[...]ona's work)
[structural possibility:] proximity of fear-object --is--> possibility of future injury

impressions of coherence, “sticking together”
(that is perhaps why dictionaries and bestiaries are interesting: because their elements do not “stick together” in the sense of an affective economy [of inquiry and narrative] #lists)


ontology of insecurity --> (naratives of) crisis ==> “return” (to values) --> fetish
-production of crisis is crucial for insecurity
-declaration/announcement of *crisis* reads the fact/figure/event and transforms is into a fetish object that then acquires a life of its own
-it must be presumed that things are not secure, in and of themselves, in order to justify the imperative to make things secure (again)-->(the word “again” in the rhetoric of safty becomes itself the fetish object with its own life)
[security is bound up with “the not (me/us)"]

being invaded by inappropriate others [in histories of Iranian modes of intersubjectivity: ‘being invaded by the appropriate other’ ~=? being of Tasavof, #slave manifesto, let me know if you want me to kill your master.]

(in the 1999 film Matrix we see the image of the ‘strengthening the will’ of the human community in the face of the nunhuman machine others: Matrix ==> “us”)
(Matrix's) narative logic of an internal strength being posited as responsible for recovery, survival, and moving forward of the human race. (@Maarten, displacements of weakness and strength)

values that garantee survival
technologies that garantee survival
--> they become moral


those who____
speak (against) the “truth” of the world, cause the “ruin” of the world

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say your name before talking
it's a Q and A, a lecture
--> it is a violent day
asking for your name is intrusive enough, even before asking where you come from [--> #estizah]


(learning from Heidegger:) abbreviation is already an effect of technology
case of Germany specially
and persian san'at (صنعت techniques and technologies) of subject-making
•‘is’ --> information system
•‘ich’ --> intangible cultural heritage


[#contract, concerning modalities of being-with:] anxiety, Sorge, (~ care?) is *disclosive*, for Heidegger, is an ontologically fundamental mood that opens you up to the possibility of understanding, anxiety is the leading mood that allows understanding
(in Heidegger) anxiety ==> understanding
(in Farsi) negarani نگرانی --> vision بینندگی --> basirat بصیرت ==> ta'amol تأمل (modalities of meditation and speculation)
(in psychoanalysis) anxiety =/= fear
(in capitalism) anxiety --> boredom ==> capital
(in settler white colonialism) anxiety ==> safty
(in Ahmed) anxiety --> approach to objects
(in Ahmed) fear/anxiety ==> effect of “that which I am not”

(ghol قول, gharar قرار, gharardad قرارداد [~ that which is promised by the ghol], ghovate ghalb قوت قلب) contracts also come to reassure, otherwise we might be in the radically open space of psychosis.
***contracts, they disambiguate the space***
{+} (pointed out by Derrida:) “contract” is less terrorizing than assuming that there is something natural that binds us... (@Luisa) contract is a non-natural conventional object. (the textual nature of contracts allows it to be read, written, rewritten, reformatted and rearranged.)%-->{ontic & ontologic}
•what kinds of violations does the contract capaciously includes in itself?
•there is nothing natural about here and us being here. (spatiotemporally clock tells us not only what time it is, but also where and who we are: how “time-teller” is spatially architecturally phallically positioned: in the center, on the top, wrapped around the body, and so on.)


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[apass opening week 08.05.2017, (my response to) what is “artistic research”?] artistic research is a fancy way of transforming your “weird feelings” about the world into an “inquiry,” so to say, and at the same time resist to be faithful to standard accounts of what counts as a “serious knowledge claim.” So it includes a lot of messy thinking-feeling, embodied practices, affects, poeticity, semi-scientific work, magic, data collection, mutative interpretative reading, forgetting things, detours, rituals, dead-ends, writing under the influence of scarce foreign obscure philosophies, literary drugs, and boldly using metaphors from different disciplines of “study” that one can find. So, on the one hand, it is a term, invented to indicate a “fluid modern personality” within a turn in humanity studies that opens up to ‘what an artist already knows’ or ‘what an artist is allowed not to know’ within their specific historically situated set of tools. And, on the other hand, it indicates an important shift in the education of art, in which the attitude of the artist changes: instead of making things into a “resource” for artistic creation, rather making things into a “topic.” That means a whole new set of relationalities and new forms of attention need to be learned and cultivated, which were historically often absent in the education of art.


