[...]s) angry='lgc'> = ="trms">anxiety ='lgc'>+ depressed ='lgc'>+ obsessive–compulsive vasvasi ='lgc'>+ pessimist bad-bin ='lgc'>+ negative ='lgc'>+ offender motejavez
direct speech رک صریح  بی پرده rok sarih bi-parde harf zadan='lgc'> = saying the real and truth in the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right place that is necessary and almost an ="trms">obligation ='lgc'>=/= parde-dari provocation

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note on the workshop of anarchive in Zsenne ="nms">apass summer 2018
(my issues with Manning's ="trms">presentation of) process philosophy ='lgc'>='lgc'>--> a ="trms">system-builder mode of thinking ='lgc'>='lgc'>--> ='strcls'>*saying something (="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right) about every single thing at once='strcls'>*
="prgrph">-process philosophy puts forward the will and desire for “change,” therefore it developes a resistant to change (='qstn'>?)
="prgrph">-it tend to be a ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics without physics ='lgc'>[='qstn'>?!='lgc'>] (when a ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics provoke less ="trms">interest for ‘-physics’ and more for the ‘="trms"nttrm="metaph,metamorph,metabol,metal">meta-’ /and why is that a problem='qstn'>?) ='lgc'>[='lgc'>='lgc'>==> ="ppl">="ppl">Barad is much more useful for me now='lgc'>]
="prgrph">-the real ="trms">question of the workshop remained “how to define what i like (such as ‘anarchive’) that it remains open at all time to the ‘more’ and ‘multi’='qstn'>?” ='lgc'><='lgc'>-- and they provide an elusive non-de="trms">finition of the term, impossible to pin down. because accourding to Manning when you pin down an idea/practice by its de="trms">finition it becomes “fixed,” and fixity is ="trms">categorically bad at all times ='lgc'><='lgc'>-- there is a desire to create a hygienic concept immune to corruption and hierarchy. Manning is alert to certain hierarchies ='lgc'>='lgc'>==> not acknowledging other hierarchies that precisely emerge out of that (='lgc'>='lgc'>--> preserve the ‘health’ of ='thdf'>the idea of anarchive. ='lgc'>[='lgc'><='lgc'>-- maybe we need to let concepts rot='qstn'>? ='lgc'>='lgc'>--> de="trms">compose='lgc'>])
Manning's elusiveness='lgc'>: (i have become hyper-conscious about qualities that endow in="trms">finite freedom of thought to human subjects...)
="lsts lst1">•elusive thought طفره (='lgc'>=/= volatile فرار) ='lgc'>='lgc'>--> Spiderman's mode of freedom (-you can never catch him ='lgc'>+ in="trms">finite flexibility ='lgc'>+ ) (the effect of Spiderman on himself is that his moves are “amazing”)
="lsts lst1">•elusive thought ='lgc'>='lgc'>~->='qstn'>? mystical
="lsts lst1">•elusive thought ='lgc'>=/= modest thought limited by curiosity
="lsts lst1">•
“hierarchy as the bad object” ='lgc'>='lgc'>==>
="lsts lst1">•to escape thinking about your own ="trms">agency (='thdf'>for example what your name and reputation does='qstn'>? what are the precise ="trms">responsible consequences of your particular ="trms">position='qstn'>? your ="trms">position involves not only the ="trms">book you ="trms">write or the argument you make, it involves also your name and reputation, the currency of your gender, your mode of charisma and ="trms">authority, your ="trms">affective ="trms">techniques, your ="trms">network enacted, and so on.)
="lsts lst1">•to escape naming the engineering talents and ="trms">skills that are necessary to assemble (for example the senseLab website)
="lsts lst1">•to escape ="trms">epistemological commitment (the ="trms">question of='lgc'>: ='strcls'>**how is my ="trms">vocabulary ="trms">crafted for whom='qstn'>?='strcls'>**)
="lsts lst1">•
it is not clear (but i can maybe guess about it, Manning's commitments are)='lgc'>:
="lsts lst1">•(learning from ="ppl">="ppl">Haraway='lgc'>:) what they have witnessed ='lgc'>[hierarchies='qstn'>? ='lgc'>==commit='lgc'>='lgc'>==> anti-archive='lgc'>]
="lsts lst1">•(learning from ="ppl">="ppl">Despret='lgc'>:) which bodies they care for ='lgc'>[the autists='qstn'>? ='lgc'>==commit='lgc'>='lgc'>==> elusive creativity='lgc'>]
="lsts lst1">•(learning from ="ppl">="ppl">Kenney='lgc'>:) where are their alliances پیوستگیها ='lgc'>[with multiculturalism='qstn'>? ='lgc'>==commit='lgc'>='lgc'>==> democracy's logos of ="trms">difference='lgc'>]
="lsts lst1">•(learning from ="ppl">Verran='lgc'>:) how their ="trms">="trms">equipments are ="trms">crafted ='lgc'>[by processual ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics='qstn'>? ='lgc'>==commit='lgc'>='lgc'>==> in="trms">finity='lgc'>]
="lsts lst1">•(learning from ="ppl">="ppl">Stewart='lgc'>:) how their ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigor is built ='lgc'>[by conceptual description='qstn'>? ='lgc'>==commit='lgc'>='lgc'>==> non-habituality='lgc'>]

