[...]ad shall be unclean

every swarming thing that swarms upon the earth is an abomination; it shall not be eaten. whatever goes on its belly, and whatever goes on all fours, it whatever has many feet, will the swarming things that swarm upon the earth, you shall not eat; for they are an abomination.

}-- Douglas--> (intent is) disciplinary =/= doctrinal


...as X ... disposed to believe Y

clean animals
animals animated by other beings (superhuman, demonic, etc.)

the idea of allegorical exegesis --> “each law about forbidden foods has its deep reasons”
“cloven-hoofed animal which part their hooves : all our actions must betray proper ethical distinction and be directed towards righteousness”
“chewing the cud : memory”

old testament
•blessing: source of all good things
•withdrawal of blessing: source of all dangers


xxxxxx


--------[how can we ask without question mark?]
*Lili: through acts/gestures, by creating relationality, and by using reiterational processes
*Esta: my body knows the answer of what i ask, other states of body, what is mark? --> culture/context specific
*Seba: finding the best questions in beauty is about learning pronunciation, the issue of pronunciation instead of questioning (or their merge?), (statement/question) --> doubt --> postponing an immediate answer (“but before you answer...”) --> death of question
*Esteban: not to do: impose an answer, not triggering in the other, expecting an idea of an answer
*Arianna: deep truth involved, process, point of passage (the axis of child traverses your axis) what you say to the other is a container
*Joke: question --to--> invitation, creating the invitation
*Pierre: posting a problem is not about general sentences, it is about finding new relations in the existing fabric of the world, problematizing our intuitions into problems, therefore it is important to have the “?”
*Sina: remembering beyond history

--------[how can we enter something and not enter it at the same time?]
*Thiago: nonpresence <--> thinking, without body?!
*Aela: is about the question of distance and inside/outside, by practicing openness, it is about when something enters ‘you’
*Sana: physical-presence =/= imagination (mental activity ~= dream) {She needs to see Miyazaki}
*Roger: we do it all the time, for him it is more about active engagement, role of feelings, moments that you are pushed out by the entity
*Maarten: no! enter =/= not-enter, research depends on definitions
*Juan: layers of realities are involved, it is about expanding the consciousness by charming it into 90% presences, theater gives a yes/no quality to the question of entering, actors, stage as Dystopie of presence
*Xiri: yes! this is[...]

[...] enter it at the same time?]
*Thiago: nonpresence <--> thinking, without body?!
*Aela: is about the question of distance and inside/outside, by practicing openness, it is about when something enters ‘you’
*Sana: physical-presence =/= imagination (mental activity ~= dream) {She needs to see Miyazaki}
*Roger: we do it all the time, for him it is more about active engagement, role of feelings, moments that you are pushed out by the entity
*Maarten: no! enter =/= not-enter, research depends on definitions
*Juan: layers of realities are involved, it is about expanding the consciousness by charming it into 90% presences, theater gives a yes/no quality to the question of entering, actors, stage as Dystopie of presence
*Xiri: yes! this is often the case, we are between 2nd-chances and being-torn-apart

--------[who told the first joke?]
*Gerald: objects =/= actual life (absurdity and absoluteness of objects) (contemplating about object ==> inner smile)
*Nicolas: father (by not getting it right), not mother (she is not the teller type), the tickler is about lunching possibilities
*Vladimir: God, Vladimir thinks this is theological and therefore axiomatic (that means self-evident or unquestionable)
*Lise: Monty Python, specifically the philosopher soccer video, in the way that makes you laugh
*Elke: God, God said “this is reality” (but we didn't get his joke)
*Steven: some funny kid in the street when he was 5 or 6, and it wasn't really a joke more a story

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

i like to set up a synonym-finder machine
(looking at mutations of ...)
--> the same way that in Attar's birds, one birds trying to convince another birds, is living by a roaming assemblage of assertions, and not really an argument--i am also not having any argument in that sense

the words locked to certain meanings----lock is another word for lure, a key and lock seducing each other, we can check its mechanics


three interesting objects from apass’ environment:
-opposite
-omen
-alarm



in the beginning there was the ... rather than the word ‘or’

(or is about joke, alternatives, and maybes)


a mouthful: as much as a mouth will hold. : a word, name, or phrase that is very long or difficult to say. : something said that has a lot of meaning or importance.



interdisciplinary exploration of


is “what is your project about again?” the question we want to ask in apass? does this question really helps the other? or is it just for you, the questioner?
-how to resist the interference of double click?


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

(in the direction of my research; hastily opening the ontological envelope that saves a[...]

[...] that “meat culture everywhere and always are acts of violation” is wrong

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

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

the politics of it all...

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

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

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

[apass = partners locked into mimesis]

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


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

[...]bility of mistake --(@Setareh; Goda wants to avoid mistakes?)

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

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

[apass = partners locked into mimesis]

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


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


(to talk about...) as an abstraction of seriousness
*if one is really serious about the kinds of interupted and entangled abstractions it is no longer good enough to do it from the Greeks-on*
(not scolding post-colonial but actually) not to let philosophy or science or any other rest of it any longer be that unmarked set of categories
*situated ground: that we know something*
(not to let:) ‘not to know something’ (about living and arriving at the time of human-induced mass-extermination and mass-genocide) as the only way of being a serious person ~ extinguish abstractions in order to act
[learning from Haraway + Latour:] ‘to take something seriousness’ is not to run off and explain it by something else, is to be at risk to it's ‘thisness,’ to be available to it, to be undone and redone at encounter ~-> specualtive thought
(always asking) what other abstractions are to think with?
[my interest in the past -->] your head screwed backward, not so much looking for relevant novelty [and not in search for meaning] (not so of past but also) not quite so enamored of the new and of the creative
-extinctions are happening at extraordinary rate that are difficult to deal with the perceptual apparatuses of the bipedal hominid [for example sayinig ‘everything is collapsing’ is one of those categories, collapsology takes world's doom as a[...]

[...] to a particular group or individual --assume--> the only way for a particular demographic to advance is at the expense of another
•communism which was a form of collectivism (defined itself against privileges) wiped out large populations
•it is easier to politicize gender and sexuality --to--> demand change


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


(to talk about...) as an abstraction of seriousness
*if one is really serious about the kinds of interupted and entangled abstractions it is no longer good enough to do it from the Greeks-on*
(not scolding post-colonial but actually) not to let philosophy or science or any other rest of it any longer be that unmarked set of categories
> *situated ground: that we know something*
(not to let:) ‘not to know something’ (about living and arriving at the time of human-induced mass-extermination and mass-genocide) as the only way of being a serious person ~ extinguish abstractions in order to act
[learning from Haraway + Latour:] ‘to take something seriousness’ is not to run off and explain it by something else, is to be at risk to it's ‘thisness,’ to be available to it, to be undone and redone at encounter ~-> specualtive thought
(always asking) what other abstractions are to think with?
[my interest in the past -->] your head screwed backward, not so much looking for relevant novelty [and not in search for meaning] (not so of past but also) not quite so enamored of the new and of the creative
-extinctions are happening at extraordinary rate that are difficult to deal with the perceptual apparatuses of the bipedal hominid [for example sayinig ‘everything is collapsing’ is one of those categories, collapsology takes world's doom as a priori]
•knowledge =? production of novelty, product of novelty [that you need is not at all novelty for someone else]
•knowledge =? reduction of memory, production of memory
•knowledge =? cat's cradling each other
*what constitute flourishing?* [@collapsology =/= one is seduced, curious, interested, and intrigued ‘to what is going on there?']
[species are often] risks for your ongoingness
(work of) [*]hope: care not being possible out of the place of sheer joy

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

my issues with the commons
i have a problem with the conceptual and material apparatus called ‘resource’ that the commons takes uninterrogated. (and there is no way out of it because commons must take ‘a’ definition of resource for granted--and that makes it too easy to deconstruct). and it is too embedded within a political framework and vocabulary. and political is the most difficult syn[...]

[...]r /> •knowledge =? production of novelty, product of novelty [that you need is not at all novelty for someone else]
•knowledge =? reduction of memory, production of memory
•knowledge =? cat's cradling each other
*what constitute flourishing?* [@collapsology =/= one is seduced, curious, interested, and intrigued ‘to what is going on there?']
[species are often] risks for your ongoingness
(work of) [*]hope: care not being possible out of the place of sheer joy

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

my issues with the commons
i have a problem with the conceptual and material apparatus called ‘resource’ that the commons takes uninterrogated. (and there is no way out of it because commons must take ‘a’ definition of resource for granted--and that makes it too easy to deconstruct). and it is too embedded within a political framework and vocabulary. and political is the most difficult syntax to start with, which won't allow it to access other literacies.
in this way the commons alone cannot properly address issues such as pollution, extinction, human-animal problems, rhetoric, inheritance, logic, alienation, and so on, that need multidisciplinary thinking.

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

•what is ‘feeling’ for Lili
•the issue of ‘similarity’ for Luiza
•zones of connectivity and presubjective singularities for Xiri. (what is even better than justice? kindness?)
(Xiri's use of the implicit element of ‘surprise,’ she is trying to communicate the ‘importance’ of her contents.) (trauma-story almost always silences other stories. -- she is compelled by her own storytelling --> baring witness to the injustice therefore resisting it.) --when the victimized personal veils the larger context of evil, the illusion of the true perpetrators - which is around you. (she stated the danger which is all around us.)
-the issue of immediacy for Xiri
-‘you can only heal what you have wounded’ (Wagner's Parsifal “only the weapon that made it will ever cure the wound.”)--what does this mean for our caring activities? @Sina: is this what you mean by western modern rationalization, and that is why you are thinking within the western/eastern philosophies, is the modern tools the antidote to themselves? (this is too soon for me to say and understand this question.)

what is my ‘will to’?
Xiri wants to abolish injustice?
Thiago, abolish selfishness?
Maarten, abolish weakness?
Aela, abolish entropy?
Sana,
Seba, abolish enmity?
Lili, abolish feelings?
Varinia, abolish obedience? [--what shortens our leash?]
Sina, abolish selfhood?
Vladimir, abolish non-disambiguity?

@Esta, her enunciated need for “framework” [~->? instruments of economization], could she be needing “pathway”: path instead of frame, and way instead of work. [frame =/=? overflowing (--> my method of script?);[...]

