[...]s 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

="large lg2" stl="font-size:111%">
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


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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


="large lg1" stl="font-size:129%"> ="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'>?)

="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)

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

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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 antirea="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list/anti="trms">literal ="trms">abyss (='lgc'>=/=='qstn'>? irony device ='lgc'>='lgc'>==> ="trms">presenting us with intimacy with existing nonhumans)

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='at'>#="trms">veil
='at'>@="frds scrmbld">Janina
='at'>@="frds scrmbld"nttrm="Alex,Alert,Aleph,Alessi">Ale


Nicole ="ppl">="ppl">="trms"nttrm="search">Archer='lgc'>: ‘textile’='lgc'>: a ="trms">material formed at the ="trms">intersections of desire and ="trms">modern politics
="lsts lst1">•textile's ‘textility'='lgc'> = texture
="lsts lst1">•textile's ‘textuality'='lgc'> = ="trms"nttrm="already,spread">readability

to be prepared to address ="trms">relations consistencies ='lgc'>='lgc'>==> (hope to) meaningfully reform them

='strcls'>*(="ppl">="ppl">="trms"nttrm="search">Archer lingering in the textile's volatile gum) to develop forms of critique that can account for the peculiar textiles ‘we’ are currently wrapped-up in='strcls'>* ='lgc'>[globalized economies, militarized laboratories, etc. (BioSteel and so on)='lgc'>]

text ='lgc'>+/& textile
="lsts lst1">•in ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor='lgc'>: the ="trms">social fabric, the ="trms">Internet, the ="trms">Fold, etc.
="lsts lst1">•in myth='lgc'>: Arachne's textiles, or Penelope's epic loom
='lgc'>}='lgc'>--='not'>✕='lgc'>='lgc'>-->='qstn'>? to account for neo-liberal and transgenic subjects

(traditionally='lgc'>:) textile (racialized and gendered, as “woman's work”) “='lgc'>=/=” text

='strcls'>*fabric conditions and binds our desires and bodies ='lgc'>='lgc'>---='at'>@="frds scrmbld">Janina

(="ppl">="ppl">="trms"nttrm="search">Archer >) Gernreich exposed how the ="trms">fashion ="trms">system ="trms">instrumentalized the body's desire to move” while inscribing it within the time-sig="trms">natures of ="trms">modern capitalism

="large lg3" stl="font-size:110%"> uniform='lgc'> = contemporary ="trms">fashion's other

digi-camo (redesigned and digitally remixed camouflage fatigues worn by the US military)

desire for “freedom” and for alternative temporalities ='lgc'>+ desire for discipline and physical restraint
='lgc'>}='lgc'>='lgc'>--> ='strcls'>*tight spaces our desires are prone to work themselves into='strcls'>*

textures and taxonomies of ="trms">fashion and uniformity

="large lg4" stl="font-size:112%"> Abu Ghraib ='lgc'>='lgc'>--> (in the pursuit of a) ="trms">perverse desire for justice (a desire that many feel is best met in the violent erasure of certain subjects)



(let's) stop pretending that “we” weren't al="trms"nttrm="already,spread">ready caught-up in the messy circuits of desire

“='lgc'>[...='lgc'>]="ppl">Freud's figure of the woman who has nothing better to do than but braid her pubic hair into a futile simulation of the phallus, and who (="trms">interestingly enough) accidentally invents weaving as an outcome of this inherently fetishistic ="trms">gesture” (="ppl">="ppl">="trms"nttrm="search">Archer > ="ppl">Barthes > ="ppl">Freud)

="large lg5" stl="font-size:135%">
Gernreich working with “the future” as a medium and not as a destination='strcls'>***
="prgrph">-he was keen to work with ="trms">fashion as a ‘time-based medium’(='lgc'>~ deliver us ="trms">onto alternative temporalities)

='lgc'>[='strcls'>*='lgc'>]="trms">fashion='lgc'>: a distinctly ="trms">modern clothing regime engineered to ="trms">materially manipulate “the ="trms">past” so it may serve as a springboard into “the time to come"[...]