-i want to bring a circus inside {--> within}
-my business still with aesthetics (my own image) (narcissistic stuff...)
-to show up as a guy, castrated and very advanced (--> you can only come up castrated unless you are extremely advanced, #harem stuff)
-i am trying to come forward with all the rigor and rhetorics available to me

the death score

Leo correcting his proper name in my mouth. (signature: master of your name --> master of your house)
Leo named his future projection: “Empathoscene”
[sometimes your name is the first doorkeeper (as in Kafka'a Turhüter)]

Eszter's ‘what is there as an obstacle to the freedom of man (?)’ (question marked by me)
--> the spatial gesture of the ‘stop’ (#Selma)

Maarten's version of confusion (stated by himself) is due to that: the messianic horizon is essentially confusing (?)
his autopoiesis and cognitions

Nicolas's notion of “leaking” has to do with marginal non-textual non-accounted-for moments that bleed in absolute non-contractual and non-appropriable event? (the so-called moment when we show things to each other)
•his ‘climate of creativity'~~~_[what does ‘criticism’ mean for him?]
•when he says “gesture,” is he accessing ‘gesture’ having an uncalculable semiotic value =/= ‘performance’ that can be measured in economical terms? [but, what kind of consequential work is gesture doing?]
(Nicolas's order of inquiry and discovery)
(--> what is at stake is how do you locate the effects of your work. for Nicolas it is locate at the “sides” [which is already problematically prepositioned outside of him] --Ahmed--> ab object can be affective by virtue of its own *location* [...] and the *timing* of its appearence)
[the ‘image of the rigid’ in his presentation]

Kristien's chart:
questions <--> symptoms
answers <--> openings
past <--> diary

for Lilia: apparatus = score
for Eszter: apparatus = preparation {--?--> everything depends on the ways we prepare}
for Sina: apparatus = (chaotic/strange) attractor
for Hoda: apparatus = negative feelings
for
for
(other non-Agambenian notions of apparatus: Katie King's, Barad's, Wark's)
[Agamben still thinks of structure in Euclidian terms, pre-chaos theory and fractal geometry of (non)equilibrium. thermal chaos and dynamic system theory has changed the ways we think about global/local stabilities, discontinuities and noise. sympoiesis is another one.]
-with ‘apparatus’ what is at stake: flow of energy, order, waste, transformation,

Vladimir's tether on disambiguity

Elen, adding her own wheels to the flow(s)
and putting a stick/spoke in a rolling wheel (of others?) [her saboteur trends, چوب لای چرخ (=/=? kharab-kari خراب کاری), what is chub lay-e charkh for her? vandalizing the discourse of others]
-the famous vandal of wikipedia with the recursive name “-on wheels” (Willy on Wheels, adding “on wheels” to the title of every single page, using the move function of Wikipedia: renaming the existing title ==> moved to another namespace, without changing the base title)
-like myself, her saboteurs are critically not symbolic nor ontic, rather sometimes epistemic, or better, ontologic: they don't vandalize the “thing” itself, but the “nature of the properties” that constructs that thing for us
-rocket sculture (what does it mean for her?)


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

[the question of inevitability of anthropical view]
there is no final answer to a kind of question but a lot of answers
through inhabiting a figure you are crafting you find yourself addressing a set of problems
agency: liveliness of artifacts (?). there is some kind of liveliness that is both human and nonhuman
the kind of sociality that joins two categorically separate mode of agencies, is a sociality that constitutes both --> the interaction of humans and machines produced both =/= unilateral action
(my whole point or joke, with the bow and arrow was that the arrow of index finger does not move in one way.)
[=/= another mode that comes to mind is when your intimacy making leads always to yourself, getting laid, literally. that is when your concern becomes only you and someone, sexually interested --> economically, and you don't concern the sociality of your people with each other. #techno-capital singular subjectivity @--> this is super relevant for Sven, maybe: how one becomes interested, invested, and skillful in provoking interesting socialities for friends and peers--and not only for oneself? creating, inciting zones of connectivity]
-[it was not accidental that the rhetoric of drugs came up with Lilia when I suggested the attention to anthropos --> what figures human and otherwise was for her the subject of drug-induced rhetoric of mind-alteration; (this is the anthropos of the Enlightenment Europeans and classical Greece talking:) “in order to get rid of me you must take drugs!” #fable/_ --> being sober(?!), anthropos becoming, human nature, common sense, empiricism and interpretation are at stake here]
-[another thing was the label of “animal” that was passed around as a form of mock, instead of provocations for more conversation, I was stupefied. --how can we go on together and not render each other commitments nonsense?]


