[...] procedural, and emotional]

s.s.s. (scroller, slider, still-life)

discourse =/= valorizing information

Pierre's fables:
•“nonviolent way”
•“not by chance ...”

*Apologue*

research --> data flow
sieve --> nodes in/of residual


internal categories:
•stickiness
•zoom
•cheat
•persistence
•repetition
•(vulgar)
•
}==> topology:
1. ramp
2. nest
3. skew

ramp: sequential, one dimensional, ‘sliders’
nest: fractal quality, JSON, hierarchical tree, ‘comments’
skew: verb act, streching, ‘2D field picker’

(slider: marking everything)

semantic in flux + persistence
object repository + identifiers


feedback --> quasi object --> structured knower --> data


#workshop in apass 2018 Summer
...a series of data models that was produced during a three days work session in a.pass May 2018.
The aim was to create a “filter" for the artistic research projects of each participants, in order to train in making meta-linguistic abstractions (on a given computer hardware) to construct a “thing” that enables describing the problem of Building Abstractions with Data, to increase/enhance the expressive/descriptive power of the languages we use. It addresses the question of machine/human readability in the digital imperative of computational world we are inhabiting, with the particular case of a.pass artistic research environments for advanced performance studies.
•interested in computational literacy (including data-collection, librarianship) as part of our *diversity-work* and our *articulation-work*
•interested in different languages (english, computer, non-sign languages, etc.) refers to different value systems and to different lived experience
•interested in the *labor of knowledge-work* (in collective digital flesh life)
•interested in shifts in topology (the ongoing reworking of bodily boundaries of each of our research practices)
•


TERMINOLOGY:

*articulation-work: the labor necessary to make technologies fit together seamlessly

*diversity-work: a kind of work in which we learn about the damage we cause, and of how “causes” are understood as “damage”

*librarianship: a work that hooks up people with their technologies

*data abstraction: a *technique of isolating* (the parts of your mini-language that deal with) how data/info objects are ‘represented’ from (the parts of your mini-language that deal with) how data/info objects are ‘used’ (---> i addressed this in my fable workshop in a totally different epistemology)

*model: your object decomposed into *computational compound objects* (each with their own time-varying local state variables)

(representation of data and control over data:)
*modular: localized part of the system that are produced by the perception of the system
*objective: viewing a large system as a collection of distinct objects. concerned with how a computational object can change and yet maintain its identity
*streamous: information that flow in the system. its evaluation is delayed. infinite list

*metadata: machine-readable persistence statements

*digital interface: discrete object of your “research problem” that refers to something outside the cri (outside the digital model)

*topology: a (proposed) body-plan to investigate questions of *connectivity* and *boundaries*, in order to find out what remains invariant as a result of transformation. this will direct us to propose (well-intended but not tested) *transversal objects*.
to be able to propose: in the culture of each pad+participant+research what connects and joins, what delinks and disconnects.


PRACTICAL:

we want to find out how cri's “filter” translates its politics into metadata
and
what happens in linking the symbolic space of data-model to the (relational, procedural, emotional) qualities of the researches of participants

we will work on the block's opening week feedbacks and process them in this diagram:
feedback --> quasi object --> structured knower --> data
(or technically:)
semantic in flux --> persistence statements --> object repository --> identifiers

(Tuesday, Wednesday, and Thursday are spent on the creation of “quasi objects”)

i propose some (well-intended but not tested) internal categories:
•stickiness
•zoom
•cheat
•persistence
•repetition
•vulgar

(i will describe them later)

and these categories produce three topologies:
1. ramp
2. nest
3. skew

(this is a maneuver to replace the question of ‘strategy’ to ‘topology’, the first act of making quasi-objects)

ramp: sequential, one dimensional, ‘sliders’
nest: fractal, serializable, arborescent, ‘comments’
skew: verb-active, streching, ‘2D field color picker pointer’

each is “queryable” in different ways and propose different difficulties
each of them addapted from an existing technologies (range sliders, commenting, color pickers)
each embeds one of: colors, doings, values

slider: marking everything with decimals
comments: hypertextualizing
field picker: spreading
}--> they are all milieu-makers

ramp --> arc of necessity
nest --> mosaic divisions
skew --> chromatic/luminous effect (of mixture)


and also:
•to address (in a longer term) how apass performs analysis and prioritization of its own service definition?
•to address (in a longer term) historical/cultural specificities of apass
•to address aspects of apass's exceptionalism (its characters, colors, doings, values)



REPORT:

Geert
zoom / biger picture
perform a zoom
Geert and Michael knowledge zoom-level
Geert's strech-work
which cheats
vulgar: direct, =/= suffisticated, =/= nice(in a classical sense), =/= institutional code [--> a cheat], everyday, good taste, context?!!
suggested topology: skew --changed--> nest (tow branches answering yes and no to: “is he cheating?”)

