[...]d but not tested) lss="trms">internal lss="trms">categories<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•stickiness
lsts> <lsts clss="lsts lst1">•lss="trms">zoom
lsts> <lsts clss="lsts lst1">•cheat
lsts> <lsts clss="lsts lst1">•persistence
lsts> <lsts clss="lsts lst1">•repetition
lsts> <lsts clss="lsts lst1">•vulgar
lsts>
(i will describe them later)

and these lss="trms">categories produce three topologies<lgc clss='lgc'>:lgc>
<lstsrd clss="lstsrd">1. ramp
lstsrd> <lstsrd clss="lstsrd">2. nest
lstsrd> <lstsrd clss="lstsrd">3. skew
lstsrd>
(this is a maneuver to replace the lss="trms">question of ‘strategy’ to ‘topology’, the first act of making quasi-objects)

ramp<lgc clss='lgc'>:lgc> sequential, one dimensional, ‘sliders’
nest<lgc clss='lgc'>:lgc> fractal, serializable, arborescent, ‘comments’
skew<lgc clss='lgc'>:lgc> lss="trms">verb-active, streching, ‘2D field color picker polss="trms">inter’

<lrg clss="large lg2" stl="font-size:111%"> each is “queryable” in lss="trms">different ways and propose lss="trms">different difficulties
each of them addapted from an existing lss="trms">technologies (range sliders, commenting, color pickers)
each embeds one of<lgc clss='lgc'>:lgc> colors, doings, values

slider<lgc clss='lgc'>:lgc> marking everything with decimals
comments<lgc clss='lgc'>:lgc> hypertextualizing
field picker<lgc clss='lgc'>:lgc> splss="trms"nttrm="already,spread">reading
<lgc clss='lgc'>}lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> they are all milieu-makers
lrg>
ramp <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> arc of necessity
nest <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> mosaic divisions
skew <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> chromatic/luminous effect (of mixture)


and also<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•to address (in a longer term) how lss="nms">apass performs analysis and lss="trms">prioritization of its own service delss="trms">finitionlss='qstn'>?
lsts> <lsts clss="lsts lst1">•to address (in a longer term) lss="trms">historical/cultural lss="trms">specificities of lss="nms">apass
lsts> <lsts clss="lsts lst1">•to address aspects of lss="nms">apass's exceptionalism (its characters, colors, doings, values)
lsts>


REPORT<lgc clss='lgc'>:lgc>

lss="frds scrmbld">Geert
lss="trms">zoom / biger picture
perform a lss="trms">zoom
lss="frds scrmbld">Geert and Michael knowllss="trms"nttrm="knowledge,Knowledge">edge lss="trms">zoom-level
lss="frds scrmbld">Geert's strech-work
which cheats
vulgar<lgc clss='lgc'>:lgc> direct, <lgc clss='lgc'>=/=lgc> suffisticated, <lgc clss='lgc'>=/=lgc> nice(in a classical sense), <lgc clss='lgc'>=/=lgc> institutional lss="trms">code <lgc clss='lgc'>[lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> a cheat<lgc clss='lgc'>]lgc>, everyday, good taste, contextlss='qstn'>?!!
suglss="trms">gested topology<lgc clss='lgc'>:lgc> skew <lgc clss='lgc'>--lgc>changed<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> nest (tow branches answering yes and no to<lgc clss='lgc'>:lgc> “is he cheatinglss='qstn'>?”)

lss="frds scrmbld"nttrm="lss='trgt hghlght 1'href='?q=L'>Leonardo">lss='trgt hghlght 1'href='?q=L'>Leo
stickiness <lgc clss='lgc'>~lgc> residual (left overs of impression), we couldn't find little objects, litte stickies
lss="trms">zoom is tooooo wide, megalss="trms">categories, “fermentation” is a lss="trms">different lss="trms">zoom level
cheat <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> perception/intention, value of non-doing lss='qstn'>?, ‘order is cheat’, ritual <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> heal/cope
vulgar<lgc clss='lgc'>:lgc> ritual of popular knowllss="trms"nttrm="knowledge,Knowledge">edge, <lgc clss='lgc'>=/=lgc> lss="trms">social acceptence, lss="trms">communicating emotional needs, guilt on behalf of the vulgars,
suglss="trms">gested topology<lgc clss='lgc'>:lgc> skew (with 4 axioms<lgc clss='lgc'>:lgc> negativity, lss="trms">positivity, passivity, ritual)

