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

where are we headed with our syntax?

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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


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

the question ‘what does X mean?’ is always ‘what does X mean for you?’

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

i am following the movement of certain words here

spam =/= internet

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

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

[title]
“it's your turn now to play”

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

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

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

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

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

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

sublimated gratification of instincts, ambitions and ideals, (homogeneous) gestalt and expression of the self, narcissistic equilibri[...]

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


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

the question ‘what does X mean?’ is always ‘what does X mean for you?’

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

i am following the movement of certain words here

spam =/= internet

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

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

[title]
“it's your turn now to play”

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

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

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

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

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

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

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

“invisible reality and the aesthetics of universality” or a mean by which universal is recognized*
timelessness, wholesomeness, indivisibility, aesthetic standards
-pictorial thinking, movement thinking, affectual thinking, {--> all issued by the notion of “pure” and “purity”? tendency toward idealization? utopian?}

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

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

...step to complete nonobjectivi[...]

[...]> •fluid equilibrium --> movement of Being
[is this a romantic structural attitude?]
-and how is she confronted with cosmos prior to her inscriptions? (question of realism)
-what is (the mystery of) a ‘being through interpretation’ for her? (question of performativity)

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

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

“invisible reality and the aesthetics of universality” or a mean by which universal is recognized*
timelessness, wholesomeness, indivisibility, aesthetic standards
-pictorial thinking, movement thinking, affectual thinking, {--> all issued by the notion of “pure” and “purity”? tendency toward idealization? utopian?}

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

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

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


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

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

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

{ psychoanalysis = "absent presence” of historicity-->(sideways movement of feelings) }==offers==> a th[...]

[...]hensive whole
[idealistic/symbolist:] to connect the (inner) particular to the general
[romantic:] to make (inner) invisible visible

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

“invisible reality and the aesthetics of universality” or a mean by which universal is recognized*
timelessness, wholesomeness, indivisibility, aesthetic standards
-pictorial thinking, movement thinking, affectual thinking, {--> all issued by the notion of “pure” and “purity”? tendency toward idealization? utopian?}

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

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

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


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

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

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

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

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

in Freudian model, the movement between objects is intrapsychic --> trace of how histories remain alive in the present*** [regarding ajayeb's histories, his[...]

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

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

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

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

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

objects, the author of emotions



(how) emotions align subjects

_“surfacing” of individual_

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

narrative = production of the ordinary


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

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


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

(ghol قول, gharar قرار, gharardad قرارداد [~ that which is promised by the ghol], ghovate ghalb قوت قلب) contracts also come to reassure, otherwise we might be in the radically open space of psychosis.
***contracts, they disambiguate the space***
{+} (pointed out by Derrida:) “contract” is less terrorizing than assuming that there is something natural that binds us... (@Luisa) contract is a non-natural conventional object. (the textual nature of contracts allows it to be read, written, rewritten, reformatted and rearranged.)%-->{ontic & ontologic}
•what kinds of violations does the contract capaciously includes in itself?
•there is nothing natural about here and us being here. (spatiotemporally clock tells us not only what time it is, but also where and who we are: how “time-teller” is spatially architecturally phallically positioned: in the center, on the top, wrapped around the body, and so on.)


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

[apass opening week 08.05.2017, (my response to) what is “artistic research”?] artistic research is a fancy way of h 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 [...]

[...] #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 neore 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”
[...]

