[...]s a mainstay in European intellectual life, 17th century natural philosophers began to understand *wonder, *curiosity, and *attention as cloesly aligned and mutually defining.

epistemological beast fable

unnatural history

knowledge-making practices of other times and places

tracing the web of horror and delight

Serres reminds us the beast fable tradition is as much about biomimicry as anthropomorphizing.

finding ways of “going-on together” (Verran)

“by experience and by affinity, some of us begin not with Pasteur, but with the monster, the outcast” (S. Leigh Star)

(ajayeb's) (politics of) administering discrete objects ----(number sys)

(why should we engage in refiguration?)
(there are always a) multitude of agencies unfolding as the world is continuously reconfigured (=/= to explain away: when multiple objects are collapsed into one.)
-“Within this dynamic world it is impossible to imagine that one single story or one narrative style can capture all of the liveliness and exuberance; ***we need to deploy multiple stories about agency. Some meticulously empirical, some imaginative. Some on the quantum scale, some on the people scale. Different agential narratives enable different ways of responding and relating.” (Kenney)

postcolonial moments: “occasions for theorizing, for telling differences and samenesses in new ways” (Verran)


#to create ‘aerating’ (tahviyeh تهویه) in ajayeb, this includes:
/ crafting translations with ontological traction (enghebaz انقباض)
/ building empirical tools that make ajayeb's translation-work visible {#pop-up book}
/ translation --> *reconfigure sameness and difference*
/ staying with linguistic differences (in ajayeb) is a way of investigating the ontological commitments embedded in language.
◽ontological --> worlding --> how language participates in shaping our lived worlds in some ways and not others.*** “it is not common for speakers of a language to examine what type of material objects their language commits them to. [this also my question in iranian mystic mix,] rather the difference will be to notice as difficulty in translation.” (Verran)

(for me working on ajayeb is) **lingering in the space of difficult translations**
==> making recourse (motevasel shodan be متوسل شدن به) to a *world of common referents* (space, time, and matter)

[to continue thinking with Verran] on *durations*, *extensions*, and *resistances* (in ajayeb's case)
these three foundation objects need not to be saddled with the history of Western metaphysics and do noy require that common ground be located only in Western territory. “Therefore they offer more promise for cross-cultural translation than the more conceptually nimble [tardast تردست, zeran[...]

[...]hical power. but stone ‘is’ for touching and bodying, sensuous touch is the matter of stone, intimacy*, sensuous intimacy with the stone, sensuous proximity)
---(rock in water : reef)
-transcontextual; transcontextuality = tanglement {figures running in opposit directions but held together}


nature is a context
*past is a context

*the landscape is full of ghosts (whether we want it or not)
mediated forms

Some examples of exothermic processes:
-spontaneous combustion (~= fire)
-Nuclear fusion (~= sun)
-(in this writing, i am going to take a defenition of fire recovering it from bible, that of the spectacle flame that of the material of specter in the Qur'anic Jinn, and not other forms of exothermic processes)

the issue is reversibility
(“evolution” inevitable? Irreversible?)


[title]
•A Materialist Inquiry into the Beyond
•A Mineral Inquiry into the Beyond
•Genealogy of a Worship: Talking-Fire and Telling-Stone
•Talking-Fire and Telling-Stone - Genealogy of a Worship
•Ajayeb-e Atash
•Fire and the Transcendental Subject
•Zolmat and the Appropriation of the Elsewhere
•Fire and Different Internals of Being
•Black-Box and other Human Extensions



genealogy of a worship (fire)
how can one pray ‘to’ animals? (~ prey upon them)
how can one pray ‘to’ elements?

amenity (of stone) (=/= enmity of fire)



*trial by fire, fire as judge
(test, respond to whether or not something is true or false)
iranian frost, is not the same as ice---ice was still the object of fascination. transforming fire into mosque---atash masjed shod. ‘dudeman’ coming from ‘dud,’ smoke as your ancestery. a telling-smoke was your inheritence, your grandpa. same in Latin: ‘focus’ means both fire-place and ancestral
ether --> azar --> atash
fire = (institutional?)-order ~ justice = law =/= nondialectic
the order of fire =/= agonism [positivly channeled disagreement]
the order of fire is a materialist conception of history, that fire eventually purifies and leave no reason but the reason of harmonious ~= consensus, the ubiquitous Übereinstimmung of fire
athletisism of Shahnameh and fire-trial (contest oriented toward victory of defeat; transcendence, truth, and growth are generated from the outcome of the contest;) is exactly the cancelation of an agonistic notion of defeat (in Shahnameh: dishonor = defeat --> the defeated = the monster, the ‘Div’)
‘agon’ in Latin literaly means arena of competition, the scene of contest--meydan? what would be (the instrumental) relation to the mode of destruction in Shahnameh's kind of fire?


Indo-Iranian register of fire worship (around 1500 BC)
-fire burns (ever) upwards
([...]

[...]****what is my obligation to the meaning i am seeking?**** [=/= Mette's work]

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

to bring to BOZAR project with Goda into my interest in geo-feminism
the question of naming, of taxonomy --> a way of being into connectedness

[*]ajayeb studies = **how to inherit natural history otherwise**, how to think about natural history, embracing other (than western) heritages of natural history that enlarges the world for us and the ones we are living with


plantation system:
1. radical simplification, elimination of whole categories of players (in systemic encounters)
2. radical substitution, whole domains (plant life, animal life, human labor system in interaction with animals and plants and microbs) are substituted
==> radical break of connection to place
==> release of numbers : value added processes based on the management of numbers

> to look at the planetary shape of some of our problems

-scene = condition of...
scenography --> ‘scene’ is a visual spatial way of thinking about what makes the ‘condition’ of something

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

(Calvert on The Nature of Difference book @Quinsy)

rise of population genomics
•efforts like Human Genome project --> refusing to afford a genetic basis for race categories
•tools to identify “deep ancestry” (indicating a geographic origin in prehistory)

postracial politics

recreational genomics --mutating--> “race” out of 19th century concept of “blood quantum” that imperfectly signals complex tribal relatedness and membership

(purchasers of) **genome = book of life** ==> racialized and medicalized subjects

*mutated racial discourses*

renaissance of race categories

science has the authority to establish truth claims that scholars in the humanities must reckon with
humanities scholars may avoid a scientific debate because:
1- they feel out of their depths interpreting scientific data
2- they resist scientific authority in response to well-documented instances of scientific exploration of people of color
3- they may have surrendered to science the work of settling matters of fact, keeping hermeneutics and textual matters for themselves


science and technology studies --> *tracing objects through the practices and discourses that produce them as settled matters of fact, made, but not made up*

(tracking) social and legal arrangements ==producing==> race


***science is coded as the interpreter of nature in western discourse*** --> that is why i have to study science in my research on bestiaries


Hammond + Herzig on how scientific practices across disciplines describe and create what [...]

[...]erence of double click?

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

(in the direction of my research; hastily opening the ontological envelope that saves a heart full of “list of specifications”...)
the visit will be to the ‘European Committee for Standardization’ (CEN, French: Comité Européen de Normalization), one of the EU fostered nonprofit public institutions of the cutting-edge development regarding ambitious notion of ‘data,’ ‘systematic knowledge,’ and ‘specifications’. the excursion will be oriented towards a meeting between the participants of advanced performance and scenography studies and the representatives of CEN, and encourages a run between the ontological demands of international economy and contemporary art, their disastrous split, and where their formations meet and intersect.

KEYWORDS: cosmology, experimentation, existence, specification, future, knowledge, irrationality, permanence and substance, technological acts--of naming, a path of becoming--on the grid of technological dominion, suspicious partnership of “advanced democracies” and “high technology"--what allows their mutuality?, standard-testing--which sectors of existence it is traversing?, pre-technological traces of cognitive normalization, the very little difference between specification and “the real thing,” THE origin of the demand for rigorous specification, migration of questions out of the areas of instrumental fitness, human relation to the surrounding world, impoverished zoologies--under techno-epistemo-anthropocentric values, squeezing prehistoric modes of weakening subjectival normativity--a field that today gets heavily technologized,

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

to bring our needs and lures towards each other
bring my lure to the table (that thing which i can't stop following)

who/what are you pregnant with?

(that is what you are proposing)

(that is to play with the ‘histories of body and mind’ [Haraway] you inherit --> for me is to play with the pre-subjective singularities)
[inheritance is of great importance for our research. it is about the passing of obligations from something ghost-like. i am sure we have other modes of response available to us other than how Hamlet takes in what is inherited to him, other ways of responding to the ghostly beings that talk to us from death. (inheritance ~= inhabiting spirit [they cannot be possess as a piece of property], reading inflaming flashes of remote spirits [--> is this hear from one another looks like? is technology placed at the source of this reflection?--technology itself answers the call--(Avital)]) could we work with Ophelia's kind of #Wortsalad instead? (Salad-e Kalame, khoresht-e kalame; same thing happens to Shirin of in Khosro Shirin, but unlike Shakespeare, Nezami allows another poetic drift;) Heidegger's “die Sprache spricht” : language is monologue --?--> schizophrenia and schizophren[...]

[...]body and mind they inherit

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

possible performances
*two doors, ?, talk, model, puppet
*using stop-motion animation, clay formation, material animal facial properties

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

seeing a car crashing, is seeing a causation, seeing a reasoning, is that logos? is it logos when we see a physical experimentation?

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

[Haraway]

the established (dis)order is NOT necessary!
grips of necessity
(the real does/did not have to be or happen that way. the ‘real’ is the result of contingencies and it can be undone by working the contingencies, with skill.)
laboring bodies, playing bodies, sensuous bodies
(feminism:) you can't get freedom outside of mortality
-theology, the negative way of knowing, the necessary discipline of positive affirmation in order to know what is not knowable, is a very helpful tradition


when it comes to language we, humans, will always win over the animals.
we will always be the ones who control the law, the database.
(all is bad news both for the charismatic endangered Bangali tiger and the individual chicken in the food industry.)
fight the divisions and differences
we are in a very bad place for animals and woman

can we do without instrumentalization?

categories of killable--the question of how we kill

the question of one's-own-old-hat

regarding what you are against: we might find ourselves properly addressing a particular issue but having no ability to make political connection, to think beyond the categories
*thinking: a materialist practice with other thinkers--done best as storytelling

for me politics is that to be able to locate ways of life that deserves work, that which deserve opposition, that which deserve our curiosity


disembodimentdiment is a technologically produced effect--many people are very skillful in creating that effect --> effects that are also affect/affectional

(Haraway on writing the cyborg manifesto) SK
the physiological state of neutrality is an affective state
(the notion that violent and passion counts as affect and neutrality is without affect is chemically bizarre) -- neuro-chemistry of a certain kind of self-collection
refusing the division between material and immaterial
to call information-world immaterial is wrong
(this is the base of my work related to Haraway)
in the case of vision: the material and the semiotic always implode [the apparatus and the flesh] --> the effect of *disembodiment is a technologically produced effect* (that is also always affectional) (we have to get good at producing it)
[...so she was among (1983 Marxist) feminists (and the figure of cyborg is already in circulation for her--about the questions of [...]

[...]y of sentences
partial connections (of distinct entities) ~= analogy
analogy allows one part contaminate systematically another part and vice versa

(Haraway on feminism)
feminist theory is especially good in getting at in particular ways doctrines of nature's work to enforce ways of life on women, on people of color, on the enslaved, on those who do not possess the qualities of mind and self-possession, on those who are on the marked categories to the unmarked. the feminist have been particularly good at getting how genre works. gender, in this regard. [...] --> that female by nature is committed to the species and the male by nature committed to transcendence.
[our inherited binaries -->] formulations of nature: executive/non-executive organs, immanence/transcendence, maintenance/novelty, catabolic(foru-sakht فرو ساخت, sukht سوخت)/anabolic(tarkib-saz ترکیب ساز) functions, ,,
-in Darwin's writing, non-theological account of diversity on earth, we find both interrupters and continuers of these particular notions of nature

the question of model, what is the model for what, what is similar to what?
****how do we do comparative thinking? comparative thinking depends on similarity  judgment and difference judgment, and depends on good-enough models, and depends on a certain kind of rhetorical work of *crafting tropes*
 --> figures of similarity/difference:
  by similarity, or
  by contiguity, or
  by part-whole, or
  ...
(this is ‘building’ *among* us)
(how do i decide to compare two things? Shirin and Ophelia, etc)

models are built rhetorics
history of models
the power of models is that they are not the ‘same as’

circuits of meaning and power that flow through (materials and bodies)

mondial ~? situated knowledge
the idiom ‘situated’ makes people think ‘local’ (instead of global)
by situated she means the ‘knot’ which always means some place and somewhere, but that someplace/somewhere could be in materiality a distributed digital network. the situated is always open. the point is that it is not nowhere and no place.


epidemic friendly

the flow of disease are major international research matter

eco-feminism, veganism is for Haraway is genocidal position, a position that advocates violence, a position dedicated to the destruction of ways of life and living beings including animals, [a position that] *concise all working animals to being nothing but evidence of the destructive and violating imposition of human will on natural stuff*, and “that domestic animals of all kinds are victims and demonstrations of human hubris گستاخى, and they have been made into tools” ~= an extreme developemnt of liberal theory --> the (work) animals are not self-defining subjects, are violations and victims, and shoul[...]

[...]l

to say that “meat culture everywhere and always are acts of violation” is wrong

“post-”, the notion of ‘surpassing’ that is inevitability built into the “post-”, is in our way politically
the project of critique : finding that point of violation where you can say “got you!”, ‘I nailed you’ --> the practice of critique = to define what we are against }==> develop political movement that are fairly self-certain about what we are against ==> you will find yourself (perhaps) property addressing a particular issue but having no ability *to make political connection* (~= to think beyond the category) --> you find yourself crippled

posthumanist think of themselves as “better than”, more in possession of a “real” understanding of the nature of contemporary world, beyond the critique of technology

the politics of it all...

[we have never been -->] human : being on the side of the one who developed technology to realize intention of their mind in the matter [= The Iron Man]
=/= what it is to be people
we don't need fancy epistemological justification (such as posthumanism), people know the world in ordinary ways and we can learn from eachother, in all the (cultural, historical, power, wealth) differences among us [@Leo] --> ***partial translations happen all the time***
to take the risk of making a mistake --[the only way you can]--> affirm something positive : the positive knowledge pins on the possibility of mistake --(@Setareh; Goda wants to avoid mistakes?)

(learning from Foucault:) power = actual arrangement of the world (and not something ‘out there’)
(learning from Derrida:) responsibility is about the excess of it all (and not the irony of it all [*irony: incongruity of expectation and occurrence])
(learning from biology about:) differences organize themselves by ecologies (and not by binaries) --> ecologies have many scales (of temporality and physicality)***

scientific research + artistic research + contemporary philosophical critical inquiry ==> *topographies of difference* [--> important for Goda's use of the term “privilege” flattening differences]
(“+” are exchange zones, i am learning their differences of idioms)

[apass = partners locked into mimesis]

(my problem with the idea of) privilege: a special right, advantage, or immunity granted to a particular group or individual --assume--> the only way for a particular demographic to advance is at the expense of another
•communism which was a form of collectivism (defined itself against privileges) wiped out large populations
•it is easier to politicize gender and sexuality --to--> demand change


@Leo: the question of (should this be the way of) ‘how do we inhabit our situation and to make connection with each other’ --> (?can i suggest to Leo) to drop the stance of comprehensive the[...]

[...]cal connection* (~= to think beyond the category) --> you find yourself crippled

posthumanist think of themselves as “better than”, more in possession of a “real” understanding of the nature of contemporary world, beyond the critique of technology

the politics of it all...

[we have never been -->] human : being on the side of the one who developed technology to realize intention of their mind in the matter [= The Iron Man]
=/= what it is to be people
we don't need fancy epistemological justification (such as posthumanism), people know the world in ordinary ways and we can learn from eachother, in all the (cultural, historical, power, wealth) differences among us [@Leo] --> ***partial translations happen all the time***
to take the risk of making a mistake --[the only way you can]--> affirm something positive : the positive knowledge pins on the possibility of mistake --(@Setareh; Goda wants to avoid mistakes?)

