[...]r /> •cognizing an image...
•touching a pig's nose [San'anian]
•

bodily senses can contact the divine presence, make contact, make a call (in Hafez, San'an's miscall)


•the imaginal realm is populated by singularities, every changing and infinite
•the imaginal faculty is of extreme presence, of intensification
(in this case ‘realm’ and ‘faculty’ bleed into each other's categories)


(let's get) creatively imaginal

accurate and attractive

***imagination is (definitely) not closing your eyes and dreaming, but being completely present to the world, committed to it and affected by it*** (to perceive something in its intense singularity)


مشاهده moshahede = contemplation

the infinate flux of visible phenomena (Kracauer)

قلمکار calico-world
چلوار

kaleidoscopic mountains

what was Sadra looking (moshahede) at?

•linear modeling of time --> clock time
•intensive model of time ==> movement across the “real” axis


effectively panpsychist: every entity is conscious, has a soul, and potential to intensify; minds in a world of minds


Whitehead's concept of transformative togetherness
ontological vitalism: exist ==> consciousness


reality precedes abstraction -->
for Sadra “point of view” is a distraction (for vojud وجود)
•perspectives
•names
•quiddity
--> because the positing of names and description is in correspondence to concepts and universal meanings, not in correspondence to existential identities and external/concrete forms (Sadra)
=/= Avital and Kohn --> but they do in amazonian forest semiotics
--> my point of departure with Sadra. i am tracing transfigurative signs of the flesh in practices of storytelling --(or not)--> Sadra emphasizes that imagination is better able to grasp Being: concepts are too static to capture/grasp the act of being (--> are they?! we have to deal with them anyway: wild facts, fables of practice, images are concepts, etc.)

ماهيت quiddity --> that which is understood (=/= being --> that which is experienced)
quiddity in Sadra is like the habits that Peirce and Bergson grudgingly accept as necessary for thought, though they need to be swept away for creativity to emerge. hence the importance of intuition for Bergson and Sadra, and of induction for Peirce. (Marks)
}--> (my departure:) a point of research branch for me: “to swept away quiddity”, is another story possible?


images have the power to multiply --> and other “sticky” things?

(like Sadra and Marks) i also prefer images that do not simply confirm general categories of what can be thought but undermine them with singularities that stimulate the imagination (=/= The Black Mirror tv series)


(destructive delusions, ideological images,) true visions and hallucinations --> the disappointment in hearing the deja vu
-deja vu is the dream of remembering


the divine outside
an immanentized imaginal real to be the source of truthful visions


to read Qur'an (or any text) as if it has been revealed to you


the visions of the imaginal are nonstatice images of things in their act of becoming


-is my ajayeb a modern interpreter of the islamic imaginal realm?
the ajayeb is about the lesser elite stances of the islamicated imagination --> the imaginal ecological consciousness
[title]


*imagination in rational thought [logocentrism]:
myth, symbol, and metaphors used as part of rational dialogue
--✕--> other ways of bringing the unthought [beyond] into the thinkable }--> tasavof
--✕--> other ways of bringing the far into the wondrous (~ the active imaginal) ==> as a basis for practical concepts }--> ajayeb
}--> beyond the official discourse


a time-specific (contingent) truth that intensifies as more people engage with it
[like all the concepts and metaphors we are working and patterning in apass]

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

Malabou's plasticity (<--✕-- différance)
the subject is plastic (~= malleable, =/= elastic), it never springs back into its original form, it can explode
[we are now dealing with a (highly adaptable, flexible, and disciplined) rational autonomous subject in a post-industrial and global world]
neuronal subject
mojud-e dahri-e ma'ghul

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

[...] اسم اعظمِ
esme a'zam

reality has an autor --> author always has a proper name

Alice (in wonderland): words can have many meanings
Haraway: the question is: which one (of many meanings) is to be {the master (meaning)}--> problem of art criticism in iran --> *let's resource aesthetics* / in iran we need more “making-with” and “make-kin” rather than “criticize” or “grounding” (of criticism) or...

[*]master: one with power to dispose something, male head of house, conqueror, a man skilled in something --> *one holding this title*
-->[*]to author: to have the power to originate, to name [#Beyzai seeking to produce natural iranian knowledge] (Sohrevardi who learned to write and speak, also must decipher a text, the book of nature, authored legitimately by islamicated inheritances...)
-Haraway discussing women's travail to construct a voice, to have authority, to author a text, to tell a story
-modes of telling (that we adopt in our attempt to produce authority)

(اسم اعظم esme a'zam -->) knowers--on top --> (usual tricks) to recede while substituting a fetish (of self) --✕--> subject and object can cohabit without the master-slave domination


sexist science


?am i laying: a foundation for an epistemological [...]

?do iranians need this:
•theories which are the heritage of Greek science (and of the scientific revolution of the 17th century)
•an epistemology (informing our inquiries) be a family member to existing theories (of representation and philosophical-realism [that which Holakouee promotes for “modern” iranian]) (--> to avoid the problem of epistemological anarchism: an epistemology that justifies not taking a stand on the nature of things is of little use to women trying **to build a shared politics** [Mehdi is angry at the sculpture community because they embody that failure])
•(to adopt) a radical form of epistemology that denies the possibility of access to a real world and an objective standpoint
•noninvasive knowing (such as Sa'di) and prediction and control (#Olearius)
•(authority and power, as Beyzai is after,) to name/give the world a new identity, a new story
•accurate rendering of an idiosyncratic process of sensory overlap and association
•
•


[*]biology: modern origin story
biology tell tales about origins, about genesis, and about nature

biologizing


[what is the word made of, what is the flesh made of]
***(Haraway highlights) an inherited knowledge through the paternal line: the *word* was Aristotle's Galileo's Bacon's Newton's Linnaeus's Darwin's; the *flesh* was woman's --> and the word was made flesh, naturally

(in Europe, from 15th to 18th century, transformations of [both] metaphors [and social systems]:) female nature --from--> nurturing mother --to--> patient-resournce
--> capitalist forms of patriarchy: *merchant تاجر seeing dialectic of apocalypse* (TV series such as West World, etc.)


[the book of nature]
nature is authored (by somebody)

(power +) autorship ==(fabricates)==> reality


Milton's justification of the ways of God, [to tell stories]

*(how many times we[?] are) forced to read a book in a language that signifies our lack, our difference*

two rhetorical strategies for contesting (جنگیدن برای) a voice (-to set the terms of speech that define good knowledge):
1- reinterpreted the origin story to get it right the second time
2- rebelliously proclaimed a totally new story


(Olearius does the same with iran and his european audience,) [Haraway on] Barash “reveal to the popular audience the inner voice of biology, the cake of nature under the icing of culture, the biogrammer of genes structuring the message of the organism--all that modern people structu[...]