[...] the issue of ‘similarity’ for Luiza
•zones of connectivity and presubjective singularities for Xiri. (what is even better than justice? kindness?)
(Xiri's use of the implicit element of ‘surprise,’ she is trying to communicate the ‘importance’ of her contents.) (trauma-story almost always silences other stories. -- she is compelled by her own storytelling --> baring witness to the injustice therefore resisting it.) --when the victimized personal veils the larger context of evil, the illusion of the true perpetrators - which is around you. (she stated the danger which is all around us.)
-the issue of immediacy for Xiri
-‘you can only heal what you have wounded’ (Wagner's Parsifal “only the weapon that made it will ever cure the wound.”)--what does this mean for our caring activities? @Sina: is this what you mean by western modern rationalization, and that is why you are thinking within the western/eastern philosophies, is the modern tools the antidote to themselves? (this is too soon for me to say and understand this question.)

what is my ‘will to’?
Xiri wants to abolish injustice?
Thiago, abolish selfishness?
Maarten, abolish weakness?
Aela, abolish entropy?
Sana,
Seba, abolish enmity?
Lili, abolish feelings?
Varinia, abolish obedience? [--what shortens our leash?]
Sina, abolish selfhood?
Vladimir, abolish non-disambiguity?

@Esta, her enunciated need for “framework” [~->? instruments of economization], could she be needing “pathway”: path instead of frame, and way instead of work. [frame =/=? overflowing (--> my method of script?); identity =/=? avidity, hers;]
interplay of scales
the scale of intimacy, (of skin, of shared heartbeats and feelings)
data and surveillance and seduction
intimacy: still an unpredictable force?
intimacy: the biological spring from which affect drinks?
how Esta's proposal is capable of traversing from the lovers’ bed to the wild embrace of the crowd to the alien touch of networks?

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

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

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

@Varinia: (in her dog video, regarding her engagement with the law and the question of comparative th[...]

[...]sh selfishness?
Maarten, abolish weakness?
Aela, abolish entropy?
Sana,
Seba, abolish enmity?
Lili, abolish feelings?
Varinia, abolish obedience? [--what shortens our leash?]
Sina, abolish selfhood?
Vladimir, abolish non-disambiguity?

@Esta, her enunciated need for “framework” [~->? instruments of economization], could she be needing “pathway”: path instead of frame, and way instead of work. [frame =/=? overflowing (--> my method of script?); identity =/=? avidity, hers;]
interplay of scales
the scale of intimacy, (of skin, of shared heartbeats and feelings)
data and surveillance and seduction
intimacy: still an unpredictable force?
intimacy: the biological spring from which affect drinks?
how Esta's proposal is capable of traversing from the lovers’ bed to the wild embrace of the crowd to the alien touch of networks?

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

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

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

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

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


pre-historic personhood

my work is concerned with connections, mediation and passages.


what you take for granted, is in another [...]

[...]ting to do with the imperative of “communication” or having a “message”)
(is it what Stengers calls to promote an “oikos”?)


[Stengers]
“the *predominance* of the *concern for relevance* (-rabt-) builds up memory and experience”

political ecology : there is NO knowledge that is (both) relevant and detached
political ecology : relevance + attachment = knowledge

art of staging = designing a scene

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

universal knowledge =/= relevant knowledge


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

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

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

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

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


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

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

#workshop, fables
fabl[...]

[...]ir ((epistemological) found) objects
-a ‘generative constraint’ might help opening up paths before you, away from our habits of storytelling
-it is about getting a feeling for the resistances and potentials of language in our (sometimes mundane) descriptive practices, “strange richness of missing the letters we need” (Kenney)

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

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


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

[some fables from science studies:]
•Emily Martin's egg/sperm story --> stories of atomism, distribution of agency, ----[The Egg and the Sperm: How Science Has Constructed a Romance Based on Stereotypical Male-Female Roles]
•Hayward's microscope --> tropes of natural history docu, ----[Enfolded Vision: Refracting The Love Life of the Octopus]
•Kenney/Haraway's origin/nature fable --> the omnipotence of the “origin” story in our descriptions and interactions with the natural world
•Scott Gilbert's immunological “bouncer” story =/= immune systems as inclusive agents of symbiosis
•Lynn Margulis: life (made possible) by “combat” [the survival fable that TV series “The 100” and “Kelile Demne” for instance is based on] --✕--> life by networking
•Haraway: the tale of “organism = a system of division of labor with executive functions” (==> extraction of wealth among us)
•Morton's causality-story
•brain/body story --> where the “move” came from?
•Sina's “standing on the shoulders of giants” --> knowledge/continuity, role of authority and humility in science ----[http://www.sinaseifee.com/giants.html]
•Sina's 3 little pigs --> architecture/tech/ echics of encounter --> story of the center and periphery ----[http://www.sinaseifee.com/pigs.html]
•“weapon fathered man” --> Kubrick's african genesis, technology + prehistory (in postwar period) “tool ==> man”
•
fables popular in apass:
•“a work [of art] should speak for itself”
•“the very last stage of the creative process is purely intuitive” --> when people say they stop “reading” or “knowing” when they want to create artwork
•“look really hard inside yourself for what you really want”
•“you are an agent of change” that means art or thinking or being ought to be operative, active, transformative, (even destructive) and that is “political” [--> this fable in found in language; ---> go to Barthes’ fable of the woodcutter]
•[...]

[...]understanding’ or being clear about the text
•(i understand now that) it is not up to me to tell you how to read
•what makes you write or scratch a text?
(aaaakh... our alphabetico-logical cultures...!)
•if everything is not fundamentally unreadable (snafu) we wouldn't be reading
•it is about to situate the place of a (un)learning
•throwing access to each other (not only in terms of transferential intensity #sss)
•which appetites and tastes are required to fulfill the *ethics and erotics of curiosity* (that I am cultivating and depending on)? flourishing (of my ajayeb) depends on a reading that is more like “mutual partial digestion” (Katie King, Haraway) [=/= “eating well"] the text
•“every time i read X, something new shows up”

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

[...]ion of life. for him sex was a fundamental affirmation of life, christianity's elevation of chastity (including, for example, the story of Mary's virginal pregnancy) is counter to the natural instincts of humanity, and therefore a contradiction of “natural values”.)
•promise of an illustrious afterlife
•desires would be the product of stimuli rather than the product of “will”


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

to *adjust (our/your) question


...to have no positive knowledge claim


appropriate ~= zabt o rabt ضبط و ربط



(let me) fast forward to ‘nowhere’
chance-encounters in your/my efforts of ecriture (in San'an text)
(it is not possible to choreograph chance, we can only report our encounters with it)

like San'an, many of us are facing an anxiety of withdrawal from the world that claims us

i am interested in to-link to that which (suddenly) interupts my reveries


to sharpen my capacity for incapacitation


not being afraid to look into many archives of mistakes (ajayeb?)


‘will to scientific knowledge’



[Latour]

(certain) seperation is political :
when we are talking about (re)uniting curricula, linking fields in humanities we are talking about not bringing together two things that are separate, but actually interogating the distribution of power, a way a distributing agancies.

it is not a “common world” to discover, it is a common world to be produced. and the only way to produce it, is through the usual tools that we have in our disposal, which are comming from ‘representation.’

compose =/= discover/uncover

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

enterances in ajayeb work, already generating form:
*-fire (talking fire)
*-darkness (Zolmat)
*-jinn
*-veil (pardeh)--purity of veiled origin; hidden matrix of signification (on which theoretical work secretly depends?) [also reading the secularization and the lifting of the veil, prostitute paradigm, conceptions of love,]
*-wall(?)


“truth” is veild, according to middle east (truth <----> pardeh پرده)
begining with the Greeks’ notion of basanos, relating truth to torture, a strictly constellated confluence of acts equally troubling to Aristotle and Aristophanes.

•pardeh-dari پرده دری, hajeb حاجب (after neghabat نقابت is hejabat حجابت [Beyhaghi]) (Nezami in Leili-o-majnun: haft arus-e noh emari bar dargah-e to be pardeh-dari (هفت عروس نو عماری بر درگه تو به پرده داری) --?--> angelology) =/=? hayula(ism) هیولی


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

hermeneutics regarding Jurisprudence (feghh فقه) and theology de[...]

[...]bout (re)uniting curricula, linking fields in humanities we are talking about not bringing together two things that are separate, but actually interogating the distribution of power, a way a distributing agancies.

it is not a “common world” to discover, it is a common world to be produced. and the only way to produce it, is through the usual tools that we have in our disposal, which are comming from ‘representation.’

compose =/= discover/uncover

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

enterances in ajayeb work, already generating form:
*-fire (talking fire)
*-darkness (Zolmat)
*-jinn
*-veil (pardeh)--purity of veiled origin; hidden matrix of signification (on which theoretical work secretly depends?) [also reading the secularization and the lifting of the veil, prostitute paradigm, conceptions of love,]
*-wall(?)


“truth” is veild, according to middle east (truth <----> pardeh پرده)
> begining with the Greeks’ notion of basanos, relating truth to torture, a strictly constellated confluence of acts equally troubling to Aristotle and Aristophanes.

•pardeh-dari پرده دری, hajeb حاجب (after neghabat نقابت is hejabat حجابت [Beyhaghi]) (Nezami in Leili-o-majnun: haft arus-e noh emari bar dargah-e to be pardeh-dari (هفت عروس نو عماری بر درگه تو به پرده داری) --?--> angelology) =/=? hayula(ism) هیولی


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

hermeneutics regarding Jurisprudence (feghh فقه) and theology depend on the exegesis of written texts. in both cases the process of understanding is an act of application(?)

interpretation/hermenutice =/= commons/collectivsm
(ta'vil bayad dar jahate axe harkate jami va moshtarek bashad)

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

(Kohn) to “provincialize” (rustayi روستایی, bastani باستانی?) language in order to make room for another kind of thought--a kind of thought that is more capacious, one that holds and sustains the human.

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

my point in animals without narrative is that the apparatus that is working for Attar in his representation of birds is the same as the narrative tool in the so-called wildlife documentary series which produces nature----a sy.


transcend is about traveling from trope to truth (obur az majaz be haghighat عبور از مجاز به حقیقت,) from virtual to concret. but that is too easily reversible. my point is to stop this transference and interrogate the trope itself. my work in amazon book is about this ‘majaz’ (مجاز), an interface that we are inhabiting.

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

the main (and only?) question in my work/performance/lecture is ‘when’ the gift will/have pass(ed) on.
--> holding on to, preparing, strategizing, spontaneity, and so on

-my texture a[...]