(learning from Foucault:) power = actual arrangement of the world (and not something ‘out there’)
(learning from Derrida:) responsibility is about the excess of it all (and not the irony of it all [*irony: incongruity of expectation and occurrence])
(learning from biology about:) differences organize themselves by ecologies (and not by binaries) --> ecologies have many scales (of temporality and physicality)***

scientific research + artistic research + contemporary philosophical critical inquiry ==> *topographies of difference* [--> important for Goda's use of the term “privilege” flattening differences]
(“+” are exchange zones, i am learning their differences of idioms)

[apass = partners locked into mimesis]

(my problem with the idea of) privilege: a special right, advantage, or immunity granted to a particular group or individual --assume--> the only way for a particular demographic to advance is at the expense of another<other
•communism which was a form of collectivism (defined itself against privileges) wiped out large populations
•it is easier to politicize gender and sexuality --to--> demand change


@Leo: the question of (should this be the way of) ‘how do we inhabit our situation and to make connection with each other’ --> (?can i suggest to Leo) to drop the stance of comprehensive theoretical political position [without giving up the labor-intensive work of theory]


(to talk about...) as an abstraction of seriousness
*if one is really serious about the kinds of interupted and entangled abstractions it is no longer good enough to do it from the Greeks-on*
(not scolding post-colonial but actually) not to let philosophy or science or any other rest of it any longer be that unmarked set of categories
*situated ground: that we know something*
(not to let:) ‘not to know something’ (about living and arriving at the t[...]

[...]nce and seduction
intimacy: still an unpredictable force?
intimacy: the biological spring from which affect drinks?
how Esta's proposal is capable of traversing from the lovers’ bed to the wild embrace of the crowd to the alien touch of networks?

[and when i say “abolish,” i am using a word that is about rendering something obsolete, mansukh, canceling, making reading to get rid of it, and this is not the same as destroying.]

@Arianna, ‘cleaning agents,’ to toxicity? how can we learn to live with “toxic animacy”(Chen)? dirt: “consequences overwhelming their cause” (Latour)
-narratives about urgent necessity: that we need to understand more in order to cure, prevent, construct, excel, survive.
*afterlife toxicities (?)

@Lili: cycle of planets instead of heartbeat of a planet. tuning in the soup of planets, instead of getting the pulse of a singular planet. the nebulous milk way of liquid bodies, instead of rigid mass of individual blood--Pluto.

@Varinia: (in her dog video, regarding her engagement with the law and the question of comparative thinking:) what is the model for what, what is similar to what?
-is her model based on the idea that beings exist as individual? (is this a ‘difference’ that her work produces?)

@Agnes: you are a response to the bed, making the bed and being made by its caress and embrace. it is not that you want all the audience in the world to identify with a general question or present this as a universal expression, but what could go beyond localization is precisely this concept that you, like me, transitioning body in your environment (bed or whatever) are outstretches of homeliness and forces that distribute across space and discourse, territories and sensing zones, you are an exchange between self and environment. this is pragmatism. like the variety of bed sheets, we are proposed with answers that vary, before posing any question.<br /> to reformulate the question that was posed to you: how your proposal is capable of traversing from the bed to the wild?


pre-historic personhood

my work is concerned with connections, mediation and passages.


what you take for granted, is in another words, what that you can't not know.


(my proposal:)
the past is not absolute!

the idea is that the mythical became the mythological --> Things could be treasured for their beauty as opposed to
their utility or their numinousness.


(Martha Kenney's) “wild facts”
facts that won't hold still
fables
fables of ajayeb, creatures of imaginations, (im)possible worlds

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

your institutional hacks


three things to consider in my work:
projection, immersion, and synthesis

seeking to be at once inside and outside the[...]

[...] heterogeneity of the assembled)
*muslim countries --to--> muslim majority countries
*understanding --to--> better understanding
*what does X mean --to--> what does X mean for you
*body --to--> lived body
*body --to--> lived image
*language --to--> specialized languages
*world --to--> built world / thought world / described world / descripted world
*producing knowledge --to--> participating in knowledge projects
*to explain --to--> to explain in terms of...
*place/location --to--> neighborhood (ask ‘why this neighborhood?’ instead of place)


ajayeb helps me to work on:
-history
-poetics
-animality --> inhabiting material and semiotic positions --> how to find a descriptive act that is not in terms of the impressions it makes on our senses? / this is about the places things take and occupy in our phenomenal world. / it is difficult to discuss the night-sky without first breaking it up into constellations. (Matthew Carey)

i have been building my own islamology or islam-studies department, through a low-voice critical mildly blasphemic rant about imagination
(anthropology of non-experimental imagination in the islamicated worlds)
[there is a difference between **experimental imagination** and imagination]

we are at the edge of extinctions
many species and lives are migrating to “where” and nowheres, pushing to the oblivion.

my issue with the ‘timing of understanding’ --> i don't want to be understood by you, i want to be loved by you ==> messenger + message --> so how do i produce lovers? (=/= Don Juan's type of love) --> there is a genius in your everyday talks that transforms me and has nothing to do with understanding (with the information that i grasp)


(using Martha Kenney thinking:)
i am interested in crafting words, phrases, and languages that reworlds us. (reworlding is about reorienting us in the world differently. --> is that what i meant by changing the rhythm of somebody's story?) what is important for me is ***what words ‘do’ rather what words ‘point at.’*** --> if not evidence then ‘what’?! *****the magic of the right word*****

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

communicating knowledge is always also making it
(false: backstage making knowledge, finding truths, connections etc. and then all of this gonna be communicated by publication, teaching, exhibition, etc.)
all the useful ideas i ever had, have happened in the process of deliberating, communicating, exchanging, and so on.
**trying to communicate is the same as making knowledge
(i don't make, i communicate)

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

from paf:
-lunching a counter-exotic movement toward the Book of Wonders: (1) postponing immediate information. (2) ...
•if everything is not exotic then nothing is.
•framing as ‘[...]

[...]iotic positions --> how to find a descriptive act that is not in terms of the impressions it makes on our senses? / this is about the places things take and occupy in our phenomenal world. / it is difficult to discuss the night-sky without first breaking it up into constellations. (Matthew Carey)

i have been building my own islamology or islam-studies department, through a low-voice critical mildly blasphemic rant about imagination
(anthropology of non-experimental imagination in the islamicated worlds)
[there is a difference between **experimental imagination** and imagination]

we are at the edge of extinctions
many species and lives are migrating to “where” and nowheres, pushing to the oblivion.

my issue with the ‘timing of understanding’ --> i don't want to be understood by you, i want to be loved by you ==> messenger + message --> so how do i produce lovers? (=/= Don Juan's type of love) --> there is a genius in your everyday talks that transforms me and has nothing to do with understanding (with the information that i grasp)


(using Martha Kenney thinking:)
i am interested in crafting words, phrases, and languages that reworlds us. (reworlding is about reorienting us in the world differently. --> is that what i meant by changing the rhythm of somebody's story?) what is important for me is ***what words ‘do’ rather what words ‘point at.’*** --> if not evidence then ‘what’?! *****the magic of the right word*****

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

communicating knowledge is always also making it
(false: backstage making knowledge, finding truths, connections etc. and then all of this gonna be communicated by publication, teaching, exhibition, etc.)
all the useful ideas i ever had, have happened in the process of deliberating, communicating, exchanging, and so on.
**trying to communicate is the same as making knowledge
(i don't make, i communicate)

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

from paf:
-lunching a counter-exotic movement toward the Book of Wonders: (1) postponing immediate information. (2) ...
•if everything is not exotic then nothing is.
•framing as ‘tool,’ every tool is and has power, and is built in a discourse of power. tools are not innocent, nor can we do without them. they make us. what would be an idea of the ‘worst tool’ you can work with? poetics for me? [to write-about =/= to write-with the Book of Wonders. to use a language-tool that produces the most ambiguities and most misunderstandings, but that is the only way, there is no tool that can prommis clarity. evey tool produces its own ‘clear'--for someone, for some purpose. these makings are all tool-specific: making dichotomies, making similarities, making diferences, stc.]
•how far your research can host an encounter with alterity? and how this encounter can help you undo your prommises of communication, positional[...]

[...]ed in the process of deliberating, communicating, exchanging, and so on.
**trying to communicate is the same as making knowledge
(i don't make, i communicate)

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

from paf:
-lunching a counter-exotic movement toward the Book of Wonders: (1) postponing immediate information. (2) ...
•if everything is not exotic then nothing is.
•framing as ‘tool,’ every tool is and has power, and is built in a discourse of power. tools are not innocent, nor can we do without them. they make us. what would be an idea of the ‘worst tool’ you can work with? poetics for me? [to write-about =/= to write-with the Book of Wonders. to use a language-tool that produces the most ambiguities and most misunderstandings, but that is the only way, there is no tool that can prommis clarity. evey tool produces its own ‘clear'--for someone, for some purpose. these makings are all tool-specific: making dichotomies, making similarities, making diferences, stc.]
•how far your research can host an encounter with alterity? and how this encounter can help you undo your prommises of communication, positionality, and conceptual buildings? weave new worldling entanglements with the problem--not to solve it, but stay with it. dissolve essential differences between dichitomies such as: knowledge and expression (or ‘knowledge’ and the ‘communication of knowledge’), experimental and ethical, joke and seriousness, interiority and exteriority, mysterious and clear, uncovering and veiling. produce creative impossibilities that do not resolve to bionary answers easily, that unstable possitionality for good, that open for forms of consiounesses to experience thoughts which differ from itself. to think and entertain both particularities and generalities (of logic, ethics, politics, aesthetics, etc.) encounter can be both infinitly singular and general. that is a form of suggestive work that can deal with the specific as well. (think about ‘chicken' as an anstract idea in our semiotic world and as an individual being in our material world)
•using the notion of delinking (reminded by Juan) with my research on the Book of Wonders. going from parable-thinking --to--> religious-thinking --to--> poststructuralist-thinking --to--> poetic-thinking --to--> riddle-thinking --to--> biological-thinking --to--> deconstructionist-thinking --to--> ...
•this other universe is always at the beyond--the other cosmos is a lure (?)
•all cages have wheels
•boat, as an image for both construction and destruction
•i don't need to be alone in destroying the boat
•how to move the boat =/= destination




possible workshops for Einat's project:
•moonwalk dance
•database programing --> how to live well with databases, not waging a quixotic war on database designers. we must learn how to read and understand database early in elementary school. databases are f[...]

[...]igning a scene

[the House TV series, the issue of the protagonist is] the distinguish between the figure of the expert and the figure of the diplomat.
*expert: ones whose practice is not threatend by the issue under discussion --> knowledge = relevance
*diplomat: ones who provide a voice for those whose practice, mode of existence, (and what is offen called) identity are threatened by a decision. to cause the experts second thoughts. --> knowledge ~= decision
[this is core in storytelling] [then, i am political. i used to use the word embassador, but it means also ‘diplomat.’ stories that can hold another story hanging. Sina's shy embassador ~=? ] (but what about the weak ones, the idiot, the one's who ‘rather not’ contribute to the political project?)
-diplomats are situated*
[for *Lili this is also a delima, she is torn apart between her expert self and diplomat who crafts relevance
diplomat--the relevance of feelings --> what is the knowledge in the kiss? (the kiss that she rendered as ‘irrelevant’)] [for me kiss is essentialy important. “it (everything) started with a kiss."]

universal knowledge =/= relevant knowledge


‘trust’ is one of many names for love
“you can never be indifferent to the trust you inspire” (Stengers)

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

#workshop: “the magic of the right word”
(against Sherlock Holmes)
(12-step recovery program for people suffering from) addiction to the truth

(to energize the connections to the things that animate us.)

1. gathering, basckets of concepts, objects, things, words, etc.
2. excersises, physical to-dos (cleaning, cooking, sport, sawing, etc.) while telling (this is about removing the codes of acting and representation process that interupt the telling)
3. everyday mundane talks, no stage. ‘you’ in it. (is it a one-to-one mentoring?)
4. convert into language the objects from the basket, write them down. since we are going to work with sign-language
5. make the connections (probably together)
6. special activities during the workshop? (cooking, drinking, etc.)
7. ending of the workshop. what would be the closure? what do we build? how do we evaluate?


[what are you summoned by? write about the person you see in the light of reverie? how to survive humanism?]

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

#workshop, fables
fable seen as a site where one formulates concepts and narratives that reorient one within one's own research practices
-(how can we) participate in shaping our objects of knowledge (--> relational empiricism)
-learn through participating in different (though not fixed nor mutually exclusive) *microworlds* [microworld: a space where protocols and equipments are standardized to facilitate the emergence and stabilization of new objects. (Kenney)]
[...]

[...]ery program for people suffering from) addiction to the truth

(to energize the connections to the things that animate us.)

1. gathering, basckets of concepts, objects, things, words, etc.
2. excersises, physical to-dos (cleaning, cooking, sport, sawing, etc.) while telling (this is about removing the codes of acting and representation process that interupt the telling)
3. everyday mundane talks, no stage. ‘you’ in it. (is it a one-to-one mentoring?)
4. convert into language the objects from the basket, write them down. since we are going to work with sign-language
5. make the connections (probably together)
6. special activities during the workshop? (cooking, drinking, etc.)
7. ending of the workshop. what would be the closure? what do we build? how do we evaluate?


[what are you summoned by? write about the person you see in the light of reverie? how to survive humanism?]


>

#workshop, fables
fable seen as a site where one formulates concepts and narratives that reorient one within one's own research practices
-(how can we) participate in shaping our objects of knowledge (--> relational empiricism)
-learn through participating in different (though not fixed nor mutually exclusive) *microworlds* [microworld: a space where protocols and equipments are standardized to facilitate the emergence and stabilization of new objects. (Kenney)]
-“banal and ordinary sites of getting on in collective life” (Verran)
-bring your ‘found objects’ (objects, categories, stories, concepts, insights, writing under influence, etc.) and put them in ‘telling’ (telling stories about the lives of your found objects =/= insisting on the solidity of our found objects----[solidity = stability + authority] and in telling practices => (re)materializing your empirical objects =/= generating reliably-managed microworld)
-found objects are objects with which we inhabit worlds (or microworlds of our practices)
-(not claiming to occupy an) ontological no-man's-land outside of the microworlds --> my frame is no more free of metaphysics than any other
-towards an ongoing untidy recursive theory --> keeping our objects, concepts, and insights in a state of generative transformation
-which “affective economies” animate our own bodies as artist and as people?
-what feelings inform our works?

staying with linguistic differences (in each of our stories or praxiography) is a way of investigating the ontological commitments embedded in language.
ontological --> worlding --> how language participates in shaping our lived worlds in some ways and not others.*** “it is not common for speakers of a language to examine what type of material objects their language commits them to.” (Verran)

solidity of found objects, in my case, the graphs and images i am making about ajay[...]

[...]e (--> relational empiricism)
-learn through participating in different (though not fixed nor mutually exclusive) *microworlds* [microworld: a space where protocols and equipments are standardized to facilitate the emergence and stabilization of new objects. (Kenney)]
-“banal and ordinary sites of getting on in collective life” (Verran)
-bring your ‘found objects’ (objects, categories, stories, concepts, insights, writing under influence, etc.) and put them in ‘telling’ (telling stories about the lives of your found objects =/= insisting on the solidity of our found objects----[solidity = stability + authority] and in telling practices => (re)materializing your empirical objects =/= generating reliably-managed microworld)
-found objects are objects with which we inhabit worlds (or microworlds of our practices)
-(not claiming to occupy an) ontological no-man's-land outside of the microworlds --> my frame is no more free of metaphysics than any other
-towards an ongoing untidy recursive theory --> keeping our objects, concepts, and insights in a state of generative transformation
-which “affective economies” animate our own bodies as artist and as people?
-what feelings inform our works?

staying with linguistic differences (in each of our stories or praxiography) is a way of investigating the ontological commitments embedded in language.
ontological --> worlding --> how language participates in shaping our lived worlds in some ways and not others.*** “it is not common for speakers of a language to examine what type of material objects their language commits them to.” (Verran)

solidity of found objects, in my case, the graphs and images i am making about ajayeb --> the graphs now reiterate for me as rituals in my research microworld.
with these graphs i am trying different ways of arranging space, time and matter when speaking a *sentence*. ...each language figures space, time, and m and matter into different kinds of objects. in my writing tools with ajayeb, what type of material objects my language, or Hemedani or Qazwini's language, commits us to? my graphs are “spatiotemporal particulars” and “sortal particulars”. trying to talk about ontological assumptions embedded in the English (and any other) language. the diagrams are *rigs*. i am using rigging instead of framework. --> clever technological rigs, are provisional constructions, setup for a specific myth and dismantled after. sometimes old rigs are reused or repurposed for new rigs.
-resist peaceful naturalization
-uncomfortable software
-building/creating technologies as one way to do ontological politics (in postcolonial context)
-my experiments with ajayeb:
 -(the danger in using) computer software to archive ajayeb's or ajib knowledge =/= lively collective memory tool
 -the software that is slick and seamless runs the risk of the digital media appear as *sel[...]

