[...]gel is trying with the wrong language at bats: “does it make sense to ask what my experiences are ‘really’ like as opposed to how they appear to me? [...] objective processes can have a subjective nature.”

what it would be like for me to behave as a bat behaves =/= what it is like for a bat to be a bat


schematic conceptions of Eszter


(old model of understanding:)
* --> stimulus (things sparkling) --> perception (hiting the senses) --> apprehension (mind aware without judgement) --> comprehension (psychological judgement about the manner of situation) --> knowing ==> world of doing, in which “action” is: expected (mother attending the child, free liberating the prisoners), commanded (soldier's hierarchy, job's duty), solved (engineer puzzling out a problem)


the things apprehended from a particular point of view (particular visual phenomenology) are not connected to that point


Neobeobachtungen
moshahedat مشاهدت
نگاه جدید


*essence of the internal world* --> who is busy with this? (this will define the fate of animal subjectivity)


*view from nowhere*: that their particular viewpoint is not part of the common reality (--✕--> sociology of science)


X is Y
“is”: converge, a technique of modeling (~~> sync)
X, Y: two referential paths
we know how X is supposed to be true


people are no told at an early age that *all matter is really energy* (--> capitalist physicalism. then what you say abnout ‘energy’ is saying something about the nature of reality)
physicalism: the hypothesis that a mental event is a physical event


someone with instinct metamorphosis


(my feedbacks in apass does not only apply to intentional mental events of each other)

(Nagel asking for:) to devise a method of expressing in objective terms much more than we can at present [but he is stuck in the idea of] “a phenomenology that is objective*

...................................

with Jassem and Mia

Norway ~= (a breakable) illusion --> that somebody is living it
green competition and technopositivist hubris

question of topology (in dream)
(topology: those qualities that remain invariant after transformation --> persistent forms)

fantastic peasant

a piece of hanging cloth that suggests horrors to receptacle receiving eyes


•landscape --> sounds
•poems
•divisions in Norway (<== second world war)
•sami cultural disappearance
◦domestic violence
◦racism
◦refugee geopolitics
•seagull, fish, salmon farming
•interviews
•doom --> delirium, murder, hallucination, whispering,
•ruin (of signs)
•entropy (=/=? emergence)
•

*affliction landscapes* --> Leid: existence thriving in the wound --> anticipation of oblivion

doom, ruin, entropy --> udyr (in norwegian u-: non- or bad, dyr: animal) bad or corrupted animal, nonanimal, monster, (rootless existence)

udyr (gate keepers creepers) <--?--> div (defeated)



--performance--
rotating styles of: folkloric ballads, existential meditation, doomsday rant, elegiac oration, children lullabies --into--> a singular blast of an account of a devastated space --mobilizing--> legend, omen, song, myth, fairy tale, mutated war cry
[these potent signs are sneaking in the work “stranger within,” it is not just a historical dreamscape]
-the masked actors on stage have taken a venom (becoming faceless engravers) to cross into the next level of temporal experience --> ???
-muted rage and ecstasy indeterminacy positioned as creeping towards the midnight of moving & no longer moving... (as human? --> conflicting ways of being human; to acknowledge human & violence;)


--travel--
visiting an alchemy of domestic proclamations (homes) with its own lethal consortiums of drives (conversations); visiting sites of pure participation, the most savage, the most modern, creating a respond characterized as both ultra-alertness and insomnia of anticipation (acts by which the future can be nailed down) ==> becoming a *faceless engraver* (to remain fugitive and errant --> a course of action supposing a discontinuity that must be overcome in order to define a trajectory)
(Jassem and Mia are capable of being) bodies fully engaged in perspectival communication and battles of will, provided with affect and capacities, capable of knowing different things, types of relations they entered into =/=? poltergeist



--research--

trap <--> omen
lava <--> ice

•unstable space
•process ~= performance ~= meeting -->{
◦dinner --> *transaction* (what did you learn from the dinner that you bring?)
◦invite (exchange???)
◦respect & resist


now:
•something need to be named
•something need to be staged
•(something need to be styled)


Jassem's model:
you go through 5 minutes of hell then you arrive and unleash all your powers (--> talk about questions, art, history, self, etc.) then go there and perform together


contract of misunderstanding the “dance” (proposed by Jassem and Mia)
--?!--> categorically dance is misunderstood, dinner is understood


the rawness and minimalism of the performance <--?!--> richness and density of the research
(“<--?!-->” : question of reference?)

