[...]) 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.)


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

[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 only guess (with cognitive therapy) at the interior landscape of her reverie, her internal reality (~= psyche) [--> i am reminded by this again that knowing anyone's psyche is impossible, as in psychology is an impossible science]
[*]cognitive therapy: identifying and changing unhelpful or inaccurate thinking, problematic behavior, and *distressing emotional responses*
--> learning to monitor thoughts (in three layers:)
1. core belief [deepest level of our thinking, underlying self-values and perceptions of the world, have an absolute quality: “I am worthless.” “I am inadequate.” “if I fail, I am worthless.” “I am unsafe in the world.” etc.]
2. intermediate beliefs [expectations and assumptions, guidelines we follow, maintaining our anxiety and depression: “Always look for danger and expect it to be there.” “If I don't understand something perfectly, then I'm dumb.” etc.]
3. automatic thoughts [immediate thoughts that go through our mind in response to a situation, usually negative and unquestioned: “She thinks I'm weird.” “I won't pass that test.” “This is too hard. I'll never understand this.” etc.]

types of automatic thoughts:
•evaluation (evaluative thoughts)
•coping strategies
•avoidance
•

[cognitive distortions]
typical mistakes in thinking:
•*all or nothing* / all-or-none thinking (“If I'm not a total success, I'm a failure.”)
•*catastrophizing* [--> middle eastern fortune-telling, omen, foretell the future] ( “I'll be so upset, I won't be able to function at all.”)
•*disqualifying the positive* (positive experiences do not count: “I did that project well, but that doesn't mean I'm competent; I just got lucky.”)
•*emotional reasoning* (“I know I do a lot of things okay at work, but I still feel like I'm a failure.”)
•*labeling* (“I'm a loser.” “He's no good.”)
•*magnification/minimization* (“Getting a mediocre evaluation proves how inadequate I am. Getting high marks doesn't mean I'm smart.”)
•*mental filter* [selective abstraction] (“Because I got one low rating on my evaluation it means I'm doing a lousy job.”)
•*mind reading* [narcissism] (believe to know what others are thinking: “He's thinking that I don't know the first thing about this project.”)
•*overgeneralization* (“[Because I felt uncomfortable at the meeting] I don't have what it takes to make friends.”)
•*personalization* [narcissism] (believe others are behaving negatively because of you: “The repairman was curt to me because I did something wrong.”)
•*should/must* [imperatives] (having a fixed idea of how you or others should behave: “It's terrible that I made a mistake. I should always do my best.”)
•*tunnel vision* [cyclopean view] (“My son's teacher can't do anything right. He's critical and insensitive and lousy at teaching.”)


what is the most central belief about herself?
which experiences contributed to the development and maintenance of the her belief?
which positive assumption helped her cope with the core belief?
what is the negative counterpart to this assumption?
which behaviors help her cope with the belief?

*basically there is often no evidence that the automatic thought is true

http://static1.squarespace.com/static/521a7b2ee4b0ee587906d191/t/5774531e03596e22f1d2c844/1467241246388/CBT+Case+Conference+Handouts-1.pdf


(a deep problem with behavior analysis is that it comes from the study of animal learning in the 20th century... observing cats trying to escape from home-made puzzle boxes, and things like that)


(for Eszter:) complex ~= coherent (=/= *contradictory*)

Eszter could benefit from learning about collective behavior sociology
/individual behavior is completely unpredictable
/collective behavior is to a large extent predictable

contagion =/= convergence
(Kelile Demne: evil is convergent)

*contagion: crowds exert a hypnotic influence over their members
*convergent: people who want to act in a certain way come together --> crowd diffuse responsibility but the behavior itself is claimed to originate within the individuals
*emergent-norm: people find themselves in a vague, ambiguous, confusing situation ==> new norms “emerge” on the spot, which may be at odds with normal social behavior
*value-added: release valve سوپاپ for built-up tension within community
*complex adaptive systems: autopoiesis or self-creation of patterns and new entities

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

(footnote on) personality disorder
deviating from ‘orders’ accepted by the individual's culture
-your distinguished and enduring behavioral and mental traits that differ from social norms and expectations
it is in relation to others --> cognition, emotiveness, interpersonal functioning, impulse control ==> personal, social, occupational disruption

egosyntonic personality disorders are most difficult to treat (such as: narcissistic personality disorder, anorexia, gambling problem)

*egosyntonic: in harmony with the needs and goals of the ego [--> defences ==> maladaptive coping skills ~=> anxiety, distress, depression]
*egodystonic: in conflict with the needs and goals of the ego, in conflict with a person's ideal self-image

obsessive-compulsive disorder --> egodystonic
obsessive-compulsive personality disorder --> egosyntonic

Freud: psychic conflict arising when the original lagging instincts come into conflict with the ego (or egosyntonic instincts) [such as: erection problem ==> egodystonic]

