[...] of liquid bodies, instead of ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigid mass of individual blood='lgc'>--Pluto.
='at'>@="frds scrmbld">Varinia='lgc'>: (in her dog video, regarding her engagement with the law and the ="trms">question of comparative thinking='lgc'>:) what is the model for what, what is similar to what='qstn'>?
="prgrph">-is her model based on ='thdf'>the idea that beings exist as individual='qstn'>? (is this a ‘="trms">difference’ that her work produces='qstn'>?)
='at'>@="frds scrmbld">Agnes='lgc'>: you are a ="trms">response to the bed, making the bed and being made by its caress and embrace. it is not that you want all the audience in the ="trms">world to identify with a general ="trms">question or ="trms">present this as a universal expression, but what could go beyond localization is precisely this concept that you, like me, ="trms">transitioning body in your environment (bed or whatever) are outstretches of homeliness and forces that distribute across space and discourse, territories and sensing zones, you are an exchange between self and environment. this is ="trms">pragmatism. like the variety of bed sheets, we are proposed with answers that vary, before posing any ="trms">question.
to re="trms">formulate the ="trms">question that was posed to you='lgc'>: how your proposal is capable of ="trms">traversing from the bed to the ="trms">wild='qstn'>?
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pre-="trms">historic personhood
='mywrk'>my work is concerned with connections, mediation and passages.
what you take for granted, is in another words, what that you can't not know.
(my proposal='lgc'>:)
the ="trms">past is not absolute!
the idea is that the mythical became the mythological ='lgc'>='lgc'>--> Things could be treasured for their beauty as opposed to
their utility or their numinousness.
(="ppl">Martha ="ppl">="ppl">Kenney's) “="trms">wild facts”
facts that won't hold still
="trms">fables
="trms">fables of ="nms">ajayeb, creatures of ="trms">imaginations, (im)possible ="trms">worlds
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your institutional hacks
three things to consider in ='mywrk'>my work='lgc'>:
projection, immersion, and synthesis
seeking to be at once inside and outside the topic
the issue of topology ='lgc'>-- what remains invariant as a result of transformation
sug="trms">gestive power of the figure
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synthesis ='lgc'>=/=='qstn'>? genesis (to o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginate something, to design)
genesis ='lgc'>=/=='qstn'>? apocalypse
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in research, contrast between ="trms">method and subject, is a tool
(in studying ="trms">natural ="trms">history)
in critique, contrast between effect and ="trms">affect, is a tool
(assumed quality of the object and one's own named experience)
='lgc'>[these tools are perhaps cognitive objects='lgc'>]
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Enlightenment as cultural European ="trms">phenomenon versus a ="trms">scientific British one
(the theatrical function of ="trms">natural philosophy in the England Enlightenment)
the function of ="trms">natural philosopher in 18th century was to use experimental ="trms">science machines to turn inert ="trms">matter into active power, light/fire/heat/etc. to ="trms">lecture an wealthy and polite fee-paying audience, in order to save them from irrationality, that inside all ="trms">matter there is life and power, and that life was divine.
