[...]ipation*[= demythologising (dominant ideology)] <== Marx's ‘false consciousness’ (for example capitalist ideology conceals and naturalizes managerial power and implicit subordination of workers) --> either side of a power duality can become valorised
•Hegel: “mythology = ideology aesthetically expressed for easy adoption by society” --> “ideology = an imaginary map”; political breakdowns ==> ideologies become apparent (independent of mythology)
-(Murray and Ozanne:) meanings people attribute to social structures change more slowly than the structures themselves --> reality[= the meanings given to social structure and the objective structures] is contradictory <== *inconsistency between subject and object* (~ societies both create reality and are shaped by it)
}--> consumers as the oppressed class in postindustrial society
Thompson: natural health myth (based on ‘cultural creatives’: dominant consumer segment of natural medicine):
•*romantic ideology derived from technologies’ ill effects on humanity and nature --> nature is mythologized as a state of harmony, science and technology as forbidden knowledge
•*gnostic myth emerged from a desire of consumers to bridge technology and spirituality --> “the immune system is metaphorically rendered as a mysterious immaterial force, constituted by intricate mind-body connections and ephemeral energistic forces, which can be brought to practical ends through quasi-magical practices of holistic healing” [Thompson 2004]
}--> advertisers exploit these tensions as conflicting ideologies converge with reality
brand ==> a point of difference + oppositional meanings --> [for example the attraction of the coffee shops that don't personify the Starbucks hegemony ~] anti-hegemonic consumers hold strong preferences for decor that symbolises the counter-culture

(Thompson + Barthes ==> Kristensen, Boye, Askegaard:) how communities develop conceptualizations of right and wrong
*moral systems are inherently ideological* in order to emancipate consumers from these forces critical reflection must occur***
@constant and apass: ***consumers don't escape the market per se but instead reshape collective identity through counter-mythology***
(for example) hipster consumer's attempt to demythologize a consumption ideology in order to protect themselves from mainstream consumers or ‘followers’ (when followers encroach on inside values:) consumers demythologize their consumption practices ==allowing==> new avenues of consumption to occur in an emancipated state

(critical theorists:) **market = arena of domination and power struggle**
==> consumerism can be enslaving and manipulative mythology crafted by the ruling class, can be overcome through resistance and demythologizing ==> ***emancipation = (a form of) new consumption arenas (that hold a favourable power dynamic for consumers)***

mythology --> consumer resistance, emancipation and identity projects

neoliberalism:
•community-based meaning of goods
•individuals (able of) attaching meaning to objects in their own self-expressive way

mythology research: shifted from ‘myth as organizational cohesion’ to ‘understanding agency and emancipatory consumption practices in oppressive situations’

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

with Ereshefsky
how to do scientific metaphysics?
•conduct piecewise and local metaphysics (not universalist metaphysics, not science fiction)
•balance naturalism and normativity
◦naturalism --> learn about different scientific practices that have different aims
◦normativity --> evaluate how well those practices achieve those (epistemic and pragmatic) aims
•


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

filial piety --> family formation + consumption behaviours (in Asian context)
(public policymakers and) social marketers addressing family dissatisfaction

understanding family identity has important implications for consumption --western-->
•how meal consumption helps to maintain family bonds
•how home-made meals are useful in constructing and communicating family identity (@apass, Leo, Sarah, food-ing, ‘formulations of family identity ~=!? collective’)
•how families preserve identity through the transfer of inalienable possessions
•how families navigate complex consumption choices such as involving parenthood
•


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

(Campbell + Saren -->) [*]posthumanism: an aesthetic (not just an epistemology) that blends:
1. the primitive
2. technology
3. horror

[*]metamorphosis: (an engine that encourages the viewer) to recognize life not as being, but as perpetual becoming =/= (liberatory promises of) ‘flow’

(each articulating opposing fantasies of posthumanism:)
morphing =/= mutating

primal technology

proto-atavism نياکان گرايى --> ***multiple paradigms of life exist on the peripheries of humanist life***