“point of view” is an important metaphor


#in my work in apass i am working on descriptive practices [poetics of animal description, histories of nonhuman inscription, etc.] to learn to name latent (and therefore emergent) ontologies, to name ‘what we are doing in new ways,’ which are hard to name. (also refusing not to name the violences of others and yourself. to reckon the nature and scope of the erasures we do in our works.) % why do you think that is important?
#and my shift of attention to peer's works is about that: our domain of practices must make claim on each other <== we inhabit differences together (--> attention and work on:) ‘local category abstractions’ (how do we talk and make each other feel our subjects of interest in apass for example) --> (the cumulative, associated and sensed) routines, gestures, and (inter)surfaces of our everyday life in apass, as a group of researchers, that don't necessarily align ==> worlding comes from these things.
[attunement =/= argument]


the name of the world is “detail”


***translation (essentailly imperfect) is the very condition of signification --> trope is the very condition of language

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

don't be docile bodies or innocent bystander, do what you have to do to constitute your courage
all i am saying is that: it is not clear what the destiny of art (or of anything) is

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

perhaps what i am trying to learn--with apass, ajayeb, writing, harem, etc--is to ask what do i need--which skills, abilities, or literacies--to become equipped to share the experience of the habits of the world (of ajayeb) that i am discovering

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

Luisa: “the visual (side)effects of a ‘not being supported’”
effect --> object --> suport --> object2 --> suport3 --> suport4 --> ...
(at one point Marialena pulling away a support box ==> Luisa's cry sound side-effect of a ‘not being supported’)
•?how is it done for her: construction of indifferent objects
•which import function is materializing her ‘objects’? [public import]



I want my friends to become marvelous thinkers makers, I want them to ask interesting questions



Esta: “when we enter the presentation we are researchers, we are not friends” [--> “neutrality” of encounter]
(but i want to explore new places in my work with the people who care for you)
(is this at all possible? to enter with friends a non-friend zone?)

inclusion =/= involvement
(inclusion usually mistaken as literally for physical inclusion)



How Kobe's work can move from a “case-finder agency” to a consequential work? [--> storytellings for making consequential meanings*] that means: what does it mean to live in the consequences of the relations one is enacting?
(when I look at my friends and peers in apass, I can see and feel the knowledges they inhabit in their bodies and the living effects of their languages. I re-figurally feel the figures they embody and their objects whether they assist or resist states of transformation.)


ephemeral things become food

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

Esta, risking one's life


@Hoda, Xiri,
the idea of “express its inner experience”
simulation of

Xiri's sense of entitlement to accusation


@Leo, fiction of sharing
‘something tangible, like a meal’
something phantasmatically hooked up to libidinal openness, like a drug


@Elen, DUI: driving under influence, what are we on when they were driving her cars
DUI has become the pharmecy take on drugs to take away and winning the drug war
movement under influence, MUI
legelized use of motor activity
driving while impaired/driving while intoxicated (DWI)
drink-driving (UK)
driving risky (DR)
drunk driver (DD)

the notion of game and rule for Elen and Luisa and Eszter: it is until ages of 3 and 6 that children must not play by rules, and only after that the concept of rule-based-games (such as sports) should be introduced to them. what does that say about our artistic environment when we talk rules or breaking rules?
i am becoming more interested in the ‘rules’ that the artist (or non-artist) is proposing, and not my own ‘freedom’ in their work. what does it mean or do to become interested in the *freedom of others* and not yourself? ==> paying attention to the most implicit rules of your game, that means i am paying attention to your freedom that has articulated itself in the creative gesture


instead of (the “how” of) “how do i show my interested texts?” (which was proposed in Maarten's exhibition of poems) i like to ask (the “what” of) “what requires reading?” (also @Sven) (my kill-joys in apass ... am i being too ontologic with everything? --> I am operating from the position that understanding materials, practices, and interpretation implies questioning ontological assumption ==> challenge concepts)


@Eszter: is there a notion of ‘natural’ embeded in her ‘compelled’? there is nothing natural about us being here, there is nothing natural about here
•cognitivism: (when talking of representation) a psychology of doing which emphasizes human cognition endowment enabling man to develop intellectually ==> classifications (are easy seen) as properties of mind =/= classifications as materials or materially textured --> “a common way to hear people's experience of this materiality is through metaphors. So the generation of metaphors is closely linked with the shift to texture.” (Bowker)
•behaviorism: a theory of doing that focuses on objectively observable behaviors and discounts independent activities of the minds involved in the doing

-->? behavioral intervention
(footnote on) behavior therapy --> breaking one's loops (of: reverie [mind fleeing across secluded planes], reaction to stimuli [overwhelmed by the speech of the others ~ neurosis], distorted thinking [overstressed emotional reasoning], , ,)
[*]behavior therapy: treatment of neurotic symptoms by training the patient's reactions to stimuli --> *cognitive restructuring* could help Eszter in her artwork? (to reestablish the relationships between stimuli and responses)
(techniques:)
•counterconditioning
•punishment (operant conditioning)
•habituation
•functional analysis
•*behaviour intervention plans*
•automatic thought record
•

i can on[...]