[...]pable) things like mineable resources and shiny afterthoughts

پس انديشه

______________


='lgc'>[='strcls'>*='lgc'>]perspective='lgc'>: (an attending, enduring ="trms">presence, a com="trms">positional node,) perspectival ="trms">agency in which things jump into ="trms">relation but remain unglued='strcls'>*** (="ppl">="ppl">Stewart)

="large lg2" stl="font-size:112%"> ...across a field of subjects-objects-bodies-="trms">trajectories-="trms">affects


realm of killed off things


new figures i am learning from ="ppl">="ppl">Stewart's
="lsts lst1">•“throwing together”
="lsts lst1">•“manner of”
="lsts lst1">•


(in ="nms">ajayeb) the whale='lgc'>: throwing together of the ="trms">phenomena of fish and water, sailing, mood, atmosphere, and sensory charge

='strcls'>*="nms">ajayeb's descriptive apparauses='lgc'>: a mutating realism of a certain vision of light meeting movement

='lgc'>[='strcls'>*='lgc'>]="nms">ajayeb='lgc'>: things that were once named, perhaps ="trms">written down, (="trms">differently than now,) through some kind of trickery (called ="trms">citation,) and then ="trms"nttrm="metaph,metamorph,metabol,metal">metastasized (sp="trms"nttrm="already,spread">read throughout a body) into circulation (="trms"nttrm="already,spread">readings, ="trms">translations, etc.) are raised, incised, made singular and charged
="lsts lst1">•="nms">ajayeb's ="trms">stories/reports ='lgc'>='lgc'>~= forms of co-recognition, something witnessed that gets cooked down into something saucy='strcls'>***
="lsts lst1">•="nms">ajayeb's ="trms">writing='lgc'>: a more-than-re="trms">presentational ="trms">method of ="trms">writing attuned to the qualities of ="trms">phenomena
="lsts lst1">•="nms">ajayeb's ="trms">fabulations (appear as='lgc'>:)
="lsts lst2">◦(atmospheric) traces
="lsts lst2">◦(momentary) might-have-beens

="nms">ajayeb='lgc'> = people ='lgc'>+ ="trms">matter ='lgc'>+ real ='lgc'>='lgc'>--> ='strcls'>*point of figuring com="trms">positional reals='strcls'>*


fast-forwarded throught great arcs of ='strcls'>*="trms">history-in-itelf='strcls'>* or ='strcls'>*place-in-itself='strcls'>* in The Time Machine (2002 film)


what are the river and field doing now='qstn'>?


='lgc'>[='strcls'>*='lgc'>]theory='lgc'>: drawn through ="trms">writing into the ways that people and things venture out into ='lgc'>[='strcls'>*='lgc'>]reals='lgc'>:
="lsts lst1">•a recursive haeccity (="ppl">Deleuze and ="ppl">Guattari)
="lsts lst1">•transversal arrays of qualities or activities which, like musical refrains, give order to ="trms">materials and ="trms">situations, human bodies and brains in="trms"nttrm="cluster,club">cluded, as actions undertaken act-back to shape muscles and bone senses (Anderson ='lgc'>+ Harrison)
="lsts lst1">•a ="trms">mattering that is about the (="trms">contingent and temporary) becoming-determinate (and becoming-indeterminate) of ="trms">matter and meaning (="ppl">="ppl">Barad)
="lsts lst1">•built out of ="trms">difference and repetition (="ppl">Deleuze)
="lsts lst1">•="trms">composed of potentiality and loss (="ppl">Berlant)
="lsts lst1">•lean toward that which exists singularly as event, or as a gap, without ground or against the background of nothing (Dewsbury)

='lgc'>[='strcls'>*='lgc'>]reality='lgc'>: a rhythmic alteration between objects, events, and words='lgc'>='lgc'>---an uncreated ="trms">world='lgc'>='lgc'>---='lgc'>{re="trms">verb between word and ="trms">world ='lgc'>='lgc'>--> ='lgc'>[='strcls'>*='lgc'>]worling='lgc'>: a trans="trms">position of the existing knowl="trms"nttrm="knowledge,Knowledge">edges al="trms"nttrm="already,spread">ready possible in a ="trms">joke or a ="trms">gesture ='lgc'>='lgc'>--> singularities gathering and dissolving, ='at'>#tools='lgc'>:
="lsts lst1">•snapshots (shoot of an ="trms">affect)
="lsts lst1">•="trms">fictocriticism (="trms">fiction ='lgc'>+ theory ='lgc'>+ criticism; a name for those “critical” inventions which belong to ="trms">literature while deforming its limits)
="lsts lst1">•sensory ethnography (ethnographic engagement based on curiosity and attachment) ='lgc'>='lgc'>--> drawing
='lgc'>='lgc'>--> paths lit up in a rhythm ="trms">interrupted
(as an aritist) you can make anything of anything, the ="trms">questions is, what is it, what is it doing, what is in this consistency of rhythm='qstn'>?='lgc'>}

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


='lgc'>[!='strcls'>* ="ppl">="ppl">Stewart describing the color='lgc'>] ='strcls'>*red='lgc'>: “it moves through streams and tendrils into an as="trms">sociational register of connections and ="trms">differences, ="trms">materials and noumena وجود مجرد, the coagulation دلمه شدن and diffusions of lines of influence and bits of ="trms">matter.”
(in my visual art studies we were given redness as a ="trms">symbolic element in a re="trms">presentational order and a ="trms">matter-of-fact) ='lgc'>=/= state-of-sensory-alert, redness as an actual com="trms">position spun into re="trms">presentations, objects, and states of sensory alert
“='lgc'>[...='lgc'>] a germinal ="trms">aesthetic. a tendril of practices and sensibilities gathered into an energetics of form
="lsts lst1">•black sky and ocean ='lgc'>='lgc'>--> limit, outline, elemental flux, ="trms">matter waiting formlessly
="lsts lst1">•white ice and snow ='lgc'>='lgc'>--> stasis, shape and form, a blankness that challenges com="trms">position, the ="trms">transitoriness
="lsts lst1">•red ='lgc'>='lgc'>--> the feebly real, the long, low-frequency wave-lenght of the dying stars, the ="trms">past, the effort to fix dead reality in a cast ='strcls'>*
="lsts lst1">•green ='lgc'>='lgc'>--> plants that glare with a harsh reality, the violence at the heart of the ="trms">world we inhabite
="lsts lst1">•blue ='lgc'>='lgc'>--> a limited, temporary success in fixing experience in a pattern
="lsts lst1">•


="large lg70" stl="font-size:100%"> a landscape animated by the primariness of color ='lgc'>=/= Molenbeek

american indians became “red” through a complex ="trms">semiotics of encounters with colonists

="large lg18" stl="font-size:131%">
...who knows what kinds of desires, fears and dead ends

(pay attention to ="ppl">="ppl">Stewart ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list making ="trms">narrative='lgc'>:)
events, sites, actors, stakes, consequences, properties, competences, modalities, attunements, velocities


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


the stark mantras of re="trms">presentational critique='lgc'>: that the play of abstract ="trms">categories (real/fabricated, ="trms">nature/human habitat, ="trms">wild/tame, red/white, high/low, etc.) bloodlessly determine ="trms">worlds or adequately describe them ='lgc'>='lgc'>==> ='lgc'>{ everything is political='lgc'> = to always know what the political is ='lgc'>}='lgc'>='lgc'>--> ‘political’ ='lgc'>: 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 and are the basis of those things’ value ='lgc'>='lgc'>-->!='at'>@="frds scrmbld"nttrm="Alice,Shariati">Ali

the effect of context

="trms">matters of com="trms">position, each with a “we”='lgc'>:
="lsts lst1">•feeble نحيف
="lsts lst1">•experimental
="lsts lst1">•eccentric ='lgc'>='lgc'>--> ="frds scrmbld">Elen
="lsts lst1">•habitual ='lgc'>='lgc'>--> my mother
="lsts lst1">•generous
="lsts lst1">•="trms">gestural ='lgc'>='lgc'>-->
="lsts lst1">•half turned away
="lsts lst1">•reached the expressivity of a mood, a tone of voice
="lsts lst1">•do they lighten things or load them down='qstn'>?

...a com="trms">position made explicit in the figure of ='strcls'>*the active survivor='strcls'>* and ='strcls'>*the knowing ="trms"nttrm="already,spread">reader of impacts='strcls'>* ='lgc'>='lgc'>--> a watchfulness-turned-impulse that ends not on meaning but in the haptic, multi-angled, sensorimotor qualities of a ="trms">world's un="trms">imaginable detail
(='at'>@="frds scrmbld">Varinia) qualities sensorimotor ="trms">interactions with environments that are not reducible either to thoughts and ="trms">imaginings='lgc'>:
="lsts lst1">•='strcls'>*richness='lgc'>: a s="trms">cene spied provides in="trms">finite detail beyond what you can invent ='lgc'>='lgc'>--> ='at'>#="trms">excess
="lsts lst1">•='strcls'>*bodiliness='lgc'>: the motions of the body ="trms">affect sensory input
="lsts lst1">•='strcls'>*insubordinateness='lgc'>: the ="trms">world has a life of its own; things moved by themselves
="lsts lst1">•='strcls'>*grabbiness='lgc'>: sensory impacts ="trms">matter apart from their cognition
='lgc'>='lgc'>--> having a ="trms">phenomenal experience is having ="trms">skills with these qualities='strcls'>** ='lgc'>[='at'>@="frds scrmbld">Hoda='lgc'>]


an ="trms">ecology of potentialy marked by violence and care

="large lg18" stl="font-size:131%"> ="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

='lgc'>[="ppl">Alberti='lgc'>]

we might='lgc'>:
="lsts lst1">•provide a better understanding
="lsts lst1">•provoke novel realities/="trms">ontologoes (to emerge from ="trms">material)
="lsts lst1">•provoke an understanding in the context of the everyday

='strcls'>*(="ppl">="ppl">Latour, ="ppl">Whitehead, Law='lgc'>:) ="trms"nttrm="search">archeological entity='lgc'> = ="trms">ontological entity (by ="trms">nature) ='lgc'>}='lgc'>='lgc'>==> productive of reality


to focus on practices in which all possible elements of the process must be understood as active and creative (='lgc'>='lgc'>--> ='at'># ="trms">="trms">equipment ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list)

='strcls'>*“to take ="trms">seriously"='lgc'> = to accept at a fundamental level the truth of a claim and to doggedly follow its consequences
(form an ="trms">ontological and conceptual perspective)
(='lgc'>='lgc'>--> dogs follow consequences)
(indigenous thought is treated as a theoretical discourse on the ="trms">nature of reality ='lgc'>=/= an ="trms">interesting ="trms">interpretation of it)='lgc'>='lgc'>--> to take ="trms">seriously the indigenous ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics of multi="trms">naturalism ='lgc'>[or ="nms">ajayeb='lgc'>] as a philosophical ="trms">intervention ='lgc'>: to trace out its effects on ='lgc'>[our='lgc'>] concepts


multiculturalism='lgc'>: a single objective universe and many cultural ="trms">interpretations of it
multi="trms">naturalism='lgc'>: multiple universes and a single mode of ="trms">interpretation (="ppl">Viveiros ="ppl">de Castro)
='lgc'>='lgc'>==> perspective ='lgc'>=/= a ="trms">different “point of view” on (the same way of knowing or seeing) qualitatively ="trms">different ="trms">worlds ='lgc'>}='lgc'>='lgc'>-->='strcls'>* ="trms">situated knowl="trms"nttrm="knowledge,Knowledge">edges, ='at'>#elephant parable


no='lgc'>: no ='lgc'>='lgc'>--> de-="trms">historicizing effects of imposing psycho-cognitive shamanic models of art
no ='lgc'>='lgc'>--> purely cognitive significance (of...)


='strcls'>*miniature='lgc'>: a ritual activity, a grave offering, a ="trms">sympathetic magic, a capture of the power of the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal
='lgc'>='lgc'>--> common ="trms">stories about how miniatures can be ="trms">interpreted in archaeology


(="trms">ontological research approach)_
scale is utterly important because “careful attention to alternative ="trms">ontologies of scale introduces new ="trms">interoretive possibilities for...” (="ppl">Alberti)

='strcls'>*="trms">ontology='lgc'>: the sense of a real, solid ="trms">world
='thdf'>for example the ="trms">question of “the substance of the ="trms">world”, everyone has answered that al="trms"nttrm="already,spread">ready (reiterating that which makes sense) ='lgc'>='lgc'>==> concept of real ='lgc'>--(invent)='lgc'>='lgc'>--> ='strcls'>*="trms">cosmology (='lgc'><='lgc'>-- this is not a relativizing ="trms">gesture) ='lgc'>==(force)='lgc'>='lgc'>==> production of new concepts and ="trms">materialities
='at'>@="frds scrmbld">Eszter='lgc'>: importance of asking the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right ="trms">questions='lgc'>: unless we do, the answers make no ="trms">difference (="ppl">Grosz)


scopes and scales ()='lgc'>='lgc'>--> “dimensionally mani="trms">fold weave of knowl="trms"nttrm="knowledge,Knowledge">edge ="trms">worlds” (="ppl">="ppl">Haraway ='lgc'>+ ="ppl">Katie) are at stake in='lgc'>:
="lsts lst1">•="trms">science display
="lsts lst1">•TV series
="lsts lst1">•="nms">ajayeb
="lsts lst1">•pet video
="lsts lst1">•emergent transdisciplinary scholarship
="lsts lst1">•transmedia commercial ="trms">apparatuses
="lsts lst1">•
='strcls'>*with ="trms"nttrm="already,spread">reading/enacting ="nms">ajayeb what is at stake is the “effectivities in realizing knowl="trms"nttrm="knowledge,Knowledge">edge ="trms">stories” ='lgc'>='lgc'>--> ="trms">epistemological ="trms">affects


='lgc'>[='strcls'>*='lgc'>]scale
="lsts lst1">•operates through intensity and not size
="lsts lst1">•emergent and performative (Jones), (juxta="trms">positions of) scales ='lgc'>='lgc'>==> “="trms">interesting psychological and ="trms">phenomenological effects”
="lsts lst1">•a flat approach to scale does not separate the ="trms">social and ="trms">material, or the micro from the macro ='lgc'>='lgc'>==> ='lgc'>[='strcls'>*='lgc'>]size='lgc'>: (emerges as a possibility, as) one means of enacting the potential of another scale; accidental effect of intensity='lgc'>: ="trms">materialization of intensity and ="trms">excess ='lgc'>='lgc'>==> humanity='strcls'>***
="lsts lst1">•is about intensity and ="trms">excess ='lgc'>='lgc'>--> potential for visibility/invisibility and proximity to the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal condition of un="trms">differentiated, intensive ="trms">difference (='lgc'>='lgc'>~=='qstn'>? ="nms">hayula; perfect formless form)='strcls'>***; intensive ="trms">different “h” of ="nms">hayula هیولا...
="lsts lst2">◦ه
="lsts lst2">◦‍ه‍
="lsts lst2">◦‍ه
="lsts lst2">◦ه‍


="ppl">Alberti argues for a form of ="trms">ontological ="trms">symmetry between the theory we bring to bear on our evidence and the way that ="trms">material acts as evidence (='at'>@="frds scrmbld">Seba)


='strcls'>*='lgc'>[mesopotamia='lgc'>] chronically unstable bodies
a corpus of ="trms">zoo-="trms">anthropo-bio="trms">morphic artifacts and ="trms">traps
="trms">anthropo="trms">morphism manifest in distorted corporeal forms and appendages ضميمه

all ="trms">sorts of dualism are at work in the archaeological ="trms">imaginary of the region from Amazon to the Andes

marking a body ='lgc'>=/= re="trms">presentation of that act

="ppl">Alberti's arguments”
="lsts lst1">•the fantastic forms, bulges, protuberances برامدگى, and other modifications of bodies and pots express a general concern with “shoring up” or “fixing” a ="trms">world conceived of as inherently volatile فرار ='lgc'>='lgc'>--> bodies (pots and people) were considered “chronically unstable”='strcls'>* ='lgc'>{pots ='lgc'>='lgc'>--> intentional activation of ="trms">affective capacities in the clay; pots and bodies are “grown” in he same way='lgc'>}
="lsts lst1">•chaotically scale-changing, their scale is one of intensity and ="trms">excessiveness (='lgc'>='lgc'>--> figure-ground ="trms">relationship between visible/invisible, body/soul)

='strcls'>*perspectivism='lgc'>: all ="trms">species potentially share a way of knowing with humans. their “essence” or “soul” is human ='lgc'>: they see themselves as human and others as ="trms">animals
='strcls'>*to occupy a body='lgc'> = to have a perspective on the ="trms">world='strcls'>*
="lsts lst1">•an intensive ="trms">difference that carries the human/nonhuman ="trms">difference to the inside of every existing thing ='lgc'>='lgc'>--> there is no a ="trms">priori reason for everything not being a subject ='lgc'>[='lgc'>='lgc'>--> also ="ppl">="ppl">Sadra='lgc'>]