lss="frds scrmbld">Caterina
sticky<lgc clss='lgc'>:lgc> difiicult to remove lss="trms">categories, dirty, quality of lss="trms">trape, almost negative, like honey as an lss="trms">intermediary sticky for other objects to become sticky
lss="trms">zoom<lgc clss='lgc'>:lgc> lss='trgt hghlght 1'href='?q=L'>Latina candition macro, ass rincles micro, herself, change of lens is what lss="trms">matters not the lss="trms">zoom level, the macro of the term culture itself
cheat<lgc clss='lgc'>:lgc> against the rule of lss="trms">community/aggreement, always cheating the lss="trms">system, against the game, bad lss="trms">relation to the game, lazy lss="trms">relation, fakinglss='qstn'>?
vulgar<lgc clss='lgc'>:lgc> ordinary, insultive, perjurative, of the “people”, (lss="frds scrmbld">Geert<lgc clss='lgc'>:lgc>) a marking always coming from above, what television does<lgc clss='lgc'>:lgc> non-actual <lgc clss='lgc'>+lgc> lss="trms">spectacle, (lss="frds scrmbld">Elen<lgc clss='lgc'>:lgc>) immoral, not olss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal, not elegant, thinking in terms of the ‘same’, group forming, non-individual, twards mass formation,
suglss="trms">gested topology<lgc clss='lgc'>:lgc> nest

lss="frds scrmbld">Eszter
polarized lense
confusion / being confused is ‘cheating’
stickiness absent
suglss="trms">gested topology<lgc clss='lgc'>:lgc> nest (with two branches<lgc clss='lgc'>:lgc> naive lss='and'>& political leader)

lss="frds scrmbld"nttrm="Godard">Goda
nothing sticks anymore therefor we go to swamp to stick to relevant objects
swamp as archive (refuge from the capitalss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list) <lgc clss='lgc'>=/=lgc>lss='qstn'>? cheat
constructing ‘bad example’ (lss='qstn'>?) <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> role model
lss="trms">zooming in losers of capitalism
X-ray kind of lens into the opacity of swamp
(her) treasures in the swamp <lgc clss='lgc'>[lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss="trms">epistemological buried objects<lgc clss='lgc'>]lgc>
criticizing how capitalism lss="trms">zooms for her irrelevant objects
buffoon <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> vulgar
suglss="trms">gested topology<lgc clss='lgc'>:lgc> skew (the skew is a plain around the lss="trms"nttrm="knowledge,Knowledge">edges, gets deeper in the middle, and a narrow way up in the center<lgc clss='lgc'>:lgc> the exit)

lss="frds scrmbld">Elen
lss="trms">presence of the working of subconscious <lgc clss='lgc'>==lgc>provokes<lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> etymology
very sticki “hell yea!"s
affirmative, sometimes lss="trms">technical knowllss="trms"nttrm="knowledge,Knowledge">edge
something sold (“self”) with something lss="trms">morphic on it (“apparition” or ‘surat’ in lss="trms">farsi)
suglss="trms">gested topology<lgc clss='lgc'>:lgc> ramp

lss="frds scrmbld">Hoda
cheat<lgc clss='lgc'>:lgc> sharp radical formation, playing ambiguity
totalizing vision lense (“if then all...”)
“because i asked i could feel”
anti-psychological
suglss="trms">gested topology<lgc clss='lgc'>:lgc> ramp

lss="frds scrmbld">Katinka
makeover slider
vulgar<lgc clss='lgc'>:lgc> makeover show, e-bay
statements not touching her, something else is sticki object<lgc clss='lgc'>:lgc> lss="trms">sympathylss='qstn'>?
slider<lgc clss='lgc'>:lgc> stack
suglss="trms">gested topology<lgc clss='lgc'>:lgc> ramp (makeover)

lss="frds scrmbld">Nassia
stick<lgc clss='lgc'>:lgc> something bodily, heat, sweat, property of objects
lss="trms">zoom is the oplss="trms">posit of body
gaze inside <lgc clss='lgc'>+lgc> anatomy
cheating<lgc clss='lgc'>:lgc> on people negative / on lss="trms">systems lss="trms">positive
suglss="trms">gested topology<lgc clss='lgc'>:lgc> ramp

lss="frds scrmbld">lss='trgt hghlght 1'href='?q=L'>Laura
osmotic<lgc clss='lgc'> = lgc>french kiss
administered (by machine) body
the good example
beauty is invested in...
the (unchanging) core of the cuttle-fish
popular<lgc clss='lgc'> = lgc>vulgar
suglss="trms">gested topology<lgc clss='lgc'>:lgc> skew (regimented floor plan)

lss="frds scrmbld">Maurice
cheat <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss="trms">joker, fool
cute<lgc clss='lgc'>:lgc> getting off the leash of institution
bear blss="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurs what...
“but I am just...”
bribe economy <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> honest and human
suglss="trms">gested topology<lgc clss='lgc'>:lgc> nest

lrg>lbrkr stl="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................lbrkr>