(because of her immense intelligence she cannot be normal, but that doesn't mean she can prescribe normativity, and issue a command ='lgc'>[in terms of the “de-” or “anti-“='lgc'>] or order a claim of reality ='lgc'>[in terms of “an-” or “ab-“='lgc'>])

="large lg2" stl="font-size:111%"> ="prgrph">-Manning's “philosophy of event” (='lgc'>=/= multi="trms">species ethnography, i prefer working with the ="trms">animal idea, because there is no way you can make philosophy out of ="trms">animal, they always relentlessly ="trms">contingent and ="trms">historically ="trms">materially ="trms">specific)

="prgrph">-Manning's notion of impersonality ='lgc'>='lgc'>==> ‘people are exchangble’ ='lgc'>+ ‘the work is what is important and not “you”’ ='lgc'>[='lgc'>='lgc'>--> ='strcls'>*="trms">techniques of impersonality='strcls'>* has being used in sufism and ="nms">iranian mysticism. i have seen how the special effects of impersonality is used in political projects, making of soldiers, master-disciple ="trms">relationship, and so on
="prgrph">-look at the cool impersonality of the ="trms">scientific ="trms">language (depriving them of their own ideological status)
="prgrph">-early 19th century ="trms">modern public space was reinventing and operating with impersonality='lgc'>: individuals are ="trms">systematically habituated not to return the gaze of the other.
='lgc'>=/= i am actually very much attracted to persons. i am ="trms">interested in their personality. the “you” is what i fall in ="trms">love with, not the ‘abstract link'='lgc'>='lgc'>--> (Manning's) peripheral perceptivity ='lgc'>=/= (i am trying to learn) to describe what is in front of me (which is never easy)='lgc'>]

="prgrph">-Manning's notion of “the problem gives the ="trms">question to be asked of it” ='lgc'>=/= the ="trms">question problematizes

="prgrph">-focus on “sedimentation” (='lgc'>='lgc'>--> where is the coexistence of contrasts for them='qstn'>?)

“decontextualization”='lgc'>: their ="trms">technique of concept-making (='lgc'>='lgc'>==> claims of reality, of nunhuman, etc.)
='lgc'>[decontextualization is a very d="trms"nttrm="danger,stranger">angerous way of ="trms">crafting concepts. there are other ways, committed to the ="trms">contingencies of the ="trms">historical ="trms">material ="trms">world of multi="trms">species. ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigor of conceptualization that i am learning from ="ppl">="ppl">Stewart is about the ='strcls'>*quality of an access to part of a ="trms">world='strcls'>* ='lgc'>=/= decontextualization='lgc'>]='lgc'>--so='lgc'>='lgc'>--> i say we need ‘concepts’ and not ‘philosophy’='lgc'>:
='strcls'>*philosophy (as practiced by M&M and ="frds scrmbld"nttrm="Alex,Alert,Aleph,Alessi">Alex)='lgc'>: claiming the ="trms">nature of reality
='strcls'>*concept='lgc'>: a figure you make in order to do a limited ="trms">situated work

“conceptualization='lgc'> = fortification” استحکامات
(to fortify one's own work with concepts ='lgc'>='lgc'>==> settlement)