Leo
stickiness ~ residual (left overs of impression), we couldn't find little objects, litte stickies
zoom is tooooo wide, megacategories, “fermentation” is a different zoom level
cheat --> perception/intention, value of non-doing ?, ‘order is cheat’, ritual ==> heal/cope
vulgar: ritual of popular knowledge, =/= social acceptence, communicating emotional needs, guilt on behalf of the vulgars,
suggested topology: skew (with 4 axioms: negativity, positivity, passivity, ritual)

Caterina
sticky: difiicult to remove categories, dirty, quality of trape, almost negative, like honey as an intermediary sticky for other objects to become sticky
zoom: Latina candition macro, ass rincles micro, herself, change of lens is what matters not the zoom level, the macro of the term culture itself
cheat: against the rule of community/aggreement, always cheating the system, against the game, bad relation to the game, lazy relation, faking?
vulgar: ordinary, insultive, perjurative, of the “people”, (Geert:) a marking always coming from above, what television does: non-actual + spectacle, (Elen:) immoral, not original, not elegant, thinking in terms of the ‘same’, group forming, non-individual, twards mass formation,
suggested topology: nest

Eszter
polarized lense
confusion / being confused is ‘cheating’
stickiness absent
suggested topology: nest (with two branches: naive & political leader)

Goda
nothing sticks anymore therefor we go to swamp to stick to relevant objects
swamp as archive (refuge from the capitalist) =/=? cheat
constructing ‘bad example’ (?) --> role model
zooming in losers of capitalism
X-ray kind of lens into the opacity of swamp
(her) treasures in the swamp [--> epistemological buried objects]
criticizing how capitalism zooms for her irrelevant objects
buffoon --> vulgar
suggested topology: skew (the skew is a plain around the edges, gets deeper in the middle, and a narrow way up in the center: the exit)

Elen
presence of the working of subconscious ==provokes==> etymology
very sticki “hell yea!"s
affirmative, sometimes technical knowledge
something sold (“self”) with something morphic on it (“apparition” or ‘surat’ in farsi)
suggested topology: ramp

Hoda
cheat: sharp radical formation, playing ambiguity
totalizing vision lense (“if then all...”)
“because i asked i could feel”
anti-psychological
suggested topology: ramp

Katinka
makeover slider
vulgar: makeover show, e-bay
statements not touching her, something else is sticki object: sympathy?
slider: stack
suggested topology: ramp (makeover)

Nassia
stick: something bodily, heat, sweat, property of objects
zoom is the opposit of body
gaze inside + anatomy
cheating: on people negative / on systems positive
suggested topology: ramp

Laura
osmotic = french kiss
administered (by machine) body
the good example
beauty is invested in...
the (unchanging) core of the cuttle-fish
popular = vulgar
suggested topology: skew (regimented floor plan)

Maurice
cheat --> joker, fool
cute: getting off the leash of institution
bear blurs what...
“but I am just...”
bribe economy --> honest and human
suggested topology: nest

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

[title]
archives of open desire

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

#drawing exercises in built environment (with Sizek + Mathews https://culanth.org/fieldsights/1542-methods-for-many-anthropocenes-with-andrew-s-mathews)
1. pick a charismatic building/statue/object on your built environment, and draw a form of it, inviting to identify details of the object that reveal aspects of its history or use today
2. compare drawings and use the drawings to tell stories about the object and its use or importance to life in that environment
3. invite to reflect on the ways that drawing infrastructure can reveal processes at multiple temporal and spatial scales

discussion questions/writing response questions:
•Which features of the structure stood out, and what do these suggest about the processes of its creation and use?
•How has its infrastructure changed over time, and how are these changes evidenced in the built form itself?
•How does your structure relate to others in its immediate vicinity, and in what ways do relationships between structures help reveal social relations?
•What traces of past events are embedded in infrastructure or its memories, and how can we render these traces present?

drawings has to do with the incompleteness of knowing and representing
indeterminacy at ‘the same time’

