[...]r />
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”

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(@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 close[...]