[...]◦[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

unnatural history

knowledge-making practices of other times and places

tracing the web of horror and delight

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

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

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

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

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

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


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

[...]past is a language construct, that the past tense of the verb is the sole guarantor of history.
Dialectics as a method of intellectual chase.
Who first told a joke?
Certain languages are inhospitable to new metaphors.
Language-act
to read: is to restore all that one can of the immediacies of value and intent in which speech actually occurs.

my original repetition
we re-enact in our educated consciousness

in what sense does unperformed music exist?

The same ground, when using the ‘speculative instruments’, the critic, editor, actor, and reader stand on.

When we read or hear any language statement from the past, we translate.

Encode and decode “message”, misleading operative models of translation between different languages and even within a single language.

One treason in translation: words rarely show any outward mark of altered meaning, they body forth their history only in a fully established context.

What material reality has history out of language? --the tasavof verbal linguistic tradition

silence knows no history...?

...to remind you that everything is the condition of madness.

“Tense Past”

..the landscape composed by the past tense, the semantic organization of remembrance... is styled and coded differently by cultures. --miniature illustrating San'an?

The verbal icon made up of all successive translations of Greek literature and philosophy has oriented fundamental movements in Islamic feelings --Farabi, Mirdamad, etc.

My translation of classics is not out of a vital compulsion for immediacy or precise echo. I am not trying to build my own resonant past. Myth of the ‘true past’...  different perspectives can co-exist and blur

the metaphysics of the insult, in San'an story

i am interested in the conventions in which texts can be read, in which a semantic statement can be carried over into someone's own idiom. I am teaching how to reread texts of Attar and so forth.

We have civilization because (we have learned) ‘to translate out of time’

übertragen,
handing down thought narrative,
something that also depends on transfer of meaning in space.

Languages conceal and internalize more, perhaps, than they convey outwardly.

Speech-act is most expressive of status and power--when a peer is in earshot. (something that i have been trying to undermine in my lectures)

...calculated to guard some coherence of inner life (while wounding outward)

(motions of) menace and non-information (in top down dialogues)
monosyllables of the oppressed and polysemy of the upper class (the capacity of the same word to mean different things, such differences characterises the language of ideology.)
[...]

[...] a relation (that of belonging to a class, a group, a category -de Lauretis), gender assigns to one entity (an individual) a position within a class ==> a position vis-a-vis other preconstituted classes

flooding the visual field ==> refuse to lend themselves to the task of figuring things out ‘what is this?’

(let's suspend) act of perceiving oneselffrom a particular, fixed place in order to open up onto a sense of imagination [<-- identity, identification, positionality]

*discourse of desir* --Lyotard--> desire does not speak; it does violence to the order of the utterance

(?am i using the queer strategy of) **pattern-jamming** ==> nonbinary variance =/= proliferation of tick-boxes (identity politics)


•modes of ornamentation
•systems of organization
patterns --> repetitions ==> naturalize the appearances of certain recurrences in life ==> stabilize (our notions)
[*]pattern: an essential forecasting tool, (through pattern's) rhythms we come to place bets on our future [like the sun's cycle], maps of those terrains where belief most directly meets desire, where aesthetics meets significance

stripes --> capacity to serve as “a tool for setting things in order” (--Pastoureau--> between the lines a tangle of uncanny specters lurk)
-stripe's ability (not simply to signify but) to formalize or figure the abnormal within medieval visual and material culture [a culture accustomed to transmitting visual messages along very different frequencies: an image was created by superimposing successive levels, and, to read it well, it was necessary to begin with the bottom level and, passing through all the intermediary layers, end with the top on] (-what is noise for medieval visual culture?)
-with the stripe: the structure is the figure ==> force certain bodies into genuine non-place --> fields of actual nonsense
-(modern stripe's clarity is a case of) how ideologically saturated, or unnatural, the act of looking is
-(genealogy of stripe --> historical processes:) *yesterday's noise --into--> today's signal*

***power is formally established and formally critiqued through the adaption or the obliteration of patterns*** ==> *pattern manipulation* so strategically necessary [@Laura, Elen] --> (Archer's) call to:
•to take advantage of those aesthetic practices that can direct attention away from a pattern's typical symbolic function (*or responsibilities to secure meaning and certain attending forms of power*)
•to aestheticize the pattern's capacity to function performatively (as a kind of critical figure that is always already inserted within the discourse of everyday life)

[in apass (we have to mark) how and where the negative knowledge about the reliability of linguistic utterance is made available (#feedback)]
(de Man:) the figural dimension of a text “gives the langua[...]

