[...]apita="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list) ='lgc'>=/=='qstn'>? cheat
constructing ‘bad example’ (='qstn'>?) ='lgc'>='lgc'>--> role model
="trms">zooming in losers of capitalism
X-ray kind of lens into the opacity of swamp
(her) treasures in the swamp ='lgc'>[='lgc'>='lgc'>--> ="trms">epistemological buried objects='lgc'>]
criticizing how capitalism ="trms">zooms for her irrelevant objects
buffoon ='lgc'>='lgc'>--> vulgar
sug="trms">gested topology='lgc'>: skew (the skew is a plain around the ="trms"nttrm="knowledge,Knowledge">edges, gets deeper in the middle, and a narrow way up in the center='lgc'>: the exit)

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

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

="large lg2" stl="font-size:111%"> ="frds scrmbld">Katinka
makeover slider
vulgar='lgc'>: makeover show, e-bay
statements not touching her, something else is sticki object='lgc'>: ="trms">sympathy='qstn'>?
slider='lgc'>: stack
sug="trms">gested topology='lgc'>: ramp (makeover)

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

="frds scrmbld">Laura
osmotic='lgc'> = french kiss
administered (by machine) body
the good example
beauty is invested in...
the (unchanging) core of the cuttle-fish
popular='lgc'> = vulgar
sug="trms">gested topology='lgc'>: skew (regimented floor plan)

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

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

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='at'>#drawing exercises in built environment (with Sizek ='lgc'>+ Mathews https://culanth.org/fieldsights/1542-="trms">methods-for-many-="trms">anthropo="trms">cenes-with-andrew-s-mathews)
="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 ="trms">history or use today
="lstsrd">2. compare drawings and use the drawings to tell ="trms">stories about the object and its use or importance to life in that environment
="lstsrd">3. invite to reflect on the ways that drawing infrastructure can reveal processes at multiple temporal and spatial scales

discussion ="trms">questions/="trms">writing ="trms">response ="trms">questions='lgc'>:
="lsts lst1">•Which features of the structure stood out, and what do these sug="trms">gest about the processes of its creation and use='qstn'>?
="lsts lst1">•How has its infrastructure changed over time, and how are these changes evidenced in the built form itself='qstn'>?
="lsts lst1">•How does your structure relate to others in its immediate vicinity, and in what ways do ="trms">relationships between structures help reveal ="trms">social ="trms">relations='qstn'>?
="lsts lst1">•What traces of ="trms">past events are embedded in infrastructure or its ="trms">memories, and how can we render these traces ="trms">present='qstn'>?

drawings has to do with the incompleteness of knowing and re="trms">presenting
indeterminacy at ‘the same time’

(='qstn'>?in which locations you can get a good) human ="trms">response to='lgc'>:
="lsts lst1">•slow processes (soil, geology, plant form)
="lsts lst1">•fast processes (plant seasonal behavior, weather, human ="trms">responses to all of these things)

='strcls'>*drawing as structured ="trms">wondering/wandering='strcls'>*

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

='strcls'>**knowl="trms"nttrm="knowledge,Knowledge">edge is always performed, ="trms">staged, and enacted='strcls'>** ='lgc'><='lgc'>== ='mywrk'>my work on ="nms">ajayeb

how to tell the dramatic ="trms">stories

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notes from ="frds scrmbld">Sofia's seminar on documentation

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

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

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

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

boundary-making practices in our shared struggling ="trms">world
='thdf'>the idea that art “starts” and “stops” somewhere
zeroing the artworks eco="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. Let's bring an expert.”
and beyond that, I am ="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”='qstn'>?

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



with Vincent

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

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

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

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

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

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

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

="large lg22" stl="font-size:126%"> Vincent “knew” his distance to the ="trms">past (='lgc'>='lgc'>--> do you smell a problem='qstn'>?)
in which clock he is looking at time='qstn'>? which time machine he is handed to or placed in='qstn'>? who/what is making his time model='qstn'>?
also, which segment of your practice is temporalized='qstn'>? this means also which part of your practice stands out of time='qstn'>?



with Olga

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

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

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

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

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

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

(="trms">question of) ="trms">memory and re="trms">membering ='lgc'>='lgc'>--> ='thdf'>the idea of ‘="trms">literal re="trms">membrance’ in her performance, re-="trms">membering, ="trms">literally bringing back the “="trms">members” of the Kurt Jooss company into the ="trms">present of her audiences
="prgrph">-the problem with her re="trms">membrance is that “there is something that is important to re="trms">member” regardless of the person/subject who re="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'>[for ="trms">world peace='qstn'>?='lgc'>]) in a sense her subject of research remains unrese="trms"nttrm="search">arched, her values unevaluated, her moral settlements settled