[...]d objects----[solidity = stability + authority] and in telling practices => (re)materializing your empirical objects =/= generating reliably-managed microworld)
-found objects are objects with which we inhabit worlds (or microworlds of our practices)
-(not claiming to occupy an) ontological no-man's-land outside of the microworlds --> my frame is no more free of metaphysics than any other
-towards an ongoing untidy recursive theory --> keeping our objects, concepts, and insights in a state of generative transformation
-which “affective economies” animate our own bodies as artist and as people?
-what feelings inform our works?

staying with linguistic differences (in each of our stories or praxiography) is a way of investigating the ontological commitments embedded in language.
ontological --> worlding --> how language participates in shaping our lived worlds in some ways and not others.*** “it is not common for speakers of a language to examine what type of material objects their language commits them to.” (Verran)

solidity of found objects, in my case, the graphs and images i am making about ajayeb --> the graphs now reiterate for me as rituals in my research microworld.
with these graphs i am trying different ways of arranging space, time and matter when speaking a *sentence*. ...each language figures space, time, and matter into different kinds of objects. in my writing tools with ajayeb, what type of material objects my language, or Hemedani or Qazwini's language, commits us to? my graphs are “spatiotemporal particulars” and “sortal particulars”. trying to talk about ontological assumptions embedded in the English (and any other) language. the diagrams are *rigs*. i am using rigging instead of framework. --> clever technological rigs, are provisional constructions, setup for a specific myth and dismantled after. sometimes old rigs are reused or repurposed for new rigs.
-resist peaceful naturalization
-uncomfortable software
-building/creating technologies as one way to do ontological politics (in postcolonial context)
-my experiments with ajayeb:
 -(the danger in using) computer software to archive ajayeb's or ajib knowledge =/= lively collective memory tool
 -the software that is slick and seamless runs the risk of the digital media appear as *self-sufficient representations* (<--✕--> living context)
 -archived and frozen in time
-sorting operations

(if i continue with digital tech in reading ajayeb i have to ask) how the digitized ajib knowledge can resist appropriation and translation into an idiom that will not sustain its metaphysics****
◦powerful relational work that numbers (also? = =/= --> => etc.) perform -> “numbers are a particularly smooth and manipulable meaning-making tools. they hide their seams well. they are slick and trustworthy” (Porter) --> they are “materialized relat[...]

[...]re helps the bodyguard with its task
•generation stories, describe and follow your object in three generations, its child and grandchild
•[for the second day or warm-up first day?] constraint based writing: (Kenney > Christian Bök's “literary genetics” poetics of encryption of data; poetic vectors, to “infect” the language;) describe/story your object (or an operative “verb” within your discourse) with univocalics: without using “e” or only using a single vowel. or, first write with 3, then 2, then 1 vowel.

-the workshop is about: what other stories (of your object) are possible?
-in the workshop (I take a temporary position to) challenge others to re-tell the story of their ((epistemological) found) objects
-a ‘generative constraint’ might help opening up paths before you, away from our habits of storytelling
-it is about getting a feeling for the resistances and potentials of language in our (sometimes mundane) descriptive practices, “strange richness of missing the letters we need” (Kenney)

the metaphors are dormant in our routines of talking and noticing each other. how then, by traversing the routine, our “knowledge” and “community” took on new meaning, as they get a chance of being rearticulated in different languages (or differenlty infected literature)
~-?==> changing the system of classification (of thought)

-in a way the workshop is about an *approach* to knowledge generation (and not necessarily a rigorous critique nor directly evaluating the production of our knowledges)


***nothing is never merely a metaphor***

[some fables from science studies:]
•Emily Martin's egg/sperm story --> stories of atomism, distribution of agency, ----[The Egg and the Sperm: How Science Has Constructed a Romance Based on Stereotypical Male-Female Roles]
•Hayward's microscope --> tropes of natural history docu, ----[Enfolded Vision: Refracting The Love Life of the Octopus]
•Kenney/Haraway's origin/nature fable --> the omnipotence of the “origin” story in our descriptions and interactions with the natural world
•Scott Gilbert's immunological “bouncer” story =/= immune systems as inclusive agents of symbiosis
•Lynn Margulis: life (made possible) by “combat” [the survival fable that TV series “The 100” and “Kelile Demne” for instance is based on] --✕--> life by networking
•Haraway: the tale of “organism = a system of division of labor with executive functions” (==> extraction of wealth among us)
•Morton's causality-story
•brain/body story --> where the “move” came from?
•Sina's “standing on the shoulders of giants” --> knowledge/continuity, role of authority and humility in science ----[http://www.sinaseifee.com/giants.html]
•Sina's 3 little pigs --> architecture/tech/ echics of encounter --> story of the center and periphery ----[http://www.sinaseifee.com/[...]

[...]rself for what you really want”
•“you are an agent of change” that means art or thinking or being ought to be operative, active, transformative, (even destructive) and that is “political” [--> this fable in found in language; ---> go to Barthes’ fable of the woodcutter]
•




no need for “conflict” nor “hero”
(in the way we give feedback, relate, narrate, story, and tell eachother our matters of care and concern, and where we create zones of attachment; both in your “art work” and the mundane everyday of ‘getting on together’ --> interrupting one's own framework)

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

#workshop, on question, feedback method, to improve the questions we ask each other
-what are the questions (i could ask) that make you the most articulate?
-the question that asks what are the good questions that offer an interesting becoming for those to whom the question is addressed
-to ask: does this apparatus has stakes in docility or availability?
-more interesting questions ==enable==> more articulated answers ==> more articulated identities
-asking (questions) (is not about ‘you want to know,’) is about constructing interest ==> chance of interesting answers
-asking about the differential productions,  “=/=” or “=” or “==>” in each other practices. these assessments are propositional and poetic remarks, guessing the artificialities that we live with, not finding of matters of fact
◦asking about particularizations (تخصیص) and generalizations (تعمیم)

**literature begins, Blanchot writes, “at the moment when literature becomes a question”** (this is completely different than asking or question-marking in literature) [...] this question “is posed to language by language that has become literature” (the question that the meaning of the text asks is the question asked by literature; [of course at the moment of reading]) [then what is a text before becoming a question? complaining? revolution?]--%(negation wishes to realize itself.)

--> Rorty's critique of Descartes's way of asking questions

we have to be careful with our practice of questioning, because we often end up privileging a group of people by attributing it to “higher” levels cognition and of being “critically” in the world (=/= animal, nonpeople, other people with other ways of being in/with the apperceptive world that don't use the technology of questioning, as it is crafted historically and naturalized in the west for the univerasal method of ‘knowing more’)

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

#workshop, reading group
•reading as passionate betrayal. (hunting for precious empirical details, refigurative, reparative, poaching, reading can be a betrayal of textual authority and an act of survival)
•addressing /present* differences, not already pre-figured differences
•(condition of friendship, stayi[...]

[...]rature begins, Blanchot writes, “at the moment when literature becomes a question”** (this is completely different than asking or question-marking in literature) [...] this question “is posed to language by language that has become literature” (the question that the meaning of the text asks is the question asked by literature; [of course at the moment of reading]) [then what is a text before becoming a question? complaining? revolution?]--%(negation wishes to realize itself.)

--> Rorty's critique of Descartes's way of asking questions

we have to be careful with our practice of questioning, because we often end up privileging a group of people by attributing it to “higher” levels cognition and of being “critically” in the world (=/= animal, nonpeople, other people with other ways of being in/with the apperceptive world that don't use the technology of questioning, as it is crafted historically and naturalized in the west for the univerasal method of ‘knowing more’)

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

#workshop, reading group
•reading as passionate betrayal. (hunting for precious empirical details, refigurative, reparative, poaching, reading can be a betrayal of textual authority and an act of survival)
•addressing /present* differences, not already pre-figured differences
•(condition of friendship, staying close to the text) staying close as a reader, as someone who could hold the text of the Other, receiving it in the withdrawal / Entzug  (drug rehabilitation)
•i am in no position of ‘understanding’ or being clear about the text
•(i understand now that) it is not up to me to tell you how to read
•what makes you write or scratch a text?
(aaaakh... our alphabetico-logical cultures...!)
•if everything is not fundamentally unreadable (snafu) we wouldn't be reading
•it is about to situate the place of a (un)learning
•throwing access to each other (not only in terms of transferential intensity #sss)
•which appetites and tastes are required to fulfill the *ethics and erotics of curiosity* (that I am cultivating and depending on)? flourishing (of my ajayeb) depends on a reading that is more like “mutual partial digestion” (Katie King, Haraway) [=/= “eating well"] the text
•“every time i read X, something new shows up”

my practice of ‘rhetorical reading’ (=/= ‘close reading’; or more like close reading and letting go. “close” is itself a metaphor, a rhetoric of reading;) doesn't work with the idea that there is something ‘in’ the text per se (coded or encoded meaning or some sort of knowledge made and installed by an author), or that the writer wants to say something to the reader, or that the text is symptomatic with meaning and that its intentions needs to be listened to. rather, in a post-Lacanian critique, i work the text like a pattern of language, an organization of space, text as word-sequencer. it is like l[...]

[...]◦it is about to situate the place of a (un)learning
•throwing access to each other (not only in terms of transferential intensity #sss)
•which appetites and tastes are required to fulfill the *ethics and erotics of curiosity* (that I am cultivating and depending on)? flourishing (of my ajayeb) depends on a reading that is more like “mutual partial digestion” (Katie King, Haraway) [=/= “eating well"] the text
•“every time i read X, something new shows up”

my practice of ‘rhetorical reading’ (=/= ‘close reading’; or more like close reading and letting go. “close” is itself a metaphor, a rhetoric of reading;) doesn't work with the idea that there is something ‘in’ the text per se (coded or encoded meaning or some sort of knowledge made and installed by an author), or that the writer wants to say something to the reader, or that the text is symptomatic with meaning and that its intentions needs to be listened to. rather, in a post-Lacanian critique, i work the text like a pattern of language, an organization of space, text as word-sequencer. it is like looking at an image, still starting from top-left to bottom-right of the page, a process of highlighting or embodied attention that produces non-zero clusters of salient words that come to glow different than others. but the way they become highlighted is not due to some idea of significance of the text but because of my--the reader's--interests, past readings and educated meaning-associations. this mode of reading is not at all suggested to newbies in literature, sorry but this requres some degree of advancement in one's abilities and skills of writingreading, that means the reader already enjoys an ongoing well-articulated interest before coming to a particular sitting with a piece of writing, and this means the rhetorical reader's encounter with the text is highly situated and is not a blind date. in this case reading is a radical meaning-making practice full of adventures and preparations, drawings and graphs, diffractions and detours, connections and risks of (mis)understanding in certain ways. this ‘reading’ looks very much ‘writing’ alike.
-the reading becomes *rereading past writing*, re(past)ed(writ)ing, a reading that has writen itself in palimpsestic lines. in a Derridean sense: (one is equiped with the question) “what is writing itself (in this text)”?
-two speculative spheres meet in rhetorical reading: one of the text and one of the reader, but they have to ‘stick’ to one another, the stickiness of your reading matters in consequential ways. this is against the idea that we read and each understand personally whatever.
•my second issue with ‘close reading’: there is no correlation between the speed of reading and comprehension/apprehension

*reading practices*
ontology usually decides what reading is --> *book-binding is reading. editorial compositional reformating and remodeling of the space of the text is readin[...]

[...] of the text and one of the reader, but they have to ‘stick’ to one another, the stickiness of your reading matters in consequential ways. this is against the idea that we read and each understand personally whatever.
•my second issue with ‘close reading’: there is no correlation between the speed of reading and comprehension/apprehension

*reading practices*
ontology usually decides what reading is --> *book-binding is reading. editorial compositional reformating and remodeling of the space of the text is reading.

(Stewartian) reading that happens in the writing: you can't do any kind of exegesis of the reading تفسير, rather: *you have to become related to the reading in what you are writing*


in research:
•skills of reading and writing
•(more abstract) skills of conceptualizing and analysing

@apass: begin with the generation of research question ==> importance of language
(you flag the importance of language whenever research is marked by question. “?” is a linguistic construct)

•the skill/craft is to select a research question that works better for certain descriptive purposes (than does previous tools)
•(realism:) research question <==outcome== different concerns and emphases

rigor of conceptualization : quality of an access to part of a world “out there”

research method:
•“mapping into knowledge” : co-fabrication between the researcher and the diverse others engaged in the process --> (problem of) ‘positionality ==> data’ (the idea that the researcher produces knowledge or “facts”)
◦positionality ==?==> politically correct jargon in artistic research environment [has positionality backfired into a language of trying to change a public opinion in your favour?]

‘fantasy of the unproblematic mode’

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

regarding biographical work according to Pierre, ok i am working even on the border of solipsism
what i am doing is not autopoiesis (self-making, making a poem out of yourself) rather sympoiesis (with-making, with people from different worlds and pasts)

trying to contain every available mode of interpretation in my work
(collecting all the modes of interpretation)

(for the psychoanalyst as writer,) the *unconscious functions as a *trope
unconscious ~=? trope

*my actual interest is in “the place of study”
which is embodied by its participants, is shared and full of stories that hold foster curiosity and learning. a place where hybrid agents of interpretation are alive and at work, partly technological partly human partly animal shared knowing processes.
-one of our strongest ethical obligations is curiosity


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

[Nietzsche]

(in writing) if i could c[...]

[...] with the generation of research question ==> importance of language
(you flag the importance of language whenever research is marked by question. “?” is a linguistic construct)

•the skill/craft is to select a research question that works better for certain descriptive purposes (than does previous tools)
•(realism:) research question <==outcome== different concerns and emphases

rigor of conceptualization : quality of an access to part of a world “out there”

research method:
•“mapping into knowledge” : co-fabrication between the researcher and the diverse others engaged in the process --> (problem of) ‘positionality ==> data’ (the idea that the researcher produces knowledge or “facts”)
◦positionality ==?==> politically correct jargon in artistic research environment [has positionality backfired into a language of trying to change a public opinion in your favour?]

‘fantasy of the unproblematic mode’

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

regarding biographical work according to Pierre, ok i am working even on the border of solipsism
what i am doing is not autopoiesis (self-making, making a poem out of yourself) rather sympoiesis (with-making, with people from different worlds and pasts)

trying to contain every available mode of interpretation in my work
(collecting all the modes of interpretation)

(for the psychoanalyst as writer,) the *unconscious functions as a *trope
unconscious ~=? trope

*my actual interest is in “the place of study”
which is embodied by its participants, is shared and full of stories that hold foster curiosity and learning. a place where hybrid agents of interpretation are alive and at work, partly technological partly human partly animal shared knowing processes.
-one of our strongest ethical obligations is curiosity








[Nietzsche]

(in writing) if i could choose i would promote something that comes close to the texture of the softening that opens and glides, allowing for sudden shocks and slippages.

the personality needs to be able to flow in order to move past anything that establishes itself firmly

Submitted to constant critique and revision

(Nietzsche) “We can destroy only as creators--But let us not forget this either: it is enough to create new names and estimations and probabilities in order to create in the long run new ‘things’”

invention's power over new things

work on aphorism and irony
radical critique of reason and truth
will to X ---- feeling of power, primitive form of the will  (=/=? play)
arguing that knowledge is contingent and conditional


Nietzsche's campaign against morality :

(contrast between good and [...]

[...]ldly hauntingly familiar in the lost faces of forest (called Tehran?)

(accourding to Egyptian 1550 BCE,) book: a loose collection of magic spells intended to assist a dead person's journey through underworld, and into the afterlife and written by many priests
-are lists the origin of writing? (...way before the installation of the modern scriptural apparatus)



theory-minded academics have rigorously repudiated----or forgotten poetry. ----> poetic deprogrammmg

cohabitation of two sovereign linguistic attitudes----the grammars and behaviors that we associate with figures of literary performance and philosophical positing

18th century
rise of increasingly more mathematical and symbolic logics
more literary types of discursive formations,


Wordsworth, Rilke, and Keats disavowing Paul de Man?!
Freud without Goethe or Schiller?!
Benjamin off Baudelaire?!
Derrida deprived of Mallarme, Ponge, or Celan?!
Heidegger abandoned by Trakl or Holderlin?!


increasing technicization of critical language


colloquy, soliloquy
they are called to witness distinct regions of being ==> assuming the destiny of difference
% denken und dichten is at stake in the *theory of mourning

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

[Stengers]

the storyteller : “some people love to divide and classify, while others are bridge-makers--weaving relations that **turn a divide into a living contrast**, one whose power is to affect, to produce thinking and feeling”

(regarding my footnote fetish) ... because writing such footnotes implies *feeling the text* as an *animating power*

philosophy =? a form of textual animation {--> approaching the work of ajayeb}

to turn the [ajayeb] (animist) modes of experience (existence), awareness, and knowledge into living contrasts (intensely powerful bridge-making tools)

can we reappropriate without reanimate? ----> i think if we deconstructively talk about the reappropriations of meaning we might allow animation to constitute itself.

