[...]constrain ==enabling==> skillful meanings], curiosity resists control and has the power to defeat one's favourite self-certainties, can also be commodified for consumer culture specializing in providing private pleasure,
techno-capital objectivism: (neutrality of) collection developemnt and format choices --> power-sensitive judgments
“we will engineer ourselves out of that” --> naive technological optimism; *the technological question is cruicial to questions of power and knowledge*
an class="prgrph">-library science tends to position library as power-neutral spaces
an> an class="prgrph">-(Foucault: resistence to power is always present)
an> “freedom to” is always disciplinary (because there is always a particular subject enjoying that) [citizen of liberal democracy who exercises the freedom of representative government, so much as a consumer who exercises freedom of choice of commodities]
patrons as constituent مولفه (==> new knowledge + themselves as knowers) =/= seamless information consumer discursively produced as an unmarked singular independent self-contained stable universal white male heteronormative technophilic subject [<-- this donesn't realy exisit as a person, rather as discoursive productions]
(now) our electronic recreation is work: our every click is surveilled, generating data about our desires and curiosities that feeds back into our formation as techno-capital subjects (<at class='at'>@at>Sven's enthusiasm with social media--how can Sven has a real chance of producing resistance knowledgean class='qstn'>?an>) --> this is not freedom! (-an account of freedom for one entails reciprocal unfreedom for others) --> mixtures of work and play in this new economy, (Calvert > Bateson) the meta-communicative nature of *play[= strict rules with genuine freedom, the dual essence of play: curiosity and relationality];
(Calvert arguing for) “knowledge-makers” who engages in creation of situated knowledges by activity adapting, processing and sharing knowledge within the ecology of library ~= *bibliographic apparatus*
(Calvert's heuristic device to imagine what library practices might emerge:) imperfectly literate constituent seekers

an class="prgrph">-a double consciousness of play, where cognitive sensation amid multiple affectivities are continually teased between assertion and rejection
an> an class="prgrph">-a doubled unconscious connoisseurship of realist conventions pressured at new horizons
an> [Katie King]

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

(women's) mini-encounters with god --> kind of materiality of god that don't fit any of the available categories


now-but-not-then quality of continuities


Haraway's deep commitment to the ties of science and competence, pleasure, empowerment, ([*]science:) this craft where you did this incredibly fragile, important, hard work of asking questions of the world in such a way that you might have half a chance of knowing if you are wrong***


you get it “there” ==> (you have a chance of) figuring out something else*


(sustainable life ways that involve) breeds =/= factory farming

Haraway's problem with veganism's moral, wholistic, complex claim that they make on us (also a necessary kind of contemporary witness): that people's practices with animals as food and fiber and work animals, turning into nothing but museum pieces at best. vegans deadly imagination sometimes don't get what they kill: most kinds of animals that have long histories in close association with people.

there is no relationship to this world that does not involve extensive killig (Haraway)


up-to-the-minute technologies

complicated issues around security apparatuses and different national struggles

histories of dispossession and genocide


“do you believean class='qstn'>?an>" = "do you believe in a list of dogmaan class='qstn'>?an>”
totally wrong question: do you believe in Godan class='qstn'>?an>


[should i go to Berlin after apassan class='qstn'>?an>] a parochial person دهاتی (in the pressure of the seriously elite places): you could be here, you could succeed here, but never belong here


Haraway's ‘literal’ makings:
•“companion” is about whom you are at table literally*
•to be homo sapiens is to be in multispecies interdependencies literally*


my issue with the image of the free floating meaning network popular in artists’ thinking: yes meanings foreground and background. they swirl, but they don't swirl at random

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

MOU (memorandum of understanding)-->{<at class='at'>@at>Esta + Zoumana + Hoda
*memorandum: memo, reminder, note, تذکره --an class='qstn'>?an>--> passport : آنچه موجب یادآوری شود --> آنچه موجب دخول شود
a legal document describing an agreement between parties less formal than a contract
[1994 U.S.-North Korea nuclear pact, the MOU between Bush and Kerry for 2004 debates,]

