[...]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'>***
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‘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
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'>*
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(="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
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