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

[*]personality disorder: (a type of psychological disorder generally defined by) the lack of insight into the disorder

borderline personality disorder =/= shades of gray
(a view that sees) significances as unfair and uncaring (devaluation) or flawless (idealization)
(a standardized criteria of diagnosis since 1980) a certain class of neurotics who, when in crisis, appeared to straddle the borderline into psychosis
fluctuation in identity --> chaotic identity (=/= chaotic imagination)
*the most treatment-resistant personality type*
-75 percent in female patients
-related to neglect in childhood

borderline personality disorder often comes with very smart people
borderline personality + high intelligence ==>
•parakandegi-e zehn پراکندگی ذهن sporadic and dispersed mind --✕--> hadaf jahat kushesh fa'aliat هدف جهت کوشش فعالیت having a target, direction, effort, activity
•going from one thing to another without consistency in life باری به هر جهت

borderline personality disorder + narcissistic personality disorder [seeing people from top to down] ==> winning arguments by mixing imagination and reality, saying everything they like to others
--> (donya-e zehni) a mental world in which imagination and reality are not distinguish (~-> lying)

(a nontherapeutic approach) to turn the borderline into storyteller:
•dissociation --into--> impossible association
•disconnection as a state of consciousness --into--> impossible connection
•lying as a feature --into--> fabulation
•manipulative behavior --into--> articulative
•demand --into--> performance
•chaotic identity --into--> chaotic imagination
•ذهن پراکنده (sporadic mind) --into--> ذهن انحرافی (deviant mind)
•sensitivity (of thin or no psychological skin) --into--> sensibility
•

a therapeutic approach to borderline personality:
•dialectical behaviour therapy (<--?-- mindfulness)
•


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

%notes on #workshop of question (HWD)
-how come in my drawing class participancts couldn't even hold the pen
-participants lenzes couldn't focus, the words were in blur and in disarray
-i had to stop free associations and staggerings, and return to the task at hand
-it was like teaching a new language
-i was trying to share my methorodlogy, specificly. not a jam session
-is it neccesory or interesting to learn eachother methodlogies in order to get involved and engagned in eachother practices? maybe not --> go back to representational tools --are representational tools the best we have? or maybe, structurally we can't give workshop in apass HWDs or endweeks, because participants are not there by free will that is usually mobilising them to look for and join a workshop that they are interested in.

%(am I?) ‘coming back with advices’ in my work [[#Esta]]

is it interesting for me or my research to think about how we moved that plant around in the 4th floor?
*moving plants* is risky
as backdrop for human activity
passively vegetating
making local and global connections: which local or global connections was made (by Sina, Xiri and Esta moving the plant)? (how the plant was repositioned in our) making of public common spaces
-practices of concern
(attentive to the plant that was a) shared “thing” between us
what was mediated, navigated and articulated with that plant in apass 4th floor?
(with this i am trying to ask about the) kinds of imaginative world-making at work
gathering forces
-

the mice, and the pattern of rice, how did we become the reader of mice's text? --> reader is always always constructed.
the mice disconnected us from global digital networks and wrote something on the floor...
(which objects of our systems design supporting some and not others) leaving out what are locally perceived as “nonpeople” can mean nonworking system. (biologists not seeing their secretaries as doing real science, artists in apass not seeing the mice doing real work, etc.)
--> *(Leigh Star's) “ethnography of infrastructure”* -infrastructure is both relational and ecological, both transparent and opaque. it is part of the balance of action, tools, and the built environment. [*]infrastructure: a dense interwoven fabric of shared visions of possible and acceptable dreams (of the inovative, as techniques, knowledge, know-how, and the institutions).

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

my previous lectures have been communicating something I don't quite understand to an audience that doesn't want to know. but still somehow they became not indifferent to my madness and we managed to establish lines of interest and interference (=/= restoring the phalus to its proper place, or getting a membership)

i am building another wit =/= you know when you are on some kind of auto-respond, those smart fast answers. my wits take ages to come through. in a way i have been slowing down certain kinds of wit. that's also why it is so easy to silence me.

i have been also busy with the timing of understanding. how to keep understanding open and ongoing? there is this standard general sense that becomes very upset when things are not immediately understood (#double-click democratization of communication,) my workings have been perhaps invested in keeping my own (not-fully-)understood alive for a while. if things were instantly understandable we wouldn't be here.

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

question at Hoda

how to make her interested in metaphysics? in queer studies and practices

physics is the river of phenomena
meta: above, among, beyond

ontological commitment to:
sense of wonder
sense of sadness
sense of madness

what (else) literature can be if not elegy?

sonic level of sign-making and significance in her act

soft-spoken adjectives

“sigh”: poetry's start-up engine, aaaahh
somewhere between lament and mourning
proper address of the mother
which ‘scene of modern or classical language’ you are opening?
‘sigh’ is important, sigh initiates (many including german and iranian) literature
iranian historical comfort zones
where literature starts with sigh
when and how did you learn to sigh?

sigh is from the family of the specialized languages of complaining?

temporal climate of your remembrance (as mourning) --> related to the past?
mourning and memory are sojourn for her

incorporating the object of (her) loss
(holding onto) the unhappy objects of difference

anger, pain, misery, ...

which (good or bad) feelings saturates her poem?
question of saturation
which feelings modified by which poetics sutures which wounds? زخم‌بندی
or to be more psychoanalytically correct: where is the wound?

my own affirmative exposure of the unhappy effects of her poetry

what is the image of the ‘better life’ in her poetry?

somehow in the literary habitus she is moving, the origin of descriptive/inscriptive saying is made by an initial violation

Hoda's poem, which energies does it unleash in her?