(however all this was all swept away in the industrial revelation)
William Herschel, an amateur ="trms">natural philosopher discovering Uranus 1781
(Enlightenment was all about people changing their disciplines)
project of constructing a new theory of heavens
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='strcls'>*i can't give you a direct grasp but i hope i can give slowly accuracy
='strcls'>*the ‘details’ of grasping
(="trms">zoom in the ‘grasp’)
from ="trms">contingencies to certainties
i spend so much time with painting and computers, which were about com="trms">positions and hacks
i think there are few fields/="trms">figurations/="trms">skills we need to get good at='lgc'>: ="trms">rhetoric, biology, ="trms">aesthetics
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="trms">trope - something other than its ="trms">literal form
adding an adjective or replacing a name, (one-way movements='qstn'>?) ='lgc'>-- let me tell you the ="trms">story of='lgc'>:
='strcls'>*knowl="trms"nttrm="knowledge,Knowledge">edge ='lgc'>--to='lgc'>='lgc'>--> expressed knowl="trms"nttrm="knowledge,Knowledge">edge
='strcls'>*knowl="trms"nttrm="knowledge,Knowledge">edge ='lgc'>--to='lgc'>='lgc'>--> knowing
='strcls'>*reality ='lgc'>--to='lgc'>='lgc'>--> manifest realities
='strcls'>*real ='lgc'>--to='lgc'>='lgc'>--> real enough
='strcls'>*islamic ='lgc'>--to='lgc'>='lgc'>--> islamicate (“islamic” has always been a ‘range’ rather than a ‘binary switch’. things become more or less “islamic” in popular/proper belief)
='strcls'>*="trms">nature ='lgc'>--to='lgc'>='lgc'>--> visual ="trms">nature
='strcls'>*culture/civilization ='lgc'>--to='lgc'>='lgc'>--> collective (emphasizing operation of gathering or ="trms">composing and heterogeneity of the assembled)
='strcls'>*muslim countries ='lgc'>--to='lgc'>='lgc'>--> muslim majority countries
='strcls'>*understanding ='lgc'>--to='lgc'>='lgc'>--> better understanding
='strcls'>*what does X mean ='lgc'>--to='lgc'>='lgc'>--> what does X mean for you
='strcls'>*body ='lgc'>--to='lgc'>='lgc'>--> lived body
='strcls'>*body ='lgc'>--to='lgc'>='lgc'>--> lived image
='strcls'>*="trms">language ='lgc'>--to='lgc'>='lgc'>--> specialized ="trms">languages
='strcls'>*="trms">world ='lgc'>--to='lgc'>='lgc'>--> built ="trms">world / thought ="trms">world / described ="trms">world / descripted ="trms">world
='strcls'>*producing knowl="trms"nttrm="knowledge,Knowledge">edge ='lgc'>--to='lgc'>='lgc'>--> participating in knowl="trms"nttrm="knowledge,Knowledge">edge projects
='strcls'>*to explain ='lgc'>--to='lgc'>='lgc'>--> to explain in terms of...
='strcls'>*place/location ='lgc'>--to='lgc'>='lgc'>--> neighborhood (ask ‘why this neighborhood='qstn'>?’ instead of place)
="nms">ajayeb helps me to work on='lgc'>:
="prgrph">-="trms">history
="prgrph">-="trms">poetics
="prgrph">-="trms">animality ='lgc'>='lgc'>--> inhabiting ="trms">material and ="trms">semiotic ="trms">positions ='lgc'>='lgc'>--> how to find a descriptive act that is not in terms of the impressions it makes on our senses='qstn'>? / this is about the places things take and occupy in our ="trms">phenomenal ="trms">world. / it is difficult to discuss the night-sky without first breaking it up into constellations. (="ppl">Matthew ="ppl">="ppl">Carey)
i have been building my own islamology or islam-studies department, through a low-voice critical mildly blasphemic rant about ="trms">imagination
(="trms">anthropology of non-experimental ="trms">imagination in the islamicated ="trms">worlds)
='lgc'>[there is a ="trms">difference between ='strcls'>**experimental ="trms">imagination='strcls'>** and ="trms">imagination='lgc'>]
we are at the ="trms"nttrm="knowledge,Knowledge">edge of extinctions
many ="trms">species and lives are migrating to “where” and nowheres, pushing to the oblivion.