="large lg6" stl="font-size:100%"> Manning's af="trms">finity with in="trms">finitly, more, and multi ='lgc'>='lgc'>--> what is their ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigor is doing for them='qstn'>? commits them to the nonhabitual. (resisting to name their habits, depriving them of thier habitual labors) ='lgc'>[='lgc'>=/= ='mywrk'>my work on descriptive practices='lgc'>]

="prgrph">-i want to know about their ="trms">="trms">empirical tools that make ="trms">translation-work visible (='lgc'>='lgc'>==> decom="trms">position), not their conceptual descriptions ='lgc'>[='lgc'>=/= textured description with ="trms">thick details ='lgc'><='lgc'>== i really think the devil is in the details!! ='lgc'>}='lgc'>='lgc'>--> art of noticing things='lgc'>]
="prgrph">-i want to know how Manning is compromised into desiring what she is doing. ='lgc'>[compromise='lgc'>: being exposed or made ="trms">liable to d="trms"nttrm="danger,stranger">anger, suspicion, or disrepute. ='lgc'>--the way she told the ="trms">story of her practice had a difficult sense of success in it, of being cool and correct at every turn, uncompromised. (='lgc'><='lgc'>-- why is this a turn-off for me='qstn'>?)='lgc'>]

for ="trms">aesthetic, political, ethical reasons i want Manning to address in their work='lgc'>:
="lsts lst1">•the ="trms">question of ="trms">apparatus ='lgc'>='lgc'>--> working within an ="trms">apparatus of thinking in order to get somewhere in a sustained way. i want them to name their ="trms">apparatus of ="trms">literary production. how they engage with the ="trms">interface, ="trms">data-set, grammar, and ="trms">literacy of their reservoir.
="lsts lst1">•the ="trms">question of infrastructure ='lgc'>='lgc'>--> how they balance the possible and the acceptable, the balance of action, tools, and the built environment
="lsts lst1">•the ="trms">question of ="trms">technology ='lgc'>='lgc'>--> how they take apart the tool from its context of involvements and referentialities
="lsts lst1">•the ="trms">question of political orientation ='lgc'>='lgc'>--> how they have accepted the democratization of knowl="trms"nttrm="knowledge,Knowledge">edge and multiculturalism (='thdf'>the idea of “knowl="trms"nttrm="knowledge,Knowledge">edge for everyone” ='lgc'>[='lgc'>='lgc'>--> there is a very thin line between the impulse to democratize and commodify knowl="trms"nttrm="knowledge,Knowledge">edge='lgc'>]; ='lgc'>--could multiculturalism be radical capitalism in action='qstn'>?! ...faking diversity to build more diverse companies ='lgc'><='lgc'>-- “lip service”='lgc'>: to just say something but not actually do it)
='lgc'>[='lgc'>='lgc'>--> the hegemony and ="trms">horror of “="trms">different experience” of the so-called ="trms">different cultures (a form of racism='qstn'>?)='lgc'>]
='lgc'>[multiculturalism ='lgc'>=/= trans-="trms">species='lgc'>]
='lgc'>[multiculturalism ='lgc'>=/= eurasia='lgc'>]
='lgc'>[='lgc'>='lgc'>--> the hegemony and ="trms">horror of “the completely ="trms">different” (='lgc'>='lgc'>==>='qstn'>? de="trms">skilled ="trms">society)='lgc'>]

Manning='lgc'>: “in senseLab we work with the people who don't use ="trms">language, don't ="trms">write, etc.” (='lgc'><='lgc'>-- what does that legitimates, conceals, or smuggles='qstn'>? what ="trms">sorts of hierarchies and ideologies of status emerge out of that='qstn'>?)

="prgrph">-as the philosopher of nonintentionality how did she ="trms">responded (="trms">paranoically='qstn'>?) to our intents when ="trms">questions where asked='qstn'>?
="prgrph">-as the philosopher of discord how did she ="trms">responded to disagreement='qstn'>?

