[...]sness and understanding would not be possible.

“Meaning and understanding are parts of the structure of consciousness that emerge from self-reference; they cannot exist without a body image.” (p.55)

“Self-reference is not a hypothetical idea but a demonstrable part of the structure of consciousness; a partial breakdown in the physiological mechanisms that create it give us the phenomenon of phantom limbs.” (p.56)



Two English neurologists, Lord Russell Brain and Henry Head (!) coined the phrase “body image” for the internal image and memory of one's body in space and time. The body image is not only a picture of the body but also an anticipatory plan for the detailed movements of the body, and rather than a fixed structure, it is dynamic and plastic, capable of reorganizing itself radically with the contingencies of experience.

The body image can also incorporate external object, implements, and instruments. When they are being used, they can become intimate, vital, even libidinally cathected parts of the body image.



(Don Ihde:) “To embody one's praxis through technologies is ultimately an existential relation with the world.” (Technology and Lifeworld, p.72)

Embodied relations such as the experience of “seeing through” glasses (or the use of hearing aids, blind man's cane, or driving a car) take the technology into the perceptual-bodily self-experience. The mediating technology becomes part of the body image, and achieves “instrumental transparency”

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

(Giuliana Bruno)

This tangible, superficial contact, in fact, is what allows us to apprehend the objects and the spaces of art, turning contact into the communicative interface of a public intimacy. (but not in the Amazonian skin contact) (it is different than Lucretius reflecting upon the nature of things)

(materiality of) cultural surfaces

As a form of dwelling that engages mediation between subjects and with objects, the surface also can be viewed as a site for screening and projection.

The surfaces of the screens that surround us today express a new materiality as they convey the virtual transformation of our material relations. And these screens, which have become membranes of contact, exist in our environments in close relation to the surfaces of canvas and walls—also undergoing a process of substantial transformation. And so it is here—in this meeting place that is surface—that art forms are becoming reconnected and creating new, hybrid forms of admixture.

who shares (deep) engagements with superficial matters?

layered space of interaction between subject and object

surface can be read as an architecture

from mediated encounters with material space to mobilization of c[...]

[...]> 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


disembodiment 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 reproduction technologies related to the situation of women) without biological education--not only that, many of her feminist allies thought of biology as the enemy [--> antinatural rejection of the sciences in feminist the agreement “that ‘nature’ is our enemy and that we must control our ‘natural’ bodies --> escalating logic of counterdomination] so her manifesto is all about that. biology is (a rich fabulous practice and) never innocent, and it is something that ‘we mean’. in the sense of ‘what do you mean?!'] [we are always telling knowledge stories that we need --> noninnocent]

(something is) boring =?=> (something is) wrong

why do i joke? it has to do with[...]

[...] 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


disembodiment 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 reproduction technologies related to the situation of women) without biological education--not only that, many of her feminist allies thought of biology as the enemy [--> antinatural rejection of the sciences in feminist the agreement “that ‘nature’ is our enemy and that we must control our ‘natural’ bodies --> escalating logic of counterdomination] so her manifesto is all about that. biology is (a rich fabulous practice and) never innocent, and it is something that ‘we mean’. in the sense of ‘what do you mean?!'] [we are always telling knowledge stories that we need --> noninnocent]

(something is) boring =?=> (something is) wrong

why do i joke? it has to do with storytelling.
anything anybody tells me i tend to believe--what i learn from whores

working within an apparatus of thinking in order to get somewhere in a sustained way and not to drift into associations as fast as... -->
i can't finish the sentence until i can pay attention to what interrupts it. and if i syntactically require to come to the end of sentence, syntactically commits me to a position i don't hold. the technical requirement of clarity (and coherence--must learn how to do it). my storytelling is about how not to reach the end of sentence. (that Peter noted as suspension)

['thinking pushed into syntax’ --> my work lecture-performances are about a thinking excessing out of syntax. n[...]

[...]d 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 relations” (how can we tell a story of relations that for example numbers/math materialize?)
◦highlighting parts of ajayeb: as part of a material reading practice --> “highlighting” could easily be understood as metaphor of disembodied vision; highlighting is not about making things clear but about scribbling (bad-khat بدخط) as a mode of attention =/= (Descartes’) “natural light of reason”


%report on fables of objects #workshop (22.02.2017 HWD apass): attention to the sense and feeling of disparity, dispersity, stability, sublimity, authority, epicness, weakness, severity, solidity, scale, (a)social connections, and tangibility in the character of the object of each participants in the stories we wrote. where were active and passive qualities located? how were agencies distributed?
•origin story --> evolution story, love story [the object falls in love with...]
•daily story
•beast feeding story --> training story
evoking temporality of evolutionary time, face-to-face time, historical time, tiny scale time,
 -each story has a music, texture of colors, pattern of meaning and affect
•bodyguard --> fantastic creature invented to protect an organism (your “object”). this bodyguard can be organic, nonorganic, cyborg, any form, but always an agent. tell us why/how this or that feature 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 worksho[...]

[...]◦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 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 readi[...]

[...]uestion <==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 evil -->) *master-morality : charity, submission to the other, selflessness, etc. --> you hate yourself

(denying the inherent inequality -->) *slave-morality --> weakness is a matter of choice ==> nihilism


*transvaluation
(Nietzsche hated christianity for its non-affirmation of life. for him sex was a fundame[...]

[...]ticipants 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 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”? (Re[...]

[...]tion
“The promise of self-realization and the demand for visibility organize the mobilization of desire, turning it into work.”



do we need to formulize and formalize our uncomfortable concerns and experiences?
@apass, artist research



i want to *give connections*

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

#semester/seminar on destruction
-care, suffer, fubar,
[fubar: “fucked up beyond all recognition"--a term from veterans returning to the United States in 1960s]



#semester on Hojum
(surge,) on performance, media, sculpture, and surplus
Hojum has to do with the hojum (~=? ‘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, ra[...]

[...]ates in 1960s]



#semester on Hojum
(surge,) on performance, media, sculpture, and surplus
Hojum has to do with the hojum (~=? ‘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., 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 ~= [...]

[...]e/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 imagery of force fields’ (also an imagery of high-tech military fields and of automated academic battlefields) {will to power} (for Luiza)
epistemological electroshock therapy
(feminists protecting their) sense of collective historical subjectivity and agency and our “embodied” accounts of the truth --> these are just excuse not to learn
(2)Humanistic Marxism (structuring theory about the domination of nature in the self-construction of man) ([young Marx, influenced by Feuerbach =/= Hegelian idealism, saying that:] man's essential nature is that of a free producer, freely reproducing their own conditions of life [--however--> under capitalism individuals are alienated from their productive activity, etc.])

--> “chance for life”

science: Global System, universal knowledge --> translation, convertibility, mobility
of meanings, and un[...]

[...]alism.
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 imagery of force fields’ (also an imagery of high-tech military fields and of automated academic battlefields) {will to power} (for Luiza)
epistemological electroshock therapy
(feminists protecting their) sense of collective historical subjectivity and agency and our “embodied” accounts of the truth --> these are just excuse not to learn
(2)Humanistic Marxism (structuring theory about the domination of nature in the self-construction of man) ([young Marx, influenced by Feuerbach =/= Hegelian idealism, saying that:] man's essential nature is that of a free producer, freely reproducing their own conditions of life [--however--> under capitalism individuals are alienated from their productive activity, etc.])

--> “chance for life”

science: Global System, universal knowledge --> translation, convertibility, mobility
of meanings, and universality

money in capitalism ~= reductionism in science

...when we are talking about genes, social classes, elementary particles, genders, races, or texts

*vision: a sensory system that has been used leap out of the marked body ==> a gaze from nowhere
-“Vision is always a question of the power to see--and perhaps of the violence implicit in our visualizing practices”
-also, the visual metaphor allows one to go beyond fixed appearances, which are only the end products. The metaphor invites us to investigate the varied apparatuses of visual production (including: the prosthetic technologies interfaced with our biological eyes and brains.)

unmarked body: the power to see and not be seen
objectivity in scientific and technological, late-industrial, militarized, racist, and male-dominant societies

(she asks for:)
“So, I think my problem, and “our” problem, is how to have simultaneously an account of radical historical contingency for all knowledge claims and knowing subjec[...]

[...] genders, races, or texts

*vision: a sensory system that has been used leap out of the marked body ==> a gaze from nowhere
-“Vision is always a question of the power to see--and perhaps of the violence implicit in our visualizing practices”
-also, the visual metaphor allows one to go beyond fixed appearances, which are only the end products. The metaphor invites us to investigate the varied apparatuses of visual production (including: the prosthetic technologies interfaced with our biological eyes and brains.)

unmarked body: the power to see and not be seen
objectivity in scientific and technological, late-industrial, militarized, racist, and male-dominant societies

(she asks for:)
“So, I think my problem, and “our” problem, is how to have simultaneously an account of radical historical contingency for all knowledge claims and knowing subjects, a critical practice for recognizing our own “semiotic technologies” for making meanings, and a no-nonsense commitment to faithful accounts of a “real” world, one that can be partially shared and that is friendly to earthwide projects of finite freedom, adequate material abundance, modest meaning in suffering, and limited happiness.”

Haraway asks for an embodied objectivity that is able of accommodating *paradoxes* --> ‘situated knowledges’
-what does she mean when she says “All components of the desire are paradoxical and dangerous, and their combination is both contradictory and necessary.”

(instruments of visualization in multinationalist, postmodernist culture:) disembodiment : to distance to know
the visualizing technologies (--> my amazon project)

a perverse vision that has produced ‘techno-monsters’ (what does she mean by that?)
--> second birthing? transcendence?
[the frankenstein's techno-monsters, is modeled after who? and who is modeled after it? wondrously, murderously walking around...]
(‘second-birthing’: one of the deadly stories of killing: in the first-birthing we have merely birth to the earthly soil from the woman, and then the achievement of the tragically self-realized purpose of tragic consiousness, concretized and distilled by Sartre) “dire myths of self-birthing”... --> we must resist the stories of guilt laden knowledge and consciousness

unrestricted vision
presented as utterly transparent

***particularity and embodiment (of all vision) [not necessarily organic]
usable and not innocent

“We need to learn in our bodies, endowed with primate color and stereoscopic vision, how to attach the objective to our theoretical and political scanners in order to name where we are and are not, in dimensions of mental and physical space we hardly know how to name.”

‘partial perspective’ (what does she mean?)
==> become answerable for what we learn how to see. (Helen Verran[...]

[...]dance, modest meaning in suffering, and limited happiness.”

Haraway asks for an embodied objectivity that is able of accommodating *paradoxes* --> ‘situated knowledges’
-what does she mean when she says “All components of the desire are paradoxical and dangerous, and their combination is both contradictory and necessary.”

(instruments of visualization in multinationalist, postmodernist culture:) disembodiment : to distance to know
the visualizing technologies (--> my amazon project)

a perverse vision that has produced ‘techno-monsters’ (what does she mean by that?)
--> second birthing? transcendence?
[the frankenstein's techno-monsters, is modeled after who? and who is modeled after it? wondrously, murderously walking around...]
(‘second-birthing’: one of the deadly stories of killing: in the first-birthing we have merely birth to the earthly soil from the woman, and then the achievement of the tragically self-realized purpose of tragic consiousness, concretized and distilled by Sartre) “dire myths of self-birthing”... --> we must resist the stories of guilt laden knowledge and consciousness

unrestricted vision
presented as utterly transparent

***particularity and embodiment (of all vision) [not necessarily organic]
usable and not innocent

“We need to learn in our bodies, endowed with primate color and stereoscopic vision, how to attach the objective to our theoretical and political scanners in order to name where we are and are not, in dimensions of mental and physical space we hardly know how to name.”

‘partial perspective’ (what does she mean?)
==> become answerable for what we learn how to see. (Helen Verran: accountability; Isabelle Stengers: milieu thinking; Latour: ground;)
(partial way of organizing world)
unlocatable =? irresponsible (knowledge claims)
partial --> possibility of webs of connections: solidarity in politics and shared conversations in epistemology
-to unfold the problem of relativism: ‘the elephant parable’ promisses seeing equally and fully. “equality” of positioning: relativism (another “god trick”) (!=/= single-vision, totalization) =/= partial locatable] [mythic cartoon of pluralism] [myth of exact knowledges, dream of perfectly known, and politics of closure] --> positioning is at stake here

“all eyes, including our own organic ones, are active perceptual systems, building on translations and specific ways of seeing”

how to see ‘faithfully’... (what does she mean by that?)

appropriating the vision of the less powerful:
to see from the peripheries
to see from the depths

...this not unproblemat (why she uses double negation so often?)

“But how to see from below is a problem requiring at least as much skill with bodies and language, with the mediations [...]

[...]ng 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 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 [...]

