[...]we”)

•a “we” compositional
•an “ajayeb” compositional
•

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

[title]
Bilingual Stories for Ajayeb NatureCultures
(...stories ‘for’ =/= ...stories ‘of’)

does Brexit and Trumplandia changes the landscape of English use as a language?

the image of pedagogy : semiotic apparatus (& technological) (--> the ritual of Simpson strangling Bart)


(why am i cultivating the) *non-inventive imagination* (and its antimetabole [or chiasmus, chiastic patterns of antithesis]: non-imaginitive invention)
often we find ourselves inventing everything (in political animation) =/= to figure out what are we attached to

(inheriting something =/=? being heir to something)

the 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 interested in, the instance in the bazar with Halaj in the sun and so on.

(my old school) obligatory knowledge <-- salon of scietific entertainment
}-> (is about creating) proper witness***

the tropes i am building in my current research, do they help build a better Iran? and how?
interms of:
•an ongoingness
•a commitment to a recent future thinking

‘homo-’: stuff of the soil, that figures of bright and sunny image of the same

#rigs and syms*
•games
•technological designs
•plots
•mechanisms
•sfs
•jokes
•jests
•

[title]
critical bestiaries
critique-bestiary

belonging = achievement (dastavard دستاورد) + violence (khoshunat خشونت)

...the ways we renounce the world through the use of the word “real” and “really”

(Stengers:) weaving: not secular nor religious, not traditional nor modern, is sensuous


#[nodes and notes]

the emptyland, terrestrial life, ‘per-’ instead of ‘her’ or ‘his’
-the way i started with Haraway was through the way i read her notion of ‘critter,’ juju (جوجو) in Farsi, jako junevar (جک جونور), little life animators often easy and ok to kill, a term in farsi for kids that worlds for them in particular ways
bio (“qualified life”) =/= zoe, juju, “bare life” (Agamben): that which is killable --?!--> that which must be transformed
[stories of originary exclusion and composition of body]

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

the form and function are having too tight fit. no no no!
(cities) being inclusive but not integrative

(setar different technique of vibrato and 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 --> the explicit unpacking of the activity : what was formerly tacit [zemni, khamush, =/= habit] becomes dredged into explicit [=/= expressive] consciousness, precisely because there is a resistance, that there is something not right for the musician ==> reconsidering, reexploring --> the technique then again disappears into the tacit realm --> technique becomes variegated)
**tacit --> explicit (~= that which becomes available for reconsideration)**

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

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

*** craft-work is about additive skill; it is about building on what you know rather than throwing it out *** (=/= capitalist logic of progress, creativity in the sense that ‘something’ where before was ‘nothing’) ---> a different way of building quality (into practices and objects)

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

Bakhtin's dialogic, to become a skilled listener : listening = response (=/= simply answering) --> (when we speak) we give other people talismans that are not (perfectly) clear to us----we penetrate and unpack what someone doesn't have the words clearly and response to what they intend --✕--> “common understanding,” “make something work,”

cooperation is about getting deeper into something

conditions that more skills are required (and not the opposite)

in modernity everything seams to need to be verbalized. what happens to the unverbalized, the unprogrammatic? --> can you have an implicit right which can't be verbalized? maybe no, maybe this is the limit of the social...

purposiveness: when you hear somebody go “i am going to put clearly what we all want...” you have submitted to that person (almost erotic) --> “they really know who they are” ==> you become a spectator to their definiteness

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

who the fuck = theology
how the fuck = empiricism
what the fuck = ontology
how the what the fuck = epistemology
why what the fuck = metaphysics
why the fuck = ethics
why give a fuck = teleology
the fuck itself = phenomenology
fucked up = pathology
fuck all = nihilism

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

Aela to Sven: “everytime you disappoint me you gain in depth” (5 April 2017)

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

(06.04.2017) %notes after my apass endweek presentation:
•my implicit focus and energy on the body and its organs of gesture that animates us
•loving telling you what i read
•giving you what i don't fully understand =/= gift from above
•(in lecture) to allow language greet the unverbalized