my issue with the ‘timing of understanding’ ='lgc'>='lgc'>--> i don't want to be understood by you, i want to be ="trms">loved by you ='lgc'>=='lgc'>=> messenger ='lgc'>+ message ='lgc'>='lgc'>--> so how do i produce ="trms">lovers='qstn'>? (='lgc'>=/= Don ="frds scrmbld">Juan's type of ="trms">love) ='lgc'>='lgc'>--> there is a genius in your everyday talks that transforms me and has nothing to do with understanding (with the information that i grasp)
(using ="ppl">Martha ="ppl">="ppl">Kenney thinking='lgc'>:)
i am ="trms">interested in ="trms">crafting words, phrases, and ="trms">languages that re="trms">worlds us. (re="trms">worlding is about reorienting us in the ="trms">world ="trms">differently. ='lgc'>='lgc'>--> is that what i meant by changing the rhythm of somebody's ="trms">story='qstn'>?) what is important for me is ='strcls'>***what words ‘do’ rather what words ‘point at.’='strcls'>*** ='lgc'>='lgc'>--> if not evidence then ‘what’='qstn'>?! ='strcls'>*****the magic of the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right word='strcls'>*****
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="trms">communicating knowl="trms"nttrm="knowledge,Knowledge">edge is always also making it
(false='lgc'>: back="trms">stage making knowl="trms"nttrm="knowledge,Knowledge">edge, finding truths, connections etc. and then all of this gonna be ="trms">communicated by publication, teaching, exhibition, etc.)
all the useful ideas i ever had, have happened in the process of deliberating, ="trms">communicating, exchanging, and so on.
='strcls'>**trying to ="trms">communicate is the same as making knowl="trms"nttrm="knowledge,Knowledge">edge
(i don't make, i ="trms">communicate)
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from paf='lgc'>:
="prgrph">-lunching a counter-exotic movement toward the ="trms">Book of ="trms">Wonders='lgc'>: (1) postponing immediate information. (2) ...
="lsts lst1">•if everything is not exotic then nothing is.
="lsts lst1">•framing as ‘tool,’ every tool is and has power, and is built in a discourse of power. tools are not innocent, nor can we do without them. they make us. what would be an idea of the ‘worst tool’ you can work with='qstn'>? ="trms">poetics for me='qstn'>? ='lgc'>[to ="trms">write-about ='lgc'>=/= to ="trms">write-with the ="trms">Book of ="trms">Wonders. to use a ="trms">language-tool that produces the most ambiguities and most misunderstandings, but that is the only way, there is no tool that can prommis clarity. evey tool produces its own ‘clear'='lgc'>--for someone, for some purpose. these makings are all tool-="trms">specific='lgc'>: making dichotomies, making similarities, making diferences, stc.='lgc'>]
="lsts lst1">•how far your research can host an encounter with alterity='qstn'>? and how this encounter can help you undo your prommises of ="trms">communication, ="trms">positionality, and conceptual buildings='qstn'>? weave new ="trms">worldling entanglements with the problem='lgc'>--not to solve it, but stay with it. dissolve essential ="trms">differences between dichitomies such as='lgc'>: knowl="trms"nttrm="knowledge,Knowledge">edge and expression (or ‘knowl="trms"nttrm="knowledge,Knowledge">edge’ and the ‘="trms">communication of knowl="trms"nttrm="knowledge,Knowledge">edge’), experimental and ethical, ="trms">joke and ="trms">seriousness, ="trms">interiority and exteriority, mysterious and clear, uncovering and ="trms">veiling. produce creative impossibilities that do not resolve to bionary answers easily, that unstable possitionality for good, that open for forms of consiounesses to experience thoughts which differ from itself. to think and entertain both particularities and generalities (of logic, ethics, politics, ="trms">aesthetics, etc.) encounter can be both in="trms">finitly singular and general. that is a form of sug="trms">gestive work that can deal with the ="trms">specific as well. (think about ‘chicken’ as an anstract idea in our ="trms">semiotic ="trms">world and as an individual being in our ="trms">material ="trms">world)
="lsts lst1">•using ='thdf'>the notion of delinking (reminded by ="frds scrmbld">Juan) with ='mywrk'>my research on the ="trms">Book of ="trms">Wonders. going from parable-thinking ='lgc'>--to='lgc'>='lgc'>--> ="trms">religious-thinking ='lgc'>--to='lgc'>='lgc'>--> poststructura="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list-thinking ='lgc'>--to='lgc'>='lgc'>--> ="trms">poetic-thinking ='lgc'>--to='lgc'>='lgc'>--> riddle-thinking ='lgc'>--to='lgc'>='lgc'>--> biological-thinking ='lgc'>--to='lgc'>='lgc'>--> deconstructionist-thinking ='lgc'>--to='lgc'>='lgc'>--> ...
