[...]s 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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="large lg1" stl="font-size:147%">
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'>?)

="large lg10" stl="font-size:119%">
='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

="large lg6" stl="font-size:109%"> ='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.)

="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 idiom that will not sustain its ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics='strcls'>****
="lsts lst2">◦powerful ="trms">relational work that numbers (also='qstn'>?='lgc'> = ='lgc'>=/= ='lgc'>-='lgc'>-> ='lgc'>=> etc.) perform ='lgc'>-> “numbers are a particularly smooth and manipulable meaning-making tools. they hide their seams well. they are slick and trustworthy” (Porter) ='lgc'>-='lgc'>-> they are “="trms">materialized ="trms">relations” (how can we tell a ="trms">story of ="trms">relations that for example numbers/math ="trms">materialize='qstn'>?)
="lsts lst2">◦highlighting parts of ="nms">ajayeb='lgc'>: as part of a ="trms">material ="trms"nttrm="already,spread">reading practice ='lgc'>-='lgc'>-> “highlighting” could easily be understood as ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor of dis="trms">embodied vision; highlighting is not about making things clear but about scribbling (bad-khat بدخط) as a mode of attention ='lgc'>=/= (="ppl">Descartes’) “="trms">natural light of reason”


="large lg6" stl="font-size:108%"> ='prcnt'>%report on ="trms">fables of objects ='at'>#workshop (22.02.2017 HWD ="nms">apass)='lgc'>: attention to the sense and feeling of disparity, dispersity, stability, ="trms">sublimity, ="trms">authority, epicness, weakness, severity, solidity, scale, (a)="trms">social connections, and tangibility in the character of the object of each participants in the ="trms">stories we wrote. where were active and passive qualities located='qstn'>? how were ="trms">agencies distributed='qstn'>?
="lsts lst1">•o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin ="trms">story ='lgc'>-='lgc'>-> evolution ="trms">story, ="trms">love ="trms">story ='lgc'>[the object falls in ="trms">love with...='lgc'>]
="lsts lst1">•daily ="trms">story
="lsts lst1">•="trms">beast feeding ="trms">story ='lgc'>-='lgc'>-> training ="trms">story
evoking temporality of evolutionary time, face-to-face time, ="trms">historical time, tiny scale time,
 ="prgrph prgrph2">-each ="trms">story has a music, texture of colors, pattern of meaning and ="trms">affect
="lsts lst1">•bodyguard ='lgc'>-='lgc'>-> fantastic creature invented to protect an organism (your “object”). this bodyguard can be organic, nonorganic, cyborg, any form, but always an ="trms">agent. tell us why/how this or that feature helps the bodyguard with its task
="lsts lst1">•generation ="trms">stories, describe and follow your object in three generations, its ="trms">child and grand="trms">child
="lsts lst1">•='lgc'>[for the second day or warm-up first day='qstn'>?='lgc'>] constraint based ="trms">writing='lgc'>: (="ppl">="ppl">Kenney > ="frds scrmbld"nttrm="Christianson">Christian Bök's “="trms">literary genetics” ="trms">poetics of encryption of ="trms">data; ="trms">poetic vectors, to “infect” the ="trms">language;) describe/="trms">story your object (or an operative “="trms">verb” within your discourse) with univocalics='lgc'>: without using “e” or only using a single vowel. or, first ="trms">write with 3, then 2, then 1 vowel.

="large lg10" stl="font-size:112%"> ="prgrph">-the workshop is about='lgc'>: what other ="trms">stories (of your object) are possible='qstn'>?
="prgrph">-in the workshop (I take a temporary ="trms">position to) challenge others to re-tell the ="trms">story of their ((="trms">epistemological) found) objects
="prgrph">-a ‘generative constraint’ might help opening up paths before you, away from our habits of ="trms">storytelling
="prgrph">-it is about getting a feeling for the resistances and potentials of ="trms">language in our (sometimes mundane) descriptive practices, “strange richness of missing the letters we need” (="ppl">="ppl">Kenney)

the ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphors are dormant in our ="trms">routines of talking and noticing each other. how then, by ="trms">traversing the ="trms">routine, our “knowl="trms"nttrm="knowledge,Knowledge">edge” and “="trms">community” took on new meaning, as they get a chance of being re="trms">articulated in ="trms">different ="trms">languages (or ="trms">differenlty infected ="trms">literature)
='lgc'>~-='qstn'>?='lgc'>='lgc'>==> changing the ="trms">system of classification (of thought)

="prgrph">-in a way the workshop is about an ='strcls'>*approach='strcls'>* to knowl="trms"nttrm="knowledge,Knowledge">edge generation (and not necessarily a ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigorous critique nor directly evaluating the production of our knowl="trms"nttrm="knowledge,Knowledge">edges)

="large lg14" stl="font-size:133%">
='strcls'>***nothing is never merely a ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor='strcls'>***