<lgc clss='lgc'>[lgc>title<lgc clss='lgc'>]lgc>
archives of open desire

lrg>lbrkr stl="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................lbrkr>

lss='at'>#drawing exercises in built environment (with Sizek <lgc clss='lgc'>+lgc> Mathews https://culanth.org/fieldsights/1542-lss="trms">methods-for-many-lss="trms">anthropolss="trms">cenes-with-andrew-s-mathews)
<lstsrd clss="lstsrd">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 lss="trms">history or use today
lstsrd> <lstsrd clss="lstsrd">2. compare drawings and use the drawings to tell lss="trms">stories about the object and its use or importance to life in that environment
lstsrd> <lstsrd clss="lstsrd">3. invite to reflect on the ways that drawing infrastructure can reveal processes at multiple temporal and spatial scales
lstsrd>
discussion lss="trms">questions/lss="trms">writing lss="trms">response lss="trms">questions<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•Which features of the structure stood out, and what do these suglss="trms">gest about the processes of its creation and uselss='qstn'>?
lsts> <lsts clss="lsts lst1">•How has its infrastructure changed over time, and how are these changes evidenced in the built form itselflss='qstn'>?
lsts> <lsts clss="lsts lst1">•How does your structure relate to others in its immediate vicinity, and in what ways do lss="trms">relationships between structures help reveal lss="trms">social lss="trms">relationslss='qstn'>?
lsts> <lsts clss="lsts lst1">•What traces of lss="trms">past events are embedded in infrastructure or its lss="trms">memories, and how can we render these traces lss="trms">presentlss='qstn'>?
lsts>
drawings has to do with the incompleteness of knowing and relss="trms">presenting
indeterminacy at ‘the same time’

(lss='qstn'>?in which locations you can get a good) human lss="trms">response to<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•slow processes (soil, geology, plant form)
lsts> <lsts clss="lsts lst1">•fast processes (plant seasonal behavior, weather, human lss="trms">responses to all of these things)
lsts>
ls clss='strcls'>*ls>drawing as structured lss="trms">wondering/wanderingls clss='strcls'>*ls>

<lrg clss="large lg10" stl="font-size:122%"> use of the ls clss='strcls'>*ls>dramaticls clss='strcls'>*ls> as lss="trms">method <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> to entertain multiple lss="trms">worldviews
to maintain irreducible complexity and to recenter lss="trms">historical processes as central to understanding contemporary politics
(lss="trms">history and drama)
lss="prgrph">-facts as enacted and performed before audiences (<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> tradition in lss="trms">science and lss="trms">technology)

ls clss='strcls'>**ls>knowllss="trms"nttrm="knowledge,Knowledge">edge is always performed, lss="trms">staged, and enactedls clss='strcls'>**ls> <lgc clss='lgc'><<lgc clss='lgc'>==lgc>lgc> lss='mywrk'>my work on lss="nms">ajayeb
lrg>
how to tell the dramatic lss="trms">stories

<lrg clss="large lg1" stl="font-size:116%"> lrg>lbrkr stl="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................lbrkr>lrg>
lrg>
notes from lss="frds scrmbld">Sofia's seminar on documentation

the lss="trms">questions i brought home with lss="frds scrmbld">Kobe<lgc clss='lgc'>:lgc>

the lss="trms">ontological lss="trms">relationships between law and art, who protects wholss='qstn'>? what protects protectionlss='qstn'>? <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> which lss="trms">material discursive practices make the lss="trms">ontological boundaries of “protection”lss='qstn'>? (specially today investigating this term is more urgent in a lss="trms">world saturated with toxic lss="trms">vocabularies of security.) the figure of protection transforms the subjects of knowllss="trms"nttrm="knowledge,Knowledge">edge and knowability <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> look at how the judge was talking about art

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

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

boundary-making practices in our shared struggling lss="trms">world
lss='thdf'>the idea that art “starts” and “stops” somewhere
zeroing the artworks ecolss="trms">system

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. lss='trgt hghlght 1'href='?q=L'>Let's bring an expert.”
and beyond that, I am lss="trms">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”lss='qstn'>?

lss="trms">questions of<lgc clss='lgc'>:lgc> essence (in art), subjectivity production, protection,


<lrg clss="large lg6" stl="font-size:116%">
with Vincent

(lss='qstn'>?what was the) notion of “everything is kept here” in his work

(lss='qstn'>?why and how) his lss="trms">storytelling was all about design <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> his lss="trms">stories of lss="trms">responsibility and factuality
how and why in our artistic practices, production of lss="trms">responsibility and factuality is hold in the terms and services of design and designer that is busy with building enhanced and efficient lss="trms">communication lss="trms">networks lss="trms">historically rooted in the lss="trms">geometries of lss="trms">modernist projectlss='qstn'>?