[...]ings*] that means: what does it mean to live in the consequences of the relations one is enacting?
(when I look at my friends and peers in apass, I can see and feel the knowledges they inhabit in their bodies and the living effects of their languages. I re-figurally feel the figures they embody and their objects whether they assist or resist states of transformation.)


ephemeral things become food

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

Esta, risking one's life


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

Xiri's sense of entitlement to accusation


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


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

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


instead of (the “how” of) “how do i show my interested texts?” (which was proposed in Maarten's exhibition of poems) i like to ask (the “what” of) “what requires reading?” (also @Sven) (my kill-joys in apass ... am i being too ontologic with everything? --> I am operating from the position that understanding materials, practices, and interpretation implies questioning ontological assumption ==> challenge concepts)


@Eszter: is there a notion of ‘natural’ embeded in her ‘compelled’? there is nothing natural about us being here, there is nothing natural about here
•cognitivism: (when talking of representation) a psychology of doing which emphasizes human cognition endowment enabling man to develop intellectually ==> classifications (are easy seen) as properties of mind =/= classifications as materials or materially textured --> “a common way to hear people's experience of this materiality is through metaphors. So the generation of metaphors is closely linked with the shift to [...]

[...]rance”*-
...with Democritus's atomic theory emerges the possibility of a gap between representation and presented. (the idea that something “appears”)
-Democritus:
•atomism (-->? cornerstone of modern science)
•democracy (-->? cornerstone of modern politics)
}--> the idea that the world is composed of individuals with separately attributable properties**** (==> Newtonian physics of independent objects, @Heike)

*Newtonian framework --> meaphysics of individualism
1- that the world is composed of individual objects with individually determinate boundaries and properties whose well-defined values can be represented by abstract universal concepts that have determinate meanings independent of the specifices of practice (--this is exactly what Marialena should be carefull about: abstract univerality of ‘language,’ and the independency of her ‘recorder’)
2- that measurement involves continuous determinable interactions such as the values of the properties obtained can properly be assigned to the premeasurement properties of objects separate from the agencies of observation

(*)concept: specific material arrangements, concepts are defined by the circumstances required for their measurement

(is Luisa's “wholesomeness” also about a feeling for inseparability?)


deployments of power <--> body--{bodies, functions, physiological processes, sensations, pleasures,}

matter is not an end product, rather an active factor in further materializations
(*** matter materializes ***)
matter's ongoing historicity

precise causal nature of productive practices ==> differential constitutions are marked


ajayeb: a host of material-discursive forces

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


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


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

(Descartes's epistemology --> representationalist structure of words, knowers, and things)--> transparency of measurement (transparency of language) =/= Bohr's epistemological framework (after his empirical findings of an inherent discontinuity in measurement ----%> wave-particle duality paradox) ~-> Barad's “causal relationship between specific exclusionary practices embodied as specific[...]

[...] material-semiotic time-space of the Indo-Greco-Arab-Turko-Persian terra taxa)]
•periods of time
•“known” life
•abode (budgah بودگاه, Wohnplatz)
•donya دنيا


-stories that focus on composition rather than intrusion
-stories that focus on ongoingness rather than game-over

(Haraway > Stengers > Latour > Margulis) Gaia, to name complex nonlinear couplings between processes that compose and sustain entwined but nonadditive subsystems as a partially cohering systemic whole

planet-transforming, historically situated, new-enough, worlding relations

(systematic stories are linked) metabolisms, articulations, coproductions
(they must also be) relational, sympoietic, consequential


myth-systems (are set-ups)
(a deadly one: “Man + Tool ==> history”)


names =/= faces (~ morphs of the same)

a thousand names of something else

(what Haraway is naming with) compound-eyed insectile and many-armed optics

winged domains
bird-bodies

(Haraway's spider and) my ajayeb's snake: tasks of thinking, figuring, and storytelling
--✕--> heady facial representation; [Luisa also dislikes this]
•figure of snake (circular serpent) is ajayeb Persian sf worlding, has ties with the Greek Chthonis (“of the earth,”) is at the same time the image of the continuity of life and the abyssal moral (eating your end, no gag reflex)-->{Gildas Hamel: “the abyssal and elemental forces before they were astralized by chief gods and their tame committees"}

“many critters acoss taxa” (juju جوجو + rade رده)

(I dispute Haraway's notion of “sacred.” popular religion is at many times populated by earthly figures alongside many astralized destructive finitudes.)