='lgc'>[some ="trms">fables from ="trms">science studies:='lgc'>]
="lsts lst1">•="ppl">Emily ="ppl">Martin's egg/sperm ="trms">story ='lgc'>-='lgc'>-> ="trms">stories of atomism, distribution of ="trms">agency, ='lgc'>='lgc'>--='lgc'>--='lgc'>[The Egg and the Sperm='lgc'>: How ="trms">Science Has Constructed a Romance Based on Stereotypical Male-Female Roles='lgc'>]
="lsts lst1">•="ppl">="ppl">Hayward's microscope ='lgc'>-='lgc'>-> ="trms">tropes of ="trms">natural ="trms">history docu, ='lgc'>='lgc'>--='lgc'>--='lgc'>[En="trms">folded Vision='lgc'>: Refracting The ="trms">Love Life of the Octopus='lgc'>]
="lsts lst1">•="ppl">="ppl">Kenney/="ppl">="ppl">Haraway's o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin/="trms">nature ="trms">fable ='lgc'>-='lgc'>-> the omnipotence of the “o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin” ="trms">story in our descriptions and ="trms">interactions with the ="trms">natural ="trms">world
="lsts lst1">•="ppl">Scott ="ppl">="ppl">Gilbert's immunological “bouncer” ="trms">story ='lgc'>=/= immune ="trms">systems as in="trms">="trms"nttrm="cluster,club">clusive ="trms">agents of ="trms">symbiosis
="lsts lst1">•Lynn ="ppl">="ppl">Margulis='lgc'>: life (made possible) by “combat” ='lgc'>[the survival ="trms">fable that TV series “The 100” and “Kelile Demne” for instance is based on='lgc'>] ='lgc'>--='not'>✕='lgc'>-='lgc'>-> life by ="trms">networking
="lsts lst1">•="ppl">="ppl">Haraway='lgc'>: the tale of “organism='lgc'> = a ="trms">system of division of labor with executive functions” (='lgc'>='lgc'>==> extraction of wealth among us)
="lsts lst1">•="ppl">="ppl">Morton's ="trms">causality-="trms">story
="lsts lst1">•brain/body ="trms">story ='lgc'>-='lgc'>-> where the “move” came from='qstn'>?
="lsts lst1">•="frds">Sina's “standing on the shoulders of giants” ='lgc'>-='lgc'>-> knowl="trms"nttrm="knowledge,Knowledge">edge/continuity, role of ="trms">authority and humility in ="trms">science ='lgc'>='lgc'>--='lgc'>--='lgc'>[http://www.sinaseifee.com/giants.html='lgc'>]
="lsts lst1">•="frds">Sina's 3 little pigs ='lgc'>-='lgc'>-> architecture/tech/ echics of encounter ='lgc'>-='lgc'>-> ="trms">story of the center and periphery ='lgc'>='lgc'>--='lgc'>--='lgc'>[http://www.sinaseifee.com/pigs.html='lgc'>]
="lsts lst1">•“weapon fathered man” ='lgc'>-='lgc'>-> Kubrick's african genesis, ="trms">technology ='lgc'>+ pre="trms">history (in postwar period) “tool ='lgc'>='lgc'>==> man”
="lsts lst1">•
="trms">fables popular in ="nms">apass='lgc'>:
="lsts lst1">•“a work ='lgc'>[of art='lgc'>] should speak for itself”
="lsts lst1">•“the very last ="trms">stage of the creative process is purely intuitive” ='lgc'>-='lgc'>-> when people say they stop “="trms"nttrm="already,spread">reading” or “knowing” when they want to create artwork
="lsts lst1">•“look really hard inside yourself for what you really want”
="lsts lst1">•“you are an ="trms">agent of change” that means art or thinking or being ought to be operative, active, transformative, (even destructive) and that is “political” ='lgc'>[='lgc'>-='lgc'>-> this ="trms">fable in found in ="trms">language; ='lgc'>-='lgc'>-='lgc'>-> ='gtrw'>go to ="ppl">Barthes’ ="trms">fable of the woodcutter='lgc'>]
="lsts lst1">•




="large lg3" stl="font-size:110%"> no need for “conflict” nor “hero”
(in the way we give feedback, relate, ="trms">narrate, ="trms">story, and tell eachother our ="trms">matters of care and concern, and where we create zones of attachment; both in your “art work” and the mundane everyday of ‘getting on together’ ='lgc'>-='lgc'>-> ="trms">interrupting one's own framework)

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='at'>#workshop, on ="trms">question, feedback ="trms">method, to improve the ="trms">questions we ask each other
="prgrph">-what are the ="trms">questions (i could ask) that make you the most ="trms">articulate='qstn'>?
="prgrph">-the ="trms">question that asks what are the good ="trms">questions that offer an ="trms">interesting becoming for those to whom the ="trms">question is addressed
="prgrph">-to ask='lgc'>: does this ="trms">apparatus has stakes in docility or availability='qstn'>?
="prgrph">-more ="trms">interesting ="trms">questions ='lgc'>==enable='lgc'>='lgc'>==> more ="trms">articulated answers ='lgc'>='lgc'>==> more ="trms">articulated identities
="prgrph">-asking (="trms">questions) (is not about ‘you want to know,’) is about constructing ="trms">interest ='lgc'>='lgc'>==> chan[...]