="lsts lst1">•this other universe is always at the beyond='lgc'>--the other ="trms">cosmos is a ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure (='qstn'>?)
="lsts lst1">•all cages have wheels
="lsts lst1">•boat, as an image for both construction and destruction
="lsts lst1">•i don't need to be alone in destroying the boat
="lsts lst1">•how to move the boat ='lgc'>=/= destination
possible workshops for ="frds scrmbld">Einat's project='lgc'>:
="lsts lst1">•moonwalk dance
="lsts lst1">•="trms">database programing ='lgc'>='lgc'>--> how to live well with ="trms">databases, not waging a quixotic war on ="trms">database designers. we must learn how to ="trms"nttrm="already,spread">read and understand ="trms">database early in elementary school. ="trms">databases are fundamental parts of our political ="trms">social ethical cultural processes...
="lsts lst1">•regular expression ='lgc'>='lgc'>--> how computer programming ="trms"nttrm="already,spread">reads and patterns text
="lsts lst1">•text-based ="trms">internet ='lgc'>='lgc'>--> cyberfeminism
="lsts lst1">•="trms">intervention in the digital hegemonies (digital ='lgc'>=='lgc'>=> cultural ='lgc'>=='lgc'>=> ="trms">material) (changes to the built digital environments, possiblities of recon="trms">figuration ='lgc'>='lgc'>--> production of space, ="trms">articulations about ‘us’)
="lsts lst1">•what does it mean to look at a ="trms">code='qstn'>? (a critical introduction to computer programming for artists)
="lsts lst1">•How to implement a programming ="trms">language in (JavaScript='qstn'>?)='lgc'>--parsing, regexps, (http://lisperator.net/)
="lsts lst1">•teaching German with ="ppl">Holderlin's “Andenken” ="trms">poem
="lsts lst1">•to create a ='strcls'>*feast='strcls'>* (to celebrate is to become free of the habitual, becoming inhabitual. celebration is the tensional coming together of the unlikes ='lgc'>='lgc'>--> through which human beings and gods could meet and ="trms">greet. The festiveness that the celebration encourages constitutes the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal ="trms">Greeting. ='lgc'>[="ppl">Avital='lgc'>])
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what i have beeing trying to mean by saying that i have been dependent on others to create spaces that a telling can happen, is actually a fundamnetal ellement of ="trms">storytelling='lgc'>: the ='strcls'>***="trms">community. i need and depend on ="trms">community in my tellings. (this has noting to do with the imperative of “="trms">communication” or having a “message”)
(is it what ="ppl">="ppl">Stengers calls to promote an “oikos”='qstn'>?)
='lgc'>[="ppl">="ppl">Stengers='lgc'>]
“the ='strcls'>*predominance='strcls'>* of the ='strcls'>*concern for relevance='strcls'>* (-rabt-) builds up ="trms">memory and experience”
political ="trms">ecology ='lgc'>: there is NO knowl="trms"nttrm="knowledge,Knowledge">edge that is (both) relevant and detached
political ="trms">ecology ='lgc'>: relevance ='lgc'>+ attachment='lgc'> = knowl="trms"nttrm="knowledge,Knowledge">edge
art of ="trms">staging='lgc'> = designing a s="trms">cene
='lgc'>[the House TV series, the issue of the protagonist is='lgc'>] the distinguish between the figure of the expert and the figure of the diplomat.
