[...]more and more committed to learn ways of) having stories meant to pull me into the sentience of the world i am in --> give it density, texture*


Stewart (2010) is writing an ajayebnameh of her mother in cancer, stepson becoming a homeless, and her hometown

______________


[*]regionality دهاتی ,داهاتی
-an event that jumps from landscape to bodies and back (Stewart)
--"here"-->{the blue law, the seasons, the color red, place names اسم خیابان [*the past snaps into the present with the recognition of the street names], bodily resonances, materialities bundled together like a sac of leaves, sharp-edged collectivities like race, ethnicity, class, gender, generation and religion, }--> “one ventures from home”
-a thing hollowed out by its labyrinth of edges; incessant interlinking
-a contact aesthetics
-a virtual mapping of things in a state of potential (Thrift)
-a sheer recognition of a sheer recognition: “we are from around here"-->{as *active survivors of the unexpected encounter and knowing readers of emergent situations*} (Roazan)
-turns spaces into animate envelopes that produce worlds (Sloterdijk)
-a form of worlding--an intimate, compositional process of dwelling that bears, gestures, gestates آبستن, worlds (Heidegger)
-the labored viscerality احشايى of being ‘in’ whatever's happening renders choices, aesthetics, surfaces and materialities *a part of something* (Stewart) ~~apass--> the sentience, of a worlding (lightened by soft scenes of the human condition [played out in:
•forms of pleasure @Sina
•weakness @Maarten
•fun @Elen
•humor @Eszter
•acquiescence رضايت ,تن در دادن @Leo
•self-deprecation اظهاربيميلى @Lili
•the intimacy of قبيح دانستن deprecating others @Xiri
•a bad but human habit @Aela
•some wicked little sorcery @קݙ
•])
-
-an attunement that takes form
-a milieu in which the mouth relaxes into a town accent (نواحی?)
-a disorientation in the face of what lies beyond (Janina)
-a love affair with light and color (Foad)
-uncurtained windows (my mother)
-
-
-->{
•one recognizable entity with qualities
•lived modalities
•a history of its social production and uses
 {elements, scenes, encounters, }--they-->{sediment, accrue, circulate, unfold, go flat, }-->{saturate a situation, fly under radar, pull into alignment, fall out of sync, }--> “a regional aesthetic hardens into iconic scenes of living”


calling to eachother in an intimacy of jokes about the things that can happen in their world

voice:
•the tone
•the timing
•the accent
•the phrasing
•the level of force
•the purposefulness of the way that voice lives in light, with trees, in the potentiality of a laugh
•

consistency of a laugh or an edge

***when the muteness of things metamorphoses into an aesthetic phenomenon*** --> singularities incite it

(an actual physical shadow of a state of being)
sing of something amiss:
•depression
•withdrawal
•indifference
•dysfunction


(my mother in Tehran:) a curtained house reduce the gestural economy of seeing and being seen to an occluded vision in which objects are dark, shadowy outlines with black cores, like a world seen through a ripe cataract آب مروارید -->(the house video project i did ‘city of domes’ 2008 http://www.sinaseifee.com/Cathedral.html was actually about that kind of attunement in my mother's house. i was committed to the description of interiority; my allegiance was inward. watchful consciousness in which one witnesses the procession of inner events of light perception <== a sense of lack. sensous grounding of the inner life)
window: a method of worlding in itself, a node of lines of sociality and mood
curtained house --> sign of something amiss (depression, withdrawal, indifference, dysfunction) but “the actual physical shadow of a state of being that broke the circuit of a *gestural economy of seeing and being seen*”
in the maner of my mother: you don't warm up to stranger, you know who you are talking to, you watch what is going on, you help those in the circle
(Stewart describing how in her town) lamps were strongly favored over overhead lighting, lending texture and specifity to the scenes
a pause at a window --> to check in with the unfolding and pleating of a world pulled in and out through the glass <-- this is not just a practice of looking but a mood*, ruminative or touched, for good or bad
•impulse to venture into a place that pulls watchful bodies out of windows