='lgc'>[='strcls'>*='lgc'>]bodies='lgc'>:
="lsts lst1">•bundles of ="trms">affect ='lgc'>: collection of ="trms">affects bundled into an unstable bodily form
="lsts lst1">•carrying out ="trms">specific tasks
="lsts lst1">•sensing the ="trms">world in particular way
="lsts lst1">•sharing capacities and habits with others in what keeps a body as it is and maintains its similarity to other bodies in a group
="lsts lst1">•coincident with subjectivity='strcls'>* ='lgc'>='lgc'>--> you need a body to know
='lgc'>='lgc'>--> (particular ="trms">differentiation of a body='lgc'>:) body ornaments, clothing, sex, and other so-called cultural markings are no ="trms">different in kind from the so-called ="trms">natural markers of bodily ="trms">difference and capacity='lgc'>: ='strcls'>***clothes ='lgc'>='lgc'>~= claws ='lgc'>='lgc'>~= ="trms">affects='strcls'>*** ='lgc'>='lgc'>--> “sign and substance of capacities and dis="trms">positions” (="ppl">Alberti > Hugh-Jones > ="ppl">Viveiros ="ppl">de Castro)
='strcls'>*marking, molding, painting, adorning, clothing, piercing, and otherwise working on body ='lgc'>='lgc'>='lgc'>~=> to fix a body ='lgc'>='lgc'>==> to stabilize an otherwise ="trms">wildly unpre="trms">dictable perspective and ="trms">world='strcls'>*
='strcls'>*body surfaces of spirits and humans are often brilliant and intensely marked='strcls'>* ='lgc'>='lgc'>--> ="trms">excessive corporeality ='lgc'>='lgc'>--> potency of the ="trms">embodied subject='lgc'>: their “scale” ='lgc'>[in timespace tey-ol-arz='lgc'>] as efficacious beings, ="trms">dense with ="trms">affective capacities, (the body that is marked with tey-ol-arz in="trms">cites ="trms">embodied subjects)='lgc'>='lgc'>--> ='strcls'>*="trms">trap='strcls'>* (operates along scale) ='lgc'>[sufi's termporal “scale” (in tey-ol-arz طی‌الارض) as her/his efficacious being, ="trms">dense with ="trms">affective capacities for ="ppl">Attar in Tazkirat al-Awliya (='lgc'>='lgc'>--> also relevant for pit-="trms">story ='at'>#="trms">measurement) ='lgc'>='lgc'>--> the figure of the moving sufi across scales of spacetime on geo, works as a ="trms">trap precisely along this scale ='lgc'>='lgc'>--> ="trms">materialization of intensity and ="trms">excess ='lgc'>='lgc'>==> humanity='lgc'>]
='strcls'>* bodies ='lgc'>='lgc'>~= artefacts ='lgc'>: sites of subjectivity ='strcls'>*

='strcls'>*soul='lgc'>: the capacity to transform='lgc'>: a ="trms">matter of chaning bodies

dead ='lgc'>='lgc'>--> ="trms">ancestor
(transformation is an ="trms">ontological event='lgc'>: “='lgc'>='lgc'>-->”), ='at'>@="frds scrmbld">Hoda
for Wari to have a soul is a sign of d="trms"nttrm="danger,stranger">anger, a sign that some transformation (of perspective) is imminent ='lgc'>[='lgc'>]

="nms">ajayeb is full of ="trms">stories of instability='lgc'>: one's soul is always vulnerable to ="trms">ontological predation by another spirit or person ='lgc'>='lgc'>==> one's perspective can always change


“cor="trms">respond” is keyword in working with ="trms">ontologies ='lgc'>: ‘="trms">interpretations cor="trms">respond with stable ="trms">ontologies’


(this we must take things as ='lgc'>='lgc'>-->) ="trms">ontological ='lgc'>=/= analogical (='lgc'><='lgc'>-- re="trms">presentation of a ="trms">world, an ego, etc.)

how to approach (="nms">iranian miniatur and) miniaturization='qstn'>?
miniaturization have powerful and often unsettling (because paradoxical) cognitive and perceptual effects='strcls'>* ='lgc'>='lgc'>--> these effects (in the case of figurines) enable people to enter “other ="trms">worlds” (to think, manipulate and influence)
(in figurines) all the senses are implicated ='lgc'>='lgc'>==> “perceptually explosive objects” (Bailey)
="lsts lst1">•="trms">onto-transformative effect of miniaturization
='strcls'>*="trms">anthropocentrism of the scale of the human ='lgc'>='lgc'>--> default ="trms">ontological scale, self-evident human-sized body (='lgc'>='lgc'>-->='qstn'>?! the little bike i gave ="frds scrmbld">Elen, did i propose that kind of critique='qstn'>?)
="prgrph">-which organs are emphasized in ="nms">iranian miniature='qstn'>?
(organs of knowl="trms"nttrm="knowledge,Knowledge">edge='lgc'>: eyes, ears, mouths, skin)
="prgrph">-properties of ="trms">materials and their ="trms">relationship to form only ever emerge ="trms">relationally ='lgc'>}='lgc'>='lgc'>--> how can i construct an approach for ="nms">iranian miniatur, or radif in these terms
="lsts lst2">◦countors ='lgc'>='lgc'>--> de="trms">composes to the shape of horses
="lsts lst2">◦gold
="lsts lst2">◦fields
 ='lgc'>='lgc'>--> and these forms emerged for people ='strcls'>*who knew how to see it='strcls'>*
="nms">iranians experienced everything about the ="trms">world as ‘...’ ='qstn'>? (جای خالی را پر کنید) ='lgc'>--='strcls'>*='lgc'>-- the growth of ="trms">children in an unre="trms">liable ="trms">world نگرانی (='at'>#modalities of negarani)
inconstant and unre="trms">liable, continually threatening to transform ='lgc'>='lgc'>==> ="trms">ontology involving ="trms">matter ='lgc'>=='qstn'>? ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics

(the drama of) finding the correct scale


='strcls'>***(Bailey > ="ppl">Alberti='lgc'>:) (“paradox of multiple ="trms">worlds”='lgc'>:) when “other ="trms">worlds” are precisely what is expected by an audience for whom the ="trms">world is inherently unstable ='strcls'>*** ='lgc'>[='lgc'><='lgc'>-- this is an ="nms">iranian mode='lgc'>: ="trms">loving outsiders, construct ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics, proliferating ="nms">="nms">ajayebnameh, make belief in images, make thinking about kharej خارج, ="trms">loving America, etc.='lgc'>]
='lgc'>}='lgc'>='lgc'>--> this was also why i couldn't think with ="frds scrmbld">Pierre's “other future” proposal; i am al="trms"nttrm="already,spread">ready living it


="ppl">Alberti asks='lgc'>: will an ="trms">ontological shift in scale reveal new ways of cenceptualizing the miniatures (the patterns)='qstn'>?

in ="ppl">Miyazaki the figure's size are part of an instantiation of scale rather than ="trms">respond to an imposed scale
a scale must grow indiginously


Amazonian soul <='lgc'>='lgc'>~='lgc'>~='lgc'>='lgc'>--> harkat johari <='lgc'>='lgc'>~='lgc'>~='lgc'>='lgc'>--> tey-ol-arz طی‌الارض ='lgc'>='lgc'>--> teleportation and tazkie nafs ='qstn'>?!
="prgrph">-designating a condition of transformability='lgc'>: all bodies contain the potential to transform into other bodies ='lgc'>='lgc'>--> intrinsic capacity to be something else ='lgc'>='lgc'>--> harkat johari حرکت جوهری
='strcls'>*tey-ol-arz ='lgc'>='lgc'>--> intrinsic capacity to be somewhere else; ='lgc'>[is tey-ol-arz in ="nms">tasavof also about scale, body='qstn'>? (intensive ="trms">difference) (condition of transformability is ="trms">articulated in tey-ol-arz in terms of geo-temporal scale shift...)='lgc'>='lgc'>--> a moment of indiscernibility between “here” and “there” ='lgc'>='lgc'>--> a super-divided being (intensive multiplicity) ='lgc'>='lgc'>--> ='strcls'>*(a ="trms">specific form emerges='lgc'>:) a dynamic and intensive corporeality='strcls'>* (='lgc'>='lgc'>--> ="trms">excessive intensity of all spirits) ='lgc'>='lgc'>--> my argument is that ="nms">tasavof is not the negation of body in favor of soul ='lgc'>='lgc'>--> the key is not size or time but intensity or ="trms">excess ='lgc'>='lgc'>==> to think tey-ol-arz='lgc'>: to think in many kinds of times, flesh, vulnerability, etc.='lgc'>]
tey-ol-arz ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics is based on ='thdf'>the idea of a radical and in="trms">finite super="trms">position of states='lgc'>: insides and outsides ='lgc'>='lgc'>~= heres and theres ='lgc'>: are figures and ground to each other (='lgc'>='lgc'>--> ='at'>#beyond)
='lgc'>='lgc'>--> there is no ="trms">interior space to the body (='lgc'>~ there is no there/beyond to the body,) just an invisible body


="large lg54" stl="font-size:119%"> ='at'>#work on an exposure of work with tey-ol-arz with other ="trms">interested artists
in ="nms">Tehran, maybe in my parents house, informal space for opening a discussion in ="trms">Farsi-English
(involve ="frds scrmbld">Pierre='qstn'>? where to get money='qstn'>?)
='strcls'>*campus='lgc'>: (a place where) new kinds of conversations are being invented in stabilized and ="trms">social forms (sometimes departments, sometimes just research ="trms"nttrm="cluster,club">clusters)
i need to make that kind of mini-scale of quasi-organization between ="nms">Tehran and Brussels='lgc'>: workshops, episodic and ="trms">travel-mediated knots of practice


='strcls'>**(="ppl">Alberti 2013 argues that) anything in the immediate, intimate vicinity of people can be subjectivized or personified through exchange and shared ="trms">affects='strcls'>** ='lgc'>='lgc'>--> an argument for ="nms">ajayeb


‘to know a thing'='lgc'> = 'to subjectivize it’ ='lgc'>: to add the maximum amount of intentionality to them (='lgc'>='lgc'>--> ='at'>#="trms">="trms">equip them to talk well)


pots made to='lgc'>:
="lsts lst1">•to ="trms">communicate (to an audience)
="lsts lst1">•to establish (="trms">relationships)
="lsts lst1">•to persuade (others of their point of view)

de-subjectivization='lgc'>: sometimes (objects) left deliberately partially subjectivized, semi-potent in their potential to know and be known

the intensely subjectivized pots ='lgc'>='lgc'>--> ='strcls'>*impede activity and enable knowl="trms"nttrm="knowledge,Knowledge">edge='strcls'>*

="lsts lst1">•convince
="lsts lst1">•avtivate
="prgrph">-
="lsts lst1">•persuade
="lsts lst1">•="trms">communicate
="lsts lst1">•establish

eyes wide open='lgc'>: inability to see the invisible

='strcls'>*to see is to be seen='strcls'>*

buried pots, ="trms">relational bodies firmly in place, teaches the dead to see properly, to maintain a perspective (Albeti)


='lgc'>[title='lgc'>]
(with ="ppl">Alberti) ="trms">trap-thinking for ="nms">ajayeb ="trms">storytelling ='lgc'>='lgc'>--> to make capable of knowing ="trms">different things, invoking, quoting, reciting, citing, exicing, inciting ="trms">different kinds of knowl="trms"nttrm="knowledge,Knowledge">edge ='lgc'>[cit- ='lgc'>: to call, start='lgc'>] ='lgc'>='lgc'>--> mobilizing ='at'>#="trms">citational ="trms">apparatuses ='lgc'>='lgc'>--> they enter into a ‘type’ of ="trms">relation particular to each


='lgc'>[='strcls'>*='lgc'>]="trms">traps(/pots)='lgc'>: bodies fully engage in perspectival ="trms">communication and battles of will, variously constructed and provided with ="trms">affects and capacities, capable of knowing ="trms">different things and of inciting ="trms">different kinds of knowl="trms"nttrm="knowledge,Knowledge">edge through the types of ="trms">relations they entered into


______________


archaeological ="trms">material ='lgc'>='lgc'>~= myrtle (='lgc'>=/= marble)


="large lg6" stl="font-size:104%"> ='lgc'>[='strcls'>*='lgc'>]="trms">ontology='lgc'>: a theory and experience of what exists


='strcls'>*hylo="trms">morphic model of production (underlined by the substance ="trms">ontology) ='lgc'>='lgc'>~= marble
='lgc'>=/= myrtle
='lgc'>=/= ="nms">ajayeb's inscribings
a making which assumes that form is inscribed ="trms">onto passive ="trms">matter
that pots accrue (انباشتن منتج) meaning through their processes of manufacture and role in ="trms">social ="trms">relations
='lgc'>~ form is brought to ="trms">matter by an ="trms">agent with a design in mind (Ingold) ='lgc'>='lgc'>--> a concept of ="trms">material culture in which “brute ="trms">matter” is shaped by cultural ="trms">agency
traces of action ='lgc'>='lgc'>--> ="trms">skilled means of re="trms">presenting a mental image
='lgc'>='lgc'>~= ‘design’ (as conventionally conceived) ='lgc'>: to ‘project’ future states


='lgc'>[='strcls'>*='lgc'>]perspectivist theory='lgc'>: the conception ="trms">according to which the universe is inhabited by ="trms">different ="trms">sorts of persons, human and nonhuman, which apprehend reality from distinct points of view (="ppl">Viveiros ="ppl">de Castro)
="prgrph">-it sug="trms">gests that there is no ="trms">interior space to the body, only super="trms">position of body and soul='lgc'>: the human form is, as it were, the body within the body, the naked primordial body ='lgc'>[="nms">hayula='lgc'>]='lgc'>--the soul of the body ='lgc'>='lgc'>--> in="trms">finite super="trms">position of states ='at'>#tey-ol-arz
='lgc'>='lgc'>--> the body, not the mind (or ‘soul’), is the seat of knowl="trms"nttrm="knowledge,Knowledge">edge, ="trms">different parts of the body know in quite distinct ways='lgc'>: (loci/organ of knowl="trms"nttrm="knowledge,Knowledge">edge='lgc'>:)
="lsts lst1">•hand knowl="trms"nttrm="knowledge,Knowledge">edge (meken una)
="lsts lst1">•eye knowl="trms"nttrm="knowledge,Knowledge">edge (bedu una) (particularly prominent sometimes...)
="lsts lst1">•ear knowl="trms"nttrm="knowledge,Knowledge">edge (pabinki una)
="lsts lst1">•liver knowl="trms"nttrm="knowledge,Knowledge">edge (taka una)
="lsts lst1">•skin knowl="trms"nttrm="knowledge,Knowledge">edge (bitxi una) ='lgc'><='lgc'>-- knowl="trms"nttrm="knowledge,Knowledge">edge of sun, rain and wind is acquired through the skin
(painting, ear piercing can also facilitate the absorption of knowl="trms"nttrm="knowledge,Knowledge">edge into the body)

='lgc'>[='strcls'>*='lgc'>]bodies ='lgc'>='lgc'>~= artefacts ='lgc'>: sites of subjectivity
="lsts lst1">•the body is fabricated, just like the pot ='lgc'>[="ppl">Alberti='lgc'>]
="lsts lst1">•as ‘lived experience’ performs, ="trms">communicates and extends personhood through inscriptive and re="trms">presentational practices that fully incorporate ="trms">material culture and the surrounding ="trms">world. (Joyce)
="lsts lst1">•people are made='lgc'>: bodies are com="trms">posite transformations of artefacts from the time of myth='strcls'>* ='lgc'>[for example='lgc'>] Wari pay much attention to human bodies to ensure proper growth, which is regarded as a collective ="trms">responsibility='lgc'>: they are moulded and shaped by kin from foetus through to adult. actions carried out on the body, such as massage, painting and piercing ='lgc'>[and negarani of ="nms">iranian mother='lgc'>] are seen to have profound and lasting effects
="lsts lst1">•each being is stabilized through acts of care ='lgc'>='lgc'>--> what are babies for ="nms">iranians (and ="nms">iranian mothers)='qstn'>? ='lgc'>{='lgc'>[='strcls'>*='lgc'>]="trms">affect='lgc'>: dis="trms">positions or capacities which render the body of every ="trms">species unique='lgc'>: what it eats, how it moves, how it ="trms">communicates, where it lives, whether it is gregarious دسته اى or solitary ='lgc'>==(such practices ensure that)='lgc'>='lgc'>==> ='strcls'>**individuals act and see in the same ways as their kin='strcls'>** ='lgc'>}='lgc'>='lgc'>--> is this what mother does='qstn'>? (has to do with the ability or threat of transformation='qstn'>? ='lgc'>='lgc'>-->) ='strcls'>*='at'>#practices of care and نگرانی negarani are the production of a distinctly human body ='lgc'>~ ="trms">naturally human ='lgc'>='lgc'>='lgc'>~=> ="trms">different bodily constitutions of the subject ='lgc'>='lgc'>==> ="trms">different ="trms">worlds

a process that crucially entailed inconstancy='lgc'>: a continuous creative ="trms">response to the exigencies of somatic uncertainty and ="trms">ontological risk ='lgc'>=/= intentional image into a realized product (a bad ="trms">story of ="trms">technology)

let's resist='lgc'>:
="lsts lst1">•the vessel ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor
="lsts lst1">•the body's dual character as biological and cultural

archaeologists’ understanding of what bodies and artefacts are ='lgc'>='lgc'>==> a model (based on analogy) ='lgc'>='lgc'>==> “pot ='lgc'>=/= body”


='strcls'>****sex and aging, defined as the real “physical characteristics” of the body that underpin human experiences ='lgc'>='lgc'>--> usually remains unaltered
(for instance check the TV series Six Feet Under, how David's gay-ness is an intrinsic absolute fact of his body that underpins all his experiences)

="large lg22" stl="font-size:134%">
we “wear”='lgc'>:
="lsts lst1">•sex
="lsts lst1">•aging
="lsts lst1">•personal feelings
="lsts lst1">•="nms">Iranian, or German, (basically being anything)
="lsts lst1">•


(basically in all Hollywood ="trms">imaginings and standard archaeology) artefacts are only assigned secondary ="trms">agency ='lgc'>='lgc'>--> ="trms">animacy is not considered as inherent attribute of the artefactual ='strcls'>*** (Gell)
='lgc'>--='not'>✕='lgc'>='lgc'>--> pots as living organisms subject to processes of growth


(Ingold's) ="trms">ecology of ="trms">materials is characteristic of work that focuses on the inherent vitality of things (="ppl">="ppl">Barad)

="large lg22" stl="font-size:133%"> ='strcls'>*production='lgc'>: an ongoing process that produces both maker and object


(="ppl">Alberti proposes) a change in focus='lgc'>: (from) ='strcls'>*stopped up objects='strcls'>* ='lgc'>--(to)='lgc'>='lgc'>--> ='strcls'>*leaky things='strcls'>*


in his ="trms">writing ="ppl">Alberti finishes 3 or 4 times his paragraphs with the same characterization of his field='lgc'>: “chronic instability of a ="trms">world constantly at risk of transformation”


“if everything can be human, then nothing is human in a clear and distinct way.”
="ppl">Viveiros ="ppl">de Castro