-how to train yourself in spotting relevant questions and unilaterally [einseitig] imposed questions? (their differences) [~? mofti مفتی, fatva فتوا =/= khotbe خطبه]
(to put the ‘question’ at risk)

*milieu-thinking* (to think by the milieu) :
1. no reference to the ground
2. never separating from milieu

(Virgin Mary requires a milieu [of symbolic efficacy, categories of belief, etc.])

what is the milieu of ajayeb? (ghalamrov قلمرو, mohite ejtemayi محیط اجتمایی‌, its ecology)


“natural”: that which science will eventually explain ==> nature =/= “natural”

“nature”: that larger, older, and wiser conf[...]

[...]Trakl or Holderlin?!


increasing technicization of critical language


colloquy, soliloquy
they are called to witness distinct regions of being ==> assuming the destiny of difference
% denken und dichten is at stake in the *theory of mourning

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

[Stengers]

the storyteller : “some people love to divide and classify, while others are bridge-makers--weaving relations that **turn a divide into a living contrast**, one whose power is to affect, to produce thinking and feeling”

(regarding my footnote fetish) ... because writing such footnotes implies *feeling the text* as an *animating power*

philosophy =? a form of textual animation {--> approaching the work of ajayeb}

to turn the [ajayeb] (animist) modes of experience (existence), awareness, and knowledge into living contrasts (intensely powerful bridge-making tools)

can we reappropriate without reanimate? ----> i think if we deconstructively talk about the reappropriations of meaning we might allow animation to constitute itself.

-how to train yourself in spotting relevant questions and unilaterally [einseitig] imposed questions? (their differences) [~? mofti مفتی, fatva فتوا =/= khotbe خطبه]
(to put the ‘question’ at risk)

*milieu-thinking* (to think by the milieu) :
1. no reference to the ground
2. never separating from milieu

(Virgin Mary requires a milieu [of symbolic efficacy, categories of belief, etc.])

what is the milieu of ajayeb? (ghalamrov قلمرو, mohite ejtemayi محیط اجتمایی‌, its ecology)


“natural”: that which science will eventually explain ==> nature =/= “natural”

“nature”: that larger, older, and wiser configuration that gets credit for ingenuity (instead of the creature's bodily know-how) by the call of the scientist


عجایب ajayeb's relations to the world, rhizomatic connections to other practices that likewise explore a metamorphic (rather than representational) relation


Earth =/= cradle


Surrealists’ automatism to cultivate lucid trances is missing the techniques of imagination developed by Ibn Arabi, (or by Sohrevardi, and others)
(Breton's subjectivity is still hopelessly European)

=?=> to recuperate our physical force (old good Tasavof-?)


‘ideas’ --> to “animate” humans ~= erotically lure the human soul**
(Plato knew this)
to lure us into relevant metamorphic attention*

(Deleuze and Guattari:) my existence is my very participation in assemblages
in order to determine what is “really” responsible for what [= agency?].
-an agency that doesn't belong to us (who is ‘us’ in Stengers?)

the ef[...]

[...]ement 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)<[...]

[...]nd 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



(asking) is this practice good for the subjects involved?
--> we create (involuntary) differences, the question is, is the world enriched by these differences? (by Sina, Xiri, Aela, etc.)
-(also be careful with) “differences as raw material” in a “delocalized cultural capitalism (geopolitics of knowledge)” --(Renan in conversation with Peran)--> “internal colonialism,” “local difference as an object of study and raw material,” and “cooptation of imagination in the networks of information-connection.”
-(looking for other metaphors of) alignments =/= operational references to co-production
(Marti Peran) “The surplus of images has reached the maximum degree of pollution. In turn, the planetary connection ensures the exchange of images regardless of the visual regimes from which they come from. Images no longer speak anywhere. In this situation, the political task is to return to the linguistic battlefield. It won't be possible to do things differently if we do not start talking differently. The most urgent imperative is a language inventiveness.”


(atomism)
-constant and precarious self-management of molecul[...]

[...]positions] 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



(asking) is this practice good for the subjects involved?
--> we create (involuntary) differences, the question is, is the world enriched by these differences? (by Sina, Xiri, Aela, etc.)
-(also be careful with) “differences as raw material” in a “delocalized cultural capitalism (geopolitics of knowledge)” --(Renan in conversation with Peran)--> “internal colonialism,” “local difference as an object of study and raw material,” and “cooptation of imagination in the networks of information-connection.”
-(looking for other metaphors of) alignments =/= operational references to co-production
(Marti Peran) “The surplus of images has reached the maximum degree of pollution. In turn, the planetary connection ensures the exchange of images regardless of the visual regimes from which they come from. Images no longer speak anywhere. In this situation, the political task is to return to the linguistic battlefield. It won't be possible to do things differently if we do not start talking differently. The most urgent imperative is a language inventiveness.”


(atomism)
-constant and precarious self-management of molecular projects in a horizon-less future
-artists in the operation of self-making ourselves


#the image i made for Sohrevardi; allegory of Sohrevardi; the image's discursive architecture and its diverse inventiveness; (being careful with being) seductive in staging diversity; --> “an ecology of monologues”? (Renan);
-“The monologue is a linguistic space freed from negotiation.” [...]  “Now, it seems that everything could be solved by the universal application of mediation, participation, collaboration processes [etc.] without realizing that this entails the strengthening of the soci[...]

[...]cts) 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



(asking) is this practice good for the subjects involved?
--> we create (involuntary) differences, the question is, is the world enriched by these differences? (by Sina, Xiri, Aela, etc.)
-(also be careful with) “differences as raw material” in a “delocalized cultural capitalism (geopolitics of knowledge)” --(Renan in conversation with Peran)--> “internal colonialism,” “local difference as an object of study and raw material,” and “cooptation of imagination in the networks of information-connection.”
-(looking for other metaphors of) alignments =/= operational references to co-production
(Marti Peran) “The surplus of images has reached the maximum degree of pollution. In turn, the planetary connection ensures the exchange of images regardless of the visual regimes from which they come from. Images no longer speak anywhere. In this situation, the political task is to return to the linguistic battlefield. It won't be possible to do things differently if we do not start talking differently. The most urgent imperative is a language inventiveness.”


(atomism)
-constant and precarious self-management of molecular projects in a horizon-less future
-artists in the operation of self-making ourselves


#the image i made for Sohrevardi; allegory of Sohrevardi; the image's discursive architecture and its diverse inventiveness; (being careful with being) seductive in staging diversity; --> “an ecology of monologues”? (Renan);
-“The monologue is a linguistic space freed from negotiation.” [...]  “Now, it seems that everything could be solved by the universal application of mediation, participation, collaboration processes [etc.] without realizing that this entails the strengthening of the social cohesion model that becomes universally inclusive.” [...] “The monologue, in this perspective, is a form of silence, a way of disappearing. One way to cease-to-be when we are forced to be.” (Peran)

how can i stop and resist “self-exploitation”? --> instead of thinking about transindividualism and commons, etc.

“An artwork executed from fatigue ‘exposes’ its intensity.” (Peran)
A “tired” artwork

(Marti Peran)
a minority that wishes to be a majority
the semiotic body disciplined to daily exercise and beautification
fatigue, unlike melancholy's passivity, implies performativity.
a way of being ill


(capital gains concentrated in the) self-production of identity
subject occupied full time in itself
the logic of “do it yourself”
obliged to make countless [...]

[...](~=? ‘bodies’) of people to get in front of the line, the hojum of enemy, of friend, of information, also includes the plural form of ‘hajm’ (حجم)



#seminar on the history of translation
archaeology, interpretation, spaces of difficult translation, reading out of time, technology and transformational studies, semiotics, poetry, writing,

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

#on Situated Knowledges
-approach the text by creating intensity and my own partial perspective
-the elephant parable (against it)
-objectivity (disembodied view from nowhere)
-neutrality (biologically insane)
-marked people (my own story)
-situatedness of the situated
-The cyborg is a figure in which situatedness makes possible adventures with the beyond.
-globalization-as-situatedness: global is precisely space/place/time/situation
-the figure of the so-called scientist gathered around certain metaphors since the begining of the 17th cebtury, namely ‘objectivity’ and all its related adjectives: neutrality, perspective, universality, disembodiment (for certain race and sex), etc.
-metaphors create perspectives [the view that looks at blind men looking at the elephant]
-situatedness is different than ‘positionality’: a way of systematic error correction
-(resolving) specificity of vision --> scientific objectivity (is achievable)
-Haraway expresses her informed dissatisfaction with (the metaphysical substrate that supports) ‘social constrctivism’ and ‘traditional realism’ --> representationalist belief in the power of the words to mirror preexisting phenomena. they both believe that scientific knowledge (in its representational formats: theoretical concepts, graphs, particle tracks, photographic images, etc.) mediates our access to the material world, whether it represents “nature” or “objects” of science both groups are subscribed to representationalism.
focus on the nature and production of scientific knowledge --(shift to science studies)--> dynamics of the actual practice of science }--> on ongoing pattern of situated activity

-(disembodied scietific) objectivity: that only certain people are allowed to have no body (Gender, race, etc.) and that high science in practice is not acting on textbook objectivity at all.

absent referents, deferred signifieds, split subjects, and the endless play of signifier

Haraway is feeling nervous with two views on objectivity:
(1)the ‘social constructionist’ view on this: getting to know the world ‘effectively’ by practicing the sciences --> knowledge is knowledge-game (on an agonistic power field) ==> science is rhetoric : artifacts and facts are parts of the powerful art of rhetoric ~=  practice is persuasion. {this view will use the nasty tools of semiology and deconstruction to insist on the rhetorical nature of truth.} --> Haraway calls this ‘The i[...]

[...]ation which Deleuze and Guattari professed for the schizophrenic must lie in this complete lack of inhibition (khod-dari خودداری).} (a confusion of voice and sight, rather than clear and distinct ideas) ([to discriminate message types:] *to confuse literal and metaphorical*, the schizophrenic either does not know his responses are metaphorical or cannot say so --> the breakdown of his metacommunicative system : does not know what kind of message a message is --> the schizophrenic looks for hidden meanings everywhere (assuming everything is metaphorical) or tend to accept every message as literal) (Lacan: schizophrenia: breakdown in the signifying chain of language ==> experience of pure material signifiers [<-- personal identity is the effect of the temporal unification of past and future with one's present, and that such an active temporal unification is itself a function of language.])

subjectivity is multidimensional ==> vision is multidimensional

(an instruments of vision:) optics : politics of positioning --> one example of optical illusion: rationality (projected from nowhere comprehensivel)

(some perspective are more guilty : master point of view)
No one ever accused the God of monotheism of objectivity, only of indifference. The god trick is self-identical, and we have mistaken that for creativity and knowledge, omniscience even. (self-identical [having self identity] =/=! creativity/knowledge)

Technology: skilled practices. (How to see? Where to see from? and so on.)

@Sana, ‘observation’ and ‘technologies of positioning’

how to see?
the science question in military
the science question in colonialism
the science question in capitalism
the science question in feminism
...

master theory =/= webbed accounts
(what does she mean when she dichotomises theory and account?)
instead of (creating and mastering) ‘theory’ she proposes webbing ‘accounts’***
-‘webs’ can have the property of being systematic
systematic: deep filaments and tenacious tendrils into time, space, and consciousness. systems are dimensions of world history.


she suggests to be accountable for (the intricacies of) visualization technologies in which we are embedded that we will find metaphors and means for understanding
and intervening in the *patterns of objectification* in the world.
--> politics and epistemologies of location, positioning, and situating
partiality =/= universality
*partiality: view from a body, always a complex, contradictory, *structuring, and structured body* (what does she mean by ‘structuring and structured body’?)

--the sciences and politics of interpretation, translation, stuttering, and the partly understood.

*Feminism: critical vision ==(consequent upon)==> a critical positioning in unhomogeneous gen[...]

[...] power-sensitive conversation
-accountability and responsibility for translations

. Situated knowledges are about communities, not about isolated individuals
(pinocchio and geppetto parable)

objectivity = positioned rationality
=/= images of escape and transcendence of limits (filled in Hollywood and sci)

faithfulness of our accounts to a “real world” (no matter how mediated for us and no matter how complex and contradictory these worlds may be)

Sex is “resourced” for its representation as gender, which “we” can control

Situated knowledges require that the object of knowledge be pictured as an actor and agent
-which version of “realism” is she argueing for?

“[...] we are not in charge of the world. We just live here and try to strike up noninnocent conversations by means of our prosthetic devices, including our visualization technologies.”

in the rich feminist practice in science (more than anywhere else) passive categories of objects of knowledge are “activated”

The biological female peopling : When female “sex” has been so thoroughly retheorized and revisualized that it emerges as practically indistinguishable from “mind,” --> the ‘difference’ is theorized biologically as situational, not intrinsic, (at every level from gene to foraging pattern, thereby fundamentally changing the biological politics of the body.)
-(example: Emily Martin)


points in SK:
1-finite partial perspectives
2-split and contradictory self
3-objectivity (--> positioned rationality, object of knowledge as an actor, mutual and usually *unequal* structuring, it is about taking risks)


how and why Haraway as a feminist fights for a better Primatology?


(Barad on) Situated Knowledges: are not merely about knowing/seeing from somewhere (as in having a perspective) but about taking account of how the specific prosthetic embodiment of the technologically enhanced visualizing apparatus matters to practices of knowing
-(Haraway's) move from *optics* [a politics of positioning, in Situated Knowledges] to *diffraction* [an optical metaphor for the effort to make a difference in the world, in Modest_Witness]


Katie King: “apparatus of literary production”: a matrix from which “literature” is born.
...the “facticity” of biological discourse that is absent from literary discourse and its knowledge claims. ----> Are biological bodies “produced” or “generated” in the same strong sense as poems? (biological body ~= poem)
“material-semiotic actor”: the object of knowledge as an active, meaning-generating part of apparatus of bodily production

bodies as objects of knowledge are material-semiotic generative nodes.
“objects” do not preexist as such --> Their boundaries materialize in social interact[...]

[...]ce in science (more than anywhere else) passive categories of objects of knowledge are “activated”

The biological female peopling : When female “sex” has been so thoroughly retheorized and revisualized that it emerges as practically indistinguishable from “mind,” --> the ‘difference’ is theorized biologically as situational, not intrinsic, (at every level from gene to foraging pattern, thereby fundamentally changing the biological politics of the body.)
-(example: Emily Martin)


points in SK:
1-finite partial perspectives
2-split and contradictory self
3-objectivity (--> positioned rationality, object of knowledge as an actor, mutual and usually *unequal* structuring, it is about taking risks)


how and why Haraway as a feminist fights for a better Primatology?


(Barad on) Situated Knowledges: are not merely about knowing/seeing from somewhere (as in having a perspective) but about taking account of how the specific prosthetic embodiment of the technologically enhanced visualizing apparatus matters to practices of knowing
-(Haraway's) move from *optics* [a politics of positioning, in Situated Knowledges] to *diffraction* [an optical metaphor for the effort to make a difference in the world, in Modest_Witness]


Katie King: “apparatus of literary production”: a matrix from which “literature” is born.
...the “facticity” of biological discourse that is absent from literary discourse and its knowledge claims. ----> Are biological bodies “produced” or “generated” in the same strong sense as poems? (biological body ~= poem)
“material-semiotic actor”: the object of knowledge as an active, meaning-generating part of apparatus of bodily production

bodies as objects of knowledge are material-semiotic generative nodes.
“objects” do not preexist as such --> Their boundaries materialize in social interaction. Boundaries are drawn by mapping practices.


world =/= mother/matter/mutter
world ~= coyote (a figure of the always problematic, always potent tie between meaning and bodies. world as coding trickster.)

(feminism) movement rooted in specification and articulation (of [different kinds of] ‘elsewhere’) =/= (assumption of the right or ability to) identities and representation (of identities)


#workshop reading SK (for apass)
Which version of “realism” are you talking about? Recollecting truth and objectivity are activated whenever a ‘point of view’ is produced among other metaphors that we use in our practice and thinking in techno-scientific societies. In this group reading session we are going to study one of the most stubborn and pervasive phantasms in art and sciences, the figure of objectivity, with the Donna Haraway's 1988 essay ‘Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspec[...]