="large lg18" stl="font-size:116%">
(='qstn'>?how do you tell the tale of) ='strcls'>*your adventures سلوک and achievements کرامت='strcls'>* (karamat va soluk)
(why self-promoting is such a turn-off='qstn'>? it makes the ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listener into someone to convince or win over into the Förderung of the speaker. ='lgc'>[with ="ppl">Campbell:='lgc'>] self-="trms">marketing creates a ‘="trms">perverse knowl="trms"nttrm="knowledge,Knowledge">edge’ about the work of the speaker, that means you give information about ‘healthy’ parts of your practice, your achievements and moral/="trms">material awards, with ='thdf'>the ='thdf'>assumption that the ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listener is going to make a good decision about the ‘halo effects’ of the speaker, but in fact you are made ‘brand ="trms">literate’)
or ='lgc'>[it is seems elementary but neccesory to ask Manning:='lgc'>] what is the ="trms">difference between advertisement and knowl="trms"nttrm="knowledge,Knowledge">edge='qstn'>?


there are innumerable ways to adapt to the ="trms">world without creating a philosophical understanding of the ="trms">world

(Manning) “we feel the force of form. this kind of beauty has nothing to do with an external ="trms">aesthetic judgment.” (='lgc'>='lgc'>--> how the personal judgment is not worthy of philo when a tsunami is coming or one is on the way of being gang raped='qstn'>?)


during the workshop Manning remains the center of command. she constantly “knows” (better). and she insists that through letting go of our critical thinking the participants can understand her notions ='lgc'>='lgc'>==>='qstn'>? how can she not build disciples='qstn'>?!

="large lg6" stl="font-size:129%"> on production
replacing the name of ‘production’ with ‘but we must leave a trace’ (which exactly do let ='thdf'>the notion of production sneak back in under an other name)

(Manning on p.16 5th paragraph is an ='thdf'>example of an) unaccountable un="trms">situated abstract claim of reality='lgc'>:
="lsts lst1">•unaccountable ='lgc'>='lgc'>--> where do you stand saying this='qstn'>?
="lsts lst1">•un="trms">situated ='lgc'>='lgc'>--> for whom is this good='qstn'>?
="lsts lst1">•abstract ='lgc'>='lgc'>--> how you are saying it='qstn'>?

='thdf'>the notion of “care for the event”
='lgc'>=/= perspectives
='lgc'>=/= subjects
='lgc'>=/= persons

“occasion itself creates its subjects” (='lgc'><='lgc'>-- you are a subject inside the occasion, how can you stand out and say that='qstn'>?)

(Manning) creating a concept of care ='lgc'>=/= care as actually practiced in ="trms">different parts of the ="trms">world by people
(what is the politics of not caring='qstn'>?)

Manning's ="trms">rhetoric of reasoning='lgc'>: ‘virtuous’
telling soft wisdom tale with an emotional twist at the end and how she did the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right thing and came out clean and cool ='lgc'>='lgc'>--> rectitude

her text has become all about the achievements of senseLab with a cover of high philosophical abstract conceptualization (='lgc'>='lgc'>~= fortification)
='lgc'>=/= taking ='strcls'>*risk='strcls'>* (='lgc'>=/= adventure) of talking about the real problems that you face in doing/thinking
='lgc'>=/= abstraction as the challenge of bringing ="trms">specificity and ="trms">imaginative traction

“adventure” is not the name of the game for me, for two reasons='lgc'>:
="lstsrd">1. Manning brought her concept of ‘adventure’ to Belgium='lgc'>: the land of Tintin, poster of the moderinst adventure ="trms">agency sold by the image of the individual blond univerasal truth-seeker exporting company who always wins by de="trms">finition, Tintin is the one who doesn't have a culture and always others have culture in his ="trms">stories
="lstsrd">2. i have been researching europeans who came for an “adventure” to ="nms">iran in the last millennium (such as ="ppl">Olearius), and it doesn't look good. when europeans go out of their center to east it is adventure (or ="trms">anthropology), that means othering and feeling the ="trms">differences of the other in order to feel outside. but when, for example ="nms">iranians go to Europe, they never feel they are there for “adventure,” they are there to learn. the mode of adventure plays this role in the colonial dynamic of “going out there”

(my fundamental ="trms">difference with her is that) for Manning (and ="frds scrmbld"nttrm="Alex,Alert,Aleph,Alessi">Alex)='lgc'>: “philosophy is a ="trms">priori to ="trms">storytelling” ='lgc'>[='lgc'>=/= ="ppl">Serres='lgc'>]


