[...]d a ‘infinite particularity’

it is only by means of essentially poetic recreation or translation of a given language-world that the new science of myth and history can hope to retrace the growths of consciousness

in apass, inventing a science of myth and history, towards a general theory of significant sign.

Corruption of language and decline of body politics?

Can we correlate the Persian syntax with the metaphysical ambience, internal divisions, and lyric bias of Persian people?

A pivot point must inform and relate

...the shaping agencies of intellect.
Speech is poiesis and human linguistic articulation is centrally creative.

The language-matrix

language, informed by energies proper to itself, more comprehensive and timeless than any who makes use of it...

There is a phenomenon of linguistic Entfremdung inseparable from the creative genius of the word. (Humboldt)

...conjectures with prophetic brilliance

discourse (Rede) would not be muffled by the ground---we walk erect

jede Sprache ist ein Versuch---trial
(Humboldt)
different languages penetrate to different depths

Literaturehaus, hause has always been a metaphor for consciousness

cryptotypr : categories of semantic organization
which translates the underlying metaphysics of a language into its overt or surface grammar.

...understanding of those deep-seated dynamics of meaning, of chosen and significant form, (that make up a culture)

it is exceedingly difficult for an outsider to, operating inevitably within the world-frame of his own tongue, to penetrate to the active symbolic depths of a foreign tongue.
---we reach for the bottom and stir up further darkness.

..a careful philosophically and poetically disciplined observation
<br /> beautifully logical (discrimination) about: causation, action, result
dynamic or energetic quality, directness of experience.
(these words for Shabnam?)
...all matters of the function of thinking
(why do i want to bring to her, to Shabnam, the quintessence of the rational?)

‘the inner music of meaning’

the german tenderness
german tender---zart

(in Shabnam's poetry : the clash between ‘mental’ and ‘psychic’ codes of recognition)

the villain is outside the law (of exchange)

...the court of words---in ikhvano safa animals demonstration
...when the market of life has closed down

faith and substitution of meaning

how can i tear you from your vows, and not myself use vows?
The faiths that are sworn (before every exchange or change)

a word for a woman bound by another sacred word --> breaking your oaths---in the age of[...]

[...]odies according to a harmony that determines and checks at every moment the unfolding of the different movements.”


the full and compact nature, version of ajayeb

my work in apass is on a theory of transformation among languages (not about the best point of view =/=> system integrated =/=> trajectories calculated):
•ajayeb's natural language
•system language of differential logic
•english grammar and syntax
•organic and intersubjective space of my peers
•old farsi
•animal
•


“speak of” science
“speak about” science
“speak” science
“speak” metaphysics

speaking the language of dynamics


what is still at stake in science: the description of a world of processes

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

Lezra
In the European imaginary, the public struggle over the “better” word makes the city (the polis) @apass


Derrida calls for patience, take care read on slowly. Kafka: all human errors are impatience. Radical patience, is the necessity to differ, but also to rush in precipitately, one has to make decisions: absolute urgency.

Literature for derrida, reading in my works, is indissociably bound up with questions of politics, democracy and responsibility, religion, nationality and nationalism, identity and law.

E m foster, how can i tell what i think, till i see what i say.

What one finds repeatedly in derrida's work is the uncanny effect by which one is invited to sense the unfolding of all his thinking starting out from anywhere, from any idea, any word, any thought that happen to be at issue. Deconstruction is the name for this?

Derrida proceeds with patience and pleasure, to describe what is going on in a particular text or situation.

Every reading is difficult, Shakespeare, maulwürfe, mathematics. The difficulty of reading is in transforming the ways we are obliged to think about those texts.

The transformation is crucially always already in the texts he reads. Describing what happens when reading a passage of anything. Everything is in Shakespeare, in Plato, in Kafka. The relation between description and transformation is uncanny.

To talk about the logics of supplement is another way of attending the deconstructive effects of the and. To put into effect new discourses, new acts. This description and transformation is deconstruction, is more than a language and no more than a language.

There are always differences, tensions, paradoxes in the text, between what a text says and what a text does.

Derrida always begins (wherever he happens to find himself) in a specific context, which is to say in trying to engage with a specific text or scene of reading.

(Writing is)[...]

[...] mutability(?)



the exoteric logic of interiority (reigning since centuries in Iran)


for only the buried dimension is sovereign

secrecy =/= lie
(I am a fan of lie and against secrecy)
talk about a theory of lie
(a talk about a theory of violence)



[the issue of: opposite, omen, and alarm (in art)]
omen =/=? artwork
(omen is a phenomenon that is buried to foretell the future, isn't that an attractive trap for artist's self grandiosity?!)
omen has a binary answer
omen =~ ‘audire’ (Latin root, to listen)
omens come in the artistic and poetic production--in the poiesis--when the artist is young: the fabulous age of self-assertion, and he or she starts way to big and later is abandoned or abused by it.


(enforcement of an elusive stance from within) the self-enveloped site of the event----the artworks become closer to omens


at once episodic and veiled, protecting their right to invisibility above all else


(perceive themselves as) the merchants of the unreasoned experience.
(as opposed to the mechanisms of instrumental reason) ---- omens


Literatur(ware)haus
warehouse vs. Haus
(at the house of being)

warehouse of the irrational, a cellar-arena of provocation and unrest

I don't have an eloquent language--I am not in the house of language, but Attar is

transmutative
depthforming


sudden exposure to exile space

a postcultural interaction (?) --with no proximity to the past or known present
(am I trying to create proximity to history in my lectures versus my non-proximity in earlier visual works such as “vagabond” 2011 Tehran)
is that to adopt an ******existence without context******?
(in lectures, am I un-separating myself from my own history?)


*reverie (=the mind flees across secluded planes)

exile space =~ refuge, solitude, immobility =? nondialectics


[on Vagabond] --> http://www.sinaseifee.com/Vagabond.html
-domination of the partially unseen in my own film, ‘vagabond’
-did I believe that only the buried dimension is sovereign?
-continuously interlacing experiences of solitude and immobility
-minimalist side of mysticism --> stillness is a catalyst for acceleration?
-nomadic dispositions
-suspended (=the chasm of self-consciousness)
-


aesthetic tactility over aesthetic fantasy
where is the cinematic-mystical ritual happening?

profound separation from the networks of social reality
the subjects betrays its own history

interrupting the transmission of the episteme


the result of mystic disjointmen[...]

[...] of concepts’
‘connections or affinities’
pursuit of an inter-lingua for philosophic discourse


as you can see in this writing, I am practicing loosening the tight axiom of relation of A<-->B, something other than the predecessor-successor or cause-effect pair (--> this order of structure is coming from Greek geometric,) I am trying an unordered order-of-reason that is more reflexive, symmetric, and intransitive. (the construction of the text represents each chain incomplete and displaced--Attar knows)
towards a general theory of significant sign

Can we correlate the Persian syntax with the metaphysical ambience, internal divisions, and lyric bias of Persian people?


the language-matrix


language, informed by energies proper to itself, more comprehensive and timeless than any who makes use of it...


discourse (die Rede) would not be muffled by the ground---we walk erect [Serres]



jede Sprache ist ein Versuch---*trial
(Humboldt)
different languages penetrate to different depths
--> (every try is a) starting over with *accuracy
ok, we are starting with language from scratch, here


Literaturhaus, house has always been a metaphor for consciousness


how Attar can become interested in other lives other that San'an's that are worth living?

although we see again and again in Islamic social order the hierarchical structured relationships, I like to show the otherwise in mystic stances, and argue that the model doesn't remain static normative from the master-disciple to the authority and dependence lock, that the master-disciple relationship doesn't affirm the divine order.
and San'an is also against the notion that Sufi man is without the need of a feminine principle.
we are presented with will of the Tarsaa, the destination of San'an, and the poetic representation is feminine. the female image is strong. although at the end it has to give up -- she converts to his style. the will of the disciple is not replaced by the will of the guide, the master himself doesn't have a will.


The Tarsaa is supervising San'an's diet, sleep, and speech


[I have become more interested in the term ‘tradition'---and more suspicious of preoccupations such as ‘invention’ as modernized and capitalist terms.]
tradition: an act of memory based on a salience-effect of shared knowledge
(ein Akt der Erinnerung basiert auf einer Hervorspringen-Effekt der gemeinsamen Kenntnisse)
-there is a sequence (where is the individual terms within it?)
-my storytelling is about: describing relations of inversion, extension, inclusion, analogy, etc. between mythical, lyrical, or even scientific ‘beings’ that are (1) *conventional* (recognizable repertoire), and (2) *closed* (refer [...]

[...]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 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?][...]

[...] scientific British one

(the theatrical function of natural philosophy in the England Enlightenment)

the function of natural philosopher in 18th century was to use experimental science machines to turn inert matter into active power, light/fire/heat/etc. to lecture an wealthy and polite fee-paying audience, in order to save them from irrationality, that inside all matter there is life and power, and that life was divine.