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

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



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

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

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

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

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

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



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

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

manuality
manual understanders

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

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

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

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

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

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


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

the process of becoming rese="trms"nttrm="search">archer (of ="trms">science and ="trms">technology studies ='lgc'>: inquiry into the politics and practices of knowl="trms"nttrm="knowledge,Knowledge">edge-making)

vignette (sketch, a brief ="trms">literary description, ="trms">narrate s="trms">cenes from familiar activities)

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


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="large lg18" stl="font-size:135%"> Manoto TV station program “sher yadet nare” شعر یادت نره ="trms">respond to the ="trms">questions of ="trms">translation (from the UK produced program “Don't Forget the Lyrics” into an ="nms">Iranian contemporary popular media culture) and ="trms">memory practices (archival ="trms">memory act performance pop quiz show mixed with ="trms">consumer culture TV broadcasting)

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='strcls'>*cognitive companions='strcls'>* (='lgc'>='lgc'>--> coordinating multiple ="trms">agencies characteristically)
="prgrph">-tiny clay token sheep were enclosed in clay envelopes with markings indicating what was inside (='strcls'>*molding and inscribing clay='strcls'>* was the favored sensory ="trms">technology for making in Mesopotamia 5000 years ago)
="lsts lst1">•maybe your makings involves “true ="trms">writing” that companions preferentially with ="trms">language
="lsts lst1">•maybe your makings involves spinning plant and ="trms">animal fiber and feeling, tying, and untying knots
="lsts lst1">•processual affirmative re-="trms">writings
="lsts lst1">•="trms">systeming meditations
="lsts lst1">•context-sensitive pushback
="lsts lst1">•operational closure (of a ="trms">system)
="lsts lst1">•fluctuation, entrainment, blocked ="trms">synchrony
="lsts lst1">•
='lgc'>[="ppl">Katie ="ppl">King use of a term, how she shifts it from mechanism to ="trms">affect:='lgc'>] ='lgc'>[='strcls'>*='lgc'>]stigmergy='lgc'>: feeling of being in among and as the self-organizing bits that are ="trms">system-ing (='lgc'>=/= a ="trms">method of ="trms">communication in emergent ="trms">systems, mechanically defined as “indirect coordination” self-organizing termites and ants or flash mobs or political action)
='at'>@="nms">apass='lgc'>: how do you provide ="trms">different ='strcls'>*undisciplined ways of envisioning='strcls'>* new kinds of environments, artifacts and practices='qstn'>? (entangle design, ="trms">science, fact and ="trms">fiction, boundary objects, ="trms">system-ing, ='lgc'>[='strcls'>*='lgc'>]design='lgc'>: ='strcls'>***making things that tell ="trms">stories='strcls'>*** ='lgc'>[='lgc'>=/= telling ="trms">stories='lgc'>])
(my encounters with) ="nms">ajayeb's vibrating particularism
='lgc'>[='strcls'>*='lgc'>]website, talksite='lgc'>: play, trial and error, permutation and mistakes (none of it innocent or exemplary ='at'>@ERG's website) ='lgc'>='lgc'>==> ='strcls'>*cognitive reassembly='strcls'>*
='lgc'>='lgc'>-->='lgc'>{="trms">relations between developers and users to create and work out a ="trms">technical ="trms">interface ='lgc'>='lgc'>==> ="trms">communicative tangle='lgc'>}
transmedia ="trms">story (with its o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigins commercial and suspect, often entangled with ="trms">social critique and ="trms">social panic ='lgc'>~= conditions of making knowl="trms"nttrm="knowledge,Knowledge">edge today; we knowingly or without reflection, gather and pin together such ="trms">stories across media...)
="prgrph">-you can't take ='strcls'>*="trms">citation pools='strcls'>* for granted
="prgrph">-how we will take what each other says
companion gatherings (do not exactly cohere or con="trms">sort well) ='lgc'>==sometimes='lgc'>='lgc'>==> violation of standardization (that some believe is more equal)
(companions need to) ='lgc'>[='strcls'>*='lgc'>]learn='lgc'>: emergently sensitize and attune among new cognitive and political circumstances (in and as their very moments of unknowing, when ethical and moral ="trms">sortings are properly in flux)
(with) ="ppl">="ppl">Bateson's negative sensitivities to ="trms">systems, and with ="ppl">Katies ="ppl">King, I keep discovering just how ="trms">literal is our many being-ness in multiply embedded ="trms">sorts of biomic ="trms">sym="trms">poiesis