="prgrph">-why did i behave the way i did in the workshop='qstn'>?
="prgrph">-was it my politeness, ="trms">routine, habit of respect='qstn'>? what are the consequences of my ="trms">specific way of (non)relating to her figure as a master, knower, seer, in ="trms">relation to that which she offers and re="trms">presents='qstn'>?
="prgrph">-why the scandalous was ="trms">responded to, assimilated, burried, swallowed in the way it did in the workshop='qstn'>?

rethinking emergence='lgc'>:
="prgrph">-with ='thdf'>the idea of “let it emerge,” was it herself that emerged because of us='qstn'>? (apply emergence-thinking to her figure in the workshop)
="prgrph">-how a collective resentment “emerged” in the participants='qstn'>? (apply emergence-thinking to the participants)
="prgrph">-how hierarchies “emerged” in the workshop='qstn'>? and what are they='qstn'>?

to be ungraspable for the ="trms">market ='lgc'>='lgc'>==> ='qstn'>? (="trms">marketing the self)
to be unintelligible for the university ='lgc'>='lgc'>==> ='qstn'>? (devitalizing the university)


="trms">questions='lgc'>:
="lsts lst1">•decontextualization, as an artistic ="trms"nttrm="already,spread">ready-at-hand tool of concept-making, does it do good or bad to knowl="trms"nttrm="knowledge,Knowledge">edge and ="trms">imagination (as it is practiced by the people who use it) and how='qstn'>?
="lsts lst1">•facing the challenge of bringing ="trms">specificity and ="trms">imaginative traction to our objects of attention, how do we build nontranscendental abstractions='qstn'>?
="lsts lst1">•and, why self-promoting is such a turn-off='qstn'>? (projecting a self-image of being cool and correct)
how do you (not, and why not) tell the tale of your adventures and achievements='qstn'>? or, how can we ="trms">respond to the ‘="trms">demand for the mobilization of desire’ in the economy of attention that Manning brought with herself='qstn'>? and how that economy is ="trms">different from that of ="nms">apass='qstn'>?

="large lg14" stl="font-size:126%">

in the spectrum of ‘auto-ism’ (not the pathological term for developmental disorder) ='lgc'>['auto-’='lgc'>: from ="trms">Greek αὐτo-, “self"='lgc'>] ‘being ="trms">socially inept, being with oneself,’ we can also locate ‘allism’ ='lgc'>['allo’='lgc'>: from ="trms">Greek ἄλλος, állos, “other”, “else"='lgc'>] ='lgc'>='lgc'>--> al="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic='lgc'>: ‘to be ="trms">skilled at being with the ="trms">different other (assumed human)’

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eurocentric ='lgc'>=/= european
="lsts lst1">•i actually ="trms">love “european.” i learn from it all the time. how does the ="trms">world looks like from here.
="lsts lst1">•but eurocentrism is horrible. they assume an o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin and displace it to any place/time ='lgc'>='lgc'>--> it happens when a philosopher tries to be anti-western but assuming the same o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigins of thinking for everybody else and not taking the time to become ="trms">interested in the (non)thinking forms of no="trms">neuropeans


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='at'>#workshop on 3D animation all on Nude Descending a Staircase
inspired by minute 16 of “Pink Slime Caesar Shift” (2018)


“there is much more to you that meet the eye.” the motto of transformation in secular capitalism, sang by Jane Fonda and Transformer Optimus Prime

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="large lg1" stl="font-size:139%"> rese="trms"nttrm="search">archer's ="trms">questions
in your obscure (elaborate and awkward) meditations, (='qstn'>?can we ask='lgc'>:) what is sacrificed, what is recooked, canibalized, chewed over, and eventually buried='qstn'>? in which economy of pleasure and pain is this mobilized='qstn'>? which harmful (or hedonistic) ="trms">sensualism is deployed='qstn'>? which ="trms">hallucinating enfant is ="trms">writing='qstn'>? which raw ="trms">material is being transformed into the gold of humanity='qstn'>?
="prgrph">-the ="trms">question of will='lgc'>: which ="trms">world is murdered and repopulated by the act of (your) will alone='qstn'>?

a research ="trms">method of starting a conversation, for ="nms">apass
='strcls'>*take me to you ="trms"nttrm="already,spread">reader='strcls'>* ='lgc'>='lgc'>--> bring me to the subject who you think is ="trms"nttrm="already,spread">reading you, receiving your work in some ="trms">sort,