(however all this was all swept away in the industrial revelation)

William Herschel, an amateur natural philosopher discovering Uranus 1781
(Enlightenment was all about people changing their disciplines)
project of constructing a new theory of heavens

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

*i can't give you a direct grasp but i hope i can give slowly accuracy

*the ‘details’ of grasping
(zoom in the ‘grasp’)



from contingencies to certainties


i spend so much time with painting and computers, which were about compositions and hacks

i think there are few fields/figurations/skills we need to get good at: rhetoric, biology, aesthetics

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

trope - something other than its literal form

adding an adjective or replacing a name, (one-way movements?) -- let me tell you the story of:
*knowledge --to--> expressed knowledge
*knowledge --to--> knowing
*reality --to--> manifest realities
*real --to--> real enough
*islamic --to--> islamicate (“islamic” has always been a ‘range’ rather than a ‘binary switch’. things become more or less “islamic” in popular/proper belief)
*nature --to--> visual nature
*culture/civilization --to--> collective (emphasizing operation of gathering or composing and heterogeneity of the assembled)
*muslim countries --to--> muslim majority countries
*understanding --to--> better utter understanding
*what does X mean --to--> what does X mean for you
*body --to--> lived body
*body --to--> lived image
*language --to--> specialized languages
*world --to--> built world / thought world / described world / descripted world
*producing knowledge --to--> participating in knowledge projects
*to explain --to--> to explain in terms of...
*place/location --to--> neighborhood (ask ‘why this neighborhood?’ instead of place)


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

i have been building my own islamology or islam-studies depar[...]

[...]بدخط) as a mode of attention =/= (Descartes’) “natural light of reason”


%report on fables of objects #workshop (22.02.2017 HWD apass): attention to the sense and feeling of disparity, dispersity, stability, sublimity, authority, epicness, weakness, severity, solidity, scale, (a)social connections, and tangibility in the character of the object of each participants in the stories we wrote. where were active and passive qualities located? how were agencies distributed?
•origin story --> evolution story, love story [the object falls in love with...]
•daily story
•beast feeding story --> training story
evoking temporality of evolutionary time, face-to-face time, historical time, tiny scale time,
 -each story has a music, texture of colors, pattern of meaning and affect
•bodyguard --> fantastic creature invented to protect an organism (your “object”). this bodyguard can be organic, nonorganic, cyborg, any form, but always an agent. tell us why/how this or that feature helps the bodyguard with its task
•generation stories, describe and follow your object in three generations, its child and grandchild
•[for the second day or warm-up first day?] constraint based writing: (Kenney > Christian Bök's “literary genetics” poetics of encryption of data; poetic vectors, to “infect” the language;) describe/story your object (or an operative “verb” within your discourse) with univocalics: without using “e” or only using a single vowel. or, first write with 3, then 2, then 1 vowel.

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

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

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


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

[some fables from science studies:]
•Emily Martin's egg/sperm story --> stories of atomism, distribution of agency, ----[The Egg and the Sperm: How Science Has Constructed a Romance Based on Stereotypical Male-Female Roles]
•Hayward's microscope --> tropes[...]

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

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

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

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


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

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

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

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

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

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

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

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

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

#workshop, reading group
•reading as passionate betrayal. (hunting for precious empirical details, refigurative, reparative, poaching, reading can be a betrayal of textual authority and an act of survival)
•addressing /present* differences, not already pre-figured differences
•(condition of friendship, staying close to the text) staying close as a reader, as someone who could hold the text of the Other, receiving it in the withdrawal / Entzug  (drug rehabilitation)
•i am in no position of ‘understanding’ or being clear about the text
•(i understand now that) it is not up to me to tell you how to rea[...]

[...]ing and depending on)? flourishing (of my ajayeb) depends on a reading that is more like “mutual partial digestion” (Katie King, Haraway) [=/= “eating well"] the text
•“every time i read X, something new shows up”

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

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

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


in research:
•skills of r[...]

[...] -the commitment to breaking up the book and its metaphysically laden pitch for closural sovereignty.
-linguistic pollutants
-dirty talks

#as a mode of writing, make a folding (fractal) book, style of children books, for ajayeb
(what would this structure mean? and how is that expandable?)

#making a cheap horror short-film from one of the ajayebs

#write a X-man short story in Tehran context with iranian everyday characters
•jurassic park --> ajayeb al makhlughat عجایب المخلوقات (horror, sublime, shivering water)
•nonapocalyptic stories and the otherworldly hauntingly familiar in the lost faces of forest (called Tehran?)

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



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

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

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


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


increasing technicization of critical language


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

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

[Stengers]

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

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

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

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

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

-how to train yourself in spotting relevant questions and unilaterally [einseitig] [...]

[...]natural”

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


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


Earth =/= cradle


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

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


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

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

the efficacy of assemblages (in ajayeb)
(assemblage --> landscape [in farsi: چشم انداز cheshm-andaz, is related not to the land but to the eyes, literally meaning the projection of gaze])

(the point is) to play a referential game that puts one at risk (instead of protecting via quote)

(let's immediately turn off that) monotonous little critical or reflexive voice whispering that (the only defense we have against fanaticism and the rule of illusions is that) we should not accept being mystified



commenting =/= touching
(lams kardan لمس کردن =/= ezhare nazar kardan اظهار نظر کردن) --> an issue in art criticism in Iran ایران


[@Foad]
**our senses are not for detached cognition but for participation**(David Abram)
-“The ways the senses themselves have, of throwing themselves beyond what is immediately given, in order to make tentative contact with the other sides of things that we do not sense directly, with the hidden or invisible aspects of the sensible.”
-“suggestions offered by the sensible itself.”
-we never step outside the “flux of participation.”


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

[Thomas Keenan]

reading: that which happens when we cannot apply the rules --> experience of responsibility =/= moment of security or cognitive certainty

rhetorical reading

who speaks, writes, and reads? not simply humans

“how can we have any chance of finding a way to say what we don't know how to say if we don't pay attention to the silence of the other inside us?”

literature, is then understood as the experience of risk, chance, the undecidable =/= pathos of resolution


(in Western e[...]

[...]hat (the only defense we have against fanaticism and the rule of illusions is that) we should not accept being mystified



commenting =/= touching
(lams kardan لمس کردن =/= ezhare nazar kardan اظهار نظر کردن) --> an issue in art criticism in Iran ایران


[@Foad]
**our senses are not for detached cognition but for participation**(David Abram)
-“The ways the senses themselves have, of throwing themselves beyond what is immediately given, in order to make tentative contact with the other sides of things that we do not sense directly, with the hidden or invisible aspects of the sensible.”
-“suggestions offered by the sensible itself.”
-we never step outside the “flux of participation.”


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

[Thomas Keenan]

reading: that which happens when we cannot apply the rules --> experience of responsibility =/= moment of security or cognitive certainty

rhetorical reading

who speaks, writes, and reads? not simply humans

“how can we have any chance of finding a way to say what we don't know how to say if we don't pay attention to the silence of the other inside us?”

literature, is then understood as the experience of risk, chance, the undecidable =/= pathos of resolution


(in Western ethical, political, and literary traditions:) responsibility: a matter of articulating what is known with what is done =/= (Keenan:) *responsibility*: an asymmetry or an interruption between the orders of cognition and action

fable --> an exemplary *allegory of decision* (~~> installing or restoring subjectivity)
fables open abyssal aporias:
•to teach ‘singularity’ it offers ‘comparison’
•to underline ‘independence’ it resorts to ‘necessity’

[(the experience of) aporia =?=> morality, politics, responsibility =/= when the path is given]--> Germany is moving towards the removing of aporia [<-- a general panic popular in sci-fi]
(the very condition of possibility of) *responsibility*: a certain experience of the possibility of the impossible ~ aporia }==> the impossible invention --> *responsibility must be an invention*
[-Germany's notion of law: like any idea of law, are not by themselves motivators for morality or immorality, it is really upon (human) culture to do that.]


fable ==> possibility of another kind of reading --> exposure to something that breaks with the regimes of meaning and sense


politics of difficulty

...to 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 abo[...]

[...] idea of law, are not by themselves motivators for morality or immorality, it is really upon (human) culture to do that.]


fable ==> possibility of another kind of reading --> exposure to something that breaks with the regimes of meaning and sense


politics of difficulty

...to 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 suffici[...]

[...]is 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 [--> 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 fab[...]

[...]> •(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 [--> 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)[...]

[...]
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 [--> 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”)-->[...]

[...]ss 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 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[...]

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

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

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


we never read just once

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

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

xxxxxxxx

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

[D+G]

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

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

my engagement with other apass participants, a form of critique as part of an ‘ecology of practice’ (Stengers)
-what are the questions (i could ask) that make you the most articulate?
-to feel what questions, passions, modes of attention animate one another
-to find yourself moved by their concerns
-what we articulate with our bodies? --> what do our gestures mean?
-what do they activate? ----> they don't always enact a precise language --(rather)--> gestures as organs for feeding, feeling, and grasping***
-(sensing) the trajectories, moods, and intensities the other apass participan[...]