sokhan-e ranj سخن رنج

شعر غنایی Lyric poetry, a formal type of poetry which is defined by or dedicated to expressing so-called personal emotions or feelings.
the Lyre, a string instrument in Greek classical antiquity, is tuning the technicality of this ‘form’

historical contingencies of “personal feelings”
?what is more singular than your “personal” highs, trips, crashes, “feelings”  ==> a text telling about itself (its ownmost experience of something that is radically singular)
-rhetoric of singularity
-(my point is that the expression of your) innermost experience (is often signed by someone else)
--> “distributed biographies,” thinking about sociality of perception

her poem is her textual body (<--> sexual body)

ecstasy
is subjectivity (permanently for Hoda) ecstatic?
this is the question of ‘where is the subject’? according to different practices with ecstasy we are outside ourselves. (in religion that is precisely where the ‘inside’ is located)
-permanent or structural ecstasy is clearly political
-ecstasy is disruptive

how much should I be invested or interested as a friend for your happiness and wellbeing?
•fellow-feeling
•sympathy (is expressed by:) returning feeling with like feeling

Sina: if a thinking makes you sad, that thinking is probably wrong?

within the rhetoric of integration a usual terrifying point is in which the duty of the migrant is to attach to a different, happier object
the future of reattachment --> Hoda
-in this integrative narrative, I have to be careful with assumptions that good feelings are open and bad feelings are closed

bad feelings are seen as orientated toward the past =/= my work on past


she said “here is the English-one” meaning the English translation of her poem
--> in the last five years i have been rifting between the difficult space between “here the Farsi-one” and “here the English-one”

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

#semester, seminar study the “scene of writing”
keywords: deconstruction, fabrication, articulation, plasticity

[week 1,2,3] encounters between psychoanalysis, deconstruction, writing, concepts of language:
•Derrida --> Freud / “Freud & the Scene of Writing” (43 pages)
•Fleming --> Derrida / “Cultural Graphology Writing After Derrida” (first chapter: The Psychopathology of Writing, 29 pages)
•the schemas of text and the trace, Malabou on plasticity [=/= elasticity] (change of the paradigm of writing as developed in Derrida's Grammatology with the new paradigm of plasticity, her interest in relation between form, materiality and meaning) / “Plasticity at the Dusk of Writing” (28 pages)

[week 4] 20th century sciences and philosophies, the notion of fabrication of concepts:
•Xin Wei --> Whitehead / “Whitehead's Poetical Mathematics” (19 pages)

[week 5] on articulation:
•Deleuze and Guattari / “A Thousand Plateaus” (chapter 3: Double Articulation, 32 pages)

[week 6] feminist and women studies, scene of writing:
•aesthetic tentacularity: Lindsay Kelley & Eva Hayward / “Carnal Light”

[week 7] digital media:
•Flusser on hypertext / “Does Writing Have a Future” (chapter: Supertext, 6 pages)
•Bolter / “Writing Space” (chapter 3 Writing as Technology, 13 pages)


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

#workshop little fables of practice, second day storytelling
(proposed initially to Lili:) #imagine and describe an alien world where its populace don't practice ‘knowing’
with this practice we get into questions of (--without directly addressing/announcing them we will provoke a better understanding of what we might think of them:)
•knowing --> (the inseparability of) knowing, being, and doing
•the ‘suppos’ of the supposed to know
•rhetorics, and intrinsicality (“on the inside”)
•response --> (‘knowing’ =) differential accountability =/= differential responsiveness
•environment
•description (discursive significance)
•world, and sense-making
•geometry (and -metry)
•(intelligibility and) materiality enacted --> question of discourse
•epistemology
•conceptions of space and time
•reflection (as a pervasive trope of knowing) [mirroring, imitation, reflection, tropes of “sameness"]
•material discursive evolving
•mattering; matter and intelligibility, episteme and techne, macro and micro,
•

the workshop is in a way about the trope of knowing, ontology of knowing

(ways of) knowing entangled with mode of being
(with which creature?) matter's dynamism is intrinsic to its biodynamic way of being (--Barad--> for brittlestar everything is intrinsic)
(creatures that) constantly changing its geometry and its topology --> ongoing reworking of bodily boundaries
(our, and an alien critter's “it”’s) discoursive practices: boundary-drawing practices by which it differentiates between “itself” and the “environment” ==> making sense of its world [--> that is why i am interested in the (better?) articulation of “differences” (= boundary-making practices, our “differential productions”) that we are making, as a way of getting into eachother discourses ~~and--> (its) ongoing materialization --> *differential materialization* (is discursive; Barad)]
•patterns of difference
•I am against the ‘frictionless narrative space’ (in the absence of the dominant story) where “everything” (therefore nothing) is possible

(the workshop engages in thinking) intertwined practices of knowing and being
[this practice of storytelling might be relevant for those invested in questions of: knowledge production, speculative theory, situated bodies critique, situated knowledges critique, being ‘of’ the world,]
-to think creatures/beings that have evolved in intra-action with their environment
-to question and examine the ontological issues: the locus of knowledge is presumed never to be too far removed from the human. in the workshop we reimagine the locus of knowledge in other location that nonhuman might occupy
==> a better account for the *ontology of knowing* =/= merely ‘welcome’ dispossessed Others (women, slaves, children, animals, and other exiles from the land of knowers) into the fold of knowers [no! no!]
•to challange “I think therefore I am”: the idea that the “world” is an idea that exists in the human mind --> knowledge making is a not mediated activity =/= (Barad's) “direct material engagement”
•(the workshop begins with a position that believes:) knowing is a distributed practice that includes the larger material arrangement [then isn't the practice of writing insufficient?]