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few things (that i hate hysterically) that i think i urgently need (and any artist) to have a very good grasp of (within ="trms">modern capital economy)='lgc'>:
="lsts lst1">•="trms">marketing (='lgc'>='lgc'>--> ="trms">integrated ="trms">storytelling)
="lsts lst1">•="trms">fashion (='lgc'>='lgc'>--> manipulative regimes of time and place)
="lsts lst1">•journalism (explanatory ="trms">technologies of news and opinion, vox, kurzgesagt, corporate media, immersive journalism, forensic ="trms">aesthetics)
="lsts lst1">•politics (='lgc'>=/= political ="trms">science)='lgc'>: achieving and exercising ="trms">positions of governance that have control over ="trms">communities
="lsts lst1">•hollywood/comics (='strcls'>*corporate-produced ="trms">fiction='strcls'>* ='lgc'>='lgc'>--> business-decisions connecting cross-overs; ideas of='lgc'>: customer and merchandise)


i can't shake off ='thdf'>the idea that behind every ="trms">marketing strategy there i a predatory behavior concealed


='strcls'>***there is nothing quite so humiliating and disempowering as trying to prove the truth='strcls'>***

‘trying to prove the truth’ is the worst ="trms">position you can find yourself in and it means you are fucked. because you are doing it to empower yourself in the face of a biger power that lies and claims you. the conditions that had let that happen are the ="trms">question, not the truth of the ="trms">matter ='lgc'>='lgc'>--> ='thdf'>that is why i find journalism most of the time useless

="large lg14" stl="font-size:117%"> impossibility of having an ="trms">interview with ="nms">iranians (myself in="trms"nttrm="cluster,club">cluded)='lgc'>: ='lgc'>[='lgc'><='lgc'>==='qstn'>? chaotic subjectivity='lgc'>]
deflection ='lgc'>='lgc'>--> dodging='lgc'>: not giving meaningful answers ='lgc'>: gradations of non-answers you are receiving
taking a keyword, repeating it, sounds like answering the ="trms">question, introducing a nonsequitur to trip up the host
='lgc'>='lgc'>==> more confused ='and'>& less informed

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='at'>#project Puchberg landscape Austria
shifting baseline syndrome='lgc'>: reshaping the landscape and forgetting what was before ='lgc'>='lgc'>==>='lgc'>{ (new) reality='lgc'> = shaped and ruined landscapes
(Emirates was for me such reality of shaped ruin)
admiring one landscape and its biological entanglements (Puchberg Austrian meadows, with it cows and horses, place of beauty and leisure) ='lgc'>==entails='lgc'>='lgc'>==> forgetting many others ='lgc'>='lgc'>--> ‘forgetting’ (='lgc'>~ privileging one assemblage over others) ='lgc'>==remakes='lgc'>='lgc'>==> landscapes
(yet) ghosts point to forgetting, show how living landscapes are imbued with earlier tracks and traces
( specters in grasslands...)


in ="nms">apass (i can't pose problems until) we must address these ="trms">question='lgc'>:
="lsts lst1">•European ="trms">heritage of creating conviviality شادمانی قابل آمیزش (and very good at it)
="lsts lst1">•='thdf'>the idea of democracy as a political project اکثريت نجيب (soft ways of being together)
="lsts lst2">◦secularism of artistic research دين ناوابستگى (registers of logos)

='lgc'>[most of the times our collaborative research artistic practices explicate ‘soft ways of being together’ ='lgc'>='lgc'>==> a condition in which no one knows better than the other='lgc'>]

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the accelerationist ="trms">fable of “running before walking”
ask any ="trms">scientist and it comes to this. any problem caused by progress is because it has been going too fast. but the direction of its movement remains intrinsic to ='thdf'>the idea of human
...

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='at'>@="frds scrmbld">Hoda='lgc'>: to be very careful with the fetish of “refugee's suffering” ='lgc'>='lgc'>--> turning a ="trms">serious political problem (geopolitics of western ="trms">intervention, europe's economic neocolonialism) into a (sentimental liberal) humanitarian concern ='lgc'>='lgc'>==> avoiding critical political analysis

='qstn'>?a ="trms">different program='lgc'>: not to be yourself
to bring our struggles together (not our so-called cultural ="trms">differences)

refusal to ="trms">integration is problematic as ="trms">integration (into host's pleasure principle)

authentic imperialism has always been multicultural

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on ="trms">affect
="trms">affective character practice of retrospection='lgc'>: a bit pensive and passive, a bit slow and solemn='qstn'>?