='lgc'>[='strcls'>*='lgc'>]subjectivity='lgc'>: a condition and outcome of all ="trms">affective ="trms">relations ='lgc'>=/= a capacity that can be awakened in a seemingly inert thing
='lgc'>=/=='qstn'>?! ="trms">transference, (is ="trms">transference an object-oriented account='qstn'>?)


the active ="trms">nature of ="trms">materials refers to their recognized capacity to escape form ='lgc'>: their untrustworthiness


(a paradime for creative arts='lgc'>:) artifactual production ='lgc'>='lgc'>--> ="trms">animal creativity

(in Amazonia, and) in ="nms">ajayeb, no distinction is made between thoughts, feelings, body and mind ='lgc'>='lgc'>--> thoughts and actions happen in the same ="trms">ontological space
(="ppl">Alberti > ="ppl">Viveiros ="ppl">de Castro)

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

shift from an ="trms">epistemological to an ="trms">ontological register in theoretical archaeology

critically ="trms">ontological='lgc'>: turning insight back on the archaeological project

(in archaeology='lgc'>:) ="trms">ontology='lgc'> = reality (what there is) / peoples’ claims about reality (a fundamental set of understandings about how the ="trms">world is) ='lgc'>}='lgc'>--="ppl">Alberti='lgc'>='lgc'>--> one can conceptualize ="trms">ontology='lgc'>: as a people's “beliefs about” reality / as people's actual ="trms">ontological commitments (='lgc'>~ people's reality)

="ppl">="ppl">Latour's modes of existence='lgc'>: ="trms">ontological tendencies that exist more or less precariously under the assault of ="trms">modernization

conversion of ="trms">ontological ="trms">questions into ="trms">epistemological ="trms">questions ='lgc'>='lgc'>==> de="trms">ontologizing other peoples’ ='strcls'>*="trms">ontological commitments='strcls'>* ='lgc'>[='lgc'>='lgc'>--> that ="frds scrmbld"nttrm="Godard">Goda mistook for ideology='lgc'>]

='strcls'>*problem with p="trms"nttrm="failure,blur,plur,lurk,tallur,slur">luralizing “reality” is that it might appear to be a form of cultural relativism, (demotion of) “="trms">ontology ='lgc'>='lgc'>~= culture (='lgc'>~ cultural beliefs about reality ='lgc'>=/= reality)” ='lgc'>==back='lgc'>='lgc'>==> cultural construction


anti-="ppl">Cartesian, ="trms">relational, and anti="trms">ontological exceptionalism


='lgc'>[a='lgc'>] ="ppl">Heideggerian idea='lgc'>: ='strcls'>*the ="trms">world we encounter is pre="trms">interpretive='strcls'>*

posthuman ='lgc'>~ nonre="trms">presentational ='lgc'>~ rea="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list ='lgc'>~ new ="trms">materialism

(realism='lgc'>: an ="trms">ontological approach)

="lsts lst1">•="ppl">="ppl">Latour's ="trms">network
="lsts lst1">•Ingold's meshwork (commonality of processes across the ‘life ='lgc'>=/= not life’) ='lgc'>='lgc'>--> processes ='lgc'>~ becoming ='lgc'>~ growth ='lgc'>~ decay
="lsts lst1">•="ppl">="ppl">Barad's entanglement (="trms">relations are primary and ="trms">relata are a consequence of relating ='lgc'>==dynamics='lgc'>='lgc'>==> ="trms">intra-action ='lgc'>{="trms">phenomenon='lgc'> = experiment ='lgc'>+ ="trms">measuring device ='lgc'>+ techician ='lgc'>+ previous results ='lgc'>+ setting ='lgc'>+ ...='lgc'>})
="lsts lst1">•DeLanda's assemblage (how humans and nonhumans produced ="trms">communities that changed in com="trms">position and through time... ='lgc'>=/= ="trms">linguistic model of context)
="lsts lst1">•

='strcls'>**="trms">relational ="trms">ontology ='lgc'>: stronger your “allies” are, the more reality you can claim='strcls'>** ='lgc'>[= (="ppl">="ppl">Latour's notion of) truth='lgc'>]

='lgc'>[critique of human exceptionalism ='lgc'>='lgc'>==>='lgc'>] open ="trms">ontology ='lgc'>='lgc'>--> ="trms">contingent ="trms">categories='lgc'>: ="trms">phenomena and assemblages are temporary, ="trms">contingent, and unbounded

flat ="trms">ontology='lgc'>: one made ex="trms">="trms"nttrm="cluster,club">clusively of unique, singular individuals, differing in spatio-temporal scale but not in ="trms">ontological status ='lgc'>--="trms">symmetry='lgc'>='lgc'>--> ='strcls'>*to get at ="trms">differences without determining what they are in advance='strcls'>* (='lgc'><='lgc'>-- useful for ="nms">ajayeb studies)
="lsts lst1">•archaeological types/objects='lgc'>: reified sets of ="trms">relations
="lsts lst1">•job of the archaeologists='lgc'>: establish alternative taxonomies of being

ruin ="trms">memories

nonre="trms">presentational ='lgc'>=/=='lgc'>{"="trms">world of ideas ='lgc'>=/= ="trms">world of things” ='lgc'>='lgc'>~= the ideas must cor="trms">respond to a truth de="trms">monstrable in the ="trms">world of things='lgc'>}

(Lucas's) ="trms">materialization='lgc'>: we can still say things about the ="trms">past with great certainty

theories ='lgc'>+ ="trms">apparatuses ='lgc'>+ ="trms">material remains

="trms">ontological realism ='lgc'>--claim='lgc'>='lgc'>--> objectivity and truth may be ="trms">contingent but are nonetheless de="trms">monstrable and robust

archaeologist ="trms">ontological approach='lgc'>: working on “="trms">material ="trms">pasts in the ="trms">present” ='lgc'>='lgc'>~= ‘how ="trms">past actually gathers in the ="trms">present’ ='lgc'>=/= “="trms">material record='lgc'> = fragmentary evidence of ="trms">history”
="lsts lst1">•(="trms">material's temporary sensitivity ='lgc'>='lgc'>==>) ='lgc'>[='strcls'>*='lgc'>]residue='lgc'>: ='thdf'>the idea of ="trms">memory objects, ="trms">material entities in which the ="trms">memory of a moment in time is recorded

(it is precisely the) ="trms">past ='lgc'>--endures-in='lgc'>='lgc'>--> assemblage


="large lg70" stl="font-size:109%"> ="trms">interpretive endeavors ='lgc'><='lgc'>--characterize='lgc'>-- extension of the meaning of the ="trms">social
="lsts lst1">•="trms">ontology as a new ="trms">interpretive tool
="lsts lst1">•additive (='lgc'>=/= reconstructive)

="ppl">Alberti's approach (in ="trms">ontological equivalence of bodies and pots in ="trms">anthropo="trms">morphic ceramics from northwest Argentina...)='lgc'>:
="trms">social ="trms">ontology ='lgc'>='lgc'>--> reconstruct the ="trms">ontologies of ="trms">past ="trms">societies ='lgc'>[='lgc'><='lgc'>~='lgc'>~ ='mywrk'>my work on ="nms">ajayeb='lgc'>]

="trms">ontological archaeology's background in feminism, queer, and ="trms">phenomenological
approaches ='lgc'>='lgc'>==> ="trms">interest in the body

="large lg10" stl="font-size:106%">
influence of the ="trms">animal turn in archaeology
non="trms">anthropocentric ="trms">zoological studies

(nomenological explorations of ="trms">animal re="trms">presentations in ="ppl">Attar and ="nms">tasavof)

="large lg10" stl="font-size:124%"> what kinds of beings existed within the ="trms">social universe of pre-Columbian Andean peoples

(renovated concept of) animism='lgc'>: ethnographic ="trms"nttrm="metaph,metamorph,metabol,metal">meta-analogy for ="trms">past ="trms">ontologies ='lgc'>='lgc'>--> models of ="trms">relationality for archaeologists to ="trms">interpret ="trms">material patterning in the archaeological record

investigations of personhood

(building toward a) taxonomy of ="trms">past ="trms">ontologies ='lgc'>--='not'>✕='lgc'>='lgc'>--> ="trms">ontological critique

(="ppl">Alberti >) ="ppl">Viveiros ="ppl">de Castro's project='lgc'>: to ="trms">systemize amerindian thought into a ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics such that it can have a reciprocal effect on ="trms">anthropological thought and “="trms">natura="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list” or Western ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics



="trms">ontological realism ='lgc'>='lgc'>==>='lgc'>{

new ="trms">language attempt to ="trms">imagine the complex topology of ="trms">relational realities='lgc'>:
="lsts lst1">•="ppl">="ppl">Latour ='lgc'>='lgc'>--> ="trms">network='lgc'>: things exists as a consequence of the strength of their ="trms">articulation
="lsts lst1">•Ingold ='lgc'>='lgc'>--> meshwork ='lgc'>=/= Aristotelian hylo="trms">morphism
="lsts lst1">•="ppl">="ppl">Barad ='lgc'>='lgc'>--> entanglement='lgc'> = Quantum physics ='lgc'>+ queer theory ='lgc'>='lgc'>==> properties belong to the ="trms">phenomena in ="trms">question ='lgc'>=/= inherent to things
="lsts lst1">•DeLanda ='lgc'>='lgc'>--> assemblage='lgc'>: how humans ='lgc'>+ nonhumans produced ="trms">communities that changed in com="trms">position and through time in neolithic and bronze age

assemblage ='lgc'>--replace='lgc'>='lgc'>--> context

assemblage='lgc'> = ="trms">phenomena ='lgc'>='lgc'>--> temporary, ="trms">contingent, unbounded

="ppl">="ppl">Latourian critique of ="trms">categories ='lgc'>=/= beyond human cor="trms">relationalism

p="trms"nttrm="failure,blur,plur,lurk,tallur,slur">luralizing ="trms">ontology ='lgc'>='lgc'>==> charges of relativism ='lgc'><='lgc'>-- ‘objective knowl="trms"nttrm="knowledge,Knowledge">edge ='lgc'>=/= ="trms">contingent foundations’ ='lgc'>}='lgc'>='lgc'>--> nonre="trms">presentational approach ='lgc'>=/= over ="trms">interpretation, abstraction

="trms"nttrm="search">archeology operates by seeking strong and effective ="trms">articulations between theories, ="trms">apparatuses, ="trms">material remains

="trms">ontological realism (='lgc'>=/= ="trms">naturalism, constructivist) ='lgc'>='lgc'>--> objectivity and truth are ="trms">contingent, but also de="trms">monstrable and robust
='at'>@="frds scrmbld">Chloe


="trms">material record='lgc'>: an expression of ='strcls'>**how ="trms">past gathers in the ="trms">present='strcls'>** (='lgc'>=/= fragmentary evidence of ="trms">history ='lgc'><='lgc'>-- forensic approach)

="trms">past continuously un="trms">folding and therefore changing


Alberi ='lgc'>='lgc'>--> (="trms">social) ="trms">ontology='lgc'>: a new ="trms">interpretive tool
additive work (='lgc'>=/= reconstructive)

="trms"nttrm="search">archeological accounts of other's ="trms">ontologies

="trms">animal turn in ="trms"nttrm="search">archeology ='lgc'>='lgc'>--> non="trms">anthropocentric ="trms">zoological studies
Willerselv
="ppl">Viveiros ="ppl">de Castro

Amazona ='lgc'>='lgc'>--> animism (more than any other ="trms">anthropological ="trms">material) has provided modes of ="trms">relationality to ="trms"nttrm="search">archeologists to ="trms">interpret ="trms">material patterning in ="trms"nttrm="search">archeological records ='lgc'>='lgc'>--> ='lgc'>[='strcls'>*='lgc'>]animism='lgc'>: an ethnographic ="trms"nttrm="metaph,metamorph,metabol,metal">meta-analogy for ="trms">past ="trms">ontologies
="lsts lst1">•b="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurring between ="trms">nature and culture
="lsts lst1">•="trms">relationship with other-than-human ="trms">agencies (="trms">animal, spirit, artifact)
='lgc'>==='not'>✕='lgc'>='lgc'>==> ="trms">ontological critique

="ppl">Viveiros ="ppl">de Castro ='lgc'>='lgc'>--> ="trms">systemize amerindian thought into a ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics ='lgc'>='lgc'>==> to have an reciprocal effect on ="trms">anthropological thought (western ="trms">natura="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics)

reference to a “common ="trms">world”

new animism ='lgc'>='lgc'>==> ="trms">ontology becomes another name for culture

="frds scrmbld"nttrm="Alex,Alert,Aleph,Alessi">Alebrti outlining='lgc'>:
="lsts lst1">•="trms">anthropological project that considers ="trms">ontology as a critical ="trms">question productive of conceptual engagement
="lsts lst1">•work of ="trms"nttrm="search">archeologists who theorize and practice ="trms"nttrm="search">archeology on the basis of indigenous theories
='lgc'>}='lgc'>='lgc'>--> where new animists turn to animism for a source of analogies, critical ="trms">ontology turns to animism for a source of theory

perspectivism='lgc'>: multiple ="trms">natures (="trms">worlds) ='lgc'>+ singular culture (way of knowing those ="trms">worlds) ='lgc'>[='lgc'>~ working from ='strcls'>*commonality='strcls'>* rather than ='strcls'>*alterity='strcls'>*='lgc'>] ='lgc'>='lgc'>--> a theoretical bomb ='lgc'>=/= analogies based on ethnographic content

spirits experienced as diminutive yet brilliantly decorated or huge and grotesque

the more intense ='lgc'>='lgc'>==> the more body it is

(the promise of thinking through) ='lgc'>[='strcls'>*='lgc'>]thing='lgc'>: a non="trms">specified ="trms">ontological ="trms">category that can be “filled” through ethnographic observation that is designed to allow ="trms">ontological alterity to inform its content

recursive ="trms">anthropology ='lgc'>='lgc'>--> alterity='lgc'>: a function of the divergence between ethnographic ="trms">materials and the assumptions the analyst brings to them

(if) ="trms">ontology='lgc'>: what is ='lgc'>='lgc'>==> alterity='lgc'>: part of what others say ‘what is’ that does not make sense to us


(the d="trms"nttrm="danger,stranger">anger of) a new ="trms"nttrm="metaph,metamorph,metabol,metal">meta="trms">ontological orthodoxy becoming a immutable ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysic

="trms"nttrm="search">archeological alterity='lgc'>: things that do not make sense ="trms">ontologically (escape traditional frameworks)

="trms"nttrm="search">archeology's new kind of reflexivity
="lsts lst1">•openness
="lsts lst1">•="trms">wonder='lgc'>: an intentional naivete, naive ="trms">="trms">empiricism (='lgc'>='lgc'>==> sustain altering ='lgc'>+ enabling meaning, to be besieged ='and'>& committed to ='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="nms">Cinderella ='lgc'>=/= moving beyond)
="lsts lst1">•emphasis on descriptive ='lgc'>=/= theoretical
="lsts lst1">•attentiveness to our ="trms">embodied ="trms">responses

(a ="trms">question of critical ="trms">ontology in ="trms"nttrm="search">archeology ='lgc'>='lgc'>-->) how are we to mobilize ='and'>& manifest (describe ='and'>& transform) the new ="trms">past from things='qstn'>? ='lgc'>[='lgc'><='lgc'>-- my ="trms">question in ='mywrk'>my research on ="nms">ajayeb='lgc'>]
="lsts lst1">•how i am subjectively involved in the ="trms">past we investigate
="lsts lst1">•how i am objectively part of those ="trms">pasts


the all encompassing (nonlinear) descriptive ="trms">writings of ancient and antiquarian ="trms">travelers ='lgc'>='lgc'>--> what is encountered imposes itself ='lgc'>==force='lgc'>='lgc'>==> a choice ='lgc'>='lgc'>==> description

kinetic activity ='lgc'>+ the experience of being in the field

="trms">aesthetic attentiveness of ="trms">bestiaries


="trms">pragmatic use of the word ="trms">ontology in ="trms"nttrm="search">archeology ='lgc'>--signal='lgc'>='lgc'>--> the potential ="trms">world-shifting ="trms">nature of what is being studied

to be ="trms">ontological='lgc'> = entirety of the analytical ="trms">apparatus and what is being studied should be in="trms"nttrm="cluster,club">cluded in the analysis
(caught up in the process='lgc'>:) the object of study ='lgc'>+ analytical scaf="trms">folding ='lgc'>+ ="trms">method ='lgc'>+ analyst

the degree to which an approach is willing to do ="trms">ontology to itself (investigate its own ="trms">ontological assumptions)

="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical ="trms"nttrm="search">archeology ='lgc'>+ ="trms">ontological ="trms">anthropology ='lgc'>='lgc'>--> perspective on reality


(assign things to preexisting conceptual structures ='lgc'>=/=) looking for ways things can have an impact on your thinking, concepts, ="trms">ontology ='lgc'>='lgc'>==> unlocking what is most “of the ="trms">past” about things

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="ppl">Alberti
Ingold

cor="trms">respondence='lgc'>: (a pre-conceptual practice ='lgc'>='lgc'>-->) ="trms">epistemological intimacy in the practices of art, ="trms">science, and ="trms">anthropology
="lsts lst1">•a way to understand one's own research process

(="trms"nttrm="search">archeology='lgc'>: a ="trms">science of cor="trms">respondence)

="ppl">Alberti sug="trms">gesting to separate arts and ="trms">crafts (for analytical purposes)

artwork='lgc'>: non-conceptual outcomes of practice

artwork ='and'>& ="trms"nttrm="search">archeological things ='lgc'>--share='lgc'>='lgc'>--> ="trms">ontological problem of how to make something new ='lgc'>[='lgc'>~ ='strcls'>*sensations/="trms">past never before experienced/thought='strcls'>*='lgc'>] out of (circumscribed body of) ="trms">materials

="trms"nttrm="search">archeological things carry both sensation ='and'>& ='strcls'>*residue of concepts='strcls'>* with them (='lgc'>='lgc'>~='lgc'>~> artistic research ='lgc'>=/= artworks)
='lgc'>='lgc'>==> resurrect the conceptual potential immanent to the ="trms">specific arrangement of ="trms">materials (and their temporary forms)