[...]o--> demand change


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


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

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

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



[...]

[...]h the law and the question of comparative thinking:) what is the model for what, what is similar to what?
-is her model based on the idea that beings exist as individual? (is this a ‘difference’ that her work produces?)

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


pre-historic personhood

my work is concerned with connections, mediation and passages.


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


(my proposal:)
the past is not absolute!

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


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

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

your institutional hacks


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

seeking to be at once inside and outside the topic

the issue of topology -- what remains invariant as a result of transformation

suggestive power of the figure

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

synthesis =/=? genesis (to originate something, to design)
genesis =/=? apocalypse

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

in research, contrast between method and subject, is a tool
(in studying natural history)

in critique, contrast between effect and affect, is a tool
(assumed quality of the object and one's own named experience)
[these tools are perhaps cognitive objects]

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

Enlightenment as cultural European phenomenon versus a 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 th[...]

[...]which appetites and tastes are required to fulfill the *ethics and erotics of curiosity* (that I am cultivating and depending on)? flourishing (of my ajayeb) depends on a reading that is more like “mutual partial digestion” (Katie King, Haraway) [=/= “eating well"] the text
•“every time i read X, something new shows up”

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

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

(Stewartian) reading that happens in the writing: you can't do any kind of exegesis of the reading تفسير, rather: *you have to b[...]

[...]eaning 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 reading and writing
•(more abstract) skills of conceptualizing and analysing

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

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

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

research[...]

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

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

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

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

‘fantasy of the unproblematic mode’


>

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

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

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

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

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


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

>
[Nietzsche]

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

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

Submitted to constant critique and revision

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

invention's power over new things

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


Nietzsche's campaign against morality :

(contrast between good and evil -->) *master-mora[...]

[...]/>

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

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

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

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

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


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




[Nietzsche]

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

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

Submitted to constant critique and revision

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

invention's power over new things

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


Nietzsche's campaign against morality :

(contrast between good and evil -->) *mas) *master-morality : charity, submission to the other, selflessness, etc. --> you hate yourself

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


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


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

to *adjust (our/your) question


...to have no positive knowledge claim


appropriate ~= zabt o rabt ضبط و ربط



(let me) fast forward to [...]

[...]on (*putting to use or the abuse of a linguistic possibility*)
◦the interpretation or institution of the birds as subjeets (choosing, willing
agents) depends on a fiction, a fable: the doer is merely a fiction added to the deed
==Nietzsche==>
•*responsibility: an exploitation of a verbal possibility*
•*fable: turning the merely grammatical subject into the fiction of the acting* <== zoomorphism (=/= anthropomorphism)


fable of the eagle and the raven
the story of the raven that, having once watched with envy as an eagle snatched a lamb from the flock and carried it off, later attempts a similar feat. But a raven is not an eagle, and his claws get stuck in the fleece of a wether (not a lamb): his prey becomes his trap. He is captured by the shepherd, his wings are broken and taken from him, and he is given to the shepherd's children as a plaything
•identity check
•the bird begins the fable without (knowing) its name
•establishment of the raven as an (ir)responsible agent, one that can be called to respond for itself <-- an “I” has a name and a choice about its action, because it could have done otherwise
•raven's errancy consists precisely in wandering away from its name <-- in the past =/= now (now I know well that i am a rauen) we can act responsibly
•act in accord with the fate prescribed for you by your name --> restore the proper name ==> establishment of the responsible agent
•critical system of “error --> correction --> I = name” ==fix==> the link between the order of cognition (whether false supposition or true knowledge) & that of action (take a lamb / as
the eagle did)
•don't compare yourself with what you are not --> reader is you are asked to compare yourself with the raven (follow its example)
}--> fable of responsibility = a story about language and its danger (raven may be like an eagle, but it is not an eagle) --> “know your name + do what it say” --> *responsibility: the response to the name by which one is called* --> the idea that *supposing & knowing* belong to one and the same homogeneous system*

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

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


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

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

Lacoue­ Labarthe --> identificat[...]

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

subjectivity is multidimensional ==> vision is multidimensional

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

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

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

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

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

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


she suggests to be accountable for (the intricacies of) visualization technologies in which we are embedded that we will find metaphors and means for understanding
and intervening in the *patterns of objectificatio[...]