after the first round we can ask: what do you need (un)know to write/think that story? or, what do you need to forget/unlearn in order to be able to think/imagine that world?

another round of the workshop could be: #imagine and describe an alien world where there is no ‘mediation’ or activities that are not ‘mediated’

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

because of working on ajayeb, i am becoming a “definitionist,” or “definitionologist” (not in the classical sense of concept theory)
a definition i give is a local abstraction, even when it is making boundaries for a dispersed or global concept, it is still a situated knowledge. that means it might be categorical but not applicable outside this particulare niche of space and time, whether it is in a bar in a conversation with Eszter or when accessed in my hypertext

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

committed to the imperative of the Rig, things not to do in the pop-up book:
•use as ironic: incongruity in expectations of what is ment and what it will mean in advance
•use to symbolize: as a way of not dealing with sujet supposé savoir
•use of anamorphic gaze: a non-diffractive optical system
--> to be careful (or keep in check) with sequential palindromic notion of pop-up book, to deal with the parsable seesaw motif inherit in the pop-up book Blickmaschin
•use hylomorphic: assumes form is inscribed onto passive matter (by an agent with a design in mind)
•

(relevance should be worked) non-ironic non-symbolic non-anamorphic non-palindromic non-hylomorphic (?)

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

towards writing the end of apass dossier
•practices: workshops, (bow and arrow,) ajayeb.net, rigs --> pop-up book, notes, routines, excess,
•trajectory: bibliography, wonder, ongoingness, ontology,
•productions: study as artwork, reading as artwork, bottom-top approach to writing,
•findings: every research practice: must include “body image”, must include “the image of creativity” especially if you are iranian, must employ ontological attention to differential productions, must rework decompose redefine its root-metaphors, must give extensive equipment list, must trace its social connections in a wider ecology of practices, must include a critique of technology,
•moments of composition: a scene animated by some quality, or... taking place as accidents (or not)

key literature, magic wands:
1st stage:
•Richard Sennett: Flesh and Stonne --> learning about body image
•Manuel Delanda: A 1000 Years of Nonlinear History --> learning about material histories
•Eduardo Kohn: How Forests Thinks --> learning about semiotics
•Timothy Morton: Sublime Objects --> learning about ontology
•Avital Ronnel: (lectures and articles) --> learning about poetics
•Donna Haraway: (lectures and articles) --> learning about rhetorics
2nd stage:
•Martha Kenney: Fables of Attention --> *rationality: mixture of the highly rational and the highly fantastic
•Karen Barad: Posthumanist Performativity, Invertebrate Visions --> learning about apparatus
•Eva Hayward: visualizing apparatuses --> her interest in optics, in the optics in which marine invertebrates and people come together through visualizing apparatuses
•Vinciane Despret: The Becomings of Subjectivity in Animal Worlds --> learning about anthropo-zoo-genetics
•Kathleen Stewart: nonrepresentational theory --> other ways of description
•Katie King: technologies of writing --> a better thinking of locals and globals
•

(curiosity ==>) having to figure out how to do something that i don't already know how to do:
•ongoingness of collective practices of knowledge and concern
•talking about (what is going on with) ajayeb
•paying attention to differential ontologies
•the stuff that happens through face-to-face colleagueship
•to be in productive alliance
•


unalianated critical work = art



Seifee wants to say something
something wants to say Seifee?


i like us to be skilled at
•objective perception
•5 minute perception
•rigorously passionate perception
•rhetorical perception
•sacred perception
•devilish perception
•queer non-perception
•having a taste for iranian stuff perception
•
--> polyskilled web of friends



#Bambi's mother studies:
•other stories possibility, past and history, performative approach to film
•politics of memory, and affect
•patterns of remembrance =/= event recall
•

three childhood memories, stories, from elementary school:
•the mime of “you think (too much)”
•the weird pro hit on the coming ball
•peeping into the toilet
•

my childhood recognizing:
•filaments (hypha, hyphae, تار) of spider webs
•patterns of ants
•motion color blurings --> that present is “physical if the eye is quick enough” (Stevens)
•

the ways i was engaged as a child in scope-apparatus, micro-macro scales


what other stories, remembrances of the past are possible?
-different apparatuses of attention, reconstruction, and storytelling, that are equipped to hold diffractive patterns of ‘that which comes to mind’


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

can we care for “iranians” without “for iran”?
(i can't care less about Iran)