[...]dies. 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 =/= (Iron Man:) man, made in the image of a vanished god, takes on superpowers in his secular-sacred ascent, only to end tragic]
“...man making himself (by realizing his intentions in his tools) yet again in the Greatest Story Ever Told.” (your artwork doesn't need to be this kind of story!)
or the Darwinist tale of “Mitochondrial Eve in a neocolonial Out of Africa”
we need stories of companion species, the “very mundane and ongoing sort of tale, one full of misunderstandings, achievements, crimes, and renewable hopes.” (Haraway, La Guin, Tessa Farmer,)

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

[Haraway on Ihde]

...technologies are not mediations--that is, something in between us and another bit of the world--rather, technologies are organs, full partners, in what Merleau-Ponty called “infoldings of the flesh.”

infolding =/= interface
•“What happens in the folds is what is important.”
•Interfaces are made out of interacting grappling devices.
•the infolding of others to each other is what makes up the knots we call beings or, perhaps better, following Bruno Latour, things.

“Technolog[...]

[...]ity of the hipster hero moving through the matrix of merely teleological phenomena, stripping pleasure off thinking...)
(utopian?)

what a magic spell is good for if it is not a leverage?

[title]
The Magicians and The Absolute Freedom and Terror

(‘The Magicians’:) magic: instrumentalizing the logos
knowledge is literal --> magic spells are literal {the result of magic spell is predetermined}. in this case, the magic is both an instrument of power and renunciation of knowledge
(Heideggerian) techne of the Western project is an instrumentality that takes over, arrests, or enframes what it desires to manipulate or contain. (Christian Hubert's notes)
=/= poiesis, a bringing-forth (in Heidegger: blooming of the blossom) (also Greek)

“[(for the techno-monster-magicians) everything is] code to be cracked”

a kind of fantasies that Don Ihde calls techno-fantasy, which have been part of the transhumanism since 19th century

the toxic distinction between techne from episteme (since Homer). ‘The Magician’ suggests magic as a technology or tool apart from its context of involvements and referentialities : a hermeneutic or alterity relation =/= (Heidegger:) the tool is an embodiment relation
(one of the characters even states that humans without magic invented computers as replacement)

‘The Magician’ dismisses the generation of knowledge in the praxis of tool-use. science/magic is pragmatic relation of equipment or tools as ready-to-hand. the ideology of a knowledge relation: magic (as tool) is present-at-hand --> ontological relationship to the world (----the characters want to go and have an icecream when they are finished with all the magical fights.)
this notion of magic as tool (=/= epistemological object) in use achieves (what Don Ihde calls) *instrumental transparency* --> It “withdraws” when in use, but becomes conspicuous again when broken or missing [--> this is precisely the standard account of technology in high-techno-scientific capitalist sunny societies] --> the idea that magicians can “forget” (or “lose”) their magic suggests a guarantor of instrumental transparency of magic (or knowledge).
-the popular vision of magic hinges around the desire for total transparency**
-this instrumental rationality is the heart of the modernizing project (which characterizes capitalism) --> the value-free calculable efficiency of administrative processes (--> a project of domination and denial of dependence) (=?=> Auschwitz)

(how to make The Magician's bounded utilitarian individualism unthinkable?)

(Frankfurt School:) technology ~= instrumental reason ~= reification (madiat, jesmiat) as reason
(Habermas:) systems rationality, economic and bureaucratic rationality (==> patterns of meaning rendered functional) =/= communicative processes that sustain the lifeworld[...]

[...]lice. 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
Juan, crime --> arrest
Zoumana, garden (~-> fecundity) --> immunity
Eszter, electronic device --> closed
Ekaterina, zoo --> objects of care (~-> animal ~= diseased .--> objectifying or babying them)


* landscape ==>? optic -->? way of disembodied seeing
[artificial perspective {--> (objects are in) proportional variations in a seamless continuum}, gaze of the spectator, exterior space, homogeneous, infinite, systematic,] --> (this is all) *symbolic form*
[(tele/micro)scope <==] 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 mo[...]

[...]zami)
•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 the marked of bi-aberu, you are less tied to the strictures of shame, and ‘your behavior’ becomes performance material


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

agency =? boresh برش, jahd جهد (in Farsi), “agential cut enacts a local causal structure” (Barad)

agency of ‘hemat’ همّت
hemate shahi همّت شاهی, lavazeme hemat لوازم همّت --> apparatus
sufi's hemat ~= magic

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

@Seba after accelerate manifesto reading: (what is and how can we not pivot on our work) the measure of the meaningfulness of action. (Seba's notion of losing hope is because he put himself unconsciously in a cost-benefit analysis? “what is the effect of my actions?”) [in practice it is difficult to embody speculative thinking. we are still in the space of thinking in terms of the probable.]
to do hope-work is about ‘not talking (too much) about the future’ =/= commitment in terms of probabilities, refusal to treat your subjects as if they were objects of management --> let's set aside our own hopes, and work to honour the **hopefulness of others** (Deborah Rose)

“And hope is here, all around us. Creatures want to live.” (not in the “future”)

the accelerationists putting things in their cascade of failures, (everything sinks effortlessly into it,) and creating a vanishing point in terms of a western saturated temporality. for them the present is the time of announcing the news of salvation or apocalypse, and has no thickness. (the desire) to step out of history, and is made void in the process of realization, the idea that “everything is possible.” they experience their freedom as universal freedom * (noted by Blanchot.) [--> the problem with all male action heroes...]

(is this a kind of “game-over” discourse?)

*time (thinking with Haraway)
the sequential palindromic time (in Western-related cultures) [جناس قلب palindrome: from the Greek roots palin “again” and dromos “way, direction”; a word, phrase, number, or other sequence of characters which reads the same backward as forward; (un)parsable palindromic motifs;]
there are many sorts of temporalities in West, but the most naturalized and intuitive, ready-to-hand (and black-boxed) version of it is the “past, present, future.” the notion of ‘present’ becomes a (mathematical) vanishing point, a pivot or a point rather than itself a thi[...]

[...]?’ is always ‘what does X mean for you?’

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

i am following the movement of certain words here

spam =/= internet

spam operates on/with patterns of literacy or an existing (in)sufficiencies in known categories of cognitive biases that people have

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

[title]
“it's your turn now to play”

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

(@Luisa on space,) (question of:) producing (your) presence

material-discursive --> semiotic-psychosis --> her Wortsalad

(Bocola > Kohut > Mondrian's bipolar structure:)
creation of universal beauty / aesthetic expression of oneself
(=?=> transcend the framework of artistic production)
exhibitionist pole of the self / idealized pole of the self
the grandiose self / the idealized structures
worldviews / self-images

what is the (diametric, dialectical) internal drama of her thinking and work?
(what are?) Luisa's overarching, idealized conception that lays claim to the validity of her values and standards as applied not only to herself and environment but to the entire universe: (question of structure)
•(pre-babylonian) universal abstractionism --> embodied knowledge
•fluid equilibrium --> movement of Being
[is this a romantic structural attitude?]
-and how is she confronted with cosmos prior to her inscriptions? (question of realism)
-what is (the mystery of) a ‘being through interpretation’ for her? (question of performativity)

[realistic:] to take possession of essential aspects of the external reality (~-> recreate them in the imagination) [--> empirical?]
[structural:] to experience the external reality as parts of an interconnected and comprehensive whole
[idealistic/symbolist:] to connect the (inner) particular to the general
[romantic:] to make (inner) invisible visible

sublimated gratification of instincts, ambitions and ideals, (homogeneous) gestalt and expression of the self, narcissistic equilibrium, test its viability, haptic art,

“invisible reality and the aesthetics of universality” or a mean by which universal is recognized*
timelessness, wholesomeness, indivisibility, aesthetic standards
-pictorial thinking, movement thinking, affectual 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[...]

[...]rience the external reality as parts of an interconnected and comprehensive whole
[idealistic/symbolist:] to connect the (inner) particular to the general
[romantic:] to make (inner) invisible visible

sublimated gratification of instincts, ambitions and ideals, (homogeneous) gestalt and expression of the self, narcissistic equilibrium, test its viability, haptic art,

“invisible reality and the aesthetics of universality” or a mean by which universal is recognized*
timelessness, wholesomeness, indivisibility, aesthetic standards
-pictorial thinking, movement thinking, affectual 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 historie[...]

[...]y the ghol], ghovate ghalb قوت قلب) contracts also come to reassure, otherwise we might be in the radically open space of psychosis.
***contracts, they disambiguate the space***
{+} (pointed out by Derrida:) “contract” is less terrorizing than assuming that there 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 ‘wha[...]

[...]ct2 --> 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 when they were driving her cars
DUI has become the pharmecy take on drugs to take away and winning the drug war
movement under influence, MUI
legelized use of motor activity
driving while impaired/driving while intoxicated (DWI)
drink-driving (UK)
driving risky (DR)
drunk driver (DD)

the notion of game and rule for Elen and Luisa and Eszter: it is until ages of 3 and 6 that children must not play by rules, and only after that the concept of rule-based-games (such as sports) should be introduced to them. what does that say about our artistic environment when we talk rules or breaking rules?
i am becoming more interested in the ‘rules’ that the artist (or non-artist) is proposing, and not my own ‘freedom’ in their work. what does it mean or do to become interested in the *freedom of others* and not yourself? ==> paying attention to the most implicit rules of your game, that means i am paying attention to your freedom that has articulated itself in the creative gesture


instead of (the [...]

[...]ke uncanny connections between otherwise disparate states of arrest, like shock and recluse گوشه نشينی” (Stewart)


@Hoda: affect jumps into view as the shock of an unassimilated trauma

cocoon room
holing up in your living room ==> “out there” ==> search for the arresting presence

spectrality and concrete substance

(?when am i) “relaxing” the jumpy move of affect

*Stewart's “jump of affect”
tactile image --(satisfies)--> move of affect --(actualizes)--> something tempting/haunting
-affecting presence at rest
-[in glamour magazines] models frozen in time and space stare back at you in a scene that stages the jump from fantasy to actual body/image and back
-jump from ideal to matter to ideal

-what to wear as the magic of affect itself

copy ~= contact

movies, ads, malls, car phones, daydreams,

modernity's mimetic machine


(“middle class” [or what people thinking as “Iranians"] is not just a “norm” it is a) *womblike space of affect* (where sentimentality and interiority becomes tactile, where ideals and materiality grow to excess,) (imploding under the weight of its own literal embodiment,,,)
-(it is an affective space) where the hegemonic claim *to channel trauma into beauty* is actualized:
•sensible, solid accumulation, family values, colorful decor, techno-gadgets, daily lottery,
•constant stimulation of the senses (--> synaesthetic images, sounds, touches, and smells)
•circuitry of circulation itself


تأثر ta'asor, نتیجه‌ی عواطف natije-y avatef
affect (~= vitality/hope) ~/= (nightmare image of) soical entropy

the big, beautiful, basic, intensely sensate commodity-to-live-in

in Iran:
•(the ‘public space’ or) “outside” ==> a “wilding” scene of crime, chaos, drug-addled monsters, danger, disease, and decay
•“inside” --overflowing-with--> scenes of aesthetic connection
}--> anxiety is the ground over which they (both) march


(modernist) image-affect of the new and clean and up-to-date

the feeling of being in the middle of something big and inevitable, watching it unfold
#my dreams


the labor of looking

“Movies made for women imagine a picture--perfect scene of an Inside--a Home filled with tangible objects that Mean or a Self filled with the intricate dramas of dreams launched, wounded, and finally satisfied or left behind. Affect itself is laid out on the carpet like a beautiful fetish that it is okay to love.”

(the #telegram is littered with image-written signs of personal/public disaster)
the surge of affect toward the scene of abjection --> abjection itself is felt as a contagion --> Navid's comments turned into stic[...]

[...]d death” (or “reality and suffering of death”) for Hoda? (Xiri's interest in her) object's “total integration” into the political economy}

(Stewart's) signs of the senses
satisfaction in the making of sign-shrine
(question of satisfaction at Hoda:) satisfaction as a force, and end, in itself spoken through the bright, blunt, sensate aesthetics of the sign
-something slashes [= a wound made by cutting] at itself and spits at the world (/ politics of slashing --> poetics of slashing / the young girls who “cut” themselves so they can feel alive or, literally “come to their senses”) -- dramas of surge and arrest --> They do not ask for interpretation or construct the subject who would assign them a meaning, [they refuse] reference to “underlying systems” of signification that make them readable as texts
-something refuses to disappear
-(Hoda's land is) the land of sheer circulations --> (the question of) equilibriums --> how can she with her audience (let's say “we”) enter the unnatural calm of another form of arrest? to feel the scene resist synaesthesia

a state of the senses making contact with pen and paper (and matches)

(my enduring love of watching images, my) optical eye

“[...] young embodiments of a modern middle-ground-in-the-making came face-to-face with an otherness that compelled a closer look” --> violently affective contact

surged toward the scene of their confident excitement

impact ==> the social

#storytelling, compelled to repeat the event as the sentience of it still reverberated in their senses



a grounded writing, that sends people bouncing, takes place as a threshold, hits the senses as a set of provocations, or presents as *a problematic sensed in circuits of reaction already set in motion* @apass

(working with Stewart) writing affect #workshop
a practice of writing ourselves into our worlds as *emergent and disparate ensembles* --> we need the speculative concept of worlding (a term that wins philosophy, criticism, digital studies, and cultural study) in Tehran urgently
-the workshop offers a process of sharing, hearing, questioning, and proposing--for oneself and for the sake of others ==> to start to think through a project or concept by working with words
-we will learning how to read closely and to give feedback that is most useful for the authors
-working with questions:
•How do forms of writing change cultural theory?
•What questions do forms of writing raise about subjects and objects, forms of attention, the possibility of thinking through description?
•How do you describe a scene, a character, an event, a situation, a collective sensibility, a difference, a world?
•What does it mean to add density and texture to description?