[...]representational, mentalist semiotic economy

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

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

refuse all loyalty to my homeland and its values

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

*contingent: using it with ‘historical’ always produces interesting ways --> contingency relates to a nonteleological [a doctrine explaining phenomena by their ends or purpose] and nonhierarchical multiplicity [when i say ‘dud’ and ‘cauphing’ and interupting ‘tracing’ i am asking for contingent modes of relating and thinking. conceptualizing in terms of the origin of the dud is about hierarchical relations between past and present and teleological reasoning: where is the dud coming from. when i asked ‘who told the first joke?’ i am trying to break and joke with teleological mode of thinking about the category of ‘origin’.]
contingent =/=? analytical (--> Contingent propositions depend on some kind of epistemoloy, whereas analytic propositions are true without regard to any facts about which they speak.) {telos, ghasd قصد --> ghaside قصیده =/= ghazal غزل}
-We call a truth contingent when it *depends on something else* for its truth.
-has to do a lot with our material world
contingent ~= containing-agent*
--Tautological propositions, which must be true
--Contradictions which must necessarily be untrue
--possible propositions

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

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


*ontology is death-dealing <--** terrible violence is directed to the non-existing, the n[...]

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

[...]ve processes that sustain the lifeworld

the same Platonic tradition produces: {theory =/= practice} ==> {mind =/= body} ==> {"conceptual” =/= “material"} (and privileging one over the other)
(for the Frankfurt School) truth = "a moment of correct praxis”

what is at stake is the way ‘The Magician’ heroes’ way of non-relating to an entire environment and with it to an implicit “world” that they inhabit.
...that science is an ‘account’ of reality not a ‘tool’ for coping with it
...when the world and the instrument interact
descriptions of the affordances of indissoluble instrument / world complexes are at stake

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


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

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

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


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

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

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

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

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


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

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

SF: engine[...]

[...]gement --> let's set aside our own hopes, and work to honour the **hopefulness of others** (Deborah Rose)

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

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

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

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

--> what counts as a responsible person in temporality? (@Seba, @Pierre's “future”)
in my work on ajayeb in apass, i choose to give account to responsibility in a way *to face those who come before rather than to face the future*, this is about a switch in the direction of attention.
•narratable memory with named people turned to ancestors and moved into dreaming time
•past: quiet country --> bear the mark of the care of generation, inhabits both living and dying --> recuperation (behbud بهبود, ramagh رمق)
•present: wilderness --> ongoingness (thickened with creatures)

[in (my reading?) ajayeb's temporality] things come from the past and the future simultaneously


what i respond to = what i inherit


science (in the way that is presented) is outside history, and becomes simply that which is “the case” of the world
**everything that one does is inside time, but that which is acquired (becomes a view onto a scene) and is outside of time**

***(dangerous) ways of being outside of the time of the thick present*** (Haraway)
‘-scene’: a thick presence of now, has many durations in it

(my work on ajayeb's past tense trans-species affair) is about those with whom one must get on together, in the enacting of responsibility for those who came before. how not to exit time? (= “staying wi[...]

[...]s universal freedom * (noted by Blanchot.) [--> the problem with all male action heroes...]

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

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

--> what counts as a responsible person in temporality? (@Seba, @Pierre's “future”)
in my work on ajayeb in apass, i choose to give account to responsibility in a way *to face those who come before rather than to face the future*, this is about a switch in the direction of attention.
•narratable memory with named people turned to ancestors and moved into dreaming time
•past: quiet country --> bear the mark of the care of generation, inhabits both living and dying --> recuperation (behbud بهبود, ramagh رمق)
•present: wilderness --> ongoingness (thickened with creatures)

[in (my reading?) ajayeb's temporality] things come from the past and the future simultaneously


what i respond to = what i inherit


science (in the way that is presented) is outside history, and becomes simply that which is “the case” of the world
**everything that one does is inside time, but that which is acquired (becomes a view onto a scene) and is outside of time**

***(dangerous) ways of being outside of the time of the thick present*** (Haraway)
‘-scene’: a thick presence of now, has many durations in it

(my work on ajayeb's past tense trans-species affair) is about those with whom one must get on together, in the enacting of responsibility for those who came before. how not to exit time? (= “staying with the trouble”)

trans-species affair then and now

(in our) multi-dimensional inhabiting of space with critters (you can't only talk about capital, land, labor without having a multispecies affair)


Badiou's points on accelerate:
•unifying us around negativity
•future of western world
•question of private property --> key of soical organization


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

#work on video series (with? Christian, Esta,)
messy short videos (for youtube or other places)
1. critique of magic in cinema
2. representation of knowledge in ci[...]