[...]duce science!}
-instead we need a *split and contradictory self* (one who can interrogate positionings and be accountable) [~~/?-> shath شطح (=/= shar’ شرع, or even sharh شرح?), shathiat (شطحیات) in Tasavof (تصوف), rend رند, rendane رندانه]
-so, instead of “being” she proposes “splitting”: heterogeneous multiplicities 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 accou[...]

[...]ated”

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


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


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


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


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

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


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

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


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

[...] 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”)

[with Avital]
*modalities of [...]

[...]evant 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 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[...]

[...]al (,, interrupting it)

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

*speculative empiricism : scientific + narrative
working with ajayeb so that it might stimulate a specualtive empiricism for composing more livable worlds --> ajayeb's storied biospheres

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

the notion of ‘magic’ in popular TV series, such as ‘Harry Potter’ franchise and ‘The Magicians’ among many others, and instrumentalization. magic as information technology that is completely instrumentalized. the capitalist ideology of ‘tool’ and ‘usefulness’ are insinuated heavily in the hipster figures of ‘The Magicians’ in the way that they interupt history and knowledge-burdened living. “stop the history lessen! tell me how do we kill the beast with it?” (the stupidity of the hipster hero moving through the matrix of merely teleological phenomena, stripping pleasure off thinking...)
(utopian?)

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

[title]
The Magicians and The Absolute Freedom and Terror

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

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

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

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

‘The Magician’ dismisses the generation of knowledge in the praxis of tool-use. science/magic is pragmatic relation of equipment or tools as ready-to-hand. the ideology of a knowledge relation: magic (as tool) is present-at-hand --> ontological relationship to the world (----the characters want to go and have an icecream when they are finished with all the magical fights.)
this notion of magic as tool (=/= epistemological object) in use achieves (what Don Ihde calls) *instrumental transparency* --> It “withdraws” when in use, but becomes conspicuous again when broken or missing [--> this is precisely the standard account of techno[...]

[...]rticular 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 workshop was based on her (finished) ‘notions,’ with her ‘indisputables,’ her ‘literal’ objects; (dance, active, body, imagination, practice, generative, creative, etc.)
•production of the “I” in her work; (a nasty side-effect: collateral individuation) (when were the moments in the workshop that an interesting “we” was created and for whom?)
•the problematic difference between ‘literal’ and ‘metaphorical’ at the footing of her thinking (--> my whole apass research is about this)
•(artist's) imagination as a magic wand that can transform things

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

[...]ng good at to) explain what somebody else said

1- the first question has no clear answer, what i know is not placed somewhere in me, it is always an articulated matter of ‘with’ or in interaction with, it is a sym, changes before i can grasp, knowing is done always with a figure or a thing, it includes all sorts of optics and technologies, (affect theory, media theory, epistemology,)
2- the response to the second question is also not clear, i am not sure what i am told, i don't remember or hear, what i am told is infolded in what i know, (when i started with my islam lecture series i was testing the waters of these two questions and the possibility of staying with them without freaking out of ambiguity or ploting an answer)
3--> #cat's cradle


#on hypertext note:
i am becoming skilled at looking at my notes:
{(1) what are the *skills necessary* [=/= tabula rasa (of the reader, of the audience) of the communo-capitalism's standard of “user-interface"--the strange idea that the interaction and reading doesn't need or must not need learned-efforts or skills, that it should be “easy” and “effortless” --> fallacy of the unskilled listener.] to engage, interact, and get involved with the interface, data-set, grammar, and literacy of (my) reservoir? }--> ** let's ask that question with every apparatus that engages us into desire, movement, articulation, ...
skills --> to become ‘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 yo[...]

[...]tions 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 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[...]

[...]on’ 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 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 d[...]

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


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

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


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

the death score

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

Eszter's ‘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 i[...]

[...]lly 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]
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 t[...]

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


the name of the world is “detail”


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

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

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

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

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

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

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



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



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

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



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


ephemeral things become food

[...]

[...] is not clear what the destiny of art (or of anything) is

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

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

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

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



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



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

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



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


ephemeral things become food

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

Esta, risking one's life


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

Xiri's sense of entitlement to accusation


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


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

the notion of game and rule for Elen and Luisa and Eszter: it is until ages of 3 and 6 that children must not play by rules, and only after that the concept of rule-based-games (such as sports) should be introduced to them. what does that say about our art[...]

[...] an audience that doesn't want to know. but still somehow they became not indifferent to my madness and we managed to establish lines of interest and interference (=/= restoring the phalus to its proper place, or getting a membership)

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

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

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

question at Hoda

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

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

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

what (else) literature can be if not elegy?

sonic level of sign-making and significance in her act

soft-spoken adjectives

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

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

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

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

anger, pain, misery, ...

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

my own affirmative exposure of the unhappy effects of her poetry

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

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

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

sokhan-e ranj سخن رنج

شعر غنایی Lyric poetry, a formal type of poetry which is defined by or dedicated to expressing so-cal[...]

[...]ign-making and significance in her act

soft-spoken adjectives

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

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

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

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

anger, pain, misery, ...

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

my own affirmative exposure of the unhappy effects of her poetry

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

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

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

sokhan-e ranj سخن رنج

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

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

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

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

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

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

within the rhetoric of integration a [...]

[...]tive optical system
--> to be careful (or keep in check) with sequential palindromic notion of pop-up book, to deal with the parsable seesaw motif inherit in the pop-up book Blickmaschin
•use hylomorphic: assumes form is inscribed onto passive matter (by an agent with a design in mind)
•

(relevance should be worked) non-ironic non-symbolic non-anamorphic non-palindromic non-hylomorphic (?)

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

towards writing the end of apass dossier
•practices: workshops, (bow and arrow,) ajayeb.net, rigs --> pop-up book, notes, routines, excess,
•trajectory: bibliography, wonder, ongoingness, ontology,
•productions: study as artwork, reading as artwork, bottom-top approach to writing,
•findings: every research practice: must include “body image”, must include “the image of creativity” especially if you are iranian, must employ ontological attention to differential productions, must rework decompose redefine its root-metaphors, must give extensive equipment list, must trace its social connections in a wider ecology of practices, must include a critique of technology,
•moments of composition: a scene animated by some quality, or... taking place as accidents (or not)

key literature, magic wands:
1st stage:
•Richard Sennett: Flesh and Stonne --> learning about body image
•Manuel Delanda: A 1000 Years of Nonlinear History --> learning about material histories
•Eduardo Kohn: How Forests Thinks --> learning about semiotics
•Timothy Morton: Sublime Objects --> learning about ontology
•Avital Ronnel: (lectures and articles) --> learning about poetics
•Donna Haraway: (lectures and articles) --> learning about rhetorics
2nd stage:
•Martha Kenney: Fables of Attention --> *rationality: mixture of the highly rational and the highly fantastic
•Karen Barad: Posthumanist Performativity, Invertebrate Visions --> learning about apparatus
•Eva Hayward: visualizing apparatuses --> her interest in optics, in the optics in which marine invertebrates and people come together through visualizing apparatuses
•Vinciane Despret: The Becomings of Subjectivity in Animal Worlds --> learning about anthropo-zoo-genetics
•Kathleen Stewart: nonrepresentational theory --> other ways of description
•Katie King: technologies of writing --> a better thinking of locals and globals
•

(curiosity ==>) having to figure out how to do something that i don't already know how to do:
•ongoingness of collective practices of knowledge and concern
•talking about (what is going on with) ajayeb
•paying attention to differential ontologies
•the stuff that happens through face-to-face colleagueship
•to be in productive alliance
•


unalianated critical work = art



Seif[...]

[...]by i think i am getting it”. i also always come back, loop again through the same material, go back to the question we were raising before and ***“watch what is happening to the language”***(Haraway). these are the ways my connections work. artistic and scholarly work works by **modes of attention** [--remember--> your mode of attention (= your mode of abstraction) is doing the foregrounding and the world is not actually built that way. so you make ‘your mode of attention = world’ to inhabit something for a certain time only to do a certain kind of work)] --(because)--> you are always jumping into the middle of something that is ongoing before you, into the middle of many conversations. you are learning how to get it in several ways at once. the hypertext that i have been building also characterizes these kinds of layering upon layering of textual work. teaching myself how to write and how to play with ideas.
working with (Haraway's) kind of good-enough approach to a body of scholarship --> inhabiting many things that i have only got half-digested (=/= through digestion, particular bodies of reading that people need to have mastered in order to argue)

(after five years now i am) feeling myself (a little bit more) competent and confident in (some) scientific literacy and in (some of) the skills of the arts and literature --> ?

after apass: apass was a safe-enough space for my inventive processes, to make interesting mistakes, but do i need a real scholarly undertaking with ajayeb?
i had a lousy education, don't know still how to write well and coherently and sustain a project. i don't have the skills to pull off my research as a phd, as a scholar. i need someone to work with me line-by-line. i need to go people who have serious educations in my subject, and ask them questions, and read.
and i am missing that kind of connectivity that your writing being read performs. do i need an atmosphere in which my kind of writerly activities are honored and foregrounded, and expected?

can my ajayeb beome a real scholarly project with seriously labor-intensive student work?