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

perhaps artistic research is all about playing cat's cradle (=/= autism) : (you have all sorts of limbs, even phantom limbs) you must learn sustaining the rhythm of accepting and giving, (collaborative) patterning (that requires passion and action) [this is one skill that matters a lot, what i have been trying to teach myself above anything else in the last years] [i am playing that game with Haraway, joining her (and others) in thick, collaborative patterning; generous knottings; thickening the knots, relaying a mutated and resituated pattern for the next play]
•getting the knot, proposing another
•you must learn how to hold still
◦(more and more) in different material and conceptual grains of detail and resolution
•the most important thing in research practices is this patterning, networks reenacted (Katie King)
(Lili's kiss project was about that, blocked intersubjectivity, a matter of “learning to be affected”; can i say that Lili's issue is with the lack of [psychological, or psychic] dialogue? a language that no longer carries metaphor displaces the metaphorical drive: acting out the soul's metaphor in direct [nonverbal] action. the breath in Lili's work, is the same in her suffocated kiss and scream performance, once hold in and one unleashed, lack of a “breather,” of a “converser,” of a partner in cat's cradle.)--[i like to propose a repatterning: in research environments we play a lot “catch me if you can”: to catching you in action, to capture your ‘knowing’ in action, to capture eros or logos in act, --> #beauty is interested in action]
•it is about “understanding living with contradiction” : making choices without necessarily turning the other choices into something an enemy does --> important for collective research life; “[we] need each other's extremes”; *our activisms are not the same*: to open up to our extremes, to open up to what you are not sure of --> to find ways to be in productive alliance (=/= the notion that everybody has to do everything [tell Xiri])
•(educating oneself) actually know how to explain what somebody else said and not just what you said*** --> figuring out how to disagree with each other as well as agree, that no statement is going to be taken as evidence of being the enemy (--> we face this in apass)
•learning how to recognize authority (as a mentor and participant) (the problem of the inability to deal with authority, common in early feminist movement, traces in Xiri) --> being alert to how hierarchy shut people up that one don't acknowledge the hierarchies that emerge out of that *{alarm ==> hierarchy}*
•in apass i am trying to remember what my peers are doing, and when i see things i think of them, and they are in my citation network (they are all over ajayeb.net) and i am aware of what they have told me. words they are inventing are in my vocabulary too (that is why i am so energetic calling in Xiri's category change --> for example “generous suspicion”)
•collective research environment works by networks* (--> a problem with apass)


[*]epistemology = stories knowledges tell


sometimes practices demand:
•exclusive expertise (~ focus)
•extensive scholarship ==> linking and speculating
•attaching unexpected agencies and territories to each other


(better) understanding the mechanisms and affects of inclusion and exclusion in communities of practice
for example in apass (we are dealing with):
•suffer <== mutual incomprehensions
•pain <== heterogeneous knowledge worlds
•anger <== unevenly distributed power
•fatigue <== exposure to intensity
•tension <== different styles of knowing

unacknowledged suffering --(in past and present)@Hoda--> as well as pleasures


(what do you make out of reading your gender material?)


Greek brainwomb


feminism  ~/= feminist theory-->{highly diverse, located in many domains of practices in and out of the university, and understood to be this highly diverse activity}


the talks i have been giving are done by someone with a kind of mind and soul that just makes connections fast. i work orally. the lectures are heavily prepared (and some important ways unprepared in the manner of its performance: all those connections happening during the talk not knowing them beforehand, they happen by the encounter*) and full of cue (سخن رهنما، ايماء، اشارت) and quirk (تزئينات، تناقض گويى، تغيير ناگهانى فکر). my notes and scripting are invisible to my audience, but they are there at work. and it gets people excited. and that's the point. i work with confusion and excitement. i have not been good at laying out groundwork of skills, going to next level and so on. i am working with that feeling of “i am not sure what i am getting, by i think i am getting it”. i also always come back, loop again through the same material, go back to the question we were raising before and ***“watch what is happening to the language”***(Haraway). these are the ways my connections work. artistic and scholarly work works by **modes of attention** [--remember--> your mode of attention (= your mode of abstraction) is doing the foregrounding and the world is not actually built that way. so you make ‘your mode of attention = world’ to inhabit something for a certain time only to do a certain kind of work)] --(because)--> you are always jumping into the middle of something that is ongoing before you, into the middle of many conversations. you are learning how to get it in several ways at once. the hypertext that i have been building also characterizes these kinds of layering upon layering of textual work. teaching myself how to write and how to play with ideas.
working with (Haraway's) kind of good-enough approach to a body of scholarship --> inhabiting many things that i have only got half-digested (=/= through digestion, particular bodies of reading that people need to have mastered in order to argue)

(after five years now i am) feeling myself (a little bit more) competent and confident in (some) scientific literacy and in (some of) the skills of the arts and literature --> ?

after apass: apass was a safe-enough space for my inventive processes, to make interesting mistakes, but do i need a real scholarly undertaking with ajayeb?
i had a lousy education, don't know still how to write well and coherently and sustain a project. i don't have the skills to pull off my research as a phd, as a scholar. i need someone to work with me line-by-line. i need to go people who have serious educations in my subject, and ask them questions, and read.
and i am missing that kind of connectivity that your writing being read performs. do i need an atmosphere in which my kind of writerly activities are honored and foregrounded, and expected?

can my ajayeb beome a real scholarly project with seriously labor-intensive student work?


hostility =/= indigestibility {they cannot recognize it, it is something else}--> it is not personal, but a historical state of a discourse, and the nature of the kinds of possibilities that being opened up or closed


(in apass) all of us fail each other in different ways all the time*

we can barely read each other's works/books. but we do, and we struggle with each other's works/books


(in apass i am catching my self giving “advice” to others---risk of the advice:) violation of their integrity

*taxonomy: (constantly morphing) tools, they work and get worked, *they are part of situated conversations* (~ “theory conversations” Katie King < Haraway)
(=/= some kind of enemy that you never do)


***almost everybody is organically part of more than one conversation at a time*** (Haraway)
(this is so important to recognize specially in collaborative research environments such as apass)


