Ereignis: 0, (Max.: 500+)

[...]s, coproductions
(they must also be) relational, sympoietic, consequential


myth-systems (are set-ups)
(a deadly one: “Man + Tool ==> history”)


names =/= faces (~ morphs of the same)

a thousand names of something else

(what Haraway is naming with) compound-eyed insectile and many-armed optics

winged domains
bird-bodies

(Haraway's spider and) my ajayeb's snake: tasks of thinking, figuring, and storytelling
----> heady facial representation; [Luisa also dislikes this]
figure of snake (circular serpent) is ajayeb Persian sf worlding, has ties with the Greek Chthonis (“of the earth,”) is at the same time the image of the continuity of life and the abyssal moral (eating your end, no gag reflex)-->{Gildas Hamel: “the abyssal and elemental forces before they were astralized by chief gods and their tame committees"}

“many critters acoss taxa” (juju جوجو + rade رده)

(I dispute Haraway's notion of “sacred.” popular religion is at many times populated by earthly figures alongside many astralized destructive finitudes.)

Haraway's urgently needed Chthulucene story


[Miyazaki's] biodiverse terra [God flips out] into something very slimy, like any overstressed complex adaptive system at the end of its abilities to absorb insult after insult. (Haraway's wording)

(yes yes we are all ultimately connected to one another,) but the specificity and proximity of connections matters

(Haraway + Latour's) ‘things’ are:
1- collection of entities
2- hard to classify, unsortable, (and probably with bad smell)


Anthropos =/= rich generative home of a multispecies Earth

“looks up at what he sees.”

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ʿAjā'ib al-makhlūqāt wa gharā'ib al-mawjūdāt
Ajayeb al-makhlughat wa gharayeb al-mojudat (عجائب المخلوقات ,عجایب المخلوقات) in short: Ajayeb, is a suggestive cognitive work, full of strange linguistic pollutants, interesting agencies and animations, and like most of the medieval sciences and knowledge systems that were busy with the transformation of agencies it collapses “lists” and “narratives.” In Ajayeb each animal is a consensual hallucination device (~ each animal is a way of knowing the world); some pre-organic, inter-corporal species, with trans-ontological intentionalities.

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infrastructure: piled-upon assemblages within which there are many discontinuities but also connections, some deliberative, some inadvertent. (Katie King)
--> “flexible knowledges”

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آب حیوان {how could I know that Vladimir (in his performance for Lilia's apass score) was not (in)sourcing the Holy Waters, abe heyvan or vozu? his sweat was the ooze of a modern and secular labor. he was using a profane water?}
حیوان خوران جهان heyvan khorane jahan
زیرکان کهن kohan zirak

حجابی که ظلمات شد نام او روان آب حیوان از آرام او (Zolmat & abe heyvan)

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#my work in apass is about:
bestiary: archaeological anthropology of human-animal practices
rhetoric: scaling, modeling, figuring out fields of practices
ontology: circumscribe, address, or deal with the processes of ontological transformations
storytelling: mobilizing different kinds of mental resources and literacies
performance: what it would be to know together
sociality: that which joins categorically separate mode of agencies


#my findings/questions, so far:
animal subjectivity ~=? human imagination
bestiary ~=? affect + episteme
medieval bestiaries: world ~= phenomena
definition ~=? ontological choreography ==> worlds are created
metaphores of self ~-> body image ~=? image of world
list ~=? reason


I found myself oriented towards a kind of ‘multispecies ethnography’: a new way of writing and mode of research in which creatures previously appearing on the margins of interest--as part of the landscape, as food for humans, as symbols (for mystic projects)--have been pressed into the foreground of interest.
(what are my) symbolic + symbiotic attachments
what/who is coughing, counting, working, communicating sited between divine and bestial in ajayeb?
-is my ajayeb a (dead/alive) multispecies art project? studying Indo-Arab-Iranian illuminated manuscripts as to be reading a paper in ecology or molecular biology or art.

fire wilderness deer heyvan animal [source: https://commons.wikimedia.org/wiki/File:Deerfire_high_res.jpg] unlike Alex Arteaga's question of “inevitable altruism” {started from “conscious human subjects” and ended there} (in his talk 30.05.2017 apass,) I would insist on giving an account of the metaphors of ‘self’ in the history of body and mind (that matters to ‘you’) [my findings of self: maginc lantern, iceberg's tip (==> unconsciousness), wasteland/wilderness, greedy beast within, ... {--> these are all (classical) basis for “higher” cognitive capacities}] [also I am against Alex's notion of “destablizing stabilities as the task of artistic research.” I choose to refuse to put what is in flux against what is stable or attempting to stabilize. (I am in alignment with Katie King sharpening for me that) we constantly share our stage, settings, performances, sensoria, reenactments among agencies and species, creating varying stabilities, some fragile, some robust]
*account--synonymous with: description, information, list, reason, record, statement, story, sum, tale
-a contractual relationship
-giving an itemized account of recent transactions and resulting balance (of your metaphors = material-discursive apparatuses that are materializing your found empirical objects)
-accountability is always also about remaking those relations that produced your objects
-detailed explanation of money held in trust, to count, enumerate* -->{telling =? enumerating}
counting your senses
*accountability is about your ‘import’ functions (like in a programming language when you import a library of functions)
 --> count: an agent of sorting that separates units or groups of a collection --> list, listed --> to have importance and worth ~-> country ---{? unexpected countries}
 --0--> ‘count’ is also a word technologically tethered, origin of computing


(Kirksey Leigh Star) to begin with the question, ‘cui bono?’ (for whose benefit?) =/= to begin with a celebration of the fact of human/nonhuman mingling

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my Rigs diagrams are ‘swarms’? -a multitude of different creative agents
ajayeb.net (how can it be:) not a website but a “para-site”
am i creating an ego (for ajayeb) in my ajayeb.net? if yes, that would be interesting how?

topos/topic of hypertext, spatial character of electronic writing
topic [from Greek ‘topos’: a place, in ancient rhetoric used to refer to commonplaces, conventional units, or methods of thought] exist in a writing space that is not only a visual surface but also a data structure in the computer --> Hypertext: “is not the writing of a place, but rather a writing with places, spatially realized topics.” (Bolter Hubert)
-in my hypertext, which writing materials, cognitive mappings, itineraries of reading, textual stability, loops and reductions are addressed?

in ajayeb.net the so-called url address or location bar, is itself a control panel, a graphical user interface widget; how did i come to use “?q=” : rhetorics of technologized inquiry in place before i even could think about how do I allow my objects constituted by “?”, “q” and “=” of the language and grammar of internet
(when i uploaded my hypertext i faced immediately the big data:) google webmasters tools is my first readership, it communicates its reading with me; (did i have a desire to make the hypertext for a machine?) who/what is doing the reading (in the world of big data)? the interpretive work that is going on, in a writing and reading done by computers ==> ethical and social values
url pased in facebook post, results into a link to فلزیاب، مطالب علمی و آموزشی / مدار فلزیاب و دستگاه فلزیاب تضمینی, a series of websites for selling treasure finders, finding metal under the ground, ganj, and so on...

the English (since second world war) --> (1) international lingua franca of high technology, (2) the language of computers
-in ajayeb.net the enforcement of standard spelling and even grammar is week or nonexistent
[...]