[...]tive='lgc'>: that which is instantly defined
="lsts lst1">•subjective='lgc'>: that which its de="trms">finition is postponed

change='lgc'>--='lgc'>{time, space, ="trms">matter='lgc'>}='lgc'>='lgc'>-->
touch='lgc'>--='lgc'>{time, space, ="trms">matter='lgc'>}='lgc'>='lgc'>--> ="trms">data flow

in Maya
re="trms">presentation is postponed ='lgc'>='lgc'>--> subjective mode of Maya ='lgc'>='lgc'>--> an sculptura="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list ="trms">ontology='qstn'>?

in Softimage
the distinction between spatiotemporal modifiers is postponed ='lgc'>='lgc'>--> dynamics paradigm='qstn'>?
(the viewport partial renderer in Softimage is part of the ="trms">phenomenological experience of enacted ="trms">interface ='lgc'>=/= Maya's renderer pops up in another window) 4697942

="large lg2" stl="font-size:112%"> in Houdini
the de="trms">finition of the onject is postponed

='strcls'>*which ="trms">differences are delayed in ="trms">different 3D software applications='qstn'>?
(the difficulties of clean ="trms">translation between them)

(when I was working as a 3D genera="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list I always reworked the default scence, setting up ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs to begin with...)
begining with='lgc'>:
="lsts lst1">•void
="lsts lst1">•camera
="lsts lst1">•light
="lsts lst1">•chaos
="lsts lst1">•soup
="lsts lst1">•turtle's back
="lsts lst1">•absolute ="trms">geometry
="lsts lst1">•ornament
="lsts lst1">•


how the Latin ="trms">language in software ="trms">interfaces dominates the mode of thinking and conditions synthesis='qstn'>?
="lsts lst1">•how, for example, a ="trms">Farsi inhabiter might ="trms">craft a ="trms">different spatial synthesis in terms of a ="trms">different ="trms">linguistic ="trms">ontology='qstn'>?
='lgc'>[b ='lgc'>+ a='lgc'> = ba='lgc'>] ='lgc'>=/= ='lgc'>[آ ='lgc'>+ ب ='lgc'>~=> با='lgc'>] ='lgc'>{a ="trms">different effect='lgc'>}
="lsts lst1">•="trms">interface ="trms">question
="lsts lst1">•="trms">phenomenological ="trms">question
="lsts lst1">•in ="trms">Farsi the joint attachments undergo trans="trms">figuration, ="trms">different ="trms">viscous ="trms">relational property, adhesion refigured

what would be an ="trms">interesting ="trms">interface ="trms">question posed to each of the 3D softwares='qstn'>?

one ="trms">language ='lgc'>='lgc'>---='lgc'>{Bauhaus='qstn'>? De Stijl='qstn'>? nasta'ligh نستعلیق='qstn'>?='lgc'>}='lgc'>--to='lgc'>='lgc'>--> another ="trms">language

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

painfully queer


='strcls'>*="trms">questions for my ="nms">ajayeb's ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs and pop-up ="trms">book='lgc'>:
my ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs and pop-up ="trms">book are descriptive concepts, that means='lgc'>: they obtain their meaning by reference to a particular physical ="trms">apparatus ='lgc'>='lgc'>==>='qstn'>? a constructed cut between the object and the ="trms">agencies of observation
="lsts lst1">•pop-up ="trms">book='lgc'>: an ="trms">instrument with fixed parts ='lgc'>='lgc'>==> concept of “="trms">position”
="lsts lst1">•="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs on the other hand tries not to ex="trms"nttrm="cluster,club">clude other concepts such as “momentum” from having meaning
='lgc'>='lgc'>--> ="nms">ajayeb's variables require an ="trms">instrument with moveable parts for their de="trms">finition (='qstn'>?)
='strcls'>*ex="trms">="trms"nttrm="cluster,club">clusions (= physical ='and'>& conceptual constraints) are co-constitutive='strcls'>*
='strcls'>*objectivity (= possibility of unambiguous ="trms">communication, boundry ="trms">articulations) ='lgc'>='lgc'>--> reference must be made to bodies in order for concepts to have meaning (='qstn'>?)='strcls'>*
="lsts lst1">•my ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs and ="trms">books are about how discursive practices are related to ="trms">material ="trms">phenomena