hostility =/= indigestibility {they cannot recognize it, it is something else}--> it is not personal, but a historical state of a discourse, and the nature of the kinds of possibilities that being opened up or closed


(in apass) all of us fail each other in different ways all the time*

we can barely read each other's works/books. but we do, and we struggle with each other's works/books


(in apass i am catching my self giving “advice” to others---risk of the advice:) violation of their integrity

*taxonomy: (constantly morphing) tools, they work and get worked, *they are part of situated conversations* (~ “theory conversations” Katie King < Haraway)
(=/= some kind of enemy that you never do)


***almost everybo[...]

[...]bility to not being who you thought you were*** : openness to risk, less of a defensiveness, less of an attack mentality, not shaping each other up into vanguards پيشقراول --> (towards thinking) differential/oppositional consciousness (=/= father, single kind of creators)


“you can know if you are wrong in rather interesting, situated ways”
@Leo
@Maarten


[*]"was”: (so important for iranians [#past]) a geographical place, a place:
•of pain
•of fantasy
•of hope
•of possibility
•of defeat
•of breaking and building
(--> a borderland)


metaphors that are also real places
figurings that are also (always unequally) lived in the flesh


to think “contact zone” instead of “binary shape”
ways of living and technologies, ways of doing the world forcibly brought together in relations of serious inequality, but which do not take the simple shape of dominator and dominated


*“abstractions are precious and they take a huge amount of work to know how to build them well”*

(?how do i know when in working with ajayeb) sometimes you are required (at the same time!):
•to be dead literal
•to be precise
•to be analytically good
•to be unforgivingly technically right
•to be flaming imaginative
•


*breakdown*: where the normalizing fails ==> something else emerges


*every collective needs people who feel:
•(a grace given to you by the structure of your cells, you don't know where it comes from:) “root sense that the world is not dead” --> a sense that things are moving and alive and future-full
•its people who feel despair (...emphasize the futurelessness of it all)

*!!!--> we (also) need sensibilities that are angrey at each other

(aligned with Haraway) my position has been that: we don't choose our sensibilities, we wake up and figure out what they are


(Haraway take on the ways we) may enginner as a species now (tech, syntax, etc.)


to refuse the story of the apocalypse + (still) recognizing the depth of the trouble
--> Freud's thanatos غريزه مرگ, a death instinct, (it is a deep, instinctual lure:) *a perverse pleasure in believing in inevitable failure*


*transference is descriptively very apt for what goes on in artistic moves [<-- to be careful of]


**to risk a feeling of (despair, of...)

the ways some of us risk things intellectually and emotionally different than each other


prima donna: doing whatever one does without any particular effort to nuance anything


*multiple impossibilities
learning from religion, the ways of which the name of God has become a[...]

[...] a consumer who exercises freedom of choice of commodities]
patrons as constituent مولفه (==> new knowledge + themselves as knowers) =/= seamless information consumer discursively produced as an unmarked singular independent self-contained stable universal white male heteronormative technophilic subject [<-- this donesn't realy exisit as a person, rather as discoursive productions]
(now) our electronic recreation is work: our every click is surveilled, generating data about our desires and curiosities that feeds back into our formation as techno-capital subjects (@Sven's enthusiasm with social media--how can Sven has a real chance of producing resistance knowledge?) --> this is not freedom! (-an account of freedom for one entails reciprocal unfreedom for others) --> mixtures of work and play in this new economy, (Calvert > Bateson) the meta-communicative nature of *play[= strict rules with genuine freedom, the dual essence of play: curiosity and relationality];
(Calvert arguing for) “knowledge-makers” who engages in creation of situated knowledges by activity adapting, processing and sharing knowledge within the ecology of library ~= *bibliographic apparatus*
(Calvert's heuristic device to imagine what library practices might emerge:) imperfectly literate constituent seekers

-a double consciousness of play, where cognitive sensation amid multiple affectivities are continually teased between assertion and rejection
-a doubled unconscious connoisseurship of realist conventions pressured at new horizons
[Katie King]

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

(women's) mini-encounters with god --> kind of materiality of god that don't fit any of the available categories


now-but-not-then quality of continuities


Haraway's deep commitment to the ties of science and competence, pleasure, empowerment, ([*]science:) this craft where you did this incredibly fragile, important, hard work of asking questions of the world in such a way that you might have half a chance of knowing if you are wrong***


you get it “there” ==> (you have a chance of) figuring out something else*


(sustainable life ways that involve) breeds =/= factory farming

Haraway's problem with veganism's moral, wholistic, complex claim that they make on us (also a necessary kind of contemporary witness): that people's practices with animals as food and fiber and work animals, turning into nothing but museum pieces at best. vegans deadly imagination sometimes don't get what they kill: most kinds of animals that have long histories in close association with people.

there is no relationship to this world that does not involve extensive killig (Haraway)


up-to-the-minute technologies

complicated issues around security apparatuses and different national struggles

histories of di[...]

[...]if you are wrong***


you get it “there” ==> (you have a chance of) figuring out something else*


(sustainable life ways that involve) breeds =/= factory farming

Haraway's problem with veganism's moral, wholistic, complex claim that they make on us (also a necessary kind of contemporary witness): that people's practices with animals as food and fiber and work animals, turning into nothing but museum pieces at best. vegans deadly imagination sometimes don't get what they kill: most kinds of animals that have long histories in close association with people.

there is no relationship to this world that does not involve extensive killig (Haraway)


up-to-the-minute technologies

complicated issues around security apparatuses and different national struggles

histories of dispossession and genocide


“do you believe?" = "do you believe in a list of dogma?”
totally wrong question: do you believe in God?


[should i go to Berlin after apass?] a parochial person دهاتی (in the pressure of the seriously elite places): you could be here, you could succeed here, but never belong here


Haraway's ‘literal’ makings:
•“companion” is about whom you are at table literally*
•to be homo sapiens is to be in multispecies interdependencies literally*


my issue with the image of the free floating meaning network popular in artists’ thinking: yes meanings foreground and background. they swirl, but they don't swirl at random

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

MOU (memorandum of understanding)-->{@Esta + Zoumana + Hoda
*memorandum: memo, reminder, note, تذکره --?--> passport : آنچه موجب یادآوری شود --> آنچه موجب دخول شود
a legal document describing an agreement between parties less formal than a contract
[1994 U.S.-North Korea nuclear pact, the MOU between Bush and Kerry for 2004 debates,]

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

batlagh باتلاق



it is (perhaps the most) important to help transform (your or my) ‘wounded-child’ to ‘wonder-child’ (--> @Hoda)
[the image of the wonder-child in all my workings]***

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

•accumulative: gradual increase as a whole, someone/something doing the accumulating, emphasis on the process of accumulating
•cumulative: nongradual successive additives, associated with that which is accumulated, emphasis on the result
ad- (“in addition”) plus cumulare, “heap up”, from cumulus, “heap”

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

[we need] ability to move from ‘close attention’ to ‘gestures’ and actions on the material world, all the way to an assortment of ‘artifacts’ able to enhance cognition, sensitivity, and sociali[...]

[...] شود
a legal document describing an agreement between parties less formal than a contract
[1994 U.S.-North Korea nuclear pact, the MOU between Bush and Kerry for 2004 debates,]

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

batlagh باتلاق



it is (perhaps the most) important to help transform (your or my) ‘wounded-child’ to ‘wonder-child’ (--> @Hoda)
[the image of the wonder-child in all my workings]***

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

•accumulative: gradual increase as a whole, someone/something doing the accumulating, emphasis on the process of accumulating
•cumulative: nongradual successive additives, associated with that which is accumulated, emphasis on the result
ad- (“in addition”) plus cumulare, “heap up”, from cumulus, “heap”

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

[we need] ability to move from ‘close attention’ to ‘gestures’ and actions on the material world, all the way to an assortment of ‘artifacts’ able to enhance cognition, sensitivity, and sociality

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

Stewart

surge of signs + capital + sensoriums of public culture --> matter & image

images, when circulating things, suddenly enter the senses --> literally make sense ==> look and smell of an incipient vitality --> immanent intensity or force ~ affect

#my coin: two-sidedness of things, virtual meeting actual, seeping edge of potentiality

common sensate affect --> shock --> “continuous trembling that haunts the stable gaze” --> images and sensibilities that constantly exceed (reason, order, and common sense) #telegram

Affect, is about something is happening, something capable of impact
•sometging half noted out of the corner of the eye
•something in the commonsense world
•
(that which escapes/exceeds enclosure) --> it can be put into words[?] --> to become a figure of vitality and even freedom[?]*** @Iranians

[i welcome the reprieve (rokhsat, رخصت, a temporary relief) from] symbolic gridlock

“affect gathers its force to make image touch matter” --> image's power is the power of synaesthesia =/= collection of named “feelings” (invented in discourses of morals, ideals, and known subjectivities)

(let's study how [in Iran] raw materials are formed and exceeded -- sudden and lingering intensity of things) (which darvaze/دروازه/gate we can't and which سوراخ سوزن / surakh-e suzan / hole of needle we pass through)
[i am having always multiple books open, at least two, is that how connection occur for me? #simultaneity]


(Stewart) “I remember childhood as a collection of arresting images”
that hinge on sensory details and open onto luminous scenes of affect [--> Feherlofia/Fehérlófia 1981, Son of the White Horse film. (we must resist calling this film “psy[...]