[...]ount of how the specific prosthetic embodiment of the technologically enhanced visualizing apparatus matters to practices of knowing
-(Haraway's) move from *optics* [a politics of positioning, in Situated Knowledges] to *diffraction* [an optical metaphor for the effort to make a difference in the world, in Modest_Witness]


Katie King: “apparatus of literary production”: a matrix from which “literature” is born.
...the “facticity” of biological discourse that is absent from literary discourse and its knowledge claims. ----> Are biological bodies “produced” or “generated” in the same strong sense as poems? (biological body ~= poem)
“material-semiotic actor”: the object of knowledge as an active, meaning-generating part of apparatus of bodily production

bodies as objects of knowledge are material-semiotic generative nodes.
“objects” do not preexist as such --> Their boundaries materialize in social interaction. Boundaries are drawn by mapping practices.


world =/= mother/matter/mutter
world ~= coyote (a figure of the always problematic, always potent tie between meaning and bodies. world as coding trickster.)

(feminism) movement rooted in specification and articulation (of [different kinds of] ‘elsewhere’) =/= (assumption of the right or ability to) identities and representation (of identities)


#workshop reading SK (for apass)
Which version of “realism” are you talking about? Recollecting truth and objectivity are activated whenever a ‘point of view’ is produced among other metaphors that we use in our practice and thinking in techno-scientific societies. In this group reading session we are going to study one of the most stubborn and pervasive phantasms in art and sciences, the figure of objectivity, with the Donna Haraway's 1988 essay ‘Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective’. This reading focuses on politics and epistemologies of location, positioning, and situating in our power-sensitive conversations, and what does it mean to become accountable and responsible for one's own noninnocent translations. We begin with her essay on the 2nd of February and talk about each of our practices in particular continuing on the 9th.


she wants to re-figure, not disavow, objectivity

“story-tellers exploring what it means to be embodied in high-tech worlds” =/= technophobia

technophilia is narcissistic : the notion that man invented himself and that man is involved in some kind of narrative of technological escalation whereby the objectification of human intentionality in the world has finally surpassed itself, and man has achieved self-objectification in a machine that will finally name him obsolescence as he is and destroy him in a technological apocalypse figured by the computer. (Haraway) [we need better dog stories =/= (I[...]

[...] a warrior
courage --comes--> from the *abyss of needling fearfulness*
*German romantics invented the always-with-community, a living-with, a Mitsein practice of living life philosophically (full of moments of restricted solitude, pressure zones, etc.)
(office of friendship...) i am friend in a Freudian ambivalence, that means i undermine the friend, try to trap him and catch him off guard
-if you are so calm, then i will try to bring you over to my side of the barricade of obsessional neurotic (a condition in which the mind is intruded upon against her will by images, ideas, or words. consciousness remains lucid and power to reason remains intact ==> temporarily deprivation of individual of freedom of thought and action [<== intrapsychic conflict of sexual origin that mobilizes and blocks all flows of energy (in the case neurotic a source of pleasure to the child =/= hysteric)])
-when we write do we need to demonstrate a far-ranging grasp of the political consequences of every possible metaphysical move?
...prime mover or suspects such as Plato, Heidegger, Derrida
*acceleration: that we are result-oriented, business-oriented, under the gun of gains, and subject to the push towards scientific objectification =/= i try to work with different degrees of attention: slowing down for checkpoints, allusive clusters and dense indicators, that are also problematic and short-circuited (in my lectures) ==> to get to the *notational space* that we can calmly observe, examine and explore together.
-to be lucid about your own part taking in narcissistic economy
*mimesis*: those things we are still stuck in in very covert and unavowed ways ~-> ‘destiny’ (a term i use when i mean mimesis for us [-a disease that shows symptoms characteristic of another disease])
(i am not pessimistic at all) i have just a catastrophic intuition that informs my grammar =/= mimetic hell

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

*complaint (blocks ‘becoming’?)
-so if i am used to complaint in all sorts and forms and shapes, what do i do if not complaining? that means i need to start learning new techniques of being in the world.
-complain, forms of protest, grievance, <--(contamination)--> lament (sug سوگ, zaje ضجه)
-dispositions of Beschwerde
-which minorities are associated with bitching and moaning? (naleh va shekayat ناله و شکایت, ghor غرولند, غر) (a feminine accent?!)
 -it is often said that “children should stop complaining”
“stop complaining” ?!! [~~> pointed to or relevant for Lili also]
***complaint : the disenfranchised (az hagh mahrum shodeh از حق محروم شده) language of muted rage***
what is (let's) bitching together?
is religion one long complaint? (--'reformation’ as a cover-up)
the “i prefer,” non-need, non-preference
*forms of relatedness--in certain societies the opening self of sociality consist[...]

[...]ality stirs in the complaint--*the complaint can bring movement*) [Luiza's climate of resistance and her integrated modality of ‘struggle'] --> **inner life of morality**
-flush?

[complaint,] is it issued from a place of impotence or does it have the potential to move mountains? (Avital--Sina's emergency supply of meaning)
can it arrive at any destination whatsoever?
‘complain’ and ‘explain’ relationships
(laughter as a form of complaining)
‘complain’ and ‘politeness’ relationships
what complaint has to do with our anger-management programs?

complaint ~/= lament (complaint won't shut up but lament desires its ending)
lament is fined to mourning and loss ~/= complaint (resisting a fixed relation to loss) seems unable to mourn
*complaint cannot mourn. [complaint as a form of mourning-disorder]
(is mourning busy with ‘continuity in life’? a world that is not made of connections: zendegi bi/ba tadavom زندگی‌ بی/با تداوم, jahani ke be ham mortabet nist جهانی‌ که به هم مرتبط نیست)

is any critique not a complaint? not throwing something in the field of complaint? (--> Luiza, Lili; certain forms of protest dominates their utterances)
--different morphs of civic grief--
(why am i concerned with complaint of my friends? this is about checking my own infrastructural concerns about zones of encounter and redirecting oversized libidinal aggressions, [and pain-relief? {is my work all about (philosophical/artistic) pain-relief?}])

complaint =/= staying within the boundaries of coded gracefulness
(...credit reserved for non-complainers) ,,, ((minor scales of)) protest and breaking rhymes (of master discourse?) (@Sana, perturbed by manners of injustice; her libido [zist-maye زیست مایه, shur-e hayat شور حیات] is at stake)
--when complaint takes over and you don't even know if there is an injury anymore at the root of it.
(we are traveling behind its possible meaning-fields)

de-shamanization and translation /(non-transparency should rule?!)


are we trapped in a grid of grievance?

different forms of ‘maybe’ (i am trying to install?)

how complaint is then situated in ‘becoming’?

[...] complaint haunts our era of desperate justice (Xiri, Sana, Varinia)
. a calling-system? a GPS that has lost its signal?

maternal super-ego
political passion emerging as a defensive strategy
(@Xiri, is she trying to add-on the super-ego for her concern of social justice?)

so, does complaint prevent the arrival of change or make way for new forms of sociality?

“I can't complain.” --> (a blockbuster;) those in stubborn destitution ----that there is no address in the era of the becoming anonymous of God. ‘Who would pick up your call?’
ho[...]

[...]t made of connections: zendegi bi/ba tadavom زندگی‌ بی/با تداوم, jahani ke be ham mortabet nist جهانی‌ که به هم مرتبط نیست)

is any critique not a complaint? not throwing something in the field of complaint? (--> Luiza, Lili; certain forms of protest dominates their utterances)
--different morphs of civic grief--
(why am i concerned with complaint of my friends? this is about checking my own infrastructural concerns about zones of encounter and redirecting oversized libidinal aggressions, [and pain-relief? {is my work all about (philosophical/artistic) pain-relief?}])

complaint =/= staying within the boundaries of coded gracefulness
(...credit reserved for non-complainers) ,,, ((minor scales of)) protest and breaking rhymes (of master discourse?) (@Sana, perturbed by manners of injustice; her libido [zist-maye زیست مایه, shur-e hayat شور حیات] is at stake)
--when complaint takes over and you don't even know if there is an injury anymore at the root of it.
(we are traveling behind its possible meaning-fields)

de-shamanization and translation /(non-transparency should rule?!)


are we trapped in a grid of grievance?

different forms of ‘maybe’ (i am trying to install?)

how complaint is then situated in ‘becoming’?

[...] complaint haunts our era of desperate justice (Xiri, Sana, Varinia)
. a calling-system? a GPS that has lost its signal?

maternal super-ego
political passion emerging as a defensive strategy
(@Xiri, is she trying to add-on the super-ego for her concern of social justice?)

so, does complaint prevent the arrival of change or make way for new forms of sociality?

“I can't complain.” --> (a blockbuster;) those in stubborn destitution ----that there is no address in the era of the becoming anonymous of God. 'Who would pick up your call?’
however, “the friend, whether ghostly, futural, or closely bound in time, receives the brunt of the complaint” --friends structurally listens to disappointed expectation, disappointed worldliness

what-should-have-been

On what approved contingencies, contractual loopholes, or transferential coordinates could I possibly befriend another?

metaphysical heritage of friendship (... reconfigured personhood)

(how can I do things without being a psycho about it?)
(How do I know by which politics of friendship, grid or writing practice I am being called up?)
a vocabulary existed to designate, approximate certain routines


R_dzvJYDZXM

CrGJIS3quYY


(30.03.2017) Rabih Mroue and Hito Steyerl duo: concern for injustice and conservative justice call disguised under an elaborated and augmented complaint (in the aesthetic terms of cont[...]

[...]roduction of language; and tracing the divisible distinguishing limits between categories of human, animal, and monstrous.
#subjects of interest: The translator, language, the sublime, animals/animality, technicity/mechanicity, the divine/sacred,

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

the myth of Poros, Penia, and Eros for Aela:
(in Plato's Symposium;) Penia, the “child of poverty,” decides to forcefully impregnate herself with the inebriated Poros, “the personification of plenty,” who is always in opposition with aporia, (~ snafu before aporia,) “puzzlement, which breaks with the logic of identity,” and thus defining aporia. The result of this union is Eros...
poverty + {plenitude × aporia} ==> eros : {agency of passivity + resourcefulness}
1-metaphysical inquiry begins from ‘aporia’
2-rationalist inquiry begins from ‘a priori’
3-empiricist inquiry begins from ‘tabula rasa’ (hakim's beginning)
/
/
4-mystical inquiry begins from ‘affective a posteriori’ (effect, wonder, heyrat, tahayor)

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

sci-fi is imagining the elsewhere inside mortality. (==> feminism stakes in SF)

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

*make a series of studio photos with white clear backs, two different genders iranians having a physical/verbal fight or some sort of aggressive encounter

*the idea is to write a script for a movie or short series, combining the historical 14th century Iran with the 14th century imaginal beast fables from the ajayeb. the camera creats a non-exotic continuation between the two

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

[with Kenney]

-how to let emerge a seriousness as collective matters of care?
-how to stimulate pragmatic questions about how to craft relevant knowledge?

speculation is all about pragmatism


capitalist speculation : “one must speculate to accumulate” =/= relating & narrating

scientific speculation & venture capital ==> big epistemic/financial pay-offs or costly dead ends [=/= (Stengers's notion of speculative) *being at risk with ones claims* =/= received notions of authority or rationality]

(an abstract challenge:) to bring specificity and imaginative traction

*speculation is a more feral practice
(wild) speculation [always improper] =/= proper science : rational production of univerasal knowledge
-speculation is not about what there is but what there might be
-speculation is on the side of the possible =/= probable (--> Stengers)

speculative operations (quietly) insist that *another world is here* (--> my ajayeb) =/= the smooth operation of business-as-usual (,, interrupting it)

for my ajayeb, how can i carve out a space to nurture my idea? --> nest-building --position/place--> digging out a bit of earth

*speculative empiricism : scien[...]

[...]'something in order to’)?


the notion of ‘world’ and ‘worlding’ in other Hollywood sci-fi franchises, and the way a world (for example survival in Mars in ‘The Martian,’ surviving “outer space” in ‘Gravity,’ “pure wonder” and “abyssal unknown” in many Icarusian space exploration moves and movies, the deprived Earth in ‘Interstellar,’ and so on) is rendered dead or dangerous or prosperous, ideologies of anthropocentric extensionalism.

(this directly concerns my ajayeb apass research about the past, because hollywood constantly making science fictions about the past.)

[as much as Matt Damon is schizo-constructing a social environment (on “dead” Mars trying to contact “home”), Cinderella's schizo-affective relation with the talking animals is doing the same: talking back to a world that talks to her, where Matt is only able to talk to home station. I think we have better chances with Cinderella's kind of split personality.]

>
Modernity --> “Project of Enlightenment” : religion =/= metaphysics --> science + morality + art -->  objective science + universal morality + law  ----{each with its own “inner logic"}
(Luhmann; transition to modern:) stratified and hierarchical organization --to--> “functionally differentiated” organization
(project of modernity requires) a universally assumed but nowhere concretely localizable lifeworld*** (=/=? situated knowledges)
modern person : the self-fulfilling and self-justifying observing subject

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

(Freud's) ego: the record of abandoned object cathexes
(cathexes ~= electrical charge; the libidinal energy invested in some idea or person or object)

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

(15.02.2017) three objects from apass:
-complaint
-evidence
-monologue


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

on futurity; in SF capital (Mark Fisher) the information (somewhere between cybernetic futurism and “New Economy”) is a direct generator of economic value ==> ‘the information about the future’ circulates as as increasingly important commodity* (Eshun)

SF: engineering feedback between its preferred future and its becoming present --✕--> future --> manufacturing tools capable of intervention (=/=? disruption; the Sun Ra, character in the movie The Place is The Space, disrupts when he enters the youth club.)

@Ale --her--> predatory features/futures : (a space for researching[?] dimensions of) anticipatory designs, projects of emulation, manipulation, parasitism, interpellation into a bright corporate tomorrow <== faces smiling at screens (-->? a bitter joke)
-in her criticism of “eurocentrism” how are afrofuturism and arabfuturism located? (curatorial) let's invite them as her allies in Hansaring Studio.

countermemorial mediated practices

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


[...]

[...] SF: engineering feedback between its preferred future and its becoming present --✕--> future --> manufacturing tools capable of intervention (=/=? disruption; the Sun Ra, character in the movie The Place is The Space, disrupts when he enters the youth club.)

@Ale --her--> predatory features/futures : (a space for researching[?] dimensions of) anticipatory designs, projects of emulation, manipulation, parasitism, interpellation into a bright corporate tomorrow <== faces smiling at screens (-->? a bitter joke)
-in her criticism of “eurocentrism” how are afrofuturism and arabfuturism located? (curatorial) let's invite them as her allies in Hansaring Studio.

countermemorial mediated practices

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

خودشیفتگی khodshiftegi:
[narcissistic personality disorder]
(exaggerated feeling of) self-importance, self-absorbed, self-perception of being unique, situated within self-presentation, sense of entitlement حق به جانب and self-centeredness schema
adult neurotic's sense of omnipotence --> relic of the old megalomania of infancy (~ all paranoic disorders) (~-> hurt with denial)

(Freud's) primal state: {id ~= ego ~= external world}--(not differentiated)
one could not lay hold of oneself as other ==> narcissism expires
(Lacan's) ego = another }==> the specular ego (in the mirror stage) =/= narcissistic
(‘=/=’ : erotic attraction or aggressive tension)

Nietzsche: the utterance “I am ugly” created “the beautiful”
[does this mean: “I am beautiful” created “the ugly” (in the other and world)?]


sublimation is passion transformed
or, object displacement, transformation of instincts,
a desuxualization (from primary to secondary narcissism) (--> what is Aela's “thirst for knowledge”?)~~--> unfolding into (differentiated elements of a oneness of) instinctual-spiri[...]

