[...]on, ="trms">affect, ="trms">memory, ="trms">semiotics, ="trms">history, in="trms">heritance, ="trms">figuration, ="trms">interface, thing-="trms">relations, huntology,='lgc'>]
__in our shared space where we let eachother in the effect of our ="trms">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='qstn'>? in a sense, my project on ="nms">ajayeb is that kind of training

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

asking='lgc'>:
="lstsrd">1- what do I know='qstn'>?
="lstsrd">2- what am I told='qstn'>?
="lstsrd">3- (how getting good at to) explain what somebody else said

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


="large lg2" stl="font-size:112%"> ='at'>#on hypertext note='lgc'>:
i am becoming ="trms">skilled at looking at my notes='lgc'>:
='lgc'>{(1) what are the ='strcls'>*="trms">skills necessary='strcls'>* ='lgc'>[='lgc'>=/= tabula rasa (of the ="trms"nttrm="already,spread">reader, of the audience) of the ="trms">communo-capitalism's standard of “user-="trms">interface"='lgc'>--the strange idea that the ="trms">interaction and ="trms"nttrm="already,spread">reading doesn't need or must not need learned-efforts or ="trms">skills, that it should be “easy” and “effortless” ='lgc'>='lgc'>--> fallacy of the un="trms">skilled ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listener.='lgc'>] to engage, ="trms">interact, and get involved with the ="trms">interface, ="trms">data-set, grammar, and ="trms">literacy of (my) reservoir='qstn'>? ='lgc'>}='lgc'>='lgc'>--> ='strcls'>** let's ask that ="trms">question with every ="trms">apparatus that engages us into desire, movement, ="trms">articulation, ...
="trms">skills ='lgc'>='lgc'>--> to become ‘="trms">literate’ in this particular way ='lgc'>='lgc'>--> ="trms">situated knowl="trms"nttrm="knowledge,Knowledge">edge in="trms"nttrm="cluster,club">cludes this ="trms">situated ="trms">literacy and ="trms">skills of ="trms"nttrm="already,spread">reading particular to the object of “text” (in that case how do i address my ="trms">interest in the ="trms">pervert ="trms"nttrm="already,spread">reader='qstn'>? the ="trms">skills of the unlearning='strcls'>*)
the ="trms">skills necessary for ='mywrk'>my work to work comes with time, attention, and desire ='lgc'>~-='lgc'>=>='qstn'>? ='at'>#="nms">harem (='lgc'>=/= ladies room)
='lgc'>='lgc'>--> (2) this ="trms">skills of (my) reservoir, what set of ="trms">questions or problems ="trms">="trms">equip me to address='qstn'>?

varzidan, varz, varzide, ورزیده

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

ok, again, the ‘="trms">skill’ ="trms">question='lgc'>:
="lsts lst1">•1='lgc'>='lgc'>--> what are the set of ="trms">skills needed for ='mywrk'>my work='qstn'>?
="lsts lst1">•2='lgc'>='lgc'>--> which problematics these ="trms">skills ="trms">="trms">equip me to address='qstn'>?
="lsts lst1">•3='lgc'>='lgc'>--> can i (or should i) not know these problematics in advance='qstn'>?

the bow and arrow ='lgc'>--|)='lgc'>-> ='heart'>♥ in my ="nms">apass endweek (as sound object) was a relic of our shared physical energetic space, the nondiscursive ='lgc'>='lgc'>--> how to keep it in="trms">articulate='qstn'>?
="lsts lst1">•a way to record space, which is always ="trms">social ='lgc'>=/= silenced with no ="trms">agency of the recorder (the “quiet recorder”)
="lsts lst1">•also a playful respective ="trms"nttrm="already,spread">reading of ="ppl">La Guin, (something that may seem a misunderstanding of her carrier bag theory)
="lsts lst1">•carving out a practice agility area


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the ="trms">question ‘what does X mean='qstn'>?’ is always ‘what does X mean for you='qstn'>?’