danger
hassle
inordinate distance


#on getting lost with Janina: “this is an adventure and I am not alone.” (anxious + hervorheben رهسپار شدن)
(with Janina ♥ we experienced) disorientation, displacement, and the experience of getting lost (are foundational sensory modes of living out regionality)
*wondering out: palpably unpredictable and seductive; a specific disorientation
•half-deliberate exercise of getting yourself lost
•direct link between intention and effect
* dragging agency into a منشور prismatic affective structure * [prismatic: flickering, gathered into lines, angles of light or motion to attune to, =/= simply present and knowable]
•lost in a loop
*run: fueld by (performed) anxiety, our trip was peppered with moments of disorientation
-the enactment of disorientation poised on the edge of the accidental
-with Janina somehow we found ourselves in an exercise of orientation/disorientation as it is attaching me to place, childhood, some buttom line humanity (called Ungeschicktheit) that depends on giving up competence*** (and often finding oursevels orienting with that rainbow caterpillar disoriented on your forehand)
---our shared ‘should-have-been-obvious'es with Janina
---Janina's misshapen forces*** --somehow--> reach a plane of expressivity (for me--because i love her?)
---the event, its affective structure, is familiar from childhood and strangely satisfying, like a loop i had to make, *an emotive-agentive place i had to check in with* --?--> Janina + Sina forms of belonging
(sometimes that place is a fully-invested connection and weighted, like home)
***forms of belonging: tactile + full of force + tentative + risky /--{"+” : are, and, yet}
--> an ecology of paths that matter by means of the things that happen in a present in which we are *lost yet attuned*

--> all the ways that people and things venture out into reals [my mother, Sina, Janina, ...]


[*]town: currents of difference, affiliation, history, ordinary dullness and comforts, characters and their stories


psyching out ethnicity


(my old attunement:) the fear of cockroaches

the miracle mile of computer technology

the elitism of the historical societies

localness nests in:
•tastes
•bodies
•neigborhoods
•a valley
•a state
•a geographical region


“in each scene of the production of history there are events that are storied or otherwise pulled into play” (Stewart)

Stewart on salem witch trials
the accusations spiraled through families, catching people up like magnetic strips
“wicked little sorceries” -->{jumpy moments that suddenly lay the charge of a half-known intensity onto ordinary people and roads, regionality becomes a wicked little sorcery. a vortex that pulls possible forms into life into a moment's alignment}, {the adjective ‘wicked’ marking *excess* of all kinds}
astrology
fortune-telling
*an attunement to specters*
-a farmer admitted getting into ‘the snare of the devil’ because he had a large family and ‘the world went hard with him.’


robustness in cold weather


[title]
making of edges and scenes in ajayeb

character or texture of an edge

(ajayeb is made of elements that were) a thing sensed with certainty (yet made up of a shifting, edgy composite)
[a sentient shadow called jinn, God, darkness of a pit, a cycle, etc.]
--or--> made scenic *as a site of a world's potential* (= ajayeb)
--the scene of a thing's demise

an edgy irruptive event

rules and edges are OK when separate, but together, a bad combination

(Karin + Sina + Hanno) we were humans together

--we adjust ourselves to the done deal that things happen--

(we find ourselve being) “from here” in a world made intimate through forgiveness, denial, detachment flowing in after a surge of something bad--a close call [Stewart]


*what are ajayeb's turns (and turn backs) to the inarticulate real?


hallucinogenically down-to-earth (Aela)


what are ajayeb's state of emergent expressivity [today]? (that tries to guess and describe ‘what is happening’) **** things that happen are incitements to form ****
--> intensities become expressive --> an خونسرد impassive corporeality --> intensities pass from body to body --{
•human bodies
•animal bodies
•machine bodies
•bodies of thought
•ecosystems
•visceralities and noumena [a thing in itself, as distinguished from a phenomenon] spread out across a vast atmospheric field

sediments of ajayeb:
•obvious
•much remarked
•cryptic --> favored
•situationally precise

how ajayeb is an improvisatory conceptuality?
does ajayeb-writing takes place in singularity? (because every worlding is singular and precise ==> the pleasure of its recognition)

#my project in apass has been a practice of writing that is an experiment in attuning to ajayeb's tune

ajayeb reports of:
•affect that has become native***, attaching to bodies and socialities, to an ethos***

with ajayeb (with Stewart) i am learning:
•to approach the tactile compositionality of things
•de-dramatization of academic thought
•to approach the thing that throws itself together *slowly and enigmatically*--> #andakhtan, andaze
•a descriptive detour (with Latour)
•a lyrical evocation (with Stewart)
•a method of awkwardly approaching an object by attuning to it as a thing of *promise and contact* (with Berlant)
•

concept: that which attunes itself to things coming into form; is both abstract & concrete; actual & unfolding

highly fractured stone of a collective intensity (--> Iran, and most other places)

______________


ajayeb was/is very much committed to the concrete: that means committed to speculation and curiosity (and not the demystification and uncovering truths that support a well-known picture of the world) (it was only to a certain degree in support of the middle age islamic picture)

*a something both animated and inhabitable

how to approach a weighted and reeling [walk as if unable to control one's movements] present?
(to name)

