[...]line image of the deforming of a form
•bending itself (myself?) in refraction (=/= intimate register of knowledge and power)
•a conceptual machinery of cutting edges
•a compositional jumping off point; a ‘lifted out of’; a ‘being-moved in’
•...the ajayeb pop-up book two parallel spreading qualities and scenes across a cartography, registers differences in motion
•a compositional writing (=/= representational method) in the effort to keep up with the distributed agencies of *what is throwing together and what is falling apart* (~ ajayeb) [--> it is a practice of trying, in line with my lectures, to follow where things (might) go that habits of attunement become as associational logic***]
•particulars to become a hinge لولاى در (opening onto a world throwing together and falling apart)
•mixing of shiny elements: *flickering ontologies* the expansive mapping of elements in paly
•a cartography of compositional elements, formal compositions and unmarked ways of being loop around each other

(27.08.2017 my work on ajayeb is an inquiry into description:) ***it is about many different forms that something can take and does take*** + the things that can be perceived and thought with those things

(attuning to) details in ajayeb loaded with intensities both strange and recognizable (=/= stable real)
a mode of perception that walks around an enigmatic object
an hour
a river
a walk
a deflating frog

far from being “after the fact,” my pop-up book involves multiplicity of bodies, characters and materialities to approach ‘description’ as “speculative theory in practice of how a world works” like ajayeb's work of “engendering a plane of prolific expressivity”

(عجایب المخلوقات / عجایب نامه) [*]ajayeb: a once percepted thing on the threshold of sense in the prisma of social poiesis producing a cartography of what might be happening in a world as an object of composition

firefly: a condensed point of precision one after another

ajayeb is made in citing repetitions and differences

(with Stewart:) ajayeb was once “the cutting edges of a harsh world in a state of uneven emergence, an ambient mapping of the not-yet or as-if of things becoming phenomenon” which itself became a repetitive impulse to story

i can't find a better kind of description of what ajayeb does than Stewart describing ‘description’ that literally puts a point things: “the expressivity of what happens to things throwing together in words is a kind of description attuned to what does not completely unfold but instead melds together with other unnamed but palpable things collected like a field of mineable resources and shiny afterthoughts.”

things throwing together in words ==> expressivity
ajayeb: collected (unnamed but palpable) things like mineable resources and shiny afterthoughts

پس انديشه

______________


[*]perspective: (an attending, enduring presence, a compositional node,) perspectival agency in which things jump into relation but remain unglued*** (Stewart)

...across a field of subjects-objects-bodies-trajectories-affects


realm of killed off things


new figures i am learning from Stewart's
•“throwing together”
•“manner of”
•


(in ajayeb) the whale: throwing together of the phenomena of fish and water, sailing, mood, atmosphere, and sensory charge

*ajayeb's descriptive apparauses: a mutating realism of a certain vision of light meeting movement

[*]ajayeb: things that were once named, perhaps written down, (differently than now,) through some kind of trickery (called citation,) and then metastasized (spread throughout a body) into circulation (readings, translations, etc.) are raised, incised, made singular and charged
•ajayeb's stories/reports ~= forms of co-recognition, something witnessed that gets cooked down into something saucy***
•ajayeb's writing: a more-than-representational method of writing attuned to the qualities of phenomena
•ajayeb's fabulations (appear as:)
◦(atmospheric) traces
◦(momentary) might-have-beens

ajayeb = people + matter + real --> *point of figuring compositional reals*


fast-forwarded throught great arcs of *history-in-itelf* or *place-in-itself* in The Time Machine (2002 film)


what are the river and field doing now?


[*]theory: drawn through writing into the ways that people and things venture out into [*]reals:
•a recursive haeccity (Deleuze and Guattari)
•transversal arrays of qualities or activities which, like musical refrains, give order to materials and situations, human bodies and brains included, as actions undertaken act-back to shape muscles and bone senses (Anderson + Harrison)
•a mattering that is about the (contingent and temporary) becoming-determinate (and becoming-indeterminate) of matter and meaning (Barad)
•built out of difference and repetition (Deleuze)
•composed of potentiality and loss (Berlant)
•lean toward that which exists singularly as event, or as a gap, without ground or against the background of nothing (Dewsbury)

[*]reality: a rhythmic alteration between objects, events, and words---an uncreated world---{reverb between word and world --> [*]worling: a transposition of the existing knowledges already possible in a joke or a gesture --> singularities gathering and dissolving, #tools:
•snapshots (shoot of an affect)
•fictocriticism (fiction + theory + criticism; a name for those “critical” inventions which belong to literature while deforming its limits)
•sensory ethnography (ethnographic engagement based on curiosity and attachment) --> drawing
--> paths lit up in a rhythm interrupted
(as an aritist) you can make anything of anything, the questions is, what is it, what is it doing, what is in this consistency of rhythm?}

[*]social: comprised of entities that are both present and absent (==> ajayeb), atmospheres, affects, virtual memories, hauntings, and that these are themselves moments of endurance (or not?), instants of the holding together of the disparate itself
(Stewart > Doel)


[!* Stewart describing the color] *red: “it moves through streams and tendrils into an associational register of connections and differences, materials and noumena وجود مجرد, the coagulation دلمه شدن and diffusions of lines of influence and bits of matter.”
(in my visual art studies we were given redness as a symbolic element in a representational order and a matter-of-fact) =/= state-of-sensory-alert, redness as an actual composition spun into representations, objects, and states of sensory alert
“[...] a germinal aesthetic. a tendril of practices and sensibilities gathered into an energetics of form
•black sky and ocean --> limit, outline, elemental flux, matter waiting formlessly
•white ice and snow --> stasis, shape and form, a blankness that challenges composition, the transitoriness
•red --> the feebly real, the long, low-frequency wave-lenght of the dying stars, the past, the effort to fix dead reality in a cast *
•green --> plants that glare with a harsh reality, the violence at the heart of the world we inhabite
•blue --> a limited, temporary success in fixing experience in a pattern
•


a landscape animated by the primariness of color =/= Molenbeek

american indians became “red” through a complex semiotics of encounters with colonists


...who knows what kinds of desires, fears and dead ends

(pay attention to Stewart list making narrative:)
events, sites, actors, stakes, consequences, properties, competences, modalities, attunements, velocities


... a world ==> ephemeral sparks ==> an atmosphere ==pulled==> qualities of sociality, personality and language out of people [--> ajayeb] ==created==> spaces of care, territoriality, order, horror


the stark mantras of representational critique: that the play of abstract categories (real/fabricated, nature/human habitat, wild/tame, red/white, high/low, etc.) bloodlessly determine worlds or adequately describe them ==> { everything is political = to always know what the political is }--> ‘political’ : something that exists in the big picture of broader significance, something strongly obvious (but not to most people!) that meanings can be automatically assigned to things an[...]