Campbell --> a posthuman biology (an ethical imperative that in a technological age, that life is not just life)


Golem --> perennial horror in western imagination
Jewish psalms of the 6th century
formation of life (golmi: unformed limb) <==emanate== mother's womb & nonhuman earth itself
--exemplifies--> how *western humanist versions of technology tend to create a master-servant dialectic* (master-slave) and anything that threatens this divide invokes horror
(roots embedded in the Romantic tradition:)
•“frankenfood” (mash up original and unexpected food combinations, genetically modified crops)
•genetic engineering technologies
•“revenge of nature”
•“nature out of control” leitmotif
•
*since antiquity (in the west) technology has been simultaneously imbued with magic and rationality, evil and redemption, trickery and transparency [---> go to Baxstrom + Meyers Realizing The Witch]

Descartes: the philosopher who provided the western imagination with the most enduring model of the human --> preoccupation with mechanism as something that pervaded machines, bodies and animals but never the non-material, spiritual realm of the mind

*eschatological significance attached to technology*
schizoid stance, alternating between the technophobic and the technophilic (--> expressed in avant-garde): Dadaism, Futurism, Cubism, constructivism)
•technocs aestheticized and fetishized: world expos such as the Crystal Palace, garden cities, the cite industrielle, Citta Nuova, the Werknund, etc.
•military machinery of first world war which alienated human life while at the same time making the human inhuman

*technology as revold*
imagined as rebellious and repellent
(human civilization) haunted by the temptation of a reverse evolution which coexists in it with the potential for progress
--> *techno-anxiety: potential infallibility of the technological

(teratology, wider context of studies on monsters)
logic of contemporary technoculture --trope-->
•primitive
•technology
•horror


(Campbell drawing from a larger) intertextual repertoire consisting of advertising, film, and other images in visual culture
--> aesthetic conflation of the primitive, technology, and horror points to three new concepts:
•metamorphing: {<<--** exactly my problem with Manning's process philosophy}
◦(a logic of) ***identity as constant becoming***
◦***emphasis on flow*** (as a necessary way to understand process)
•primal technology =/= (humanist and pervasive) concept of technology as modern, progressive, clean, nonalive
•proto-atavism: evolutionary traits from the future can exist in the present (=/= atavism: evolutionary traits from the past can exist in the present) []
==> type of posthuman biology conception of life

(let's have atavism instead of activism)

Campbell --> *critique the almost universal celebration of flow in contemporary philosophical thought* {<-- yes yes! thank you! ♥}


primitive: a site of primordial simplicity ~= originary unity }<== history of technology <--(told from a western lens)-- gradual progression and sophistication of the technical (for example Black Panther film)
-the presence or absence of specific technologies has often been read as a marker of cultural ‘backwardness’ <== “technology = something that comes from the West (rich-world technologies) and does something to other people in other places such as the “third world” (a well-intentioned framework that denies both agency and contemporaneity to the ‘other’ --> for example Eliasson's Little Sun)

technological progress is not a force unique to modern ‘civilized’ society; it is intimately bound with art and antiquity
•Heidegger (seeks the origin of technology in ancient Greece) --> technology referred to the ways in which realities are brought into the world, a mode of unconcealing reality (hervorbringen) [=/= mere means or instrument]
+ every unconcealment of reality is also by necessity a concealment of another reality
*poiesis: bring hither out of concealment forth into unconcealment* --> techne = tech + art

paleolithic hunters (so-called primitive societies) have been shown to have been affluent and technologically advanced

technological primitivism, as aesthetic in subcultures of high-technology, incorporating into their philosophies icons of: shamanism, esotericism, hermeticism, the occult, mythology
=/= my ajayeb.net


horror in commercial images (Campbell's investigation =/= fear appeals that act to discourage or warn)
horror (like primitive) is a historically specific form =/= an eternal constant (~ whay is horrific today might be completely unhorrific tomorrow --> for example ajayeb's horror)
horror = science fiction + primitivism

liberatory/avant-garde horror
female-as-victim
female-as-horror
--> apparatus of phallogocentrism
--Campbell--> *horror works to produce figures that contain within them an overflow of contradictory signs*