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

batlagh باتلاق



it is (perhaps the most) important to help transform (your or my) ‘wounded-child’ to ‘wonder-child’ (--> <at class='at'>@at>Hoda)
[the image of the wonder-child in all an class='mywrk'>my workan>ings]***

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

•accumulative: gradual increase as a whole, someone/something doing the accumulating, emphasis on the process of accumulating
•cumulative: nongradual successive additives, associated with that which is accumulated, emphasis on the result
ad- (“in addition”) plus cumulare, “heap up”, from cumulus, “heap”

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

[we need] ability to move from ‘close attention’ to ‘gestures’ and actions on the material world, all the way to an assortment of ‘artifacts’ able to enhance cognition, sensitivity, and sociality

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

Stewart

surge of signs + capital + sensoriums of public culture --> matter an class='and'>&an> image

images, when circulating things, suddenly enter the senses --> literally make sense ==> look and smell of an incipient vitality --> immanent intensity or force ~ affect

<at class='at'>#at>my coin: two-sidedness of things, virtual meeting actual, seeping edge of potentiality

common sensate affect --> shock --> “continuous trembling that haunts the stable gaze” --> images and sensibilities that constantly exceed (reason, order, and common sense) <at class='at'>#at>telegram

<a class='trgt hghlght 1'href='?q=A'>Aa>ffect, is about something is happening, something capable of impact
•sometging half noted out of the corner of the eye
•something in the commonsense world
•
(that which escapes/exceeds enclosure) --> it can be put into words[an class='qstn'>?an>] --> to become a figure of vitality and even freedom[an class='qstn'>?an>]*** <at class='at'>@at>Iranians

[i welcome the reprieve (rokhsat, رخصت, a temporary relief) from] symbolic gridlock

“affect gathers its force to make image touch matter” --> image's power is the power of synaesthesia =/= collection of named “feelings” (invented in discourses of morals, ideals, and known subjectivities)

(let's study how [in Iran] raw materials are formed and exceeded -- sudden and lingering intensity of things) (which darvaze/دروازه/gate we can't and which سوراخ سوزن / surakh-e suzan / hole of needle we pass through)
[i am having always multiple books open, at least two, is that how connection occur for mean class='qstn'>?an> <at class='at'>#at>simultaneity]


(Stewart) “I remember childhood as a collection of arresting images”
that hinge on sensory details and open onto luminous scenes of affect [--> Feherlofia/Fehérlófia 1981, Son of the White Horse film. (we must resist calling this film “psychedelic”)

“[...]family as a viscerality through screen images of”

...sudden, repetitive eruption of images of alcoholism, accidents, violence, cancers

*technologies of family, church, law, and nation* (lay confident claim to affect as a capturable content of known and expected “feelings,” but affect itself--that which surges into view along the jumpy border of the actual and the virtual--is their raw material and their only renewable resource. Stewart)

(a sidestepan class='qstn'>?an> what) brings an uncanny, alien presence into the field of vision

*an object insists on being seen* (through the tricks of trauma, through the seductions of compulsive beauty,, , ) ~~--> aesthetic event of the senses [<at class='at'>@at>Hoda]

spectacular graphics of disaster

watching: inhabiting the power of the tuned-in spectator; becoming an active participant in [TV's] logic of image (production and) recognition

--an class='not'>✕an>--> catharsis of mean-spirited
--an class='not'>✕an>--> festering (cherkin چرکین) alienation
--*--> vitality of the game itself

the image on the screen <--(game)--> the walking simulacrum of social life

the loop of the citizen as consumer

***Mimesis in a State of Shock*** <at class='at'>@at>Hoda
an class="prgrph">-the link between shock and a cushioned recluse is direct, seductive, and mimetic
an>
“When affect makes its jump between the visible thing, the idea, and the social sensibility, it can leave in its wake uncanny connections between otherwise disparate states of arrest, like shock and recluse گوشه نشينی” (Stewart)


