[...]etimes 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'>*

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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

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="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">cosmologic[...]