Haraway's urgently needed Chthulucene story


[Miyazaki's] biodiverse terra [God flips out] into something very slimy, like any overstressed complex adaptive system at the end of its abilities to absorb insult after insult. (Haraway's wording)

(yes yes we are all ultimately connected to one another,) but the specificity and proximity of connections matters

(Haraway + Latour's) ‘things’ are:
1- collection of entities
2- hard to classify, unsortable, (and probably with bad smell)


Anthropos =/= rich generative home of a multispecies Earth

“looks up at what he sees.”

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

ʿAjā'ib al-makhlūqāt wa gharā'ib al-mawjūdāt
Ajayeb al-makhlughat wa gharayeb al-mojudat (عجائب المخلوقات ,عجایب المخلوقات) in short: Ajayeb, is a suggestive cognitive work, full of strange linguistic pollutants, interesting agencies and animations, and like most of the medieval sciences and know[...]

[...]ectivism” (view from nowhere) or “everywhere” (relativism)]
=/=


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

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

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

perhaps that arm that got detached from you, could have a chance of not becoming a jettison phantom limb forever haunting the missing amputated ‘you,’ rather, a part of “companion species being helping out”? --> *connectivity does not require physical contiguity* (@Luisa's string “theory”)
[*phantom limb* (a concept every theorist/artist should take seriously), in Descartes: used as an illustration of the deception to which the inner senses are prone.
“fossil images,” persistence of pathological excitation to the peripheral nerves. (the condition of ‘amputees’ for the one who re-members and builds archives for his phantasmatically lost limb) *imaginary loss of a penis* --> a “tool” for a recovery of what was “always already” missing --> Freud: libidinal memorial to the lost limb (@Elen's kind of mourning for preoedipal (~= precastrated) body, and her (erroneous) localization of it on the motorbike)
Grosz: “It is only through controlled use of the phantom that the artificial limb can (gradually) take the place of the lost limb”
#body image]


ecologies of reflection and diffraction --> resolution of nature

[*]diffraction: an effect that limits the ability of a lens (or a system of lenses) *to resolve an image*
•(to evolve a creative tension,) a trade-off, between the resolution of detail and diffraction effects, between geometrical and physical optics

ajayeb's ecologies mixed (less of) reflection and (much more of) diffraction, are taken from a yet not detachments of the experience of phenomena and the apparatuses of its description, of percepts and affects
#my findings of composites of ajayeb:
•animals varying number of legs --?--> animal + movement
•fantastic creatures --?--> animal + environment + affect
•fable poetics --?--> animal + apparatus of description
•tentative citationality [other name of “rumor”?] --[...]

[...]> being in a predicament مخمصه
being ready for something--anything


a life's trajectories traverse the materializations of scenes or pulsations
@Foad

atmospheres have:
•gradients
•valences
•moods
•sensations
•tempos
•lifespans
•

an atmospheric fill resonates the edge between the material and the potential

[my recording symptom in 2009 was an atmospheric (not symptomatic) attunement; constant recording; take on the texture and density of a background hum; to produce a felt; barely felt sense of something happening in the house;]
-my father disappearing into violent, abandoning drinking


every person is a nexus of compositional moments
a worlding taking place in difference


!♥ Stewart talking about her stepson becoming a homeless
“People like to simplify the situation of homelessness as if it is a self-evident process of abject poverty without a safety net or as if it's just a matter of personal blame or failure. But it is also an attunement to a singular world's texture and shine. The body has to learn to play itself like a musical instrument in this world's compositions.” [@Luisa, Sven, Foad]

(i lack certain learnings in sensory labor of attuning as a zerang زرنگ person)


(do i also have) the habit of a worlding

trying to find the rhythm of a new bodily life

find lines of attachment

***to become describable as a body (by learning how to affect and to be affected in this world such as it is)***

(in my work on ajayeb i am becoming more and more committed to learn ways of) having stories meant to pull me into the sentience of the world i am in --> give it density, texture*