(not to make the performance mimetic)?
(but make it mnemonic --> designed to aid the memory)?
(but not anticipatory ==> omen)



for Jassem and Mia:
•what is the sign of danger?
•what is the sign of death?
•what is the sign of transformation of perspective (=/= change of perspective)?
•


chronically unstable bodies (--> mesopotamian)
anthropomorphism manifest in distorted corporeal forms and appendages ضميمه

a world conceived of inherently volatile (bodies?) --> site of subjectivity

intentional activation (?) --> affective capacities (in...?)

trap --> operate along scale

...................................

entropy <--> atrophy
•entropy: energy no longer available for doing mechanical work (--> random ~=? violence)
•atrophy: the material, sensory labor of attending to loss, ***labor of looking at damage***
wasting away; withering; decrease in size caused by disuse
the feeling of being in the middle of something dirty, inevitable, watching it unfold
[deculturation: making a culture ‘previous']
(~ the imapct of capitalism/colonialism on indigenous)--> [nightmare image of social entropy] destablizing effects of non-meaning (~ nonanimal Udyr monster) --> (representing as) existential-cultural atrophy
[Cinderella doesn't experience atrophy after insult upon insult =/= Bambi's memory]

transculturalism ~ “seeing oneself in the other”
*language and materiality interact within an unstable locus of historicity* (specific historical conditions) [--> a european model of conviviality]
<== modern globalism --> reinventing of the new common culture /humanism [<==> coalescence: meeting, intermingling of different people and species and cultures and goods --> could be damaging and unintentional, hurting the world: decay, emergent, atrophy, new identities, crisis in language, confusing boundaries, challenges of life,,,]

(origins of bad feeling -->) looking at:
•damaged bodies
•damaged subjectivities
•damaged communities
•damaged relations ==> Udyr monster
•damaged ecologies
•damaged histories ==> insomnia
•

(@Jassem and Mia) is there (only) death at the end of entropy?
sequence of events from the point of view of plague narrative
extermination + determination, laws of identity, repetition

the material despair of a colonial capital modern condition leading in high speed to the entropy of cultural-individual ethics, under the overwhelming weight of tangible misery --(Jassem and Mia)--> cognize the immediate material urgency of the endangered subjectivity



--faceless--
nonanimal --> nonhuman + nonanimal ==> destabilizing effects
with their flexible plasticity, has an issue with appearance --> subjectivity's disassociation from the world
[in no (or which) calculus of assurance are they moving?]


ruined main body (of the performance)
ruin is (a fictional being) adding additional variety to technical being (frontier technologies) of Norway
-obsolescence (and why not adjustment? =/= extremist position ==> to emerge fanatically from the ruins)--(can we use our imagination not for world scale future speculation, and rather for small adjustment of this space?)
-give expression and meaning to the material culture


--landscape--
using it in the performance: a lens that refuses the abstraction of elements relation in a vacuum (as its optics, not a Blickmaschin)
show us: big stories take their form from seemingly minor contingencies, asymmetrical encounters, and moments of indeterminacy