(="trms">ontological dilemma ='lgc'>[of both art and ="trms"nttrm="search">archeology='lgc'>]='lgc'>:) ='strcls'>*how to anticipate the coming into being of something sensed but as yet not thought='qstn'>?='strcls'>*
(='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor)

="trms">scientific ="trms">interpretation and explanation of the ="trms">past ='lgc'><-='lgc'>~ ="trms"nttrm="search">archeology
='lgc'>{='mywrk'>my work='lgc'>: speculative ="trms">interpretation and explanation of the ="trms">past ='lgc'>[='lgc'>='lgc'>--> prefigure new becomings ='lgc'>+ intensification and unleashing of ‘i am part of what i seek to understand’ (= my subjectivity)='lgc'>] ='lgc'>=/= lock the ="trms">past into pre="trms">dictability='lgc'>}
="lsts lst1">•my ‘things’ in ="nms">ajayeb are to an extent ‘="trms"nttrm="search">archeological things’

contemporary ="trms">science ='lgc'>--gives='lgc'>='lgc'>--> ="trms">ontologically ="trms">relational ="trms">world (='lgc'><='lgc'>-- to be acknowl="trms"nttrm="knowledge,Knowledge">edged by art and ="trms"nttrm="search">archeology)

="trms"nttrm="search">archeology ='lgc'>--="ppl">Alberti='lgc'>='lgc'>--> fostering ='strcls'>**a particular sensibility to what is of the ="trms">past in things='strcls'>**

="trms">anthropology='lgc'>: the art of inquiry
(something you can learn from)

='lgc'>[='strcls'>*='lgc'>]="trms"nttrm="search">archeological sensibility='lgc'>: a ="trms">pervasive set of attitudes towards traces and remains, towards ="trms">memory, time and temporality, the fabric of ="trms">history
="prgrph">-Shanks

="trms">craft ='lgc'>--Ingold='lgc'>='lgc'>--> knowl="trms"nttrm="knowledge,Knowledge">edge grow from the crucible of our practical and observational engagement with being and things
(="ppl">Aristotlean ="trms">poiesis ='lgc'>='lgc'>~='lgc'>~='lgc'>='lgc'>-->) ='lgc'>[='strcls'>*='lgc'>]="trms">craft='lgc'>: slow and intimate knowl="trms"nttrm="knowledge,Knowledge">edgeable work (of how we get along with the ="trms">world; that cultivates in oneself the ="trms">skill for discerning the ='strcls'>*meanings that are al="trms"nttrm="already,spread">ready there='strcls'>*) ='lgc'>='lgc'>--> ="trms">ontological paring of conceptual ="trms">language ='and'>& physical condition
='lgc'>='lgc'>==> meaning and concepts are drawn out of objects (not given to them)


="lsts lst1">•="ppl">="ppl">Haraway ='lgc'>='lgc'>--> companion ="trms">species='lgc'> = biologist ='lgc'>+ creatures
="lsts lst1">•="ppl">="ppl">Barad ='lgc'>='lgc'>--> concepts are ="trms">literally ="trms">embodied by the differing physical ="trms">apparatuses
="lsts lst1">•


(we need more) art='lgc'>: careful accumulation of ="trms">skills


21st century ="trms">historiographic trends in art

artists increasingly ='strcls'>*deploy simulacra of ="trms"nttrm="search">archeological practices and motifs='strcls'>* in their work


art practiced as ="trms">craft (but not all the time) ='lgc'>==allow='lgc'>='lgc'>==> knowl="trms"nttrm="knowledge,Knowledge">edge grow from the insight of being in the ="trms">folding of life ='lgc'>[of infantile grandious fantasy, as well='lgc'>] ='lgc'>='lgc'>~=='qstn'>? ="trms">anthropology

producing contemporary ruins to draw attention to ='strcls'>*the work of the ="trms">present in the production of the ="trms">past='strcls'>*

='strcls'>*artists take ="trms"nttrm="search">archeology as muse='strcls'>*
(through borrowing from ="trms"nttrm="search">archeology artists)
="lsts lst1">•create a kind of intellectual framing
="lsts lst1">•incorporate archival research
="lsts lst1">•themes of ="trms">memory and entropy
="lsts lst1">•="trms">question of absence
="lsts lst1">•


prosaic ="trms">nature of ="trms"nttrm="search">archeological research
production of the finds


the way Dion distorts ="trms"nttrm="search">archeological work (allegorizing ="trms"nttrm="search">archeological practice) ='lgc'>--="ppl">Alberti='lgc'>='lgc'>-->
="lsts lst1">•consequence of sleight of hand
="lsts lst1">•he is dibbling at, performing being an ="trms"nttrm="search">archeologist
="lsts lst1">•‘play at’ ="trms"nttrm="search">archeology
='lgc'>=/= Simon Callery

="ppl">Alberti > Russell
transform ="trms"nttrm="search">archeology from ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor to allegory ='lgc'>--play='lgc'>='lgc'>--> ="trms"nttrm="search">archeology-as-="trms">aesthetics through performance ='lgc'>[='lgc'>='lgc'>--> risk of undermining and reinforcing art as a subjective practice concerned with only ="trms">aesthetics and ="trms">affective='lgc'>]


="trms">craft='lgc'>: a model for careful practices and knowing the ="trms">world ='lgc'>=/= artwork='lgc'>: a model for how to break out of disciplinary frames and how to think of the ="trms">ontology of ="trms"nttrm="search">archeological things ='lgc'>[='lgc'>='lgc'>--> what ="ppl">Sennett calls ="trms">epistemic breaking='lgc'>]

="trms">questions for the art='lgc'>:
="lsts lst1">•what effect is produced='qstn'>?
="lsts lst1">•how does this effect wrench from its ="trms">materiality what has not been perceived or sensed before='qstn'>?
='lgc'>='lgc'>--> for ="trms"nttrm="search">archeology same ="trms">question, from the ="trms">material that remain from the ="trms">past in the ="trms">present

(the traditional task of art='lgc'>:)
="lsts lst1">•defamiliarization='lgc'>: to estrange our common consciousness and sensations of the ="trms">world
="lsts lst1">•place of immanence='lgc'>: to project the coming of something ="trms">materially new that is latent in our current reality. to ='strcls'>*treat facts as events='strcls'>* that are about to come into being
="lsts lst1">•art is non-conceptual ='lgc'>: impacting the nervous ="trms">system without conceptual mediation ='lgc'>='lgc'>--> sensations are monumentalized in the artwork for the future
="lsts lst1">•

...to treat the ="trms">material of the ="trms">past as anticipating something new

(='mywrk'>my research and work on ="trms">bestiary='lgc'>:)
="lsts lst1">•how can we produce new works that challenge us to think and experience ="trms"nttrm="search">archeological things (="nms">ajayeb) in new ways without re="trms">sort to explanation or ="trms">interpretation through a process of dis="trms">articulation, repurposing, and disruption of ="trms"nttrm="search">archeological artworks with a political intent in mind='qstn'>? (="trms">interpretive framework)
="lsts lst1">•how to allow ="nms">ajayeb to continue to operate effectively on us='qstn'>?

both ="trms">affective and ="trms">historical force (of ="nms">ajayeb)


art engenders ="trms">material becomings (classical de="trms">finition)
art engenders ="trms">imaginative becomings

learning from ="trms"nttrm="search">archeology='lgc'>: to be pre-conceptual ='lgc'>: the process of ="trms">craft, to grasp how concepts make their way into things


undisciplinary space (instead of transdisciplinary)

dis="trms">articulation='lgc'>: repurposing and disruption of ="trms"nttrm="search">archeological artworks with a political intent in mind
='lgc'>='lgc'>--> cannot escape the anecdotal when it comes to ="trms">interpretation ='lgc'>='lgc'>--> artifacts (='thdf'>for example a neolithic Balkon clay figurine) become ="trms">symbols for ="trms">social ="trms">position ='lgc'>='lgc'>~= allegorizing (='lgc'>=/= speculation)

="large lg1" stl="font-size:136%"> ="trms">historical energy (force) of things='lgc'> = something of the ="trms">past that endures in them


(old and unhelpful de="trms">finition of) art='lgc'>: impacting nervous ="trms">system without conceptual mediation (directly impact living bodies) ='lgc'>--engender='lgc'>='lgc'>--> ="trms">material becomings ='lgc'>["art='lgc'> = giving birth"='lgc'>]

='lgc'>--="ppl">Alberti='lgc'>='lgc'>--> art (and ="trms">anthropology) need the pre-conceptual='lgc'>: the process of ="trms">craft (to grasp how concepts make their way into things)


='lgc'>[='strcls'>*='lgc'>]concept='lgc'>: fragment of ="trms">past ="trms">world

maker ='lgc'>+ ="trms">material ='lgc'>==emerge='lgc'>='lgc'>==> concept

="prgrph">-in artistic research ='at'>@="nms">apass are we dealing with the simulacra of knowl="trms"nttrm="knowledge,Knowledge">edge='qstn'>?


understanding the potters (and artists) who made the ceramics as ="trms">crafters='lgc'> = understanding them as ='strcls'>*intimately connected with a particular ="trms">world='strcls'>* ='lgc'><='lgc'>-- knowl="trms"nttrm="knowledge,Knowledge">edge of which came through ="trms">skilled ="trms">material practice
='at'>#feedback
="prgrph">-how does it apply to digital ="trms">relations='qstn'>?

="lsts lst1">•practiced caressing of hand over clay forms (='lgc'>~ handling, nurturance) ='lgc'>='lgc'>==> ="trms">zoo="trms">morphic, ="trms">anthropo="trms">morphic bodies (Ingold call it ="trms">anthropogenic)
="lsts lst1">•digital ="trms">interface ="trms">CG ='lgc'>='lgc'>==> ='qstn'>?
="lsts lst1">•


="prgrph">-how to ="trms"nttrm="already,spread">read or confront ="nms">ajayeb ="trms">bestiary artifacts and think of them as ='strcls'>*taking on something of the pre-conceptual labour that went into them='strcls'>*='qstn'>? ='lgc'>='lgc'>--> (='qstn'>?how can it) provoke an art-like ="trms">response ='lgc'>[<='lgc'>=='lgc'>~ sleepwalking='lgc'>: no ="trms">ontological ="trms">difference between then and now ='lgc'>='lgc'>==> you are confronted with a raw ="trms">material of ="trms">affect and concept ='lgc'>=/= ="trms">past artifacts as vehicle for complex belief ="trms">systems='lgc'>] ='lgc'>}='lgc'>==drive='lgc'>='lgc'>==>
="lsts lst1">•new sensorial experience
="lsts lst1">•new conceptual work
='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to description, ="ppl">="ppl">Stewart


="large lg34" stl="font-size:114%"> coalescing of ="trms">language ='and'>& concept ='and'>& ...


='lgc'>[='strcls'>*='lgc'>]drawing='lgc'>: (the effect of being) harassed by reality

to be harassed by ="nms">ajayeb ="trms">past people ="trms">animals (struggling in their reality)
='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to haunted, possession

='lgc'>[='strcls'>*='lgc'>]art='lgc'>: risk of something new

="trms"nttrm="search">archeology ='lgc'>='lgc'>--> intimate knowl="trms"nttrm="knowledge,Knowledge">edge of ="trms">materials (='lgc'>='lgc'>--> appealing to art, ="trms">crafter attune to their ="trms">material)

my ="trms">lecture-performances='lgc'> = exploring how to make my knowl="trms"nttrm="knowledge,Knowledge">edge ="trms">present (to myself so it has a chance to be reconsidered) and how things (="nms">ajayeb ="trms">past ="trms">bestiary telegram ="trms">animal) ="trms">affect me and to ='strcls'>*allow them to engender their own concepts and meanings='strcls'>*

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(="trms">modern western) human='lgc'>: ="trms">composed of cultural clothing that hides and controls an essentially ="trms">animal ="trms">nature ='lgc'>=/= (amazonian) ="trms">animals have a human ="trms">sociocultural inner aspect that is “disguised” by an ostensibly bestial bodily form ='lgc'>='lgc'>-->='lgc'>{ ='lgc'>[subjective particularity of spirit and meaning ='lgc'>='lgc'>==>='lgc'>]='strcls'>*multi="trms">natural ='lgc'>=/= multicultural='strcls'>*='lgc'>[='lgc'><='lgc'>== objective universality of body and substance='lgc'>] ='lgc'>}

="prgrph">-="ppl">Viveiros ="ppl">de Castro's dichotomous argument leaves out other modes of knowing, those that i care and haunt for (and i am claimed by them) in ="trms">specific mystic muslim theology and eastern ="trms">bestiary (='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="ppl">="ppl">Marks)

Amerindian “people” ='lgc'>: spiritual unity and a corporeal diversity

possessing a soul ='lgc'>='lgc'>==> having a point of view ='lgc'>='lgc'>==> being a subject

='lgc'>='lgc'>==> event='lgc'> = action
(action ='lgc'>=/= expression of intentional states)

='lgc'>[='strcls'>*='lgc'>]object='lgc'>: incompletely ="trms">interpreted subject

“a muddy waterhole is seen by tapirs as a great ceremonial house”

(objectivist ="trms">epistemology's) ‘to know'='lgc'> = to desubjectify, to make explicit the subject's partial ="trms">presence in the object ='lgc'>=/= (Amerindian shamanism ="trms">epistemology's) ‘to know'='lgc'> = to personify, something that is always a someone

="prgrph">-the problem is that only the shaman and some rogue artists know how to personify. i want to personify ="ppl">Viveiros ="ppl">de Castro!)
="prgrph">-his rendition of objectification is insufficient and not ="trms">specified (in which discipline by who and when how ='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="ppl">="ppl">Barad)
="prgrph">-='lgc'>[in contemporary performance art='lgc'>: “becoming ="trms">animal” ='lgc'>='lgc'>--> a modality of ="trms">narcissistic ego-formation='lgc'>]

“perspectives should be kept separate. Only shamans, who are so to speak ="trms">species-androgynous, can make perspectives ="trms">communicate, and then only under special, controlled conditions.”

perspectivism='lgc'>: something is a fish only by virtue of someone else whose fish it is

(any) exchange='lgc'>: exchange of perspectives ='lgc'>='lgc'>==> 100 percent ="trms">relational universe ='lgc'>='lgc'>==> everything is primary fact (-then how would ="ppl">Viveiros ="ppl">de Castro explain deceive and lie='qstn'>? ='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="ppl">Kohn)

multiculturalism ='lgc'>='lgc'>--> relativism ='lgc'>='lgc'>--> diversity of subjective and partial re="trms">presentations, each striving to grasp an external and unified ="trms">nature

(="trms">different ="trms">specificity of) bodies ='lgc'>='lgc'>==> perspectives

='lgc'>[='strcls'>*='lgc'>]="trms">affect='lgc'>: dis="trms">positions or capacities that render the body of each ="trms">species unique ='lgc'>='lgc'>==> ='lgc'>[='strcls'>*='lgc'>]body='lgc'>: assemblage of ="trms">affects (ways of being) that constitute a habitus, bundle of ="trms">affects and capacities

='strcls'>**humanity='lgc'>: a moral condition that ex="trms"nttrm="cluster,club">cludes ="trms">animals='strcls'>**
human-="trms">animal has a physical continuity ='lgc'>[='lgc'>='lgc'>==> ="trms">natural ="trms">sciences='lgc'>] and a ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical discontinuity ='lgc'>[='lgc'>='lgc'>==> humanities='lgc'>]

(what would be a ='strcls'>*nonanimistic ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical continuity='strcls'>* between human-="trms">animal and other things='qstn'>? ='lgc'>='lgc'>--> we need ="trms">categorical mistakes and catachresis)

spirit/mind ='lgc'>='lgc'>--> distinguisher (of cultures, ="trms">species, etc.)
body ='lgc'>='lgc'>--> connector (of ="trms">material beings)

(Amerindian) spirit/mind ='lgc'>=='qstn'>? reflexive form ='lgc'>=/= im="trms">material inner substance

the neo="trms">phenomenological appeal to the body as the site of subjective singularity
projects of “="trms">embodying” (the spirit) ='lgc'>--='qstn'>?='lgc'>='lgc'>--> eliminative ="trms">materialism

(culture='lgc'>: ="trms">modern name for Spirit)

="trms">integration ='lgc'>=/= ='strcls'>*="trms">inter="trms">specific ="trms"nttrm="metaph,metamorph,metabol,metal">meta="trms">morphosis fact of ="trms">nature='strcls'>* that understands bodies as inherent transformabilities, bodies as the great ="trms">differentiators

="trms">integration ="trms">cosmology ='lgc'>--presume='lgc'>='lgc'>--> singular distinctiveness of minds ='lgc'>='lgc'>==> solipsism='lgc'>[= potentially absolute singularity of minds ='lgc'>='lgc'>==> fear that we will not recognize ourselves in our “own kind”; solipsism='lgc'>: ‘="trms">natural similarity of bodies ='lgc'>='lgc'>=/=> a real ="trms">community of spirit'='lgc'>] ='lgc'>--multiculturalism='lgc'>='lgc'>--> spiritual='lgc'>: the locus of ="trms">difference ='lgc'>='lgc'>==> theme of spiritual conversion
='lgc'>=/= bodily ="trms"nttrm="metaph,metamorph,metabol,metal">meta="trms">morphosis

(a traditional problem in the West='lgc'>:)
='strcls'>*how to connect and universalize='strcls'>*
individual substances are given, while ="trms">relations have to be made
='lgc'>=/=
(Amerindian problem, and problem of ="nms">ajayeb='lgc'>:)
='strcls'>*how to separate and particularize='strcls'>*
="trms">relations are given, while substances must be defined


transformation ='lgc'>='lgc'>==> ="trms">nature <='lgc'>=/= creation
="trms">transference ='lgc'>='lgc'>==> culture <='lgc'>=/= invention

='strcls'>*culture='lgc'> = acculturation='strcls'>*
='strcls'>*exchange='lgc'> = transformation of a ="trms">prior exchange event='strcls'>*
='strcls'>*to act='lgc'> = to ="trms">response='strcls'>*

="trms">poiesis (creation/production/invention model of action ='lgc'>='lgc'>==> objectification='lgc'>: ="trms">question of ‘documentation’ in art) ='lgc'>=/= praxis (transformation/exchange/transfer model of action ='lgc'>='lgc'>==> subjectification='lgc'>: ="trms">question of ‘what is/has changed='qstn'>?’)