(in political movement:) working to a kind of clarity of ideological position ==> to do certain kinds of things (that are harder to do if you don't have them [those ideological positions] in the world) --> they are used as *tools* to produce what got called *political correctness* --> always producing those who count and those who don't count*
=/=? feminist movement = ***a kind of vulnerability to not being who you thought you were*** : openness to risk, less of a defensiveness, less of an attack mentality, not shaping each other up into vanguards پيشقراول --> (towards thinking) differential/oppositional consciousness (=/= father, single kind of creators)


“you can know if you are wrong in rather interesting, situated ways”
@Leo
@Maarten


[*]"was”: (so important for iranians [#past]) a geographical place, a place:
•of pain
•of fantasy
•of hope
•of possibility
•of defeat
•of breaking and building
(--> a borderland)


metaphors that are also real places
figurings that are also (always unequally) lived in the flesh


to think “contact zone” instead of “binary shape”
ways of living and technologies, ways of doing the world forcibly brought together in relations of serious inequality, but which do not take the simple shape of dominator and dominated


*“abstractions are precious and they take a huge amount of work to know how to build them well”*

(?how do i know when in working with ajayeb) sometimes you are required (at the same time!):
•to be dead literal
•to be precise
•to be analytically good
•to be unforgivingly technically right
•to be flaming imaginative
•


*breakdown*: where the normalizing fails ==> something else emerges


*every collective needs people who feel:
•(a grace given to you by the structure of your cells, you don't know where it comes from:) “root sense that the world is not dead” --> a sense that things are moving and alive and future-full
•its people who feel despair (...emphasize the futurelessness of it all)

*!!!--> we (also) need sensibilities that are angrey at each other

(aligned with Haraway) my position has been that: we don't choose our sensibilities, we wake up and figure out what they are


(Haraway take on the ways we) may enginner as a species now (tech, syntax, etc.)


to refuse the story of the apocalypse + (still) recognizing the depth of the trouble
--> Freud's thanatos غريزه مرگ, a death instinct, (it is a deep, instinctual lure:) *a perverse pleasure in believing in inevitable failure*


*transference is descriptively very apt for what goes on in artistic moves [<-- to be careful of]


**to risk a feeling of (despair, of...)

the ways some of us risk things intellectually and emotionally different than each other


prima donna: doing whatever one does without any particular effort to nuance anything


*multiple impossibilities
learning from religion, the ways of which the name of God has become an impossible category. both catholics and muslim shia (#islam) are wellprepared for feeling this way, some kind of recognition of impossible thing. let's take that “being good at recognizing and affirming impossible things” and bring it to the name of women. that means as soon as you name what you mean by ‘women,’ you have told some kind of really impossible lie.
(how my muslim trained sensibilities are working and mattering in my ajayeb research? ways to respond to *the deadliness and the irreplaceable liveliness of religion* [کشندگی و سرزندگی یکتای مذهب], a semiotics with implosion of sign and flesh)--> (i am so happy that) i cannot not know what it is like to be in a believing community (a faith-based community)***


...out of your own particular little historical traditions


*because my research is about ajayeb it can never only be about ajayeb*


you can't do feminist theory without paying attention to the details of women lives
your mode of attention to women in the world ==(shapes)==> your mode of attention to:
•the way databases get set up
•the ways interdisciplinarities get crafted
•how you think about tools and genomics


my main point of my project has been about getting better at how to inherit your histories without trashing them*** (even figuring out how to inherit a history that you don't want to inherit)
(Islam, shyness, kindness, ajayeb, Iran, stuttering, being all too ready to find complexities, )
•to become relaxed about predigested version of ‘this is what ajayeb is about’ (or Tasavof, etc.) --> ‘what is going on there’ (in ajayeb) is so built-in to ideologies of many kinds (of progress, deep ecology, of history, and so on)
•to build a little taxonomy (in apass)
•working to give up the series of self-certainties around secularism ==> giving ways to talk to the religious ones : getting to grasp what the world looks like in faith-based communities (=/= check-list of dogma)
•category thinking: get into differential liveliness (with all sorts of inequalities:) *who gets parsed how* [#archive, #articulation, #storytelling] (and thinking about what it means to take up these relationships in cultures saturated with science and technology)


Xiri was doing her research with categories of victim and opressor, and now they suddenly disappeared from her work. that category change or vocabulary change was suspiciously effortless


*remembering is an extremely creative practice (-note to Hoda-)
memories are like ecotone کناربوم (transition area between two adjacent ecosystems)


#(very important concept partly shaped by practices of Darwin into our lives:) “collect” --> lies (necessary?)
the frenzy of the 1700 of surveying nature and collecting speciment ==> bioinfomatic
‘collect’ promises nontransformation
--> metaphors of archive, information-intense ways of thinking about life on earth