='strcls'>*expert='lgc'>: ones whose practice is not threatend by the issue under discussion ='lgc'>='lgc'>--> knowl="trms"nttrm="knowledge,Knowledge">edge='lgc'> = relevance
='strcls'>*diplomat='lgc'>: ones who provide a voice for those whose practice, mode of existence, (and what is offen called) identity are threatened by a decision. to cause the experts second thoughts. ='lgc'>='lgc'>--> knowl="trms"nttrm="knowledge,Knowledge">edge ='lgc'>~= decision
='lgc'>[this is core in ="trms">storytelling='lgc'>] ='lgc'>[then, i am political. i used to use the word embassador, but it means also ‘diplomat.’ ="trms">stories that can hold another ="trms">story hanging. ="frds">Sina's shy embassador ='lgc'>~=='qstn'>? ='lgc'>] (but what about the weak ones, the idiot, the one's who ‘rather not’ contribute to the political project='qstn'>?)
="prgrph">-diplomats are ="trms">situated='strcls'>*
='lgc'>[for ='strcls'>*="frds scrmbld">Lili this is also a delima, she is torn apart between her expert self and diplomat who ="trms">crafts relevance
diplomat='lgc'>--the relevance of feelings ='lgc'>='lgc'>--> what is the knowl="trms"nttrm="knowledge,Knowledge">edge in the kiss='qstn'>? (the kiss that she rendered as ‘irrelevant’)='lgc'>] ='lgc'>[for me kiss is essentialy important. “it (everything) started with a kiss."='lgc'>]
universal knowl="trms"nttrm="knowledge,Knowledge">edge ='lgc'>=/= relevant knowl="trms"nttrm="knowledge,Knowledge">edge
‘trust’ is one of many names for ="trms">love
“you can never be in="trms">different to the trust you inspire” (="ppl">="ppl">Stengers)
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='at'>#workshop='lgc'>: “the magic of the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right word”
(against Sherlock Holmes)
(12-step recovery program for people suffering from) ad="trms">diction to the truth
(to energize the connections to the things that animate us.)
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="lstsrd">1. gathering, basckets of concepts, objects, things, words, etc.
="lstsrd">2. excersises, physical to-dos (cleaning, cooking, sport, sawing, etc.) while telling (this is about removing the ="trms">codes of acting and re="trms">presentation process that ="trms">interupt the telling)
="lstsrd">3. everyday mundane talks, no ="trms">stage. ‘you’ in it. (is it a one-to-one mentoring='qstn'>?)
="lstsrd">4. convert into ="trms">language the objects from the basket, ="trms">write them down. since we are going to work with sign-="trms">language
="lstsrd">5. make the connections (probably together)
="lstsrd">6. special activities during the workshop='qstn'>? (cooking, drinking, etc.)
="lstsrd">7. ending of the workshop. what would be the closure='qstn'>? what do we build='qstn'>? how do we evaluate='qstn'>?
='lgc'>[what are you summoned by='qstn'>? ="trms">write about the person you see in the light of reverie='qstn'>? how to survive humanism='qstn'>?='lgc'>]
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='at'>#workshop, ="trms">fables
="trms">fable seen as a site where one ="trms">formulates concepts and ="trms">narratives that reorient one within one's own research practices
="prgrph">-(how can we) participate in shaping our objects of knowl="trms"nttrm="knowledge,Knowledge">edge (='lgc'>='lgc'>--> ="trms">relational ="trms">="trms">empiricism)
="prgrph">-learn through participating in ="trms">different (though not fixed nor ="trms">mutually ex="trms">="trms"nttrm="cluster,club">clusive) ='strcls'>*micro="trms">worlds='strcls'>* ='lgc'>[micro="trms">world='lgc'>: a space where protocols and ="trms">="trms">equipments are standardized to facilitate the emergence and stabilization of new objects. (="ppl">="ppl">Kenney)='lgc'>]
="prgrph">-“banal and ordinary sites of getting on in collective life” (="ppl">Verran)
="prgrph">-bring your ‘found objects’ (objects, ="trms">categories, ="trms">stories, concepts, insights, ="trms">writing under influence, etc.) and put them in ‘telling’ (telling ="trms">stories about the lives of your found objects ='lgc'>=/= insisting on the solidity of our found objects='lgc'>='lgc'>--='lgc'>--='lgc'>[solidity='lgc'> = stability ='lgc'>+ ="trms">authority='lgc'>] and in telling practices ='lgc'>=> (re)="trms">materializing your ="trms">="trms">empirical objects ='lgc'>=/= generating re="trms">liably-managed micro="trms">world)
="prgrph">-found objects are objects with which we inhabit ="trms">worlds (or micro="trms">worlds of our practices)
="prgrph">-(not claiming to occupy an) ="trms">ontological no-man's-land outside of the micro="trms">worlds ='lgc'>='lgc'>--> my frame is no more free of ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics than any other
="prgrph">-towards an ongoing untidy recursive theory ='lgc'>='lgc'>--> keeping our objects, concepts, and insights in a state of generative transformation
="prgrph">-which “="trms">affective economies” animate our own bodies as artist and as people='qstn'>?