(='strcls'>*)="trms"nttrm="already,spread">reading='lgc'>: “text” is the ="trms">interface between the matrialization of “reality” and subjectivation of “="trms"nttrm="already,spread">reader” ='lgc'>='lgc'>--> inseparability of ="trms">language and reality in ="nms">ajayeb
(“We are suspended in ="trms">language in such a way that we cannot say what is up and what is down, The word ‘reality’ is also a word, a word which we must learn to use correctly.” Petersen < ="ppl">="ppl">Barad)

="nms">ajayeb's iterative processes of ="trms">materialization

عجایب نامه ='lgc'>=/= ="trms">imagined and idealized human-independent reality
="nms">ajayeb's ="trms">stories of ="trms">historically nunhuman people

in ="nms">ajayeb's descriptive ="trms">intra-actions with reality, humans and ="trms">language are part of the configuaration or ongoing reconfiguring of the ="trms">world, that is ="trms">phenomena


we cannot so easily answer where the ="trms">apparatus “ends”

="lsts lst1">•(but again, how can I answer) which ="trms">ontological practices are ="trms">embodied (or embeded) in (the productive and constraining dimension of regulatory) ="trms">apparatuses of my ="nms">ajayeb='qstn'>? (="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs, hypertext, pop-up, etc.)
="lsts lst1">•(resisting the anti-="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics legacy) how can I keep insisting on accountability for the particular ex="trms">="trms"nttrm="cluster,club">clusions that are enacted in (my) ="nms">ajayeb and taking up the ="trms">responsibility to perpetually contest and rework the boundries (of my objectivities)='qstn'>?


(='strcls'>*)effect='lgc'>: marks left on the ="trms">agencies of observation


enacted ='lgc'>=/= having
(="trms">agency is the ="trms">matter of enactment not something that one ‘has’)

(='strcls'>*)dis="trms">articulation='lgc'>: the ="trms">question of who/what gets to be ="trms">imagined (and in which way)


(="ppl">="ppl">Barad's sentences are long in a way for the ="trms"nttrm="already,spread">reader to feel all those particular words in one breath)


(in medical practices) the machine becomes the ="trms">interface between the objectification of the spacific body under experience (for example the fetus) and subjectivation of the ="trms">technician, physicianm engineer, and ="trms">scientist.

...some ="trms">ontologies='lgc'>:
="lsts lst1">•classical rea="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list='lgc'>: ="trms">posit some fixed notion of being that is ="trms">prior to signification
="lsts lst1">•="ppl">Kantian transcendentalism='lgc'>: being completely inaccessible to ="trms">language
="lsts lst1">•="trms">linguistic monism='lgc'>: being completely of ="trms">language
="lsts lst1">•="ppl">="ppl">Baradian ="trms">agential realism='lgc'>: ="trms">phenomena are constitutive of reality


="large lg1" stl="font-size:141%"> ="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

kinetic, energies expressed in variables


="trms">integrated de="trms">finitions='lgc'>:
="lsts lst1">•movements of an isolated body
="lsts lst1">•in detachment with the rest of the ="trms">world
="lsts lst1">•linear function of time
="lsts lst1">•all energy is kinetic
="lsts lst1">•value of “potential energy” is zero


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

="trms"nttrm="metaph,metamorph,metabol,metal">metal="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurgy concerns ="trms">matter in movement

="trms">matter-flow

what about the 3D hacker='qstn'>? what is in flow='qstn'>?

form is ever-emergent ='lgc'>=/= pre-determined ='lgc'>='lgc'>-->='qstn'>? default


='lgc'>[="ppl">Alberti on northwest Argentina first millennium ceramic vessels:='lgc'>] potters’ bodies were shaped irrevocably by their ="trms">skilled practice
objects they made were never complete ='lgc'>='lgc'>==> they were aligned with others’ concerns ='lgc'>='lgc'>==> they were drawn into potters’ ="trms">social identities ='lgc'>='lgc'>--> into the ="trms">category of potter