(lss='qstn'>?what is the artist's) busy-ness with design <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> related to the fathers of correction (lss='qstn'>?) and proper address

who (and why) wants to look at which lss="trms">past with lenses and lss="trms">geometries of the violent grids of the forefathers of lss="trms">modernist designlss='qstn'>?
<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss="trms">ontology of document<lgc clss='lgc'>:lgc> an artifact with a lss="trms">specific layout and design

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

(lss='qstn'>?what was the) proper lss="trms">affect of lss="trms">history (that his work was creating)
through the lss="trms">aesthetic of old and antique video projectors his colonialism belonged properly to the lss="trms">past <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> (lss="trms">question of) the production of the proper witness

the architecture and flag of BOZAR plus his notion of design, are they lss="trms">interesting and necessary ways of forming kinship and properly distanced lss="trms">historylss='qstn'>?

Vincent “knew” his distance to the lss="trms">past (<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> do you smell a problemlss='qstn'>?)
in which clock he is looking at timelss='qstn'>? which time machine he is handed to or placed inlss='qstn'>? who/what is making his time modellss='qstn'>?
also, which segment of your practice is temporalizedlss='qstn'>? this means also which part of your practice stands out of timelss='qstn'>?



with Olga

regards of the lss="trms">question “what are an artwork's boundarieslss='qstn'>?” and it's lss="trms">intersections with documents, lss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists, and reports

for Olga<lgc clss='lgc'>:lgc>
document<lgc clss='lgc'> = lgc>evidence
research<lgc clss='lgc'> = lgc>mourning
(mourning as the passionate and delss="trms">monstrative activity of expressing the state of loss or deprivation of a certain object for a certain subject, and lss="trms">demand for its revival or lss="trms">memorialization)

what is the feeling of the documentlss='qstn'>?

ls clss='strcls'>*ls>document is a lss="trms">story that (usually) silences other lss="trms">storiesls clss='strcls'>*ls>
where our powers to provoke care (could/should) come from (if not from document/evidence)lss='qstn'>?
is document (in its form and feeling) the best way we have at our disposal to provoke the care of the generationslss='qstn'>? ...to mark each other with the mark of the carelss='qstn'>?

putting the lss="trms">narrative into proper sleep
casting the names

lss="prgrph">-artist has turned herself into a mnemonic device <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> suglss="trms">gesting “amnesia” as her context
lss="prgrph">-artist has become a reminder and (therefore) her audiences have become lss="trms">memorizers

(lss="trms">question of) lss="trms">memory and relss="trms">membering <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss='thdf'>the idea of ‘lss="trms">literal relss="trms">membrance’ in her performance, re-lss="trms">membering, lss="trms">literally bringing back the “lss="trms">members” of the Kurt Jooss company into the lss="trms">present of her audiences
lss="prgrph">-the problem with her relss="trms">membrance is that “there is something that is important to relss="trms">member” regardless of the person/subject who relss="trms">members

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 <lgc clss='lgc'>[lgc>for lss="trms">world peacelss='qstn'>?<lgc clss='lgc'>]lgc>) in a sense her subject of research remains unreselss="trms"nttrm="search">arched, her values unevaluated, her moral settlements settled

how can she become lss="trms">interested in delss="trms">composing her research-bodies of The Green Tablelss='qstn'>?
can we remain critically ethically lss="trms">responsible in thinking about the “meaning and message” of our subject of study and still be able to delss="trms">compose it in lss="trms">interesting lss="trms">serious wayslss='qstn'>? (yes yes)

lss="trms">questions of<lgc clss='lgc'>:lgc> thinking, reminding, remaining,



lss="frds scrmbld">Sofia's documentation
she asks “what is document todaylss='qstn'>?”
lss="prgrph">-what was document yesterday (that is not anymore today)lss='qstn'>?
lss="prgrph">-how the lss="trms">agency and meaning of docu is (or is not) mutating in timelss='qstn'>?ls clss='strcls'>*ls>
lss="prgrph">-what is beyond the lss="trms">question of documentation and preservationlss='qstn'>? <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> ls clss='strcls'>*ls>durational lss="trms">aestheticsls clss='strcls'>*ls>
lss="prgrph">-is document a limited way of asking lss="trms">questions about what we do and our lss="trms">relationship with time and durationlss='qstn'>? <lgc clss='lgc'>[lgc>you never know what the lss="trms">present brings into the future.<lgc clss='lgc'>]lgc>

what art cannot say that document canlss='qstn'>? “truth”lss='qstn'>?
when truth was invented where was document standinglss='qstn'>?