[...] fall back on the conceptual priority of the subject, agency, or identity as the grounds --✕--> we have politics because we have no ground

(Keenan suggests) “deconstruction” is not offered here as an antiauthoritarian discourse, an attack on grounds, but as an attempt to think about this removal as the condition of any (political) action }~= democracy


(according to fables) responsibility begins in the bad example (--> the concept of conflict ~=> the ethics and politics of responsibility)

the classical subject --(the passage through the bad example)--> installed in its stance of responsibility and the safety of identity

“What is at stake in the fable is, more than anything else, the interpretation and practice of responsibility-our exposure to calls, others, and the names with which we are constituted and which put us in question.” (Keenan)

...practical effectivity of literature


•(for Annabel Patterson:) fable accomplishes a speculative Aufhebung : “[...]the role of metaphor is to mediate between human consciousness and human survival, [and here] the mind recognizes rock bottom, the irreducibly material, by rejoining the animals, one of whom is the human body”
•(for Louis Marin:) fable: uncertain model of praxis
•(for Hegel: Aesop was a “misshapen humpbacked slave” and his) fable = witty, witzig =/= spirit, depth, insight, vision, poetry, philosophy
•(for Lacoue-Labarthe:) fable: a name for the mutual implication and asymmetrical interference of literature with philosophy --> the suspension of the self-evidence of the categories “literature” and “philosophy” in order to use each to put the identity of the other into question. [to think the world as fable. Is it possible?]
•(for Keenan:) fable superimposes the relation of an address to the other in its singularity and in its anonymity (responsibility for the other) onto the traditional predicament of an articulation between the order of knowledge or cognition and that of action, ethico-political or otherwise --> *responsibility in Western philosophical tradition: an address to an other*


...the rhetorical event of a comparison

#[the theater of example]

the threat of example's excess

fables of responsibility ==securing==> *the morality of the subject who means* (who can they finally be submitted to the logic of an *evaluative destination*)

(Derrida's) mode of enunciation and the literary vehicle entrusted with its exemplification :
*[...]it is sufficient to introduce, into the fold of speech acts, a few wolves of the type (“undecidability” or “unconscious”) for the shepherd to lose track of his sheep: one is no longer certain where to find the identity of the “speaker” or the “hearer,” ... where to find the identity of an intention.*
--?--> wolf in sheep's clothing [--[...]

[...]n sheep's clothing [--> also the problem/fantasy of the “integration” project (as the space of ethics and politics)~~>(“Appearances are deceptive” ==> exclusion of the parasite + identification of subjects as the task of responsibility); -what would mean for the German shepherd to lose track of his sheeps? (to go from) the fable of *the oriented sheepfold* --to--> the fable of *losing count*]
-the vexed relation between sheep and wolf, slave and master


(my work is all about: can we please look at) some *other* “interior of the system”
(system never has only one interior [=/= conspiracy: system's singular interiority])


•literature's (ir)responsibility to philosophy
•art's (ir)responsibility to journalism


Xanthus the philosopher decides to buy a slave, goes with his students to the slave market, and encounters the disfigured Phrygian Aesop (recently granted the power of speech after assisting a priestess of Isis and hence become too difficult for his previous master to handle). Their first exchange is exemplary, as the philosopher interrogates the slave in order to determine whether “he knows anything,” receives equivocal replies, and finishes by asking, “Do you want me to buy you?”
(Life of Aesop)


thinking fable as language : ‘Fabula’ (narration or account), derived as it is from the Latin root ‘fari’ (to speak) and linked to the Greek ‘phanai’ (to speak or to say), finally implies nothing other than language as such

Mythos and logos, the one is not more true (or more false, deceptive, fictive, etc.) than the other


(to open to the) alterity of an ungoverned figuration


hero: the adventure of an identification that can only occur in the comparison that a fable demands

Horace's dictum: “with a change of names, the fable is told about you” (a trans-subjective movement, a tropological system =/= metaphor or metonymy, )


(for Nietzsche) responsibility: the ability to make and keep one's promises = being (able to be) held accountable (not simply by another but) already in advance by and for oneself : to answer to oneself in the place of the other
•Nietzsche's fable of morality: lamb & bird of prey (“eagle is evil ==> lambs are good”)--> [the fable enacts the victory:] the lambs triumph in gaining the ability (and then the right) to hold the birds of prey responsible for doing what they do, for being what they are --claim--> the strong man is fee to be weak, the bird of prey free to be a lamb ==gain==> the right to make the bird of prey accountable for being a bird of prey
◦morality: a fabulous narrative about language and how it gets turned (with animals playing its roles) into an ethical and epistemological system --> the medium of the exploitation (*putting to use or the abuse of a linguistic possibility*)
◦the [...]

[...] & that of action (take a lamb / as
the eagle did)
•don't compare yourself with what you are not --> reader is you are asked to compare yourself with the raven (follow its example)
}--> fable of responsibility = a story about language and its danger (raven may be like an eagle, but it is not an eagle) --> “know your name + do what it say” --> *responsibility: the response to the name by which one is called* --> the idea that *supposing & knowing* belong to one and the same homogeneous system*

(the art of) supposition: disguise, false knowledge (guess, surmise, premise)
--or--> ungovernable and unrecoverable force of *positing* (position or imposition)

(generation of the pure name in fable of the eagle and the raven:)
non-symmetrical movement from nameless bird --to--> birdless name (a wingless not-eagle)


why fables are important? <-- others and their traces are always working within us already, in a space and time that cannot be reduced to that of consciousness (or self-presence)
•profound linguistic or rhetorical complexity of the call and response

the raven resounds (it does not just start talking) <-- it starts with the others: eagle, wether, shepherd

Lacoue­ Labarthe --> identification (the self-becoming of the Self) has always been thought as a matter of examples (+ their appropriation) --raven--> (paradoxical impera­tive) “imitate me in order to be what you are”

wolf in sheep's clothing (Aesop's “A Case of Mistaken Identity”)
a wolf thought that by disguising himself he could get plenty to eat. Putting on a sheep­ skin to trick the shepherd, he joined the flock at grass without being discovered. At nightfall the shepherd shut him with the sheep in the fold and made fast all round by blocking the entrance. Then, feeling hungry, he picked up his knife and slaughtered an animal for his supper. It happened to be the wolf.
-->  a character that does not belong to one can involve one in serious trouble



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

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

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

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

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

calculable & programmable law

responsibility: (names the predicame[...]

[...]o] offer an allegory-of unreading, of reading without limits and without guarantees --> freedom

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

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

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

calculable & programmable law

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

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

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

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

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

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


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

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

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

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

Blanchot's interpretation of the Terror +[...]

[...]freed from negotiation.” [...]  “Now, it seems that everything could be solved by the universal application of mediation, participation, collaboration processes [etc.] without realizing that this entails the strengthening of the social cohesion model that becomes universally inclusive.” [...] “The monologue, in this perspective, is a form of silence, a way of disappearing. One way to cease-to-be when we are forced to be.” (Peran)

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

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

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


(capital gains concentrated in the) self-production of identity
subject occupied full time in itself
the logic of “do it yourself”
obliged to make countless small decisions in all areas
subject mixed up with the incessant movement of its own alienation
*hyperactive life --> poverty of experience*
the banality of “i Like”
(maybe interesting for Laura:) *fatigue* is the instant of stopping and pausing [of exercise and beautification] (after which a diversity might be possible)
[*]fatigue: capable tiredness --> politicizes discomfort
[#we are in the domain of passivity, disappearance and inaction]
Peran suggests a position of fatigue where (some time ago) was occupied by melancholy
“is this not a mere “don't like” that re-enters the spiral of our mobilization?”
“we are left with just the option of making an index, a collection of trails and marks [...]”
sunday: “empty time that forces us to fill it through apparently free decisions that, if they are resolved properly, please us and re-constitute us” (Peran)
*freedom of action for self-realization* --> unstoppable egocentric machine
space of perpetual connection (@ERG's website)
(pseudo) communicative action by way of technological devices --> camouflaged alienation
“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’) o[...]

[...]s, 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 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:)
“S[...]

[...]rse 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 of vision, as the ‘highest’ technoscientific visualizations.”

“Science has been utopian and visionary from the start; that is one reason “we” need it.” (what does she mean?)
(“utopian,” “visionary,” other old metaphors in science)

“Passionate detachment” requires more than ‘acknowledged and self-critical’ partiality. (being acknowledged and self-critical is not enough!!! how deos she mean?)
-‘perspective’ can never be known in advance --> knowledge potent for constructing worlds less organized by axes[...]

[...]ities that are simultaneously salient and incapable of being squashed into isomorphic slots or cumulative lists. --> The knowing self is partial in all its guises, never finished, never whole, stitched together imperfectly [that is what she means by ‘split'] ==>  join with another (without claiming to ‘be’ another) {if i am allowed i can map Haraway's “partiality” onto Deleuze's “schizophrenia” --> Greek for “split brain”  (Jonathan Crary, Suspensions of Perception, p.38) According to Beuler, “The selectivity which normal attention exercises among the sensory impressions can be reduced to zero, so that almost anything is recorded that reaches the senses.” One reason for the admiration which Deleuze and Guattari professed for the schizophrenic must lie in this complete lack of inhibition (khod-dari خودداری).} (a confusion of voice and sight, rather than clear and distinct ideas) ([to discriminate message types:] *to confuse literal and metaphorical*, the schizophrenic either does not know his responses are metaphorical or cannot say so --> the breakdown of his metacommunicative system : does not know what kind of message a message is --> the schizophrenic looks for hidden meanings everywhere (assuming everything is metaphorical) or tend to accept every message as literal) (Lacan: schizophrenia: breakdown in the signifying chain of language ==> experience of pure material signifiers [<-- personal identity is the effect of the temporal unification of past and future with one's present, and that such an active temporal unification is itself a function of language.])

subjectivity is multidimensional ==> vision is multidimensional

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

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

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

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

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

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


she suggests to be accountable for (the intr[...]

[...]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.

“Technologies are always compound. They are composed of diverse agents of interpretation, agents of recording, and agents for directing and multiplying relational action. These agents can be human beings or parts of human beings, other organisms in part or whole, machines of many kinds, or other sorts of entrained things made to work in the technological compound of conjoined forces.”