(?in which locations you can get a good) human response to:
•slow processes (soil, geology, plant form)
•fast processes (plant seasonal behavior, weather, human responses to all of these things)

*drawing as structured wondering/wandering*

use of the *dramatic* as method --> to entertain multiple worldviews
to maintain irreducible complexity and to recenter historical processes as central to understanding contemporary politics
(history and drama)
-facts as enacted and performed before audiences (--> tradition in science and technology)

**knowledge is always performed, staged, and enacted** <== my work on ajayeb

how to tell the dramatic stories

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

notes from Sofia's seminar on documentation

the questions i brought home with Kobe:

the ontological relationships between law and art, who protects who? what protects protection? --> which material discursive practices make the ontological boundaries of “protection”? (specially today investigating this term is more urgent in a world saturated with toxic vocabularies of security.) the figure of protection transforms the subjects of knowledge and knowability --> look at how the judge was talking about art

(question of) the production of subjectivity (of the judge himself as an active knowing agent and the dead-master as the phantasmatic place-holder of meaning)
this is related to: (question of) responsibility and individuality --> influences and efforts of the work. two interesting moments of genesis occurred:
1- in the court “his work” (Beuys) was mysteriously created
2- also when Olga got a phone call from the ministry of culture, “her work” was mysteriously created
--> both the court and the phone call are mystic producers of the subjectivity of the artist dead or alive [#this needs more investigation]

(question of) the production of significance and difference
look at the speech-acts of the judge in the case of Beuys. which nuances of difference are generated, estated, established, and propagated? we can study every syllable of the judge's speech-act. the judge goes from one fable to another: fables of significance, fables of influence, fables of impression, etc.

boundary-making practices in our shared struggling world
the idea that art “starts” and “stops” somewhere
zeroing the artworks ecosystem

when is the moment (or how the moment can be marked) that the judge becomes able to say “OK, I don't know.” or “I am opinionated about this art. Let's bring an expert.”
and beyond that, I am wondering, like that judge, when myself standing in front of an artwork (or any work) how i am able to say “I have an opinion, or, I don't know”, “i need expertise in order to look at this”?

questions of: essence (in art), subjectivity production, protection,



with Vincent

(?what was the) notion of “everything is kept here” in his work

(?why and how) his storytelling was all about design --> his stories of responsibility and factuality
how and why in our artistic practices, production of responsibility and factuality is hold in the terms and services of design and designer that is busy with building enhanced and efficient communication networks historically rooted in the geometries of modernist project?

(?what is the artist's) busy-ness with design --> related to the fathers of correction (?) and proper address

who (and why) wants to look at which past with lenses and geometries of the violent grids of the forefathers of modernist design?
--> ontology of document: an artifact with a specific layout and design

design has to do with the proper address (?) which is (always) about the proper witness (?)
(in the case of Vincent) do you agree with the amerindian know-how that “a good designer is a dead designer”?

(?what was the) proper affect of history (that his work was creating)
through the aesthetic of old and antique video projectors his colonialism belonged properly to the past --> (question of) the production of the proper witness

the architecture and flag of BOZAR plus his notion of design, are they interesting and necessary ways of forming kinship and properly distanced history?

Vincent “knew” his distance to the past (--> do you smell a problem?)
in which clock he is looking at time? which time machine he is handed to or placed in? who/what is making his time model?
also, which segment of your practice is temporalized? this means also which part of your practice stands out of time?



with Olga

regards of the question “what are an artwork's boundaries?” and it's intersections with documents, lists, and reports

for Olga:
document = evidence
research = mourning
(mourning as the passionate and demonstrative activity of expressing the state of loss or deprivation of a certain object for a certain subject, and demand for its revival or memorialization)

what is the feeling of the document?

*document is a story that (usually) silences other stories*
where our powers to provoke care (could/should) come from (if not from document/evidence)?
is document (in its form and feeling) the best way we have at our disposal to provoke the care of the generations? ...to mark each other with the mark of the care?

putting the narrative into proper sleep
casting the names

-artist has turned herself into a mnemonic device --> suggesting “amnesia” as her context
-artist has become a reminder and (therefore) her audiences have become memorizers