Stewart (2010) is writing an ajayebnameh of her mother in cancer, stepson becoming a homeless, and her hometown

______________


[*]regionality دهاتی ,داهاتی
-an event that jumps from landscape to bodies and back (Stewart)
--"here"-->{the blue law, the seasons, the color red, place names اسم خیابان [*the past snaps into the present with the recognition of the street names], bodily resonances, materialities bundled together like a sac of leaves, sharp-edged collectivities like race, ethnicity, class, gender, generation and religion, }--> “one ventures from home”
-a thing hollowed out by its labyrinth of edges; incessant interlinking
-a contact aesthetics
-a virtual mapping of things in a state of potential (Thrift)
-a sheer recognition of a sheer recognition: “we are from around here"-->{as *active survivors of the unexpected encounter and knowing readers of emergent situations*} (Roazan)
-turns spaces into animate envelopes that produce worlds (Sloterdijk[...]

[...]s
•attunements
•orientations
•disorientations
•atmospheres
=/= finished actualities*


ajayeb is compositional, that means something reaches a point of expressivity, something throws itself together as matter already configured yet enigmatic and provocative
(Stewart helping me talk ajayeb)

(am i working to) bridge between more compositions (?)


“watching a spider negotiate its unlikely territory”


(useless concentration)


Foad, Sina, we were a slipstream of sensations made of all the ways that world impressed itself upon us


[*]world: a partial stabilization of practices, capacities, tendencies and affordances in the form of a recursive patterning (Anderson + Harrison > Stewart)
•mixed-media compositions of matter and thought-feeling
•the world of ajayeb magnetizes materialities and forms of alertness for me to what's singular and prolific. i am circling through a heritage of (iranian) romanticism and pragmatism to arrive (with Stewart) at “the precision of a worldly composition's mattering forms”
◦*worlding: happens as matter poems composed of sensations, motion, bodies, and objects (--@Luisa)
•an attachment to the forms and forces of emergence and concrescence itself [...] in the actuality of this and that

learning from my mother by moving in the manner of her

we become *sentient* in making massages that courses in-between self and world

[*]pragmatist (thought): a moment like the front edge of an advancing wave crest always becoming more than itself

[*]writing: an experiment that can register years of living out the thing that is just then froming up the world as “...”


love folters and blows


Janina, teaching me, being in love with the surface of the world
r /> @Elen, she shouts: drive! and see what happens to your senses.


Taussig's “I Swear I saw This” is the stuff of ajayeb. he wrote a book about a drawing he made in his notebook when he saw what might have been a woman leaning over what looked like a man lying down at the enterence to a freeway tunnel in Medellin in 2006 --> ajayeb is also about writing about what ‘might’ be or have been.

**a mediation on writing and drawing in a horrible world**

#my drawings in my notebook/papers in our apass meetings
-a hand that draws a scence also draws itself into its corporality, conjuring it in the manner of
-a line records as for what it leads the doodler to see
-“a autobiographical record of a discovery of an event” --> a trace and suspension of a wobbly emergence of alertness (to what my friend might have said) ---> these are lived abstractions


possible paradigms for the convergence of emergence[...]

[...]nd if i follow these objects as they move out of the highlands, and if they became, if they came into an art market, then absolutely what we would be dealing with is commodities[...] --> situated knowledges [#SK], #import function

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

*literature = the question of reading* (=/= matter of novels and poems)

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

what is the language of war?
(Keenan > Weizman:) we need to understand war as discourse --> *war = a threatened discourse*
-The language component of war exists in the gap between the level of destruction which is “possible” and the level of destruction which is “actually applied” in every given situation.

when war is no longer a means but an end in itself(?) -->? Hezbollah

deterrence: a means of controlling a person's behavior through negative motivational influences

“We are law-abiding, and we go wild.”