1970s and 1980s ="trms">anthropology of emotion='lgc'>: how feelings variously fix and stick through ="trms">different com="trms">positions of ="trms">language and discourse ='lgc'>=/= ="trms">anthropology of ="trms">affect='lgc'>: how some feelings slip, evade, and overflow capture ='lgc'>='lgc'>==> ='strcls'>*creative ="trms">methods to collect evidence of environments making and shaping bodies in ways more complex than and ="trms">ontologically distinct from the ="trms">poetics on hand to describe it='strcls'>*

='strcls'>**="trms">poetics may quite possibly be all that we have, it certainly isn't all that we are='strcls'>**

='lgc'>[='strcls'>*='lgc'>]politics='lgc'>: permutations of evolving power ="trms">relations and our reflexive attempts to negotiate and manage them

='strcls'>*="trms">affect theory='lgc'>: an effect of the ="trms">world as much as a frame for viewing it

industry working also on ="trms">affect, push confidently ahead, operationalizing their own idio="trms">syncratic theories of ="trms">affect toward the manufacturing of new regimes of ="trms">technological knowl="trms"nttrm="knowledge,Knowledge">edge on how bodies feel (Apple buying Emotient, SoftBank's emotional robot, collective AI cloud)

sp="trms"nttrm="already,spread">read of popu="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list anti-establishment sentiments
feelings increasingly become the primary field for strategizing, ="trms">measuring, and experiencing politics with global precarity
="lsts lst1">•="trms"nttrm="danger,stranger">anger on the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right
="lsts lst1">•fear on the left
="lsts lst1">•="trms">anxiety at large

="trms">affect='lgc'>: nonconscious intensities variously activating and deactivating bodies
emotion='lgc'>: those feelings that fix into place through a variety of discursive practices

="trms">methods of mining feeling
projects of knowing become projects of power ='lgc'>: ="trms">narratives seeking to close the ="trms">affect-emotion gap

The Flash TV series character's motivation are more experienced as a ="trms">story, for example, a goal, a personal pep talk, a collective call to arms='lgc'>--and not as momentum and force ='lgc'>='lgc'>--> ="trms">affect's sheer momentum

...effect as ="trms">affect's long ="trms">history breaking on a shore

countervailing forces of sense and ="trms">story

to inspire a sense of critical urgency

="trms">affect ='lgc'>='lgc'>==> theory is of the ="trms">world it so describes

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contemporary tendencies in participatory art='lgc'>:
="lsts lst1">•='strcls'>**ongoing struggle to find artistic equivalents for political ="trms">positions='strcls'>**
="lsts lst1">•tensions between quality and equality, singular and collective ="trms">authorship
="lsts lst1">•sub-themes of education and therapy

='strcls'>***invention of a popular mass audience (in Italian Futurist serate 1910 onwards)

the gaps between='lgc'>: theory, practice, cultural policy, audience reception

anarchic and ="trms">eroticised happening-art

“participation='lgc'> = collectivism ='lgc'>=/= capitalism”

='at'>@="frds scrmbld">Eszter='lgc'>: (='qstn'>?the “ideological” in) participation in a welfare state ="trms">social democracy

the ‘project’ as a privileged vehicle of utopian experimentation at a time when a leftist project seemed to have vanished from the political ="trms">imaginary (in Europe)

='strcls'>*changing identity of the audience across the 20th century='strcls'>* (Bishop ='and'>& ="ppl">="ppl">Crary on this topic)

='strcls'>*artistic models of democracy='strcls'>* ='lgc'>--tenuous='qstn'>?='lgc'>='lgc'>--> actual forms of democracy

to refute the commodity-object in favour of an elusive experience

(Bishop='lgc'>:) today's participatory art is often at pains to emphasise process over a de="trms">finitive image, concept or object. It tends to value what is invisible='lgc'>: a group dynamic, a ="trms">social ="trms">situation, a change of energy, a raised consciousness.