is document today a mere effect of lss="trms">technologies of inscribinglss='qstn'>?

why we are not talking about “file”lss='qstn'>?
(<lgc clss='lgc'>-<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>lgc> lss='gtrw'>go to the lss="trms">ontology of evidence and files in X-Files TV series)

is ‘file’ the bedrock of lss="trms"nttrm="already,spread">reading todaylss='qstn'>?

document assumes, constructs and promises its own labor of lss="trms"nttrm="already,spread">reading
lss='qstn'>? document is that which lss="trms"nttrm="already,spread">reads as referent, truthful, evident, economic value, , ,



lss="frds scrmbld">Femke, with multiple understanders of the blended, blending lss="trms">world

the lss="trms">question of the lss="trms">lss="trms"nttrm="metaph,metamorph,metabol,metal">metaphors of the body

<lrg clss="large lg10" stl="font-size:135%"> manuality
manual understanders

for her “the point of olss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin” is at stakelss='qstn'>? <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> the “ground” is at once desired and dislss="trms">articulated for the sake of an idea of lss="trms">situatedness <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> politics of lss="trms">positioning

placement, lss="trms">world, Dasein, fall

in lss="trms">CG bodies are lss="trms">articulated in lss="trms">differential vectors, not “grounds” <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> does she want to ground the bodylss='qstn'>?

she was mobilizing the lss="trms">lss="trms"nttrm="metaph,metamorph,metabol,metal">metaphors of<lgc clss='lgc'>:lgc> body, ground, falling
how is she fallinglss='qstn'>? in which lss="trms">historically lss="trms">contingent practices of grounding is she grounded, building her discourselss='qstn'>?

lss="trms">ontology of the variable <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> (lss="trms">question of the) figure of variation
her work with the partners of crime, getting in the front line and frontiers of lss="trms">CG working and practical lss="trms">lss="trms"nttrm="metaph,metamorph,metabol,metal">metaphors

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lss="frds scrmbld">Sofia's textual machine, switching between binary values of faire contract <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> staying with the polar syntax of ‘you’ and ‘them’
lss="prgrph">-how the rotating axis of her machine is able of creating breaks in the syntax of the contractlss='qstn'>?
lss="prgrph">-(for her machine<lgc clss='lgc'>:lgc> “understanding<lgc clss='lgc'> = lgc>an act of application”) <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> how new forms of ls clss='strcls'>*ls>understandingls clss='strcls'>*ls> could change the ways we might achieve fair lss="trms">societieslss='qstn'>? 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 lss="trms">writen contract. what would it mean to install an understander (taking a risk), for lss="frds scrmbld">Sofia, and not a reversal syntaxer (making aware)lss='qstn'>?
lss="prgrph">-employer and the employee as lss="trms">different “lss="trms">species” with their lss="trms">different “lss="trms">natural” tendencies to fuck with one anotherlss='qstn'>? <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> zero-sum game
lss="prgrph">-the lss="trms">question of lss="trms">symbiotic relatedness (<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> psychoanalysis) <lgc clss='lgc'>=/=lgc>lss='qstn'>? contractual relatedness


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to emphasis on the lss="trms">contingent and the contextual

<lrg clss="large lg3" stl="font-size:112%"> the process of becoming reselss="trms"nttrm="search">archer (of lss="trms">science and lss="trms">technology studies <lgc clss='lgc'>:lgc> inquiry into the politics and practices of knowllss="trms"nttrm="knowledge,Knowledge">edge-making)
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vignette (sketch, a brief lss="trms">literary description, lss="trms">narrate slss="trms">cenes from familiar activities)

the lss="trms">question is not ‘how can we care morelss='qstn'>?’ (as predetermined set of lss="trms">affective practices) rather<lgc clss='lgc'>:lgc> ls clss='strcls'>**ls>what happens to our work when we pay attention to moments where the lss="trms">question of ‘how to carelss='qstn'>?’ is insistent but not easily answerablels clss='strcls'>**ls> (‘care’ as an analytic or provocation)
lss="prgrph">-l clss="ppl">l clss="ppl">Kenneyl>l>


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Manoto TV station program “sher yadet nare” شعر یادت نره lss="trms">respond to the lss="trms">questions of lss="trms">translation (from the UK produced progra[...]