(question of) memory and remembering --> the idea of ‘literal remembrance’ in her performance, re-membering, literally bringing back the “members” of the Kurt Jooss company into the present of her audiences
-the problem with her remembrance is that “there is something that is important to remember” regardless of the person/subject who remembers

indisputability of the Green Table for Olga
the artist has chosen to protect The Green Table's meaning and message (due to her political and ethical commitments [for world peace?]) in a sense her subject of research remains unresearched, her values unevaluated, her moral settlements settled

how can she become interested in decomposing her research-bodies of The Green Table?
can we remain critically ethically responsible in thinking about the “meaning and message” of our subject of study and still be able to decompose it in interesting serious ways? (yes yes)

questions of: thinking, reminding, remaining,



Sofia's documentation
she asks “what is document today?”
-what was document yesterday (that is not anymore today)?
-how the agency and meaning of docu is (or is not) mutating in time?*
-what is beyond the question of documentation and preservation? --> *durational aesthetics*
-is document a limited way of asking questions about what we do and our relationship with time and duration? [you never know what the present brings into the future.]

what art cannot say that document can? “truth”?
when truth was invented where was document standing?

is document today a mere effect of technologies of inscribing?

why we are not talking about “file”?
(---> go to the ontology of evidence and files in X-Files TV series)

is ‘file’ the bedrock of reading today?

document assumes, constructs and promises its own labor of reading
? document is that which reads as referent, truthful, evident, economic value, , ,



Femke, with multiple understanders of the blended, blending world

the question of the metaphors of the body

manuality
manual understanders

for her “the point of origin” is at stake? --> the “ground” is at once desired and disarticulated for the sake of an idea of situatedness --> politics of positioning

placement, world, Dasein, fall

in CG bodies are articulated in differential vectors, not “grounds” --> does she want to ground the body?

she was mobilizing the metaphors of: body, ground, falling
how is she falling? in which historically contingent practices of grounding is she grounded, building her discourse?

ontology of the variable --> (question of the) figure of variation
her work with the partners of crime, getting in the front line and frontiers of CG working and practical metaphors

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

Sofia's textual machine, switching between binary values of faire contract --> staying with the polar syntax of ‘you’ and ‘them’
-how the rotating axis of her machine is able of creating breaks in the syntax of the contract?
-(for her machine: “understanding = an act of application”) --> how new forms of *understanding* could change the ways we might achieve fair societies? and not merely changing the order of sentence to visualize and objectification of unfairness and precariousness of the employment economy, in the exegesis of the writen contract. what would it mean to install an understander (taking a risk), for Sofia, and not a reversal syntaxer (making aware)?
-employer and the employee as different “species” with their different “natural” tendencies to fuck with one another? --> zero-sum game
-the question of symbiotic relatedness (--> psychoanalysis) =/=? contractual relatedness


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

to emphasis on the contingent and the contextual

the process of becoming researcher (of science and technology studies : inquiry into the politics and practices of knowledge-making)

vignette (sketch, a brief literary description, narrate scenes from familiar activities)

the question is not ‘how can we care more?’ (as predetermined set of affective practices) rather: **what happens to our work when we pay attention to moments where the question of ‘how to care?’ is insistent but not easily answerable** (‘care’ as an analytic or provocation)
-Kenney


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

Manoto TV station program “sher yadet nare” شعر یادت نره respond to the questions of translation (from the UK produced program “Don't Forget the Lyrics” into an Iranian contemporary popular media culture) and memory practices (archival memory act performance pop quiz show mixed with consumer culture TV broadcasting)

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

*cognitive companions* (--> coordinating multiple agencies characteristically)
-tiny clay token sheep were enclosed in clay envelopes with markings indicating what was inside (*molding and inscribing clay* was the favored sensory technology for making in Mesopotamia 5000 years ago)
•maybe your makings involves “true writing” that companions preferentially with language
•maybe your makings involves spinning plant and animal fiber and feeling, tying, and untying knots
•processual affirmative re-writings
•systeming meditations
•context-sensitive pushback
•operational closure (of a system)
•fluctuation, entrainment, blocked synchrony
•
[Katie King use of a term, how she shifts it from mechanism to affect:] [*]stigmergy: feeling of being in among and as the self-organizing bits that are system-ing (=/= a method of communication in emergent systems, mechanically defined as “indirect coordination” self-organizing termites and ants or flash mobs or political action)
@apass: how do you provide different *undisciplined ways of envisioning* new kinds of environments, artifacts and practices? (entangle design, science, fact and fiction, boundary objects, system-ing, [*]design: ***making things that tell stories*** [=/= telling stories])
(my encounters with) ajayeb's vibrating particularism
[*]website, talksite: play, trial and error, permutation and mistakes (none of it innocent or exemplary @ERG's website) ==> *cognitive reassembly*
-->{relations between developers and users to create and work out a technical interface ==> communicative tangle}
transmedia story (with its origins commercial and suspect, often entangled with social critique and social panic ~= conditions of making knowledge today; we knowingly or without reflection, gather and pin together such stories across media...)
-you can't take *citation pools* for granted
-how we will take what each other says
companion gatherings (do not exactly cohere or consort well) ==sometimes==> violation of standardization (that some believe is more equal)
(companions need to) [*]learn: emergently sensitize and attune among new cognitive and political circumstances (in and as their very moments of unknowing, when ethical and moral sortings are properly in flux)
(with) Bateson's negative sensitivities to systems, and with Katies King, I keep discovering just how literal is our many being-ness in multiply embedded sorts of biomic sympoiesis