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


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

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

spectrality and concrete substance

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

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

-what to wear as the magic of affect itself

copy ~= contact

movies, ads, malls, car phones, daydreams,

modernity's mimetic machine


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


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

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

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


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

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


the labor of looking

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

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

[...]he
-something pleads to be touched
-the act of looking at the telegram's forward: my desire is your desire and we are all together in the mass desire
-images on telegram offer affects to mime, lines of vitality to follow, intimate secrets to plumb, tips to imbibe for safety or good health or the search for things new and vibrant with collective envy
-browsing telegram, we're trudging the rough terrain of bodies, sensuous accumulation, impact


“Sometimes when you hear someone scream it goes in one ear and out the other. Sometimes it passes right into the middle of your brain and gets stuck there.”

(cryptic and as) crystal clear as a scream


[a question or something else] lodged in a tactile sensate anxiety --> aesthetic scene (of the senses) --> scene --> shape
(anxiety has to do with the sensate and tactile and opens onto asthetic)
(some do this all the time [unknown shock of anxiety in the morning]:) morning --> mourning --> sudden dread and start scanning () () [], (trauma as an) everyday walking path

traumatic realism: a figuring that, like traumatic memory, fails to represent the inflicting force as an object in a symbolic order and therefore feels compelled to literally re-present it over and over, *miming the original haunting impact.* (Stewart > Hal Foster)
-the subject surging to bear an affect, surging toward an actualization, passionate connection of the subject who goes with the flow in an intoxicated moment (=/= sober distance)
(Hoda's impact of) shocked subjectivity (--> the real understood as traumatic) --> conjure up memories of death --?--> communal grieving
{referential vs. simulacral readings @Hoda, Marialena (‘referential object for’ / ‘empathetic object in’ /or ‘criticality of’ [<-- i don't agree with these clear cuts of ”/"]; what is “the reality of suffering and death” (or “reality and suffering of death”) for Hoda? (Xiri's interest in her) object's “total integration” into the political economy}

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

[...] object in a symbolic order and therefore feels compelled to literally re-present it over and over, *miming the original haunting impact.* (Stewart > Hal Foster)
-the subject surging to bear an affect, surging toward an actualization, passionate connection of the subject who goes with the flow in an intoxicated moment (=/= sober distance)
(Hoda's impact of) shocked subjectivity (--> the real understood as traumatic) --> conjure up memories of death --?--> communal grieving
{referential vs. simulacral readings @Hoda, Marialena (‘referential object for’ / ‘empathetic object in’ /or ‘criticality of’ [<-- i don't agree with these clear cuts of ”/"]; what is “the reality of suffering and death” (or “reality and suffering of death”) for Hoda? (Xiri's interest in her) object's “total integration” into the political economy}

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

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

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

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

surged toward the scene of their confident excitement

impact ==> the social

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



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

(working with Stewart) writing affect #workshop
a practice of writing ourselves into our worlds as *emergent and disparate ensembles* --> we need the speculative concept of worlding (a term that wins philosophy, criticism, digital studies, and cultural study) in Tehran urgently
-the workshop offers a process of sharing, hearing, questioning, and pro[...]

[...]osophy's bandwidth
sdwa صدوا --> substances decorated with accidents -->
ldwa لدوا --> lumps decorated with accidents --> featureless lumps, and those things have accidental properties, like cupcakes decorated with colored sprinkles (arayesh آرایش) }--> this thinking still continues, despite the fact that ‘thought has already made it irrelevant’ --> thamii تامی, (for example birds for Attar are merely decorative features of Attar's social, psychic, and philosophical space)
soth صوث --> speculating outside of the human
sim سیم --> small island of meaning
etimom اتیموم --> everything is made of mind
hhbn هبن --> hand-holding benevolent narrator (-which is vanished)
(auto) cad کد --> (automatic) comforting aesthetic distances
iockat --> intentional objects commonly known as thoughts
atot آتو --> (you only ever perceive your particular) anthropomorphic translations of things
ejich جیش --> exhilarating jump into cognitive hyperspace --> displacement that Copernicus or Derrida does
foe --> fantasies of embeddedness [<-- phenomenology <== grounding of Kant (begining in 1900)]
avaa اوا --> a vertiginous antiliteral abyss
iwen --> intimacy with existing nonhumans
mok --> mathematization of knowing (--> Descartes, Newton) ==> hiding philosophical and ideological decisions made in acts of knowing =/= ontology (as a vital and contested political terrain)
icad --> ideology of “the consumer” and its “demands” (that capital then “meets”) --> adventure of modernity
fvod --> from the viewpoint of “objective” description (a bad way of explicating the objects that are already here)
toc --> troops of critique
towwk توک --> ‘technology of what we know’ (techniques that decide the differences between ‘what we know’ and ‘what is’. Morton's hyperobject is a towwk)
usoc --> uncanny strangeness of existence (work of Heidegger)
lawot --> (something is) ‘laying around in the workshop of thinking’ (let's reuse what appears to be broken lawot)

visist = visit + resist


correlationism: the notion that philosophy can only talk within a narrow bandwidth, restricted to the human-world correlate : meaning is only possible between a human mind and ‘what it thinks' = its “objects” (flimsy شل و ول and tenuous رفيق as they are) ~-> the light on in the fridge when you close the door
-Heidegger (towering through) is a correlationist who asserts that without Dasein, it makes no sense whatsoever to talk of the truth of things, which for him implies their very existence--for him idealism, not realism, holds the key to philosophy. (Heidegger's tool-analysis: when equipment--which for all intents and purposes could be anything at all--is functioning, or “executing” [V[...]

[...]n nature


(no) realism that only bases its findings on “ontic” data

scientific discoveries are necessarily based on a decision about what real things are

*disaster [ontologic] taking place against a stable background [ontic]*

causality after Hume and Kant : causality as a feature of phenomena, rather than things in themselves ==> humans are not totally in charge of assigning significance and value to events that can be statistically measured
entities that become visible through post-Humean and post-Kantian statistical causality --> anthropogenic global warming

causal factoid


humiliators [there is no center and we don't inhabit it]:
•Copernicus
•Darwin
•Freud (displacing the human from the very center of psychic activity)
•Marx (displacing human social life with economic organization)
•Heidegger
•Derrida (displacing the human from the center of meaning-making)
•Nietzsche
•Deleuze and Guattari
•
~= there is no edge =/= (film Lucy or Neil Tyson series suggesting that) there is an edge (of time to see everything perfectly), in some (privilaged) transcendental sphere of pure freedom, Lucy's chair literally sitting a VIP box beyond the edge --> anthropocentrism: the idea of a privilaged transcendental sphere
Kant --> (although we are limited in finitude) our transcendental faculties are at least metaphorically floating in space beyond the edge of the universe --> #milieu #tasavof #sufism


...هزار و یک hezaro yek
universe of trillions of finitudes


[*]thing: a rift between what it is and how it appears


(Morton > Herman:) human consciousness wants *to preserve knowledge as a special kind of relation to the world quite different from the relations that raindrops and lizards have to the world* (<-- so dangerous and so difficult to resist [<-- next level of situated knowledges] -->) also want to claim that the very status of [his] utterance is somehow special <== (human) ‘thought’ is given a unique ability to negate and transcend immediate experience
(claims that the human doesn't exist ==>) elevating the strucure of human ‘thought’ to the ontological pinnacle سرمنزل

everything (such as modernity) banks on a certain forms of ontology and epistemology to secure its coordinates


speculative realism, a rogue machinery

saving power:
•expecting an eschatological solution from the sky
•a revolution in consciousness
•a people's army seizing control of the state
•

obsessive robots (that hold open the sliding doors of history just as they appear to be snapping shut, imprisoning us in modernity forever)


*distance*: (the schizophrenic defense, “object in mirror,”) a p[...]