="prgrph">-what feelings inform our works='qstn'>?
staying with ="trms">linguistic ="trms">differences (in each of our ="trms">stories or praxiography) is a way of investigating the ="trms">ontological commitments embedded in ="trms">language.
="trms">ontological ='lgc'>='lgc'>--> ="trms">worlding ='lgc'>='lgc'>--> how ="trms">language participates in shaping our lived ="trms">worlds in some ways and not others.='strcls'>*** “it is not common for speakers of a ="trms">language to examine what type of ="trms">material objects their ="trms">language commits them to.” (="ppl">Verran)
solidity of found objects, in my case, the graphs and images i am making about ="nms">ajayeb ='lgc'>='lgc'>--> the graphs now reiterate for me as rituals in ='mywrk'>my research micro="trms">world.
with these graphs i am trying ="trms">different ways of arranging space, time and ="trms">matter when speaking a ='strcls'>*sentence='strcls'>*. ...each ="trms">language figures space, time, and ="trms">matter into ="trms">different kinds of objects. in my ="trms">writing tools with ="nms">ajayeb, what type of ="trms">material objects my ="trms">language, or Hemedani or Qazwini's ="trms">language, commits us to='qstn'>? my graphs are “spatiotemporal particulars” and “="trms">sortal particulars”. trying to talk about ="trms">ontological assumptions embedded in the English (and any other) ="trms">language. the diagrams are ='strcls'>*="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs='strcls'>*. i am using ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging instead of framework. ='lgc'>='lgc'>--> clever ="trms">technological ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs, are provisional constructions, setup for a ="trms">specific myth and dismantled after. sometimes old ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs are reused or repurposed for new ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs.
="prgrph">-resist peaceful ="trms">naturalization
="prgrph">-uncomfortable software
="prgrph">-building/creating ="trms">technologies as one way to do ="trms">ontological politics (in postcolonial context)
="prgrph">-my experiments with ="nms">ajayeb='lgc'>:
="prgrph prgrph2">-(the d="trms"nttrm="danger,stranger">anger in using) computer software to archive ="nms">ajayeb's or ="nms">ajib knowl="trms"nttrm="knowledge,Knowledge">edge ='lgc'>=/= lively collective ="trms">memory tool
="prgrph prgrph2">-the software that is slick and seamless runs the risk of the digital media appear as ='strcls'>*self-sufficient re="trms">presentations='strcls'>* (='lgc'><='lgc'>--='not'>✕='lgc'>='lgc'>--> living context)
="prgrph prgrph2">-archived and frozen in time
="prgrph">-="trms">sorting operations
(if i continue with digital tech in ="trms"nttrm="already,spread">reading ="nms">ajayeb i have to ask) how the digitized ="nms">ajib knowl="trms"nttrm="knowledge,Knowledge">edge can resist appropriation and ="trms">translation into an[...]