='strcls'>*="trms">skill and ="trms">ontoloical risk ='lgc'>[='lgc'>='lgc'>--> ="trms">question at ="trms">CG artist='lgc'>]
="prgrph">-becoming subject to the processes they are involved in ='lgc'>--(this commitment)='lgc'>='lgc'>--> involves them in both the task and its ongoing ="trms">material consequence

="trms">skilled practices ="trms">situated as the mediator between one realm and the other ='lgc'>=/= (in Amazonia) where ="trms">natural and cultural processes are not distinguished in the same way, ="trms">skill is conceived far more broadly and is not an ex="trms">="trms"nttrm="cluster,club">clusively human capacity
(for Kuna) ='lgc'>[='strcls'>*='lgc'>]="trms">skill='lgc'>: a mark of the maker's openness to alterity, learned in dreams from ="trms">animals that lost the ability to perform those activities in mythic times, it not only acts upon surfaces or moulds forms; it also transfers qualities


="trms">skill ="trms">matters (='lgc'>=/= gauge of ="trms">technical action applied to raw ="trms">material='lgc'>--like the case of The Magicians)

hackers and potters
(potters’ identities were vulnerable, how about hackers after a millennium='qstn'>?)

="large lg3" stl="font-size:110%"> ="trms">CG artist's ="trms">intervensions in 3D ="trms">materials (concidered active)

(we are living in) an inconstant ="trms">world in which ="trms">materials (in="trms"nttrm="cluster,club">cluding computers='qstn'>?) were lively and equally capable of subjectivity

(conventionally conceived) polygon modeling='lgc'>: reproducing, or re="trms">presenting a mental image of a completed body-pot

='strcls'>*='qstn'>?how ="trms">CG artist can learn, like La Candelaria potters ='strcls'>****to take part in an ="trms">aesthetics of care that is also a ="trms">response to the threat of the inconstancy of all forms='strcls'>****, ="trms">responding to perturbations in the movement of ="trms">materials, to in="trms"nttrm="cluster,club">clude knowl="trms"nttrm="knowledge,Knowledge">edge of its inconstancy and of ="trms">materials always capable of subjectivity
(this is significant for ='mywrk'>my research on ="nms">ajayeb, due to the ways ="nms">iranian culture is attracted to the image, and my self to ="trms">CG and digital form making)

="large lg4" stl="font-size:111%"> my ="trms">relationship with the digital (="trms">articulated with ="ppl">Alberti='lgc'>:) that body-polys (body-pots) are ambivalent ="trms">responses to the threat of inconstancy in a ="trms">world wherein forms (like statues of myrtle) were only ever apparent ='lgc'>='lgc'>--> each making of a body-poly (or pot) is a performance and an improvisation, unscripted and therefore cab go wronge
='lgc'>[="ppl">Alberti ='lgc'>+ Budden ='lgc'>+ Sofaer ='lgc'>+ Ingold ='lgc'>+ Hallam='lgc'>]


3D model='lgc'> = partial subject

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

="large lg5" stl="font-size:118%"> in Maya particles are as little ping-pong balls ='lgc'>--='not'>✕='lgc'>='lgc'>--> relativity theory destroyed ='thdf'>the idea of consistent objects
='lgc'>='lgc'>--> extreme forms of realism



Hitchcock's vertigo effect ='lgc'>='lgc'>--> a tool i built years ago='lgc'>: https://www.highend3d.com/maya/script/vertigotool-for-maya
="trms">simultaneously ="trms">zooming and pulling away ='lgc'>: we apear to be in the same place, yet the place seems to distort beyond our control ='lgc'>==reestablishing='lgc'>='lgc'>==> the way we experience “here”
the vertigo tool doens't do away with human experience, it drastically modifies it in a dizzing manner
='lgc'>='lgc'>--> a d="trms"nttrm="danger,stranger">angerous knowl="trms"nttrm="knowledge,Knowledge">edge ="trms">zoom lens tool, a vertiginous an[...]