[...]llow orders!”), application of Reason in the public sphere of human affairs
with her work we are in the Age of Enlightenment, Age of Reason, resourcing authority and legitimacy, ideals of individual liberty and progress --> Kate's thinking founded on philosophical fictions of the 18th century (--Foucault--> problematic legacy of the Enlightenment)
•the legecy of 20th century: (Kate's dialectical negativity) to define and work in negative way, an ‘exit,’ a ‘way out’ --> transcendental [---> go to Singh, Khan,]
•question of contemporary reality --> Kate does a totalizing elevation (like many other artists)
•the realm of obedience --> artists’ childish attitude of never accepting someone else's authority (#fighting the system; should we fight the system systematically? @Nicolas)


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

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

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

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

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

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

all language-use is tropological (~ rhetorical)


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

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

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


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

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

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

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

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

[...] order to do a limited situated work

“conceptualization = fortification” استحکامات
(to fortify one's own work with concepts ==> settlement)

Manning's affinity with infinitly, more, and multi --> what is their rigor is doing for them? commits them to the nonhabitual. (resisting to name their habits, depriving them of thier habitual labors) [=/= my work on descriptive practices]

-i want to know about their empirical tools that make translation-work visible (==> decomposition), not their conceptual descriptions [=/= textured description with thick details <== i really think the devil is in the details!! }--> art of noticing things]
-i want to know how Manning is compromised into desiring what she is doing. [compromise: being exposed or made liable to danger, suspicion, or disrepute. --the way she told the story of her practice had a difficult sense of success in it, of being cool and correct at every turn, uncompromised. (<-- why is this a turn-off for me?)]

for aesthetic, political, ethical reasons i want Manning to address in their work:
•the question of apparatus --> working within an apparatus of thinking in order to get somewhere in a sustained way. i want them to name their apparatus of literary production. how they engage with the interface, data-set, grammar, and literacy of their reservoir.
•the question of infrastructure --> how they balance the possible and the acceptable, the balance of action, tools, and the built environment
•the question of technology --> how they take apart the tool from its context of involvements and referentialities
•the question of political orientation --> how they have accepted the democratization of knowledge and multiculturalism (the idea of “knowledge for everyone” [--> there is a very thin line between the impulse to democratize and commodify knowledge]; --could multiculturalism be radical capitalism in action?! ...faking diversity to build more diverse companies <-- “lip service”: to just say something but not actually do it)
[--> the hegemony and horror of “different experience” of the so-called different cultures (a form of racism?)]
[multiculturalism =/= trans-species]
[multiculturalism =/= eurasia]
[--> the hegemony and horror of “the completely different” (==>? deskilled society)]

Manning: “in senseLab we work with the people who don't use language, don't write, etc.” (<-- what does that legitimates, conceals, or smuggles? what sorts of hierarchies and ideologies of status emerge out of that?)

-as the philosopher of nonintentionality how did she responded (paranoically?) to our intents when questions where asked?
-as the philosopher of discord how did she responded to disagreement?


(?how do you tell the tale of) *your adventures سلوک and achievements کرامت* (karamat va soluk)
(why self-promot[...]

[...] the so-called different cultures (a form of racism?)]
[multiculturalism =/= trans-species]
[multiculturalism =/= eurasia]
[--> the hegemony and horror of “the completely different” (==>? deskilled society)]

Manning: “in senseLab we work with the people who don't use language, don't write, etc.” (<-- what does that legitimates, conceals, or smuggles? what sorts of hierarchies and ideologies of status emerge out of that?)

-as the philosopher of nonintentionality how did she responded (paranoically?) to our intents when questions where asked?
-as the philosopher of discord how did she responded to disagreement?


(?how do you tell the tale of) *your adventures سلوک and achievements کرامت* (karamat va soluk)
(why self-promoting is such a turn-off? it makes the listener into someone to convince or win over into the Förderung of the speaker. [with Campbell:] self-marketing creates a ‘perverse knowledge’ about the work of the speaker, that means you give information about ‘healthy’ parts of your practice, your achievements and moral/material awards, with the assumption that the listener is going to make a good decision about the ‘halo effects’ of the speaker, but in fact you are made ‘brand literate’)
or [it is seems elementary but neccesory to ask Manning:] what is the difference between advertisement and knowledge?


there are innumerable ways to adapt to the world without creating a philosophical understanding of the world

(Manning) “we feel the force of form. this kind of beauty has nothing to do with an external aesthetic judgment.” (--> how the personal judgment is not worthy of philo when a tsunami is coming or one is on the way of being gang raped?)


during the workshop Manning remains the center of command. she constantly “knows” (better). and she insists that through letting go of our critical thinking the participants can understand her notions ==>? how can she not build disciples?!

on production
replacing the name of ‘production’ with ‘but we must leave a trace’ (which exactly do let the notion of production sneak back in under an other name)

(Manning on p.16 5th paragraph is an example of an) unaccountable unsituated abstract claim of reality:
•unaccountable --> where do you stand saying this?
•unsituated --> for whom is this good?
•abstract --> how you are saying it?

the notion of “care for the event”
=/= perspectives
=/= subjects
=/= persons

“occasion itself creates its subjects” (<-- you are a subject inside the occasion, how can you stand out and say that?)

(Manning) creating a concept of care =/= care as actually practiced in different parts of the world by people
(what is the politics of not caring?)

Manning's rhetoric of reasoning: ‘v[...]

[...]if you think you can be oblivious with things and do away with things and have erasure without remanence, it will go in the state of latency (underground) just to blow up in your face later (the ‘return’ of the repressed has ballistic velocities) --Derrida--> you have to work through with meaning and language (otherwise the old meanings always come back, you are never responsible enough with old meanings)

a word, becomes a thorn in our collective thigh
(what i am learning *rigor* from Avital > Derrida) something looks wrong, (instead of jumping on it and tagging it out,) first say why it is right, what necessitated and motivated it, why it had to be there = rigor: locate the problem zone + say why it had to be there (why it rhymes with what)

(mistake or glitch =/=) error: an exemplary error that teaches you, that had to be made to get where you are going, you had to get into this zone (and as traumatic as it might be) it was neccesory and necessitated by the system that was pushing you forward, it pushed you toward a place of error and blindness and forgetting

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

practice of *worldly thinking* with Stewart
vivid pragmatics
weird robust realism of deobjectified deliteralized things =/= ajayeb
to correspond with #telegram media
constitutive differings

teenage: self-division between the move to surge out in a risky worlding and the labor of return alone and weighted

festering + sheltering

“When everything else has gone from my brain—the President’s name, the state capitals, the neighborhoods where I lived, and then my own name and what it was on earth I sought, and then at length the faces of my friends, and finally the faces of my family—when all of this has dissolved, what will be left, I believe, is topology: the dreaming memory of land as it lay this way and that.” Dillard > Stewart

rock-solid otherness

sitting on the granite curb... --Stewart--> sitting on a threshold of expressivity
(Stewart's) intercorporeal intermundane world =/= dull naturalism

(dead matter =/=) the capacity to correspond with a multiplicity of continuous worldings that are both plastic and dense --> grounds us

indeterminate lines of force ripple across the phenomena of a field --> materiality ==> ‘our thought: multidimensional contingent overdetermined’

**we remember in stories of accidents, sledding, and labors**


emerging in circulations (or)
resting in stone (or)
the facades of strip malls

compositional writing: an associational register (of connections and differences) that worlds object-reals [real: a tangle of elements thrown together in a radical composition]

social-material world = composition = prismatic --> for people who are:
•attuned[...]

[...]accept it when artists in research environment withdraw from reading certain positions by saying “this text is too academic.”



what is the state of art after Goya?



sites where political meaning is produced (the impulse to resist or correct inequality, injustice, lack, damage, tension, etc.) =/= attachment site (languages charged with power, inequality)
(i am interested in women) not because of gender [= identity politics, political correctness], but because of their practice and the question they pursue
-the horrific and dangerous idea that I hear under “I am now reading only women authors”


two visualized increases in the industry, science, and popular culture:
1. “how troubled we are” --> world simulation (catastrophic planet)
2. “how amazing we are” --> brain simulation (networks)


world is fubar ==> is interesting and is work to be done =/= paranoia conspiracy

something I learnt from my KHM study --> that technologies are ambiguous =/= Black Mirror TV series


hollywood =? hyperrealism
(art --?--> idealism)

poor cognition <--> boring environment


another sign of illiteracy:
•popping up of dialects or specialized languages (you walk to the next village and there they speak an almost different language than here)


romantic relationship:
dopamine --> love + hot sex [--> pleasure-related cognition]
anterior cingulate cortex --> empathy + comfort [--> impulse control]



برون افکن بنه زین‌دار نه در مگر کایمن شوی زین مار نه سر
revisit sanaat tashbih simile
tashbih not as alude but as description (literal)
مار نه سر mar-e noh-sar ~/= world
mar-e noh-sar is not a simile for the world (of the reader) but it describes a particular world that is in the image of mar-e noh-sar

haft modaber هفت مدبر

jealousy as affect --underlying--> Farsi ghazal 

ابومعشر بلخی Abu Ma'shar Balkhi
الهی - فلک نور
اثیری - ۸ فلک آسمانی
هیولانی - جزء زیر قمر

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

***don't read (or make) theory as a means of empowerment*** (a tool to fight or flight oppression)

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

[title]
king real

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

my problem with
•conceptual art: jumping (transcending) from material to meaning
•viscerality: every expression matters as long as it affects the viewer in the stomach




(call of) phenomenology: to return to the appearing of that which appears



political philosophy
political science
political art
[...]