20th century high-tech machines induce horror : depiction of *technology out of control* inducing horror in the humanist consciousness (for example Black Mirror TV series)
(both primitive & technical) borderline figures of contemporary culture: replicants, androgynes, zombies, androids, posthumans, avatars, clones, undead
}--> *almost-not-quite ontologies* <-- displacing the unitary subject of classical humanism <== {new processes and quasi objects} <==create== ***{globalization, questions of history, social change, political movements, collapse of communism, fundamentalism, feminism, post-communist nationalism, global immigration flows, transnational projects such as human genome, digital human}***

•mothers
•machine: the scientific, political and discursive field of technology
•monster: emblematizes the history and philosophy of the biological sciences + their relation to difference and different bodies

enlightenment ==> a comprehensive philosophical and scientific discourse of positioning “people of color, native australians, females, slaves (+ scaipods, cynocephali, tailed men, giants) = nearly-human =/=liberal human subject (white male)
-in the interstices between humans and apes, there was plenty of space to locate speculative or imaginary creatures: *similititudines huminis* (beast-men, monsters with human resemblances, degeneracy)


posthuman
•celebratory declaration of the end of humanity as we know it
•heralding an era of:
◦human being will be superseded by technical being (+ ironically promissing to vouchsafe human being for eternity)
◦(liberatory seeks to) displace the arrogance of the human (as the ultimate and sole authorities of meaning)
•replete with ideological positions (ranging from horrific to hopeful)
•concerned with deconstruting the human as an ancient concept [~?~> dissatisfied and alienated by nature]

ectogenetic foetus (growth of an organism in an artificial environment)
surrogate mother جایگزین
pregnant man {in the fear-fantasy of miscegenation

(crossing:)
animal
  human
inanimate
   technologies
    }==> horror (accompanying the posthuman)



[title]
monstrous logic of ajayeb

monstrous =/= neat categories

teratology
in a wider context of studies of monsters
written texts (not only physical manifestations) ~ defy canonical categories

[*]gothic: (not only a genre,) any type of text that makes coherent interpretation fail*** <== text suffers from an overload of contradictory meanings which make it literally fall apart at the seams


(Derrida:) monster: *species of the nonspecies* = as-yet unnameable which is proclaiming itself --> make people turn their eyes away
-the figure of the monster embodies a means of thinking otherwise
-event of the Derridean text signalling a rupture with the discourses in which it is gestated
--Campbell--> both Derrida and Darwin were engaged in the *practice of revealing monstrosity to the world*


***contemporary Iran = postmodern gothic***
آخوند‎ akhoond: social imaginary of post-industrial society producing teratological monstrous formations <== their technological character transgresses conventions of taxonomical description --Braidotti--> cyber-teratological (fascinatino with grotesque + technological)
-what are the non-unitary subjectivities in Tehran today? (monster = horror + marvel)

monster =/= demonstrate, de-monstrate <-- vision + monstrosity
*monster: sites of otherworldliness* --used--> teratoscopy

1- Greek and Roman --> race of monsters: ethnic entity horrific & fantastic
2- baroque and enlightenment --> began to produce a scientific, wondrous, fantastic, rare, entertaining --(such as: madmen and dwarfs and other marvels participated in the life of his or her town and enjoys certain privileges [...] jesters and fools can transgress social conventions and do things that “normal” human beings cannot afford -Braidotti)
3- genetic turning point in the post-nuclear era --> cybernetic teratology: effects of toxicity and environmental pollution ==> new monsters [--> Tsing]