='lgc'>{='lgc'>[='strcls'>*='lgc'>]="trms">lecture='lgc'>: feeling-in-the-mouth ="trms">system, (the word-as-="trms">world inhabited by) alternate and overlapping peoples, ="trms">memories, attunements, ="trms">citation pools, ="trms">histories, ="trms">communities of practice, knowl="trms"nttrm="knowledge,Knowledge">edges, ocean and freshwater “="trms"nttrm="knowledge,Knowledge">edges"='lgc'>}
='lgc'>{='qstn'>?can i propose (="ppl">Katie ="ppl">King and Sandoval's) “op="trms">positional consciousness” instead of (Mouffe's) “agonistic p="trms"nttrm="failure,blur,plur,lurk,tallur,slur">luralism"='lgc'>}

="trms">responses, abilities, infrastructures, distributed ="trms">embodiments,

='lgc'>[='strcls'>*='lgc'>]traumas='lgc'>: intensities crowded with affiliations, loyalties, essential truths

(="ppl">="ppl">Bateson > ="ppl">Leigh ="ppl">="ppl">Star > ="ppl">Katie ="ppl">King) ='strcls'>*transcontextual='strcls'>* (transcontextual circumstances='lgc'>: moving from one context to another, one ="trms">world to another, one set of knowl="trms"nttrm="knowledge,Knowledge">edges to another) ='lgc'>='lgc'>==> ='lgc'>[='strcls'>*='lgc'>]boundary objects='lgc'>: workaround things, concepts, processes, even ="trms">routines that permit coordination, sometimes collaboration, without con="trms">sensus (non-conscious and conscious)='lgc'>--local, supralocaling, and global in ="trms">material topologies in which spacetime="trms">natureculture may be mixed, developmental yet transtemporal, (they don't create boundaries) ='strcls'>*they work to keep boundaries from getting in the way of collaboration='strcls'>* ='lgc'>[='lgc'>~=='qstn'>? sleep-walking='lgc'>: ignore or even miss that there are boundaries about, or honor boundaries='lgc'> = ="trms">differences that should be honored without being stuck there='lgc'>]
='lgc'>='lgc'>---='lgc'>[can i sug="trms">gest ‘en="trms">folding’ instead of ‘="trms">sym="trms">poiesis’ for artists='qstn'>?='lgc'>]

='strcls'>****="nms">ajayeb='lgc'>: my transcontextual habitat='strcls'>**** ='lgc'>[='lgc'>--(="ppl">Katie ="ppl">King)='lgc'>='lgc'>--> sites where people, objects, ="trms">animals, ="trms">ecological processes, academic restructurings, and scales of injustice un="trms">fold, en="trms">fold='lgc'>]

‘to feel family and parent ="trms">memories as our own’ ='lgc'>='lgc'>--> a ="trms">skill that ="trms">intertwines ="trms">historical and personal biography (sometimes trauma) as a feature of ='strcls'>*="trms">memory en="trms">coding='strcls'>*

='lgc'>[='strcls'>*='lgc'>]auto="trms">poiesis='lgc'>: a notion, a theory of cellular organization, that makes a ="trms">fold in ="trms">history ='lgc'>='lgc'>--> re="trms">formulating an orientation into an ‘experimental ="trms">epistemology’

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

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

punitive parsimonies of explanation='lgc'>:
="lsts lst1">•over-simplications of complex ="trms">systems
="lsts lst1">•pressures for ="trms">social critique
="lsts lst1">•to ="trms">travel as ="trms">social panic
="lsts lst1">•retreat to political loyalties (='lgc'><='lgc'>== confusion overwhelm cognitive schema)
="lsts lst1">•retreat to political belonging in search of trust
="lsts lst1">•

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

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



='lgc'>[='strcls'>*='lgc'>]="trms">differential consciousness='lgc'>: ="trms">systems justice sensitive to multiple contexts, ='strcls'>*politics of attachment='strcls'>*
='at'>@="nms">apass's environment (mix of ="trms">communities of justice and of practice)='lgc'>:
belief and disbelief, ="trms">memberships and belongings, t="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riggered and assembled
='strcls'>****to commit to a well-defined structure of identity for one hour, day, week, month, year='strcls'>**** (='lgc'>=/= Manning)
='lgc'>+ transform that identity ="trms">according to the requisites of another op="trms">positional ideological tactic (if ="trms"nttrm="already,spread">reading of power's formation require it ='lgc'>='lgc'>--> that's how i became more ="nms">iranian in Europe)
="lsts lst1">•="trms">differential='lgc'>: instantaneous change of one quantity relative to another, a quality that ="trms">differentiates between similar things (='lgc'>='lgc'>==> derivatives) ='lgc'>=/= ="trms">different

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

with ="ppl">Katie ="ppl">King ='lgc'>='lgc'>--> ='strcls'>*="trms">systems justice='strcls'>* requires something much more complicated
="lsts lst1">•we have to work with our extended being
="lsts lst1">•find out new things about it