{[*]lecture: feeling-in-the-mouth system, (the word-as-world inhabited by) alternate and overlapping peoples, memories, attunements, citation pools, histories, communities of practice, knowledges, ocean and freshwater “edges"}
{?can i propose (Katie King and Sandoval's) “oppositional consciousness” instead of (Mouffe's) “agonistic pluralism"}

responses, abilities, infrastructures, distributed embodiments,

[*]traumas: intensities crowded with affiliations, loyalties, essential truths

(Bateson > Leigh Star > Katie King) *transcontextual* (transcontextual circumstances: moving from one context to another, one world to another, one set of knowledges to another) ==> [*]boundary objects: workaround things, concepts, processes, even routines that permit coordination, sometimes collaboration, without consensus (non-conscious and conscious)--local, supralocaling, and global in material topologies in which spacetimenatureculture may be mixed, developmental yet transtemporal, (they don't create boundaries) *they work to keep boundaries from getting in the way of collaboration* [~=? sleep-walking: ignore or even miss that there are boundaries about, or honor boundaries = differences that should be honored without being stuck there]
---[can i suggest ‘enfolding’ instead of ‘sympoiesis’ for artists?]

****ajayeb: my transcontextual habitat**** [--(Katie King)--> sites where people, objects, animals, ecological processes, academic restructurings, and scales of injustice unfold, enfold]

‘to feel family and parent memories as our own’ --> a skill that intertwines historical and personal biography (sometimes trauma) as a feature of *memory encoding*

[*]autopoiesis: a notion, a theory of cellular organization, that makes a fold in history --> reformulating an orientation into an ‘experimental epistemology’

*memoir animated word-worlds worm-holed* (~= my lecture-performances, Katie King's talksites --> speculations gathering with stigmergy, recursive paradox, and a sympoiesis of boundary objects)

#my project: redesigning ajayeb's “writings” among dispersed, diffracted, and emergent methods of attention
-to redesign “aboutness” (as nonrepresentational : recursive relational agency of/about reciprocities in worldly processes)
-to redesign fiction of writing (khipu)
-to redesign @apass archive --> records of how things have happened, with whom, when, with what informational needs (instead of abstractions layered up), sometimes as agencies, sometimes as (in Sandoval's terms) oppositional and differential consciousness, (boundary objects) storing and performing our details and affects and memories

punitive parsimonies of explanation:
•over-simplications of complex systems
•pressures for social critique
•to travel as social panic
•retreat to political loyalties (<== confusion overwhelm cognitive schema)
•retreat to political belonging in search of trust
•

(more boundary objects:) many sorting apparatus reframings at varying grains of detail each savoring textures of disciplinary and other precisions amid noncoherent and materializing logics
(constitutive, agential) **cuts are connections**
-to minimize damage and maximize flourishing

differential details --in--> “us” --in--> Bateson's living patterns --in--> starfish's invertebrate radial symmetry --in--> redwood cloning timelines --in--> recursive epigenesis --in--> mechanism and structure in a segmenting egg --in--> human affiliations of power and state and love...