*animal (in zoological terminology) : a composite of individual organisms, an enclosure of zoons, a company of critters infolded into a one.

compound = composite + enclosure
camera: the technological eye --> philosophical pretension and self-certainty (=/= Christian's camera)
-- camera as a black-box with which to register pictures of the outside world in a representational, mentalist semiotic economy

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

Vinciane Despret, Isabelle Stengers, Bruno Latour, ”_how they make their subjects interesting,_“
to tell the story of their work of “translation,” of inventi[...]

[...]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.

“Technologies are always compound. They are composed of diverse agents of interpretation, agents of recording, and agents for directing and multiplying relational action. These agents can be human beings or parts of human beings, other organisms in part or whole, machines of many kinds, or other sorts of entrained things made to work in the technological compound of conjoined forces.”

*animal (in zoological terminology) : a composite of individual organisms, an enclosure of zoons, a company of critters infolded into a one.

compound = composite + enclosure
camera: the technological eye --> philosophical pretension and self-certainty (=/= Christian's camera)
-- camera as a black-box with which to register pictures of the outside world in a representational, mentalist semiotic economy

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

Vinciane Despret, Isabelle Stengers, Bruno Latour, ”_how they make their subjects interesting,_“
to tell the story of their work of “translation,” of invention.

refuse all loyalty to my homeland and its values

*heuristic: mental shortcuts that ease the cognitive load of making a problem solvable
-trading optimality, completeness, accuracy, or precision for speed
it may *approximate* the exact solution for the problem
-enabling discover or learn something for themselves. (a ‘hands-on’ or interactive heuristic approach to learning)
[(in computing:) proceeding to a solution by trial and error or by rules that are only loosely defined.]
-from Greek heuriskein ‘find’

[...]

[...]ngs 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.

“Technologies are always compound. They are composed of diverse agents of interpretation, agents of recording, and agents for directing and multiplying relational action. These agents can be human beings or parts of human beings, other organisms in part or whole, machines of many kinds, or other sorts of entrained things made to work in the technological compound of conjoined forces.”

*animal (in zoological terminology) : a composite of individual organisms, an enclosure of zoons, a company of critters infolded into a one.

compound = composite + enclosure
camera: the technological eye --> philosophical pretension and self-certainty (=/= Christian's camera)
-- camera as a black-box with which to register pictures of the outside world in a representational, mentalist semiotic economy

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

Vinciane Despret, Isabelle Stengers, Bruno Latour, ”_how they make their subjects interesting,_“
to tell the story of their work of “translation,” of invention.

refuse all loyalty to my homeland and its values

*heuristic: mental shortcuts that ease the cognitive load of making a problem solvable
-trading optimality, completeness, accuracy, or precision for speed
it may *approximate* the exact solution for the problem
-enabling discover or learn something for themselves. (a ‘hands-on’ or interactive heuristic approach to learning)
[(in computing:) proceeding to a solution by trial and error or by rules that are only loosely defined.]
-from Greek heuriskein ‘find'r />
*contingent: using it with ‘historical’ always produces interesting ways --> contingency relates to a nonteleological [a doctrine explaining phenomena by their ends or purpose] and nonhierarchical multiplicity [when i say ‘dud’ and ‘cauphing’ and interupting ‘tracing’ i am asking for contingent modes of relating and thinking. conceptualizing in terms of the origin of the dud is about hierarchical relations between past and present and teleological reasoning: where is the dud coming from. when i asked ‘who told the first joke?’ i am trying to break and joke with teleological mode of thinking about the category of ‘origin’.]
contingent =/=? analytical (--> Contingent propositions depend on some kind of epistemoloy, whereas analytic propositions are true without regard to any facts about which they speak.) {telos, ghasd قصد --> ghaside قصیده =/= ghazal غزل}
-We call a truth contingent when it *depends on something else* for its truth.
-has to [...]

[...]ial world
contingent ~= containing-agent*
--Tautological propositions, which must be true
--Contradictions which must necessarily be untrue
--possible propositions

never use contingency alone in a sentence --> historical contingency
never use understanding stand alon in a sentence --> better understanding {'better’ opens situatedness, for who and how “better,” etc.}

Rhetoric <--(has to do with)--> Contingent
Aristotle (in his work on rhetoric) was against contingency. He believed that the “unavoidable and potentially unmanageable presence of multiple possibilities” or the complex nature of decisions creates and invites rhetoric. (=/= Plato saw rhetoric as pure deceit [gul] and positioned it in politics. [you can see he is terrified by the death of his teacher and mentor Socrates by civility.])
rhetoric --> contigent --> epistemic: individuals make meaning through language and determine what constitutes truth


*ontology is death-dealing <--** terrible violence is directed to the non-existing, the never having existed
---> go to the root of exist --> which modes of existence deserve our curiosity?

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

(i found a word for it,) my register of @Lili's scream: i see it as ‘nonlaughter’(?)
(*proposal: there is a number when we dial we can listen to her scream on the phone.) (--> stream, technology, tele-, telephone, called,)
(for her) thinking =? knowing (sending =/= receiving)
(an SF scenario:) imagine and describe an alien world where its populace don't practice ‘knowing.’
**scream ==makes==> witnesses**
(fighting ==makes==> coordination)

از طلبکار به طلبه (az talabkar be talabe)
///the (symbolic?) structuration of ‘demand’ in Lili's presentation:
the ‘sujet supposé savoir’ #sss [~= Pir, (پیر always a paternal metaphor?) that Other whom you ‘call’ who holds (your) deepest truth ---> go to the metaphorology of “depth” =/= “skimming the surface"] (installed by Lacan) is a subject who is in a functional position and one presumes that this subject knows or retains or holds the knowledge (even vital and secret knowledge [this is knowledge-talabkar طلبکار]) that you want. this subject is functionally established. one of the laws of our encounter is that puts the speaker/writer/analyst/text/etc in the (even architectural) center: the subject-supposed-to-know in Lacan the analyst who sits there as a tower of knowledge that mostly withholds what s/he knows --> transferencial energy directed towards him/her --> drama of identification (--> break-out of narcissism for Freud)
-it is one of the (negative?) binding transferential contracts in relation to “the one who speaks”
[*anthropology of exchange* --> Transference: (for Lacan) Each time a man speaks to another in an authentic and full manner, there is, in the true sense, [...]

[...]he “unavoidable and potentially unmanageable presence of multiple possibilities” or the complex nature of decisions creates and invites rhetoric. (=/= Plato saw rhetoric as pure deceit [gul] and positioned it in politics. [you can see he is terrified by the death of his teacher and mentor Socrates by civility.])
rhetoric --> contigent --> epistemic: individuals make meaning through language and determine what constitutes truth


*ontology is death-dealing <--** terrible violence is directed to the non-existing, the never having existed
---> go to the root of exist --> which modes of existence deserve our curiosity?

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

(i found a word for it,) my register of @Lili's scream: i see it as ‘nonlaughter’(?)
(*proposal: there is a number when we dial we can listen to her scream on the phone.) (--> stream, technology, tele-, telephone, called,)
(for her) thinking =? knowing (sending =/= receiving)
(an SF scenario:) imagine and describe an alien world where its populace don't practice ‘knowing.’
**scream ==makes==> witnesses**
(fighting ==makes==> coordination)

از طلبکار به طلبه (az talabkar be talabe)
///the (symbolic?) structuration of ‘demand’ in Lili's presentation:
the ‘sujet supposé savoir’ #sss [~= Pir, (پیر always a paternal metaphor?) that Other whom you ‘call’ who holds (your) deepest truth ---> go to the metaphorology of “depth” =/= “skimming the surface"] (installed by Lacan) is a subject who is in a functional position and one presumes that this subject knows or retains or holds the knowledge (even vital and secret knowledge [this is knowledge-talabkar طلبکار]) that you want. this subject is functionally established. one of the laws of our encounter is that puts the speaker/writer/analyst/text/etc in the (even architectural) center: the subject-supposed-to-know in Lacan the analyst who sits there as a tower of knowledge that mostly withholds what s/he knows --> transferencial energy directed towards him/her --> drama of identification (--> break-out of narcissism for Freud)
-it is one of the (negative?) binding transferential contracts in relation to “the one who speaks”
[*anthropology of exchange* --> Transference: (for Lacan) Each time a man speaks to another in an authentic and full manner, there is, in the true sense, transference, symbolic transference--something which takes place which changes the nature of the two beings present. Later Lacan articulates the transference in sujet supposé savoir: transference is the attribution of knowledge to the Other, the supposition that the Other is a subject who knows. “As soon as the subject who is supposed to know exists *somewhere* ... there is transference.” (Seminar II, p. 232)] [keep in mind that the (post?-)Lacanian theory is about the *constitutive function of the signifier in relation to the subject.* ... for Lacan, What[...]

[...] takes place which changes the nature of the two beings present. Later Lacan articulates the transference in sujet supposé savoir: transference is the attribution of knowledge to the Other, the supposition that the Other is a subject who knows. “As soon as the subject who is supposed to know exists *somewhere* ... there is transference.” (Seminar II, p. 232)] [keep in mind that the (post?-)Lacanian theory is about the *constitutive function of the signifier in relation to the subject.* ... for Lacan, What constitutes the person and its identity can now be read as a text, and the author is not the subject, but the trajectory of the signifiers that represent the desire of those who occupy the place of the Other for the subject.]
[about demand: Lacan argues that “demand constitutes the Other as already possessing the ‘privilege’ of satisfying needs,” and that indeed the child's biological needs are themselves altered by “the condition that is imposed on him by the existence of the discourse, to make his need pass through the defiles of the signifier.” ... The subject has never done anything other than demand (since infancy!)] *{question =/= demand}*--> Nancy
[the use of ‘transference’ is a way to account for the relationship between readers and texts. the emphasis in Lacan is on the ‘supposed’ and not on the ‘know’. reader assume that the text ‘knows’. --> What Lacan's understanding of the transference points to is the fact that we must see the meaning of any given text not within the text itself but as a reconstruction between reader and text.] [in other words, transference is ‘a representation of the past’ (childhood and etc.) to the present ]
a pedagogical problem: rapid transferencial turn-over: going from one subject-supposed-to-know to the other (=/= reading)
#the kind of ‘reading’ [encountering a text, artwork, speech, ourselves, etc.] that i am talking about is not about this transferencial energy directed towards the sujet supposé savoir. this practice of reading is about to read together and to read ourselves reading, to an atentiveness to the way we are reading or not-reading or aberating from something and be attentive to that disjunctive movement. what is noncomprehension? what is the experience of nonunderstanding? and so on.
*so, the sujet supposé savoir is the one who is structurally is in a place of knowledge which doesn't mean that subject is filled with or capable of offering power and knowledge but that is projected onto that functional space* --> sujet supposé savoir is merely a spatial determination? (is this related to my interventive lectures in outdoor spaces in order to sabotage ‘what is meant to signify’ of the spatial subject-supposed-to-know?)
*sss is one of the effects of subjectivity -- a scenography of transferential intensity : we credit that being with having knowledge to transmit, and then we might also resist it.
---let's get out of this space!!?
--%--in t[...]

