[...] (his basic metaphor of) nature: hydrodynamic flow of particles in free fall, in swirls, in vortexes
‘small cause ==> disproportional nonlinearity’ : ‘random collision of some falling atoms ==> constitution of world’
--Serres--> (Lucretius) heterodox tradition (=/= orthodoxe)


romantic & baroque are ***discourse =/= paradigm***
•discourse (available to draw from)
•paradigm (to succeed another paradigm) [<-- to be careful as an artist, the fantasy of genesis]

•since the 19th century romantic complexity had been the more orthodox discourse
•since 1975 baroque complexity became the focus of interest
}=/= new conception of reality

•romantic complexity --favor--> stable structural metaphors (self-correcting cybernetic machine, Gaya, etc.)
◦criteria can be established (more easily) --> delineate emergent wholes (*abstract criteria*)
•baroque complexity --favor--> swarming individuals metaphor (population of individuals in turbulent motion) --> delineate emergent wholes (*situational criteria*)
◦conceptual problem of baroque: there may be higher level order, but what is it?
◾(it is not) stable patterns of communication (<== if patterns exists they are short-lived, individuals take part in several wholes rather than in one)


body = turbulent phenomena par excellence


*****
--Deleuze--> the very idea of “concept” is different in baroque thinking : [*]concept = an allegory, a narrative =/= a symbol of the cosmos <-- romantic idea of concept: a cosmological order that is grasped by the thinking subject

the uncertainty (of the world) in the baroque case is ontological [=/= epistemological --> uncertainty is an effect of not knowing enough]

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

(i say in iran, instead of public jurnalism we need more) *public anthropology*

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

(Stenger > Stewart > vivid pragmatics ~=)
(McCormack > Stewart > radical) [*]empiricism: if you walk in the woods --encounter--> the unthinkable profusion of forms --> material-aesthetic registers of (mobile & immobile flickering of) is and was (=/= sensory details described)
•[*]description: accidental glimpse of what matters + what shifts its matter in a moment of recognizable though unnamed and partial significance

tonal differences
a spark of color
a modulation in tempo
half-patterned expressivity
--of--> a scene teemingly differentiated and marked by thresholds of matter

when a tree is “charged and transfigured” by a violent sunset
Stewart + Dillard

a thing becomes a call to word

(Harman:) objects themselves, like voices or forms of writing, have style

Stewart > Dillard's causal logic of bizarre but categorical predation:
a small frog perched precariously on a lily pad in a pond, its back end already strangely slumped in the water. Then it suddenly deflates
its skin “ruck, and rumple, and fall’ and then “formless as a pricked balloon, lay in floating folds like blight scum on top of the water”
--suggest--> its style
=/= exempla of a generality
=/= embodiments of something

*points of precision* in moments, scenes, forms, and states of matter

an image synesthetically remembered --> engineered bridges of the purely social or thee purely natural imagine a flatly describable world composed of fully present states of being

...the wind forms blades in the sea like lines on a page

description: an approach to an ungraspable thing --> deliteralizing

remainders

(distributed gap between residents’ reports and police determinations:) [examples of semi-events (half-witnessed):]
•a dangerous-looking animal moving about on a man's property turned out to be a black plastic trash bag blowing in the wind
•threatening graffiti on a lawn were markings made by phone company employees
•a strange noise was wind in the trees
•a report of a man licking the locks on doorways of apartments on North Pleasant Street (--> suggestion of this licking everywhere remained)
•a blood-soaked glove on the ground outside the DB Mart was a pink glove (-- establish--> pattern of possible hands in roads)
-
--Stewart--> **an staging ground for people's perceptive** --> **attention to the weird possibilities emergent in the ordinary**
==> *mysterious patterns with precise details* [= ajayeb] --> (bring into relief) a background, a zone, a worlding in which things become perceptible (in a weirdly realist way)

[explanation =/=] stranger faithfulness to the spirit of the unnamed thing they witnessed ==> moved to make a report (something is a little off)

(if there is grounding it is grounding in) world's variegated poesis --> ([*]description:) to make room ([for its] emergence --into--> theory)


A walker with a routine gets used to the little apparitions of something throwing together in his or her vicinity
(questions of points of contact:) what to do with your eyes?

([against?] positionality of) writing from the ground

(memory of a city:) a contact aesthetic of histories and rogue trajectories set in motion by every object encountered

harshly half-formed world

germinal aesthetics

channels of autonomous objects lay down stakes and swerve at points of contact with the itineraries of other things ==create==> a distributed zone of *robust realism*

the real (of X): transversal arrays of qualities or activities (like musical refrains) give order to materials and situations, human bodies and brains included, as actions undertaken act-back to shape muscles and hone senses

(to sharpen) realist attention to things


[*]life: ontological entertainment

unfulfilled systems littered the kitchen
tangent to an elsewhere

gleamingly restored eighteenth-century perfections <-- Cinderella's mansion
...of autonomous objects lying around...
a zone of randomly abandoned X
against the background of nothing
visceral avoidance
pretty and fresh as blueberry pie
townies (how i am not a townie where i live)
•townie: loyalty to the expressivity of things
sociality of a wedding party (filled with roles and dressings)
crazy ricochet..
perfectly ordinary...
...long-ago layered over the wood (necrotic غانقرايايا)


“expressivity sliced through matter, word, and action, locking them together in a harshly half-formed world”


writing Cinderella diaries --> questions of realism
•what kind of real we enter?
•her realism (bring her) --into--> a rough contact with objects human and non-human
•Cinderella does things to and with them (her animals) [and reverse]

*social pressure ==> (people) make descriptive mistake*

a problematic (for example afterlife of a tragedy) --that--> inspires X --to--> speculative interest in forms
•Cinderella stating to noticing things (rumors, gossip, realism)
•gossip: realist attention to things

the world were his secret
loved the smell of the cold
in the night's dark hours

demanded our co-emotional sharpness
the world literally burst into color on the home side --and--> went gray in the instant of passing over the edge
no one knew their names...
...the energy of small things...
as if the point of living was to...
mosquitoes drew blood...
a helmet of white roots
...painted hyperbright colors in paint so flat it makes my fingertips dry just to look at it
dull dark oversized furniture
collapsed piles...


(nothing ever happens without first) registering a commitment to exhausting webs of complication

learning from mice --> dark little tunnels of limited choice


(Stewart's) points of precision: (of any act or story) what matters is the singularity of an angle of approach (a surprise contact, an opening onto some world's cocomposition, momentary flourishing of some capacity) [=/= a meaning]

shaken profusion in things =/= rush evaluative critique

so ordinary and problematic

so the idea of writing about “clean” started being interested in this website: https://www.politicalconcepts.org, and the desire to write a political entry point for t[...]