[...]w, it does not mean you do not have to rebel or not get into trouble.

idiosyncratic likes (or dislikes) =/= jouissance

Ahmed reading many narratives of freedom, in which an indifference is “directed” as the apparent gift of freedom (, father becomes indifferent to what her daughter does as long as it makes her happy) --> the unhappy objects of difference

fantasies of proximity (in sense8 TV series) --> if only we could be closer, we would be as one
the happiness of the characters of sense8 is the promise of “the one”

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how to learn to read the discursive practices of being of ajayeb? the ways each being proposes its own (or another's) changing geometry and topology, their boundary-drawing practices, their differential productions, and how each being makes sense of its world
-(the authors and beings of ajayeb,) what are their capacity to discern the reality of their (relational) nature?
-how their determinate position (in their relational nature) is or may be (usefully) (con)figured as *specific connectivity*? [the question of specific connectivites of ajayeb]--> this requires from me poetics: diffractive descriptive acts
-what are the ajayeb's beings and mine intertwined practices of knowing and being?

the agential cut of the brittlestar is a survival kit: the arm is “cut” and becomes part of the other (predator)

Barad is reading the brittlestar to rework (challenge conventional conceptions of) her discipline's ontologies and boundaries =/= scientist's usual frame of application and amusement of “discovery” that feeds technological advancement, “the excitement and romantic overtones that inevitably accompany the story of the scientist as explorer breaking into new frontiers” (Barad)


(embodiment-->) *bodies are not situated in the world. They are ‘of’ the world (in its dynamic specificity)* (Barad) (@Femke)

[*]objectivity
=/= occupying a determinate position in a given environment
=/= occupying a particular coordinates in space and time, in culture, and in history
=/= seeing from somewhere [=/= “objectivism” (view from nowhere) or “everywhere” (relativism)]
=/=


(like Barad's brittlestars) which ajayeb's being's bodily dynamism resists (or constructs) the familiar notion that space is preexisting container:
•space: a stage on which actors take their place
•time: the mere uniform ticking of clock
(how ajayeb's worlding is similar or different than the familiar notion of Shakespeare's “world is a stage...”?)

[Barad, poet of matter, time and space:] “Matter does not move in space and time. Matter materializes and dynamically enfolds different spatialities and temporalities.”*

*there is only exteriority within*
--?--> models that position representation as the lens that mediates between the object world and the mind of the knowing subject --> (an optics that reflects) a geometry of absolute exteriority between ontologically and epistemologically distinct kinds =/= ajayeb's diffractive differential materializations

perhaps that arm that got detached from you, could have a chance of not becoming a jettison phantom limb forever haunting the missing amputated ‘you,’ rather, a part of “companion species being helping out”? --> *connectivity does not require physical contiguity* (@Luisa's string “theory”)
[*phantom limb* (a concept every theorist/artist should take seriously), in Descartes: used as an illustration of the deception to which the inner senses are prone.
“fossil images,” persistence of pathological excitation to the peripheral nerves. (the condition of ‘amputees’ for the one who re-members and builds archives for his phantasmatically lost limb) *imaginary loss of a penis* --> a “tool” for a recovery of what was “always already” missing --> Freud: libidinal memorial to the lost limb (@Elen's kind of mourning for preoedipal (~= precastrated) body, and her (erroneous) localization of it on the motorbike)
Grosz: “It is only through controlled use of the phantom that the artificial limb can (gradually) take the place of the lost limb”
#body image]


ecologies of reflection and diffraction --> resolution of nature

[*]diffraction: an effect that limits the ability of a lens (or a system of lenses) *to resolve an image*
•(to evolve a creative tension,) a trade-off, between the resolution of detail and diffraction effects, between geometrical and physical optics

ajayeb's ecologies mixed (less of) reflection and (much more of) diffraction, are taken from a yet not detachments of the experience of phenomena and the apparatuses of its description, of percepts and affects
#my findings of composites of ajayeb:
•animals varying number of legs --?--> animal + movement
•fantastic creatures --?--> animal + environment + affect
•fable poetics --?--> animal + apparatus of description
•tentative citationality [other name of “rumor”?] --?--> nonhuman + human relational histories
•remembering is an extremely creative (& imaginative) practice
•
--> ongoing, open-ended articulation of the world (<-- my work on ajayeb)
--> these are the diffraction patterns in ajayeb that are (artistically, politically, ethnically) significant for me (?)
--> these are instances of resistance against biomimesis in ajayeb (?) [biomimesis is involved with mirroring, imitation, or reflection, and other tropes of “sameness"] =/= trans-materialities of the creatures of the world, they transgress the sacrosanct divides between techne and episteme

(many creatures of our shared world have) evolved in intra-action with their environment, and old bestiaries, such as ajayeb, critically inhabit a mode of description and affect situated within the intra-activity of technologies of writing and perception
•the creatures of the mud know better not to get caught up in a “geometrical optics of knowing”
we are seeking a different genus of knowing =/= mediating machine, inscription devices, lenses, panopticons, and various other epistemological tools that many science studies and cultural studies scholars fancy. (is that also what Marialena fancies? her list of tools)

[*]intelligibility: an ontological performance of the world in its ongoing articulation
not a specifically human capacity, intelligibility does not require an (usually human) inttelective agent

the problem with design is that designers (as well as scientists and engineers) are busy with building ‘enhanced communication networks’ and principles of ‘usefulness’, in the way they relate to the “forms” of nature

*connections and commitments (come together)*

the copyright symbol © should be a sign not of the right to copy but, if anything, of the responsibilities entailed in producing differential materialization (for whom and at what costs?)*
Barad ♥


(brittlestar, the plant in my room, ajayeb's creatures,) ...their being is a flexible distributed growing and regenerating multi-oriented shape-shifting topologically variant dynamical system of diffraction gratings

(rhetoric of) re-veiling, which provokes the seeming need for a revealing of nature


entanglement --> inseparability --> spatially separated particles in an entangled state do not have separate identities

there is no epmirical evidence of such a disjunction ontologies at a particular scale, “micro-world” and “macro-world”

who insists on “quarantining quantum queerness”?
quarantining scale and time
quarantining Sadra to “his” time, or ajayeb to an older another temporality, and therefore irrelevant for us “today”

[*]scale: intra-actively (re)configured in the ongoing intra-active becoming on space-time-mattering

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Khezr and San'an, the most repeated points of reference in tasavof
like you, Hafez, full of struggle, sensation, love,

our resistance and breakdance

(Mehran Rad:) Hafez preferences on Farsi over Arabic:
Deir دیر / Some'e صومعه
Pir پیر / Sheikh شیخ
Parsa پارسا / Zahed زاهد
Parishan پریشان / Tafraghe تفرقه


moshtaghe bandegi مشتاق بندگی
(~? the advanced level of) ‘wannabe slave’

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the dangerous suffixial worlders, prehensile adjective-builder, natural-inhabitant-makers of “-ian” or “-i” or “-isch” to the name of a nation/country ==> Iranian[...]