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


[...]

[...]; should we fight the system systematically? @Nicolas)

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

basically everything i do is related to the question of reading --> make us better readers

my excessive use of footnote --> the most decisive indication of the concerns of a text are to be found in its margins & no ‘proper’ starting/ending point for reading

each of my performances/projects reflect on their own status as examples of reading/misreading =/= achieving correct reading

literature: the problem of misreading (=/= the language it uses)
[with De Man]

i have become sensitive to the systematic avoidance of the problem of reading, of the interpretative or hermeneutic moment, in literary analysis and art

all language-use is tropological (~ rhetorical)


catachresis (the misuse of a word) <--fluid--> metaphor (the non-literal application of a word) <--fluid--> metonymy (in which the name of one thing is put for that of another related to it)

readability: the possibility of producing an essential/definitive reading --> closure =/= further interpretation

a language which would perfectly fit my multiple identity--persian consciousness
emboding (belonging to) two bordering cultures: western university and persian tradition of subjectivity
•mixture of English and Farsi
•spontaneous shift of style
•
•


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

learning from academia: committed to excessive rigor + sriousness of purpose

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

(Erikson's) developmental stages characterized by a psychosocial crisis of two conflicting forces: (each stage that came before and that follows has its own ‘crisis’)
[conflictual psychosocial crisis --> virtue ~-> (answers to) existential questions]

-(0-18 months) Trust / Mistrust --> Hope
[Can I trust the world?]
==> what constitutes dangerous situations (in life)
world is undependable, unpredictable, and possibly a dangerous place
[*]trust: syntonic quotient
[*]mistrust: diatonic quotient
--> oral stage

-(2-4 years) Autonomy / Shame-Doubt --> Will
[Is it okay to be me?]
venture out to assert their will ==> learning about environment
lack/excess/ridiculed restriction ==> shame --> doubt (in dealing with, handling problems)
--> anal stage

-(4-5 years) Initiative / Guilt --> Purpose
[Is it okay for me to do, move, and act?]
autonomy + mastery (--> artists who stay at their own autonomy and mastery are fixated at this age)
discourage the pursuit of independent activities ==> guilt about needs and desires
--> phallic stage

---till here we were in the realm of play---

to master trust, autonomy, and industrious skills
(i have [...]

[...]/> also i offer the hermeneutic of frustration so that we don't feel we have mastered or understood necessarily



janebe hagh ra gereftan جانب حق را گرفتن ==> hagh-be-janebi حق‌به‌جانبی


safineye nadan سفینه نادن
safineye nadani سفینه نادانی

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

Bettina's self almost entirely to be construed within the order of the will


(Hillman:) Eros is always curiously weaker than the problem it must deal with. --> logos is biger than its problem



1. revolution: changing/disturbing the value system
2. reform: changing/disturbing the social norm (hanjar هنجار) --> eslahat اصلاحات
3. invention/noavari: changing/disturbing the system/institution/sazman
4. coup d'état: changing/disturbing the people/apparatus


(amal bar asase:) sonat: gozashte, diruz, anja, anha
گذشته
دیروز


phd: طرح مساله tarh-e masale --> everything depends on the ways you pattern a niche, a site of strings that you and your collieges are cought long enough

•using texture, form, color
•using embodiments
•using optics (in knowing) --> some sort of distance, disembodied seeing --> abstraction, figure,




carnal intellectuality
(intellectual carnality)

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

locating ‘shur’ شور del-shur دل شوره (also shuridegi شوریدگی) to the place of the unkown other
so when one has fearful fantacies about others in foreign lands they are in ‘shur’ for them



(psychologically tethered phantasy of the “independent person”:)

**oral fixation [everything depends on the duration of breast-feeding during the development of libido]:
in Iranians: over-fed (more than 12 months) ==> dependency, needing stimulant
in Balkan: insufficiently fed ==> طلبکار و ناراضی talabkar narazi dissatisfied and manipulative (in need of oral stimulant for example sarcasm) [*narazi <~~--> tavagho’ توقع*]
(--> early experiences of love bound up with various kinds of suffering, and later in adulthood one will look for familiar forms of suffering)
•oral fixation: everything related to pleasure + pain + security + sex are all bound together and located in the mouth

**anal fixation [bowel and bladder control --> focus of the libido: conflict of to pass or withhold]--> also a time person's relationship with authority is made. role of super-ego (parents) in toilet training. everything depends on what super-ego says about what you accomplish in the toilet (at the ages of 1 to 3) ==> creativity / khesasat:
•anal-retentive: to hold back ==> tidy, khasis (~ careful with money), and respectful to author[...]

[...]r (as child) i have wished X's death
neurotic anxiety <== controlling the child (bokon nakon بکن نکن) ~~> fear of punishment
neurotic anxiety: unconscious fear that the *libidinal impulses of the id* will take control (at an inopportune inappropriate time)

شخصیت واقع بین shakhsiat vaghe bin: objectivity montabegh bar subjectivity ==> truth (in science) + commitment based on (accepted) reality [ta'ahod cannot be based on or created by mogheyiat, that means situatedness cannot make us feel/care/hate/commit]
شخصیت موقع بین shakhsiat moghe’ bin: situated subjectivity [--Haraway--> situated objectivity --> commitment based on care]

موقعیت mogheyiat (situtation, circumstance, condition) =/= واقعیت vagheyiat (reality)
(?one should) to live by vagheyiat, not mogheyiat
[i am educated to base research and knowledge both on mogheyiat and on vagheyiat --> crisis of situated knowledge in interpersonal relations: to feel about others based on mogheyiat/situation is a bad idea(?)]
@Hoda: turning mogheyiat into vagheyiat


(verb <--> adjective)
do the right thing (or take the right side) جانب حق را گرفتن [a form of closing off distance =/= disembodied seeing] <--> righteous حق به جانب [a form of embodiment, zero distanciation]



“your joke is the right of the other person”


you are hurt ==> “the other was bad” (is not the conclusion that is helpfull or capable of giving an opening, and it ends badly)
=/= people make mistakes

roshd رشد =/= pishraft پیشرفت
roshd --> shodan, becoming
pishraft --> to gain, progress,


selfishness =?=> being nice
khod khahi خود خواهی ==> nagozashtan-e tasvir/tasavor bad dar digari ["this is me, not you!"]
selfish = good at communication (do taraf-e miz khub harf zadan), bad at relating (nazdik shodan)
shakhsiat farasu-negar (cannot see themselves; ~=? selfish personality) =/= narcissistic pesonality (they have better chances for healing --> small doses of narcissism is necessity for self-interogation and integrated ego formation[?])


*anger is cheating*
(behavior hal, negah be mozu-ha --> bazi بازی, hoghe حقه [transvaluated into innocence])


farar az ta'rif-haye ejtemayi فرار از تعریفهای اجتمایی ~-> farar az ejtema فرار از اجتماع

paying attention to others doesn't mean that you are understanding them (in the case of lonliness)

[title]
thousend and one questions

dark answers

why aesthetics of cooking and feeding new in art doesn't work in iran?



negah dogane نگاه دوگانه
[duality] dual perspective: if it is not X then it is Y (=/= X)[...]

[...]ck --> preserves of the mother-childhood and family (dominanting psychology) --> we come to her: ***materialism = maternalism (in acceptable disguise)***

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

(with the critical bestiaries magazine idea) is my work about defining a new mode of cultural discourse?

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

-philosophy (like mathematics) is a priori disciplines (or has an a priori methodology) at its core
-the posibility of *true answers* for “artistic questions”(?) --? can anybody outside your field be made to care whether you're right?
a priori =/= contingent
higher-order truths of...
self-supporting community of experts (= trap)
“philosophy is garbage, but the history of garbage is scholarship” -Burton Dreben

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

act of cultural and economic exchange
act of reciprocal exchange, of creative mutuality (to benefit in a myriad of ways related to our professional status, our institutional ‘worth,’ the social and cultural capital perceived to be attached to the ‘networks’ in which we operate)
[to interrogate] concepts of artistic labor and value
time, labor, and the creative investment that was embodied within [the object that you make]
[you might start with] requiring a catalogue containing critical essays to institutionally ‘legitimate’ your exhibition --yet--> sophisticated, playful and interesting ways to comment on and engage
*numerous ways in which cultural forms (in this case contemporary art) are simultaneously entangled in a number of spheres of meaning, value and mediation* ==> activate ongoing dialogue
[*]capitalist marketplace:
•people in both established and emerging ‘global’ economies forced to fulfill their everyday needs
•‘the market’ is naturalised and reified within social relations in ways we don't necessarily always recognise or acknowledge --> suffused and sublimated within creative production, our lexicon and gestures
(19th century anthropology's) the idea of [*]alterity: understanding how ‘other,’ ‘primitive’ societies operated ‘outside’ of modernity --assumption--> ‘small scale’ societies exchange (barter, gift exchange, and so on) would always, with evolution, give way to more ‘sophisticated’ means of trade
•Malinowski (study of the Kula ring) --> form of producing and reifying power relations
•Mauss (gift economies) --> gifts as stand alone systems + other kinds of economic structures
•Strathern (Melanesian gift exchange) --> how personhood is a malleable concept that is both implicated in, and created by, conceptions of individuality (tripartite views of people as constituted of a mind, body and spirit), or dividuality (persons as constituted from multiple essences and social relations, including the giving and receiving of gifts) + how gender is both studied and understoo[...]

[...]ays highly) teacher-dependent --?--> being social [=/= genius]

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

government (counting heads) =/= complexity (how to make mixity work)



morality --> ‘good =/= bad’ (incarnated in different things) [--> philosophical =/= value system ترجیحات --> sociological]
ethics --> assemblages

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

#cat's cradle

nature = figures + stories + images (~= topos, commonplace)

paying attention to nature like a child <-- Haraway

[*]trope: a verse interpolated into a liturgical text عبادات to embellish or amplify its meaning

language --> material-semiotic flesh

liturgical possibilities of nature
•Christian liturgical year
•Zaratusztrian nowruz
•star wars --?--> practice of turning tropes into worlds [--> war of imagess]
•war of words
•

(agonistic fields:)
military combat
sexual domination
security maintenance
market strategy


technical environmental design )<-- does all sorts of boundary crossing)

culturally specific apparatuses of bodily production (--> clean and dirt --> forms of embodiment)

writing: to create metaphors [= reconstitue what counts as knowledge] --> materially implode (~ art, this is what we were practicing in my fable workshop)

technology: a form of life
language: a form of life

create a critique
create a difference (however small, partial, modest, without narrative, without guarantee)

oneiros
oneiric


technical axis  |__
                        /   mythical axis
    textual axis


a cosmos furnished in _ian style
•Aristotelian style: actors are self-moving modular single-substance subjects with adhering accidents ==Haraway==> all else is ground, resource, matrix, screen, secret to be revealed, fair game to be hunted by the hero (<-- our video games are designed in this style)
•

others with reduced powers of self-direction: women, people of color, the sick, nonhuman nature --> need to be *patient*

(metaphysical fatigue)

***patience =/= passivity***

self-invisible transcendent subjects out on a noble journey to report on embodied nature

the problem of (pre-discursive:) believing that nature and society are really fundamentally there
--> conjuring tricks of establishing categorical purity (of nature, of culture, of nonhuman, of human)


(Haraway's three webs of discourse:)
1. cultural studies: a set of discourses about the (irreducible specificity of) apparatus of bodily/cultural production (=/= comparative culture studies)
2. feminist theory/project: view from the marked [...]

[...]crossing)

culturally specific apparatuses of bodily production (--> clean and dirt --> forms of embodiment)

writing: to create metaphors [= reconstitue what counts as knowledge] --> materially implode (~ art, this is what we were practicing in my fable workshop)

technology: a form of life
language: a form of life

create a critique
create a difference (however small, partial, modest, without narrative, without guarantee)

oneiros
oneiric


technical axis  |__
                        /   mythical axis
    textual axis


a cosmos furnished in _ian style
•Aristotelian style: actors are self-moving modular single-substance subjects with adhering accidents ==Haraway==> all else is ground, resource, matrix, screen, secret to be revealed, fair game to be hunted by the hero (<-- our video games are designed in this style)
•

others with reduced powers of self-direction: women, people of color, the sick, nonhuman nature --> need to be *patient*

(metaphysical fatigue)

***patience =/= passivity***

self-invisible transcendent subjects out on a noble journey to report on embodied nature

the problem of (pre-discursive:) believing that nature and society are really fundamentally there
--> conjuring tricks of establishing categorical purity (of nature, of culture, of nonhuman, of human)


(Haraway's three webs of discourse:)
1. cultural studies: a set of discourses about the (irreducible specificity of) apparatus of bodily/cultural production (=/= comparative culture studies)
2. feminist theory/project: view from the marked bodies (in stories, discourses, practices), where *the description of the situation is never self-evident* + need for an elsewhere
3. science studies: technologies for establishing matters of facts, ‘technoscience =/= science and technology’, artifacts with politics, science as practice + culture


can't cradle
one person can build up a large repertoire of string figures on a single pair of hands --> the figures can be passed back and forth on the hands of several players
--> *embodied analytical skils* [<-- my goal im apass]
--> making + passing on cultural interesting patterns
=/= making a tangled mess
=/= theory of everything (--> for example string theory, stc.)
=/= war game ==>{models of knowledge building, tropes for one's own practice}
=/= trials of strength passing as critical theory (~ heroic, agonistic encounters)

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

Delamont & Williams --> (Haraway's) thread metaphor ~= *metamethod*

(from) [analytical] tangled yarn ball --to--> [activist] can't cradle

Galison's intercalation [molecular interweaving] --> exposing an ove[...]