violence stripped of semiotics

The logic, the reason, of conflict is thus political ... for Clausewitz, politics is essentially logic, logos, discourse, people reasoning with one another, thinking and speaking, exchanging


@Luis, why conflict could be my concern? because it marks the breakdown of politics, when we can no longer have a conversation, engage in the game, where there is no possibility of further exchange, there is fighting

failure ==> use of force

Saskia Sassen called the attacks of September 11 “A Message From the Global South”
she wrote that the attacks bore witness to a failure in communication or to a “translation problem”
for her the language of September 11 attacks was clear
Sassen's dangerous and depraved rationalization of September 11: south is speaking in a language that needs no translation



the word ‘conflict’ (is coined as a discoursive necessity and) bears with itself an analysis of politics which sees it as a rational enterprise, a structured confrontation or conversation aimed at compromise or reconciliation, the exchange of demands and the negotiation of outcomes --> a Greek tradition : to protect politics from irrationality and persuasion, and that State's monopoly of law enforcement is the only legitimate violence --> (as a term) ‘conflict’ carries with itself a telos of consensus (etefagh-e ara اتفاق آرا Übereinstimmung), agreement ==> perfect understanding ~~--> (Greek -->) democracy's dream of overcoming internal opacities of mediation or signification, dream of a final unification, dream of a clear universal language

(Barthes’ fable of) the woodcutter[~= an agent of change] ==> language = act (without mediation or image, operating *an immediate transformation* ==> politic) :
If I am a woodcutter and I am led to name the tree which I am cutting down [[...]

[...]r />
exhibitionary heritage of
•artistic practices --> the miracle in ideas/objects
•curatorial practices --> categories of the miracle
•exhibitionary practices --> the miraculous as datum of the world

miracle can be contained or can burst into the study of traditions and transmissions

miracle = content + form

miraculous --> surrogate medium of the artistic

(Renan:) how a miracle can turn the hopeful perplexity surrounding Virgin Mary into the relentless exhibitionary ----> *the power of suggestion is curatorial* --> materials can be rearranged (or other contents can be shaken off from them according to the demands of art history)


flower showers

an auspicious beginning for a lasting devotion

گلبرگ --> the petal applied to the body of the sick and invalid, a sacred relic that is progressively distant yet proliferative


> problem of the exhibitionary heritage --Renan--> discursify that even miracles can be interpreted art historically, that they are worthy of belief


Julia Scher (first two weeks of April (1-14.04) and last two weeks of June (14-30.06))
Marie-Luise Angerer (last two weeks of June)

Luis Negrón van Grieken (free)
Christian Sievers
Daniela Kinateder

David Hahlbrock
Zilvinas Lilas

Matthias Müller
Phil Collins
Heide Hagebölling

Mischa Kuball
Andreas Henrich
Ute Hörner
Peter Friedrich Stephan


////////////////////

i am using these spaces basically as their potential for being a host for something else, rather than pointing their pure site specificity.
my work has worked (for me?) whenever it was an intervention to/for its objecthood as a being-in-art-form or for my own fantasies. the problem/matter of exhibition.
the theoretical work would base on reading shyness as for a philosophical opening for the practical part of the diploma that comes afterward. By this way of writing i operate myself, breaking free from the process of offering philosophical evidence.

•Maulwurfe in the Moschee (shit on the head looks like Turban(!), about action and taking the action and getting the call, over doing of anything, revenge program, revelation to other's transmission, talking about shit in a mosque, etc.)
•king lear in the Hochzeitssalon (space for speech act, ritual, marriage of daughters, etc.)
•islam intro in the Biologie Zentrum Uni Köln (hygiene in islam, work on memory relation to research, reciting Koran brings the dead as witness, etc.)


////////////////////

shyness is prescribed for woman, it exists in religion as a female virtue

thinking in yoga posing (thinking, thanking)[...]