experience of the world of high-technology

artifacts of visual culture, (TV advertisements) dealing with the tropes of the primitive, technology, horror:
(these artifacts connote دلالت ضمنى long histories of techno-mytho-political dramas)
•Audi spider; where Audi is likened to a preditor, ensnaring, devouring its rivals; Vorsprung durch Technik written in gothic-style jagged, suspended cobwebs {<-- Ridley Scott's alien's technology as dirty; a lair swathed in a thick cobweb-like substance --> *technology as life* <== the dirt and dampness of *dirty technology* suggest an animate, sweating, breathing life-force [~ an aesthetic]} --> horror <== damp dark leaking space containing moulding cocoons of spider --Campbell--> motivation, goals or logic of this life form cannot be recovered within the economy of the human (=/= clean cold untouched technological artefact)
◦***technology covered in its own dirt --implies--> life --implies--> disorganization --implies--> disintegration of borders between ‘us’ (bounded) and ‘them’ (unbounded) --implies--> loss of control
◦ajayeb-e spider // links the world (of primitive + high-technology), its metamorphosis into automobile ==> its multiple and contradictory genealogy; sight of spider --Freud--> induce crisis of neurotic anxiety (arguing that this fear comes from an unconscious association of the spider with the image of the phallic mother and the web --> threatens to engulf us --> mpnstrous feminine, Ridley Scott's alien = technologized embodiment of the phallic mother)
◾ancient activity of weaving [computer emerges out of the history of weaving; the first computers were based on the logic of the loom, quintessence of women's work (Plant, Babbage, Campbell)] --> *contemporary technoculture is an era of insectophilia* (love of insects and arachnids, spiders ants bees worms etc.)<== these insects embody the logic of high-technology which values decenterdness, microprocessing, and swarm intelligence. colonies, swarms, teems ==acts==> *metaphor & epistemology & ontology* to understand decenterdness, rhizomaticity, distribution and microprocessing ==> *insect aesthetic* [#use the term collapse as marketing storytelling, divided entities now mixed with eachother to induce mixed feelings in the audience --> chimera in advertisement]
◽matrix, from the latin ‘mater' = womb, the term matrix possessing the potential to nurture & to trap (---> go to Matrix film series)
◽Arachne: a younge woman, was so skilful at weaving that she was rash enough to challenge the goddess Athene to a contest. she was transformed into a spider and was doomed to weave forever
•Nike mutant foot; to convey the feeling that running with these shoes is like running in bare feet (--> chimera?); the mutant foot evokes a worn and labored transition from human to posthuman which leaves behind traces of pain; ‘foot of the future’ contains within it the supplement of its embodied visceral human existence, a potent reminder of the human within the posthuman. Nike mutant foot *suffers from origin horror* (= no secure telos of origin which can link back to a primary source of either technology or organicism) we cannot trace it back to an originary ideal category of existence ==> it horrifies
•Nissan pathfinder; shape-shifting technology, moves between the animal and technical --> *automobile metamorphoses without any trace of its metamorphosis* (it bears no marks, scatches, dents, damage); mighty industrialized rendering (transformers film series) --> (an X-Men fantasy:) a future world of *ontological mobility* : entities are not fixed, their morphing into other entities is not painful, but a natural instantaneous reaction to their environment [=/= ajayeb]
•BBC digital faces; a giant disembodied head that roams across hilly countryside ~ *an affront to a humanist sensibility of integral bounded being*; filled with tiny selves --> genealogy of monstrous and mythical forms (Matrix 3rd episode the machine face) --> *visualization of the idea that the self possesses no central consciousness* [<-- posthuman: all mental thought, all consciousness and spirit, can be attributed to the operation of micro-material processes distributed in autopoitic (~ self-creating) body] /ERG website

metamorphing
critique of becoming (of consumer)

Cartesian (human logic of a world of fixed entities) =/= posthumanism (polymorphic unfixity, articulating a logic of identity as decentered and in the state of transition)

mutating =/= morphing (universally regarded as positive, apolitical <-- in poststructural theory)--> imagined technological posthumanism which cruises effortlessly and seamlessly through ontologies [like T1000 in Terminator]
digital morphing is a common production device in contemporary visual culture (transformers, X-Men <-- to resist that in our web designs)

morphing =/= ontological fixity
•how technology does not oppose nature, but stimulate it (Nissan pathfinder)
•how the morph causes a radical splintering of consciousness (BBC digital faces)
•how morph is the a visualization not of being, but of becoming
--> *flow, universally coded as positive* (sensibility of process and flux considered liberatory)
--> a logic of quick-change (embedded in entertainment and computer industries)


high-technology embodiments:
•cyborg
•foetus
•ecosystem
•database
•genome
•cellular automata
•insects
•


morphing =/= mutating: the visceral, painful, embodied experience that results from ontological boundary clashes
mutating into otherness =/= morphing into otherness
(pain of the flow -->) ***mutation is a concept that stops the flow***