(with “stranger within” [=? ‘desire within']) are we at the space of complain? <-- dispositions of Beschwerde
a form of protest --> (disenfranchized language of) *mutated rage* --> always innocent ==> agent of delivery
(protest part of) the proud and brutal history of break-out syntax of civic responsibility (=/= adjustment)

rage & ecstasy

ruin --> doom --> rage --> innocence --> delivery: performance


--ruin--
we can and should ***navigate the ruin***
(navigate =/= asset-production)
-capitalist (owning the rhetoric of progress) telling us / teach us to ignore ruins (in the making)
-is there life in ruin? --Tsing--> place of unsettled identities, *in it each of us become ourselves with the help of a less-than ideal collaboration*

bring your curiosity


contaminated diversity [=/= doom: a form of missing that which is contaminated, (an affect typical of Tehran,) one has lost the pulse of the world]
(hard to clasify)
*cultures and species that don't adjust well to disturbance* (<-- we shouldn't lose hope on them)
--> **precarious survival** : in order to live you need help, always subject to the indeterminacy of self and other's transformations (=/= MacGyver selfish gene story) [Sina and Agnes hiking in the need for sticks to walk], ==>? “kinds” and “types” emerge; and you need multiple forms of curiosity


*neoclassical economics (which is today's economic model) (<== modern economy):
•theory of supply and demand
•theory of rational individual choice --> maximize utility and profit (<== methodological individuation: “motivation/action of individual agents ==> causal accounts of social”)
*population genetics (study of evolution from the genetics point of view) (<== evolutionary synthesis + modern biology):
•adaptation
•speciation
•population
•structure
}=={formed in late 19th century and came to power in early 20th century to redefine modern knowledge}==> “survival = fighting for oneself against others” (--> The 100 TV series popular fantasies of survival [~ what does it take to stay alive]) ~= **conquest and expansion** --> selfish gene (theory of individuals not effected by encounters, they use encounters, but not changed by them)
=/= ‘what does it take to stay alive’ could be a *matter of finding livable collaborations* = *working across difference* ~-> we don't know who we are, until we interact across difference at multiple levels --Tsing--> **identities are formed in histories of encounters**

neoclassical economics theories:
•supply and demand
•rational individual choice --> maximize utility and profit (<== methodological individuation: “motivation/action of individual agents ==> causal accounts of social”)
-

dreams of modernity: mobilization of a agricultural cooperative movement ==> industrial disengagement + intimacy of family's farm


slow disturbance

mode of inquiry: take small details and ask big questions with them

living in ruins
--Jassem--> maybe is a nightmare story
--Tsing--> maybe is a mushroom story
(capital/genocide/...)
(destroyed by...)

rats, rabbits, and algae seaweed

your abilites to nurture and tell stories --tales--> *life emerging from damaged human comunities* (and blasted landscapes) --> not exactly a story of hope (=/= towards a better sleep, the “less you know better you sleep” kind of story), stories of displacement and losses (due to war and concentration of wealth in our time)
=/= *big narrative of progress* : a single world trajectory and time [=/= *time of surprise*] of which “everybody takes part” (*moving forward together* --> #sci-fi series of transnational crew on a spaceship) ...powerful ways of knowing the world [<==?== renaissance] (--my ajayeb project is about those ways of knowing, stories of what sets the world on motion, such as universalism & cultural relativism)
--> *building communal agenda* ~ (dream of) transculturalism [~ blend communal identities] (<== Jassem and Mia's Norway: humans get richer, more efficient, and more make the natural world work for them), is given to us by “men” (that we don't have to follow)

[*]progress: anthropogentic landscapes haunted by imagined futures

--or--> (you might) leave your home and run into a vast new problem

stability is a privilege

[what is?] the future of your dreams
[what are?] the nunhumans worth noticing

species that signal “i am available”


[capitalist accumulations + insult upon insult upon insult ==>] diversity

diversity: (in Germany, considered archaic and chaotic) collateral damage of improvement, necessory victim of progress


fire, herding, farming,
--> creating niches for hunting and forging
--> messing with (nature)


-the question of how much (of human, neighbor, etc.) disturbance we can live with
-what is to consider other's (species, peasant, etc.) ways of life-making trajectories along ours? [==> world-making (requires this)]


the question of niche-making
-niches interact with one another

[*]alienation: the ability to stand alone (--> Nietzschean ethics =/= niche-making entanglement *always imperfect and continent*)
==> (people, things, and species become) [*]assets: mobiles that can be moved from their lifeworlds to be exchanged elsewhere--everything else is waste (=/= eating others)
}--> progress: search for assets =/= art: unalienated critical work, ***reciprocal capture*** ~~> tumble [=/= transcend one another, or bow down, question of integration]

*niche: adjusted timing & quality, small stories, convexe,
=/= house --> has foundation
=/= your monument
=/= building

...................................