[...]m as her allies in Hansaring Studio.

countermemorial mediated practices

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

خودشیفتگی khodshiftegi:
[narcissistic personality disorder]
(exaggerated feeling of) self-importance, self-absorbed, self-perception of being unique, situated within self-presentation, sense of entitlement حق به جانب and self-centeredness schema
adult neurotic's sense of omnipotence --> relic of the old megalomania of infancy (~ all paranoic disorders) (~-> hurt with denial)

(Freud's) primal state: {id ~= ego ~= external world}--(not differentiated)
one could not lay hold of oneself as other ==> narcissism expires
(Lacan's) ego = another }==> the specular ego (in the mirror stage) =/= narcissistic
(‘=/=’ : erotic attraction or aggressive tension)

Nietzsche: the utterance “I am ugly” created “the beautiful”
[does this mean: “I am beautiful” created “the ugly” (in the other and world)?]


sublimation is passion transformed
or, object displacement, transformation of instincts,
a desuxualization (from primary to secondary narcissism) (--> what is Aela's “thirst for knowledge”?)~~--> unfolding into (differentiated elements of a oneness of) instinctual-spiritual experience. (Aela's) ‘oneness’ [an original unity + one hidden and defended against] stays alive as connection? --> the question of desire for Aela is about this hidden linkage.
[transitional objects, play, modifications of the pleasure principle, genital function,]
,
(noted by Christian Hubert: for Loewald:) *eroticism is genuine sublimation* : a reconciliation in the area of ego development and of internalization. (@Aela)
-desublimation (of reason?)
objective of sexuality conceptual transformation into Eros --> (asking Aela with Marcuse:) what is the non-repressive sublimation of the resexualized body? (=/= neurotic reactivation of narcissistic libido)
why Eros is so powerful? what kind of sublimation is the culture-building power of Eros?

in Derrida, narcissism is the passage to the Other, and not necessarily merely a collapse into oneself.

auto-erotic solipsism

باطل کردن طلسم ضمیر the ego appears [displaced elsewhere in the world as an effect] as the result of primary narcissism?
(batel kardan-e telesm-e zamir) dispulsion of ego
*ego forms in the world* (Lippit)

auto-erotic economy

the ego in the island, finding footprints of the others
(Freudian protocols of existence:) there is no world, there is only islands. --> multiplicity of isolations ~-> individuation

“In narcissism the ego disappears from the world and reappears in the imaginary realm of invisible interiority.” (Lippit)

{the erotic attachment to outside objects}<--pervert =[...]

[...]elf.

auto-erotic solipsism

باطل کردن طلسم ضمیر the ego appears [displaced elsewhere in the world as an effect] as the result of primary narcissism?
(batel kardan-e telesm-e zamir) dispulsion of ego
*ego forms in the world* (Lippit)

auto-erotic economy

the ego in the island, finding footprints of the others
(Freudian protocols of existence:) there is no world, there is only islands. --> multiplicity of isolations ~-> individuation

“In narcissism the ego disappears from the world and reappears in the imaginary realm of invisible interiority.” (Lippit)

{the erotic attachment to outside objects}<--pervert =/= narcissist-->{withdraw, calls it “instinct for self preservation"} (a shortcut: my way of undering my own narcissistic tendencies has been through perversity.)

[for Juan:] (artistic) narcissism =/=? fossilization (~->? mimesis)

*mimesis* is not about form
in order to represent the character of the supposed ‘word’ of another
mimesis + techne ~= copy (@Juan)

diegesis =/=? mimesis
(telling) -- (showing)
(recounted) -- (enacted)
}--> poiesis _////(actually a useful and necessary difference, synthesized by the Greeks--Plato and Aristotle)
(...and what about the question of the medium?)

*Juan's relationship with the (in)dependency of the individuated self of the artist--in this case himself--by means of mimetic techne is to overcome the visual artist's narcissism?

(Pierre:) being alone --> mimesis --> through mimetic intra-acting with the other
(Sina: there is no “being alone” only ‘feeling lonely’ which is itself a form of intra-acting : internalizing an external phenomena. “loneliness” is a belief that one has.)

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

narcissism as a mimetic and performative mode
transindividual narcissism --Maitra--> movement of the subject beyond ethnicity (ethnic formations that the bio-political processes of interpellation demand of the subject)
remediation of ethnic narcissism

[Maitra's queer diasporic reading practice of] (in diaspora media theory) performing an identity (that is “Iranian” for example)

*intermedia* (=/= multimedia: fuse disparate media)
frictions between different media
conceptual interplay between media
space of alchemical transformation
(at the level of) conflict of interpretations
radical understanding of interdisciplinarity

diaspora: no longer having a clear answer to “where are you from?”

what might we learn from narcissism (from mimesis)?
mediate and fracture the writing of the self

wound: disconnected event
not adding up to a comprehensive narrative of the ethnic self

*ego-under-construction*
Freud's primary [...]

[...] copy (@Juan)

diegesis =/=? mimesis
(telling) -- (showing)
(recounted) -- (enacted)
}--> poiesis _////(actually a useful and necessary difference, synthesized by the Greeks--Plato and Aristotle)
(...and what about the question of the medium?)

*Juan's relationship with the (in)dependency of the individuated self of the artist--in this case himself--by means of mimetic techne is to overcome the visual artist's narcissism?

(Pierre:) being alone --> mimesis --> through mimetic intra-acting with the other
(Sina: there is no “being alone” only ‘feeling lonely’ which is itself a form of intra-acting : internalizing an external phenomena. “loneliness” is a belief that one has.)

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

narcissism as a mimetic and performative mode
transindividual narcissism --Maitra--> movement of the subject beyond ethnicity (ethnic formations that the bio-political processes of interpellation demand of the subject)
remediation of ethnic narcissism

[Maitra's queer diasporic reading practice of] (in diaspora media theory) performing an identity (that is “Iranian” for example)

*intermedia* (=/= multimedia: fuse disparate media)
frictions between different media
conceptual interplay between media
space of alchemical transformation
(at the level of) conflict of interpretations
radical understanding of interdisciplinarity

diaspora: no longer having a clear answer to “where are you from?”

what might we learn from narcissism (from mimesis)?
mediate and fracture the writing of the self

wound: disconnected event
not adding up to a comprehensive narrative of the ethnic self

*ego-under-construction*
Freud's primary narcissism, we love ourselves before loving others
(for the child) narcissism = intermediate
(secondary) narcissism: the processes by which the distinction between the ego and external object is lost
(Lacan) loss of distinction between the ego and its reflection in the mirror
--> narcissism helps the infant in trying to distinguish himself from the mother/other

narcissism beyond infantile sexuality -->
narcissism: structure (=/= state) <== when the burden of desire on the subject becomes intolerable

(?what are new structures of) artistic narcissism
*an occasion to erotisize your own body*
to erotically emphasize a particular memory
stitching together of the naked ethnic body

hupersexuality
...those who are undersexed

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

%note on Alice's workshop:
how the idea of mimesis came when we were not sure what she meant by “make note.” the signifier of “note” defined itself in a collective mimetic semi-conscious way.
(=/=? my work on how signifiers t[...]

[...]e.” the signifier of “note” defined itself in a collective mimetic semi-conscious way.
(=/=? my work on how signifiers transmit and transform --> parasitism, rumorology, etc. ... weaker neighborhoods of thought)

Alice's notions:
•explosion <--> dance
•the “generative” notion in her discourse (--> notion of “active,” and “conscious intentionality” [--> a property of human agency and agential exceptionality. (the metric of) her work/workshop distinguishes the self-aware active entity from non-communicative receptive entity, ***intransitive =/= transitive-->{her privileged object}, and that distinction is not useful for me right now])
•the authority of the trope “practice” for Alice
(what would be a nonmimetic understanding of eachother? @Juan)
•the workshop was not her ‘thinking’ or ‘making’ in process or an open question or a not-knowing, rather the workshop was based on her (finished) ‘notions,’ with her ‘indisputables,’ her 'literal’ objects; (dance, active, body, imagination, practice, generative, creative, etc.)
•production of the “I” in her work; (a nasty side-effect: collateral individuation) (when were the moments in the workshop that an interesting “we” was created and for whom?)
•the problematic difference between ‘literal’ and ‘metaphorical’ at the footing of her thinking (--> my whole apass research is about this)
•(artist's) imagination as a magic wand that can transform things

*what helped me was the idea of thinking with a ‘dormant metaphor’ (in my own work) and ‘activate’ it, in a way that the problems and pleasures of thinking with that metaphor is felt. by ‘dormant metaphor’ what i mean is an operative word that one is using often and is left uninterrogated. for example the problems of “landscape” as a particular ontological tool for me became apparent only after i committed myself to that metaphor in the course of the interview with Pierre and Alice. to stay with a story, to live its contradictions. (and the position of it in a sentence)
•“it was ‘landscape’ talking; not me!”
•why i was seeing Tehran as the ‘ghostly landscape’? (matter of a confrontation with Tehran? exteriority of my subjecthood is at stake? ~->!? the arbitrary position of “genius loci” : that from a genius position one can see for good. -how to make myself nonarbitrary--not subject to individual determination--in relation to Tehran? --> towards ‘situated knowledge’)
•what kind of material-discursive practices thinking with “landscape” committed me to? [to explore and feel this commitment (and its consequences) is ‘staying with the trouble’ for me]

it felt like Alice believes that people, we, have control over our metaphors, but in the course of the workshop there were many occasions that was not the case:
Sina, landscape --> optics
Esta, building/house --> geometry --> security
Agnes, supermarket --> exchange[...]

[...]] landscape <== perspective <-- arbitrary point of the observer


(Descola:) such “objectification of the subjective” ==>
(1) a distance between man and the world
(2) systematizes and stabilizes the external universe



***factuality is not intrinsic, it is rhetoric (that we live with)

history of the idea of nature

‘ajayeb's architects of a naturalistic cosmology who establish hierarchies and discontinuities among them =/= cosmogenesis of modernity's subjectivity's illusions of continuity
[Descola's “configurations of continuity"]
(ajayeb creates) hierarchical order according to the levels of the exchange of information that is reputed to be possible.
-which parties are set on the same level of reality (in ajayeb)?

(what are the human and nonhuman) proliferation of forms in ajayeb (?)
who are the “mothers of games” there? snake, Div, etc. (spirits that protect the game)

technical know-how to create intersubjective ambience/ambivalence --> regulated relations between one person and another }--these are--> cultivated plots
how can i, starting with apass, learn to create theaters of a subtle sociability (in which beings with different forms of language and physical aspect are ontologically indistinguishable)?

the category of “persons”: variations in the modes of communication that are made possible by an apprehension of perceived qualities that are unequally distributed

whose dialects are mutually intelligible?

human narcissism : that if a being possess a soul is only then capable of recognizing humans
---then let's give everyone souls!

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

(Massumi > Deleuze's) critique ~= modulation --> actively modulated from within the situation, immanent to it {
-augmenting* (taking a certain tendency to the limit)
-diverting* (deflecting it into a different tendency)
-transmutational* (interacting with other tendencies in a way that invents a whole new direction as a kind of surplus value of interaction)
-or, it can lead to a clash that stops the process

asking people “to be true to what they represent” ==> having them “encapsulated in already arrived-at opinion and judgment” ==> blockage

war of “disqualification” ~ Stengersian non-event
being (represented and) legitimated in proxy war

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

@Zoumana; “decadent gardener” that connot keep distinction between kin and pest, nature and culture
what is a garden full of indirections, snakes?

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

#my trope-findings, (bilingual nonsystematic comparative thinking for storytelling) (work with Avital?):
•پیر Pir / sujet supposé savoir (--✕-->? پیر فلک Pir-e falak in Hafez)
•غر Ghor / complaint (-->[...]

[...]information that is reputed to be possible.
-which parties are set on the same level of reality (in ajayeb)?

(what are the human and nonhuman) proliferation of forms in ajayeb (?)
who are the “mothers of games” there? snake, Div, etc. (spirits that protect the game)

technical know-how to create intersubjective ambience/ambivalence --> regulated relations between one person and another }--these are--> cultivated plots
how can i, starting with apass, learn to create theaters of a subtle sociability (in which beings with different forms of language and physical aspect are ontologically indistinguishable)?

the category of “persons”: variations in the modes of communication that are made possible by an apprehension of perceived qualities that are unequally distributed

whose dialects are mutually intelligible?

human narcissism : that if a being possess a soul is only then capable of recognizing humans
---then let's give everyone souls!

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

(Massumi > Deleuze's) critique ~= modulation --> actively modulated from within the situation, immanent to it {
-augmenting* (taking a certain tendency to the limit)
-diverting* (deflecting it into a different tendency)
-transmutational* (interacting with other tendencies in a way that invents a whole new direction as a kind of surplus value of interaction)
-or, it can lead to a clash that stops the process

asking people “to be true to what they represent” ==> having them “encapsulated in already arrived-at opinion and judgment” ==> blockage

war of “disqualification” ~ Stengersian non-event
being (represented and) legitimated in proxy war

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

@Zoumana; “decadent gardener” that connot keep distinction between kin and pest, nature and culture
what is a garden full of indirections, snakes?r />

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

#my trope-findings, (bilingual nonsystematic comparative thinking for storytelling) (work with Avital?):
•پیر Pir / sujet supposé savoir (--✕-->? پیر فلک Pir-e falak in Hafez)
•غر Ghor / complaint (--> shekayat شکایت, and then, khamush خموش in Hafez)
•تعارف Tarof / greeting
•transcend <--> darajat درجات‌ (-> Attar)
•super-ego <--> Div-mardom دیو مردم (-> Nezami)
•NatureZolmat (ظلمت --> ajayeb)
•آبرو Aberu / economy of value
•طی‌الارض tey-ol-arz / body scale, intensity and excess
•نگرانی negarani <--> practices of care




on Aberu, I became interested due to my lack of Aberu in presentationl quality and its abundance in other area's of my psychosomatic becoming.
Aberu traverses, calls itself in, animates, and exists for later visits.
-when you are devalued by [...]

[...]in cinema
2. representation of knowledge in cinema
3.
to perform past and present alarmingly simultaneously, to intermix the directions of causation and influence, they cannot be linear and progressive, against a production of present [presentism]



#create identity research center for/with my work
1. harem (حرم)
2. ajayeb (عجایب)
3. wortsalad
4. erklammern (with Foad)
5. san'at-e mojarad-sazi (صنعت مجردسازی with Foad)
6. garden (باغ)
7.


#what am i learning from Hiwa's Chicago Boys project?
history, recent region departures, study group, music, jam, more and more people together with their voices and stories, faces, sing, play, discomfort in instrument, tour, collectivity, sojourn in stage, conviviality, cover song,
-when i look at the videos of the project i feel like i want to do or be part of something like that, i want those qualities, i want the way people are looking and feeling like there.

#i am learning from Kohn that the survival is complicated, from Haraway that world works by excess and therefore filled with hope, with Sennett and Delanda a better account of socio-material history, from Ahmed a different understanding of psychoanalysis, from Barad poetry and argumentation, from Scher the effort needed to become interested, from Kenney that there is no need for a “standard language” to describe your interventions or to produce a body of knowledge about your matters of concern,

(this is one place that i am recognizing and foregrounding a binary structure:)
•women in my life: Avital, Haraway, Ahmed, Scher, Barad, Despret, teaching me science and art, attentive modes of differential reading and writing, practices of care and concern
•men in my life: Serres, Sennett, Delanda, Levinas, Anand, teaching me a non-guilt-driven knowledge of history and past, a different mode of remembrance which provokes a different mode of response and responsibility

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

alive --[]--> dead --[]--> ancestor

what provokes storytelling?

(Harawayian) inhabiting ==> responsibility --> alignment

(a split-self at home with) contradictions ==> dealing with situated knowledge }--> this is about ‘ongoing’

note to self: not to throw away the contaminated concept that we have, (for example ‘human intentionality,’ ‘human rights,’ etc) *but to hold on (while knowing how contaminated it is) to any concept (which are always unsettled) until it gets a particular (situated) job done
(which job i am try to get done with my good and bad concepts?)

where are we headed with our syntax?

“-scene” : the ‘now’ of the species [--> pleistocene image] also, a sharp change in the graph/diagram [https://en.wikipedia.org/wiki/File:Extinction_intensit[...]

[...]ردسازی with Foad)
6. garden (باغ)
7.


#what am i learning from Hiwa's Chicago Boys project?
history, recent region departures, study group, music, jam, more and more people together with their voices and stories, faces, sing, play, discomfort in instrument, tour, collectivity, sojourn in stage, conviviality, cover song,
-when i look at the videos of the project i feel like i want to do or be part of something like that, i want those qualities, i want the way people are looking and feeling like there.

#i am learning from Kohn that the survival is complicated, from Haraway that world works by excess and therefore filled with hope, with Sennett and Delanda a better account of socio-material history, from Ahmed a different understanding of psychoanalysis, from Barad poetry and argumentation, from Scher the effort needed to become interested, from Kenney that there is no need for a “standard language” to describe your interventions or to produce a body of knowledge about your matters of concern,

(this is one place that i am recognizing and foregrounding a binary structure:)
•women in my life: Avital, Haraway, Ahmed, Scher, Barad, Despret, teaching me science and art, attentive modes of differential reading and writing, practices of care and concern
•men in my life: Serres, Sennett, Delanda, Levinas, Anand, teaching me a non-guilt-driven knowledge of history and past, a different mode of remembrance which provokes a different mode of response and responsibility


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

alive --[]--> dead --[]--> ancestor

what provokes storytelling?