[...]elf-direction: women, people of color, the sick, nonhuman nature --> need to be *patient*

(metaphysical fatigue)

***patience =/= passivity***

self-invisible transcendent subjects out on a noble journey to report on embodied nature

the problem of (pre-discursive:) believing that nature and society are really fundamentally there
--> conjuring tricks of establishing categorical purity (of nature, of culture, of nonhuman, of human)


(Haraway's three webs of discourse:)
1. cultural studies: a set of discourses about the (irreducible specificity of) apparatus of bodily/cultural production (=/= comparative culture studies)
2. feminist theory/project: view from the marked bodies (in stories, discourses, practices), where *the description of the situation is never self-evident* + need for an elsewhere
3. science studies: technologies for establishing matters of facts, ‘technoscience =/= science and technology’, artifacts with politics, science as practice + culture


can't cradle
one person can build up a large repertoire of string figures on a single pair of hands --> the figures can be passed back and forth on the hands of several players
--> *embodied analytical skils* [<-- my goal im apass]
--> making + passing on cultural interesting patterns
=/= making a tangled mess
=/= theory of everything (--> for example string theory, stc.)
=/= war game ==>{models of knowledge building, tropes for one's own practice}
=/= trials of strength passing as critical theory (~ heroic, agonistic encounters)

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

Delamont & Williams --> (Haraway's) thread metaphor ~= *metamethod*

(from) [analytical] tangled yarn ball --to--> [activist] can't cradle

Galison's intercalation [molecular interweaving] --> exposing an overt technology (the radar wants to be seen as both winner of war + advancing pure physics)
~/=
Haraway's weaving [textile dissection] --> exposing a covert technology (patriarchy, eugenics, colonialism, racism embedded behind the public face of conservation, education, biopolitical establishment)

biology = politics (by other means)

cyborg
•has no original eden it was banished from
•has no dust it can return to
==Haraway==> situated partial knowledges


gendering the laboratory ==>
•modest witness
•new forms of gender (male virility,)


touching the elephant and knowing
touching different part of the world
touching a human body and guessing at the riddle

by touching the different parts => some are running, rotting, flickering, etc.

for doing anatomy you need a corpse (that means you already rule out things such as eating)

[...]

[...]e machine----competent digital
-exploring the iterative and fractal quality of sentences in my digital graph-makings
-attending to the interruptions of syntactical commitments
partial connections (of distinct entities) ~= analogy [analogy allows one part contaminate systematically another part, and vice versa]
-coerced belief


the question of binaries: how we are who we are in relentless relationalities with other entities. in shaping and being shaped by objects, and subject/object is only convenient partial-good-enough for the moment --> **sorting operations** (kPRA0W1kECg), but they are not good descriptions beyond that.



#on Companion Manifesto
(Haraway's) *cyborg*: the “lived social and bodily realities in which people are not afraid of their joint kinship with animals and machines, not afraid of permanently partial identities and contradictory standpoints.” --to--> a much bigger queer family of *companion species* : becoming-with --> the co-constitutive interpenetration of humans and their others (machines, animals, and the environment).
-Haraway is going from ‘rage’ to ‘love’

“historically challenged people” (Schimpfwort? فحش)
half-trained arguments
embodied cross-species sociality

I am trying to inhabit ajayeb critically; neither in celebration nor condemnation (like my sister asked)
what is my context? isis, tech-sci, art, world-wars, stories, terror,
the figures of ajayeb that i am cultivating, do they “more fruitfully inform livable politics and ontologies in current life worlds”?
ajayeb's species bring together human and nonhuman, organic and technological, history and myth, freedom and structure, state and subject, ...

*concrete:
◦a concrescence (growth by assimilation, nemov moshtarek نمو مشترک) of prehensions (seizing, perception but not necessarily cognition) of prehensions (graspings, chang zadan چنگ زدن)
◦an actual occasion
=> beings do not preexist their relatings

the verb of reality is full of nouns with appendages

nature/culture: *local category abstractions* (=/= universal: misplaced concreteness)
subject/object: *potent consequences* (=/= preexisting foundations)

foundation is always contingent (Haraway > Butler)
•scale is contingent
•mutability is contingent

bestiary of agencies
kinds of relatings

in my work on ajayeb i am trying to carefully approach the notions of:
emergence, process, historicity, difference, specificity
-and by that teach myself an artful practice rich with:
co-habitation, co-constitution, contingency

on-the-ground work:
-Verran # Nigeria Yoruba --> “emergent ontologies,” “get on together” (...how can *general* knowledge be nurtured in postcolonial [...]

[...]ach the notions of:
emergence, process, historicity, difference, specificity
-and by that teach myself an artful practice rich with:
co-habitation, co-constitution, contingency

on-the-ground work:
-Verran # Nigeria Yoruba --> “emergent ontologies,” “get on together” (...how can *general* knowledge be nurtured in postcolonial worlds committed to taking *difference* seriously?”)
-Thompson # Kenya --> “ontological choreographies” (...bodies, human and nonhuman, are taken apart and put together in processes)
-Strathern # Papua New Guinean --> “partial connections” (...patterns within which the players are neither wholes nor parts ... necessary counter-intuitive geometries and incongruent translations)

what kind of refigurations i need for the tropic work that feel is required for the for ontological choreography of ajayeb (in technoscience or elsewhere? other societies with liberal or non-liberal individual or state, with other techno-monsters, automated warriors, terrorists, and all the waste, cruelty, indifference, ignorance, and loss that comes with, as well as joy, play, labor, and invention--)?
-how do i narrate this (ajayeb and non-ajayeb, the wondrous and the mundane) co-history?
-how do i embody an art of relating (as is never done once and for all)?

*species : biological kind of reality + scientific expertise necessary to that kind of reality
(what would or could trouble ‘biological kind,’ ‘categories of organism’?)
{ machinic + textual + organic ~-=> species }--> causality-story, origin-story, Real-Presence-story (~transubstantiated signs of the flesh),
•species is about defining difference, rooted in polyvocal fugues of **doctrines of cause**
•one thinks of species as logical category, logical type, visual impression, members of a category that have the same characteristics. but you also say “be specific!” you want the opposite. you want a list of relentless particularities.
•(for Haraway species is about) a particular kind of semiotics where sign and flesh are tangled

Marx and Freud in shit and gold, primitive scat and civilized metal, in specie

[title]
**ajayeb's technologies of (Persian) subject/object-making**

nature and culture implode into one another (in the relentlessly historically specific ways)

(Haraway > Althusser) **interpellation** (estizah استیضاح) ==> concrete individuals (in the modern state)
*the ideologically loaded narratives ==> life and death, health and illness, longevity and extinction, etc.
{how not to do estizah (our objects, peers)? latent individualization in apass's requirement of ‘intentionality’ from its participants: “no sleep-walking!” [--> art as “explicit intentional act.” Merleau-Ponty's account the body-schema.] [estizah is the site of encounter with the ‘man of law’ in which one bec[...]

[...]is) logic of sacrifice and this exclusive possession of the capacity for response, is what produces the Animal

the death-defying arrogance of ascribing such wondrous positivities to the Human

(Derrida)"The question of the said animal in its entirety comes down to knowing not whether the animal speaks but whether one can know what ‘respond’ means. And how to distinguish a response from a reaction.”

the mistake of forgetting the ecologies of all mortal beings, who live in and through the use of one another's bodies
[this is against ] The naturalistic fallacy is the mirror-image misstep to transcendental humanism.

multispecies contingency

In the idiom of labor, animals are working subjects, not just worked objects.

the capacity to respond and to recognize response

We can never do without technique, without calculation, without reasons, but these practices will never take us into that kind of open where multispecies responsibility is at stake.

Engage them [the dogs] as mindful bodies, in relationships of response?

the practical labor of nonmimetic sharing(?)

[we make ‘knowing’. knowing is always a practice of making, and always embodied. the idea that thinking involves disembodiment of the knowing organ is just insane.]

“articulating bodies to other bodies” ----> disarticulating bodies to rearticulate other bodies

entangled assemblages of relatings knotted at many scales and times with other assemblages, organic and not

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

ajayeb is system imagination

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

[Naveeda Khan]

Perhaps the question could be posed as, how do we come to grips with the universal, the supra-historical, or even the cosmos within our global present, imagining a local that lays claims upon all three?

is there a Muslim environmental imaginary?

‘Islamic ecology and environmental ethics’ --> the need to center a vibrant materiality or the liveliness of things in the anthropology of Islam (that has been to date largely preoccupied with Muslim polities and subjectivities.)

It should come as no surprise that my own efforts at centering materiality comes through studying how these predominantly Muslim farmers interact with and come to acknowledge nonhuman forms of life (including the figure of Khidr خضر, dogs, river waters, silt, and lightning, to name a few). Finally, I remain concerned to explore how the singularities of these lives, both human and nonhuman, come to be hitched to the global. This research will culminate in a book tentatively titled Ensouling the Anthropocene: Riverine Life and Climate Change in Bangladesh, in which “ensouling” treats the problem of scaling up singularity to the global, intensifying efforts that began wi[...]

[...]ausal nature of productive practices ==> differential constitutions are marked


ajayeb: a host of material-discursive forces

*for ajayeb i need to rework notions of:
•discursive practices
•materialization
•agency
•causality
*without:
•resorting to the optics of transparency
•the geometric of absolute exteriority or interiority
•theorization of human as either pure cause or pure effect


*any entity's ontology (its cast identity) is always open for future's reworkings* (Barad)


adding a Greek fused syntactical molding to the individual, ‘trans-’ is not enough, we have to make the postulation of individuality unthinkable, and that needs work
{how to make things unthinkable? not available to think with. what should be an “unthinkable” theory of relations?}

(Descartes's epistemology --> representationalist structure of words, knowers, and things)--> transparency of measurement (transparency of language) =/= Bohr's epistemological framework (after his empirical findings of an inherent discontinuity in measurement ----%> wave-particle duality paradox) ~-> Barad's “causal relationship between specific exclusionary practices embodied as specific material configurations of the world [~= discursive practices, (con)figurations rather than “words"] and specific material phenomena [~= relations rather than “things"]”

(*)position (~ specific physical arguments, [=/= well-defined abstract concepts, inherit attribute of independently existing objects]---> go to critique of ‘positionality’)
“position” only has meaning when a rigid apparatus with fixed parts is used (for example a ruler is nailed to a fixed table in the laboratory ==> establishing a fixed frame of reference for specifying “position.”) --> any measurement of “position” using this apparatus cannot be attributed to some abstract independently existing “object” but rather is a property of the ‘phenomenon’ : ***the inseparability of “observed object” and “agencies of observation”***
--> simultaneous indeterminacy of “position” and “momentum” [*momentum*: material arrangement involving movable parts] [--> deconstructing the material exclusion of “position” and “momentum"]

(*)phenomena: primary epistemological unit, the ontological inseparability of agentially intra-acting “components” (Barad); ontologically primitive relations; relations without preexisting ‘relata’(~= mutual ontological dependencies =/= independent entities)
•(specific) intra-action ==> relata-within-phenomena
•(specific) agential intra-action ==> boundaries and properties of components of phenomena become determinate }~= phenomena
(*)apparatus = phenomena [=/= inscription devices, scientific instruments set in place before the action, machines that mediate the dialectic of resistance and accommodation, neutral p[...]

[...] wrong body” as less about authenticity (fixity and normativity) than about *textures of spacetime* (prefixial movements)?