[title]
ecologies of nothingness***

premise of my lecture:
•*all places are polluted and difficult*
•‘abuse of language’ is every time you open your mouth
•the social always always includes nonhuman
•there is no encounter without the contractual

..and i can't tell grave from garden

-perhaps i have been unconsciously working on the question of “why are we here?” or “am i here?”
-cartographies of thinking--&--how i am inscribed in them
(itineraries i am stuck with)
going to a place =/= embrace it as a site
--> always i have a resistance to where i am:
•the ways we lose a sense of place --> displacement
•the ways we experience livability through places
(has to do with my own broken/corrupt/fubar link with ancestry <-- only “your people” can show you how to imagine it, the center/home)

transportation --{traumatic & distruptive}--> transformation

time of surprise ==> nonanimal (udyr)
-nature-culture patchworks
-perspectival and performative
-contaminative and communicative
*fantastic and real vision*
-things that don't fit together, yet, there *are* together --> sym (=/= bifurcation) --> awkward relations & interrupting categories
•(necrophobia)
•schizophrenic relations to...
•deconstruction of presence...

(for you there is also) ***many fantastically large set of contexts within which to say “yes”***

(Tsing's) *contaminated diversity* (complicated, ugly, humbling) [=/= ‘endangered species’ and cultures (innocent victims of human progress)]
-implicates survivors in histories of greed, damage, and destruction --> cacophony of troubled stories --might--> help to learn something about the cultural and natural histories at stake
-difficult to love and relate

joint organs {part plant, part fungus} interspecies phisiology ==> *mushroom*



*tumble: falll down as if collapsing (from upright position), thrown together (in mess, and very difficult to rewind)
=/= transcend
=/= entropy

•bodies tumble into bodies --> monsters
•histories tumble into histories --> ghosts
•stories tumble into stories --> lures

(material lifeworld tumble into) forests tumble into fables tumble into politics tumble into ...

***dispersal & entanglement*** {
•dispersal --> shattered, torn, broken, dispersed, made particulate, whisked away on the breeze (--> smoke, Urashima turning into particls, dud to cough with سرفه sorfe) [<-- Jassem and Mia] --> time is crossed out ويرانه
•entanglement --> patchwork, care, weave, (together, reconnected, acknowledging care and entanglement) [<-- Kirsten] --> time of the hut کاشانه
} “&” --> ??? stories? reciprocal capture ==> immanent new modes of existing (in damage and loss) [<-- Sina] --> time (and things) are diffractivelly/differentially constituted


as humans we also have these qualities:
•our plasticity
•our ability to be affected
•our ability to hybridize


(modern human activity, burning man insults ==>) [*]monsters: ajayeb-e wonders of symbiosis (threats of ecological disruption, multispecies entanglement)
(Tsing, a useful figure to think with ==>)
•they help to pay attention to (ancient chimeric) entanglement
•they point to monstrosity of man
•they point toward life's symbiotic entanglement across bodies
monsters: nature suddenly unfamiliar (acting like udyr)

[*]ghosts: phantoms inside [your] (natural) history, layered temporalities of living and dying (==shape==> landscapes), creatures of ambivalent entanglement --> (help us read) *life's enmeshment in landscapes*


suffering from the ill of another species (or people):
•bacteria inside (<== pollution, radiation)
•people next door (<== war, politics)
}--> this is the condition of anthropocene entanglement