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

(='qstn'>? am i part of this) “we” and “us” gathers ="trms">sympoietically these boundary objects storing details and ="trms">affects

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

workshop for thinking
="lsts lst1">•with objects
="lsts lst2">◦moved around
="lsts lst3">◾in visual play

to take your ="trms">imaginations along other things
="lsts lst1">•so their ="trms">worlds layer and en="trms">fold and map out and crochet together
="lsts lst2">◦so that can be sensed and worked on

(='qstn'>?what are) our helpers in ="nms">apass='lgc'>:
="lsts lst1">•companion ="trms">imaginations='lgc'> = our collective ="trms">animalities
="lsts lst2">◦such ="trms">imaginations have ="trms">worlds that layer and en="trms">fold and map out and crochet together (='lgc'>='lgc'>--> ="trms">systems humans participate in and do not control)
="lsts lst1">•our complex personhood
="lsts lst1">•our distributed being
="lsts lst1">•objects we take as cognitive companions
="lsts lst1">•our significant otherness honored in on-going attentions
="lsts lst1">•new learnings
="lsts lst1">•new ="trms">materialities
="lsts lst1">•

(='qstn'>?what are our) ="trms">methodology of companioning with things

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

what is happening to me='lgc'>: attention to knowl="trms"nttrm="knowledge,Knowledge">edge making practices (in the context of a ="trms">literary pleasure)
='strcls'>*sharing='lgc'> = making='strcls'>*
='strcls'>*="trms">communicating='lgc'> = making='strcls'>*
="trms"nttrm="cluster,club">clues ='lgc'>--for='lgc'>='lgc'>--> contexts ='lgc'>--shapes='lgc'>='lgc'>--> how we will take what each other says

(="ppl">Katie ="ppl">King > Anzaldua='lgc'>:) who and what facilitates such movement among ="trms">worlds='qstn'>?

="large lg3" stl="font-size:112%"> home='lgc'> = domination ='lgc'>+ domestication ='lgc'>+ ="trms">love


="ppl">Katie ="ppl">King='lgc'>:
="lsts lst1">•why ="trms">science ="trms">fiction ="trms">matters='qstn'>?
="lsts lst1">•how cultural studies helps us make SF meaningful='qstn'>?
="trms">interactive possibilities of media art, commercial production, mass culture

SF='lgc'> = effect of defamiliarization
(problem with ="ppl">="ppl">Star Trek is that it is over familiar)

="large lg4" stl="font-size:110%"> Janet, from a lesbian utopian future (death by disease of all the men)
Jeannine, from an alternate ="trms">present (US never entered WWII)
Jael, where “War Between the Sexes” has become deadly ="trms">literal
Joanna, the ="trms">author of the ="trms">book, Joanna Russ (in a shimmering ="trms">joking ="trms">literalization has en="trms">folded into her own ="trms">story)


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

fandom (collectivities of fans)='lgc'>: venues in which high intensities of engagement and collaboration occur ='lgc'>='lgc'>--> ="trms">social and collaborative, (="trms">writing) reengineered with various ="trms">apparatus, ='lgc'>[pre-="trms">internet Trekkers:='lgc'>]
="lsts lst1">•...audio tape each episode and ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listen to the voices over and over in my bed at night, until I had the dialog ="trms">memorized
="lsts lst1">•wrote long letters about each episode several times a week, coast to coast, analyzing each in great detail, and ="trms">writing out particularly ="trms">memorable bits of repartee
="lsts lst1">•
='lgc'>='lgc'>--> SF media fandoms (='lgc'>=/= SF ="trms">literary fandoms), first really organized around ="ppl">="ppl">Star Trek in the late 60s, early 70s and increasingly ="trms">international, have tended to be dominated by female fans
='lgc'>[='strcls'>*='lgc'>]poaching='lgc'>: how fans and fandoms appropriate commercial products for their own informal uses

='strcls'>*commercial exuberance='strcls'>* ='lgc'><='lgc'>== media franchises (='lgc'><='lgc'>-- take advantage of the structure of multinational corporations ='lgc'>[film and tv production, ="trms">book, music and video publishing and distribution, theme parks, theaters, ="trms">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 ="trms">internet sites and catalog buying, and even scholarly works='lgc'>] ='lgc'>+ xeroxed fanfic, ="trms">fiction ="trms">written and self-published by fans,)

="large lg5" stl="font-size:131%"> ="ppl">="ppl">Star Trek='lgc'> = commercial media art ='lgc'>=/= “art for art's sake”
="prgrph">-commercial media art is pleasurable precisely because ='strcls'>*one inst[...]