[harkate johari حرکت جوهری ~/=? harkate pishvandi حرکت پیشوندی]._/'--> Sadra


(Susan Stryker warns) that transsexuals, in their capacity to be monstrous, arise, like Frankenstein's creature, from the operating tables of their (re)birth as “something more, and something other” than their medical service providers may have intended or imagined
more & other =/= with & of


*gender: sociopoliical taxomomizing ontologically distinct form (entwined) with enfleshed mattering


*animality: sensuous materialities, composites of affects and percepts, specificities but remain thresholds of emergence, individuation that prompt sensuous intra- and interchange ==> provocations

(Weaver, Kelley, Weinstein, Hayward, Kier, Franklin:) animal difference announces a radically singular Other marked by sexual differences

“trans-infused apprehensions and engagements with the expansive world of possibility opened up by non-anthropocentric perspectives.”


trans* + animal --> (alternative ways of envisioning) futures of:
•embodiment
•aesthetics
•biopolitics
•climates
•ethics


we have to negotiate the [contaminated concept of] human --(to deal with)--> the persistence of humanism in structures of thought


critical animal studies has(?) the transformative power to interrupt humanism and its sexually differentiated legacy by challenging the boundaries between, and existence of, differentiated, essential kinds.

robust, nondualistic theories of human/animal

Critical Life Studies
•*species panic* (<-- the concept of the homosexual panic defense) {androids: species + trans embodiment}--> **genuine animals** transitivity: “shifting positions on a series of spectrums, where human, animal, and machine bleed into one another” [Huebert]--{"it”: exclusive right of gendered pronouns--"it” ascribed to artificial animals and androids --> the distinction between “genuine” and “inauthentic”; “it” leaves us in a perpetual species panic}
•*animal symbolic* --> origin of the construction of the human located in sexual difference [Nurka]
it seems with ‘human’ one always spring inexorably back to sex --> sexual difference and its origins in the problematic of difference
-individuating difference ==>? prepositional singularities--the potentialities to differ that are not yet stabilized into the categories of an individual
[Nurka > Colebrook] concept of “transitive indifference” transforms the self/other pairing beyond the demands of recognition and relation --> (all-too-often) animal difference serves to secure human sameness [=/= ouroboros abyssal beastliness] --> ontological [...]

[...]d mattering


*animality: sensuous materialities, composites of affects and percepts, specificities but remain thresholds of emergence, individuation that prompt sensuous intra- and interchange ==> provocations

(Weaver, Kelley, Weinstein, Hayward, Kier, Franklin:) animal difference announces a radically singular Other marked by sexual differences

“trans-infused apprehensions and engagements with the expansive world of possibility opened up by non-anthropocentric perspectives.”


trans* + animal --> (alternative ways of envisioning) futures of:
•embodiment
•aesthetics
•biopolitics
•climates
•ethics


we have to negotiate the [contaminated concept of] human --(to deal with)--> the persistence of humanism in structures of thought


critical animal studies has(?) the transformative power to interrupt humanism and its sexually differentiated legacy by challenging the boundaries between, and existence of, differentiated, essential kinds.

robust, nondualistic theories of human/animal

Critical Life Studies
•*species panic* (<-- the concept of the homosexual panic defense) {androids: species + trans embodiment}--> **genuine animals** transitivity: “shifting positions on a series of spectrums, where human, animal, and machine bleed into one another” [Huebert]--{"it”: exclusive right of gendered pronouns--"it” ascribed to artificial animals and androids --> the distinction between “genuine” and “inauthentic”; “it” leaves us in a perpetual species panic}
•*animal symbolic* --> origin of the construction of the human located in sexual difference [Nurka]
it seems with ‘human’ one always spring inexorably back to sex --> sexual difference and its origins in the problematic of difference
-individuating difference ==>? prepositional singularities--the potentialities to differ that are not yet stabilized into the categories of an individual
[Nurka > Colebrook] concept of “transitive indifference” transforms the self/other pairing beyond the demands of recognition and relation --> (all-too-often) animal difference serves to secure human sameness [=/= ouroboros abyssal beastliness] --> ontological difference serves only to erect man as the being for whom “the world is nothing more than the arena whereby he recognizes his proper difference,”
•*animal techne* ~~--> Jackass & Wildboyz : animality is viscerally, painfully, and transformatively encountered or enacted by the human body [Seymour], sliding down the animacy hierarchy [Chen], gesturing toward various interconnected trans-(species) corporalities performed in (Critical Life Studies texts and) Wildboyz (=/= elite status of human) --> (Barad's) ethics of mattering : connections of human and nonhuman life always already taking place on bodies*****


transdisciplinarity: a s[...]

[...]w Attar) ==ask==> |X| what is your “subject” interested in? what matters to them?
(Attar never looked for varieties--in anecdotes, in little stories, in individual bird biographies -->{these are the materials that I am collecting from my family telegram group posted animal videos})

thinking with the bird
looking with it (=/= looking at it) --and--> and knowing its intentions

both humans and nonhumans create narratives, rather than just telling them. (there are socialities in which) they both create/disclose new scripts ~~--> inhabiting an existential world ~-> full of actors and living adventures, that give them:
•a history
•a bibliography
•a personality
•
(and) a full repertoire of:
•will
•intention
•agency
•


to recreate similarities between scientific and mundane practices (<-- neccesory for making companionship)

*agency is an equipment

*(greeting) rituals ~=perform==> social links* --> assess reliability
--> I am interested in ritual in its mundane sense =/= performance-art ritual {*}--> who are they in the (becoming in) ritual? (--> who is “Evamaria” in her performance-art ritual?) --> which meaning you embody?


the difference between response and reaction (not so clear [as I thought]) #passive reacting beings...
(this difference) structures the way we see “passivity”

(tracing) “objectivity(s)” (in one's own culture's dominant epistemologies) --> “audience” poker-face in art & science (-adviced to be as neutral as possible, to be unavailable, to be no one) [=/= harem --(is about)--> domesticating practices] [--> (in order to query the ways) audience habituating the performer / scientists habituating their animals*], --> scientists are getting it, why the artists and their audience don't get it!? }--(ontological risk)--> ***the performer is a social subject*** : (category changes in everyday life)
•when I am by myself: I am an orangutan, sometimes snake, I am ‘something’
•when I am with others: I turn to human
•when I am “objective”: I am off-category, I am not ‘something’ (-super strange!)
}==> the ‘Other’ [not only the police officer,] always estizah (interpellation استيضاح) you(?)

it is very interesting the way Despret is working (on the field) with Haraway's (intuitive genius) analysis

scientist's will to be ‘no-one’ that would prevent any interaction

(Despret's constructivist and non-relativist translation of ‘the ways animals act are the consequences of the observer's gaze’:) *animal actions are responsible consequences*
[(*)performance: the responsible consequence of a (no less) responsible gaze]

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

Verran, knowledge economy
knowledger always authored
cross-cultural knowledge practices[...]

[...] is objective, he guarantees the clarity and purity of objects, as contestable representations, or as construced documents in their potent capacity to define the facts =/= queering confidence: enable a more corporal, inflected, and optically dense, if less elegant, kind of witness (to the matters of fact to emerge in the worlds of technoscience) [--> this is why i was trying to enable that kind of “optically dense” and “less elegant” kind of corporeality in our work on Olearius#]
(Haraway + Potter + Shapin + Schaffer:) elaboration on the idea of modest witness in which “modesty” might flip between either two sides:
1- historically masking a masculine solipsism as a preciously unmarked category: modest witness =/= haec vir : God forbid that the experimental way of life have queer foundations
2- (working across partialities) to create “a more adequate, self-critical technoscience committed to situated knowledges”


a nameless sin about which, without describing, he sought counsel

oratory

tension between dedication and prevarication (zaban bazi زبان بازی)

([let's not] being a member of) a “class” of those whose truth-telling was privileged
in certain sorts of people credibility was embodied


ajayeb.net's style of writing =/= a style of writing driven by the needs of readers who are relatively unskilled (in practical divinity, casuistry, or theology, and so on)


*** what kind of classification work, work of historical representation, is necessary now to show over time with greater clarity, in cooperation with more and more communities of practice, that in the best of all possible worlds, at any given moment, the past could be reordered to better reflect multiple constituencies now and then? ***
(Katie King + Bowker + Leigh Star)

[my ajayeb-making is about] partial connections (across time) ==> communities


([my point in work on ajayeb:] we need) the possbility of competing and shifting claims on individuals (=/= self-making individual), rather persons with partial connections (across time) and queer relations with pastpresent ==> negotiating forms of evidence ==> units of analysis ==> past reordered

[with the help of Katie King's figure of writing technologies:] i am interested in and interested to help make historical representations of nonhuman iranians in writing technological ecologies (which are inevitably products of new social movements, new research agendas, new publics of interest, and new contests for historical meaning)

with ajayeb this became immediately my concern: *infrastructures of historical representation*

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

(what are the) stickiness of ajayeb's being (?) or, in which affective economy they are ‘passed around’? [social goods, accumulating affects, contagiou[...]

[...]r />



how to learn to read the discursive practices of being of ajayeb? the ways each being proposes its own (or another's) changing geometry and topology, their boundary-drawing practices, their differential productions, and how each being makes sense of its world
-(the authors and beings of ajayeb,) what are their capacity to discern the reality of their (relational) nature?
-how their determinate position (in their relational nature) is or may be (usefully) (con)figured as *specific connectivity*? [the question of specific connectivites of ajayeb]--> this requires from me poetics: diffractive descriptive acts
-what are the ajayeb's beings and mine intertwined practices of knowing and being?

the agential cut of the brittlestar is a survival kit: the arm is “cut” and becomes part of the other (predator)

Barad is reading the brittlestar to rework (challenge conventional conceptions of) her discipline's ontologies and boundaries =/= scientist's usual frame of application and amusement of “discovery” that feeds technological advancement, “the excitement and romantic overtones that inevitably accompany the story of the scientist as explorer breaking into new frontiers” (Barad)


(embodiment-->) *bodies are not situated in the world. They are ‘of’ the world (in its dynamic specificity)* (Barad) (@Femke)

[*]objectivity
=/= occupying a determinate position in a given environment
=/= occupying a particular coordinates in space and time, in culture, and in history
=/= seeing from somewhere [=/= “objectivism” (view from nowhere) or “everywhere” (relativism)]
=/=


(like Barad's brittlestars) which ajayeb's being's bodily dynamism resists (or constructs) the familiar notion that space is preexisting container:
•space: a stage on which actors take their place
•time: the mere uniform ticking of clockr /> (how ajayeb's worlding is similar or different than the familiar notion of Shakespeare's “world is a stage...”?)

[Barad, poet of matter, time and space:] “Matter does not move in space and time. Matter materializes and dynamically enfolds different spatialities and temporalities.”*

*there is only exteriority within*
--?--> models that position representation as the lens that mediates between the object world and the mind of the knowing subject --> (an optics that reflects) a geometry of absolute exteriority between ontologically and epistemologically distinct kinds =/= ajayeb's diffractive differential materializations

perhaps that arm that got detached from you, could have a chance of not becoming a jettison phantom limb forever haunting the missing amputated ‘you,’ rather, a part of “companion species being helping out”? --> *connectivity does not require physical contiguity* (@Luisa's string “theory”)
[*phantom limb* ([...]

[...]have a perspective on the world*
•an intensive difference that carries the human/nonhuman difference to the inside of every existing thing --> there is no a priori reason for everything not being a subject [--> also Sadra]

[*]bodies:
•bundles of affect : collection of affects bundled into an unstable bodily form
•carrying out specific tasks
•sensing the world in particular way
•sharing capacities and habits with others in what keeps a body as it is and maintains its similarity to other bodies in a group
•coincident with subjectivity* --> you need a body to know
--> (particular differentiation of a body:) body ornaments, clothing, sex, and other so-called cultural markings are no different in kind from the so-called natural markers of bodily difference and capacity: ***clothes ~= claws ~= affects*** --> “sign and substance of capacities and dispositions” (Alberti > Hugh-Jones > Viveiros de Castro)
*marking, molding, painting, adorning, clothing, piercing, and otherwise working on body ~=> to fix a body ==> to stabilize an otherwise wildly unpredictable perspective and world*
*body surfaces of spirits and humans are often brilliant and intensely marked* --> excessive corporeality --> potency of the embodied subject: their “scale” [in timespace tey-ol-arz] as efficacious beings, dense with affective capacities, (the body that is marked with tey-ol-arz incites embodied subjects)--> *trap* (operates along scale) [sufi's termporal “scale” (in tey-ol-arz طی‌الارض) as her/his efficacious being, dense with affective capacities for Attar in Tazkirat al-Awliya (--> also relevant for pit-story #measurement) --> the figure of the moving sufi across scales of spacetime on geo, works as a trap precisely along this scale --> materialization of intensity and excess ==> humanity]
* bodies ~= artefacts : sites of subjectivity *

*soul: the capacity to transform: a matter of chaning bodies

dead --> ancestor
(transformation is an ontological event: “-->”), @Hoda
for Wari to have a soul is a sign of danger, a sign that some transformation (of perspective) is imminent []

ajayeb is full of stories of instability: one's soul is always vulnerable to ontological predation by another spirit or person ==> one's perspective can always change


“correspond” is keyword in working with ontologies : ‘interpretations correspond with stable ontologies’


(this we must take things as -->) ontological =/= analogical (<-- representation of a world, an ego, etc.)

how to approach (iranian miniatur and) miniaturization?
miniaturization have powerful and often unsettling (because paradoxical) cognitive and perceptual effects* --> these effects (in the case of figurines) enable people to enter “other worlds” (to think, manipulate and influence)
(in figurines) all the se[...]