hit-and-miss field trips

the more one becomes involved, the harder it is to be objective – especially when a central component of a project concerns the formation of personal ="trms">relationships

comfortable outsider status='lgc'>: impotent but secure in one's own critical superiority

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only working with (that seems to be) your idea

(the problem of) being always so deliberate and cautious

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="ppl">Hillman

like the conver of his ="trms">book (myth of analysis), an ="trms">internal drama externalized ="trms">materialized in the media, sci-fi ="trms">fabulations of violence and war (such as Game of Thrones) are perhaps projects that also ="trms">craft and give form to what is inside='lgc'>: dragon, torture, journey, landscape, getting caught, etc.

what are art's investments in psychology today='qstn'>?

all (in="trms"nttrm="cluster,club">cluding artists) must envision suffering and illness as something “wrong” ='lgc'>=/= the fantasies, feelings, and behavior arising from the ="trms">imaginal part of ourselves are ='strcls'>*="trms"nttrm="search">archetypal='strcls'>* in their sickness and thus ='strcls'>*="trms">natural='strcls'>* ='lgc'>='lgc'>--> (those odd irrationalities) ='strcls'>***are required for life='strcls'>***
='lgc'>='lgc'>--> then what is there to analyze='qstn'>? (='lgc'><='lgc'>-- relevant ="trms">question for ="nms">apass)

“unconscious” and “psychodynamics” are ='strcls'>*fantasies that could be replaced with better ones='strcls'>*

(="ppl">Hillman's ="trms"nttrm="search">archetypal psychology) ='strcls'>**asks the psyche to move with its sickness into life='strcls'>**

(to discover) a sense of soul in the sufferings of Psychopathology ='lgc'>: ='strcls'>***something lives in me that is not of my own doing='strcls'>*** (='lgc'>='lgc'>--> demon, psychic force,,,) to take soul with one wherever one goes and to react to life in terms of this soul

="trms">symbolic meanings, insights, eros, body, craziness, the ='strcls'>*lower aspects of the gods='strcls'>* ='lgc'>='lgc'>--> the freedom to ="trms">imagine and to feel psychic reality

“inner reality” ='lgc'>='lgc'>--> called up by ego ='lgc'>='lgc'>==> individuality='lgc'> = to be peculiar, to be peculiarly what one is, with one's own odd patterns of ="trms"nttrm="search">archetypal ="trms">responses

='heart'>♥='strcls'>***we are never only persons; we are always also Mothers and Giants and Victims and Heroes and Sleeping Beauties='strcls'>*** (='lgc'><='lgc'>-- what i am learning from psychoanalysis)

the mythic appears within the ="trms">language, observation, and theories even of ="trms">science

recent attempts to move out of analysis='lgc'>: (='at'>@="frds scrmbld">Aela)
="lsts lst1">•group therapy
="lsts lst1">•sensitivity training (='lgc'>='lgc'>--> ="nms">apass)
="lsts lst1">•="trms">love-ins
="lsts lst1">•blowing-the-mind with ="trms">drugs
="lsts lst1">•

='lgc'>[='strcls'>*='lgc'>]analysis (is too potent) is too much a part of this century's self conception ='lgc'>--requirement='lgc'>='lgc'>--> of ego psychology
(='lgc'>[apollonic aim of enlightening consciousness ='lgc'>='lgc'>-->='lgc'>] enlightened ='strcls'>*egoization='strcls'>* of the psyche ='lgc'>=/= ='strcls'>*a darker and softer kind of life='strcls'>* ='lgc'>='lgc'>~-> end of ="trms">neurosis, end of analysis, end of consciousness...) analysis ='lgc'>--in-20th-century='lgc'>='lgc'>--> rediscovering the soul and reawakening its ="trms">imagination
(rethought ='lgc'>='lgc'>-->) ='lgc'>[='strcls'>*='lgc'>]analysis='lgc'>: essentially as ="trms">imaginative activity (or an activity of the ="trms">imaginal realm) as it plays through all of life ='lgc'>='lgc'>--> ='lgc'>[='thdf'>the idea of one's “="trms">fable” ='lgc'>~='lgc'>] ='strcls'>***what is the fantasy he has of what he does='qstn'>?='strcls'>***

analysis is an ='strcls'>*enactment='strcls'>*
enactme[...]