[...]n that subject is filled with or capable of offering power and knowledge but that is projected onto that functional space* --> sujet supposé savoir is merely a spatial determination? (is this related to my interventive lectures in outdoor spaces in order to sabotage ‘what is meant to signify’ of the spatial subject-supposed-to-know?)
*sss is one of the effects of subjectivity -- a scenography of transferential intensity : we credit that being with having knowledge to transmit, and then we might also resist it.
---let's get out of this space!!?
--%--in the context of pedagogy, students regards their teachers as sujet supposé savoir, that they should know something. “it is the students’ supposition of an art teacher who knows, who have something more than they have in themselves, that initiates the teaching and learning process rather than the art knowledge actually possessed by the teacher” (Hetrick). (is it the architectural gesture--the center--that produces the recognition of the teacher situated as “teacher”?) *“the spell of transference.” / at some point some gesture is taken by the student as a sign of hidden knowledge and intention ==> transference establishing itself; (how education [and love?] without transference looks like? --> Julia Scher, ‘post-Lacanian’ means that you don't ‘transfer’ to the art-work nor artist?) #harem
parent --> teacher }==> what the student may desire to become (be recognized as)

according to Lacan there is no Pir (~ [often iconoclast] leader, guide, mentor, expert, knowing-hero, enlightener, rescuer knowing more, knowledgeable pedagogue/leader “helping students find themselves,” [--> my failed transference with Saeed])

-->? Discourse of the University* : (systematic) “knowledge” replaces the nonsensical master signifier in the dominant commanding position; in this case the sujet supposé savoir dependent upon the related knowledge of the Other, or the source of “the field” (journals, textbooks, etc.) ==> (arbiter of) truth --> *to transmit knowledge that is already given*
[account of knowledge as a symbolic and social network, master signifier, subject positions,]

in placing the ‘text’ in the position of a knowing expert who has the answers Lili (unconsciously) idealizes her texts, and of course when her ‘texts’ fail to satisfy that desire she demands ‘knowing’ from them in terms of cynicism: the feeling or state of being annoyed and irritated by them. this is a structural space of ‘demand’ in her. for me what is at stake is the complex nature of encounter between Lili and text which takes place in an artificial space--a symbolic space--that is at the same time the place of real investments of her desires.

@Lili; is she (like the rest of us humans) looking for an active, predatory art?--> if non-communicative non-predatory non-kinetic [a common issue with the students of choreography and dance in general] art exists o[...]

[...] the recognition of the teacher situated as “teacher”?) *“the spell of transference.” / at some point some gesture is taken by the student as a sign of hidden knowledge and intention ==> transference establishing itself; (how education [and love?] without transference looks like? --> Julia Scher, ‘post-Lacanian’ means that you don't ‘transfer’ to the art-work nor artist?) #harem
parent --> teacher }==> what the student may desire to become (be recognized as)

according to Lacan there is no Pir (~ [often iconoclast] leader, guide, mentor, expert, knowing-hero, enlightener, rescuer knowing more, knowledgeable pedagogue/leader “helping students find themselves,” [--> my failed transference with Saeed])

-->? Discourse of the University* : (systematic) “knowledge” replaces the nonsensical master signifier in the dominant commanding position; in this case the sujet supposé savoir dependent upon the related knowledge of the Other, or the source of “the field” (journals, textbooks, etc.) ==> (arbiter of) truth --> *to transmit knowledge that is already given*
[account of knowledge as a symbolic and social network, master signifier, subject positions,]

in placing the ‘text’ in the position of a knowing expert who has the answers Lili (unconsciously) idealizes her texts, and of course when her ‘texts’ fail to satisfy that desire she demands ‘knowing’ from them in terms of cynicism: the feeling or state of being annoyed and irritated by them. this is a structural space of ‘demand’ in her. for me what is at stake is the complex nature of encounter between Lili and text which takes place in an artificial space--a symbolic space--that is at the same time the place of real investments of her desires.

@Lili; is she (like the rest of us humans) looking for an active, predatory art?--> if non-communicative non-predatory non-kinetic [a common issue with the students of choreography and dance in general] art exists on this planet, then we kave to learn “a whole new set of techniques.” [La Guin])
--the meter of ‘time,’ that essential element, matrix and measure of all kown human-animal art. what if there are other metric systems? art not as an action, but a reaction? not a communication, but a reception? {---> go to my master studies Diploma on passivity in performance art}

registers of ‘complaining’ in Lili's discourse. she is a bit like Faust groaning, habe nun akhhhhh Philosophie and so on. [Ach of Sprache] (that they have done all the work, they know everything, yet know not enough of what really counts [that is the incalculable] and cannot be satisfied by mere knowledge available to them. nor can they keep themselves to the restricted zone of knowability.) so Lili saying “it's too much!” is a hysteric wish for ‘more’?
(Freudian joke, the hysteric says: “is that all there is!?” while the neurotic says: “this is too much!” to the same object)

*it wa[...]

[...] exists on this planet, then we kave to learn “a whole new set of techniques.” [La Guin])
--the meter of ‘time,’ that essential element, matrix and measure of all kown human-animal art. what if there are other metric systems? art not as an action, but a reaction? not a communication, but a reception? {---> go to my master studies Diploma on passivity in performance art}

registers of ‘complaining’ in Lili's discourse. she is a bit like Faust groaning, habe nun akhhhhh Philosophie and so on. [Ach of Sprache] (that they have done all the work, they know everything, yet know not enough of what really counts [that is the incalculable] and cannot be satisfied by mere knowledge available to them. nor can they keep themselves to the restricted zone of knowability.) so Lili saying “it's too much!” is a hysteric wish for ‘more’?
(Freudian joke, the hysteric says: “is that all there is!?” while the neurotic says: “this is too much!” to the same object)

*it was Goethe who invented the super-ego, Freud named it following him.

the all-or-nothing view: i know everything or i don't know anything, problem of scale, problem of ‘circumstance = reality’
kloAQsvRkFY

the figure of the ‘accuser’ and the ‘straight talk’ for Lili
...that people would speak literally
going from proof to proof, from necessity to necessity --> displacement (=/= detour)

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

@Ekaterina; some other characters:
the jealous, the impassioned, the persecutive, the erotomaniacal,
complainer,
noble trader,

Ekaterina, asking for a fabulation? her totem making
Deleuzian fabulation: a fiction made up by people in their process of becoming
making up stories
=/= fiction (on its own; it doesn't have that relation with becoming)

in which conditions the paranoid mother occupies the failiour of the good-enough mother?
what constitutes the ‘site’ for her mother?

(how her) characters keep running into eachother in a universe of recursive connection (?)



**stories that collect stories** [~= archive? my hypertext? a mouth full? --this specific type of stories are dangerously worlders, usually handed to the unquestioned mechanics of universalized taxonomy and 17th century rigs: encyclopedic homogeneous tables. they are the stuff of ajayeb]
(mispronounced by Ekaterina > captured by Hoda > found object by Sina)

stories that collect other stories:
1- archive ~--> sortability
2- translation ~-->  linearity
==> universality (that both these stories claim)
(my work on hypertext apass ajayeb graph rigs, is to deal within these conditions of storying. my shift of interest)

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

(“dealing” @Luiza:)
(or in Lili's term “..a way to tackle issues”)
[...]

[...]oble trader,

Ekaterina, asking for a fabulation? her totem making
Deleuzian fabulation: a fiction made up by people in their process of becoming
making up stories
=/= fiction (on its own; it doesn't have that relation with becoming)

in which conditions the paranoid mother occupies the failiour of the good-enough mother?
what constitutes the ‘site’ for her mother?

(how her) characters keep running into eachother in a universe of recursive connection (?)



**stories that collect stories** [~= archive? my hypertext? a mouth full? --this specific type of stories are dangerously worlders, usually handed to the unquestioned mechanics of universalized taxonomy and 17th century rigs: encyclopedic homogeneous tables. they are the stuff of ajayeb]
(mispronounced by Ekaterina > captured by Hoda > found object by Sina)

stories that collect other stories:
1- archive ~--> sortability
2- translation ~-->  linearity
==> universality (that both these stories claim)
(my work on hypertext apass ajayeb graph rigs, is to deal within these conditions of storying. my shift of interest)

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

(“dealing” @Luiza:)
(or in Lili's term “..a way to tackle issues”)

[with Avital]
*modalities of dealing-with:
-parasitism
-(under the spell) drugs =/= struggle (according to Marxian protocol: one is drugged and disabled [Date-rape-drug as an incapacitating agent] and neutralized by state apparatus, drugs are administrated and spend in all sorts of insidious ways.)
on the discourse of stupidity: Marx (in writing to Engels says that he) believed that proletariat are stupid. Marx's insight to replace the other drugs that have put so many into a stupor. people with Religion are not around, they are praying somewhere to some hallucination [this is Marx, Freud, Nietzsche, and others in 20th century] --> ideological stuporous drugs, ‘everyone is stoned on something’ =/= alert and lucid. [highly problematic!]
-this is about a body recognizing its ‘enemy’ (the figure of enemy for every and each of us and the way we “recognize” it, as historical bodies and minds inheriting the boys of 20th century.) ---- the state of the struggle depends on certain metaphorologies on ‘clean’ that are problematic and phantasmatic and on the loose. --> [the issue is that there is no “clean body”.] how to do dirty work? (--> for ‘morality’ and ‘clean’ go to Freud on the origin on morality: morality began as we stopped sniffing our asses and stood erect, nose in the air, away from the dirt [that we are] --> morality's phobic appropriations and designations, [Lacan: from the genital order to the sublime; az kun be fayakon از کون به فیکون %--> #ouroboros #serpent], [so when we stood up, stood erect, our genitals became center, exposing ourselves to [...]

