ="trms">="trms">equipped to address a whole new set of problems
='lgc'>{expertise/mastery='lgc'>: problem solving='lgc'>}='lgc'>=/=='lgc'>{="trms">craft='lgc'>: problem finding='lgc'>}='lgc'>='lgc'>--> when other things become problematic='lgc'>='lgc'>---the condition (in the ="trms">craft work) that when you learn how to do one thing you see other things that need to be explored ='lgc'>[='lgc'>-> ="trms">question for ="frds scrmbld">Eunkyung's drawing ="trms">skills and practice='lgc'>]

='strcls'>*="trms">craft is more important than art(='qstn'>?) (="ppl">Sennett)
...='thdf'>the notion that the work art breaks the conventions of practice, that it is something that makes an ="trms">epistemic break. ='lgc'>='lgc'>--> emphasis on innovation (something new)='lgc'>--that is a reflection of ="trms">sort of 19th century bourgeois ideas of about making art.
="lsts lst1">•privileging the creative act over the ="trms">craftsman act
="lsts lst1">•in innovation the “innovator” is separated from the “mass” ='lgc'>=/= ="trms">craftsmanship is collective and additive ='lgc'>='lgc'>--> (in ="trms">craftsmanship) the performance is myself
="lsts lst1">•creativity being a form of individuation or separation (='at'>@the exploratory shift in ="frds scrmbld">Eunkyung's work that ="frds scrmbld">Pierre highlighted)

='strcls'>*** ="trms">craft-work is about additive ="trms">skill; it [...]