[...] think and act in the intersections of discourses”
but not every domain intersects in every instance, and the character of an ‘intersection’ is historically specific. it is a truism to claim that ‘like humans, plants and animal travel’ (Raffles, 2011, page 12). What Raffles fails to address is crucial: how, exactly, do those plants travel? to treat the ‘remaking’ of surroundings as a neutral, benign category, served from the colonial history of globalization, is problematic at best.


treating plants metaphorically only as immigrants, but never as settlers, paradoxically divides human from nature. it elides the forms of displanting--of botanical colonization--that were part and parcel of the colonial encounter.

Myths of the ‘noble eco-savage’ and the ‘ecological Indian’ have been shown to be inaccurate (Krech, 1999; Whelan, 1999)

(the notion of the Anthropocene implies) an ecology in which humans are immanent to the natural world

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

(eyes are) visual possibilities
“eyes” (are always) made available [...] with a wonderfully detailed, active, partial way of organizing worlds... [Haraway, SK]

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

lecture khm Luis
trans or cross ecological movement, from amazon to shahname, because i like it and i care for thoses ecologies.
and because we can't keep clean. i love to talk about clean and dirt. maybe some other time. if we can say anything about the world is that it is dirty and excessive and lunetic. literally lunar. the moon. if you think your bio and biology is not scheduled by moon or lunar forces think again.
do i need a bit of ego to sustain this skin-encapsulated organism (pointing to myself. this is another pointi dance)
tech interface amaz div device literature

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

[Avital]

in the conflict of rhetorics, the victory never goes to any but the third language. The task of this language is to release the prisoners: to scatter the signifieds, the catechisms

to enter areas of conflict [...] fragile zone where non-knowledge dominates knowledge

Self-dissolving and regathering, the subject became linked to the possibility of a new autonomy, and opium illuminated in this case (Baudelaire, though under De Quincey’s influence, was to use it differently) an individual who finally could not identify with his ownmost autonomy but found himself instead subjected to heroic humiliation in the regions of the sublime. Opium became the transparency upon which one could review the internal conflict of freedom, the cleave of subjectivity where it encounters the abyss of destructive jouissance.

mapping the body as an intensive conflictual site

scenography and rhetoric of armed conflict

(Avital on) the maternal trace in the[...]

[...]t is the intersection of our repertoire? (in apass, particularly; each of our mimetic preoccupations, dynamics of our violences, our mathematical sites, drawings on sand, modifiers, etc.)
==> dialogue

mathematics: (presents itself as) a communication maximally purged of noise

HRN: human relation-noise
=/= geometry


die agonal


to which degrees my work on ajayeb aligns or depends on the “new language” of the inexhaustible discourse of mathematics as inherented from the Greek geometry into the modern culture?

What are the inaugural relation of the geometric (metrological) ideogram to the CG? And to the Egyptian priest?
What is compared, modeled, simulated:
•flood
•fires
•celestial fire
•catastrophes
•violence of the elements
•


ajayeb: doxographies (, legends and allegories) composed in natural language (?)
=/= (the problem of) how to duplicate the cube ---,{thematized object of the complete intersubjective relation}
~=? alogon =/= logos: proportion, measured relation, discourse;
alogon prohibits speaking

crisis and recast, questions of archive


Luisa, Foad
(the space of the relation between) experience & abstract --> between sense & purity
(an inquiry line for Luisa: try to figure out the status of pure [which is impure? when history changes])

my allegorical covers

meaning of:
•non-disproportion
•nonviolence

Socrates: you are in crisis because you are ignorant of geometry

even: same
odd: other

برهان خلف borhane kholf, irrationality of the absurd

the irrational is mimetic


=======================


“before-after” temporality narrative

Serres's fabulofabulous work on the effects of the style in science
--> styles profile from (a sort of) stability *** -they inspire disciplines and furtilize fields of research, they seizes what is at stake in sciences

who believes that the passage from local to global is always possible?!
Lucretius answer is immediately “no”

in apass each of us is somehow busy with the critique of unidimensional platitude characteristics of our milieus. / Is that the global notion in our researches?