="trms">story of “we had to steal fire from a divine father”
(god forbid the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of our abilities be ="trms">animal or queer)


mythology='lgc'>: a discourse on the given, the innate
myth='lgc'>: that which must be taken for granted


af="trms">finity and alliance ='lgc'>='lgc'>--> exchange (amerindian)
parenthood ='lgc'>='lgc'>--> creation/production (="trms">modern western)
="prgrph">-the “exchange” (='lgc'>=/= “parenthood”) that ="ppl">Viveiros ="ppl">de Castro talks about fits seamlessly with capitalism's free exchange of knowl="trms"nttrm="knowledge,Knowledge">edge

warrior/shaman/artist ='lgc'>='lgc'>--> conductors of perspectives


relative
="trms">relational

enmity='lgc'>: full-blown ="trms">social ="trms">relationship, extreme exchange

schema of ="trms">difference

(Amazonian ="trms">cosmology='lgc'>:) generic attributive pro="trms">position='lgc'> = cannibal pro="trms">position
='lgc'>='lgc'>==> self='lgc'>: gift of the other (='lgc'>=/= hylo="trms">morphism='lgc'>: an active usually ex="trms">="trms"nttrm="cluster,club">clusively human subject confronts an inert and ="trms">naturalized object)

='strcls'>**="trms">cosmology (='lgc'>~ the hyphen between ="trms">nature and ="trms">society is ="trms">social) ='lgc'>=/= ="trms">naturalism (='lgc'>~ ="trms">relations between ="trms">society and ="trms">nature are ="trms">natural)='strcls'>**

we are body-objects in ="trms">ecological ="trms">interaction with other body-forces

="prgrph">-="trms">question for ="ppl">Viveiros ="ppl">de Castro='lgc'>: what would be then the “exchange” between Amerindian perspectivism and Western ="trms">naturalism='qstn'>? (not only that “we” should learn from Amerindian perspectivism but) what they can learn from us='qstn'>?

European ="trms">ontology='lgc'>: unextended thought and extended ="trms">matter (='lgc'>='lgc'>--> Iron Man)
going from ="trms">questions of re="trms">presentation ='lgc'>--to='lgc'>='lgc'>--> ="trms">questions of ="trms">ontology
simplification of ="trms">ontology (='lgc'>='lgc'>--> objects pacified and silenced) ='lgc'>='lgc'>==> complication of ="trms">epistemology (='lgc'>='lgc'>--> subjects proliferate and chatter) ='lgc'>[='lgc'>='lgc'>--> “discursive practices” and “politics of knowl="trms"nttrm="knowledge,Knowledge">edge” are results of that pacification='qstn'>?='lgc'>]

='strcls'>***someone must be wrong, something has to be explained='strcls'>*** (='lgc'><='lgc'>--='qstn'>?='lgc'>-- we have never been ="trms">modern, they has ever been primitive)

(="ppl">Viveiros ="ppl">de Castro)
formerly, savages mistook (their) re="trms">presentations for (our) reality; now, we mistake (our) re="trms">presentations for (other people's) reality. ="trms">rumor has it we have even be mistaking (our) re="trms">presentations for (our) reality when we “occidentalize”


='strcls'>*culturalism, relativism, textualism ='lgc'>='lgc'>--> reduces reality to re="trms">presentation
='strcls'>*cognitivism, ="trms">sociobiology, evolutionary psychology ='lgc'>='lgc'>--> reduces re="trms">presentation to reality

it has been obvious (for more than seventy-five years) that at the heart of the ="trms">matter, there is no stuff; only form, only ="trms">relation

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“="nms">ajayeb” a term i use in="trms">="trms"nttrm="cluster,club">clusively to examine a living and nonliving ‘="trms">historical site’ / ‘="trms">heritage web’ in order to learn/talk/speculate about what counts as ="trms">writing ='lgc'>='lgc'>~= ="trms">writing ="trms">technologies ='lgc'>='lgc'>==> production of knowl="trms"nttrm="knowledge,Knowledge">edges

(="ppl">Katie ="ppl">King's) bits of ="trms">past="trms">present, a tool for scale making
='lgc'>~(Weston's) time claims
='lgc'>[='strcls'>*="trms">past="trms">present='lgc'>: decline ="trms">epistemologically charged purifications that devout ="trms">complaints of “="trms">presentism” mandate='lgc'>]

="prgrph">-in ='mywrk'>my research (willing and required to become a beginner) i am asking='lgc'>: why ="trms">past and ="trms">present are so easy to separate='qstn'>?
(='lgc'>='lgc'>~='lgc'>~='lgc'>='lgc'>--> how our vision of ="trms">past and future creates our ="trms">present='qstn'>?)
='lgc'>='lgc'>==> directions, spinning dynamics,

in a sense ='mywrk'>my work on ="nms">ajayeb is a critique of “="trms">presentism"='lgc'>[= overvaluing ="trms">historically and culturally local constructions of the meaning and importance of a particular set of ="trms">stories and their conditions of production (of “ours”). (='thdf'>for example the “future” ="trms">story)='lgc'>]
='lgc'>='lgc'>-->='qstn'>? speculative ="trms">presentisms (Dinshaw's queer ="trms">historiography)

='strcls'>*globalization='lgc'>: “that ="trms">travelogue of distributed, heterogeneous, linked, ="trms">socio="trms">technical circulations that ="trms">craft the ="trms">world as a net called the global” (="ppl">="ppl">Haraway)
='lgc'>='lgc'>~= processes ="trms">responsible for the power and mobility of media, money, politics, sexualities, and knowl="trms"nttrm="knowledge,Knowledge">edge practices='strcls'>*** ='lgc'>='lgc'>--> these meanings and powers can be “glocalized”='lgc'>: altered, filled in, indigenized, and reunderstood ='strcls'>*within local ="trms">agencies='strcls'>*(='lgc'>: people, art forms, practices of everyday life)
(globalization processes) ='lgc'>='lgc'>==> academically uncomfortable and sometimes politically reprehensible سزاوار سرزنش forms of hybrid ="trms">histories

(="ppl">Katie ="ppl">King's flexible knowl="trms"nttrm="knowledge,Knowledge">edges='lgc'>:) layers of locals and globals

my aim in ='mywrk'>my research is creating ='strcls'>*struggle for understanding='strcls'>* ='lgc'>[= many ="trms">communities involved in ="trms"nttrm="already,spread">reading, ="trms">writing, ="trms">interpreting,='lgc'>] ='lgc'>='lgc'>--> ='strcls'>***we are all ="trms">members in these ="trms">communities struggling for understanding='strcls'>***

Urton paying attention to decompiling ="trms">intermediaty ="trms">positions between so-calles ="trms"nttrm="already,spread">reading and ="trms">writing ='lgc'>='lgc'>--> string records ='lgc'>='lgc'>--> numerical accounts or maps or... ='lgc'>='lgc'>==> ="trms">histories and ="trms">narratives

='mywrk'>my research on ="nms">ajayeb in ="nms">apass as a practice is about ='strcls'>*disassembling and reordering classifications we use to access ="trms">pasts='strcls'>*


the excursion i did in Vladmir's block was somehow about examining sites of implicitly or explicitly knowl="trms"nttrm="knowledge,Knowledge">edge production in commercialized forms
museum, TV documentry as a ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor ='lgc'>{a richly contaminated set of ="trms">crafty ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphors and realities='lgc'>} and ="trms">narrative frame, a momentary melding of ="trms">past="trms">presents in ="trms">imaginative reenactment ='lgc'>='lgc'>--> economic globalization figuring in artistic/academic capitalism
(='lgc'>='lgc'>--> ="nms">ajayeb is also of this kind,) ='strcls'>*site of ="trms">heritage='strcls'>* culture as promoting particular versions of ="trms">history, nation, ="trms">science, art, and ="trms">religion='strcls'>*** ='lgc'>='lgc'>--> (the excursion made me) with ="nms">ajayeb to be careful with ‘the commerce with global knowl="trms"nttrm="knowledge,Knowledge">edge production’ ='lgc'>--(what is at stake)='lgc'>='lgc'>--> structure of ="trms">pasts, peoples, and sensation
='strcls'>*="trms">heritage culture ='lgc'>==(impress)='lgc'>='lgc'>==> public ="trms">histories='strcls'>* ='lgc'>='lgc'>--> appropriation of national and personal identities; today (specially in university) no one is “immune from governing pressures of ="trms">heritage culture or the impression of corporate management assumptions, styles, funding requirements, and money-making imperatives in enterprise culture” (="ppl">Katie ="ppl">King > Morley ='and'>& ="frds scrmbld"nttrm="Robin,Robot,Robert,Robocop">Robins) ='lgc'>[i can ="trms">imagine ="nms">apass is struggling with this specially in Brussels='lgc'>]
(='at'>@Vera's ="trms">position as a museum tour guide, exploitations of the ="trms">interpreter/reenactors, who are promised semiprofessional recognition within ="trms">social ="trms">historical practice but instead end up as engineers of a “feel good” atmosphere for tourism)
(="ppl">Katie ="ppl">King > S="trms">laughter ='and'>& Leslie) ='strcls'>*global ="trms">market='lgc'>:
="lsts lst1">•fields “close to the ="trms">market” ='lgc'>--(reguire)='lgc'>='lgc'>--> proucts
="lsts lst1">•fields “peripheral to the ="trms">market” ='lgc'>--(are pushed to)='lgc'>='lgc'>--> pedagogy and public service
(sometimes virtually indistinguishable='lgc'>:) impulse to democratize ='lgc'>='lgc'>~=='qstn'>? commodify knowl="trms"nttrm="knowledge,Knowledge">edge
="prgrph">-they model for museum goers as='lgc'>:
="lsts lst2">◦reenactors
="lsts lst2">◦shadows
="lsts lst2">◦witnesses
="lsts lst2">◦a play at being “there”='lgc'>:
="lsts lst3">◾on set
="lsts lst3">◾on site
="lsts lst3">◾in that ="trms">past
="lsts lst3">◾in a ="trms">past='lgc'>:
="lsts lst4">◽mentally enacting
="lsts lst4">◽reenacting
="lsts lst4">◽experimenting
="lsts lst4">◽speculating
="lsts lst4">◽trying to find evidence for various ="trms">past="trms">presents


TV camera='lgc'>: like a ="trms">historical source, arbitrarily selects what it chooses to show, never lies and never understands (Kopkins)

TV documentry's “distributed ="trms">agencies”='lgc'>: neither ='lgc'>[director and screen="trms">writer='lgc'>] can claim ="trms">priority without wraping a description of these productive processes, and neither can make the TV product without the essential ="trms">interaction of many people's hands, minds, tools, ="trms">skills, tasks, objects, and infrastructures ='lgc'>='lgc'>--> these distributed ="trms">agencies (with problems and possibilities) are also necessary in art research (='lgc'>[="ppl">Katie ="ppl">King:='lgc'>] and in scholarly knowl="trms"nttrm="knowledge,Knowledge">edge production), (building, creating, constructing, laboring means to learn how to become sensative to the contrary requirements, to the exigencies اقتضا, to the pressures of conflicting ="trms">agencies where none of them is really in command; ="ppl">="ppl">Latour)
‘industrial model of distributed production’ ='lgc'><='lgc'>='lgc'>--> ‘a version of the ="trms">responsibilities and pleasures of professional and intellectual autonomy’
="prgrph">-TV shows are animated with folks from our time who invite audience identification as “us”='lgc'>: we are the viewers mentally enacting ='lgc'>[='lgc'>~ playing at, reenacting, experimenting, speculating, trying to provide evidence for='lgc'>] various understandings of the so-called ="trms">past='strcls'>***
melodramas of reenactment and experimentation ='lgc'>='lgc'>==> professional knowl="trms"nttrm="knowledge,Knowledge">edges are elevated, while their bondaries threatend

="large lg54" stl="font-size:111%"> in the production of an ‘object’ things (and meanings) get lost, they might be registered in “="trms">interference”


='strcls'>*anachronism, anachronistic ='lgc'>='lgc'>--> ='at'>#sleep-walking
“slippages in time” within the ="trms">past as well as between “us” and the ="trms">past
desire for tales of progress, with some particular “us” on top ='lgc'>~ chronology as essential o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin ='lgc'>{what we see often in ="trms">technology tales such as Lucy (2014) or X-Men opening s="trms">cenes='lgc'>}='lgc'>=/= to mix up who counts as “us” ='lgc'>{what i have been trying to do, mixing up with ="nms">Iran, Germany, etc.='lgc'>} to offer ="trms">different timescales
="lsts lst1">•local details that animate ="trms">generalizations
="lsts lst1">•archival labors dramatized and experienced as immediacy
="lsts lst1">•transparency of the ="trms">material limitations of selection


="trms">spectacle of production

critique of the living-="trms">history ethos

giving ="trms">science war pep talks... ='lgc'>[TED='lgc'>]
(don't!)


='lgc'>[='strcls'>*='lgc'>]witnessing='lgc'>: “root of the experimental life”

='lgc'>[='strcls'>*='lgc'>]="trms">science='lgc'>: important and witnessable

freestanding photo-figures of ="trms">scientists that work to ="trms">situate and create scales of importance

commenting and making alliances across space-time with other figures


_='lgc'>[audience and ="trms">markets='lgc'>]_
audience polyphony
audience and ="trms">markets shift and converge in ='lgc'>[flexible knowl="trms"nttrm="knowledge,Knowledge">edges='lgc'>] complex address of multiple audiences, in that contradictory nest of niche political and ="trms">epistemological “="trms">markets”
(='strcls'>**the ="trms">story of the ‘="trms">interactive’='lgc'>:) “rich contradictory nestings permit an require visitors to select among possible salient ="trms">narratives by animating ="trms">differently layers of locals and globals”


to call oneself in and out of allience and its classifications, that ='strcls'>*momentary universalism='strcls'>* shades into other ranges of affiliation and disaffiliation (='strcls'>*)

='lgc'>[...='lgc'>] ='lgc'>='lgc'>--> ='lgc'>[ ='qstn'>? ='lgc'>] ='lgc'>='lgc'>--> salience ='lgc'>='lgc'>--> tangible ='lgc'>='lgc'>--> ="trms">literal ='lgc'>='lgc'>--> experimental

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conceptualize the intensities of form and force
="trms">affect studies has made me feel less alone because before it

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There are ='lgc'>[always='lgc'>] other epic and epochal forces in our midst.

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evil eye ='lgc'>='lgc'>--> دیو چشم زخم ='lgc'>='lgc'>--> غش ='lgc'>='lgc'>--> اغشی

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باغ plethora of old and new humanities, selves - with ="ppl">Sardar='lgc'>: There are plants that provide various colors of foliage, or h="trms"nttrm="knowledge,Knowledge">edges and borders, or climb up fences, or play architectural roles (='lgc'>=/= presumption that we must have a identity ='and'>& ="trms">supposition that we discover our identity ='and'>& the Socratic “know thyself” as a fundamental human urge) we exist with multiple identities invoked ="trms">differently in ="trms">different context. subscribed to an ="trms">imagined “="trms">heritage” ="trms"nttrm="already,spread">ready to kill and be killed to save some “essence” (='lgc'>=/= San'an)
sake of the ="trms">difference, scum and finest of men
(='thdf'>for example “black”='lgc'>: to be confused='lgc'>: once ex="trms"nttrm="cluster,club">cluded, now ="trms">technically empowered, a dominant group in the rainbow, but still practically marginalised by the ="trms">history that created and continues to operate practical ex="trms">="trms"nttrm="cluster,club">clusion.)
='at'>@="nms">Iranians='lgc'>: how much of the Other is actually located within me='qstn'>?
“a perfectly permissible aspiration” ='lgc'>--into='lgc'>='lgc'>--> “an ="trms">instrument of war” (Maalouf)
British identity is based on an ='thdf'>assumption of ="trms">authority that makes the ="trms">world a familiar place, a proper theatre in which to continue being British. ='at'>#="ppl">Olearius
ex="trms"nttrm="cluster,club">clude the (unsavoury) foreigners ='lgc'><='lgc'>='lgc'>==> romanticised ="trms">history and frozen tradition
='strcls'>*="trms">history as a deliberate human creation ='lgc'>='lgc'>==> acknowl="trms"nttrm="knowledge,Knowledge">edgement of a common ="trms">past ='lgc'>='lgc'>==> (a ="trms">difference called) identity ='lgc'>[= “our” similarity against “their” ="trms">difference,='lgc'>] (submerging, barbarising and ="trms">differentiating itself from another identity) ='lgc'>[='thdf'>for example ancient Greece ='lgc'>+ Rome ='lgc'>+ ="frds scrmbld"nttrm="Christianson">Christianity='lgc'> = Europe='lgc'>] ='lgc'>='lgc'>==> monolith ='lgc'>='lgc'>==> conflict and death
="lsts lst1">•my (jub جوب) gutter photos ='lgc'>=/= ="nms">Tehran's Americanization of the high street.
="lsts lst1">•my photos of Rima ='lgc'>=/= her selfie's merchandised model of individualism
a deep desire for as="trms">sociation
various and diverse traditions ='lgc'>='lgc'>==> identity='lgc'>: “the means to synthesise similarity through ="trms">difference and to see ="trms">difference as discrete means of expressing basic similarity” (="ppl">Sardar)
“balance of similarities and ="trms">differences as a way of locating what it is that makes life worth living and what connects us with the rest of the changing ="trms">world”
='strcls'>*...continuation of the Enlightenment project of progress through ="trms">instrumental ="trms">science. One source of Truth, and one Civilization, continues in its ="trms">trajectory
garden ='lgc'>=/= ='lgc'>{North America's arrogance in ="trms">cosmological proportion as ="trms">worlded in Hollywood, and ="trms">science seeing itself as the only manifestation of reality, The ="ppl">Platonic idea that truth is same for everyone='lgc'>}

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='lgc'>[body politics='lgc'>]

="trms">Greeks ='lgc'>='lgc'>--> body politics ='lgc'>='lgc'>--> elaborated images for human ="trms">society ='lgc'>='lgc'>==> citizen, city