[...]ding to Marxian protocol: one is drugged and disabled [Date-rape-drug as an incapacitating agent] and neutralized by state apparatus, drugs are administrated and spend in all sorts of insidious ways.)
on the discourse of stupidity: Marx (in writing to Engels says that he) believed that proletariat are stupid. Marx's insight to replace the other drugs that have put so many into a stupor. people with Religion are not around, they are praying somewhere to some hallucination [this is Marx, Freud, Nietzsche, and others in 20th century] --> ideological stuporous drugs, ‘everyone is stoned on something’ =/= alert and lucid. [highly problematic!]
-this is about a body recognizing its ‘enemy’ (the figure of enemy for every and each of us and the way we “recognize” it, as historical bodies and minds inheriting the boys of 20th century.) ---- the state of the struggle depends on certain metaphorologies on ‘clean’ that are problematic and phantasmatic and on the loose. --> [the issue is that there is no “clean body”.] how to do dirty work? (--> for ‘morality’ and ‘clean’ go to Freud on the origin on morality: morality began as we stopped sniffing our asses and stood erect, nose in the air, away from the dirt [that we are] --> morality's phobic appropriations and designations, [Lacan: from the genital order to the sublime; az kun be fayakon از کون به فیکون %--> #ouroboros #serpent], [so when we stood up, stood erect, our genitals became center, exposing ourselves to the other, sexually centered exposure], [], [],)
-Marxian: language/tool/art as a virus that infiltrates ideological structures
-Lacoue-Labarthe: in 20th century there are three fundamental modalities of “dealing-with,” three modes of relatedness to our concerns, our anxieties, our worries, our work, our projects [three major motifs for the thinkers that continue to provoke our thoughts]: (1) *struggle* that would be the Marxian motor, the modality in terms of concern for social justice. [Delanda on Marx --> a model of synthesis: a conflict of opposites] (2) *mission* as introduced and lunched by Heidegger, who was on a mission: we have a mission, we have a mission of transmission, we have a mission to inscribe things--not from God but from what has happened to us and been left to us after the death of God (as Nietzsche has announced.) {yes, without a proper address, a state of epistemic alert, and so on} and (3) *task* associated with Benjamin. the Aufgabe is that which inscribes in itself ‘giving up,’ the Aufgabe, it means it is impossible, we take it on as a kind of ethical, political obligation, but in the word Aufgabe is also ‘Gabe’ meaning ‘gift’ in German, it is gift and giving-up. [Derrida beautifully asks to negotiate endlessly with the ‘given,’ even if the Gift that is given is poisonous.] -->{ we can see how operate but also how they contaminate (and leak into each other.) we might have a sense of three of them}
-ontology of “struggling” a w[...]

[...]ed to us and been left to us after the death of God (as Nietzsche has announced.) {yes, without a proper address, a state of epistemic alert, and so on} and (3) *task* associated with Benjamin. the Aufgabe is that which inscribes in itself ‘giving up,’ the Aufgabe, it means it is impossible, we take it on as a kind of ethical, political obligation, but in the word Aufgabe is also ‘Gabe’ meaning ‘gift’ in German, it is gift and giving-up. [Derrida beautifully asks to negotiate endlessly with the ‘given,’ even if the Gift that is given is poisonous.] -->{ we can see how operate but also how they contaminate (and leak into each other.) we might have a sense of three of them}
-ontology of “struggling” a way out of Aporia [denotes, in philosophy, a philosophical puzzle or state of puzzlement] --> we can't! --> we must try to work to locate modalities of stagnancy (rokud) without necessarily seeing the Exit. how do we live with these catastrophic markers that mark us?
-Paleonymics: a certain operation according to which one continues to put old words to work. The use of a pre-existing word in a new context. -- we are stuck with old pomping meanings.
--(Stengers) connecting materialism with struggle --> (in apass) we are descendants of this trope

for Luiza, the meaning of ‘infold’? instead of ‘unravel’? --> interface*
(i want to point out the ‘synthesis’ in her work rather than the ‘analysis’ implied in the term ‘unravel’)



Lacoue-Labarthe made Heidegger possible to read for Avital
(and that is what Avital does, make a lot of things possible to read for me)

(to incorporate a) *rigorous hesitation* (=/= Leo's “slowness”)
going step by step in the confrontation (essential to the unfolding of thought)
**not turning ‘weakness’ (or metaphorical weariness) into a (compelling) paraconcept [<-- Levinas does it]
-taking on the the big topoi of the day like a warrior
courage --comes--> from the *abyss of needling fearfulness*
*German romantics invented the always-with-community, a living-with, a Mitsein practice of living life philosophically (full of moments of restricted solitude, pressure zones, etc.)
(office of friendship...) i am friend in a Freudian ambivalence, that means i undermine the friend, try to trap him and catch him off guard
-if you are so calm, then i will try to bring you over to my side of the barricade of obsessional neurotic (a condition in which the mind is intruded upon against her will by images, ideas, or words. consciousness remains lucid and power to reason remains intact ==> temporarily deprivation of individual of freedom of thought and action [<== intrapsychic conflict of sexual origin that mobilizes and blocks all flows of energy (in the case neurotic a source of pleasure to the child =/= hysteric)])
-when we write do we need to demonstrate a far-ranging grasp of the political co[...]

[...]on: slowing down for checkpoints, allusive clusters and dense indicators, that are also problematic and short-circuited (in my lectures) ==> to get to the *notational space* that we can calmly observe, examine and explore together.
-to be lucid about your own part taking in narcissistic economy
*mimesis*: those things we are still stuck in in very covert and unavowed ways ~-> ‘destiny’ (a term i use when i mean mimesis for us [-a disease that shows symptoms characteristic of another disease])
(i am not pessimistic at all) i have just a catastrophic intuition that informs my grammar =/= mimetic hell

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

*complaint (blocks ‘becoming’?)
-so if i am used to complaint in all sorts and forms and shapes, what do i do if not complaining? that means i need to start learning new techniques of being in the world.
-complain, forms of protest, grievance, <--(contamination)--> lament (sug سوگ, zaje ضجه)
-dispositions of Beschwerde
-which minorities are associated with bitching and moaning? (naleh va shekayat ناله و شکایت, ghor غرولند, غر) (a feminine accent?!)
 -it is often said that “children should stop complaining”
“stop complaining” ?!! [~~> pointed to or relevant for Lili also]
***complaint : the disenfranchised (az hagh mahrum shodeh از حق محروم شده) language of muted rage***
what is (let's) bitching together?
is religion one long complaint? (--'reformation’ as a cover-up)
the “i prefer,” non-need, non-preference
*forms of relatedness--in certain societies the opening self of sociality consists in complaining. (starter-utterances; social encounter involves nagging about your friends, parents, lovers, etc.) --making friends is via complaining. (this is about the conditions of Mitsein, being-with) {non-affirmation ~/=? complaint; we mistake so easily non-affirmation with complaining. (is this Lili's take? her complaints about the insufficiencies of being.)} --> is complaint parasitized by calls for retribution?
Klage (complaint) --to--> Anklage (accusation)
*complaint remains a repetitive fixation that feeds rather than exhausting its course (/Avital, aw9Cv_wQ4CQ) -- it does not finish itself off, or move up the ladder of transformation [important for Sana], actually increases pain --> so, (according to the analyst:) complain is jacking up one's suffering (the Analytiker can't take it anymore)
Avital > Kittler: the Ach of Sprache, (in our historical language usage:) literature or language as complaint. sigh in literature (also pointed out by Lili)
--the modern techo-monster Faust opens with the complain
**what is then a proper address?
...the wish for more

-do machines complaint or lament?

@Luiza; (one of sub-phenomenon of utterance) *blush* registers a complaint(?)
(--> to be noted that certain white skin-color[...]

[...] ‘becoming’?)
-so if i am used to complaint in all sorts and forms and shapes, what do i do if not complaining? that means i need to start learning new techniques of being in the world.
-complain, forms of protest, grievance, <--(contamination)--> lament (sug سوگ, zaje ضجه)
-dispositions of Beschwerde
-which minorities are associated with bitching and moaning? (naleh va shekayat ناله و شکایت, ghor غرولند, غر) (a feminine accent?!)
 -it is often said that “children should stop complaining”
“stop complaining” ?!! [~~> pointed to or relevant for Lili also]
***complaint : the disenfranchised (az hagh mahrum shodeh از حق محروم شده) language of muted rage***
what is (let's) bitching together?
is religion one long complaint? (--'reformation’ as a cover-up)
the “i prefer,” non-need, non-preference
*forms of relatedness--in certain societies the opening self of sociality consists in complaining. (starter-utterances; social encounter involves nagging about your friends, parents, lovers, etc.) --making friends is via complaining. (this is about the conditions of Mitsein, being-with) {non-affirmation ~/=? complaint; we mistake so easily non-affirmation with complaining. (is this Lili's take? her complaints about the insufficiencies of being.)} --> is complaint parasitized by calls for retribution?
Klage (complaint) --to--> Anklage (accusation)
*complaint remains a repetitive fixation that feeds rather than exhausting its course (/Avital, aw9Cv_wQ4CQ) -- it does not finish itself off, or move up the ladder of transformation [important for Sana], actually increases pain --> so, (according to the analyst:) complain is jacking up one's suffering (the Analytiker can't take it anymore)
Avital > Kittler: the Ach of Sprache, (in our historical language usage:) literature or language as complaint. sigh in literature (also pointed out by Lili)
--the modern techo-monster Faust opens with the complain
**what is then a proper address?
...the wish for more

-do machines complaint or lament?

@Luiza; (one of sub-phenomenon of utterance) *blush* registers a complaint(?)
(--> to be noted that certain white skin-colors considered racistly “capable” of displaying moral anxiety.)
-a level of affect and meaning that remains at the loss of words, between shame and excitement, confession and disavow. blush speaks for her at moment when she cannot stand up for herself?
-or it betrays her with a sudden spread of skin-mapping releasing a secret or indexing a moral blemish (lakedar لکه دار), a pigmentation... (how to read it?)
-blush manages to register a complaint and it signs off [concludes] at an unspoken accusation...
-blossoming of senses, cultural significance, who is capable of blushing? --> (decency's) *outrage* (--> libidinally charged, prompting a politi[...]

