[...]='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
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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)
="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
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”
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(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'>]
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(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
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!)
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='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
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(="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
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
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
all we see is slippery, nuanced, elusive
='strcls'>***“the ="trms">world is wily, and doesn't want to be caught”='strcls'>*** (Susan ="ppl">Mitchell)
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)
="large lg26" stl="font-size:105%">
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
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the pleasure of recognizing a described ="trms">world ='lgc'>[='strcls'>****='lgc'>] ='lgc'>='lgc'>--> work on ="nms">ajayeb
festidious sense of accuracy
(="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
="large lg6" stl="font-size:100%">
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)
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='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
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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
="large lg22" stl="font-size:128%">
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
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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
‘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)
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'>]
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="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">•
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“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)
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‘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
='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
="large lg46" stl="font-size:108%">
="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 [...]