[...]ursue
-the horrific and dangerous idea that I hear under “I am now reading only women authors”


two visualized increases in the industry, science, and popular culture:
1. “how troubled we are” --> world simulation (catastrophic planet)
2. “how amazing we are” --> brain simulation (networks)


world is fubar ==> is interesting and is work to be done =/= paranoia conspiracy

something I learnt from my KHM study --> that technologies are ambiguous =/= Black Mirror TV series


hollywood =? hyperrealism
(art --?--> idealism)

poor cognition <--> boring environment


another sign of illiteracy:
•popping up of dialects or specialized languages (you walk to the next village and there they speak an almost different language than here)


romantic relationship:
dopamine --> love + hot sex [--> pleasure-related cognition]
anterior cingulate cortex --> empathy + comfort [--> impulse control]



برون افکن بنه زین‌دار نه در مگر کایمن شوی زین مار نه سر
revisit sanaat tashbih simile
tashbih not as alude but as description (literal)
مار نه سر mar-e noh-sar ~/= world
mar-e noh-sar is not a simile for the world (of the reader) but it describes a particular world that is in the image of mar-e noh-sar

haft modaber هفت مدبر

jealousy as affect --underlying--> Farsi ghazal 

ابومعشر بلخی Abu Ma'shar Balkhi
الهی - فلک نور
اثیری - ۸ فلک آسمانی
هیولانی - جزء زیر قمر

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

***don't read (or make) theory as a means of empowerment*** (a tool to fight or flight oppression)

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

[title]
king real




my problem with
•conceptual art: jumping (transcending) from material to meaning
•viscerality: every expression matters as long as it affects the viewer in the stomach




(call of) phenomenology: to return to the appearing of that which appears



political philosophy
political science
political art

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

in Tehran (?how are made) the boundaries of jorm (جرم =/= law), gonah (گناه =/= god), and ? (=/= norm)
--> norm, law, sin, akhlagh اخلاق



•[thanks to Gesellschaft =/= Gemeinschaft ==>] jamee جامعه society =/= ejtema اجتماع community = norm + place (+ identity)
◦ ejtemayi اجتماعی social =/= ejamyi اجماعی collective
•tars ترس fear =/= ezterab اضطراب anxiety
•sharm شرم shame =/= khejalat خجالت shyness


[...]

[...] are shaped by negativity)
positive-negative asymmetry
(in trying to) make sense of the world --> focus more on the negative
bad ==> attention
negative news is more likely to be perceived as truthful
ambiguous stimuli rated as threatening --> survive


(gestalt) law of closure: we perceive pieces of objects as part of a whole when grouped together



to produce counter-knowledge [~= to contest a problem] =/= (we need more) to *seduce our evacuation from the terms that establish the problem*
(Shapiro)



•stressor ==> emotion (short, intense)
•emotion + meaning (cognitively processed repeatedly) = feeling (lasting, less intense, combined)
•emotions هیجانی + feelings احساسی = [*]affect ~= mood



(in apass)
•concept: a medium of conversation
•narcissistic research
◦understanding narcissism is the key to understanding mental health --> *(the experience of) being in a cult = being in relation with a narcissist*
•mode of attention that is didactic and forensic
•(in artistic research environments) most of time we don't have questions
we have games of language --> illiteracy
◦exam: pose your questions =/= answer to my questions
answers don't show your level of knowledge, but the questions you have does
•generative nature of melancholia [*melancholia ==> teaching*]
•(artist's) writing with pearls of wisdom =/= referential writing


three problematic loci in artistic research:
•garden
•archive
•map

*is every garden zoological? --?--> training for future (imperialism)
good gardener ~= good (feeling, caring) imperialist
-enlightenment approach to captivity --> new sense of civilization (what is proper)
-removing any visible explicit means of captivity (animals appear move freeling, as if they wish to be there) <-- affective engagement
animal ~= border figure allowing institution to move between human world and animal world

science for empire --> mobilization of wonder (human capacity for curiosity that makes us human are mobilized in the service of questionable political goals)

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

[*]democracy: ‘farmandahi (commanding) = farmanbari (obeying)’

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

...thoughts expire on contact with words as quickly as words expire on contact with thoughts
(Pavic's Khazars)



two examples of metamarketing
1. Pleasantville (1998)
2. The Devil Wears Prada (2006)



(my flourishing in the scholl was always highly) teacher-dependent --?--> being social [=/= genius]

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

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

<[...]

[...]ing of the infinite entity :
non-mystic monotheism ==> a personalized (incarnation of) God (--> everything ‘personal’ is subject to death and negation) ==> entrance of God in collectivism


تغییر ماهیت عالم taghyire mahiate alam (change in the essence of the universe) is the subject of study for iranian ancient philosophies and cosmologies

contemplation (moshahede nazari مشاهده نظری) ~= action
knowledge ~= creating (that insensible speculative world) (the world of ajayeb and its siblings is created and stated in my inner vision)
[hush-e nazari هوش نظری, ability to abstract, is the ability to look from above]
[(jaleb budan-e) heja-e bimani هجای بیمعنی, interest for meaningless morpheme]

(human's function:) the transfigurative function of the transcendental machine (karkhaneye mojarad-sazi کارخانه مجرد‌سازی, by Sheikh Muhammad Tabatabayi)



*ta'vil bayad dar jahate axe harkate jami va moshtarek bashad تأویل باید در جهت عکس حرکت جمعی و مشترک باشد
(interpretation/hermeneutics =/= commons/collectivism)
(according to Sohrevardi:) haghighate lafzi حقیقت لفظی (verbal/literal truth) --> the metaphorical entity
face/surate/صورت/apparition/majaz/مجاز/trope --> truth/reality



(سهروردی Sohrevardi's accord:) up in the highest point in the hierarchy of existence there is nur-al-anvar نور‌الانوار (light of lights) which its material-removing (dematerialising?) abstraction (tajarode made-zoda تجرد ماده‌زدا) constantly transcends, beyond any other abstraction. ==> first light is originated from it: anvare ghahere انوار قاهره (~= anvare fereshtegani انوار فرشتگانی) ~= first maleke mogharab ملک مقرب (or Bahman بهمن, Vahumane وهومنه, first of Zoroastrian Amshaspandan امشاسپندان) ==> (due to their interactions:) second light, second maleke mogharab is created ==> eshragh اشراق ==> eshragh ==> eshragh ==> ...

جسمیت‌شناسی‌ jesmiat-shenasi?

رب النوع rab-ol-no ~=? God of type, of abstract examples, (Plato's universals? type, general concept --> is always beyond the horizon, the reality of the type lies beyond a related one that it sustains (‘token’) ["Beyond the horizon there lies a Lion, a Lion more Lion than any more lion. And beyond saying ‘lion,’ which calls forth that Lion, lies yet another, who might just look back. And beyond this eyeing one, lies an undying one, one we call ‘Lion’ because she is a kind.” (Kohn, 2009)] --> apply this idea to the fire)
ارباب الانواع arbab-ol-anva ~=? angelology (iranians loved angels and were good at angelologic thinking, it was a technical term in knowledge production regarding *categories and types*) --> Platonic + Zor[...]

[...]d finally made impossible; (Nietzsche)

flora and fauna

this is not the scientist obsessed with an idée fixe--but one capable of uprooting and going

...invites ambivalence
...dreaming of immense edifices and the permanence promised by contracts written in stone

register(s) of understanding


A new fold in metaphysics, testing--that is, the types of relatedness that fall under this term--asserts another logic of truth.

A kind of questioning, a structure of incessant research, perhaps a modality of being, testing scans the walls of experience, measuring, probing, determining the “what is” of the lived world.

i marvel at...


wonders of...
marvels of...
unheards of...
mazhar ol-ajayeb مظهر العجایب
Motehayeran-e متحیران, Tahayor تحیر ~=? to wonder
dar ahval-e... در احوال
dar khavas-e... در خواص
navader-e... نوادر
sefat-e... صفات


ta'ajob تعجب =/=? heyrat حیرت
the mode of attention in ajayebnameh is tuned by ta'ajob (wonder) away from Iranian mystic preferences over transfixation and rapture (heyrat)
which literary or (not)knowing positions are installed in these two (observational?) stations?
the subject of ta'ajob is moved otherwise
تعجب در باب امر قدسی‌ ta'ajob dar bab-e amr-e ghodsi, wonder in the matters of divine

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

Heidegger: die Wissenschaft denkt nicht
Derrida: links science to mourning and memory
Lacan: science is always there, ready to erupt, amaze or blow you away.


Husserl was perhaps the one most freaked out by the historical split (between science and philosophy--and art?)


...a matter of technological selfunderstanding,

...nor do I insist on sustaining the pathos that propels the images...

ethical and political issues are increasingly seem to have more to do with testing than questioning, hesitation, certainty

There is a test ... it claims and so it stands. There is the other test that crashes against walls, collapses certitudes, and lives by failure-lives by dying or, at least destroying.


The one register of testing offers results-certitudes-by which to calculate and count on the *other.*

the culture of Versuch, test or trial
(farhange kushesh, ghasd, sue ghasd, va emtehan)

(measuring and) testing that support, among so many others, political, religious, and educational institutions

testing has everything to do with the way the policing of political sites and bodies takes place, in modernity and with our experience of reality in general.

testing ~=/?==><--> the real
(elliptical circuit established be[...]