[...]m shodeh از حق محروم شده) language of muted rage***
what is (let's) bitching together?
is religion one long complaint? (--'reformation’ as a cover-up)
the “i prefer,” non-need, non-preference
*forms of relatedness--in certain societies the opening self of sociality consists in complaining. (starter-utterances; social encounter involves nagging about your friends, parents, lovers, etc.) --making friends is via complaining. (this is about the conditions of Mitsein, being-with) {non-affirmation ~/=? complaint; we mistake so easily non-affirmation with complaining. (is this Lili's take? her complaints about the insufficiencies of being.)} --> is complaint parasitized by calls for retribution?
Klage (complaint) --to--> Anklage (accusation)
*complaint remains a repetitive fixation that feeds rather than exhausting its course (/Avital, aw9Cv_wQ4CQ) -- it does not finish itself off, or move up the ladder of transformation [important for Sana], actually increases pain --> so, (according to the analyst:) complain is jacking up one's suffering (the Analytiker can't take it anymore)
Avital > Kittler: the Ach of Sprache, (in our historical language usage:) literature or language as complaint. sigh in literature (also pointed out by Lili)
--the modern techo-monster Faust opens with the complain
**what is then a proper address?
...the wish for more

-do machines complaint or lament?

@Luiza; (one of sub-phenomenon of utterance) *blush* registers a complaint(?)
(--> to be noted that certain white skin-colors considered racistly “capable” of displaying moral anxiety.)
-a level of affect and meaning that remains at the loss of words, between shame and excitement, confession and disavow. blush speaks for her at moment when she cannot stand up for herself?
-or it betrays her with a sudden spread of skin-mapping releasing a secret or indexing a moral blemish (lakedar لکه دار), a pigmentation... (how to read it?)
-blush manages to register a complaint and it signs off [concludes] at an unspoken accusation...
-blossoming of senses, cultural significance, who is capable of blushing? --> (decency's) *outrage* (--> libidinally charged, prompting a political arousal --> still a vitality stirs in the complaint--*the complaint can bring movement*) [Luiza's climate of resistance and her integrated modality of ‘struggle'] --> **inner life of morality**
-flush?

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

complaint ~/= lament (complaint won[...]

[...]ytiker can't take it anymore)
Avital > Kittler: the Ach of Sprache, (in our historical language usage:) literature or language as complaint. sigh in literature (also pointed out by Lili)
--the modern techo-monster Faust opens with the complain
**what is then a proper address?
...the wish for more

-do machines complaint or lament?

@Luiza; (one of sub-phenomenon of utterance) *blush* registers a complaint(?)
(--> to be noted that certain white skin-colors considered racistly “capable” of displaying moral anxiety.)
-a level of affect and meaning that remains at the loss of words, between shame and excitement, confession and disavow. blush speaks for her at moment when she cannot stand up for herself?
-or it betrays her with a sudden spread of skin-mapping releasing a secret or indexing a moral blemish (lakedar لکه دار), a pigmentation... (how to read it?)
-blush manages to register a complaint and it signs off [concludes] at an unspoken accusation...
-blossoming of senses, cultural significance, who is capable of blushing? --> (decency's) *outrage* (--> libidinally charged, prompting a political arousal --> still a vitality stirs in the complaint--*the complaint can bring movement*) [Luiza's climate of resistance and her integrated modality of ‘struggle'] --> **inner life of morality**
-flush?

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

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

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

complaint =/= staying within the boundaries of coded gracefulness
(...credit reserved for non-complainers) ,,, ((minor scales of)) protest and br[...]

[...]ge* (--> libidinally charged, prompting a political arousal --> still a vitality stirs in the complaint--*the complaint can bring movement*) [Luiza's climate of resistance and her integrated modality of ‘struggle'] --> **inner life of morality**
-flush?

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

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

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

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

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


are we trapped in a grid of grievance?

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

how complaint is then situated in ‘becoming’?

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

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

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

“I can't complain.” --> (a blockbuster;) those in stubborn destitution ----that there is no address in [...]

[...]iosity and research and hard work.]
-in their notion of “Artist in the Reign of Terror” they ask disturbingly “but many individuals have died and it means nothing?!” with a sneer (artwork as puzkhand پوزخند --> @Ali )
[**“sneer” is a contemptuous or mocking smile, remark, or tone, coming from a family of sarcastic tropes of complaint and ironizated complaining]
-their art-work finds and flourishes in a terrain of terror. in their nonspeculative work there is no “but, what if” or “but, not yet” and therefore no ‘becomings’
-for Hito and Rabih: zeitgenössisch (contemporary) = grausam (atrocious)
-they dichotomize (fact/fiction, real/unreal, etc.), rather than allowing a novel and interesting question to be raised
-what is the state of unknown in one's practice? rather than being a news agency




[negativity?]--> your bad feelings --> غر ghor complaint --(turn it into)--> critique --(start doing)--> research --(get)--> diploma --(turn it into)--> phd --(make your)--> department of studies --(into)--> craft tradition
[you don't have to start with negativity!]
[you don't need to end in your own myth tradition!]

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

@Anouk (@her “breathing archive”): (Lev Manovich's) relationship between ‘interface’ and ‘database,’ ‘perceptable’ to ‘information’. [Database as Symbolic Form: http://courses.ischool.berkeley.edu/i290-1/s04/readings/manovich_database.pdf]
what is for Anouk ‘information’? and what is for her the relationship between information, knowledge, interface, and perceptable?
for her what is the relationship between ‘information’ and ‘infinite’? (infinite as the universe of all possible images)

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

*Pierre's ‘rights of nerves’ --> “talking to everybody”
[rights of nerves: you are promted to do what you do out of disgust, outrage, fear, or driven by anxiety, you don't know why, you are compelled towards an object or project or thing or unthing]


*Seba: for him “narrative =/= complex” (the question of “complexity's situatedness”) for him: “multiple perspectives ==> coherency (=/= bi-rabt بی‌ ربط, na-ham-dusti ناهمدوستی ?)” (is his idea of “coherency” leads to ‘friendship’? is for Seba ‘amity’ [ravabet-e hasane روابط حسنه] at stake? )
Seba's epistemological object(?): ‘evidence’ (=/?=>! cordial dispositions)

(complexity is the name of our game. Haraway)

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

my current work and interest involves the investigation of individualized subject formation (tajarode nafs تجرد نفس ?); interrogating the production of language; and tracing the divisible distinguishing limits between categories of human, animal, and monstrous.
#subjects of interest: The translator, language, the sublime, animals/animality, technicity/mechanicity, the divine/sacred,
[...]

[...]ake

then how can we think magic/knowledge/science without instrumentalization (‘something in order to’)?


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

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

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


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

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

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

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

(15.02.2017) three objects from apass:
-complaint
-evidence
-monologue<br />

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

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

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

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

[...]> manufacturing tools capable of intervention (=/=? disruption; the Sun Ra, character in the movie The Place is The Space, disrupts when he enters the youth club.)

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

countermemorial mediated practices

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

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

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

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


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

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

auto-erotic solipsism

باطل کردن طلسم ضمیر the ego appears [displaced elsewhere in the world as an effect] as the result of pri[...]

[...]nt حق به جانب and self-centeredness schema
adult neurotic's sense of omnipotence --> relic of the old megalomania of infancy (~ all paranoic disorders) (~-> hurt with denial)

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

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


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

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

auto-erotic solipsism

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

auto-erotic economy

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

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

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

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

*mimesis* is not about form
in order to represent the character of the supposed ‘word’ of another
mimes[...]

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

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

auto-erotic solipsism

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

auto-erotic economy

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

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

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

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

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

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

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

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

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

narcissism as a mimetic and performative mode
[...]

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

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

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

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

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

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

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

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

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

hupersexuality
...those who are undersexed

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

%note on Alice's workshop:
how the idea of mimesis came when we were not sure what she meant by “make note.” the signifier of “note” defined itself in a collective mimetic semi-conscious way.
(=/=? my work on how signifiers transmit and transform --> parasitism, rumorology, etc. ... weaker neighborhoods of thought)

Alice's notions:
•explosion <--> dance
•the “generative” notion in her discourse (--> notion of “active,” and “conscious intentionality” [--> a property of human agency and agential exceptionality. (the metric of) her work/workshop distinguishes the self-aware active entity from non-communicative receptive entity, ***intransitive =/= transitive-->{her privileged object}, and that distinction is not useful for me right now])
•the authority of the trope “practice” for Alice
(what would be a nonmimetic understanding of eachother? @Juan)
•the workshop was not her ‘thinking’ or ‘making’ in process or an open question or a not-knowing, rather the[...]

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

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

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


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

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

what provokes storytelling?

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

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

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

where are we headed with our syntax?

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

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

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

“excess” is the name of the world
there is always more that we don't know; what yet has to come; the world is constantly doing stuff; (--✕--> accelerate manifesto, apocalyptic narratives)
(i am drawn to and by excess, and i am engaged in it: in my lectures, talkings, writings, and I take it[...]

[...]m try to get done with my good and bad concepts?)

where are we headed with our syntax?

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

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

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

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

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

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

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

anthropocene system thinking
•feedback loops
•thermodynamics & 18th century mathematics (=/= hyperbolic mathematics in ‘crochet’ --> excess of surface, --> story of interface)
•comparative interpretive thinking (a dominant western model of knowledge production--which i am using!)
•modern synthesis: restrictive system theories within evolutionary theories
•systems idea
•
*“The global scale takes precedence--because it is the scale of the model.”* Tsing

[title]
Bilingual Stories for Ajayeb NatureCultures
(...stories ‘for’ =/= ...stories ‘of’)

does Brexit and Trumplandia changes the landscape of English use as a language?

the image of pedagogy : semiotic apparatus (& technological) (--> the ritual of Simpson strangling Bart)


(why am i cultivating the) *non-inventive imagination* (and its antimetabole [or chiasmus, chiastic patterns of antithesis]: non-imaginitive invention)
often we find ourselves inventing everything (in political animation) =/= to figure out what are we attached to

(inheriting something =/=? being heir to something)

the scientist inside me begs me to narrow my temporal scale, choose an epoch, let's say middle ages, choose a centu[...]