I want to take it up, maybe fulfill, and modify the project sketched out in ajayeb al makhlughat 10 centuries ago.

#my reading act with ajayeb is like the practice of pencil monoprint on paper on a relief surface. The patterns of reading emerge as the pencil moves gently across the paper, pressing down or not. The paper, pencil, pressure, movement, the object behind, the touch of three elements, interactive interfacial patterns of readingwriting w[...]

[...]ways possible?!
Lucretius answer is immediately “no”

in apass each of us is somehow busy with the critique of unidimensional platitude characteristics of our milieus. / Is that the global notion in our researches?

I want to take it up, maybe fulfill, and modify the project sketched out in ajayeb al makhlughat 10 centuries ago.

#my reading act with ajayeb is like the practice of pencil monoprint on paper on a relief surface. The patterns of reading emerge as the pencil moves gently across the paper, pressing down or not. The paper, pencil, pressure, movement, the object behind, the touch of three elements, interactive interfacial patterns of readingwriting with ajayeb's textual corpus*


” [...] the industrialized world is frequently condemned to considering the concrete universe as its representation.”
Stengers + Prigogine

(?what do we have that helps us give up the idea of a) rational nature of the real
observation ==> generalization
measurement ==> precision

which precisions can be achieved by other than measurement?

How not to travel through the universe like free and self-determined gods? (#magicians)

Stengers > Leibniz @Luisa: “movement is produced within a full world, an interdependent world in which nothing can happen that has not been made possible by the state of the set of bodies 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, [...]

[...] in khm?
we must agree that khm's render of its own history is pure aesthetic what so ever.


we must remain committed to the experimental, when dealing with archival domains in the school of media art where experimentation was in its original conception and foundational roots (as Zielinski expresses in one interview: “+25 KHM: Siegfried Zielinski” https://www.youtube.com/watch?v=S3JQ3aTwu2s)

arte
DAS KURZFILM-MAGAZIN
KURZSCHLUSS
Siegfried Zielinski im Interview
http://cinema.arte.tv/de/artikel/siegfried-zielinski-im-interview



hybrid objects?
is the logistic characteristic of digital data inconsistent with the hybrid objects of art?



Forms of thought, from what Lévi-Strauss called the “systematization [of] what is immediately presented to the senses,”


(Jakobson)
transmutation: cognition involved by the form of translation

data ontology



what is the point of view of rationality in this for us?
(what is the point of view in witchcraft? knowledge is a performative recipe)
what is the point in point of view?

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

(Jorge Luis Borges - ‘Funes the Memorious’ in ‘Labyrinths: selected stories & other writings’ 1964)
in Borges story, Funes, the character unable to forget is incapable of the concept of ‘general’
solitary and lucid spectator of [...] an intolerably precise world
not capable of thought
in order to sleep, he had to imagine a direction he would turn his face, made of homogeneous darkness
“To think is to forget differences, generalize, make abstractions.”

Borges ‘homogeneous darkness’ is what we as forgetful immortals afraid of to turn to?
maybe the directions we sleep into, orientation to the cosmos?!

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

is archive naturally and necessarily generated (out of regular form of activity)?

a (technologically implemented) beyond


the drive to animate and mobilize; and the drive to conserve, to fix, and so forth, are mutually constitutive for modern imagery and media (from museum to archive)
archive performs a strange dialectics


to see the archive as a technological rational question, and engineering assignment, is to naively avoid the thinking about your own activity as a constructive activity 


depriving yourself of any tools to act
is archive a tool to act?


the agency of an archive..


“other ways” of composing?


marking its territory? how to make a map without giving way to the territory as an extension of the map?

["Angels Without Wings” A conversation between Bruno Latour and Anselm Franke]

the mec[...]