(Stewart > Berlant:) objects and scenes of desire hold promise, keeping whole clusters of affects magnetized to them
-an individual's abstract yet contingent desire to feel like he or she is “in” something or can recognize something [@Lili, Aela]

***promise is always promise to be present to the scene


i am reading in ajayeb the actual lines of potential that a something coming together calls to mind an sets in motion

exert palpable pressures

(working with ajayen equip me with recognizing the) immanent نافذ, obtuse پخ, erratic ويلان (=/= “obvious meaning” of semantic message and symbolic signification;) to pick up density and texture
(in tasavof, in iranian poetry, in ajayeb, in my peer's works, )
-asking: what potential modes of knowing, relating, and attending to things are already somehow persent in them --> potentiality & resonance


(according to Stewart) ordinary affects are more directly compelling than ideologies, as well as more fractious, multiplicitous, and unpredictable than symbolic meaning*** (in short: canon of “Thinking”) --> “bigger” structures and underlying causes obscure the ways in which a reeling present is composed out of heterogeneous and noncoherent singularities
-Sven's ordinary affects and DJings --> his noncoherent singularity ==> a nonrepresentational theory is needed to address them
asking Sven:
•what needs attending to (for you)?
•what/who are you in conversation with?



[scenes and selves]***
•layered textures of a scene



(paying attention to pressure points of ajayeb ==>)
in ajayeb, what is
•maintained as a prized possession
•left to rot
•hardened into little mythic kernal
•morphed into a cold dark edge
•hopeful
•
•
--> things take place as [*]precisions: the pressure points that open onto potentialities are taken up as apparitional things (surat صورت) and then sharpened and repeated in compositions that labor to describe but also flourish on their own terms


my efforts have not been to finally “know” ajayeb, Sven, or Sana, [i have been reluctant to collect them into a good enough story of what's going on with them,] rather to fashion some sort of address that is adequate (and fabulous) to their form
-does the intensity and texture of my routines (talks, writings, etc.) make ajayeb habitable and animate?
-in the last year in apass i have been training myself to become attuned to what a particular scene might offer

#my apass ajayeb project:
(learning) building an idiosyncratic map of connections between a series of singularities --> to create a contact zone for analysis ****
[~?-> ajayeb.net, pop-up book]
[that's why i have been against the popular idea of authorlessness in apass, i am invested in (our) singularities; identity is a zone of attunement]--> Stewart calls herself “she” to mark the difference between her writerly identity and the kind of subject that arises as a daydream of simple presence
-to touch details that establishes a direct contact

?in our group who
•gazes
•imagines
•senses
•takes on
•performs
•asserts (not a flat and finished truth)
•is in a hot persuit of something definitive @Lili
•a point of contract @Esta
•

watching and waiting for an event to unfold
the still life that gives a pause --> the story of many of us

______________


“every achieved poem inscribes a perceptual signature in the world” (Stewart > Doty)

poems have to be achieved (in the social-material world)
(achieved =/= archived)

[*]poem:
•etching *lines of action* and mood across the sensations
•compositions at work


my ajayeb's
•objects of analysis: “compositional elements of thrown together worlds”
•objects of critique: “associative account of the modification and reciprocity of bodies and actions, environs, senses, rhythms, tones, and proprioceptions"[: sense of the position of parts of the body, relative to other neighbouring parts of the body]
•objects of database: “are soicialy, poetically, materially compositional”


the social, the subject, matter and event are comprised of:
•affects
•potentialities
•energetics
•attunements
•orientations
•disorientations
•atmospheres
=/= finished actualities*


ajayeb is compositional, that means something reaches a point of expressivity, something throws itself together as matter already configured yet enigmatic and provocative
(Stewart helping me talk ajayeb)

(am i working to) bridge between more compositions (?)


“watching a spider negotiate its unlikely territory”


(useless concentration)


Foad, Sina, we were a slipstream of sensations made of all the ways that world impressed itself upon us


[*]world: a partial stabilization of practices, capacities, tendencies and affordances in the form of a recursive patterning (Anderson + Harrison > Stewart)
•mixed-media compositions of matter and thought-feeling
•the world of ajayeb magnetizes materialities and forms of alertness for me to what's singular and prolific. i am circling through a heritage of (iranian) romanticism and pragmatism to arrive (with Stewart) at “the precision of a worldly composition's mattering forms”
◦*worlding: happens as matter poems composed of sensations, motion, bodies, and objects (--@Luisa)
•an attachment to the forms and forces of emergence and concrescence itself [...] in the actuality of this and that

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