[...]literate’ in this particular way --> situated knowledge includes this situated literacy and skills of reading particular to the object of “text” (in that case how do i address my interest in the pervert reader? the skills of the unlearning*)
the skills necessary for my work to work comes with time, attention, and desire ~-=>? #harem (=/= ladies room)
--> (2) this skills of (my) reservoir, what set of questions or problems equip me to address?

varzidan, varz, varzide, ورزیده

Sennett's love for his subjects is extraordinary (=/= iconoclasm, futurism) and it influences me deeply, his voice and care when he opens his reflection, findings, etc.

ok, again, the ‘skill’ question:
•1--> what are the set of skills needed for my work?
•2--> which problematics these skills equip me to address?
•3--> can i (or should i) not know these problematics in advance?

the bow and arrow --|)-> ♥ in my apass endweek (as sound object) was a relic of our shared physical energetic space, the nondiscursive --> how to keep it inarticulate?
•a way to record space, which is always social =/= silenced with no agency of the recorder (the “quiet recorder”)
•also a playful respective reading of La Guin, (something that may seem a misunderstanding of her carrier bag theory)
•carving out a practice agility area


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

the question ‘what does X mean?’ 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[...]

[...]when he opens his reflection, findings, etc.

ok, again, the ‘skill’ question:
•1--> what are the set of skills needed for my work?
•2--> which problematics these skills equip me to address?
•3--> can i (or should i) not know these problematics in advance?

the bow and arrow --|)-> ♥ in my apass endweek (as sound object) was a relic of our shared physical energetic space, the nondiscursive --> how to keep it inarticulate?
•a way to record space, which is always social =/= silenced with no agency of the recorder (the “quiet recorder”)
•also a playful respective reading of La Guin, (something that may seem a misunderstanding of her carrier bag theory)
•carving out a practice agility area


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

the question ‘what does X mean?’ 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 equili[...]

[...]order”)
•also a playful respective reading of La Guin, (something that may seem a misunderstanding of her carrier bag theory)
•carving out a practice agility area


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

the question ‘what does X mean?’ 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[...]

[...]> •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


--> 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[...]

[...]hensive 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 histories remain alive in the present*** [regarding ajayeb's histories, [...]

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

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

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

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

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

objects, the author of emotions



(how) emotions align subjects

_“surfacing” of individual_

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

narrative = production of the ordinary


•(which crimes against persons become crimes against place? -‘us’-)
•“body of the nation”
•scene of “our injury” (--> also in Iran: “our” historical injury)
•(the fucking) right to defense --> ‘home’ itself becomes to be mobilized as a defense against terror, becomes transformed into the symbolic space of the nation #[example of when the approach (to/by objects) itself becomes a fetish object*] --> “staying at home”: a form of mobilization [---> go to three little pigs] ---- “the constitution of open cultures involves the projection of what is closed onto others, and hence the concealment of what is closed and contained ‘at home’” (Ahmed ♥) {ouvrir le fermé, fermé le ouvert}
•alert citizens, amre be ma[...]

[...]n witness] alignment of the individual with the collective:) the accumulation of affective value shapes the surfaces of bodies and worlds; affect generates the surfaces of collective bodies (<==allows== not to locate affect in a subject or object) ~~--> [to initiate with Hoda an examination of the) *mobility of bodies of subjects* (in the West or her regions =/= question of the mediatization of her emotional experiences}

*emotions ‘involve’ subjects and objects*

what constructs emotions as positive or negative residence?

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

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

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

model of emotion ==> materialization of bodies

(emotions construct) bodies as ‘enveloped’

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

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

in Freud: self is made by the fear of father


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

[...]ques and technologies) of subject-making
•‘is’ --> information system
•‘ich’ --> intangible cultural heritage


[#contract, concerning modalities of being-with:] anxiety, Sorge, (~ care?) is *disclosive*, for Heidegger, is an ontologically fundamental mood that opens you up to the possibility of understanding, anxiety is the leading mood that allows understanding
(in Heidegger) anxiety ==> understanding
(in Farsi) negarani نگرانی --> vision بینندگی --> basirat بصیرت ==> ta'amol تأمل (modalities of meditation and speculation)
(in psychoanalysis) anxiety =/= fear
(in capitalism) anxiety --> boredom ==> capital
(in settler white colonialism) anxiety ==> safty
(in Ahmed) anxiety --> approach to objects
(in Ahmed) fear/anxiety ==> effect of “that which I am not”

(ghol قول, gharar قرار, gharardad قرارداد [~ that which is promised by 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 arch 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 arti[...]

[...]ours, rituals, dead-ends, writing under the influence of scarce foreign obscure philosophies, literary drugs, and boldly using metaphors from different disciplines of “study” that one can find. So, on the one hand, it is a term, invented to indicate a “fluid modern personality” within a turn in humanity studies that opens up to ‘what an artist already knows’ or ‘what an artist is allowed not to know’ within their specific historically situated set of tools. And, on the other hand, it indicates an important shift in the education of art, in which the attitude of the artist changes: instead of making things into a “resource” for artistic creation, rather making things into a “topic.” That means a whole new set of relationalities and new forms of attention need to be learned and cultivated, which were historically often absent in the education of art.


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

the death score

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

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

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

Nicolas's notion of “leaking” has to do with marginal non-textual non-accounted-for moments that bleed in absolute non-contractual and non-appropriable event? (the so-called moment when we show things to each other)
•his ‘climate of creativity'~~~_[what does ‘criticism’ mean for him?]
•when he says “gesture,” is he accessing ‘gesture’ having an uncalculable semiotic value =/= ‘performance’ that can be measured in economical terms? [but, what kind of consequential work is gesture doing?]
(Nicolas's order of inquiry and discovery)
(--> what is at stake is how do you locate the effects of your work. for Nicolas it is locate at the “sides” [which is already problematically prepositioned outside of him] --Ahmed--> ab object can be affective by virtue of its own *location* [...] and the *timing* of its appearence)
[the ‘image of the rigid’ in his presentation]

Kristien's chart:
questions <--> symptoms
answers <--> openings
past <--> diary

for Lilia: apparatus = score
for Eszter: apparatus = preparation {--?--> every[...]

[...]estion marked by me)
--> the spatial gesture of the ‘stop’ (#Selma)

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

Nicolas's notion of “leaking” has to do with marginal non-textual non-accounted-for moments that bleed in absolute non-contractual and non-appropriable event? (the so-called moment when we show things to each other)
•his ‘climate of creativity'~~~_[what does ‘criticism’ mean for him?]
•when he says “gesture,” is he accessing ‘gesture’ having an uncalculable semiotic value =/= ‘performance’ that can be measured in economical terms? [but, what kind of consequential work is gesture doing?]
(Nicolas's order of inquiry and discovery)
(--> what is at stake is how do you locate the effects of your work. for Nicolas it is locate at the “sides” [which is already problematically prepositioned outside of him] --Ahmed--> ab object can be affective by virtue of its own *location* [...] and the *timing* of its appearence)
[the ‘image of the rigid’ in his presentation]

Kristien's chart:
questions <--> symptoms
answers <--> openings
past <--> diary

for Lilia: apparatus = score
for Eszter: apparatus = preparation {--?--> everything depends on the ways we prepare}
for Sina: apparatus = (chaotic/strange) attractor
for Hoda: apparatus = negative feelings
for
for
(other non-Agambenian notions of apparatus: Katie King's, Barad's, Wark's)
[Agamben still thinks of structure in Euclidian terms, pre-chaos theory and fractal geometry of (non)equilibrium. thermal chaos and dynamic system theory has changed the ways we think about global/local stabilities, discontinuities and noise. sympoiesis is another one.]
-with ‘apparatus’ what is at stake: flow of energy, order, waste, transformation,

Vladimir's tether on disambiguity

Elen, adding her own wheels to the flow(s)
and putting a stick/spoke in a rolling wheel (of others?) [her saboteur trends, چوب لای چرخ (=/=? kharab-kari خراب کاری), what is chub lay-e charkh for her? vandalizing the discourse of others]
-the famous vandal of wikipedia with the recursive name “-on wheels” (Willy on Wheels, adding “on wheels” to the title of every single page, using the move function of Wikipedia: renaming the existing title ==> moved to another namespace, without changing the base title)
-like myself, her saboteurs are critically not symbolic nor ontic, rather sometimes epistemic, or better, ontologic: they don't vandalize the “thing” itself, but the “nature of the properties” that constructs that thing for us
-rocket sculture (what does it mean for her?)


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

[the question of inevitability of anthropical view]
th[...]

[...]/>


[the question of inevitability of anthropical view]
there is no final answer to a kind of question but a lot of answers
through inhabiting a figure you are crafting you find yourself addressing a set of problems
agency: liveliness of artifacts (?). there is some kind of liveliness that is both human and nonhuman
the kind of sociality that joins two categorically separate mode of agencies, is a sociality that constitutes both --> the interaction of humans and machines produced both =/= unilateral action
(my whole point or joke, with the bow and arrow was that the arrow of index finger does not move in one way.)
[=/= another mode that comes to mind is when your intimacy making leads always to yourself, getting laid, literally. that is when your concern becomes only you and someone, sexually interested --> economically, and you don't concern the sociality of your people with each other. #techno-capital singular subjectivity @--> this is super relevant for Sven, maybe: how one becomes interested, invested, and skillful in provoking interesting socialities for friends and peers--and not only for oneself? creating, inciting zones of connectivity]
-[it was not accidental that the rhetoric of drugs came up with Lilia when I suggested the attention to anthropos --> what figures human and otherwise was for her the subject of drug-induced rhetoric of mind-alteration; (this is the anthropos of the Enlightenment Europeans and classical Greece talking:) “in order to get rid of me you must take drugs!” #fable/_ --> being sober(?!), anthropos becoming, human nature, common sense, empiricism and interpretation are at stake here]
-[another thing was the label of “animal” that was passed around as a form of mock, instead of provocations for more conversation, I was stupefied. --how can we go on together and not render each other commitments nonsense?]


“point of view” is an important metaphor


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

[...] #and my shift of attention to peer's works is about that: our domain of practices must make claim on each other <== we inhabit differences together (--> attention and work on:) ‘local category abstractions’ (how do we talk and make each other feel our subjects of interest in apass for example) --> (the cumulative, associated and sensed) routines, gestures, and (inter)surfaces of our everyday life in apass, as a group of researchers, that don't necessarily align ==> worlding comes from these things.
[attunement =/= argument]


the name of the world is “detail”


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

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

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



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

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

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



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



Esta: “when we enter the presentation we are researchers, we are not friends” [--> “neutrality” of encounter]
(but i want to explorexplore 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"
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