(="ppl">="ppl">Haraway on) the junction of ="trms">natural forces and economic progress in the formative years of capita="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list industrialism

(="ppl">="ppl">Haraway's emphasize and telling ="trms">stories about the) union of the political and the physiological

ancient and ="trms">modern justifications ='lgc'>='lgc'>--> ="trms">differences (seen as ="trms">natural, given, inescapable ='lgc'>='lgc'>==>) as ='strcls'>*moral='strcls'>*

the ‘content’ as well as the soicla function of ="trms">science ='lgc'>='lgc'>--> renderd utopian='lgc'>: (that means) we leave this central, legitimating body of ="trms">skill and knowl="trms"nttrm="knowledge,Knowledge">edge to undermine our efforts
='lgc'>[we must fight with all our power against utopian(='lgc'>='lgc'>~= dystopian) ="trms">stories of ="trms">science ='lgc'>='lgc'>~='lgc'>-> accepting that there are ="trms">natural objects (bodies) separate from ="trms">social ="trms">relations='lgc'>] ='lgc'>='lgc'>--> (we must refuse) the damaging distinction between pure and applied ="trms">science ='and'>& double ideology of firm ="trms">scientific objectivity and mere personal subjectivity

we have granted ="trms">science the role of a ='strcls'>*fetish='strcls'>*='lgc'>: an object human beings make only to forget their role in creating it

...agreeing that “="trms">nature” is our enemy and that we must control our “="trms">natural” bodies (by ="trms">techniques given us by biomedical ="trms">science) at all costs to enter the hallowed kingdom of the cultural body politic as defined by liberal (and radical) theories of political economy

='lgc'>[a traditional reduction of the body:='lgc'>] ="ppl">Freud ='lgc'>='lgc'>--> (a theory of body politics='lgc'>:) “culture in the cost of sex” ='lgc'>[='lgc'><='lgc'>-- no!='lgc'>] ='lgc'>: human ="trms">social developement='lgc'> = progressive domination of ="trms">nature (particularly of human sexual energies) ='lgc'>='lgc'>--> ='strcls'>*sex as d="trms"nttrm="danger,stranger">anger and as ="trms">nature='strcls'>* are central to ="ppl">Freud's ="trms">system
='strcls'>*** ="ppl">Freud (, Brown, and Firestone) are useful tools in a dissection of the theories of the political and physiological organs of the body politic because they all begin their explanations with sexuality, add a dynamic of culturla repression, and then attempt to liberate again the personal and collective body

civilization='lgc'> = body politic

(in ="nms">iran='lgc'>:)
personal body ='lgc'>=/= ="trms">social body ='lgc'>}='lgc'>='lgc'>--> both not ="trms">natural

(a fundamental human condition='lgc'>:) through labor, we make ourselves individually and collectively in a constant ="trms">interaction with all that has not yet been humanized ='heart'>♥


='lgc'>[="trms">animal body politic='lgc'>]
='lgc'>[the ="trms">science of ="trms">animal='lgc'>]
="trms">animal ="trms">sociology (in ="trms">fables since millennia ='lgc'>[='lgc'>='lgc'>--> Kelile Demne ="trms">stories of ="trms">natural basis of cultural cooperation and competition='lgc'>])='lgc'>:
="lsts lst1">•construction of oppressive theories of the body political
="lsts lst1">•="trms">science of ="trms">animal groups
="lsts lst1">•a tool in the reproduction of ="trms">world
="lsts lst1">•enhancing ="trms">material power

='strcls'>*="trms">animals='strcls'>* (played an importan role in)
="lsts lst1">•the project of human engineering='lgc'>: the project of design and management of human ="trms">material for efficient, rational functioning in a ="trms">scientifically ordered ="trms">society (or in belief ="trms">communities)
='lgc'>='lgc'>--> ="trms">animals were/are='lgc'>:
="lstsrd">1- plastic raw ="trms">material of knowl="trms"nttrm="knowledge,Knowledge">edge (subject to exact laboratory discipline)
="lstsrd">2- having special status as ="trms">natural objects that can show people their o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin ='lgc'>[='lgc'>='lgc'>--> Attenborough's civilizer films='lgc'>], and therefore their prerational, premanagement, precultural essence
='strcls'>***="trms">animal ="trms">societies have been extensively employed in rationalization and ="trms">naturalization of the oppressive orders of domination in the human body politic='strcls'>***
="lstsrd">3- ="trms">naturalization of patriarchal division of ="trms">authority in the body politic and in reduction of the body politic to sexual physiology ='lgc'>[='lgc'>='lgc'>--> ="nms">Tehran's mice canniba="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic libido='lgc'>]

='lgc'>='lgc'>--> ="trms">animal ="trms">science of the body ='lgc'>[='lgc'><='lgc'>-- is important for everyone='lgc'>]
we might free ="trms">nature in freeing ourselves

become aware of “fallacies of the claim to objectivity” and not to “permit facile (باسانى قابل اجرا) rejection of ="trms">scientific discipline”

we cannot dismiss the layers of domination in the ="trms">science of ="trms">animal groups as a film of unfortunate bias or ideology that can be peeled off the healthobjective strata of knowl="trms"nttrm="knowledge,Knowledge">edge below

="large lg10" stl="font-size:135%">

if you are not freeing others, in freeing yourself, your freedom is total bullshit
(="frds">Sina)


for him intelligence is the perfect expression of evolutionary ="trms">position ='lgc'>='lgc'>==> experimental comparative psychology ='lgc'>='lgc'>--> intelligence test ='lgc'>='lgc'>--> ="trms">species, racila, and individual qualities were fundamentally tied to the central index of intelligence

='at'>#merchant
='strcls'>*entrepreneur in primate studies='strcls'>* ='lgc'>='lgc'>--> (merchant seeing himself) working to foster a rational ="trms">society based on ="trms">science and preserved from old ignorance


='lgc'>[transformation of human sex into a ="trms">scientific problem='lgc'>]
="prgrph">-trading sex for “privilege”='lgc'>:
primate intelligence ='lgc'>--allowed='lgc'>='lgc'>--> sexual states ='lgc'>--stimulate='lgc'>='lgc'>--> the beginnings of human concepts of ="trms">social ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right and privilege

physiology ='lgc'><='lgc'>--economic='lgc'>='lgc'>--> politics ='lgc'>}='lgc'>='lgc'>--> ="trms">scientifically confirmed to life at the organic base of civilization

sex-linked ="trms">differences,
the primacy of sex in organic and ="trms">social processes,
="trms">scientific managers over women's lives


monkey and apes as='lgc'>:
="lsts lst1">•="trms">natural objects
="lsts lst1">•unobscured by culture
="lsts lst1">•organic base in ="trms">relation to which culture emerged
='lgc'>='lgc'>--> ='strcls'>*human engineering='strcls'>*

(="ppl">="ppl">Haraway naming those) ="trms">scientific ="trms">networks crucially determined who did ="trms">science and what ="trms">science was considered good
(='at'>#sohrevardi)

="ppl">Darwinian conception of ="trms">natural political economy of population


(in ="ppl">Attar, Kelile Demne, Ajayeb, i am hunting for) ='strcls'>*** early ="trms">systems theory ='strcls'>*** ='lgc'>='lgc'>--> providing the ="trms">technical base for (="trms">different claims such as='lgc'>:) the claim to ="trms">scientific maturity of the ="trms">social ="trms">sciences based on concepts of culture and ="trms">social group


“he removed the putative head from the collective ="trms">animal body.” ='lgc'>='lgc'>--> ="trms">animal body politic
='lgc'>='lgc'>--> ="trms">society was derived from complex ="trms">interactions of pairs of individuals, understood and ="trms">measured by psychological ="trms">techniques, which constituted the ="trms">social field space. one looked for axes of dominance as organizing principles on both the physiological and psychological levels
='lgc'>='lgc'>--> the theory of the function of male dominance nicely joins the political economy aspect of the study of ="trms">animal behavior and evolution='lgc'>:
="lsts lst1">•competition
="lsts lst1">•division of labor
="lsts lst1">•resources allocation model
with the ="trms">social ="trms">integration aspect='lgc'>:
="lsts lst1">•cooperative coordination through leadership and ="trms">social ="trms">position
with the purely physiological understanding of reproductive and embryological ="trms">phenomena


='strcls'>*Garden of Industry='strcls'>*

dominance as a ="trms">natural property (with a physical-chemical base)

a cross ideological exercise (is not possible)='lgc'>: ="trms">science cannot be reclaimed for liberating purposes by simply re="trms">interpreting observations or changing terminology ='lgc'>='lgc'>--> (Princess Bubblegum) denying a dialectical ="trms">interaction with the ="trms">animals in the project of self-creation through ="trms">scientific labor

(let's switch to a deeper look at primates, not as models of human beings, rather='lgc'>:) how they live and relate to their environment in ways that may have little to do with us ='lgc'>[this is so helpful for everyone and is why i am ="trms">interested in ="trms">animal body politics='lgc'>] and that will surely reform our sense of ="trms">relation to ="trms">nature in our theories of the body politic ='lgc'>[='lgc'>='lgc'>--> ='at'>#="nms">body image='lgc'>]
="prgrph">-bodies and ="trms">societies that do not depend on dominance hierarchies
='lgc'>='lgc'>--> ='lgc'>[='mywrk'>my work with ="nms">ajayeb ="trms">bestiary early ="trms">animal ="trms">science is about learning='lgc'>] ='strcls'>***how to build ="trms">natural ="trms">sciences to underpin new ="trms">relations with the ="trms">world='strcls'>*** ='lgc'>[and that ‘="trms">history’ is not like something you hand it to someone like a cake you baked='lgc'>]

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قورباغه زدن با شلنگ بیرون پریدن گلوله قرمز
مورچه روی برگ روی آب
آجر پرتاب کردن گربه بالای درخت
مورچه سوزاندن با ذره‌بین
سوسک سوزاندن با آب داغ
جوجه ته چاه



="large lg70" stl="font-size:105%"> heyvan, heyvun, heyvunak, heyvunaki
حیوان، حیوون، حیوانک، حیوونکی

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(delight in) our ='strcls'>*sensous involvement='strcls'>* with the ='strcls'>*="trms">materials of ="trms">language='strcls'>* (Lyn Hejinian)

="ppl">Doty

="large lg14" stl="font-size:125%"> all we see is slippery, nuanced, elusive

='strcls'>***“the ="trms">world is wily, and doesn't want to be caught”='strcls'>*** (Susan ="ppl">Mitchell)

="large lg18" stl="font-size:131%"> perception is ="trms">simultaneous and layered

(elements of the) sensorium='lgc'>: continuous, comples ="trms">response to things perpetually delivered by the senses, the encompassing sphere that is such a large part of our subjectivity

we are englobed entirely (by the reports of our senses) ='lgc'>='lgc'>--> a seamless weft of ‘information’(='lgc'>=/= the ="trms">data the senses offer)

dark, sug="trms">gestive b="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lur of shapes and colors

what we can take in is a partial rendering of the ="trms">world

='lgc'>[dog's nose ="trms"nttrm="already,spread">reading='lgc'>] ...a universe of scents='lgc'>--="trms">historical, multifaceted='lgc'>--="trms">presents itself to the canine “="trms"nttrm="already,spread">reader”

(="ppl">Doty) ...deer cannot see red or orange, a biologist ="trms">writes, but apparently can see blue much better that we can. who can even ="trms">imagine what that would mean, for blue to be='lgc'>--well, more='qstn'>? ='heart'>♥

“All accounts, it seems, are partial; thus all perception might be said to be tentative (versuchsweise), an opportunity for ="trms">interpretation, a guessing game.”

="ppl">Doty putting it into a single sentence in order to sug="trms">gest, as Proust did, the ="trms">simultaneity of perception. he ='lgc'>[Proust='lgc'>] wanted to dilate the sentence toward its outer limit, so that one would feel the blu of space and time that the unit of syntax held all at once

='strcls'>*finding the words='strcls'>* ='lgc'>='lgc'>--> the ="trms">nature of my attention, the sig="trms">nature of my selfhood

...terms commensurate with the clamoring ="trms">world

(recognize your acts of naming ='lgc'>='lgc'>--> ='thdf'>for example naming the sonic outruch of a ="trms">bird “singing”) ='lgc'>='lgc'>--> what ="trms">birds are actually up to when they sing isn't clear ='strcls'>**

Whitman describing the sea itself as a “fierce old mother” whose constant iteration is the whispered word death


(in ="nms">Iran we have) the problem of speechlessness (='lgc'>='lgc'>~='lgc'>->='qstn'>? ="frds scrmbld">Mehdi and ="frds scrmbld">Kourosh's talkativeness) ='lgc'>='lgc'>~= a state without ="trms">agency ='lgc'>='lgc'>--> unable to push back at things that impress upon them

='strcls'>***life not having been realy lived until it is ="trms">narrated (='at'>@="frds scrmbld">Ehsan)
(we need) to experience the satisfaction of matching words to the ="trms">world ='lgc'>='lgc'>--> ='strcls'>**to feel, at least for a moment, ="trms">language clicking into place, into a ="trms">relation with the ="trms">world that feels seamless and inevitable='strcls'>** ='lgc'>-- when ="trms">language seems to match experience, a kind of fusion between the word and the ="trms">world ='lgc'>: some tift is healed ='lgc'>='lgc'>--> “the silken ="trms">skilled ='strcls'>*transre="trms">membrance='strcls'>* of a song” -='lgc'>[trans- ='lgc'>: exchange of parts, one being fusing with another='lgc'>] ='lgc'>='lgc'>--> “floating instant"='lgc'>--a part of the other, grown indistinguishable

the pleasure of recognizing a described ="trms">world ='lgc'>[='strcls'>****='lgc'>] ='lgc'>='lgc'>--> work on ="nms">ajayeb


festidious sense of accuracy

="large lg38" stl="font-size:108%">
(="ppl">Doty on) Elizabeth Bishop's ="trms">poem “The Fish” (concerned with the experience of observing, aiming to track the pathways of scrutiny, ='strcls'>*carefully rendered model of an engaged mind ar work='strcls'>*, looking into the fish's shifting eyes that can't be comfortably ="trms">anthropo="trms">morphized. we can only guess if the ="trms">poet is concerned with defeat, vitory, or survival) ='lgc'>=/= ="ppl">Ferdosi's Rostam, or Div
Bishop's examination of the fish happening in the com="trms">position of the ="trms">poem ='lgc'>=/= straightforward record of perception

a tradition of seeking, in the vast ="trms">book of ="trms">difference (tha American continent offers)

(the ="trms">poem) ="trms">interprets a wordless, creaturely ="trms">presence

baroque='lgc'>: attempt to dramatize the mind in action rather than in repose (="ppl">Sa'di's baroque tendencies in Golestan)

fusing impressions synesthetically in a startling phrase
peeling scales provoke simile

...mind moving swiftly from observation to reverie

a compelling replica of inquiry ='lgc'>='lgc'>==> en="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list the ="trms"nttrm="already,spread">reader's participation in a version of the work of consciousness


descriptive acts ='lgc'>='lgc'>--> attempt to render the ="trms">world (and it is subject to revision)


='strcls'>*examplars of strangeness” (for my ="nms">ajayeb, ='at'>#="trms">writing Div descriptions)
="prgrph">-let's re="trms">write Div Sefid and give it more ='strcls'>*wealth of detail='strcls'>*='lgc'>='lgc'>==> keeps the Div from becoming a ="trms">symbol and allows it to ='strcls'>*remain creaturely='strcls'>*
='at'>#Div ="trms">poetry, to get close to a lived texture of creature, to allow the senses their complexity synthetic life

='strcls'>**every achieved ="trms">poem inscribes a perceptual sig="trms">nature in the ="trms">world='strcls'>**

the work of seeing ='lgc'>='lgc'>==> who is doing the looking, a ="trms">specific, idio="trms">syncratic sensibility

='strcls'>*detail ='lgc'>='lgc'>==> subjectivity='strcls'>* ='lgc'>: we are brought into intimate proximity to the slipstream of (her) sensations ='lgc'>='lgc'>--> ='strcls'>*subjectivity='strcls'>* is made of such detail (of all the ways in which the ="trms">world impresses itself upon us ='lgc'>='lgc'>--> knowing through our scaf="trms">foldings of concerns, the tones and shadings of our moods) ='lgc'>='lgc'>~='lgc'>~='lgc'>='lgc'>--> we are in a ="trms">sort of ='strcls'>*="trms"nttrm="already,spread">readerly alliance='strcls'>*


='lgc'>[time='lgc'>]
='at'>#practice='lgc'>: try to describe what subjective time feels like ='lgc'>='lgc'>--> to find variety of ="trms">verbs to describe less ="trms"nttrm="already,spread">readily chartable motions
(the time of ="trms">interiority) pools, cibstricts, tunbles, speeds
="prgrph">-we live in a felt ="trms">narrative progression, through which experience is transformed into ="trms">memory
='strcls'>*="trms">memory edits='strcls'>*
what is ="trms">memory but a ="trms">story about how we have lived='qstn'>?
="prgrph">-timelessness='lgc'>: the ="trms">interior landscape of reverie


lyric state of mind ='lgc'>: seized by a moment that suddenly seems ="trms"nttrm="knowledge,Knowledge">edgeless, unbounded
="prgrph">-wholly giving oneself over to experiencing an object
="prgrph">-unpointed awareness
="prgrph">-perfectly useless concentration
="prgrph">-entirely occupied
lyric moment is isolate ='lgc'>=/= (parts of a) ="trms">narrative are contiguous
(="trms">according to the lyric ='lgc'>='lgc'>-->) consciousness or immortality is without date(='qstn'>?)

moment dilates as it is described
creating an alternate sense of duration


the surface of ="trms">language
the complexity and ="trms">interest of the surface

="trms">thickness means we have to ='strcls'>*labor to ="trms">enunciate='strcls'>* them ='lgc'>-- is a way of mirroring the physicality of the ="trms">world

seamlessness ='lgc'>='lgc'>==> our attention is suspended

(a ="trms">poem/="trms">writing) shift time ='lgc'>='lgc'>==> put us inside a s="trms">cene

...slip the confines of the body

="trms">poem's leap toward transcendence

people slip out of the ="trms">story they are living all the time (='at'>@="nms">iranians)
(daily life is full of small moments of='lgc'>:)
="lsts lst1">•rupture
="lsts lst1">•disappearance
="lsts lst1">•="trms">interiority

because of her ='lgc'>[Bishop's ="trms">poem The Fish='lgc'>] act of description ='lgc'>='lgc'>==> her encounter with otherness restructures her sense of the ="trms">world ='strcls'>***
(for Bishop) ="trms">animal ="trms">presence engenders an experience of joy
(the ="trms">animal ="trms">presence provokes, engenders what in ="ppl">Attar='qstn'>?)


