[...]or (in its different and difficult forms)
[...working for the expressivity of others, and not yours]

(Veena research in Sultanpuri:) *theatrical performances of violence created a subjectivity that would not be carried forward in time*

-to what extent subjects posses the knowledge they enact? (~ do we know what we do?) --?--> question of structure and cognition (~ the extent to which we know the structures that we are part of, and what vulnerabilities and events this leaves us open to)

(let's stop throwing easy) political and moral posturing about neoliberalism

...there are only particular regions of the past that we potentially or actually have access to. we do not know in advance which regions of the past life might lead us to, or express through us --Veena--> we are not necessarily *cognizant of the structure*, but may still express *fragments of myth* --> ***nonagentive invocation of politics*** @Hoda (Veena example: right after Sultanpuri carnage, women were sitting in front of their burnt houses in a position of stillness letting their body grow dirty, sorrowfully embodying pollution and dirt, like Draupadi in Mahabharata proclaiming her violation through public expression of her pollution. but the women did not device a strategy to carry a tactic of everyday life into the realm of the political. it was as if the past has turned this face towards them--not that they had translated this past story into a present tactic of resistance --> living fragments of a myth)

more like a conceptual signpost =/= extended argument


two signature issues of politics:
•sovereignty --> the state
•associational life --> the social contract

[the state is supposed to be a proxy for people to appropriate power (of death?!), rather than laying absolute claim over it]
-how such claim is contested or reformulated in iran?

the figure of the abducted and rescued woman --> sign of authority --> sign of state

having a politics =/=? do politics ~ political act
*agonistic impulse of politics* (often, if not prophetic, a heroic mode of action in terms of escaping the ordinary rather than descend into it [--> Marx]. such as: Antigone's spectacular defiant voice celebrated in philosophical and political thought, stable locus of redemption. usually a rebellion in some sort, craving a socially progressive agonistics --> French Revolution)
--or--> (=/= possibility of an ethnographic) integrity: *attempt to attain a proximity to the vagaries of life* ~~> ordinary works of repair in a life, such as Asha
--or--> *reparative impulse of politics* (=/= agonistic), Shahrzad's non-agonistic socially progressive politics of working under “terror” animated by the question of how we might continue to live together, how the social fabric holds together
--or-->

(it is our/my imperative today) ***to give each other a more open-ended picture of [our] bad objects (caste, capital, state, modernity, etc.)***

exchange, resettlement, fission, mythological replacement (~ friction and movement within the system) ==> repartitioning of categories ==> rearrangement of hierarchies ==> opposing and heretical sects and religions

-art's (ethnographic?) proximity to life
-political postures and stands

(nobody has, neither state nor communities) monopoly on ethical pronouncement [~ declaration of good and evil]

(political) postures are not unimportant, they allow us to take a stand --> perspective
--or--> evocatively ambiguous formulation on... =/= [*]politic: spirit of resentment on behalf of the victim (Setareh, Hoda, Ali ; also @Sina not to deny the possibility of victimhood) --> *how possibilities of life close down and where other possibilities open up under the weight of patriarchal norms*

question at Hoda:
-how dose she involve a relocation of her protagonists (the sorrowful women) within the domestic, even if the domestic shifts?
-how an understanding of power after Foucault (that power does not come from above, that power is not something that has to be identified) influences her mode of thinking about the condition of her women? [the boundaries of patriarchy are not clear]

sometimes recovery from violence does not come from national imaginary and public rituals of mourning and reparation, Veena shows how a certain kind of silence, the refusal to let toxicity circulate, involves everyday spiritual exercises in *digesting the poison in the acts of attending to the ordinary* --> survivors affirming the possibility of life by removing it from the circulation of words gone wild... (--Hoda's lullabies songs of private injuries?)
-silence is never simply a silence
-to be able to affirm certain kinds of silence (is key to a political anthropology)

different rhythms of conflict and cohabitation

questions
-life-giving and life-denying rhythms of ordinary life
-how (a revolutionary) event is grown from the everyday, and must return to it

Singh: progress of ethnographic knowledge --> a sort of movement that include the ***emergence of new answers to earlier questions*** ~= new routes of inquiry
[=/= progress in the sense of a telos of increasing self-awareness]

intellectual vita (can't be all heroic and saintly, tales of adventures and achievements, as in the way Manning presented herself,) rather it can gather up it share of victories and wounds

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

everyday life: a life lived on the level of:
•surging affects
•impacts suffered or barely avoided
spawns a series of little somethings dreamed up in the course of things
(Stewart:) “ideologies happen. power snaps into place. structures grow entrenched. identities take place. ways of knowing become habitual at the drop of a hat. but it's ordinary affects that give things the quality of a something to inhabit and animate”


*ordinary registers intensity* (regularly, intermittently, urgently, as a slight shudder)

(one can be) ***confused but attuned***

“we dream of getting by, getting on track, getting away from it all, getting real, having an edge, beating the system, being ourselves, checking out” -Stewart

(socialities, identities, dream worlds, bodily states, public feelings are not simply “good” pr “bad” but always) both powerful and mixed

the talk, once set in motion, expands into a بیشه thicket of stories and social maneuverings
(a scene in a restaurant becomes) maze of inspirations and experiments ♥
-“her brother's stories are shell-shocked and they have no endings. they leave you hanging”

singularity of the event ==> a “we” of all sorts opens in the room

chance event ==>
•a layer of conflict
•a daydream to things


...tuned in to some little something somewhere


“in a video that blankly records an arresting image, young embodiments of a mainstream in the making come face to face with an otherness that compels a closer look. the order of representation gives way to a more violently affective contact”
Stewart

force of things --> what counts as an event

a politics of being/feeling conected
a politics of ways of watching
a politics of waiting for something to happen
a politics of difference (of habit and dull routine)


childhood coming back [to you] as shocks of beauty

graphic stories prompted by the seemingly simple work of remembering:
•kinship ties
•married names
•stories of alcoholism
•stories of accidents
•stories of violence
•stories of cancers


[*]potential: fleeting and amorphous, it lives as a residue or resonance in an emergent assemblage of disparate forms and realms of life; a thing immanent to fragments of sensory experience and dreams of presence --engenders--> attachments or system of investment...

(people are) collecting found objects snatched off the literal or metaphorical side of the road

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

Yazid: the archetypal tyrant of islamic memory

...a shift from thinking of Urdu as exclusively Muslim to thinking of Muslims as the custodians of a shared heritage that Hindus have forgotten, but have the potential to reclaim
-Anand --> how do we understand the islamicness of urdu poetry?

spread of [...] poetry far beyond the bounds of exclusively muslim identity

sufi[...]