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i am following the movement of certain words here

="large lg1" stl="font-size:141%"> spam ='lgc'>=/= ="trms">internet

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

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

='lgc'>[title='lgc'>]
“it's your turn now to play”

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

(='at'>@="frds scrmbld">Luisa on space,) (="trms">question of='lgc'>:) producing (your) ="trms">presence

="trms">material-discursive ='lgc'>='lgc'>--> ="trms">semiotic-psychosis ='lgc'>='lgc'>--> her Wortsalad

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

what is the (diametric, dialectical) ="trms">internal drama of her thinking and work='qstn'>?
(what are='qstn'>?) ="frds scrmbld">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='lgc'>: (="trms">question of structure)
="lsts lst1">•(pre-babylonian) universal abstractionism ='lgc'>='lgc'>--> ="trms">embodied knowl="trms"nttrm="knowledge,Knowledge">edge
="lsts lst1">•fluid equilibrium ='lgc'>='lgc'>--> movement of Being
='lgc'>[is this a romantic structural attitude='qstn'>?='lgc'>]
="prgrph">-and how is she confronted with ="trms">cosmos ="trms">prior to her inscriptions='qstn'>? (="trms">question of realism)
="prgrph">-what is (the mystery of) a ‘being through ="trms">interpretation’ for her='qstn'>? (="trms">question of performativity)

='lgc'>[rea="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic:='lgc'>] to take possession of essential aspects of the external reality (='lgc'>='lgc'>~-> recreate them in the ="trms">imagination) ='lgc'>[='lgc'>='lgc'>--> ="trms">="trms">empirical='qstn'>?='lgc'>]
='lgc'>[structural:='lgc'>] to experience the external reality as parts of an ="trms">interconnected and comprehensive whole
='lgc'>[idea="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic/="trms">symbo="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list:='lgc'>] to connect the (inner) particular to the general
='lgc'>[romantic:='lgc'>] to make (inner) invisible visible

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

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

movement (the act) ='lgc'>=/= mobility (the possibility)

(is ="frds scrmbld">Luisa ="trms">interested in='qstn'>?) the immanent laws and essential unity of all being

...step to complete nonobjectivity
...objects with their expression of plasticity
="prgrph">-what is the ="trms">symbolic term in her work='qstn'>?
she said='lgc'>: “space is ="trms">literal.” ='lgc'>='lgc'>--> the wholesome is proclaimed in the artistic act itself (and not as ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor) ='lgc'>='lgc'>--> experienced directly ='lgc'>=/= ="trms">imagined


='lgc'>='lgc'>--> احشايى the ="trms">viscera (ahsha), ="trms">visceral theory='lgc'>: ="trms">affect and ="trms">embodiment, transmissible physical charges, porous bodies,
='at'>@="frds scrmbld">Luisa
kP_AfO7Ms4I

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

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

="large lg3" stl="font-size:110%"> ='lgc'>{ psychoanalysis='lgc'> = "absent ="trms">presence” of ="trms">historicity='lgc'>='lgc'>-->(sideways movement of feelings) ='lgc'>}='lgc'>==offers='lgc'>=='lgc'>=> a theory of emotion as economy='strcls'>***
="prgrph">-by economy, ="ppl">Ahmed means, like capital (is about the movement of commodities and money='strcls'>*), an effect of its circulation (='lgc'>='lgc'>--> ="frds scrmbld">Luisa)
="prgrph">-the subject is one nodal point in the economy ='lgc'>=/= subject as its o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin and destination

='strcls'>**the movement between signs converts into ="trms">affect
feeling ='lgc'><='lgc'>='lgc'>--> fetish commodity

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

objects, the ="trms">author of emotions

="large lg4" stl="font-size:111%">

(how) emotions align subjects

_“surfacing” of individual_

(="ppl">Ahmed sug="trms">gests that) emotions are not simply “within” nor “without” but that they create the very effect of the surfaces or boundaries of bodies and ="trms">worlds.

="large lg5" stl="font-size:138%"> ="trms">narrative='lgc'> = production of the ordinary


="lsts lst1">•(which cr[...]