="prgrph">-our speech rushes in where there are no words

="nms">="nms">ajayebnameh ='lgc'>='lgc'>--> our acts of description ='lgc'>='lgc'>--> bridges to ="trms">animal life and evidence of our distance from them


descriptions (actually='qstn'>?) describe the consciousness
various and lusterous enough (to reflect back the complexities of the) self that is doing the looking

description='lgc'>: a mode of thinking
='lgc'>=/= that would make a claim about what reality is ='lgc'>}='lgc'>='lgc'>--> ='thdf'>that is why i can't ="trms"nttrm="already,spread">read theoretical philosophy about the “real” or “being” anymore (of ="ppl">Simondon for instance), the lack of ='strcls'>*description of the speaker's ="trms">world='strcls'>* in his work ='lgc'>[='lgc'>--='not'>✕='lgc'>='lgc'>--> every leaf is made up of a complex ="trms">interaction of shades='lgc'>] ='lgc'>='lgc'>--> (is this because i studied drawing='qstn'>?)='lgc'>: people who have studied drawing know that ='strcls'>*you have little idea what is in front of you='strcls'>* (in the visual landscape)
='strcls'>***what philosophy does to your mode of perception='qstn'>?

‘chain of de="trms">finitions,’ a catalog of names ='lgc'>--='qstn'>?='lgc'>='lgc'>--> a mode of ='strcls'>*litany='strcls'>* ='lgc'>[مناجات وعبادت تهليل دار (تحلیل دار), colloquy with God (='lgc'>='lgc'>--> ='at'>#prayer, modes of consciousness and ="trms">rhetorics used to ="trms">commune with the divine ='lgc'>=/=='qstn'>? “building a tower in order to thunder back at the old thunderer” -="ppl">Doty)='lgc'>] (='lgc'>='lgc'>--> this has been my mode of consciousness in my ="trms">lectures)='lgc'>='lgc'>--> a way of accumulating terms of praise (can also easily grow numbing)
='strcls'>*accumulation of descriptive phrases='strcls'>*='lgc'>: a dynamic, forward-moving thing, one that in="trms"nttrm="cluster,club">cludes evidence of struggle ='lgc'>='lgc'>-->='lgc'>[='strcls'>*connection lies behind the “catalog of inadequate terms”='strcls'>*='lgc'>]
(one effect of my quirky talks is as if we have) climbed a ladder of phrases
...struggle to reconcile the delights of earth with the ="trms">demands of heaven='strcls'>* ='lgc'>[_i am keeping in touch with a way of talking (doubling phrases,,,) in performances which intensifies the audience's sense of the speaker's character, his enthusiasm, his giddy متزلزل pleasure in being overcome by what is (for him) the ='strcls'>*sensory evidence='strcls'>* (of the divine, or an ="trms">excessive described ="trms">world)='lgc'>]
(in my performances) through description, twining strands of meaning, braiding together elements of ='lgc'>[my='lgc'>] thinking and perception to make an image both elusive and unforgettable, unparaphrasable نقل بيان نشدنی
='strcls'>*="trms">density='strcls'>* ='lgc'>='lgc'>==> melds perception with thinking and feeling ='lgc'>='lgc'>==> making a new generative reality
(the speed of my talking has to do with the quick and compressed that) operates on us before we have even had time to think about what is happening ='lgc'>='lgc'>='lgc'>~=> a ="trms">world that is both immediate and immense, a moment out of context, a pouring stream of being (on the way so somewhere else) ='lgc'>[a ="trms">viscerality that Vanja reported after experiencing my performance; my ='at'>#="trms">routines='lgc'>]
="prgrph">-when you look at my performances there is a feeling of it is not quite figured out how he is yet, there is no settled mastery on its way, rather, there is a restless experimentation, a trying on of ="trms">different ="trms">densities (of meanings, letters, spoken energies, etc.), various surfaces, degrees of busyness and calm ='lgc'>='lgc'>--> how to look at this kind of work='qstn'>?
(we don't need anymore art like this='lgc'>: as if they have been made on secret, and ='strcls'>*their radicalism lends them a ="trms">sort of urgency='strcls'>* ='lgc'>[='lgc'><='lgc'>-- no no!='lgc'>], a perpetual quality of surprise)
="prgrph">-my ="trms">imaginal portals='lgc'>: to invoke an inviting ="trms">world of as="trms">sociations, a scented cool, ='lgc'>~ an indirect way of naming (='lgc'>=/= to program ="trms">language ='lgc'>: reducing ="trms">language to a debasing perceptual shorthand)
="prgrph">-proposing ‘it is’ by placing another beside it, cultivating op="trms">position and tension


“something understood” ='lgc'>='lgc'>--> left open, undefined, ...


(="frds scrmbld">Elen's “je suis” ='lgc'>[Ich bin='lgc'>] in her images and...)


(with the help of ="frds scrmbld">Janina, we are) madly in ="trms">love with the surface of the ="trms">world

='at'>@="frds scrmbld">Marialena; trans="trms">membering power of the sea, nautical daryayi دريايي، مربوط به دریانوردی، ملوانی



saying what ‘you’ see ='and'>& saying why you ‘see’

the more accurate and sensory the apparent evocation of things, the more we have the sense of someone there doing the looking (='lgc'><='lgc'>-- USA ="trms">spectacle knows this)


X in Y's ="trms">translation


“a fish never makes an ="trms">aesthetic mistake” ='lgc'>='lgc'>--> it sends us hurrying to every visual image of fish we can think of, to see if it could be true='strcls'>*

(a good) description='lgc'>: an evocation of the sensory ="trms">world also sug="trms">gests the limitations of such evoking, maintaining a ="trms">sort of open space
in which meaning isn't closed or completed, but remains instead generative


a title sometimes does the useful work of placing us ="trms">specifically, so that the body of the ="trms">poem can turn its attention to the heart of the ="trms">matter

(it is surprising how strongly the) naming of particulars ='lgc'>==(bring color into)='lgc'>='lgc'>==> ="trms">poem's (or text's) perceptual web


distortion's power to sug="trms">gest but not define linkage
="lsts lst1">•the use of ‘like’ ='lgc'>='lgc'>--> would draw a firm line between the two elements
="lsts lst1">•not using ‘like’ ='lgc'>='lgc'>--> no firm ="trms">gesture of equivalence ='lgc'>='lgc'>==> we confront a ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor that is far more alive in its as="trms">sociations, far more ambiguous, and more crucial ='lgc'>='lgc'>--> both an evocation of alienation and a recognition of ="trms">communality ='lgc'>--tonally='lgc'>='lgc'>--> ="trms">composed of ='strcls'>*equal portions of sorrow and ="trms">wonder='strcls'>* ='lgc'>='lgc'>--> forcing us ='strcls'>*to remain in the ="trms">position of ="trms">interpreter='strcls'>* of something that is perpetually open ='lgc'>=/= direct statement


Blake (and ="ppl">Attar='qstn'>?) wouldn't be the great ="trms">poet he is if he could allow his bloom to be entirely ="trms">symbol
='lgc'>='lgc'>--> a bloom attached to the speaker, a ="trms">memeber of Lord Death's troops, an assistant to the disruptive powers of the night
='lgc'>=/= transcendence

crucible بوته اهنگرى, this nere-archaic word with its connotations of flame and molten ="trms"nttrm="metaph,metamorph,metabol,metal">metal, magical heat and transformation


sunflower='lgc'>: the cry of the determined survivor='strcls'>**

(="trms">differently depicted) sunflower gain power from resisting the flower's conventional as="trms">sociations

the ="trms">poetic ='lgc'>=/= reinscribing the al="trms"nttrm="already,spread">ready known

“it would be like hearing the grass grow and the squirrel's heart beat, and we should die of that roar which lies on the other side of silence.” (George Eliot > ="ppl">Doty) ='heart'>♥



description='lgc'> = giving us the ="trms">world ='lgc'>+ the inner life of the witness

evoking texture of experience ='lgc'>='lgc'>--> beauty='lgc'> = accuracy

“whatever ‘what is’ is is what i want.” tosif توصیف
(Galway Kinnel)


“the deeds and sufferings of light.” -="ppl">Goethe ='at'>@="frds scrmbld">Foad

into the ="trms"nttrm="already,spread">reader's ="trms">internal eye

="frds scrmbld">Foad's paintings='lgc'>: ...two textures have now been added to the color, and in “rough” there is even a sug="trms">gestion of place='lgc'>--it doesn't sound domestic, or ="trms"nttrm="disturban">urban='lgc'>--and of age


(coming close to an) impossible, longed-for accomplishment


the art of description='lgc'> = ='strcls'>*the art of perception='strcls'>* ='lgc'>}='lgc'>='lgc'>--> what do you require to say what you see='qstn'>?

to be better at description, we have to work at attentiveness

='at'>#training / do c="trms">ontour drawing just with your eyes


your ="trms">erotic inflects and charges is your way of ="trms">interacting with the ="trms">world
...you basically just make ="trms">love to the whole ="trms">world
...and all the ="trms">stories you tell yourself about your encounter with the cake


='lgc'>[='strcls'>*='lgc'>]economy ='lgc'>=/= it is too much, ="trms">excess
no one would want Proust to have less to say
fulsome discourse works only when perception itself is the subject ='lgc'>='lgc'>--> Proust's novel is a huge inquiry into the ="trms">nature of consciousness ='lgc'>: a magnificently nuanced evocation of what it is to see and sense ='lgc'>='lgc'>--> which is usually ='strcls'>*too much='strcls'>*


here is one of those ="trms">stories everyone swears is true,...


(an appetizer called) “smoked ="trms">language”

the absolute centrality of ="trms">figurative speech

(Susan Morrow='lgc'>:) how the scuttle of crab claws on sand influenced the hieroglyph for “="trms">writing”

we breathe ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor, swim in ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor, traffic in ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor

(becoming ="trms">poet='lgc'> = becoming the) handler of the ="trms">figurative speech ='lgc'>: employing ="trms">language's tendency to connect like and disparate things to the richest possible effects
(in talk='lgc'>:) ="trms">figurative is at its most sophisticated='lgc'>: con="trms">densed, alive with meaning, pointing in multiple directions at once
(Hollywood's ways) to make meaning seem more attractive ='lgc'>=/= ="trms">figurative speech itself means, and ='strcls'>*means intensely='strcls'>*

baznegari-e sanaye adabi (بازنگری صنایع ادبی‌)='lgc'>:
="lstsrd">1. to say ='strcls'>*what we see='strcls'>*='lgc'> = to speak ="trms">figuratively (first project of simile tashbih تشبیه and ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor esteare استعاره is to describe, to say what something's like ='lgc'>='lgc'>~='lgc'>~='qstn'>?='lgc'>='lgc'>--> ="trms">measurement, we can't do so without comparison='lgc'>[='qstn'>?='lgc'>])
="lstsrd">2. figures work together ='lgc'>==(to form)='lgc'>='lgc'>==> ='strcls'>*="trms">networks of sense='strcls'>* (enjoying a ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphoric game, modes of appreciation)
="lstsrd">3. ="trms">figuration='lgc'> = a form of ='strcls'>*self-portraiture='strcls'>* (intense involvement in rich, descriptive speech ='lgc'>='lgc'>==> perceptual sig="trms">nature ='lgc'>: a destillation/con="trms">densation of the way one person knows herself/himself in time and in place)
="lstsrd">4. ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor ='lgc'>==introduces='lgc'>='lgc'>==> ='strcls'>*tension='strcls'>* and ='strcls'>*polarity='strcls'>* to ="trms">language (="trms">figurative ='lgc'>='lgc'>==> enexpected ="trms">language into text, shifting the elements of ="trms">vocabulary)
="lstsrd">5. ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor's distancing aspect ='lgc'>==(allows)='lgc'>='lgc'>==> (us) to speak more freely (to explore a heated, charged experience, “I need more ="trms">veil” ='heart'>♥, a delight in a thin disuise; the way a good ="trms">veil works ='lgc'>[="trms">according to ="ppl">Doty='lgc'>]='lgc'>: you can see the ="trms">veil itself, if you choose to. but if you want to, or you know how, you can ="trms"nttrm="already,spread">read what lies beneath)
="lstsrd">6. ='strcls'>***="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor='lgc'> = an act of inquiry='strcls'>*** ='lgc'>=/= an expression of what we al="trms"nttrm="already,spread">ready know (“i can't prove this ='lgc'>[...='lgc'>] but i can feel the power of the result.” unmistakable quality of discovery ='lgc'>[of ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphoric figures='lgc'>]='lgc'>: the ="trms">sort of energy generated when an idea ='lgc'>[and a concomitant set of emotions='lgc'>] un="trms">folds before the ="trms">write ='lgc'>[='lgc'><='lgc'>-- ="frds scrmbld">Sven is missing this='qstn'>?='lgc'>]. in this way='lgc'>: ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor='lgc'> = (a kind of) ='strcls'>*argument='strcls'>*= a “thinking through” of what is implied, ='lgc'>[oh i have made something='lgc'>] complicated='lgc'> = full of feeling and tension, ='at'>#="trms">excess; investigation of ="trms">erotic energy, thrilling sonic structures you build,,,)


to become a ="trms">rhetorical ="trms"nttrm="already,spread">reader of our ='strcls'>*="trms">gesture drawing='strcls'>*
moments of rebelion, when you have just enough of the strictures of the ="trms">composed still life the teacher had assigned, you whip out...


description is fueled by ='strcls'>***hunger for the ="trms">world='strcls'>***, the need to taste, to name, to claim what is seen, to bring it ='lgc'>='lgc'>--> the resurrection of the ="trms">world within the perceiver
='strcls'>*it is very often true that what we are compelled to describe is terrible, or oppressive, or heartbreaking. ="trms">language is hungry for that, too ='lgc'>[...='lgc'>] to eat everything. even the falling and fading ="trms">world, even misery='strcls'>* (="ppl">Doty)
="prgrph">-they speak to our hunger for a ="trms">vocabulary for the whole range of feeling, even the awful parts (='lgc'>='lgc'>--> destruction of speech is d="trms"nttrm="danger,stranger">angerous, having no ="trms">language for what we do good or bad)

desctiption is made both more moving and more exact when it is acknowl="trms"nttrm="knowledge,Knowledge">edged that is is inevitably incomplete


(in the strictest sense) one could say that nothing unintelligible is a meaning ='lgc'>=/= ='strcls'>*there is always meaning='strcls'>*
="prgrph">-the perception of meaning ='lgc'>[such as goose sound='lgc'>] that cannot be ="trms">translated into any other form of speech ='lgc'>='lgc'>--> chasm barzakh between the incomprehensible and the making of meaning ='lgc'>='lgc'>--> (how='qstn'>?) to build a construct of ="trms">language that acknowl="trms"nttrm="knowledge,Knowledge">edges the “meanings” that live outside of words (a ‘description’ that builds an argument about the ="trms">nature of real) ='lgc'>[='lgc'>='lgc'>--> ="nms">ajayeb's concern; part of a function of the humility of the speaker='lgc'>]
(='lgc'>[="nms">ajayeb is full of='qstn'>?='lgc'>] similes that produce) juxta="trms">position of the ="trms">natural and the artificial, ='lgc'>[the vegetal and the made, the tiny and the immense='lgc'>] ='lgc'>: (unexpected) collision of elements (in the framing field of thinking) ='lgc'>==means='lgc'>='lgc'>==> to bring energy into ="trms">language ='lgc'>[='lgc'>='lgc'>--> ='at'>#adjacencies='lgc'>: bringing things, objects, ="trms">stories, arguments next to each other ='lgc'>='lgc'>--> ="trms">interrupting ="trms">stories with ="trms">stories='lgc'>]


ritual of flirtation


sky's deep machinery


“poor girls make themselves ="trms">fabulous”
“white girl make herself black, at least while she is pretending to be a supreme”


reprofessor

(='mywrk'>my work and ="trms">interest since 2012='lgc'>:) attention and allegiance to a ='strcls'>*process of knowing='strcls'>*

(="nms">ajayeb.net has ="trms">interest in reworking the conventions of syntax and of the sentence)
="lsts lst1">•the experience of ="nms">ajayeb.net is like watching something leap; scrambled elements, something clicks into place; a stubborn suspension, not quite parsable
="lsts lst1">•the experience of ="nms">ajayeb (mode of description) is like ='strcls'>*a sudden event happening so quickly we don't have a name for what we see, cannot identify the motion='strcls'>* (='lgc'>='lgc'>==> ="trms">animals in ="nms">ajayeb have many legs and arms)='lgc'>='lgc'>--> ='lgc'>[='strcls'>*='lgc'>]motion='lgc'>: the patterning life of energy ='lgc'>='lgc'>~='lgc'>~='lgc'>='lgc'>--> ="trms">world of forms

(="ppl">Doty > Cummings='lgc'>:) “rearrangingly” ='lgc'>+ “become"='lgc'> = rea(be)rran(com)gi(e)ngly

="nms">ajayeb='lgc'> = "how everything happens” (based on the ebb and flow of percept ='lgc'>+ ="trms">episteme)
(an index finger that) points to the ="trms">world's ways of happening (in energetic and enigmatic waves of ="trms">world's coming into ='lgc'>[& going out of='lgc'>] being)
='strcls'>*="nms">ajayeb moves concepts in like of='lgc'>: the ="trms">world doesn't necessarily want to be ordered into the linearity and forwardness of text