*“demonstration” coined by science

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

(with Scout Calvert) the ways the digital apparatuses are working, and the kinds of tensions and creativities between the cyber infrastructures and the other kinds informational management discourses displace other book discourses *** --> categories explode in library practice
[Calvert donig brilliant discourse analysis of library sciences --> has direct impact on practices of reading#, different kinds of knowers]
techno-biblio-capital: techno-capital and library practices embedded in each other -->{ [*]technology: assemblages of people, computers, software, discourses, techniques and workarounds that make them function; [*]capital: a social arrangement in which buyers of labor power are entitled to profits and the sellers of labor power to wages and all the effects entailed in that arrangement; [*]techno-capital: techniques, discourse and technologies used to naturalize and derive capital from information and information technologies}
*curiosity = a small and local kind of *freedom[= agency within constrain ==enabling==> skillful meanings], curiosity resists control and has the power to defeat one's favourite self-certainties, can also be commodified for consumer culture specializing in providing private pleasure,
techno-capital objectivism: (neutrality of) collection developemnt and format choices --> power-sensitive judgments
“we will engineer ourselves out of that” --> naive technological optimism; *the technological question is cruicial to questions of power and knowledge*
-library science tends to position library as power-neutral spaces
-(Foucault: resistence to power is always present)
“freedom to” is always disciplinary (because there is always a particular subject enjoying that) [citizen of liberal democracy who exercises the freedom of representative government, so much as a consumer who exercises freedom of choice of commodities]
patrons as constituent مولفه (==> new knowledge + themselves as knowers) =/= seamless information consumer discursively produced as an unmarked singular independent self-contained stable universal white male heteronormative technophilic subject [<-- this donesn't realy exisit as a person, rather as discoursive productions]
(now) our electronic recreation is work: our every click is surveilled, generating data about our desires and curiosities that feeds back into our formation as techno-capital subjects (@Sven's enthusiasm with social media--how can Sven has a real chance of producing resistance knowledge?) --> this is not freedom! (-an account of freedom for one entails reciprocal unfreedom for others) --> mixtures of work and play in this new economy, (Calvert > Bateson) the meta-communicative nature of *play[= strict rules with genuine freedom, the dual essence of play: curiosity and relationality];
(Calvert arguing for) “knowledge-makers” who engages in creation of situated knowledges by activity adapting, processing and sharing knowledge within the ecology of library ~= *bibliographic apparatus*
(Calvert's heuristic device to imagine what library practices might emerge:) imperfectly literate constituent seekers

-a double consciousness of play, where cognitive sensation amid multiple affectivities are continually teased between assertion and rejection
-a doubled unconscious connoisseurship of realist conventions pressured at new horizons
[Katie King]

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

(women's) mini-encounters with god --> kind of materiality of god that don't fit any of the available categories


now-but-not-then quality of continuities


Haraway's deep commitment to the ties of science and competence, pleasure, empowerment, ([*]science:) this craft where you did this incredibly fragile, important, hard work of asking questions of the world in such a way that you might have half a chance of knowing if you are wrong***


you get it “there” ==> (you have a chance of) figuring out something else*


(sustainable life ways that involve) breeds =/= factory farming

Haraway's problem with veganism's moral, wholistic, complex claim that they make on us (also a necessary kind of contemporary witness): that people's practices with animals as food and fiber and work animals, turning into nothing but museum pieces at best. vegans deadly imagination sometimes don't get what they kill: most kinds of animals that have long histories in close association with people.

there is no relationship to this world that does not involve extensive killig (Haraway)


up-to-the-minute technologies

complicated issues around security apparatuses and different national struggles

histories of dispossession and genocide


“do you believe?" = "do you believe in a list of dogma?”
totally wrong question: do you believe in God?


[should i go to Berlin after apass?] a parochial person دهاتی (in the pressure of the seriously elite places): you could be here, you could succeed here, but never belong here


Haraway's ‘literal’ makings:
•“companion” is about whom you are at table literally*
•to be homo sapiens is to be in multispecies interdependencies literally*


my issue with the image of the free floating meaning network popular in artists’ thinking: yes meanings foreground and background. they swirl, but they don't swirl at random

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

MOU (memorandum of understanding)-->{@Esta + Zoumana + Hoda
*memorandum: memo, reminder, note, تذکره --?--> passport : آنچه موجب یادآوری شود --> آنچه موجب دخول شود
a legal document describing an agreement between parties less formal than a contract
[1994 U.S.-North Korea nuclear pact, the MOU between Bush and Kerry for 2004 debates,]

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

batlagh باتلاق



it is (perhaps the most) important to help transform (your or my) ‘wounded-child’ to ‘wonder-child’ (--> @Hoda)
[the image of the wonder-child in all my workings]***

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

•accumulative: gradual increase as a whole, someone/something doing the accumulating, emphasis on the process of accumulating
•cumulative: nongradual successive additives, associated with that which is accumulated, emphasis on the result
ad- (“in addition”) plus cumulare, “heap up”, from cumulus, “heap”

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

[we need] ability to move from ‘close attention’ to ‘gestures’ and actions on the material world, all the way to an assortment of ‘artifacts’ able to enhance cognition, sensitivity, and sociality

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

Stewart

surge of signs + capital + sensoriums of public culture --> matter & image

images, when circulating things, suddenly enter the senses --> literally make sense ==> look and smell of an incipient vitality --> immanent intensity or force ~ affect

#my coin: two-sidedness of things, virtual meeting actual, seeping edge of potentiality

common sensate affect --> shock --> “continuous trembling that haunts the stable gaze” --> images and sensibilities that constantly exceed (reason, order, and common sense) #telegram

Affect, is about something is happening, something capable of impact
•sometging half noted out of the corner of the eye
•something in the commonsense world
•
(that which escapes/exceeds enclosure) --> it can be put into words[?] --> to become a figure of vitality and even freedom[?]*** @Iranians

[i welcome the reprieve (rokhsat, رخصت, a temporary relief) from] symbolic gridlock

“affect gathers its force to make image touch matter” --> image's power is the power of synaesthesia =/= collection of named “feelings” (invented in discourses of morals, ideals, and known subjectivities)