<at class='at'>@at>Hoda: affect jumps into view as the shock of an unassimilated trauma

cocoon room
holing up in your living room ==> “out there” ==> search for the arresting presence

spectrality and concrete substance

(an class='qstn'>?an>when am i) “relaxing” the jumpy move of affect

*Stewart's “jump of affect”
tactile image --(satisfies)--> move of affect --(actualizes)--> something tempting/haunting
an class="prgrph">-affecting presence at rest
an> an class="prgrph">-[in glamour magazines] models frozen in time and space stare back at you in a scene that stages the jump from fantasy to actual body/image and back
an> an class="prgrph">-jump from ideal to matter to ideal
an>
an class="prgrph">-what to wear as the magic of affect itself
an>
copy ~= contact

movies, ads, malls, car phones, daydreams,

modernity's mimetic machine


(“middle class” [or what people thinking as “Iranians"] is not just a “norm” it is a) *womblike space of affect* (where sentimentality and interiority becomes tactile, where ideals and materiality grow to excess,) (imploding under the weight of its own literal embodiment,,,)
an class="prgrph">-(it is an affective space) where the hegemonic claim *to channel trauma into beauty* is actualized:
an> •sensible, solid accumulation, family values, colorful decor, techno-gadgets, daily lottery,
•constant stimulation of the senses (--> synaesthetic images, sounds, touches, and smells)
•circuitry of circulation itself


تأثر ta'asor, نتیجه‌ی عواطف natije-y avatef
affect (~= vitality/hope) ~/= (nightmare image of) soical entropy

the big, beautiful, basic, intensely sensate commodity-to-live-in

in Iran:
•(the ‘public space’ or) “outside” ==> a “wilding” scene of crime, chaos, drug-addled monsters, danger, disease, and decay
•“inside” --overflowing-with--> scenes of aesthetic connection
}--> anxiety is the ground over which they (both) march


(modernist) image-affect of the new and clean and up-to-date

the feeling of being in the middle of something big and inevitable, watching it unfold
<at class='at'>#at>my dreams


the labor of looking

“Movies made for women imagine a picture--perfect scene of an Inside--a Home filled with tangible objects that Mean or a Self filled with the intricate dramas of dreams launched, wounded, and finally satisfied or left behind. <a class='trgt hghlght 1'href='?q=A'>Aa>ffect itself is laid out on the carpet like a beautiful fetish that it is okay to love.”

(the <at class='at'>#at>telegram is littered with image-written signs of personal/public disaster)
the surge of affect toward the scene of abjection --> abjection itself is felt as a contagion --> Navid's comments turned into stickers
an class="prgrph">-fascination of catastrophe
an> an class="prgrph">-something pleads to be touched
an> an class="prgrph">-the act of looking at the telegram's forward: my desire is your desire and we are all together in the mass desire
an> an class="prgrph">-images on telegram offer affects to mime, lines of vitality to follow, intimate secrets to plumb, tips to imbibe for safety or good health or the search for things new and vibrant with collective envy
an> an class="prgrph">-browsing telegram, we're trudging the rough terrain of bodies, sensuous accumulation, impact
an>

“Sometimes when you hear someone scream it goes in one ear and out the other. Sometimes it passes right into the middle of your brain and gets stuck there.”

(cryptic and as) crystal clear as a scream


[a question or something else] lodged in a tactile sensate anxiety --> aesthetic scene (of the senses) --> scene --> shape
(anxiety has to do with the sensate and tactile and opens onto asthetic)
(some do this all the time [unknown shock of anxiety in the morning]:) morning --> mourning --> sudden dread and start scanning () () [], (trauma as an) everyday walking path