[productive horror of our civil performance--Kirsten, Sina, Jassem and Mia:]

temporalities of ruin, body, optics
                   |     |     |
       matrix of rage, lure, desire

rage (violently affective contact)
--> ghosts: [--> Jassem and Mia's performance ~ “big story"]
•**histories tumbled into histories** (“ghosts” <== bad death <== settler colonialism + expansive capitalism --> they brought with them a peculiar kind of time: looking straight ahead to the future [==> optimization & salvation of a *single past*] --> ruthless ambition & [modernity's time:] metronomic synchrony 🕓)
•animating feral and partial connections
•remind us of an *impossible present* (that we live in)
* (embodied) contingency, asymmetry, indeterminacy *
•hauntings (are not immaterial!) : presumptive absence (presumed in the absence)

lures
--> monsters: [--> Kirsten's objects ~ small stories, little niches with ghostly contours (like a car's tire) ~ things growing in abundant]
•**bodies tumbled into bodies** (“monsters” <== assets and wastes (animal entanglement with the burning man) <-- bad symbiosis)
* unspectacular afterlife of discarded things * (debris of capitalist waste)
•weaving magical figures, conjuring fictions
•constant speculation, that are fed and touched, reparative and tender
•textured, formful, colorful
*lure: things that evoke or capture feelings and responses ==> to lure out relational responses

desire (superposition)
--> optics: (a form of distance) [--> Sina's stories ~ superposition [different scales] of dispersed times [~ unruly temporalities], multiple practice of knowing smallbig spacetime mattering]
•**positions tumbled into positions** (tumbled into politics: some instruments of seeing producing perspectives are more guilty than others)
* (disembodied) multiple practices of knowing --> landscapes: arrangement of life and afterlife, space that grows from ‘endings’ <== ‘death of’(s) ~~> contaminated (stories/diversities)
--> diagram: http://ajayeb.net/?q=rationalizable
(Sina performing) diffractive optics of knowing ==> ongoing articulation [=/= perspective]


•i shouldn't be talking, opening this
|
•remembrance --> Bambi's mother studies {what if remembering is something totally different than “lost member"}
|
•fox story --> animal trap:
◦perception {rhetorical perception, evil perception, etc.}
◦lure 🌀 can't stop following, trap: nearby-ness, becoming bodily, engaged in perspectival game and will ==> fox's relation to the forest [he is suspicious and rend =/= *lured into desiring & trusting* : we bring our lures and needs towards each other, (sometimes it is) critique is an art that tangles with what you are proposing, like fox in a lure (octopus is much better with lures than fox)]
◾propositions
◾abstractions --> (i love) ideas: to animate humans, erotic lure for soul ==> *metamorphic attention*
|
•omen --> potent sign of alarm
|
•evil {category crossing monsters [~= ajayeb's context of evil], force of liberation, beauty, complexity}
|
•Ursula's sea (from little mermaid):
◦the way she says “yes” {multisensorial call “yes” and “more"}
◦her laughter {develish perception, perceptual joke, joy of corrupting her morality [~ her heroism: who the hero is and how to live happily ever after]}
◦fish-story --> aqua culture
|
•Ursula La Guin --> Urashima story
|
•finish with evil laughter


(follow the departure from ‘evil’ to ‘misunderstanding’ or ‘perspective’ in Disney's animated movies)


[according to *creation ancestral dreamings*(~ founding ancestors):] shape-shifter (are not only haunted, but also are) creators of biotic life, founders of kin groups (of humans and ghosts)

...................................

the wind (of...?) carries ghosts--signs of past ways of life still charged in the present ... stories of those winds as they blow over haunted landscapes ... ghosts are the traces of more-than-human histories through which ecologies are made and unmade
*haunted --> presence of past
*landscapes --> arrangement of living spaces
*ghosts --> disturb us in their indeterminacy


-cracked cement
-worlds have ended many times before @Jassem
-which ‘endings’ come with which ‘death of’?
•a leaf
•a city
•a friendship
•a small promise
•a small story
•
***endings ==grow==> landscapes***


[title]
shadow biology



Jassem: make sami complicated

project's two categories:
•nature --> perverse
•culture --> endangered (--therefore?--> innocent, pure)