(utopian:) technological imaginary portraying a simple and painless ascent into a silicon existence

chimera: (a term biotechnological discourse uses to refer to) the evolution of elements that do not belong together
[in greek mythology, a savage beast part lion part goat part snake =/= natural order]


•(Iron Man's definition of) technology: an instrument which accords the human with a gradual ascend towards increasing civilization, linear progress and power over her or his environment
•(Black Mirror's definition of) technology: paradoxical scene, a primal instinctual force


(my ajayeb =/=) technological primitivism: (aesthetic that is produced by) the ways “primitive” icons are used in discourses of high technology
technological merges into the mythological
ancient merges with the modern
•eXistenZ film 1999, a high-tech-primitive blend of amphibian eggs and synthetic DNA
portrayal of a symbolically resonant ancient life-source + form of a technical life-source


(Campbell suggesting) atavism: how supposedly primitive evolutionary traits which had disappeared generations ago reappear in contemporary human or animal life
-traits of a former time but still exist in the present
*proto-atavism: (exhibiting of) future evolutionary traits in the present ==> collapsing the quality of linear time [~=? my sleep-walking] (=/= human approaching a state of technological perfection through an orderly ascent of increasing complexity and sophistication)
--> technological progress = nonlinear, punctuated, multiple [<-- used in marketing today]
proto-atavism --argument--> that multiple paradigms of life exist on the peripheries of humanist life ==Campbell==> (how) *human life: a cacophony of co-existing interacting states of past present future existences with no recourse to a single reassuring origin* (=/= singular progression)


(like animal rumors in old bestiaries ajayeb in a story-starated world) found telegram videos and internet pic used in my image assemblages --> (found images which make it difficult to trace their lineage) in an image-starated world ==construct==> ambivalent visual representations that do not have a signifier in an external “real” world (Baudrillard's rhetoric simulacrum: an object that is a copy of something which does not “exist”)
==Toffoletti==> potentiality: exceeding the bounds of description


(we are living in an) age of **technosubjectivity**
(Margulis theorizes) the symbolic basis of eukaryotic cells
(Dawkins posits) the existence of selfish genes and the extended phenotype
*system theory: human life subsumed radically into an all-encompassing concept of system, of which the human is merely a psychic system, where the only important unit of analysis is systems (human, cell, society, law)
(Sagan's) metametazoa: a multiple creature afloat in the omnisexuality of bacterial exchange
(Octavia Butler's) xenogenesis: polysexual interspecies reproduction
(Haraway's) differential artifactualism: (~= SF, science fiction) a diffractive interruptive mutative anti-reflective monstrous logic (to a humanist eyes) --> generation of novel forms which need not be imagined in the stodgy bipolar terms of hominids ==make==> ontological room for naturecultures
-mixotricha paradoxa: “a mixed up, paradoxical, microscopic bit of hair [...]they are nested in each other's tissues in a myriad of ways that make words like competition and cooperation, or individual and collective, fall into the trash heap of pallid metaphors and bad ontology”
(Thacker speaks for) extrinsic life: the kinds of life that cannot be contained inside itself (such as: the epidemic) ~ lifelike death ==> depict the strangeness of life in a technological era