[...]m *commonality* rather than *alterity*] --> a theoretical bomb =/= analogies based on ethnographic content

spirits experienced as diminutive yet brilliantly decorated or huge and grotesque

the more intense ==> the more body it is

(the promise of thinking through) [*]thing: a nonspecified ontological category that can be “filled” through ethnographic observation that is designed to allow ontological alterity to inform its content

recursive anthropology --> alterity: a function of the divergence between ethnographic materials and the assumptions the analyst brings to them

(if) ontology: what is ==> alterity: part of what others say ‘what is’ that does not make sense to us


(the danger of) a new metaontological orthodoxy becoming a immutable metaphysic

archeological alterity: things that do not make sense ontologically (escape traditional frameworks)

archeology's new kind of reflexivity
•openness
•wonder: an intentional naivete, naive empiricism (==> sustain altering + enabling meaning, to be besieged & committed to ---> go to Cinderella =/= moving beyond)
•emphasis on descriptive =/= theoretical
•attentiveness to our embodied responses

(a question of critical ontology in archeology -->) how are we to mobilize & manifest (describe & transform) the new past from things? [<-- my question in my research on ajayeb]
•how i am subjectively involved in the past we investigate
•how i am objectively part of those pasts


the all encompassing (nonlinear) descriptive writings of ancient and antiquarian travelers --> what is encountered imposes itself ==force==> a choice ==> description

kinetic activity + the experience of being in the field

aesthetic attentiveness of bestiaries


pragmatic use of the word ontology in archeology --signal--> the potential world-shifting nature of what is being studied

to be ontological = entirety of the analytical apparatus and what is being studied should be included in the analysis
(caught up in the process:) the object of study + analytical scaffolding + method + analyst

the degree to which an approach is willing to do ontology to itself (investigate its own ontological assumptions)

metaphysical archeology + ontological anthropology --> perspective on reality


(assign things to preexisting conceptual structures =/=) looking for ways things can have an impact on your thinking, concepts, ontology ==> unlocking what is most “of the past” about things

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

Alberti
Ingold

correspondence: (a pre-conceptual practice -->) epistemological intimacy in the practices of art, science, and anthropology
[...]

[...] and unleashing of ‘i am part of what i seek to understand’ (= my subjectivity)] =/= lock the past into predictability}
•my ‘things’ in ajayeb are to an extent ‘archeological things’

contemporary science --gives--> ontologically relational world (<-- to be acknowledged by art and archeology)

archeology --Alberti--> fostering **a particular sensibility to what is of the past in things**

anthropology: the art of inquiry
(something you can learn from)

[*]archeological sensibility: a pervasive set of attitudes towards traces and remains, towards memory, time and temporality, the fabric of history
-Shanks

craft --Ingold--> knowledge grow from the crucible of our practical and observational engagement with being and things
(Aristotlean poiesis ~~-->) [*]craft: slow and intimate knowledgeable work (of how we get along with the world; that cultivates in oneself the skill for discerning the *meanings that are already there*) --> ontological paring of conceptual language & physical condition
==> meaning and concepts are drawn out of objects (not given to them)


•Haraway --> companion species = biologist + creatures
•Barad --> concepts are literally embodied by the differing physical apparatuses
•


(we need more) art: careful accumulation of skills


21st century historiographic trends in art

artists increasingly *deploy simulacra of archeological practices and motifs* in their work


art practiced as craft (but not all the time) ==allow==> knowledge grow from the insight of being in the folding of life [of infantile grandious fantasy, as well] ~=? anthropology

producing contemporary ruins to draw attention to *the work of the present in the production of the past*

*artists take archeology as muse*
(through borrowing from archeology artists)
•create a kind of intellectual framing
•incorporate archival research
•themes of memory and entropy
•question of absence
•


prosaic nature of archeological research
production of the finds


the way Dion distorts archeological work (allegorizing archeological practice) --Alberti-->
•consequence of sleight of hand
•he is dibbling at, performing being an archeologist
•‘play at’ archeology
=/= Simon Callery

Alberti > Russell
transform archeology from metaphor to allegory --play--> archeology-as-aesthetics through performance [--> risk of undermining and reinforcing art as a subjective practice concerned with only aesthetics and affective]


craft: a model for careful practices and knowing the world =/= artwork: a model for how to break out of disciplinary frames and how to think of the ontology of archeol[...]

[...]
(any) exchange: exchange of perspectives ==> 100 percent relational universe ==> everything is primary fact (-then how would Viveiros de Castro explain deceive and lie? ---> go to Kohn)

multiculturalism --> relativism --> diversity of subjective and partial representations, each striving to grasp an external and unified nature

(different specificity of) bodies ==> perspectives

[*]affect: dispositions or capacities that render the body of each species unique ==> [*]body: assemblage of affects (ways of being) that constitute a habitus, bundle of affects and capacities

**humanity: a moral condition that excludes animals**
human-animal has a physical continuity [==> natural sciences] and a metaphysical discontinuity [==> humanities]

(what would be a *nonanimistic metaphysical continuity* between human-animal and other things? --> we need categorical mistakes and catachresis)

spirit/mind --> distinguisher (of cultures, species, etc.)
body --> connector (of material beings)

(Amerindian) spirit/mind =? reflexive form =/= immaterial inner substance

the neophenomenological appeal to the body as the site of subjective singularity
projects of “embodying” (the spirit) --?--> eliminative materialism

(culture: modern name for Spirit)

integration =/= *interspecific metamorphosis fact of nature* that understands bodies as inherent transformabilities, bodies as the great differentiators

integration cosmology --presume--> singular distinctiveness of minds ==> solipsism[= potentially absolute singularity of minds ==> fear that we will not recognize ourselves in our “own kind”; solipsism: ‘natural similarity of bodies =/=> a real community of spirit'] --multiculturalism--> spiritual: the locus of difference ==> theme of spiritual conversion
=/= bodily metamorphosis

(a traditional problem in the West:)
*how to connect and universalize*
individual substances are given, while relations have to be made
=/=
(Amerindian problem, and problem of ajayeb:)
*how to separate and particularize*
relations are given, while substances must be defined


transformation ==> nature <=/= creation
transference ==> culture <=/= invention

*culture = acculturation*
*exchange = transformation of a prior exchange event*
*to act = to response*

poiesis (creation/production/invention model of action ==> objectification: question of ‘documentation’ in art) =/= praxis (transformation/exchange/transfer model of action ==> subjectification: question of ‘what is/has changed?’)


story of “we had to steal fire from a divine father”
(god forbid the origin of our abilities be animal or queer)


mythology: a discourse on the given, the i[...]

[...], cannot identify the motion* (==> animals in ajayeb have many legs and arms)--> [*]motion: the patterning life of energy ~~--> world of forms

(Doty > Cummings:) “rearrangingly” + “become" = rea(be)rran(com)gi(e)ngly

ajayeb = "how everything happens” (based on the ebb and flow of percept + episteme)
(an index finger that) points to the world's ways of happening (in energetic and enigmatic waves of world's coming into [& going out of] being)
*ajayeb moves concepts in like of: the world doesn't necessarily want to be ordered into the linearity and forwardness of text

طلسم‌های ایرانی‌
nefrin نفرین : representative of the (intricacy of) *larger actions of the world*
nefrin-nevisi نفرین نویسی --> (made by the) technologies of their moment

postmodernism's familiar hesitation on the inadequacy of language ==> giving up referentiality =/= my ajayeb

(taking up on moon, for me is about) not going in fear of that which has been looked at again and again. #moon is “deeply compelling and we probably won't ever get done with it”


...somewhere in the neighborhood of a hundred years later


morality of description(?)--> embodying the dilemma and work of the witness


...wheels of thinking turn slowly for some of us


adabiat tosifi ادبیات توصیفی
divisive consciousness (with a certain) degree of removal from the world =/= (we want) *more* language (<-- more we name what we see and do)==?==> a larger and more valuable world
(Roethke:) “when is description mere? never!”
-->
[*]صنعت تضاد san'at-e tazad, polarity: the pull of forces in opposition ==makes==> writing feel alive
[*]projection: that psychological mechanism by which we turn the world, or other people, or deer (into versions of ourselves) --> it is not a sin; it is our method of operating, our modus operandi (--> “pathetic fallacy”: inevitable perceptual work of the human; “if you are miserable, then the trees look miserable to you”)
[*]qualifiers sefat صفت gheyd (adjectives and adverbs) intended to lend a host of sensory qualities to the sentence; (sometimes too much) adjectival or adverbial flavoring. [#training: remove every adjective and adverb, and see what you have got left --> **there is always a more exact term waiting to be employed**] (Foad's severe economy of means; Janina's allusive, shimmery surfaces delight) ([*]style: a simple way of saying complex things. -Cocteau)
[*]نظم nazm: musicality of poetry, poem's body of sound is its specific particular flesh, sonic texture --> **making the language more markedly like the world** [a trail, pathway through a wood of sounds, an unmistakably specific landscape, loyal to the local]
[*]synesthesia: occasion of excitement, a skein of complicated perception, (sor[...]

[...]iliar (acting like udyr)

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


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



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

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

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

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

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


•i shouldn't be talking, opening this
|
•remembrance --> Bambi's mother studies {what if remembering is something totally different th[...]

[...]ral and partial connections
•remind us of an *impossible present* (that we live in)
* (embodied) contingency, asymmetry, indeterminacy *
•hauntings (are not immaterial!) : presumptive absence (presumed in the absence)

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

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


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

[...]-of kicking off this...
-not dramatically pitched at you
-cartography of collapse and sublime
-coming down or crushing down the watching post
-(disclosures and) promises of frontier technology
-


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

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

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

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


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

[...]tened in) face-to-face --> transcendent experience of communication --> that “there be no loss or dissipation between speaking and being heard”

(messianic utterance of) slogan <--> immediacy
-->? banishing ambiguity at the expensive of signification

aspiration to immediacy + communicative fullness --> simple *oppositional corrective*
a substantialized, corporealized figuration of power vs. EFF make themselves into pure proxies

(pedagogy, a horrible and wrong idea of) “perfect transmission of intention ==> production of consensus”

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

[explosion of accuracies]

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

after death there is:
•rumer
•afterlife
•


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

(Nicholas Shapiro shows in his research on) people in ordinary toxic homes: *their apprehension of conventionally insensible domestic chemical exposure was informed by sustained attention to barely perceptible alteration of somatic function and atmosphere*

(Sloterdijk, Latour, Anderson, Berlant, Stewart, Shapiro) to explain body's relation to the world --> ancillary process of being a living body as:
•becoming sensitive
•embodying atmospheres
•somatically judging environments
•becoming corporeal aware of nonhumans
•protracted low-level encounter with domestic chemicals --accumulate--> *chemical sublime* <== (indistinct and distributed harm of) late industrial material ecologies (=/= enlightenment sublime: spectacle material threat with transcendence of immaterial reason)

silent and invisible microemissions accrue within the envelope of the home --> residents reckon with how their homes are decomposing into them as they decompose in their homes

somatic work of the chemically concerned is enmeshed with an *apprehension of their own bodies that is simultaneously sensuous and epistemological* (~ “bodily knowledge” situated within a process of “bodily reasoning” that tempers not just what one knows but what one becomes with or is estranged from [=/= forensic architecture notion of knowledge])

‘sustained bodily reasoning ==> chemical sublime’
Shapiro + Kim Fortune --> call for ways to differently know and reimagine our ongoing late industrial present, which is marked by deteriorating sociotechnical systems and economic, climate, and infrastructural instability


**somatic susceptibility and epistemic capacity** common to human life --(informed by nonhuman life)--> molecular and relational appreciation --Shapiro--> domestically exposed (the ‘chemically wounded’ attuning to their own effects and affects ~ discerning the barely perceptible constituents of their environment [=/= “deviant agents,” diagnosed, resistors]


toxic = potency --implicate--> vulnerability of a living body
[...]

[...]n purposes

“nonsense” of the “native”

(Baxstrom's work on witch craze [in 16th century] --arguing-->) the problem of establishing proof in reference to the invisible forces has durably shaped our modes of investigating human social and cultural life

[ajayebnameh =/=]
social or cultural anthropology in the 21st century = (human sciences’ contemporary equivalent of the) *old efforts to master the invisible* -->{test ==> felicitous information as to the “true” nature of obscure forces and their operations within empirical real-world contexts}

[ajayeb: (part of the histories of)] systematic, empirical investigation of strange events, singularities, miracles, and other types of staple phenomena ~~--> scientific method and the forms of knowledge that emerged as the foundation of an ensemble of *sciences proper to humans* --> yet has been unable to expel (the unprovable forces) considering the origins and forms of human diversity

[*]anthropology: the desire to credibly master nonsense

[with ajayeb studies i am learing to be] able to argue for a world below the threshold of perception (of medicine, biology, physics --> defined their relation to the nonsensical via a *visibility to come* ==> [embodied in new technologies:] photograph, microscope, telescope)

Deleuze --> when writing of communication between heterogeneous systems --> [we must pay attention to] what is this agent, this force which ensures communication? (<-- role of difference and resemblance)

forensic anthropology

[title]
imaging and imagining technologies


the confusion of the empirical (knowledge traversed by our everyday observations, sensations, passions) and the transcendental (construction of an ideal knower, now it is the queer) in apass

figure of man foundational to the human sciences [did not exist in classical thought ~ ajayeb] --move-to--> empirically institute the experience, witnessing, and testimony of an individual human subject = *the central linking relay between evidence, judgement, and the real* --> the ability of a human being alone to serve as the sole source of evidence in an investigation of “the real” (#feedback) [=/= Gilgamesh]
(in Qazwini's ajayebnameh the testimony of an individual human subject is ambiguous)

(Baxstrom + Foucault) *insist on rooting our form of knowledge in the figure of the human being and the human being alone --yet--> our gaze is continually drawn to a host of beings and phenomena (the witch, the spirit, the shaman, etc.) that cannot properly be enfolded back within this figure*


fabled definition (@apass relationship with defining)

fable of anthropology (a disposition with regard of the interlocutor other as truly “other”) -->
“This goal is, briefly, to grasp the native's point of view, his relation t[...]