-homesick
-seasick
-sickened in home

چیقزستن

شخصیت توصیفی --> descriptive? (drift in describing)
شخصیت حاشیه‌ای --> digressive نامربوط  پرت, excursions superficial relevances, off the subject [=/= انحرافی]
شخصیت خود محور --> rotating along the axis of ego, tangled subjective schemas with objective reality, talking regardless of the listener [egoist: vampire without self-reflection =/= narcissistic personality]
شخصیت مقایسه‌ای --> comparing?
}=/= (always asking) how do you make a subject of conversation out of what you are concerned with --> make ‘your subjects’ into ‘subjects of conversation’ with others --> موضوع
•غیر قابل حل کردن =/=
•تفکیک کردن
(مطرح کردن به صورت که تکه تکه کرد)


[*]research: problem of entering a culture from outside


points of the lecture:
-a nano-expose
-of kicking off this...
-not dramatically pitched at you
-cartography of collapse and sublime
-coming down or crushing down the watching post
-(disclosures and) promises of frontier technology
-


ghosts of the project:
/poltergeist --> not really capable of knowing different things and different types of relations they are entered into, bad at perspectival communication
/Hamlet's father --> wanting you to remember ~= revenge
/Cinderella --> doesn't show any psychological symptoms (she has no psychology?), she is not the master of anything, not even her name
/ruin --> place of unsettled identities

questions of:
•doom [=/= adjustment, management]: “contamination = end”
•subject surging to bear an affect, subject who goes with the flow in an intoxicated moment
•traumatic realism
•(endangered ==>) survival: fighting for “your right against others”
•less-than ideal livable collaborations
•
•constructing interest (not that ‘you want to know’ --> historically crafted and naturalized modalities of “knowing more”)
•contingent (~ lure, abstraction, fragile [--> they create interested bodies]) =/=? analytical [--> they create disembodied subjects]

[poem can do all of these:]
/proposition --> right/wrong declaratives
/exposition --> systematic explanation
/disposition --> affective orientation ~~> attitude ==> perspectives ==> selves

poet [=/= archivist] can be responsible for the ‘remainders’ --> good at greeting =/= traumatic realism


(1) traumatic realism
(real understood as traumatic:) “shock ==> subject”
a way of figuring that fails to bring the inflicting force (of real) into the symbolic order ==> mime, miming: you bring it into the present literally over and over (re-present)
|
(2) atmospheric attunement
a way of being in the noise
labor-intensive process that stretches across imaginaries [such as travel, house, haunt] --> responding to ” “
actual affects of modes of living brought into being
intimacy with a world [visiting families in Alta]
|
(3) phantom arm
“social = present-absent” (=/= Star Trek's interculturalism) (=/= Lacan's subject: proper sense of absence and loss)
connectivity does not require physical contiguity
-force of piled-up phantom limps
-hum of the palce, dormant noise --> worlding of a place [<-- material and sensory labor of attending to it]
-hauntology =/= Archimedean certainty of presence --> a knowing consciousnes
-so, that lost arm/limb (original part of you) could have a chance of becoming companion species, and not a discarded phantom limb forever haunting the amputated you
|
(4) troubled stories
=/= clear-cut good stories about troubles
stories difficult to like:
•dirty, guilty, survivalist udyr? the evil horse? (we need more description of the evil horse)
Cinderella --> (not) the master of your house, of your name, of you
-sometimes it is not you who makes you


...................................

--Morris--> ghost problem --✕--> possbility of a politcal form
contingent politicization and the accidental in the Southeast Asia

theatrical acts of civil disobedience
democracy protestors
conjure the spirits of those who have been killed
political vengeance

(wherever there is) violence in Southeast Asia (even if this violence is merely the
force that possesses machinery) ==> ghosts
~=
(wherever there is) force that would oppose life (even and perhaps especially by resembling it) ==> ghosts

[the doxa of] {(no preparation) premature death / banished by disbelief ==> unhappy ghost, vindictive melancholy}[= *effect of context*]--in-->
•pulp novels
•secular humanist elite literature
•rumor
•folklore
•

(Morris points that) such specters are densest in the places where the accidents of modernity are most like to occur

*the death that is caused by another death*

technologization of life and death, movement and war --> *making one vulnerable to death* <== (often) a function of technology (technologization of life and death, movement and war, etc.)