(Harawayian) inhabiting ==> responsibility --> alignment

(a split-self at home with) contradictions ==> dealing with situated knowledge }--> this is about ‘ongoing’

note to self: not to throw away the contaminated concept that we have, (for example: ‘human intentionality,’ ‘human rights,’ etc) *but to hold on (while knowing how contaminated it is) to any concept (which are always unsettled) until it gets a particular (situated) job done
(which job i am try to get done with my good and bad concepts?)

where are we headed with our syntax?

“-scene” : the ‘now’ of the species [--> pleistocene image] also, a sharp change in the graph/diagram [https://en.wikipedia.org/wiki/File:Extinction_intensity.svg]

Sa'di, thinking not with the capital T, rather with the flower, with the cut tail of the animaux

competency + competency (of different animal, human, machine, pigeon, etc) [=/= subtraction, taboo, obligation --> deficiency*]
(additive competencies)

“excess” is the name of the world
there is always more that we don't know; what yet has to come; the world is constantly doing stuff; (--✕--> accelerate manifesto, apocalyptic narratives)[...]

[...]r /> •men in my life: Serres, Sennett, Delanda, Levinas, Anand, teaching me a non-guilt-driven knowledge of history and past, a different mode of remembrance which provokes a different mode of response and responsibility


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

alive --[]--> dead --[]--> ancestor

what provokes storytelling?

(Harawayian) inhabiting ==> responsibility --> alignment

(a split-self at home with) contradictions ==> dealing with situated knowledge }--> this is about ‘ongoing’

note to self: not to throw away the contaminated concept that we have, (for example ‘human intentionality,’ ‘human rights,’ etc) *but to hold on (while knowing how contaminated it is) to any concept (which are always unsettled) until it gets a particular (situated) job done
(which job i am try to get done with my good and bad concepts?)

where are we headed with our syntax?

“-scene” : the ‘now’ of the species [--> pleistocene image] also, a sharp change in the graph/diagram [https://en.wikipedia.org/wiki/File:Extinction_intensity.svg]

Sa'di, thinking not with the capital T, rather with the flower, with the cut tail of the animaux

competency + competency (of different animal, human, machine, pigeon, etc) [=/= subtraction, taboo, obligation --> deficiency*]
(additive competencies)

“excess” is the name of the world
there is always more that we don't know; what yet has to come; the world is constantly doing stuff; (--✕--> accelerate manifesto, apocalyptic narratives)
(i am drawn to and by excess, and i am engaged in it: in my lectures, talkings, writings, and I take it up also visually in my drawings. my ajayeb hypertext search is contingent and opportunistic, and its searches are non-systematic)

in apass what my project is all about: *loving to tell you about what i am reading* (why it seams too difficult, complicated and impossible to understand!?)
-“to provides a feast of reading pleasures”

holding each other's unasked-for patterns (@Luisa)
taking up each other patterns [which are sometimes obvious, sometimes cryptic]
(what is the other name of the practices of “string figures” in Iran? -->[stars, facts, fabulations, “far”s, patternings,]--> all cosmopolitical, composes the “we”)

•a “we” compositional
•an “ajayeb” compositional
•

anthropocene system thinking
•feedback loops
•thermodynamics & 18th century mathematics (=/= hyperbolic mathematics in ‘crochet’ --> excess of surface, --> story of interface)
•comparative interpretive thinking (a dominant western model of knowledge production--which i am using!)
•modern synthesis: restrictive system theories within evolutionary theories
•systems idea
•
*“The global scale takes precedence--because it is t[...]

[...]rigs and syms*
•games
•technological designs
•plots
•mechanisms
•sfs
•jokes
•jests
•

[title]
critical bestiaries
critique-bestiary

belonging = achievement (dastavard دستاورد) + violence (khoshunat خشونت)

...the ways we renounce the world through the use of the word “real” and “really”

(Stengers:) weaving: not secular nor religious, not traditional nor modern, is sensuous


#[nodes and notes]

the emptyland, terrestrial life, ‘per-’ instead of ‘her’ or ‘his’
-the way i started with Haraway was through the way i read her notion of ‘critter,’ juju (جوجو) in Farsi, jako junevar (جک جونور), little life animators often easy and ok to kill, a term in farsi for kids that worlds for them in particular ways
bio (“qualified life”) =/= zoe, juju, “bare life” (Agamben): that which is killable --?!--> that which must be transformed
[stories of originary exclusion and composition of body]

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

the form and function are having too tight fit. no no no!
(cities) being inclusive but not integrative

(setar different technique of vibrato and measure for instance in Saba and Ghavami, which part of the finger or body, one works in certain way for one and not for the other musician --> the explicit unpacking of the activity : what was formerly tacit [zemni, khamush, =/= habit] becomes dredged into explicit [=/= expressive] consciousness, precisely because there is a resistance, that there is something not right for the musician ==> reconsidering, reexploring --> the technique then again disappears into the tacit realm --> technique becomes variegated)
**tacit --> explicit (~= that which becomes available for reconsideration)**

when one masters a skill it is about being equipped to address a whole new set of problems
{expertise/mastery: problem solving}=/={craft: problem finding}--> when other things become problematic---the condition (in the craft work) that when you learn how to do one thing you see other things that need to be explored [-> question for Eunkyung's drawing skills and practice]

*craft is more important than art(?) (Sennett)
...the notion that the work art breaks the conventions of practice, that it is something that makes an epistemic break. --> emphasis on innovation (something new)--that is a reflection of sort of 19th century bourgeois ideas of about making art.
•privileging the creative act over the craftsman act
•in innovation the “innovator” is separated from the “mass” =/= craftsmanship is collective and additive --> (in craftsmanship) the performance is myself
•creativity being a form of individuation or separation (@the exploratory shift in Eunkyung's work that Pierre highlighted)
[...]

[...] />
when one masters a skill it is about being equipped to address a whole new set of problems
{expertise/mastery: problem solving}=/={craft: problem finding}--> when other things become problematic---the condition (in the craft work) that when you learn how to do one thing you see other things that need to be explored [-> question for Eunkyung's drawing skills and practice]

*craft is more important than art(?) (Sennett)
...the notion that the work art breaks the conventions of practice, that it is something that makes an epistemic break. --> emphasis on innovation (something new)--that is a reflection of sort of 19th century bourgeois ideas of about making art.
•privileging the creative act over the craftsman act
•in innovation the “innovator” is separated from the “mass” =/= craftsmanship is collective and additive --> (in craftsmanship) the performance is myself
•creativity being a form of individuation or separation (@the exploratory shift in Eunkyung's work that Pierre highlighted)

*** craft-work is about additive skill; it is about building on what you know rather than throwing it out *** (=/= capitalist logic of progress, creativity in the sense that ‘something’ where before was ‘nothing’) ---> a different way of building quality (into practices and objects)

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

Bakhtin's dialogic, to become a skilled listener : listening = response (=/= simply answering) --> (when we speak) we give other people talismans that are not (perfectly) clear to us----we penetrate and unpack what someone doesn't have the words clearly and response to what they intend --✕--> “common understanding,” “make something work,”

cooperation is about getting deeper into something

conditions that more skills are required (and not the opposite)

in modernity everything seams to need to be verbalized. what happens to the unverbalized, the unprogrammatic? --> can you have an implicit right which can't be verbalized? maybe no, maybe this is the limit of the social...

purposiveness: when you hear somebody go “i am going to put clearly what we all want...” you have submitted to that person (almost erotic) --> “they really know who they are” ==> you become a spectator to their definiteness

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

who the fuck = theology
how the fuck = empiricism
what the fuck = ontology
how the what the fuck = epistemology
why what the fuck = metaphysics
why the fuck = ethics
why give a fuck = teleology
the fuck itself = phenomenology
fucked up = pathology
fuck all = nihilism

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

Aela to Sven: “everytime you disappoint me you gain in depth” (5 April 2017)

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

(06.04.2017) %notes after my apass endweek presentation:
•my implicit focus a[...]

[...]al thinking, {--> all issued by the notion of “pure” and “purity”? tendency toward idealization? utopian?}

movement (the act) =/= mobility (the possibility)

(is Luisa interested in?) the immanent laws and essential unity of all being

...step to complete nonobjectivity
...objects with their expression of plasticity
-what is the symbolic term in her work?
she said: “space is literal.” --> the wholesome is proclaimed in the artistic act itself (and not as metaphor) --> experienced directly =/= imagined


--> احشايى the viscera (ahsha), visceral theory: affect and embodiment, transmissible physical charges, porous bodies,
@Luisa
kP_AfO7Ms4I

how to create a condition in which she can herself later give access to her thinking and making?
1- propose a curatorial gesture of an assembly: Luisa, Mondrian, Zen master, Malevich; with Bocola and Ahmed;
2- to open an investigation of affective economies for her: abstraction, constructivism, idealism, figurative empathy, symbolism, longing,
3-
4-

(psychoanalysis [@Luisa] allows us to see that) *emotionality involves movement*
associations whereby “feeling” take us across different levels of signification, not all of which can be admitted in the present. (+Ahmed)
-emotions move back and forth (past associations, repression traces on present) and sideways (sticky associations between figures and signs) --> something as the cause of a feeling in someone --> “involving relationships of *difference and displacement*{as the form or language of the unconscious} without positive value” --> affective economies -->{social, material, psychic}

{ psychoanalysis = "absent presence” of historicity-->(sideways movement of feelings) }==offers==> a theory of emotion as economy***
-by economy, Ahmed means, like capital (is about the movement of commodities and money*), an effect of its circulation (--> Luisa)
-the subject is one nodal point in the economy =/= subject as its origin and destination

**the movement between signs converts into affect
feeling <--> fetish commodity

in Freudian model, the movement between objects is intrapsychic --> trace of how histories remain alive in the present*** [regarding ajayeb's histories, histories that “stick” and which does not need to be declared, #fohshe heyuan/heyvan فحش حیوان/حیوون sideways movements...]
-(ajayeb's) past histories of naming

objects, the author of emotions



(how) emotions align subjects

_“surfacing” of individual_

(Ahmed suggests that) emotions are not simply “within” nor “without” but that they create the very effect of the surfaces or boundaries of bodies and worlds.

narrative = production of the ordinary


[...]

[...]r /> •(which crimes against persons become crimes against place? -‘us’-)
•“body of the nation”
•scene of “our injury” (--> also in Iran: “our” historical injury)
•(the fucking) right to defense --> ‘home’ itself becomes to be mobilized as a defense against terror, becomes transformed into the symbolic space of the nation #[example of when the approach (to/by objects) itself becomes a fetish object*] --> “staying at home”: a form of mobilization [---> go to three little pigs] ---- “the constitution of open cultures involves the projection of what is closed onto others, and hence the concealment of what is closed and contained ‘at home’” (Ahmed ♥) {ouvrir le fermé, fermé le ouvert}
•alert citizens, amre be ma'ruf va nahye az monkar امر به معروف و نهی از منک --> meta-ontology of tosiye توصیه
•suspicious others
•saving women from religious fundamentalism
•negativity of latent (could-be-ness ==> opens up the power to detain, police pishgiri پلیس پیشگیری)


origins of bad feeling
threat to violate the pure bodies [vulnerable and damaged bodies of the white woman and child]

*affect is economic* --> it circulates between signifiers in relationships of difference and displacement --> they align subjects --> effect of collective --> (in Ahemd's economical model of emotions) they work to bind subjects together : the nonresidence of emotions is what makes them “binding” --> her notion of economy =/= {inside/outside model --> positive residence of emotions: “I have an emotion” or “something makes me feel a certain way"}--> “fear does not come from within the subject, nor does it reside in its object”
-([@Hoda's take on witness] alignment of the individual with the collective:) the accumulation of affective value shapes the surfaces of bodies and worlds; affect generates the surfaces of collective bodies (<==allows== not to locate affect in a subject or object) ~~--> [to initiate with Hoda an examination of the) *mobility of bodies of subjects* (in the West or her regions =/= question of the mediatization of her emotional experiences}

*emotions ‘involve’ subjects and objects*

what constructs emotions as positive or negative residence?

[*]psychoanalysis: a theory of the subject as lacking positive residence
(this ‘lack’ is commonly articulated as the “unconscious”: in Freudian terms, where an affective impulse is perceived but misconstructed, and which becomes attached to another idea. [can i say that my work in ajayeb, which i named it as ‘organizing my memory, and also, that which comes to mind’ is all about this reconstruction of cognizeds and percepts? is that why i am having less and less unconsciousness in my daily life?!])
-cognizant agah آگاه
-in Freud's model of unconsciousness, the affect itself is not repressed, rather, what is repressed is the id[...]

[...]-> [to initiate with Hoda an examination of the) *mobility of bodies of subjects* (in the West or her regions =/= question of the mediatization of her emotional experiences}

*emotions ‘involve’ subjects and objects*

what constructs emotions as positive or negative residence?

[*]psychoanalysis: a theory of the subject as lacking positive residence
(this ‘lack’ is commonly articulated as the “unconscious”: in Freudian terms, where an affective impulse is perceived but misconstructed, and which becomes attached to another idea. [can i say that my work in ajayeb, which i named it as ‘organizing my memory, and also, that which comes to mind’ is all about this reconstruction of cognizeds and percepts? is that why i am having less and less unconsciousness in my daily life?!])
-cognizant agah آگاه
-in Freud's model of unconsciousness, the affect itself is not repressed, rather, what is repressed is the idea to which the affect was attached --> displacement

(Lacan's) subject: proper scene of absence and loss*
a theory of the subject that the locus of the signifier settles --> constitution of the subject as “settlement”

([what is?] Eszter's right and will to keep looking for signs of difference. --when she was talking about idiosyncrasies of her countries)
*[with Eszter's “the nation has suffered enough!"] --Lezra--> politics in a sense is precisely concerned with what is or is not *enough*
“it's enough!” --> #demand something or before which I make a claim. it is practical (even technical) or is dealing with being practical
the haunting modifier of “enough”
the *amount* of something (-of suffering in this case) <-- “That's enough coffee”
-we are dealing with materiality and measure
{has that anything to do with the enough of Ekaterina's “good-enough mothers”?}--> true enough-ness for an effect to be achieved

model of emotion ==> materialization of bodies

(emotions construct) bodies as ‘enveloped’

in standard psychological model, fear ‘has’ an object
*(Ahmed's) fear: “passing by” (=/= arriving) of the object, impossibility of containment of object

anxiety is an approach to objects =/= fear is an object's approach

in Freud: self is made by the fear of father


Ahmed's model of ‘impact of fear’
fear does not leat to containment but an expansion --> his/her embrace of the world
•being sealed into a body that takes up less space!
**fear works to restrict some bodies through the movement or expansion of others** (interesting for Mona's work)
[structural possibility:] proximity of fear-object --is--> possibility of future injury

impressions of coherence, “sticking together”
(that is perhaps why dictionaries and bestiaries are interesting: because their elements do not “sti[...]

[...] is something natural that binds us... (@Luisa) contract is a non-natural conventional object. (the textual nature of contracts allows it to be read, written, rewritten, reformatted and rearranged.)%-->{ontic & ontologic}
•what kinds of violations does the contract capaciously includes in itself?
•there is nothing natural about here and us being here. (spatiotemporally clock tells us not only what time it is, but also where and who we are: how “time-teller” is spatially architecturally phallically positioned: in the center, on the top, wrapped around the body, and so on.)


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

[apass opening week 08.05.2017, (my response to) what is “artistic research”?] artistic research is a fancy way of transforming your “weird feelings” about the world into an “inquiry,” so to say, and at the same time resist to be faithful to standard accounts of what counts as a “serious knowledge claim.” So it includes a lot of messy thinking-feeling, embodied practices, affects, poeticity, semi-scientific work, magic, data collection, mutative interpretative reading, forgetting things, detours, rituals, dead-ends, writing under the influence of scarce foreign obscure philosophies, literary drugs, and boldly using metaphors from different disciplines of “study” that one can find. So, on the one hand, it is a term, invented to indicate a “fluid modern personality” within a turn in humanity studies that opens up to ‘what an artist already knows’ or ‘what an artist is allowed not to know’ within their specific historically situated set of tools. And, on the other hand, it indicates an important shift in the education of art, in which the attitude of the artist changes: instead of making things into a “resource” for artistic creation, rather making things into a “topic.” That means a whole new set of relationalities and new forms of attention need to be learned and cultivated, which were historically often absent in the education of art.