[...] /> •...

understandings of what comprises an animal is different in each case.
what should be interested?

“(elaborating on Shepard,) Ingold (1994) suggests that hunter-gatherers generally view the distinction between humans and animals as permeable and easily crossed, unlike what is taken as read in much Western science and philosophy.”

when/how you are persuaded to portray yourself as the relevant ‘expert’ in whatever field?

who are the legitimate spokespersons for animals? once Attar, and now biology sci.
(‘the modern constitution’ is as guilty as mysticism's literacy)

...and that strong human sense of the proper place of animals (which they should occupy physically) --> material-conceptual (double) placement ...(‘scheme of things’ [ajayeb] --> animals supposed to be found in the non-discursive spaces and places of the world) (or on the television)
-Said: ‘imaginative geography’, geographical ‘othering’
-overlappings that we find in telegram social media tehran --> what kinds of ‘animal’ (which animalities) are at stake there in the mobile phone's interface?

In recent years zoos have reinvented themselves as ‘arks’


animals categorically embodied ‘meaty beings,’ and how they are usually “out of place” in the the immediate locality made in Tehran

animals are very good at forging their own beastly places, ‘other’ spaces of that of the human
(this is not about ‘territory’)


who “can” think and act in the world?
who has the “ability” to prompt change?
[my apass research project is in a sence *contemplating the agency* and speculating *relocating qualities* ~-> (re)configuration of the world]

cultural cross-codings has always been constructed between ‘some’ humans and ‘some’ animals

*the “source” of agency, coined in Europe(?) from the sixteenth and seventeenth centuries onwards: self-awareness, intention, thought and language --> properties of “consciousness”
(--> History of Consciousness department in the Humanities Division of the University of California, Santa Cruz. #entities that started to make decision deep in the ocean)
(--> ‘actor-network theory’ ANT; Callon, Law, Latour, Serres. #the key difference here lies in the historical uses and mediations of objects, for humans objects are employed to solidify social bond. ANT sees agency emerging as an effect generated
and performed in configurations of different materials. Latour's work to relocate qualities.)
(--> New Materialism; radical constructionism, all world is a poem)
(--> nonrepresentational theory; Anderson, Harrison, Stewart; critique become vitalist: to watch grass grow, or curious and experimental to face an overbundance of things to be described or imagined; concepts are lived; the subject is present as witness to the moment i[...]

[...]gree of ignorance as essential for life]

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

Ahmed, Sedgwick+Frank @apass
installation of an automatic “anti-” (for example antibiologism, as the unshifting tenet of ‘theory’ --> *routinized antiessentialism*) ==> loss of conceptual access to an entire thought-realm***

immersed in a precritical understanding of the body
the idea of biological construction having been rendered either unintelligible or naive (in feminism --> an avowed interest in the body + a persistent distaste for biological detail)

interested in antiracism and politics of globalization --✕--> crucial dimension of research: body <== “the precarious, accidental, contingent, expedient, striving, dynamic status of life in a messy, complicated, resistant, brute world of materiality, a world regulated by the exigencies, the forces, of space and time” + the conditions under which bodies are encultured, psychologized, given identity, historical location, and agency


*(you can) speak (back) to postmodernism (or democracy etc.), rather than simply speak on (your relationship to) it*

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

Hayward on the role of embodiment in visual cultures + meaning of animals in representation

*to envision animal* = to visualize, to experience, to figure, to image, kinds of species, discourses, representations, institutions, histories, epistemologies + to “imagine possible” a set of material and ethical relationships between species

envisioning:
•a mode of seeing and embodying, of immersing and inhabiting, and of storytelling and theorizing in a techno-scientific world of “eye machine”
•a range of practices for situating the “self” (that tender thing in postmodernity) in places and spaces grown thick with entanglements and consequences; a form both of “to face” and “to perceive”

aesthetic conceptions of beauty and/or ambiguity coupled with biological epistemology and phenomenology of the organisms --in--> in Jean Painleve, Genevieve Hamon, Leni Riefenstahl, David Powell ==construct==> a host of hybridized and enmeshed “encounters”

biosemiotics
zoosemiotics
-humanist fascist aesthetic --> desires to memorialize “beautiful and unpolluted” coral communities
-promise of immediate and luminous experience of “jellyfish otherness”
-systems (of power?) that constitutively produce animal and human actors



human-animal + nonhuman-animal + apparatuses --> co-constitutive in the process of trying to know something about whale ecology

(Hayward > Whitehead:) concrescence: “we” (con prefix) ere- (create) scence (sense, or the “scene,” that which is seen), the present is given by a consense of subjective forms. We are multiple individuals, but there are also multiple [...]

[...]and luminous experience of “jellyfish otherness”
-systems (of power?) that constitutively produce animal and human actors



human-animal + nonhuman-animal + apparatuses --> co-constitutive in the process of trying to know something about whale ecology

(Hayward > Whitehead:) concrescence: “we” (con prefix) ere- (create) scence (sense, or the “scene,” that which is seen), the present is given by a consense of subjective forms. We are multiple individuals, but there are also multiple individual agents of consciousness operant in the construction of the given.
-literal materialization of a dynamic produced

photograph (only one part, a kind of lively limb, of the relay):
(ajayeb style -->) a bumptious and lively event of the processes of whale studies and whales themselves =/= a still record of a whale “that had been there”

the image: a kind of connective tissue, soliciting one's senses

solar light --> brushed up against, even touched, the whale --> translated through the camera --> into film --> into chemical bathes --> into photo-paper --> through my eye as a research assistant

}==> ‘photograph: material, immanent, interconnected’ ==> somatic intelligibility (embodiment) to my own somatic intelligence ~ enacted an encounter between the senses (subjective feelings) and their sense (objective knowledges)

a mutual embodiment <-- shared in the event of the photographic space

experience of these photographs [whale or telegram animal video]: an instance of *sensuous knowledge* --> way we are in some carnal modality able to touch and be touched by the substance of images (to feel a visual atmosphere envelop us)

(Grosz's) [*]perception: flesh's reversibility ~ the flesh touching, seeing, perceiving itself, one fold (provisionally) catching the other in its own self­embrace

human/animal and technological sical sensorium


-Hayward asking how coral communities create representational ruptures in photographs
-Sina asking how telegram virtual communities create representational ruptures in the real of human-animal of Tehran, how the enfleshed animal mobile phone photograph touch us
}--> liveliness of humananimal encounters [the way in which my aesthetic and ethical senses merge with animals in the flesh]
-how people get along in concrete, metamorphic, phantasmatic ways
**sensible and sensual ensembles of materialized capacities and activities that literally and metaphorically make sense of, and to, ourselves and other animals**


(Ihde >) [*]phenomenology: a philosophical style that emphasizes a certain interpretation of human experience and that, in particular, concerns perception and bodily activity --Hayward--> a theoretical practice grounded on the carnal, fleshy, material foundations of subjectivity as it engages an[...]

[...]es specificity*

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

☾
light has illuminated western stories
•God said, let there be light: and there was light
•solar radiance --> refracted planetary atmosphere --> earth's watery matter --> lively forms

•life shaped by ice (Meloy)
•life shaped by dark (Mohaghegh)
•life shaped by animal (Sina)
•life shaped by light (Hayward) --> the invisible medium that makes a knowable world visible; *seeing light: a trope for making visible in a comprehensive form (such that they are real)*

1. *philosophy is photology* : language of philosophy is constituted by metaphors of light
2. sunlight metaphorizes into transcendent light : a heavenly light promising liberation from the flesh


transgenic technologies ==>
jellyfish + GFP (green fluorescent protein)
rhesus monkey
glowing kittens
transgenic pigs
(...animal examples of chimeric and impure)--Hayward--> articulation of carnal interdependence across species boundaries

bacteria, yeast, fungi, plant, fly, human cell

chimeric borderlands of GFP and transgenics
pushing against the perceptual and affective registers of laboratory walls embodied selves, eating practices, living conditions

bio-capitalism
animal industry

(Hayward on) carnality and radiance of naturecultures
(welcoming a) multidisciplinary table of where light is being eaten


visuality as corporality
light = meat

(Latin word) lumen: light, lantern, lamp, clairity, understanding, the central cavity of a hollow structure in an organism or cell

*somalumenal: how might luminosity, effulgence and illumination be about embodiment or corporality? light transubstantiated into flesh and matter (=/= body transcended by the thrills of enlightenment and radiance)*


(my work on telegram bestiary:) *post-animal studies*

[*]tranimal: a synecdochically imagined correspondence written as a portmanteau word --> changes in our understanding of bodily transformation, somatic and sensual synthesis that manifests synecdochically (a figure of speech in which a part is used for the whole or the whole for a part) =/= metaphorically
[Cinderella is synecdochic]

*trans-
ongoing labor of cross-species agents
energetic and material crossings that disrupt bifurcated categories

(Haraway + Hayward) metaplasm قلب حروف: a change in a word (by adding, comitting or transposing its letters, syllables or sounds) that can signify a mistake, stumbling, a troping that makes a difference [in joined natureculture --Haraway--> flesh and signifier, bodies and words, stories and worlds]
to inflect tranimals with its tropic kin of antimeria that turns nouns into verbs, that mobilizes, i[...]

[...]orm (such that they are real)*

1. *philosophy is photology* : language of philosophy is constituted by metaphors of light
2. sunlight metaphorizes into transcendent light : a heavenly light promising liberation from the flesh


transgenic technologies ==>
jellyfish + GFP (green fluorescent protein)
rhesus monkey
glowing kittens
transgenic pigs
(...animal examples of chimeric and impure)--Hayward--> articulation of carnal interdependence across species boundaries

bacteria, yeast, fungi, plant, fly, human cell

chimeric borderlands of GFP and transgenics
pushing against the perceptual and affective registers of laboratory walls embodied selves, eating practices, living conditions

bio-capitalism
animal industry

(Hayward on) carnality and radiance of naturecultures
(welcoming a) multidisciplinary table of where light is being eaten


visuality as corporality
light = meat

(Latin word) lumen: light, lantern, lamp, clairity, understanding, the central cavity of a hollow structure in an organism or cell

*somalumenal: how might luminosity, effulgence and illumination be about embodiment or corporality? light transubstantiated into flesh and matter (=/= body transcended by the thrills of enlightenment and radiance)*


(my work on telegram bestiary:) *post-animal studies*

[*]tranimal: a synecdochically imagined correspondence written as a portmanteau word --> changes in our understanding of bodily transformation, somatic and sensual synthesis that manifests synecdochically (a figure of speech in which a part is used for the whole or the whole for a part) =/= metaphorically
[Cinderella is synecdochic]

*trans-
ongoing labor of cross-species agents
energetic and material crossings that disrupt bifurcated cated categories

(Haraway + Hayward) metaplasm قلب حروف: a change in a word (by adding, comitting or transposing its letters, syllables or sounds) that can signify a mistake, stumbling, a troping that makes a difference [in joined natureculture --Haraway--> flesh and signifier, bodies and words, stories and worlds]
to inflect tranimals with its tropic kin of antimeria that turns nouns into verbs, that mobilizes, incites, activates persons, animals, places, things and ideas

*i am rubied by your attention* : the relay of energies and forces (not just encounter) ==constitute==> ontology

[*]ontology: what there is + what debts we owe to it --> we owe ‘sensation’ to life's ‘insistencies’ : (Hayward arguing) we must respond to *life's insistencies* through sensation (corporal prehensions)
--(?why to write:)--> **noun = transitional responses to relationships** (=/= direct products of environment)
==?==> percussive distribu[...]