[*]differential consciousness: systems justice sensitive to multiple contexts, *politics of attachment*
@apass's environment (mix of communities of justice and of practice):
belief and disbelief, memberships and belongings, triggered and assembled
****to commit to a well-defined structure of identity for one hour, day, week, month, year**** (=/= Manning)
+ transform that identity according to the requisites of another oppositional ideological tactic (if reading of power's formation require it --> that's how i became more iranian in Europe)
•differential: instantaneous change of one quantity relative to another, a quality that differentiates between similar things (==> derivatives) =/= different

اخرت eschatology
study of end-times [--now--> climate change, global restructuring, ]
-humans are often precariously enduring on the planet
(Cuban Missile Crisis...)
-when urgencies (become too predictive) ==> less sensitivity to the unanticipated --> (Seba's “save the world” =) all too human desires for control or for moral prescriptions

with Katie King --> *systems justice* requires something much more complicated
•we have to work with our extended being
•find out new things about it

-how can we go beyond human intention and systems of control?
-we need, and there are, many ways to minimize damage and maximize flourishing
(*systems humans participate in and do not control*)

(? am i part of this) “we” and “us” gathers sympoietically these boundary objects storing details and affects

the fable of “if it's about everything it is about nothing” --> no!
sharpening focus =/= narrowing focus

workshop for thinking
•with objects
◦moved around
◾in visual play

to take your imaginations along other things
•so their worlds layer and enfold and map out and crochet together
◦so that can be sensed and worked on

(?what are) our helpers in apass:
•companion imaginations = our collective animalities
◦such imaginations have worlds that layer and enfold and map out and crochet together (--> systems humans participate in and do not control)
•our complex personhood
•our distributed being
•objects we take as cognitive companions
•our significant otherness honored in on-going attentions
•new learnings
•new materialities
•

(?what are our) methodology of companioning with things

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

what is happening to me: attention to knowledge making practices (in the context of a literary pleasure)
*sharing = making*
*communicating = making*
clues --for--> contexts --shapes--> how we will take what each other says

(Katie King > Anzaldua:) who and what facilitates such movement among worlds?

home = domination + domestication + love


Katie King:
•why science fiction matters?
•how cultural studies helps us make SF meaningful?
interactive possibilities of media art, commercial production, mass culture

SF = effect of defamiliarization
(problem with Star Trek is that it is over familiar)

Janet, from a lesbian utopian future (death by disease of all the men)
Jeannine, from an alternate present (US never entered WWII)
Jael, where “War Between the Sexes” has become deadly literal
Joanna, the author of the book, Joanna Russ (in a shimmering joking literalization has enfolded into her own story)


my ajayeb studies --> *cultural studies: how cultural products are part of cultural processes* (=/= what makes an art work good) --> getting around the term “art”
-mysteries, romance novels, movies, (bestiaries,) all of them deeply commercial forms of entertainment and often produced in complicated technical collaborations [--> and that's what makes them interesting (=/= simple single authorships)]
-genre, formula, (style, fashion,) are intrinsic to the ways these products are produced and the ways they are enjoyed
genre --> subtle shifts possible across many repetitions (=/= something that happens only one time)
premodern literary forms (bestiary) --> structural variations + their pleasurable effects

fandom (collectivities of fans): venues in which high intensities of engagement and collaboration occur --> social and collaborative, (writing) reengineered with various apparatus, [pre-internet Trekkers:]
•...audio tape each episode and listen to the voices over and over in my bed at night, until I had the dialog memorized
•wrote long letters about each episode several times a week, coast to coast, analyzing each in great detail, and writing out particularly memorable bits of repartee
•
--> SF media fandoms (=/= SF literary fandoms), first really organized around Star Trek in the late 60s, early 70s and increasingly international, have tended to be dominated by female fans
[*]poaching: how fans and fandoms appropriate commercial products for their own informal uses

*commercial exuberance* <== media franchises (<-- take advantage of the structure of multinational corporations [film and tv production, book, music and video publishing and distribution, theme parks, theaters, book stores, and so on. tie-in novels and coffee table, graphic novels, toys and games, other paraphernalia such as telephones, t-shirts and porcelain plates, music, commercial internet sites and catalog buying, and even scholarly works] + xeroxed fanfic, fiction written and self-published by fans,)

Star Trek = commercial media art =/= “art for art's sake”
-commercial media art is pleasurable precisely because *one instance of it is always insufficient in a very palpable way*
‘not enough’ ==> interactive & an on-going --> multiply collaborative process (across media)
= processes: people engage in varying degrees and forms of intensity and with varying collaborative possibilities -->{fandom: an interactive engagement that is culturally ambiguous =/= ‘society that values property,’ or ‘unique creations by single artists'}
(such media is) inspirational exactly because *so much is left out*, so much invites elaboration
•gossipy pleasures
•extratextual information
•many layered joke
•alerting t[...]