(it is about) organizing my memory
(it is about) that which comes to (my) mind, and “things” coming to minds
(it is about) the things I am told
__[these are perhaps other names of cognition, affect, memory, semiotics, history, inheritance, figuration, interface, thing-relations, huntology,]
__in our shared space where we let eachother in the effect of our languages, I want to practice what comes to mind when I stand in front of you and your work, ask myself ‘what else’ comes to mind? in a sense, my project on ajayeb is that kind of training

also in apass i want “to catch you in your acts”
it is my privilege to recognize you (as...)

asking:
1- what do I know?
2- what am I told?
3- (how getting good at to) explain what somebody else said

1- the first question has no clear answer, what i know is not placed somewhere in me, it is always an articulated matter of ‘with’ or in interaction with, it is a sym, changes before i can grasp, knowing is done always with a figure or a thing, it includes all sorts of optics and technologies, (affect theory, media theory, epistemology,)
2- the response to the second question is also not clear, i am not sure what i am told, i don't remember or hear, what i am told is infolded in what i know, (when i started with my islam lecture series i was testing the waters of these two questions and the possibility of staying with them without freaking out of ambiguity or ploting an answer)
3--> #cat's cradle


#on hypertext note:
i am becoming skilled at looking at my notes:
{(1) what are the *skills necessary* [=/= tabula rasa (of the reader, of the audience) of the communo-capitalism's standard of “user-interface"--the strange idea that the interaction and reading doesn't need or must not need learned-efforts or skills, that it should be “easy” and “effortless” --> fallacy of the unskilled listener.] to engage, interact, and get involved with the interface, data-set, grammar, and literacy of (my) reservoir? }--> ** let's ask that question with every apparatus that engages us into desire, movement, articulation, ...
skills --> to become ‘literate’ in this particular way --> situated knowledge includes this situated literacy and skills of reading particular to the object of “text” (in that case how do i address my interest in the pervert reader? the skills of the unlearning*)
the skills necessary for my work to work comes with time, attention, and desire ~-=>? #harem (=/= ladies room)
--> (2) this skills of (my) reservoir, what set of questions or problems equip me to address?

varzidan, varz, varzide, ورزیده

Sennett's love for his subjects is extraordinary (=/= iconoclasm, futurism) and it influences me deeply, his voice and care when he opens his reflection, findings, etc.

ok, again, the ‘skill’ question:
•1--> what are the set of skills needed for my work?
•2--> which problematics these skills equip me to address?
•3--> can i (or should i) not know these problematics in advance?

the bow and arrow --|)-> ♥ in my apass endweek (as sound object) was a relic of our shared physical energetic space, the nondiscursive --> how to keep it inarticulate?
•a way to record space, which is always social =/= silenced with no agency of the recorder (the “quiet recorder”)
•also a playful respective reading of La Guin, (something that may seem a misunderstanding of her carrier bag theory)
•carving out a practice agility area


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

the question ‘what does X mean?’ is always ‘what does X mean for you?’

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

i am following the movement of certain words here

spam =/= internet

spam operates on/with patterns of literacy or an existing (in)sufficiencies in known categories of cognitive biases that people have

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

[title]
“it's your turn now to play”

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

(@Luisa on space,) (question of:) producing (your) presence

material-discursive --> semiotic-psychosis --> her Wortsalad

(Bocola > Kohut > Mondrian's bipolar structure:)
creation of universal beauty / aesthetic expression of oneself
(=?=> transcend the framework of artistic production)
exhibitionist pole of the self / idealized pole of the self
the grandiose self / the idealized structures
worldviews / self-images

what is the (diametric, dialectical) internal drama of her thinking and work?
(what are?) Luisa's overarching, idealized conception that lays claim to the validity of her values and standards as applied not only to herself and environment but to the entire universe: (question of structure)
•(pre-babylonian) universal abstractionism --> embodied knowledge
•fluid equilibrium --> movement of Being
[is this a romantic structural attitude?]
-and how is she confronted with cosmos prior to her inscriptions? (question of realism)
-what is (the mystery of) a ‘being through interpretation’ for her? (question of performativity)