traumatic realism: a figuring that, like traumatic memory, fails to represent the inflicting force as an object in a symbolic order and therefore feels compelled to literally re-present it over and over, *miming the original haunting impact.* (Stewart > Hal Foster)
an class="prgrph">-the subject surging to bear an affect, surging toward an actualization, passionate connection of the subject who goes with the flow in an intoxicated moment (=/= sober distance)
an> (Hoda's impact of) shocked subjectivity (--> the real understood as traumatic) --> conjure up memories of death --an class='qstn'>?an>--> communal grieving
{referential vs. simulacral readings <at class='at'>@at>Hoda, Marialena (‘referential object for’ / ‘empathetic object in’ /or ‘criticality of’ [<-- i don't agree with these clear cuts of ”/"]; what is “the reality of suffering and death” (or “reality and suffering of death”) for Hodaan class='qstn'>?an> (Xiri's interest in her) object's “total integration” into the political economy}

(Stewart's) signs of the senses
satisfaction in the making of sign-shrine
(question of satisfaction at Hoda:) satisfaction as a force, and end, in itself spoken through the bright, blunt, sensate aesthetics of the sign
an class="prgrph">-something slashes [= a wound made by cutting] at itself and spits at the world (/ politics of slashing --> poetics of slashing / the young girls who “cut” themselves so they can feel alive or, literally “come to their senses”) -- dramas of surge and arrest --> They do not ask for interpretation or construct the subject who would assign them a meaning, [they refuse] reference to “underlying systems” of signification that make them readable as texts
an> an class="prgrph">-something refuses to disappear
an> an class="prgrph">-(Hoda's land is) the land of sheer circulations --> (the question of) equilibriums --> how can she with her audience (let's say “we”) enter the unnatural calm of another form of arrestan class='qstn'>?an> to feel the scene resist synaesthesia
an>
a state of the senses making contact with pen and paper (and matches)

(my enduring love of watching images, my) optical eye

“[...] young embodiments of a modern middle-ground-in-the-making came face-to-face with an otherness that compelled a closer look” --> violently affective contact

surged toward the scene of their confident excitement

impact ==> the social

<at class='at'>#at>storytelling, compelled to repeat the event as the sentience of it still reverberated in their senses



a grounded writing, that sends people bouncing, takes place as a threshold, hits the senses as a set of provocations, or presents as *a problematic sensed in circuits of reaction already set in motion* <at class='at'>@at>apass

(working with Stewart) writing affect <at class='at'>#at>workshop
a practice of writing ourselves into our worlds as *emergent and disparate ensembles* --> we need the speculative concept of worlding (a term that wins philosophy, criticism, digital studies, and cultural study) in Tehran urgently
an class="prgrph">-the workshop offers a process of sharing, hearing, questioning, and proposing--for oneself and for the sake of others ==> to start to think through a project or concept by working with words
an> an class="prgrph">-we will learning how to read closely and to give feedback that is most useful for the authors
an> an class="prgrph">-working with questions:
an> •How do forms of writing change cultural theoryan class='qstn'>?an>
•What questions do forms of writing raise about subjects and objects, forms of attention, the possibility of thinking through descriptionan class='qstn'>?an>
•How do you describe a scene, a character, an event, a situation, a collective sensibility, a difference, a worldan class='qstn'>?an>
•What does it mean to add density and texture to descriptionan class='qstn'>?an>


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

armies of metaphors and metonymies that are to justify war

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

“there is something quite special about the recently discovered entities such as climate. these entities cause us to reflect on our very place on Earth and in the cosmos” ==> hyperobjects (“seem to force something on us”) --> i say every object does that, and it is not recent: ajayeb al makhlughat is about the description of that force

hyperobjects Morton
an class="prgrph">-an object that is “hyper” in relation to some other entity
an> an class="prgrph">-they are viscous: they “stick” to beings that are involved with them
an> an class="prgrph">-they are “nonlocal” : local manifestation of hyperobject =/= hyperobject
an> an class="prgrph">-they exhibit their effects interobjectively : they can be detected in a space that consists of interrelationships between aesthetic properties of objects\
an> =/= apocalyptic environmentalism
=/= the possibility of transcendental leaps “outside” physical reality
=/= that we are “embedded” in a “lifeworld”


high-dimrnsional phase space
invisible to humans for stretches of time

[*]hypocrisy <== the conditions of the impossibility of a [*]metalanguage= account for things while remaining uncontaminated by them, (~= an “outside”)
--> (Lacanian truth:) “there is no metalanguage” =/= postmodernism's “everything is a metaphor” =/= some metaphors are better than others ~= *there is nowhere to stand outside of things*
the time of hyperobjects is a time of hypocrisy =/= cynicism

