[...]nt actors who deploy it)
‘islam’ certainly cannot be unproblematically deployed as the explanatory ‘variable’
Toor in her example cases showing that the ‘islam connection,’ when it is there, is varied, complex, and sometimes contradictory (=/= mainstream discourse on Islam)
(i want Hoda to make her categorical labor harder, i want her to make historically and socially contextual analysis, not just take shortcuts towards generalization predetermined by a priori categories (of Iran, Islam, women), rather to begin with the empirical reality)
...................................
a new legible object of analysis (in writing culture): qualities, trajectories, aesthetics ==> writing became tactile and compositional, an attunement, a response, “a vigilant protection of a worlding” (Stewart)
*writing = a way of thinking*
[*]precarity: register of the singularity of emergent phenomena, the way that they accrete, accrue and wear out
(=/= recognizing self-identical objects, metaculturally marked)
forms of perceiving (seeing, thinking) are themselves emergent
a writing that hones attention to the way that a thing (like precarity, etc.) starts to take form as:
•a composition
•a recognition
•a sensibility
•some collection of:
•materialities
•laws
•movements
obvious: totalizing dramatizations of the thing in itself
precarity can take the form of:
•fraility (living in it and through it)
•a sea change
•a darkening atmosphere
•a hard fall
•the barely perceptible sense of a reprieve
•
ordinary things (=/= melodrama) they matter because they shimmer precariously
...seasons magnetized to tones of voice and a quality of light
place (=/= immpasive corporeality) : affective charges:
•a mantel of redemption
•a glacier of impatience
•a high desert of anxiety dissected by fault lines of rage
}--performed--> in **little scenes of recognition** (--> “visceral complicity of those laying claim to a composed tactility[...]” =/= naturalized order per se)
(Tehran's?) drawn curtains: physical shadow of a state of hardening, a rotting from the inside out
(...curtained people, they suck the) *gestural sensory attachments of seeing and being seen* (into a world in which things are dark)
precarity ==?==> intimacy (of people in place)
(in winter with T-shirt and sandals) the townie body unfazed by the cold, endearing, a little heroic
an imaginary --> a logic of some sort --> abstracted ==> become a thing in itself
or, a thing simultaneously virtual and concrete
like the road, made not of dreams per se, but of laws, of ordinary practices, military surges, and construction technologies
...intensities pass from body to body:
•human bodies
•animal bodies
•machine bodies
•bodies of thought
•ecosystems
•visceralities and noumena
•histories
•the seamless habitus of supermarkets and credit cards
•
(Stewart's) precarity's form: compositional + decompositional
attachments, temps, materialities, states of being
[*]description: a writing culture lodged in emergence, generativity, potentiality
things that come into form through an assemblage of affects, routes, conditions, sensibilities, habits
what it means to meet the world:
(Stewart) *as a nearing* [=/= raw material for exploitation]
(Heidegger) as the ringing between composing subjects and objects
(McCormack) felt as ways of going on in the world
(Deleuze) as increases and decreases, brightening and darkening
() in a cartography distributed across a field of intensities and durations
[=/= rush to incorporate them into a representational order of political or moral significance]
...................................
[*]epistemology = stories of knowledge from before that somehow we are still living with now (#fable)
Geroulanos -->{ Ardrey --to--> Kubrick's african genesis : “weapon fathered man”
technology + prehistory (in postwar period)
“tool ==> man"}
...................................
knowing images
epistemic image : knowledge-based pictorial gestures (in my work without) --> organization + collecting + demonstrating theories + scientific tools + direct references to natural objects
--> searchable interfaces (+ desire for condensed information)
(**list ==> searchable**)
(Apianus's early modern cognitive horizon -->) eye: another organ used to calibrate settings
activated eye --> new empirical pursuits
my epistemic images : work of an image fetishist
bestiary: animal character diagnosis
[horses]
(from) genre of taking care of the animal: veterinary --to--> chiromancy: profiling of the animal conditioned through the serial nature of list (==> control)
...................................
Brancaforte
readings of the apparatuses framing Olearius's books
tradition of representing Persia in the West (Xenophon and Herodotus)
narrative elements of Olearius’ works remain largely unexamined
Brentjes
elm naghli (artistic research knowledge) =/= elm aghli (rationality)
(science) elm in Iran <== (10th century written in Persian:) limits of the world [hodud al-alam] + pharmacological medicine + (translated ~= adaptations of) astrology
10th century --> gradual decline in literacy in Arabic ==> Persian treaties on sciences
rag-shenasi (knowledge of the pulse) --> Avicenna
روضة المنجمین
rowzat (روضة to look) [~/=? nozhat نزهت] ~= garden ~= astrological site
-(iran) university garden =/= (greek) university gymnasium
book: expository discourse (رساله توضیحی، تفسیری، نمایشی)
•poems on the subject
•تحسین و تمجید lengthy laudatory adjectives to describe the dedicatee:
◦patronage of the courts
◦the teaching circles
◦the family lineages of professions
◦the existence of “amateurs de sciences” (the private individuals interested in science)
•anecdotes (historical or legendary)
•questions and answers
•observation on the usefulness and the excellence of knowledge in general
...................................
ethnography:
•set of methods for knowing about social relations [--> storytelling] (=/=?)
•cultural-analytical scholarship [--> analysis]
ethnography: [*]ethnographic stories = generalizations that intervene (~= instruments that make intervention possible <-- a knowledge product in contemporary sci & tech studies STS)
ethnography: stories that have in them a capacity represent the world in ways that are generative for the people and practices that the stories are about + authors (+ their peers + readers)
****(from) postmodern concern about the authority of the author --to--> a concern about partiality and generative critique****
@apass #feedback
(Verran giving voice to what my concern and interest is in artistic research environment)
the question of how to re-present others (their diverse practices) on good faith? <-- moral
~~> the bad idea of “good faith =/= bad faith” ==> assume a moral high ground that we have no reason to argue in favor of
altering oneself to good faith = altering oneself to the possibility of double vision
(in ethnography) good faith: writing generalizing stories that intervene, because of the partiality of research and analysis (not despite of it)
•good faith analysis: having faith in it being possible to write stories that are generative for *some of* the practices we study + for *some of* our peers
(stories --Verran-->) two moments of generalizing:
1. *onemany* form ==enable==> abstracting
2. *whole-parts* form ==bring==> a situating moment
~={ Star Wars apocalyptic stories (single vision) + lived social bodily realities = (Harawayian) many-headed monster }--> #Tehran index
ethnographic research is always embedded in multi-stakeholder situations
the Verran is proposing
=/= writing stories that narrate what collaborators hope to hear
=/= hardening the categories of the [...]