-i want to bring a circus inside {--> within}
-my business still with aesthetics (my own image) (narcissistic stuff...)
-to show up as a guy, castrated and very advanced (--> you can only come up castrated unless you are extremely advanced, #harem stuff)
-i am trying to come forward with all the rigor and rhetorics available to me

the death score

Leo correcting his proper name in my mouth. (signature: master of your name --> master of your house)
Leo named his future projection: “Empathoscene”
[sometimes your name is the first doorkeeper (as in Kafka'a Turhüter)]

Eszter's ‘what is there as an obstacle to the freedom of man (?)’ (question marked by me)
--> the spatial gesture of the ‘stop’ (#Selma)

Maarten's version of confusion (stated by himself) is due to that: the messianic horizon is essentially confusing (?)
his autopoiesis[...]

[...] Lilia when I suggested the attention to anthropos --> what figures human and otherwise was for her the subject of drug-induced rhetoric of mind-alteration; (this is the anthropos of the Enlightenment Europeans and classical Greece talking:) “in order to get rid of me you must take drugs!” #fable/_ --> being sober(?!), anthropos becoming, human nature, common sense, empiricism and interpretation are at stake here]
-[another thing was the label of “animal” that was passed around as a form of mock, instead of provocations for more conversation, I was stupefied. --how can we go on together and not render each other commitments nonsense?]


“point of view” is an important metaphor


#in my work in apass i am working on descriptive practices [poetics of animal description, histories of nonhuman inscription, etc.] to learn to name latent (and therefore emergent) ontologies, to name ‘what we are doing in new ways,’ which are hard to name. (also refusing not to name the violences of others and yourself. to reckon the nature and scope of the erasures we do in our works.) % why do you think that is important?
#and my shift of attention to peer's works is about that: our domain of practices must make claim on each other <== we inhabit differences together (--> attention and work on:) ‘local category abstractions’ (how do we talk and make each other feel our subjects of interest in apass for example) --> (the cumulative, associated and sensed) routines, gestures, and (inter)surfaces of our everyday life in apass, as a group of researchers, that don't necessarily align ==> worlding comes from these things.
[attunement =/= argument]


the name of the world is “detail”


***translation (essentailly imperfect) is the very condition of signification --> trope is the very condition of language

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

don't be docile bodies or innocent bystander, do what you have to do to constitute your courage
all i am saying is that: it is not clear what the destiny of art (or of anything) is

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

perhaps what i am trying to learn--with apass, ajayeb, writing, harem, etc--is to ask what do i need--which skills, abilities, or literacies--to become equipped to share the experience of the habits of the world (of ajayeb) that i am discovering

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

Luisa: “the visual (side)effects of a ‘not being supported’”
effect --> object --> suport --> object2 --> suport3 --> suport4 --> ...
(at one point Marialena pulling away a support box ==> Luisa's cry sound side-effect of a ‘not being supported’)
•?how is it done for her: construction of indifferent objects
•which import function is materializing her ‘objects’? [public import]



I want my friends to become marvelous thinkers makers, I want them to ask interesting questions<[...]

[...]ive, associated and sensed) routines, gestures, and (inter)surfaces of our everyday life in apass, as a group of researchers, that don't necessarily align ==> worlding comes from these things.
[attunement =/= argument]


the name of the world is “detail”


***translation (essentailly imperfect) is the very condition of signification --> trope is the very condition of language

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

don't be docile bodies or innocent bystander, do what you have to do to constitute your courage
all i am saying is that: it is not clear what the destiny of art (or of anything) is

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

perhaps what i am trying to learn--with apass, ajayeb, writing, harem, etc--is to ask what do i need--which skills, abilities, or literacies--to become equipped to share the experience of the habits of the world (of ajayeb) that i am discovering

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

Luisa: “the visual (side)effects of a ‘not being supported’”
effect --> object --> suport --> object2 --> suport3 --> suport4 --> ...
(at one point Marialena pulling away a support box ==> Luisa's cry sound side-effect of a ‘not being supported’)
•?how is it done for her: construction of indifferent objects
•which import function is materializing her ‘objects’? [public import]



I want my friends to become marvelous thinkers makers, I want them to ask interesting questions



Esta: “when we enter the presentation we are researchers, we are not friends” [--> “neutrality” of encounter]
(but i want to explore new places in my work with the people who care for you)
(is this at all possible? to enter with friends a non-friend zone?)

inclusion =/= involvement
(inclusion usually mistaken as literally for physical inclusion)



How Kobe's work can move from a “case-finder agency” to a consequential work? [--> storytellings for making consequential meanings*] that means: what does it mean to live in the consequences of the relations one is enacting?
(when I look at my friends and peers in apass, I can see and feel the knowledges they inhabit in their bodies and the living effects of their languages. I re-figurally feel the figures they embody and their objects whether they assist or resist states of transformation.)


ephemeral things become food

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

Esta, risking one's life


@Hoda, Xiri,
the idea of “express its inner experience”
simulation of

Xiri's sense of entitlement to accusation


@Leo, fiction of sharing
‘something tangible, like a meal’
something phantasmatically hooked up to libidinal openness, like a drug


@Elen, DUI: driving under influence, what are we on wh[...]

[...] navigated and articulated with that plant in apass 4th floor?
(with this i am trying to ask about the) kinds of imaginative world-making at work
gathering forces
-

the mice, and the pattern of rice, how did we become the reader of mice's text? --> reader is always always constructed.
the mice disconnected us from global digital networks and wrote something on the floor...
(which objects of our systems design supporting some and not others) leaving out what are locally perceived as “nonpeople” can mean nonworking system. (biologists not seeing their secretaries as doing real science, artists in apass not seeing the mice doing real work, etc.)
--> *(Leigh Star's) “ethnography of infrastructure”* -infrastructure is both relational and ecological, both transparent and opaque. it is part of the balance of action, tools, and the built environment. [*]infrastructure: a dense interwoven fabric of shared visions of possible and acceptable dreams (of the inovative, as techniques, knowledge, know-how, and the institutions).

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

my previous lectures have been communicating something I don't quite understand to an audience that doesn't want to know. but still somehow they became not indifferent to my madness and we managed to establish lines of interest and interference (=/= restoring the phalus to its proper place, or getting a membership)

i am building another wit =/= you know when you are on some kind of auto-respond, those smart fast answers. my wits take ages to come through. in a way i have been slowing down certain kinds of wit. that's also why it is so easy to silence me.

i have been also busy with the timing of understanding. how to keep understanding open and ongoing? there is this standard general sense that becomes very upset when things are not immediately understood (#double-click democratization of communication,) my workings have been perhaps invested in keeping my own (not-fully-)understood alive for a while. if things were instantly understandable we wouldn't be here.

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

question at Hoda

how to make her interested in metaphysics? in queer studies and practices

physics is the river of phenomena
meta: above, among, beyond

ontological commitment to:
sense of wonder
sense of sadness
sense of madness

what (else) literature can be if not elegy?

sonic level of sign-making and significance in her act

soft-spoken adjectives

“sigh”: poetry's start-up engine, aaaahh
somewhere between lament and mourning
proper address of the mother
which ‘scene of modern or classical language’ you are opening?
‘sigh’ is important, sigh initiates (many including german and iranian) literature
iranian historical comfort zones
[...]

[...]ntly understandable we wouldn't be here.

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

question at Hoda

how to make her interested in metaphysics? in queer studies and practices

physics is the river of phenomena
meta: above, among, beyond

ontological commitment to:
sense of wonder
sense of sadness
sense of madness

what (else) literature can be if not elegy?

sonic level of sign-making and significance in her act

soft-spoken adjectives

“sigh”: poetry's start-up engine, aaaahh
somewhere between lament and mourning
proper address of the mother
which ‘scene of modern or classical language’ you are opening?
‘sigh’ is important, sigh initiates (many including german and iranian) literature
iranian historical comfort zones
where literature starts with sigh
when and how did you learn to sigh?

sigh is from the family of the specialized languages of complaining?

temporal climate of your remembrance (as mourning) --> related to the past?
mourning and memory are sojourn for her

incorporating the object of (her) loss
(holding onto) the unhappy objects of difference

anger, pain, misery, ...

which (good or bad) feelings saturates her poem?
question of saturation
which feelings modified by which poetics sutures which wounds? زخم‌بندی
or to be more psychoanalytically correct: where is the wound?

my own affirmative exposure of the unhappy effects of her poetry

what is the image of the ‘better life’ in her poetry?

somehow in the literary habitus she is moving, the origin of descriptive/inscriptive saying is made by an initial violation

Hoda's poem, which energies does it unleash in her?

sokhan-e ranj سخن رنج
<br /> شعر غنایی Lyric poetry, a formal type of poetry which is defined by or dedicated to expressing so-called personal emotions or feelings.
the Lyre, a string instrument in Greek classical antiquity, is tuning the technicality of this ‘form’

historical contingencies of “personal feelings”
?what is more singular than your “personal” highs, trips, crashes, “feelings”  ==> a text telling about itself (its ownmost experience of something that is radically singular)
-rhetoric of singularity
-(my point is that the expression of your) innermost experience (is often signed by someone else)
--> “distributed biographies,” thinking about sociality of perception

her poem is her textual body (<--> sexual body)

ecstasy
is subjectivity (permanently for Hoda) ecstatic?
this is the question of ‘where is the subject’? according to different practices with ecstasy we are outside ourselves. (in religio[...]

[...]posure of the unhappy effects of her poetry

what is the image of the ‘better life’ in her poetry?

somehow in the literary habitus she is moving, the origin of descriptive/inscriptive saying is made by an initial violation

Hoda's poem, which energies does it unleash in her?

sokhan-e ranj سخن رنج

شعر غنایی Lyric poetry, a formal type of poetry which is defined by or dedicated to expressing so-called personal emotions or feelings.
the Lyre, a string instrument in Greek classical antiquity, is tuning the technicality of this ‘form’

historical contingencies of “personal feelings”
?what is more singular than your “personal” highs, trips, crashes, “feelings”  ==> a text telling about itself (its ownmost experience of something that is radically singular)
-rhetoric of singularity
-(my point is that the expression of your) innermost experience (is often signed by someone else)
--> “distributed biographies,” thinking about sociality of perception

her poem is her textual body (<--> sexual body)

ecstasy
is subjectivity (permanently for Hoda) ecstatic?
this is the question of ‘where is the subject’? according to different practices with ecstasy we are outside ourselves. (in religion that is precisely where the ‘inside’ is located)
-permanent or structural ecstasy is clearly political
-ecstasy is disruptive

how much should I be invested or interested as a friend for your happiness and wellbeing?
•fellow-feeling
•sympathy (is expressed by:) returning feeling with like feeling

Sina: if a thinking makes you sad, that thinking is probably wrong?

within the rhetoric of integration a usual terrifying point is in which the duty of the migrant is to attach to a different, happier object
the future of reattachment --> Hoda
-in this integrative narrative, I have to be careful with assumptions that good feelings are open and bad feelings are closed

bad feelings are seen as orientated toward the past =/= my work on past


she said “here is the English-one” meaning the English translation of her poem
--> in the last five years i have been rifting between the difficult space between “here the Farsi-one” and “here the English-one”

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

#semester, seminar study the “scene of writing”
keywords: deconstruction, fabrication, articulation, plasticity

[week 1,2,3] encounters between psychoanalysis, deconstruction, writing, concepts of language:
•Derrida --> Freud / “Freud & the Scene of Writing” (43 pages)
•Fleming --> Derrida / “Cultural Graphology Writing After Derrida” (first chapter: The Psychopathology of Writing, 29 pages)
•the schemas of text and the trace, Malabou on plasticity[...]

[...]rm’

historical contingencies of “personal feelings”
?what is more singular than your “personal” highs, trips, crashes, “feelings”  ==> a text telling about itself (its ownmost experience of something that is radically singular)
-rhetoric of singularity
-(my point is that the expression of your) innermost experience (is often signed by someone else)
--> “distributed biographies,” thinking about sociality of perception

her poem is her textual body (<--> sexual body)

ecstasy
is subjectivity (permanently for Hoda) ecstatic?
this is the question of ‘where is the subject’? according to different practices with ecstasy we are outside ourselves. (in religion that is precisely where the ‘inside’ is located)
-permanent or structural ecstasy is clearly political
-ecstasy is disruptive

how much should I be invested or interested as a friend for your happiness and wellbeing?
•fellow-feeling
•sympathy (is expressed by:) returning feeling with like feeling

Sina: if a thinking makes you sad, that thinking is probably wrong?

within the rhetoric of integration a usual terrifying point is in which the duty of the migrant is to attach to a different, happier object
the future of reattachment --> Hoda
-in this integrative narrative, I have to be careful with assumptions that good feelings are open and bad feelings are closed

bad feelings are seen as orientated toward the past =/= my work on past


she said “here is the English-one” meaning the English translation of her poem
--> in the last five years i have been rifting between the difficult space between “here the Farsi-one” and “here the English-one”

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

#semester, seminar study the “scene of writing”
keywords: deconstruction, fabrication, articulation, plasticity

[week 1,2,3] encounters between psychoanalysis, deconstruction, writing, concepts of language:
•Derrida --> Freud / “Freud & the Scene of Writing” (43 pages)
•Fleming --> Derrida / “Cultural Graphology Writing After Derrida” (first chapter: The Psychopathology of Writing, 29 pages)
•the schemas of text and the trace, Malabou on plasticity [=/= elasticity] (change of the paradigm of writing as developed in Derrida's Grammatology with the new paradigm of plasticity, her interest in relation between form, materiality and meaning) / “Plasticity at the Dusk of Writing” (28 pages)

[week 4] 20th century sciences and philosophies, the notion of fabrication of concepts:
•Xin Wei --> Whitehead / “Whitehead's Poetical Mathematics” (19 pages)

[week 5] on articulation:
•Deleuze and Guattari / “A Thousand Plateaus” (chapter 3: Double Articulation, 32 pages)

[week 6] feminist and women studies, scene of wri[...]

[...]br />
[week 4] 20th century sciences and philosophies, the notion of fabrication of concepts:
•Xin Wei --> Whitehead / “Whitehead's Poetical Mathematics” (19 pages)

[week 5] on articulation:
•Deleuze and Guattari / “A Thousand Plateaus” (chapter 3: Double Articulation, 32 pages)

[week 6] feminist and women studies, scene of writing:
•aesthetic tentacularity: Lindsay Kelley & Eva Hayward / “Carnal Light”

[week 7] digital media:
•Flusser on hypertext / “Does Writing Have a Future” (chapter: Supertext, 6 pages)
•Bolter / “Writing Space” (chapter 3 Writing as Technology, 13 pages)


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

#workshop little fables of practice, second day storytelling
(proposed initially to Lili:) #imagine and describe an alien world where its populace don't practice ‘knowing’
with this practice we get into questions of (--without directly addressing/announcing them we will provoke a better understanding of what we might think of them:)
•knowing --> (the inseparability of) knowing, being, and doing
•the ‘suppos’ of the supposed to know
•rhetorics, and intrinsicality (“on the inside”)
•response --> (‘knowing’ =) differential accountability =/= differential responsiveness
•environment
•description (discursive significance)
•world, and sense-making
•geometry (and -metry)
•(intelligibility and) materiality enacted --> question of discourse
•epistemology
•conceptions of space and time
•reflection (as a pervasive trope of knowing) [mirroring, imitation, reflection, tropes of “sameness"]
•material discursive evolving
•mattering; matter and intelligibility, episteme and techne, macro and micro,
•

the workshop is in a way about the trope of knowing, ontology of knowing

(ways of) knowing entangled with moith mode of being
(with which creature?) matter's dynamism is intrinsic to its biodynamic way of being (--Barad--> for brittlestar everything is intrinsic)
(creatures that) constantly changing its geometry and its topology --> ongoing reworking of bodily boundaries
(our, and an alien critter's “it”’s) discoursive practices: boundary-drawing practices by which it differentiates between “itself” and the “environment” ==> making sense of its world [--> that is why i am interested in the (better?) articulation of “differences” (= boundary-making practices, our “differential productions”) that we are making, as a way of getting into eachother discourses ~~and--> (its) ongoing materialization --> *differential materialization* (is discursive; Barad)]
•patterns of difference
•I am against the ‘frictionless narrative space’ (in the absence of the dominant story) where “everything” (therefore nothing) is possible

(the workshop engages in think[...]