*ghostliness (in Southeast Asia): an idiom with which to address issues about the difficult delineation of a boundary between the living and the dead* (=/= matter of improper burial)

if the dead cannot join the living, the living can die and thereby mingle with the already deceased ~-> fright

the location (where ghostliness arises) is not spatial but temporal (“something happened”)--> in a strange way, for the “occurrence” has no place in time ==> stop time and to displace other narratives (--> it has the structure of trace)
[@Marialena's summoning to life =/= (living) beings who can be summoned to death]
}~~?--> (Freud's) death drive (<== traumatic neuroses) + (Kantian conception of)
accident


(for Freud:) [*]consciousness: the form of a resistance to the world

unconscious is “timeless” : incapable of discerning order (in a Kantian sense)

trauma (=/= anxiety) ==> disables the pleasure principle but not the compulsion to repeat (which is typically a source of pleasure)
[*]trauma as precisely such a disturbance of time and of causal sequentiality

{earlier philosopher's analogy: substance (essentially unchanging) =/= accident (the name of that which metamorphoses over time) }=/={ Kant's analogy: accidents = the “particular ways” in which substance is determined to exist}
--Morris--> causality: a concept that responds to and covers over a gap in the human capacity to inhabit a world of accident
--Freud--> sudden, unexpected event incapacitates the psyche (and its maturation) to such an extent that it will relate to the world only as accidentally existing --> [*]accident/trauma: the experience of the occurrence as having no reason [--causality as a principle of understanding]

accident ~=&==>
•trauma
•condition of possibility of a political opening to the future (one whose form is not determined a priori)
•condition of possibility of en ethical opening to the future (without guarantee)
•
}--Morris--> *accident: the name of a certain kind of freedom*

(it is initially tempting to suggest:) ghosts: symptoms of trauma, particular form of a repetition compulsion, externalized and made public, (untimeliness of an event that robs it of the structure of causality within which it could be more properly interpreted), a form of neurosis =/= Morris's reading of Southeast Asia ghosts

•recognition does not stave off fear
•anxiety does not stave off trauma

reflective interpretation
narrativized interpretation
abstract interpretation

dissociation (in spirit possession) ==> (allows other individuals to witness) the loss of consciousness ==> memory traces of history become legible

(change the focus in trauma studies, a reorientation of perspective:)
missed encounter (~ wound) --to--> poorly anticipated encounter (~ accident)

(Caruth's argument:) **[*]trauma: a discourse that opens up ethical possibilities with its demand for a recognition of the need for historicization (of the relationship between destruction and survival)**

****(Morris as an anthropologist call for analysis of the accidental -->) to better comprehend *how history exceeds individual intentions* + how particular conceptions of history may enable more consequential action on the part of historical agents****
==> (to move from) affective symptoms of an overwhelming experience [@Hoda] --to--> the question of effectivity beyond representation
--> to construe an ethical relation to history--in terms of open relation to futurity [=/= an (impossible) mastery of the past]

every artist researcher should investigate:
•how anxiety is informing you
•how trauma is informing you

the question of the political understood as: (@Femke, OSP)
•the question of contingent factors
•the question of unexpected exposures
•the question of (relatively) unconscious processes
(and not of control)

neoliberal economic logics --> image of massness (=/= consciousness of one's collective interests) ==> condition the possibility of social action (movements characterized by a schema in which exposure to events leads to politicization) <-- an older genre of politicization narrative [~ individuals describe their encounter with social injustice, extreme poverty, or excessive violence and then recount a growing consciousness of the structures that produced them, #Robin Hood]

inadvertent and even accidental convergences ==?==> political movements in Southeast Asia (throughout the late 1980s and 1990s) --> (students who participated in antigovernment protests in Rangoon/Yangon in the late 1980) described their entry into the politi[...]