[...] supper. It happened to be the wolf.
-->  a character that does not belong to one can involve one in serious trouble



[*]fable: (name of the) *literary thing* that aime to *teach responsibility* --Keenan-->  self-understanding of the free subject (<--fable--we are exposed to something in language that troubles the possibility of that understanding)

[in my lecture performances with] fable [I aim to] offer an allegory-of unreading, of reading without limits and without guarantees --> freedom

governmental concepts:
•subject
•agency
•will
•choice
•freedom
•rights
}--deconstruction-->  limitation of ethico-political responsibilities

for Keenan: **question of respon­sibility = question of freedom**

the free community of rational beings cannot simply be (regulatively) invoked

calculable & programmable law

responsibility: (names the predicament in which) *coincide the necessity/inevitability of action & the failure of law*

•politics (and ethics) --name--> the urgency and necessity of a response
•responsibility (and freedom) --name--> the impossibility of response with guarantee

           ethical =/= actual
                |                   |
impossibility =/=  totality of what is

***impossible =/= not-possible***
--Derrida--> the impossible occurs at every moment (that belong to the effort of reading)

“have we not acquired the right to say everything?” (Sade)

who reads, and how, a text addressed to no one?
what status does it have?


[Lode Lauwaert]
for Blanchot Sade (libertine aristocrat novelist) was the writer par excellence
we should think about Sade in explicitly revolutionary terms [Sade's work ~= Robespierre's Reign of Terror]
•Sade's ideal of society is a reactive reality (it takes form specifically in reaction to something external) --> undertaken endlessly efforts against modes of social organization that are based on an stable internal point of reference
in Sade:
1. selfishness has an ontological (not a moral) meaning : ‘the essence of man = negation of the value of the other's existence’ (+ a destruction of the positive meaning other people have in normal life) =/= being-for-the-other
2. characters with theocentric universe (who deliver extended theological discussions)
3. blasphemous passages (negation of God's existence) --> Sade’s specific philosophy of nature (reference to nature is enough for a proper understanding of reality)
4. *every type of destruction always ultimately serves nature* --> nature (by virtue of her desire for optimum production) is forced to destroy her products continuously [--then--> how to annihilates nature?] --(essence of Sade's world)--> **radical negation**

each individual negation involves affirmation (of the other, humanity, God, nature) --Blanchot--> (Sade's oeuvre =) a movement of radical negation that is nothing but its *negative power* (it never affirms something)

Sade = permanent resistance + radical negation (of the other)

“nothing resembles the virtue as a great crime.”
(Blanchot > Sade)

Blanchot's interpretation of the Terror + French Revolution (<== Hegel)
revolution --> freedom (formerly situated in a divine sphere) operates from a purely immanent perspective
the idea of efficacy of the freedom --> destroys what is given radically --✕--> old regimes
--(understood absolutely)--> Saint-Just and Robespierre demanded that the new French citizens lived out their pure freedom in a radical way

break free from:
•(highly personal) pleasures
•(highly personal) affairs
•

Blanchot + Sade --> *one cannot use one's freedom to establish a new political order*
freedom not contaminated by a particular creation --> Reign of Terror = (a horrible state of) “between” the overthrow of the old & the establishment of the new regime
(~~> contemporary Iran's political state's endless resistance)
•endless resistance =/= enduring constitution (~= institution)
•negation =/= affirmation

Sade's three different forms of inconvenience:
1. cruel tableaux vivants --> emotional inconvenience
2. contradictory unreasonableness (for example “religion should be abolished  ==> a republican man to be a good husband and father” + “family should be destroyed, all women belong to all men”) --> intellectual inconvenience
3. (grotesque goal of) Sade aims at describing the whole of reality (seeking to say the last word about reality, *to say everything*) --Blanchot--> *the fury of writing* or *the revolt of writing* (Sade = abundant prolific excessive writer, *writing in an exuberant way* [while in prison for 32 years]) --> anesthetic inconvenience

Blanchot's Sade = ideal writer
•we should not understand Sade's oeuvre in an intellectual way (there is no message or insight)
◦disappearance of meaning in the materiality of language -->{death of content ==Saussure==> ‘the signifier'}--> reading Sade = accessing the rough meaningless materiality of language itself
•we should not understood Sade's content as a reflection of an authentic self (un moi profond) --> Sade as a person disappears into the background
◦we should not understood his writing as an instrument he uses to express content --> ‘language = an independent reality’ (=/= Sade as a master of language)

(Hegel and) Sartre --> literary works must be engaged and should express the author's involvement with reality
(for Sartre:) writer: someone who thinks about the
current course of the world and who wants to change the world with his literature
--> “language = a loaded gun” (literature should be understood by reference to the message)
=/= Alain Robbe-Grillet, Jean Ricardou, Eugène Ionesco
=/= Sade > Blanchot: writing need to bring the reader in touchwith the materiality and the autonomy of language


we never read just once

logos: the word that names and relates properly --> great truths are told in the light of day and discourse

Sade --Blanchot--> search of a new lucidity (pursued by clear assured decisive aifrma­tiom =/= interrogatory mode)

xxxxxxxx

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

[D+G]

the intersection of concrete forms ==> abstract figure
[bringing objects close to each other produces story*]

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

my engagement with other apass participants, a form of critique as part of an ‘ecology of practice’ (Stengers)
-what are the questions (i could ask) that make you the most articulate?
-to feel what questions, passions, modes of attention animate one another
-to find yourself moved by their concerns
-what we articulate with our bodies? --> what do our gestures mean?
-what do they activate? ----> they don't always enact a precise language --(rather)--> gestures as organs for feeding, feeling, and grasping***
-(sensing) the trajectories, moods, and intensities the other apass participants get caught up in, attached to, inhabit, to catch you in your acts,
(why knowing together?) **worlds come together through collective action and how they attract, repel, enroll, animate, and incite (tahrik تحریک, eghva اغوا) us. [...] worlds are “lived [compositions] with tempos, sensory knowledge, orientations, transmutations, habits, rogue force fields.” (Stewart)
-(engaging) in a form of critique that detour into descriptive eddies (گرداب کوچک مخالف) and attach to trajectories
-(through this i am making myself interested in) what (theoretical, philosophical, artistic,) storytelling, as one ***consequential practice*** among many, make possible in the collective task of building and sustaining livable worlds ----> taking texts as worlds, taking people as worlds
-(when talking about your project) you are teaching me what makes you move. --> that means i need to learn how to be affected differently (other than my own projects terms) in order to affect (others) differently [# my bow and arrow intervention] ---- to give intense attention to your gestures (expressing desires, expectations, affects) and to respond to them in remarkable way.



critical hedonism (Archer)
--> refusal of the “embodied anxiety”

affective economies (Ahmed)
--> which affective economies animate our own bodies as scholars/artist/... and as people

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