[...]apy (='lgc'><='lgc'>--='qstn'>?='lgc'>-- mindfulness)
="lsts lst1">•


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

='prcnt'>%notes on ='at'>#workshop of ="trms">question (HWD)
="prgrph">-how come in my drawing class participancts couldn't even hold the pen
="prgrph">-participants lenzes couldn't focus, the words were in b="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lur and in disarray
="prgrph">-i had to stop free as="trms">sociations and ="trms">staggerings, and return to the task at hand
="prgrph">-it was like teaching a new ="trms">language
="prgrph">-i was trying to share my methorodlogy, ="trms">specificly. not a jam session
="prgrph">-is it neccesory or ="trms">interesting to learn eachother ="trms">methodlogies in order to get involved and engagned in eachother practices='qstn'>? maybe not ='lgc'>='lgc'>--> go back to re="trms">presentational tools ='lgc'>--are re="trms">presentational tools the best we have='qstn'>? or maybe, structurally we can't give workshop in ="nms">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 ="trms">interested in.

='prcnt'>%(am I='qstn'>?) ‘coming back with advices’ in ='mywrk'>my work ='lgc'>[='lgc'>[='at'>#="frds scrmbld">Esta='lgc'>]='lgc'>]

="large lg2" stl="font-size:110%"> is it ="trms">interesting for me or ='mywrk'>my research to think about how we moved that plant around in the 4th floor='qstn'>?
='strcls'>*moving plants='strcls'>* is risky
as backdrop for human activity
passively vegetating
making local and global connections='lgc'>: which local or global connections was made (by ="frds">Sina, ="frds scrmbld">Xiri and ="frds scrmbld">Esta moving the plant)='qstn'>? (how the plant was re="trms">positioned in our) making of public common spaces
="prgrph">-practices of concern
(attentive to the plant that was a) shared “thing” between us
what was mediated, navigated and ="trms">articulated with that plant in ="nms">apass 4th floor='qstn'>?
(with this i am trying to ask about the) kinds of ="trms">imaginative ="trms">world-making at work
gathering forces
="prgrph">-

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

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

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

i am building another wit ='lgc'>=/= you know when you are on some kind of auto-="trms">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='qstn'>? there is this standard general sense that becomes very upset when things are not immediately understood (='at'>#double-click democratization of ="trms">communication,) ='mywrk'>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.

="large lg1" stl="font-size:121%"> ="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

="trms">question at ="frds scrmbld">Hoda

how to make her ="trms">interested in ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics='qstn'>? in queer studies and practices

physics is the river of ="trms">phenomena
="trms"nttrm="metaph,metamorph,metabol,metal">meta='lgc'>: above, among, beyond

="trms">ontological commitment to='lgc'>:
sense of ="trms">wonder
sense of sadness
sense of madness

what (else) ="trms">literature can be if not elegy='qstn'>?

sonic level of sign-making and significance in her act

soft-spoken adjectives

“sigh”='lgc'>: ="trms">poetry's start-up engine, aaaahh
somewhere between lament and mourning
proper address of the mother
which ‘s="trms">cene of ="trms">modern or classical ="trms">language’ you are opening='qstn'>?
‘sigh’ is important, sigh initiates (many in="trms"nttrm="cluster,club">cluding german and ="nms">iranian) ="trms">literature
="nms">iranian ="trms">historical comfort zones
where ="trms">literature starts with sigh
when and how did you learn to sigh='qstn'>?

sigh is from the family of the specialized ="trms">languages of ="trms">complaining='qstn'>?

temporal climate of your re="trms">membrance (as mourning) ='lgc'>='lgc'>--> related to the ="trms">past='qstn'>?
mourning and ="trms">memory are sojourn for her

incorporating the object of (her) loss
(holding ="trms">onto) the unhappy objects of ="trms">difference

="trms"nttrm="danger,stranger">anger, pain, misery, ...

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

my own affirmative exposure of the unhappy effects of her ="trms">poetry

what is the image of the ‘better life’ in her ="trms">poetry='qstn'>?

somehow in the ="trms">literary habitus she is moving, the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of descriptive/inscriptive saying is made by an initial violation

="frds scrmbld">Hoda's ="trms">poem, which energies does it unleash in her='qstn'>?

sokhan-e ranj سخن رنج

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

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

her ="trms">poem is her textual body (='lgc'>='lgc'><='lgc'>--> sexual body)

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

how much should I be invested or ="trms">interested as a friend for your happiness and wellbeing='qstn'>?
="lsts lst1">•fellow-feeling
="lsts lst1">•="trms">sympathy (is expressed by='lgc'>:) returning feeling with like feeling

="frds">Sina='lgc'>: if a thinking makes you sad, that thinking is probably wrong='qstn'>?

="large lg3" stl="font-size:112%"> within the ="trms">rhetoric of ="trms">integration a usual terrifying point is in which the duty of the migrant is to attach to a ="trms">different, happier object
the future of reattachment ='lgc'>='lgc'>--> ="frds scrmbld">Hoda
="prgrph">-in this ="trms">integrative ="trms">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 ="trms">past ='lgc'>=/= ='mywrk'>my work on ="trms">past


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

="large lg4" stl="font-size:111%"> ="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

='at'>#semester, seminar study the “s="trms">cene of ="trms">writing”
keywords='lgc'>: deconstruction, fabrication, ="trms">articulation, plasticity

='lgc'>[week 1,2,3='lgc'>] encounters between psychoanalysis, deconstruction, ="trms">writing, concepts of ="trms">language='lgc'>:
="lsts lst1">•="ppl">Derrida ='lgc'>='lgc'>--> ="ppl">Freud / “="ppl">Freud ='and'>& the S="trms">cene of ="trms">Writing” (43 pages)
="lsts lst1">•Fleming ='lgc'>='lgc'>--> ="ppl">Derrida / “Cultural Graphology ="trms">Writing After ="ppl">Derrida” (first chapter='lgc'>: The Psychopathology of ="trms">Writing, 29 pages)
="lsts lst1">•the schemas of text and the trace, Malabou on plasticity ='lgc'>[='lgc'>=/= elasticity='lgc'>] (change of the paradigm of ="trms">writing as developed in ="ppl">Derrida's Grammatology with the new paradigm of plasticity, her ="trms">interest in ="trms">relation between form, ="trms">materiality and meaning) / “Plasticity at the Dusk of ="trms">Writing” (28 pages)

='lgc'>[week 4='lgc'>] 20th century ="trms">sciences and philosophies, ='thdf'>the notion of fabrication of concepts='lgc'>:
="lsts lst1">•Xin Wei ='lgc'>='lgc'>--> ="ppl">Whitehead / “="ppl">Whitehead's ="trms">Poetical Mathematics” (19 pages)

="large lg5" stl="font-size:145%"> ='lgc'>[week 5='lgc'>] on ="trms">articulation='lgc'>:
="lsts lst1">•="ppl">Deleuze and ="ppl">Guattari / “A Thousand Plateaus” (chapter 3='lgc'>: Double ="trms">Articulation, 32 pages)

='lgc'>[week 6='lgc'>] feminist and women studies, s="trms">cene of ="trms">writing='lgc'>:
="lsts lst1">•="trms">aesthetic tentacularity='lgc'>: Lindsay Kelley ='and'>& Eva [...]