[*]weakness <== the gap between phenomenon and thing

[*]lameness <== the fact that all entities are fragile

imagination as:
•Hume: a bundling of associations
•Kant: the possibility for synthetic judgments a priori
•object-oriented ontology: immanence of thinking to the physical, radically displacing the human by insisting that my being is not everything it is cracked up to be--the being of a paper cup is as profound as mine


which hyperobject you are caught inan class='qstn'>?an>

image of writing --> shy, retiring octopuses that squirt out a dissembling (mask, cloak, vortäuschen) ink as they withdraw into the ontological shadow


figure of *mill* (the characters and technologies and ideas of the ages mill around in a state of a mild, semiblissful confusion) =/= Eszter's vortex

my intimate impressions “personal" = footprints of hyperobjects, distorted as they always must be by the entity in which they make their mark

situatedness is now a very uncanny place to be, like being the protagonist of a Wordsworth poem of a character in Blade Runner


*cool impersonality of the scientific language* (now is deprived of its ideological status)


the concept of the ‘world’ is no longer operational
can we think environmentally without the idea of ‘the end of the world’an class='qstn'>?an>

(Morton asking for) a geophilosophy that doesn't think simply in terms of human events and human significance

Morton: global warming =/= climate change
if one takes the ‘climate change’ as a substitute for ‘global warming’ is like “cultural change” as a substitute for Renaissance, or “change in living conditions” as a substitute for Holocaust


acronyms, abbreviations:
<a class="acrnms">dialoca> دیالوک --> decrease in appropriate levels of concern
<a class="acrnms">tomasa> توماس --> terrain of media and the sociopolitical realm
<a class="acrnms">cohhatga> کوهاج --> coincidence of human history and terrestrial geology
<a class="acrnms">hhatga> حج --> human history and terrestrial geology
<a class="acrnms">pba> پی بی --> philosophy's bandwidth
<a class="acrnms">sdwaa> صدوا --> substances decorated with accidents -->
<a class="acrnms">ldwaa> لدوا --> lumps decorated with accidents --> featureless lumps, and those things have accidental properties, like cupcakes decorated with colored sprinkles (arayesh آرایش) }--> this thinking still continues, despite the fact that ‘thought has already made it irrelevant’ --> <a class="acrnms">thamiia> تامی, (for example birds for <a class='trgt hghlght 1'href='?q=A'>Aa>ttar are merely decorative features of <a class='trgt hghlght 1'href='?q=A'>Aa>ttar's social, psychic, and philosophical space)
<a class="acrnms">sotha> صوث --> speculating outside of the human
<a class="acrnms">sima> سیم --> small island of meaning
<a class="acrnms">etimoma> اتیموم --> everything is made of mind
<a class="acrnms">hhbna> هبن --> hand-holding benevolent narrator (-which is vanished)
(auto) <a class="acrnms">cada> کد --> (automatic) comforting aesthetic distances
<a class="acrnms">iockata> --> intentional objects commonly known as thoughts
<a class="acrnms">atota> آتو --> (you only ever perceive your particular) anthropomorphic translations of things
<a class="acrnms">ejicha> جیش --> exhilarating jump into cognitive hyperspace --> displacement that Copernicus or Derrida does
<a class="acrnms">foea> --> fantasies of embeddedness [<-- phenomenology <== grounding of Kant (begining in 1900)]
<a class="acrnms">avaaa> اوا --> a vertiginous antiliteral abyss
<a class="acrnms">iwena> --> intimacy with existing nonhumans
<a class="acrnms">moka> --> mathematization of knowing (--> Descartes, Newton) ==> hiding philosophical and ideological decisions made in acts of knowing =/= ontology (as a vital and contested political terrain)
<a class="acrnms">icada> --> ideology of “the consumer” and its “demands” (that capital then “meets”) --> adventure of modernity
<a class="acrnms">fvoda> --> from the viewpoint of “objective” description (a bad way of explicating the objects that are already here)
<a class="acrnms">toca> --> troops of critique
<a class="acrnms">towwka> توک --> ‘technology of what we know’ (techniques that decide the differences between ‘what we know’ and ‘what is’. Morton's hyperobject is a <a class="acrnms">towwka>)
<a class="acrnms">usoca> --> uncanny strangeness of existence (work of Heidegger)
<a class="acrnms">lawota> --> (something is) ‘laying around in the workshop of thinking’ (let's reuse what appears to be broken <a class="acrnms">lawota>)