(let's study how [in Iran] raw materials are formed and exceeded -- sudden and lingering intensity of things) (which darvaze/دروازه/gate we can't and which سوراخ سوزن / surakh-e suzan / hole of needle we pass through)
[i am having always multiple books open, at least two, is that how connection occur for me? #simultaneity]


(Stewart) “I remember childhood as a collection of arresting images”
that hinge on sensory details and open onto luminous scenes of affect [--> Feherlofia/Fehérlófia 1981, Son of the White Horse film. (we must resist calling this film “psychedelic”)

“[...]family as a viscerality through screen images of”

...sudden, repetitive eruption of images of alcoholism, accidents, violence, cancers

*technologies of family, church, law, and nation* (lay confident claim to affect as a capturable content of known and expected “feelings,” but affect itself--that which surges into view along the jumpy border of the actual and the virtual--is their raw material and their only renewable resource. Stewart)

(a sidestep? what) brings an uncanny, alien presence into the field of vision

*an object insists on being seen* (through the tricks of trauma, through the seductions of compulsive beauty,, , ) ~~--> aesthetic event of the senses [@Hoda]

spectacular graphics of disaster

watching: inhabiting the power of the tuned-in spectator; becoming an active participant in [TV's] logic of image (production and) recognition

--✕--> catharsis of mean-spirited
--✕--> festering (cherkin چرکین) alienation
--*--> vitality of the game itself

the image on the screen <--(game)--> the walking simulacrum of social life

the loop of the citizen as consumer

***Mimesis in a State of Shock*** @Hoda
-the link between shock and a cushioned recluse is direct, seductive, and mimetic

“When affect makes its jump between the visible thing, the idea, and the social sensibility, it can leave in its wake uncanny connections between otherwise disparate states of arrest, like shock and recluse گوشه نشينی” (Stewart)


@Hoda: affect jumps into view as the shock of an unassimilated trauma

cocoon room
holing up in your living room ==> “out there” ==> search for the arresting presence

spectrality and concrete substance

(?when am i) “relaxing” the jumpy move of affect

*Stewart's “jump of affect”
tactile image --(satisfies)--> move of affect --(actualizes)--> something tempting/haunting
-affecting presence at rest
-[in glamour magazines] models frozen in time and space stare back at you in a scene that stages the jump from fantasy to actual body/image and back
-jump from ideal to matter to ideal

-what to wear as the magic of affect itself

copy ~= contact

movies, ads, malls, car phones, daydreams,

modernity's mimetic machine


(“middle class” [or what people thinking as “Iranians"] is not just a “norm” it is a) *womblike space of affect* (where sentimentality and interiority becomes tactile, where ideals and materiality grow to excess,) (imploding under the weight of its own literal embodiment,,,)
-(it is an affective space) where the hegemonic claim *to channel trauma into beauty* is actualized:
•sensible, solid accumulation, family values, colorful decor, techno-gadgets, daily lottery,
•constant stimulation of the senses (--> synaesthetic images, sounds, touches, and smells)
•circuitry of circulation itself


تأثر ta'asor, نتیجه‌ی عواطف natije-y avatef
affect (~= vitality/hope) ~/= (nightmare image of) soical entropy

the big, beautiful, basic, intensely sensate commodity-to-live-in

in Iran:
•(the ‘public space’ or) “outside” ==> a “wilding” scene of crime, chaos, drug-addled monsters, danger, disease, and decay
•“inside” --overflowing-with--> scenes of aesthetic connection
}--> anxiety is the ground over which they (both) march


(modernist) image-affect of the new and clean and up-to-date

the feeling of being in the middle of something big and inevitable, watching it unfold
#my dreams


the labor of looking

“Movies made for women imagine a picture--perfect scene of an Inside--a Home filled with tangible objects that Mean or a Self filled with the intricate dramas of dreams launched, wounded, and finally satisfied or left behind. Affect itself is laid out on the carpet like a beautiful fetish that it is okay to love.”

(the #telegram is littered with image-written signs of personal/public disaster)
the surge of affect toward the scene of abjection --> abjection itself is felt as a contagion --> Navid's comments turned into stickers
-fascination of catastrophe
-something pleads to be touched
-the act of looking at the telegram's forward: my desire is your desire and we are all together in the mass desire
-images on telegram offer affects to mime, lines of vitality to follow, intimate secrets to plumb, tips to imbibe for safety or good health or the search for things new and vibrant with collective envy
-browsing telegram, we're trudging the rough terrain of bodies, sensuous accumulation, impact


“Sometimes when you hear someone scream it goes in one ear and out the other. Sometimes it passes right into the middle of your brain and gets stuck there.”

(cryptic and as) crystal clear as a scream


[a question or something else] lodged in a tactile sensate anxiety --> aesthetic scene (of the senses) --> scene --> shape
(anxiety has to do with the sensate and tactile and opens onto asthetic)
(some do this all the time [unknown shock of anxiety in the morning]:) morning --> mourning --> sudden dread and start scanning () () [], (trauma as an) everyday walking path

traumatic realism: a figuring that, like traumatic memory, fails to represent the inflicting force as an object in a symbolic order and therefore feels compelled to literally re-present it over and over, *miming the original haunting impact.* (Stewart > Hal Foster)
-the subject surging to bear an affect, surging toward an actualization, passionate connection of the subject who goes with the flow in an intoxicated moment (=/= sober distance)
(Hoda's[...]