طلسم‌های ایرانی‌
nefrin نفرین ='lgc'>: re="trms">presentative of the (intricacy of) ='strcls'>*larger actions of the ="trms">world='strcls'>*
nefrin-nevisi نفرین نویسی ='lgc'>='lgc'>--> (made by the) ="trms">technologies of their moment

post="trms">modernism's familiar hesitation on the inadequacy of ="trms">language ='lgc'>='lgc'>==> giving up referentiality ='lgc'>=/= my ="nms">ajayeb

(taking up on moon, for me is about) not going in fear of that which has been looked at again and again. ='at'>#moon is “deeply compelling and we probably won't ever get done with it”


...somewhere in the neighborhood of a hundred years later


morality of description(='qstn'>?)='lgc'>='lgc'>--> ="trms">embodying the dilemma and work of the witness


...wheels of thinking turn slowly for some of us


adabiat tosifi ادبیات توصیفی
divisive consciousness (with a certain) degree of removal from the ="trms">world ='lgc'>=/= (we want) ='strcls'>*more='strcls'>* ="trms">language (='lgc'><='lgc'>-- more we name what we see and do)='lgc'>==='qstn'>?='lgc'>='lgc'>==> a larger and more valuable ="trms">world
(Roethke='lgc'>:) “when is description mere='qstn'>? never!”
='lgc'>='lgc'>-->
='lgc'>[='strcls'>*='lgc'>]صنعت تضاد san'at-e tazad, polarity='lgc'>: the pull of forces in op="trms">position ='lgc'>==makes='lgc'>='lgc'>==> ="trms">writing feel alive
='lgc'>[='strcls'>*='lgc'>]projection='lgc'>: that psychological mechanism by which we turn the ="trms">world, or other people, or deer (into versions of ourselves) ='lgc'>='lgc'>--> it is not a sin; it is our ="trms">method of operating, our modus operandi (='lgc'>='lgc'>--> “pathetic fallacy”='lgc'>: inevitable perceptual work of the human; “if you are miserable, then the trees look miserable to you”)
='lgc'>[='strcls'>*='lgc'>]qualifiers sefat صفت gheyd (adjectives and ad="trms">verbs) intended to lend a host of sensory qualities to the sentence; (sometimes too much) adjectival or ad="trms">verbial flavoring. ='lgc'>[='at'>#training='lgc'>: remove every adjective and ad="trms">verb, and see what you have got left ='lgc'>='lgc'>--> ='strcls'>**there is always a more exact term waiting to be employed='strcls'>**='lgc'>] (="frds scrmbld">Foad's severe economy of means; ="frds scrmbld">Janina's allusive, shimmery surfaces delight) (='lgc'>[='strcls'>*='lgc'>]style='lgc'>: a simple way of saying complex things. -Cocteau)
='lgc'>[='strcls'>*='lgc'>]نظم nazm='lgc'>: musicality of ="trms">poetry, ="trms">poem's body of sound is its ="trms">specific particular flesh, sonic texture ='lgc'>='lgc'>--> ='strcls'>**making the ="trms">language more markedly like the ="trms">world='strcls'>** ='lgc'>[a trail, pathway through a wood of sounds, an unmistakably ="trms">specific landscape, loyal to the local='lgc'>]
='lgc'>[='strcls'>*='lgc'>]synesthesia='lgc'>: occasion of ex="trms">citement, a skein of complicated perception, (="trms">sort of a ="trms">literary ="trms">technique,) something like a snapshot of the image-making mind at work ='lgc'>='lgc'>--> superim="trms">position of both events and of senses (and of s="trms">cenes='qstn'>?) ='lgc'>='lgc'>==> a consciousness
(aim of many artists='lgc'>:) “to form the sensorium, the sphere of perception in which we dwell” ='at'>@="frds scrmbld">Hoda ='lgc'>=/= (="ppl">Doty sug="trms">gests='lgc'>:) it is work to ="trms">sort them out (what ="trms">sorts out senses='qstn'>? ="trms">question ='at'>@="frds scrmbld">Hoda, she must learn='lgc'>: an accurate rendering of an idio="trms">syncratic process of sensory overlap and as="trms">sociation)
='lgc'>[='strcls'>*='lgc'>]لحن tone='lgc'>: special effects, evoking a ‘moment of’ ... intense statement of feeling ='lgc'>='lgc'>==> a concretely descriptive feeling
='lgc'>[='strcls'>*='lgc'>]="trms">questions are always a little more trustworty than answers (='qstn'>?) ='lgc'>-- sometimes things said do not take the ='strcls'>*="trms">rhetorical form of a ="trms">question='strcls'>* ='lgc'>[='lgc'>='lgc'>--> in ="nms">apass i was training to be able to capture those kind of ummarkedly ="trms">questions='lgc'>] ='lgc'>='lgc'>--> something said (described) with room for indeterminacy ///='strcls'>*convex mirror='strcls'>* (="ppl">Doty's refractive thinking)
='lgc'>[='strcls'>*='lgc'>]فعل ="trms">verb, the descriptive force of the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right (hardworking) ="trms">verb, a kind of muscular concreteness. sometimes ="trms">verbs gain descriptive force when other parts of speech are newly cast in active roles

='strcls'>*invocation='lgc'> = directly addressing the thing creates a sense of immediacy and of connection
='strcls'>*thou, with its sug="trms">gestion of divinity or be="trms">loved ='lgc'>='lgc'>--> prayer
='strcls'>*hectic='lgc'>: uncomfortable alliance, inharmonious, something that might set the teeth on ="trms"nttrm="knowledge,Knowledge">edge
='strcls'>*destroy ='lgc'>='lgc'>--> a death-steeped perception that ="trms"nttrm="already,spread">reads the wind as a “destroyer”
='strcls'>*="trms">world of fused duality


="large lg14" stl="font-size:132%"> ‘and’ ='lgc'>='lgc'>--> the sig="trms">nature element of a place, of a landscape, the conjoined body ='lgc'>: the animate and the inorganic as one thing


='strcls'>*the project of being alive='strcls'>* (is little understood)

(='lgc'>[my project is perhaps='lgc'>] to become) a person whom the ancient ="trms">world is remarkably vivid='strcls'>*** ='heart'>♥
to have gossiped about figures of ancient Persia

to believe that the ='strcls'>*="trms">world is queer='strcls'>* (='lgc'>=/= Mobed, ="frds scrmbld">Foad, Reza)
(we need ='lgc'>='lgc'>-->) a window of doupt through which all creative possbility comes into being

(Forster='lgc'>:) “='lgc'>[...='lgc'>] standing absolutly motionless at a sight angle to the universe”

(queer ='lgc'>=='qstn'>?) an oblique مورب ="trms">position in ="trms">relation to the real (='lgc'>=/= buisiness as usual)
queer to be ="trms">interested in what can't be packaged or sold in the ="trms">marketplace
queer to enjoy the fundamentally useless, contemplative pleasure of (="trms">poetry, ="nms">ajayeb, etc.)


description ='lgc'>='lgc'>--> ='strcls'>*providing the particular evidence of ="trms">specificity='strcls'>*
not everything can/need to be described ='lgc'>='lgc'>--> ='strcls'>**the choice of what to evoke='strcls'>**, to make any s="trms">cene seem ‘real’ vagheyi. look at USA film industry and all the efforts put in scenic description of the WWII, vampire ="trms">stories, teenage life, nation; or in ="nms">iran in ="nms">Iran-Iraq war (="acrnms">="nms">Iranq)


lush, ="trms">sensuous, flowering

parallel text to the creature


“you are gorgeous and i am coming” ='heart'>♥

an approximation, unstoppable as an approachoig sound of approaching organism


testing and smelling
insight and sound ='lgc'>='lgc'>--> ="frds scrmbld">Lili


an aphrodisiac and a chastening reminder='lgc'>: getting sidetracked by grief


“my portion this time”

='strcls'>*art is a house that tries to be haunted='strcls'>* ='heart'>♥ (="ppl">Doty > Dickinson)

="large lg74" stl="font-size:114%"> قافیه به تنگ آمد ghafie tang, (when a choice is) driven more by sonic than by logic


what kind of game is the sea='qstn'>? ='at'>@="frds scrmbld">Marialena
lap and drag. crag and gleam
(monosyllables ='lgc'>='lgc'>--> are we ="trms"nttrm="already,spread">reading nouns or ="trms">verbs='qstn'>? tough, playful ocean)

syntactical ambiguity disorients


(Khayam's) desire to die into the ="trms">world (='lgc'>~ to surrender into the life of things)

='lgc'>[title='lgc'>]
='strcls'>*describer's art='strcls'>*


autumn
a kind of logarithn of decay and rekindling


to describe description
a work of advocacy
to go description-hunting in ="nms">ajayeb
evocation of sense perception (='lgc'>='lgc'>--> a ="trms">technique that Adventure Times TV series uses)

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="ppl">="ppl">Foucault ='lgc'>[_="trms">bestiary of the ="trms">imagination='lgc'>]
...precisely because it puts them into ="trms">categories of their own, the Chinese encyclopedia localizes their ='lgc'>[fantastic entities, ="trms">fabulous ="trms">animals, poly="trms">morphous and demoniacal faces, creatures breathing fire,,='lgc'>] powers of contagion

encyclopedia ='lgc'>='lgc'>==> quality of ="trms">monstrosity does not ="trms">affect any real body (='lgc'>=/= ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurk)

="trms">animals in the non-place of ="trms">language, meeting in the im="trms">material sound of the voice pronouncing their enumeration

“Absurdity destroys the ‘and’ of the enumeration by making impossible the ‘in’ where the things enumerated would be divided up.”

the ‘operating table’
a table ='lgc'>='lgc'>--> a tabula, “that enables thought to operate upon the entities of our ="trms">world, to put them in order, to divide them into classes, to group them ="trms">according to names that designate their similarities and their ="trms">differences='lgc'>--the table upon which, since the beginning of time, ="trms">language has ="trms">intersected space.” (="ppl">="ppl">Foucault, The Order of Things)

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='strcls'>*="trms">questionable ="trms">interpretations

='at'>#attention
(='lgc'>[art/='lgc'>]="trms">aesthetics of noticing)='lgc'>='lgc'>--> appreciation of multi="trms">species landscape, making living ="trms">ecologies

which sectors/fields of art require artist to go out and notice things='qstn'>?
(engage with which) details of the ="trms">world ='lgc'>='lgc'>--> breaking common sense

our mamalian bias='lgc'>:
="lsts lst1">•predetermined body shape and size
="lsts lst1">•run toward death (pre-programmed death ='lgc'>=/= ="trms">history) ='lgc'>='lgc'>==> makes us think in terms of set-life courses
='lgc'>}='lgc'>='lgc'>==> allow us to ="trms">imagine a standard individual outside of ="trms">history

(="ppl">Tsing's) ="trms">history='lgc'>: overlapping tracks and traces and many ="trms">trajectories of ="trms">world-making, human and not human

irreversible time ='lgc'>='lgc'>==> indeterminacy (of ="trms">history) ='lgc'>='lgc'>--> new alliances ='lgc'>='lgc'>--> the ability of assemblages to produce ="trms">historical changes in our common ="trms">world

what needs to be stated
what needs to be produced

context-dependent ='lgc'>--='qstn'>?='lgc'>='lgc'>--> the way things are

architecture of podium ='lgc'><='lgc'>--='not'>✕='lgc'>='lgc'>--> labor-process of the actual speaker
how talks are ='strcls'>*actually='strcls'>* produced
in your ="trms">material practices
hybrid in digital manual tactile operations of speaking

noticing ants, spiders, little ="trms">traps, ="trms">species cohabiting, ="trms">mutual coproduction of economics, ="trms">ecology, labor-studies, house-hold studies, ="nms">ajayeb-studies, and understanding of the orders of the ="trms">natural and human ="trms">world

(Gordon allowing) ='strcls'>*algorithms to become ="trms">stories='strcls'>*

(the ="trms">technological enablement of some) ='strcls'>*disciplines of attention='strcls'>*

“we are al lichen”='lgc'>: we are all eco="trms">system com="trms">posite critters


ants, combining two kinds of noise, half-hazard patterns of ="trms">interaction
half-hazard contact
half-hazard context
='lgc'>}='lgc'>='lgc'>==> it works (='lgc'>=/= perfection, precision/efficiency of clockwork)


='at'>#some ="ppl">="ppl">Baradian models of ="trms">intra-action in popular cinema='lgc'>:
="lsts lst1">•(="trms">intra-action received and wielded through discipleship and pre-programmed talent='lgc'>:) The Force in ="ppl">="ppl">Starwars. ='lgc'>[the ="trms">story don't allow any other ="trms">story of The Force and its ="trms">contingencies other that good and evil tool-use of it='lgc'>]
="lsts lst1">•(="trms">intra-action resisted by individual subjectification='lgc'>:) the shadowy ="trms">monster from the Upside Down in The Str="trms"nttrm="danger,stranger">anger Things, possessing the character. ='lgc'>[the ="trms">story is based on non-="trms">intra-active models and mode of being in the ="trms">world of multi="trms">species in multi-dimensions, it wants clear boundried subjects encapsulated by psychological ego and self-possession persons, ideas of identity and power ='lgc'>='lgc'>--> life insurance ="trms">system='lgc'>]
="lsts lst1">•(="trms">intra-action resisted by the political ="trms">modern concrete individualism='lgc'>:) ="trms">relationship with the phantom of state in The Handmaid's Tale. ='lgc'>[overlapping a flat image of totalitarian ="trms">society into ="trms">religion='lgc'>]

="large lg26" stl="font-size:105%">
="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

="trms">technosphere='lgc'>: (conceptualized as) an unintended muddle of multi="trms">species ="trms">relationships emerging from contaminated landscapes, dumps
='lgc'>--reconsider-with='lgc'>-> feral ="trms">technologies='lgc'>: novel and weedy capacities for ="trms">materially significant change

invasive artificial intelligence

="trms">anthropo="trms">cene='lgc'>: a multidimensional puzzle structured around complexities and ruptures ='lgc'>='lgc'>--> when ways of being ='and'>& ways of belonging can no longer be studied ex="trms">="trms"nttrm="cluster,club">clusively
(human-nonhuman-machine)

="lsts lst1">•who orders the ="trms">technosphere='qstn'>?
="lsts lst1">•who inhabits the ="trms">technosphere='qstn'>?
="lsts lst1">•


="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

“unmediated experience” ='lgc'>--(signals a d="trms"nttrm="danger,stranger">anger)='lgc'>='lgc'>--> naive realism (='lgc'>+ its polar op="trms">posite='lgc'>: naive subjectivism)


soup operatic
operatic (='lgc'>='lgc'>--> opera)
aporetic (='lgc'>='lgc'>--> aporia)
operative (='lgc'>='lgc'>--> secret ="trms">agent)

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

‘learning’ in biology='lgc'>: (how to overcome X that) its ="trms">ancestors would have not met
='lgc'>='lgc'>--> ="trms">stories of ‘trial-and-error’ in ="trms">animals
='thdf'>the idea of having ‘varying ="trms">technique’ (closer to human) in regard to biological stasis
how ='thdf'>the idea of ‘intelligence’ in ="trms">animals is construted ="trms">according to venture capitalism predatory preferences

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mileu ='lgc'>='lgc'>--> part of the ="trms">history of ='thdf'>the idea of ="trms">animal
the living being and its environment, ="ppl">Canguilhem

="large lg22" stl="font-size:124%"> ='lgc'>[mileu='lgc'>: in French “middle,” in the midst of, medium, between, ... set, circle='lgc'>]

(='thdf'>the notion of) ='strcls'>*environment='strcls'>* ='lgc'>[relentlessly universal and required='lgc'>] ='lgc'>--for='lgc'>='lgc'>--> capturing both the experience and existence of living beings

="ppl">Canguilhem going through the ="trms">historical ="trms">stages of the formation of the concept of milieu/environment
="prgrph">-imported into biology in the second half of 18th century from (mechanocal notion) ="ppl">Newton by Lamarck
="prgrph">-later they ='lgc'>[1870s Giard, Le Dantec, Houssay, Roule, etc.='lgc'>] take the idea from Lamarck, but they get the word, as an abstract universal term, from Taine

18th century French mechanics ‘milieu’ what ="ppl">Newton understood by ‘fluid’
problem of mechanics='lgc'>:
="lsts lst1">•(="ppl">Newtonian='lgc'>:) problem of mechanics='lgc'>: ='strcls'>*action at a distance of distinct physical individuals ='lgc'>='lgc'>==> ='strcls'>*ether='strcls'>*='lgc'>: fluid medium of action at a distance ='lgc'>[='lgc'>='lgc'>--> moon, lunar='lgc'>], continous in air
physics of central forces ='lgc'>='lgc'>==> “environment='lgc'>: a between two centers”
="lsts lst1">•(="ppl">Descartes='lgc'>:) collision='lgc'>: the only mode of physical action (‘environment’ has no place in ="ppl">Cartesian physics)
='strcls'>*individuals occupying distinct points in space='strcls'>* ='lgc'>='lgc'>--> they cannot act without joing their action ='lgc'>[”='qstn'>?!” ='lgc'>='lgc'>--> i am very conscious (and suspicious) about that which i feel that i don't understand ='lgc'>='lgc'>--> what kind of nununderstander is at work here='qstn'>?='lgc'>]

="ppl">Newton imported “milieu” into biology

action of an environment

='lgc'>[="trms">material racism ='lgc'>='lgc'>-->='qstn'>?='lgc'>] (a fluid) strictly defined by its physical properties

="lsts lst1">•(Lamarck ='lgc'>[taking from ="ppl">Newton the ='strcls'>*physico-mathematical model of explanation='strcls'>*='lgc'>]='lgc'>:) environment/milieu='lgc'>: set of actions exerted on the living being from outside, “influencing circumstances”

="large lg34" stl="font-size:101%"> physico-mathematical model of explanation (of living/dead beings) ='lgc'>=/=='qstn'>? psycho-="trms">material model of explanation

(what would Machiavelli think of mileu='qstn'>?)

="trms">animal ethology, habits of ="trms">animals describable as distinctive and ="trms">specific characteristics

="trms">epistemology='lgc'>: ='strcls'>**="trms">historical psychology of knowl="trms"nttrm="knowledge,Knowledge">edge='strcls'>**

='lgc'>[='strcls'>*='lgc'>][...]