visist = visit + resist


correlationism: the notion that philosophy can only talk within a narrow bandwidth, restricted to the human-world correlate : meaning is only possible between a human mind and ‘what it thinks' = its “objects” (flimsy شل و ول and tenuous رفيق as they are) ~-> the light on in the fridge when you close the door
an class="prgrph">-Heidegger (towering through) is a correlationist who asserts that without Dasein, it makes no sense whatsoever to talk of the truth of things, which for him implies their very existence--for him idealism, not realism, holds the key to philosophy. (Heidegger's tool-analysis: when equipment--which for all intents and purposes could be anything at all--is functioning, or “executing” [Vollzug], it withdraws from access [Entzug]; that it is only when a tool is broken that it seems to become present-at-hand [vorhanden] --> is this what Femke is proposing to apassan class='qstn'>?an>)
an>
Descartes uncritically importing the very scholasticism his work undermined

[*]epistemology:
•how can i know what there are (or are not) real thingsan class='qstn'>?an>
•what gives me (or denies me) access to the realan class='qstn'>?an>
•what defines the possibility of accessan class='qstn'>?an>
•what defines the possibility of possibilityan class='qstn'>?an>


•Einstein discovered a rippling, flowing spacetime
•Tarkovsky discovered the ‘sensuous material of film stock’ --> <a class="acrnms">ssocia>
•Husserl discovered something strange about the objects: no matter how many times you turned around a cion, you never saw the other side as the other side --> the <at class='at'>#at>coin had a dark side that was seemingly irreducible


Morton's (technology of what we know) hyperobject is his sense of an asymmetry between the infinite powers of cognition and the infinite bening of things, yet he doesn't evoke descriptive practices, which could be helpfull--he is missing something, here: “the gap between phenomenon and thing yawns open, disturbing my sense of presence and being in the world.”
“[...] i cannot locate the gap between phenomenon and thing anywhere in my given, phenomenal, experiential, or indeed scientific space” --> Xiri's problem
he disagrees with: (from Plato up until Hume and Kant) that there is some kind of dotted line somewhere on a thing, saying “cut here” --so he concludes: “things are themselves, but we can't point to them directly.” =/= nonrepresentational theory, Stewart is much more useful. we can see Morton's taste for (a masculine) sublime in modeling his hyperobjects

flat ontology: there is hardly any difference between a person and a pincushion. and relationships between them, including causal ones, must be vicarious (نيابتى) and hence aesthetic in nature


(no) realism that only bases its findings on “ontic” data

scientific discoveries are necessarily based on a decision about what real things are

*disaster [ontologic] taking place against a stable background [ontic]*

causality after Hume and Kant : causality as a feature of phenomena, rather than things in themselves ==> humans are not totally in charge of assigning significance and value to events that can be statistically measured
entities that become visible through post-Humean and post-Kantian statistical causality --> anthropogenic global warming

causal factoid


humiliators [there is no center an[...]