[...] and environment begins” [...]
(Haraway > Gilbert)

“All stages of the life histories of evolving animals had to adapt to eager bacteria colonizing them inside and out.”
To be animal is to become-with bacteria


to inhabit an inter-subjective world, to love is about meeting the other in all the fleshly detail of a mortal relationship (to wit, first, somehow to learn what this other needs and desires)---permanent search for knowledge of the intimate other, with inevitable comic and tragic mistakes in that quest


thinking about animals as “other worlds” in a science fictional sense


scientifically informed, empirically grounded practice

theory ...still a limited discourse and a rough instrument

“who is at home?” --> ask in respect for all of time who and what are emerging in relationship --> (the obligation to ask) who are present and who are emergent? ***

(what are our) categorical labor
labor of training --> somehow all the participants of training are remodeled by it
labor of scale-making
(these are world-making practices, storytellings)

significant otherness-in-connection =/= intention-ascribing idioms of literalist anthropomorphism that sees furry humans in animal bodies and measures their worth in scales of similarity to the rights-bearing, humanist subjects of Western philosophy and political theory ==> assign privileges or guardianship (in place of ownership) in a modernist great chain of being

*action: beautiful, hard, specific, personal;
=/= abstract scales

differential sensibility =?=> situated emergence =?=> more livable worlds ~ ontological choreography

category of “rights” don't just exist (preformed to be uncovered,) rather we enter into a rights relationship with an other (animal or human)--> Hearne's “reciprocal possession”
-moralityrality is a species-specific capacity
~ if i have X, my X has a human (which is me)


off-leash and cliff-enclosed @Varinia


(Haraway:) time-space scales co-constituted by human, animal, and inanimate agencies
1. evolutionary time (at the level of the planet earth) --> naturalcultural species
2. face-to-face time (at the scale of individual lifetimes) --> mortal bodies
3. historical time (at the scale of decades, populations, nations)

to tell (detailed love and training) stories at these levels

this is about distributed agencies in “layers of locals and globals,”

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

my interests lies really with the ecological cosmologies in my neighborhood (iran, old, middle east, far east, past, present,)
that is why i was interested in the birds of Attar, pig of san'an, wolf of the pigs, crow of the partridge, and so on.
so things take positions in ou[...]

[...]>
(our sense of) our own ecological peril and fragility--our shared fate with our neighbors.

[The ajayeb's beings and their neighbors]

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

[instead of the struggle against sin (~=? christianity) or the struggle against suffering (~=? Buddhism),] the struggle between (different) sins

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

(the reading of ajayeb portraits) the global [and therefore *ethical] consciousness (at the end of 12th century middle-south asia, “the east”)

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

[Martha Kenney]

(how not) render ‘wonder’ a strictly historical object(?)
[as basis for building a contemporary ethics]
(wonder is ajib عجیب)


just-so story
in science and philosophy, a just-so story, also called an ad hoc fallacy, is an unverifiable and unfalsifiable narrative explanation for a cultural practice, a biological trait, or behavior of humans or other animals. (wikipedia)
etiological myths
etiology: the study of causation, or origination


the politics technology and the politics of storytelling.


[...] Narratives, along with literary devices, tropes, figures, images and the aesthetics of language, inhabit and inform even our most reliable knowledge-making practices.

storytelling as one of the consequential material practices
[storytelling is material practice]

[where there is a situated perspectives there is storytelling]

it is “practicing generous reading”

and “technique of refiguration” --> create alternative forms of knowledge
[figuration ~ storytelling apparatuses]


(Haraway, Primate Vision)
•“Attention to narrative is not instead of attention to science, ...”
•[there is no way that we can] escape the particular pleasures and dangers embedded in the story-laden sciences.
•[what are the things that] could only be explained by cultural, not scientific, genealogies [?] --> ideological apparition[s]
•Something new was required to account for change; the logic informed a kind of paternal creation myth [........] unchanging “matrix” for the generative principle of change. (In Zihlman's story logic, both gathering and hunting emerged as repatternings, not opposites, in changed conditions of constraint and opportunity. Narratives of both gathering and hunting ways of life produced genders and citizens.)
•tool-weapon equation in masculinist scientific narratives


as careful scrutiny of wonders and marvels becomes a mainstay in European intellectual life, 17th century natural philosophers began to understand *wonder, *curiosity, and *attention as cloesly aligned and mutually defining.

epistemological beast fable

unnatu[...]

[...]ز) (also, i am trying to quote Muhammad, Sa'di, ajayeb, the bird sometimes, and something is called in)
•speculative fiction
•
==> to move/draw myself and my reader into my matter of care


project of *narrative remediation*, to re-story, to stage matters of care differently

(biological) ‘resilience’ is a tricky thing to narrate in ‘relational worlds’ (=/= military world) abounding with transforming and transformative agencies***

to meet the future organisms that we are becoming (Hayward) --> stories that figure us as: {constituted, contaminated, vulnerable, agential, creative, expressive,}--> all at the same time; (how to hold them all together?)

(Stryker > Haraway > Hayward > Kenney > Sina > Cinderella)
***so much that constitutes me I did not choose, but, now constituted, I feel myself in a place of agency*** ----> (my) ontological obligation {ontology: what there is and what debts we owe to it}--> *involutionary storytelling* (~/->? involuntary storytelling)

--> lives, affects, and bodies of organisms: “energetic forces, coextensive overlappings, shared milieus make species; species are sensuous responses” **Hayward

thinking with animals : {figural + literal}
spiders, rats, ...

“the transitioning body is also a gossamer outstretch of homeliness, energetic force or potential, a discursive pulse, a throb of sensations distributed across sensoriums, spaces, and times, delimiting territory but also sensing zones, places, and coherences.”

criticism = speculative fantasy

undoing the eye's property of vision (Kelley and Hayward)


([my account of] ajayeb's stories are) moral tales that model an ecological attention to relationality, vulnerability, and resilience ==> living well in a world contaminated (by all sorts of linguistic and chemical animacies)


*traumatic hope*
(Sedgwick: the reparatively positioned reader tries to recognize the fragments and part-objects she encounters or creates ~= what i am doing)

why tell stories like this, when there are only more and more openings and no bottom lines? --> because there are quite definite response-abilities that are strengthened in such stories (La Guin > Haraway > Kenney)

bottomless story ==> response-ability (an enabling of responsiveness within particular relatings--Schrader 2010)

not only human call & not only human respond --> the world is full of “propositions” (waiting to be registered by interested bodies) [yes we need to produce ‘interested bodies']

“fables of response-ability draw our attention to who is interested and who is made articulate in the apparatuses and ecologies we live inside.” (Kenney)*****

what is a narrative good for if it doesn't improve the quality of companionship (between human an[...]

[...]here is no preexistent nature)
(Aela's interest in?) spatiality: (characteristics of enclosures <-- concerned with shapes and sizes) ‘geometry’ =/= ‘topology’ (investigates questions of *connectivity* and *boundaries*)

***it is the very existence of ‘finitude’ that gets defined as ‘matter’

narcissistic bedtime stories... (positioning of materiality as either a given or a mere effect of human agency)

(*)matter: substance in its intra-active becoming
(*)performativity: iterative intra-activity

“I'm trying to complicate the locatability of human identity as a here and now, as an enclosed and finished product[/project]” ~ “perspective essentialism”
...nature performs itself differently
(Kirby)


[Barad:] **onto-epistem-ology**: the study of practices of knowing in being
“epistemology =/= ontology” is a reverberation of a metaphysics that assumes (inherent differences:) “human =/= nonhuman,” “subject =/= object,” “mind =/= body,” “matter =/= discourse”...

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

what kind of alphabetico-numerical forefinger can i build that can press a schizophrenic partial systematizing of ajayeb?

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

so much (in Iran's literature) still awaits reflection and comprehension (-without comprehensiveness please!)

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

...archeology of dying in our civilization
(archeology of our dying civilization)

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

Aristotle's narrative: catharsis of emotions --> first arousing pity and fear and then clearing them away

theories of narrative:
•formalist theories (Russian)
•dialogical theories (Bakhtinian)
•New Critical theories
•Chicago school, or neo-Aristotlian theories
•psychoanalytic theories (Freud, Kenneth Burke, Lacan, N. Abraham)
•hermeneutic and phenomenological theories
•structuralituralist, semiotic, and tropological theories
•Marxist and sociological theories
•reader-response theories
•poststructuralist and deconstructionist theories (Jacques Derrida, Paul de Man)
•feminist theories (Martha Kenney, Haraway, Stengers, Hayward)
•
•

structuralist: that there are typical formal elements or “deep structures” to narratives --> complex performative dimension between the telling of stories and what is told in them

(Paul de Man:) “The paradigm for all texts consists of a figure (or a system of figures) and its deconstruction. But since this model cannot be closed off by a final reading, it engenders, in its turn, a supplementary figural superposition which narrates the unreadability of the prior narration.”

the analytic experience has a narrative character? psychoanalytic dialogue ‘uncovers’ a certain kind of narrative discontinuity maintained in the analysand's efforts
-[...]