[realistic:] to take possession of essential aspects of the external reality (~-> recreate them in the imagination) [--> empirical?]
[structural:] to experience the external reality as parts of an interconnected and comprehensive whole
[idealistic/symbolist:] to connect the (inner) particular to the general
[romantic:] to make (inner) invisible visible

sublimated gratification of instincts, ambitions and ideals, (homogeneous) gestalt and expression of the self, narcissistic equilibrium, test its viability, haptic art,

“invisible reality and the aesthetics of universality” or a mean by which universal is recognized*
timelessness, wholesomeness, indivisibility, aesthetic standards
-pictorial thinking, movement thinking, affectual thinking, {--> all issued by the notion of “pure” and “purity”? tendency toward idealization? utopian?}

movement (the act) =/= mobility (the possibility)

(is Luisa interested in?) the immanent laws and essential unity of all being

...step to complete nonobjectivity
...objects with their expression of plasticity
-what is the symbolic term in her work?
she said: “space is literal.” --> the wholesome is proclaimed in the artistic act itself (and not as metaphor) --> experienced directly =/= imagined


--> احشايى the viscera (ahsha), visceral theory: affect and embodiment, transmissible physical charges, porous bodies,
@Luisa
kP_AfO7Ms4I

how to create a condition in which she can herself later give access to her thinking and making?
1- propose a curatorial gesture of an assembly: Luisa, Mondrian, Zen master, Malevich; with Bocola and Ahmed;
2- to open an investigation of affective economies for her: abstraction, constructivism, idealism, figurative empathy, symbolism, longing,
3-
4-

(psychoanalysis [@Luisa] allows us to see that) *emotionality involves movement*
associations whereby “feeling” take us across different levels of signification, not all of which can be admitted in the present. (+Ahmed)
-emotions move back and forth (past associations, repression traces on present) and sideways (sticky associations between figures and signs) --> something as the cause of a feeling in someone --> “involving relationships of *difference and displacement*{as the form or language of the unconscious} without positive value” --> affective economies -->{social, material, psychic}

{ psychoanalysis = "absent presence” of historicity-->(sideways movement of feelings) }==offers==> a theory of emotion as economy***
-by economy, Ahmed means, like capital (is about the movement of commodities and money*), an effect of its circulation (--> Luisa)
-the subject is one nodal point in the economy =/= subject as its origin and destination

**the movement between signs converts into affect
feeling <--> fetish commodity

in Freudian model, the movement between objects is intrapsychic --> trace of how histories remain alive in the present*** [regarding ajayeb's histories, histories that “stick” and which does not need to be declared, #fohshe heyuan/heyvan فحش حیوان/حیوون sideways movements...]
-(ajayeb's) past histories of naming

objects, the author of emotions



(how) emotions align subjects

_“surfacing” of individual_

(Ahmed suggests that) emotions are not simply “within” nor “without” but that they create the very effect of the surfaces or boundaries of bodies and worlds.

narrative = production of the ordinary


•(which crimes against persons become crimes against place? -‘us’-)
•“body of the nation”
•scene of “our injury” (--> also in Iran: “our” historical injury)
•(the fucking) right to defense --> ‘home’ itself becomes to be mobilized as a defense against terror, becomes transformed into the symbolic space of the nation #[example of when the approach (to/by objects) itself becomes a fetish object*] --> “staying at home”: a form of mobilization [---> go to three little pigs] ---- “the constitution of open cultures involves the projection of what is closed onto others, and hence the concealment of what is closed and contained ‘at home’” (Ahmed ♥) {ouvrir le fermé, fermé le ouvert}
•alert citizens, amre be ma'ruf va nahye az monkar امر به معروف و نهی از منک --> meta-ontology of tosiye توصیه
•suspicious others
•saving women from religious fundamentalism
•negativity of latent (could-be-ness ==> opens up the power to detain, police pishgiri پلیس پیشگیری)


origins of bad feeling
threat to violate the pure bodies [vulnerable and damaged bodies of the white woman and child]

*affect is economic* --> it circulates between signifiers in relationships of difference and displacement --> they align subjects --> effect of collective --> (in Ahemd's economical model of emotions) they work to bind subjects together : the nonresidence of emotions is what makes them “binding” --> her n[...]