[...]of (and overcome) injustice =/= meaningful progressive change

(Occupy movement, protest mentality --> how left-wing purity politics missed the) consequences electoral capacity, electoral politics
(not knowing how to use) liberal institutions

•(thinking with Bruzzone -->) we need more *impure politics* : (reform & compromise mentality)
◦how to transform knowledge into *electoral mobilization* (=/= Pierre's interest in fiction, Leo's interest in a morally pure collective future)
◦how to form alliances with groups whom you have grave doubts
•we don't need *hoard of like-minded people sharing collective anger and disgust at injustice*



postmodern conservatism: empirical / ideological
neoliberal societies: hierarchies tolerated by citizens so long as the economy continues to prosper



something happens ==> together --> social group

entitative: the quality of groupiness, a perception that the people together are a group : *perception of similarity*

interaction based on interdependence ==> social group

[*]group: experience of social identity

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

[*]embody: empathetically experience situations ‘from outside’
(Despret raising the question) *what can we do or what are we allowed to do with our bodies when we are with our animals?*

[*]empathy: bodies that undo and redo each other (reciprocally though not symmetrically) [=/= experiencing with one's own body what the other experiences]
==> possibilites of an embodied communication

feeling & emotions are not alone in making up what life is all about

(Despret researching) ways in which scientists’ bodies are actively being involved while they are observing animals
--Sina--> becoming describable as a body [that moves, walks, bears, diffuses, smells, makes noise, follows, ...]

the old rule of “human bodies shouldn't interfere in a properly scientific research process =/= Lorenz:
...feed his jackdaw with worms
...attempted to teach him to fly
...swam with the geese
--Despret--> Lorenz aimed at elucidating ‘meaning’ in and through the relationships he sustained with the animals he was studying ==>
•he understood for a little goose what mother is/means by letting his own body be caught in that meaning of mother
•he achieved what ‘companionship’ is/means for a jackdaw through being fed and playing with, and flying lessons
•
--> ***what matters in the animal's world = what bears meaning from their point of view***


presence
*if the scientists body is evoked, it is never for itself nor is it named as such --> when seeking the body, we are offered a surprisingly abstract concept: “presence” (under the guise of “presence o[...]

[...]hat moves, walks, bears, diffuses, smells, makes noise, follows, ...]

the old rule of “human bodies shouldn't interfere in a properly scientific research process =/= Lorenz:
...feed his jackdaw with worms
...attempted to teach him to fly
...swam with the geese
--Despret--> Lorenz aimed at elucidating ‘meaning’ in and through the relationships he sustained with the animals he was studying ==>
•he understood for a little goose what mother is/means by letting his own body be caught in that meaning of mother
•he achieved what ‘companionship’ is/means for a jackdaw through being fed and playing with, and flying lessons
•
--> ***what matters in the animal's world = what bears meaning from their point of view***


presence
*if the scientists body is evoked, it is never for itself nor is it named as such --> when seeking the body, we are offered a surprisingly abstract concept: “presence” (under the guise of “presence of the observer”) =/= body
-the presence has no skin, it does not sweat, nor does it eat, sleep, dream, fear --> [*]presence: the perceived body which never acknowledges itself as a body (there is no presence that could be unperceived in one way or in an other) = disembodied body <== *science: the cognitive activity par excellence*
•obliterates the actual presence of the observer --understood--> (in terms of a) convenient and non-problematized split “presence =/= absence”
•(?if these attempts succeed in) reducing the reactivity of the animal to the researcher =/= wildboyz
}--> ‘not having a body' = a mean to preclude (to prevent or to avoid) **the always possible reciprocity of the encounter** [--> aliens are watching us!]
}--> ‘having a body’ discloses and renders perceptible (it is the actual condition of) the very existence of reciprocity of the encounter


how scientists (and artists) construe their presence in the field
*the will to be there without being there*

the problematic “animals react =/= animal don't react”

(also in art -->) ***the regime of distrust of influence*** [--> fable of ‘artist's original interiority']


-*- what does ‘meaningful’ means? -*-

scientists aim to find new methods to focus on those behaviors that are most meaningful to the animals themselves
•Shirly Strum --> I tried to let the baboons themselves “tell” me what was ‘important’ (-how a tree can tell you what is important to them?) -with the baboonss: nothing made them believe that she could be a baboon, so she decided after a while that she could try to urinate while staying among the baboons ==> surprise (=/= trying not to disturb the baboons with her body) --> her body (style, gender, smell, look, anime, etc.) made her enter into relationships with the animals in a new mode, **as a living person (like them) she creates wi[...]

[...]ays possible reciprocity of the encounter** [--> aliens are watching us!]
}--> ‘having a body’ discloses and renders perceptible (it is the actual condition of) the very existence of reciprocity of the encounter


how scientists (and artists) construe their presence in the field
*the will to be there without being there*

the problematic “animals react =/= animal don't react”

(also in art -->) ***the regime of distrust of influence*** [--> fable of ‘artist's original interiority']


-*- what does ‘meaningful’ means? -*-

scientists aim to find new methods to focus on those behaviors that are most meaningful to the animals themselves
•Shirly Strum --> I tried to let the baboons themselves “tell” me what was ‘important’ (-how a tree can tell you what is important to them?) -with the baboonss: nothing made them believe that she could be a baboon, so she decided after a while that she could try to urinate while staying among the baboons ==> surprise (=/= trying not to disturb the baboons with her body) --> her body (style, gender, smell, look, anime, etc.) made her enter into relationships with the animals in a new mode, **as a living person (like them) she creates with them an embodied proximity** (==> embodied affinities) [<-- Jassem is very good at it. this happens as well in apass research environment between artists]
  ---> go to Cinderella taking shower with her birds in the attic {urine, noise, surprise}
•Mark Bekoff --> empathy: possibility of sharing feelings involves mirror neurons (“I can feel the animals”) ~= (an experiment to incorporate) *to embody literally*
+ (Burghardt's) use of *critical anthropomorphism* (=/= Walt Disney) use of various forms of information (natural history, perception, behavioral description, autism, Cinderella, etc.)
•Temple Grandin (expert in factory plants for slaughter systems) --> *empathy without pathos* (for her and the animals) [*]world: a swirling mass of tiny details ~ [animal: autistic savant ~= special form of genius]--> a little plastic water bottle lying harmlessly, a shiny reflection, a yellow jacket hanging on a fence, all those turn out to be in their world *wrong details* (“I think the way animals think”) --> ****animals are visual thinkers**** {*you have to see in details*_ <-- how my work changed visually from abstract to baroque while working on the heritage of zoology. #Cinderella: which part of me animals give new powers and meanings? that part is of other beings}
-{Grandin actively transforms mindless animals into meaningful geniuses ==> gives them new powers ==> changes her}--> *animals (or your ghosts, your subjects) are invited to other modes of being, other relationships, new ways to inhabit the human world + to force human beings to address them differently : **disclosing unexpected affinities ==create==> new identities** (=/= empathy: tourism of the[...]

[...]/= science
•anecdote =/= legitimate date
•nonhuman =/= beliefs (--> you can't attribute belief to animals)


(old dualism of) “Science =/= non-science” ~= “imaginative (autobiographical, emotional) =/= factual (neutral)” ~= “body =/= mind”

(reconstruction of)
what is most meaningful for animal
what is the perspective of animal

*most meaningful: affected perspective* (Despret) =/= (Uexküll) semiological perspective (of the tick)

(looking for or) focus on affected perspective ==Despret==> (reveals) scientists’ bodies in their practice --> what having a body means (for scientists)
+
(Haraway ==>) *bodies are “made” by scientific practices [<-- that is why the question of science is important for whoever dealing or working with the body]
+
(Annemarie ==>) bobies (that are made) are enacted multiples (in medical practice)
+
(Despret -->) how bodies are undoing and redoing themselves through different scientific practices with animals? = *how are bodies growing multiples in diverse practices?* + (its corollary) *how do each of these practices (+ animals they are addressing) enact each of these bodies?*



Mowat's *modest embodiment* ==Despret==> partial affinities [=/= seeing like a wolf or mouse] ==> feeling or being like a wolf or mouse = ****to be taken in a radically non-psychological sense**** (--> Cinderella's non-psychological relation to her birds and mice =/= contemporary western psychological subjects)
---> go to wildboyz, Cinderella under a mouse regimen
-using his body as an experimental tool --> eating a wolf's diet (=/= empathy, romantic dream of being a wolf)
submit his own body to mouse diet
one uses one's own body to meet the needs of another
Mowat used his own body as a means of generating scientific proof, and turned it into an apparatus for validity [--> how do we apply or misapply our body in artistic environment for generating truth and validity? to be careful with the context of generalization]
([artist's and] scientist's) body: a technical device, the witness
(companion story -->) ***to embody the way other beings solve their survival problems***

“the business of curling up to start with, and spinning around after each nap” (was vital to success with a dozing wolf) --> Cinderella's choreography of the morning greeting ceremony

limits of endurance


i feld that i, because of my specific superiority as a member of Homo sapiens, together with my intensive technical training, was entitled to *pride of place* =/= being under observation

Mowat's humour =/= Derrida not laughing at his own worries (concerned with: what distinguish animals from man is their “being naked without knowing it”)
•naked body is a pretext, a pre-text for more philosophy
•Der[...]

[...]r /> +
(Despret -->) how bodies are undoing and redoing themselves through different scientific practices with animals? = *how are bodies growing multiples in diverse practices?* + (its corollary) *how do each of these practices (+ animals they are addressing) enact each of these bodies?*



Mowat's *modest embodiment* ==Despret==> partial affinities [=/= seeing like a wolf or mouse] ==> feeling or being like a wolf or mouse = ****to be taken in a radically non-psychological sense**** (--> Cinderella's non-psychological relation to her birds and mice =/= contemporary western psychological subjects)
---> go to wildboyz, Cinderella under a mouse regimen
-using his body as an experimental tool --> eating a wolf's diet (=/= empathy, romantic dream of being a wolf)
submit his own body to mouse diet
one uses one's own body to meet the needs of another
Mowat used his own body as a means of generating scientific proof, and turned it into an apparatus for validity [--> how do we apply or misapply our body in artistic environment for generating truth and validity? to be careful with the context of generalization]
([artist's and] scientist's) body: a technical device, the witness
(companion story -->) ***to embody the way other beings solve their survival problems***

“the business of curling up to start with, and spinning around after each nap” (was vital to success with a dozing wolf) --> Cinderella's choreography of the morning greeting ceremony

limits of endurance


i feld that i, because of my specific superiority as a member of Homo sapiens, together with my intensive technical training, was entitled to *pride of place* =/= being under observation

Mowat's humour =/= Derrida not laughing at his own worries (concerned with: what distinguish animals from man is their “being naked without knowing it”)
•naked body is a pretext, a pre-text for more philosophy
•Derrida is talking to his colleagues (the very people who are **seeking grandiose difference** <-- also artists) =/= a difference that happens to him
•(my problem with the old tiring trend in philosophy [after encounter with Manning]:) looking for locus of things [a generality] : talk about ‘the figure of the cat' = the allegory for all the cats on the earth (~ the felines that traverses our myths and religions, literature and fables)

***what the cat might actually be doing***
(this is my relation to description, what is the world, that cat, the demon, the mice up to? and use my best imaginative crafts and precise descriptive acts, the answers are many. that is not about definition or defining ‘what is’ the cat that visits me or the spider in my room. i only try to well define concepts and not subjects. my style of presenting my research on ajayeb bestiary: narrating the contingency of the differences that happened[...]

[...]r /> (Despret + Strum + Mowat) using one's body to make the animal respond (--> does this make sense with humans? in apass for example --?--> use your body to make them respond =/= react)
--Haraway--> a “good” (actually bad) scientist = learning to be invisible, like a rock to be unavailable, as if data-collecting humankind were not present, seeing the scene of nature close up through a peep-hole, remove from the subject animals’ social environment
•(ignoring animal social cues) imagining the baboons as seeing somebody off-category, not something --> to be a *nonentity* (tolerated but unobtrusive!!)
--> [*]distance: a cognitive and relational perspective {what kind of distance, aesop fables, Kelile Demne, or ajayeb takes or keeps?}
--> learn to be [*]polite: (in the ethical, political, and epistemological senses of the word) to respond, to acknowledge, to look back, and *to greet*

****politeness ==> transforms you --> in the way of those you are being polite to**** (<--?-- Cinderella's politeness)


companion story --> wich who we share food {=/= with who we cook together <-- generated protocols ==> host, guest, house, power}



[(Annemarie's) praxiographic enquiry into the] (Despret's) embodied practices of knowing [of (Sina's) Cinderella]

**bodies enact =/= perform**
@Chloe, Mette --> (ironic) performing a protocol =/= embodied choreography
(contemporary choreography =/= embodiment)

(scientists and animals are fleshy creatures which are) enacted and enacting through their *embodied choreography* (<-- epistemological, political, ontological)

scientist work [observing, collecting events, meeting them, writing about, inscribing them into theories --> explain why they do what they do] ==> *makes their animals more real*
--Despret--> a praxiographic account [~= feedback] (paying attention to the way scientists embody their work) ==> *make scientists more real*


(for apass) we need praxiography =/= philosophy or theory [of artistic research]
Sina's note taking in apass --> how *practices at some point become words*
#feedback in apass ==make==> artists and their work more real
feedback ==> interpretive version --> coexistence of the various versions of a multiple object (<-- this is localized or *situated* : it happens “there” and nowhere else)
work of observation in apass:
•conceptualizations of short-term social exchanges
•conceptualizations of agency-structure dynamics
•getting closer to the everyday activities of those speaking
•(context driven?) forms of analysis
•methodological repertoire
•note: composites of linguistic repertoires that are embedded in meanings (is part of what happens in apass, not after what happens.) --> a form of digestion***
*praxiography: forms of analysis produced b[...]