(diffraction ==>) myopic: eyesight abnormality resulting from the eye's faulty refractive ability --> posthuman: an essentially ethical precondition of life in high-technology

background of posthuman theory:
•metamorphing --> premised on the liberatory potential of flow : processes objects and living systems are thought to be in a constant state of becoming =/= Campbell: flow is not always a liberatory metaphor -->{ (a politics or logic of) *inertia* =/= contemporary politics of flow }
•primal technology --> technology is not always s progressive civilizing inanimate force, rather it is a destructive-constructive rich-poor lively-inanimate force in the world
•proto-atavism --> modes of living at the edges of humanist life
•posthuman biology ==> *monolith of humanist life is myopic*

in a way, in my research i have been seeking ways to acknowledge the place of posthuman ways of being in the world --through-->
•observing the high-tech (cellular automata, database, bibliographic technologies)
•observing the ancient (medieval bestiaries ajayeb al makhlughat ajayeb technologies)
•


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

roots of ‘emancipate ourselves’ --in--> “being critical" = ability to be self-reflexive and to translate criticality into action and expressions of art (Renan)
transform knowledge sites --to--> knowledge scenes --> *communities of concepts* (=/= communities of people)
-(to form an artistic site not into a theme, a subject or a project --> discursive architecture)
how we could actually initiate solidarity through translation? (-->? internationalism) =/= equivalence of contexts
-how strategies of governance can be very sophisticated and can be embedded into what we see as good for instance in health (cleaning, or in providing food)
[*]naming: a way in which we could enter into each other's experiences, a process of conjunction and disjunction (with the problems of the previous naming process)
*investment: i'm investing into your thoughts and interests, to possible connections between us
-to look away from it momentarily, so that they can look into it again
(criticality is something that we can inherit)
faith into criticality ==> epistemological violence (~ criticality used as a counter capital to any problem or any situation that we seem unable to engage with)
(in relation of criticality --> the notion of) care: to ask is this the right place and the right time to “overperform” your criticality? when to be naive?
[yes, i am so tired of the Marxist lineage of criticality]
sometimes you don't have a voice in dialogue --> you need a space where you can do a monologue
*monological circuits* (Renan) --> monologue: you take the conversation out of value making (from a neoliberal logic)
(problem of) discourse = a sophisticated capital in arts (that is easily distributed and circulated)
-appoint [yourself] as institution =/= alternative art organization --> don't contribute to marginalizing yourself as alternative
research organization =/= magazine


Renan http://temporaryartreview.com/the-infantilization-of-local-contexts/
artworld's cynical consumption of the global periphery
international worship of dialogue
unified complicity
transnational capital of in-group favoritism
cosmetology of democratism
advanced capitalism: non-hierarchical transactions, horizontal decision-making
(business of) trading contexts
Western ethnocentrism
(1970s) “art played a vital role in the amassing of cultural resources, assimilation, and formation of national cultures” ==> “improving humankind” (the colonial definition of development)
*rhetoric of development ==shaped/shaping==> art*
•diverse group of global interlopers
•content-providing native informants
•regional mediators/specialists
•solvent-like multinational institutions
[cultural development:] art act adhesive for civil society --> good governance ==> dialogues (~= to create a new moral image of man)
-*conditionally inclusive vision of the international artworld: a politically legitimate place with pluralistic inter-institutional structures driven by economic liberalism, subsequently confirmed by the participation of civil society*
...a practice of dialogue between art and development, across geographies: banking on the coalition of ethno-nationalism and globalization, and promoting “indigenous” forms of capitalism, while avoiding the optics of exoticization }==>
•divides and controls localities
•contextual differences are distributed as needs and urgencies
•juridico-engineering structures (symbolized progress)
•cultural globalism with consumption at its core
•regions soused on the liberal democratic fantasy of salvation via harmonious, multilateral exchange
(we don't want dialogues, we need meaningful dialogues)
--Renan--> [to relocate the “struggle for exchange” in] monological circuits across the topographies of power and restitution =/= geographies of guilt and embarrassment


antagonistic knowledges (organise and rally actions and thoughts for resistance) --> changes how you are socialized


Robinson Crusoe
a miniature history of human development according to bourgeois individualism [...] changed into an encyclopedic storytelling of religious virtues
•using European technology, agriculture, economic individualism [<== spiritual autobiography], (rudimentary) political hierarchy, (civilizing effect of) Christianity [--> pursuit of meaningful spiritual engagement]
...as the inertia of the colonial world's knowledge system breaks into the streams of exploratory capital, the relay of fragments crystallizes before seeping through the colonial subject's social ground
http://www.curators-network.eu/blog-entry/lightning-studies-ctcccs-part-1-3 (Renan)


Cinderella's precarity
the question of: how can we translate contexts? (the context of which I bring my precarity differs from here in Brussels)

(the notion of *difficulty* in) Cinderella =/=? Robinson Crusoe
Crusoe's precarity (European) is something that you can overcome
•technology --> I can develop something out of my precarity and survive being struck on an island
•Crusoe's techne --> human =/= Cinderella's techne --> companion
•Crusoe ==> *rise of the ordinary individual in the nation* <== every individual values themselves high enough to consider themselves the proper subject of serious literature
◦modern individual: an ordinary & alone person is able to triumph over physical environment ~ to be able to exploit every situation

using diary format for Cinderella was inspired by respond to Crusoe's epistolary and confessional method of writing
(one of the earliest genre of) realistic fiction
written during the Enlightenment
one of the most widely published books in history
==> castaway narrative: improvise the means of survival from limited resources at hand
•progress through technology
•rebuilding of civilisation (civilisation = a form of triumph)
•unfriendliness of nature
◦he is with a dog, two cats and a parrot but he cannot talk to them =/= Cinderella
◦Crusoe starts making Bible fals (فال انجیل opening the Bible to a random page and read a verse that he believed was addressed at him)
◦he makes list (pro & cons --> debit & credit [--> mentality of business studies] --Weber--> book-keeping: distinctive technical feature of modern capitalism)
◦
•Crusoe: true protagonist of the empire (--Joyce--> prototype of British colonialism, *mythology of colonialism* --Sina--> #fable of imperialism)
•(romantic notion of) nature: idyllic =/= (Crusoe) nature: unforgiving + sparse }<-- utopian =/= dystopian nature --> Lord of the Flies


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

(with Annemarie's help @apass)

*sources of knowledge =/= styles of knowing* ==> tensions

judgment: an occasion to apply one's own standards =/= observation: a mean to get to know somebody else's standards

difference
which differences exactly?
what are their interferences and their diffractions?
--> the surprises that come with finding “variations”

(stories about)
vessels & fluids
pain & technicians
patients & doctors
techniques & technologies

(bracketing the practices =/=) foregrounding the practices --> objects come into being and disappear with the practices in which they are manipulated ==> reality multiplies
=/= single passive object in the middle waiting to be seen from the point of view of seemingly endless series of perspectives (SK the elephant parable)

philosophy used to approach knowledge in an epistemological way (~ preconditions for acquiring true knowledge = Alex's question “what is artistic research”) =/= (Annemarie's) *knowledge = a matter of manipulation (=/= reference)* ==> ethnographic interest in knowledge practices (--to--> “what are artist researchers doing?”)


xxxxxxxx

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

#project: to create a multidisciplinary knowledge program around the relationship between art, marketing and [?], highlighting the imbricated فلس فلس nature of [?] as tangible resources and knowledge

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

#project index Tehran theory: to think ethnographically about non-unilateral and non-static picture of aspiration in the context of contemporary Tehran eco-techno-culture
•archive question
•contemporary media technology
•data/knowledge organization
•infrastructure
•epistemology
•Tehran techno-culture multispecies ethnography
•mini worlds
•*how people imagine a better life?* --> (to think non-unilateral and non-static) *picture of aspiration* (in the context of contemporary Tehran)
•imitations of forms
•http://ajayeb.net/?q=sensibilities+hitting+people
•start as collaborative online platform for writings/projects about Tehran emerging ecologies:
◦mice موش
◦mobile phones موبایل
◦monsters هیولا
◦heavens مثل
◦
•on Tehran trees:
◦on anthropogenic landscapes of Tehran
◦descriptive methods f[...]