[...]he lived time of the flesh]

--> what counts as a responsible person in temporality? (@Seba, @Pierre's “future”)
in my work on ajayeb in apass, i choose to give account to responsibility in a way *to face those who come before rather than to face the future*, this is about a switch in the direction of attention.
•narratable memory with named people turned to ancestors and moved into dreaming time
•past: quiet country --> bear the mark of the care of generation, inhabits both living and dying --> recuperation (behbud بهبود, ramagh رمق)
•present: wilderness --> ongoingness (thickened with creatures)

[in (my reading?) ajayeb's temporality] things come from the past and the future simultaneously


what i respond to = what i inherit


science (in the way that is presented) is outside history, and becomes simply that which is “the case” of the world
**everything that one does is inside time, but that which is acquired (becomes a view onto a scene) and is outside of time**

***(dangerous) ways of being outside of the time of the thick present*** (Haraway)
‘-scene’: a thick presence of now, has many durations in it

(my work on ajayeb's past tense trans-species affair) is about those with whom one must get on together, in the enacting of responsibility for those who came before. how not to exit time? (= “staying with the trouble”)

trans-species affair then and now

(in our) multi-dimensional inhabiting of space with critters (you can't only talk about capital, land, labor without having a multispecies affair)


Badiou's points on accelerate:
•unifying us around negativity
•future of western world
•question of private property --> key of soical organization


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

#work on video series (with? Christian, Esta,)
messy short videos (for youtube or other places)
1. critique of magic in cinema
2. representation of knowledge in cinema
3.
to perform past and present alarmingly simultaneously, to intermix the directions of causation and influence, they cannot be linear and progressive, against a production of present [presentism]



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


#what am i learning from Hiwa's Chicago Boys project?
history, recent region departures, study group, music, jam, more and more people together with their voices and stories, faces, sing, play, discomfort in instrument, tour, collectivity, sojourn in stage, conviviality, cover song,
-when i look at the videos[...]

[...]s presented) is outside history, and becomes simply that which is “the case” of the world
**everything that one does is inside time, but that which is acquired (becomes a view onto a scene) and is outside of time**

***(dangerous) ways of being outside of the time of the thick present*** (Haraway)
‘-scene’: a thick presence of now, has many durations in it

(my work on ajayeb's past tense trans-species affair) is about those with whom one must get on together, in the enacting of responsibility for those who came before. how not to exit time? (= “staying with the trouble”)

trans-species affair then and now

(in our) multi-dimensional inhabiting of space with critters (you can't only talk about capital, land, labor without having a multispecies affair)


Badiou's points on accelerate:
•unifying us around negativity
•future of western world
•question of private property --> key of soical organization

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

#work on video series (with? Christian, Esta,)
messy short videos (for youtube or other places)
1. critique of magic in cinema
2. representation of knowledge in cinema
3.
to perform past and present alarmingly simultaneously, to intermix the directions of causation and influence, they cannot be linear and progressive, against a production of present [presentism]



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


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

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

(this is one place that i am recognizing and foregrounding a binary structure:)
•women in my life: Avital, Haraway, Ahmed, Scher, Barad, Despret, teaching me science and art, atten[...]

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

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

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


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

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

what provokes storytelling?

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

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

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

where are we headed with our syntax?

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

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

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

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

[...](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 origi 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 in[...]

[...]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'ruf va nahye az monkar امر به معروف و نهی از منک --> meta-ontology of tosiye توصیه
•suspicious others
•saving women from religious fundamentalism
•negativity of latent (could-be-ness ==> opens up the power to detain, police pishgiri پلیس پیشگیری)


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

*affect is economic* --> it circulates between signifiers in r[...]

[...]acle to the freedom of man (?)’ (question marked by me)
--> the spatial gesture of the ‘stop’ (#Selma)

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

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

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

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

Vladimir's tether on disambiguity

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


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

[the question of inevitability of [...]

[...]mocratization 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-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 fo[...]

[...]ic of singularity
-(my point is that the expression of your) innermost experience (is often signed by someone else)
--> “distributed biographies,” thinking about sociality of perception

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

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

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

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

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

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


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

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

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

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

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

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

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

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

[...]ane 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



Seifee wants to say something
something wants to say Seifee?


i like us to be skilled at
•objective perception
•5 minute perception
•rigorously passionate perception
•rhetorical perception
•sacred perception
•devilish perception
•queer non-perception
•having a taste for iranian stuff perception
•
--> polyskilled web of friends



#Bambi's mother studies:
•other stories possibility, past and history, performative approach to film
•politics of memory, and affect
•patterns of remembrance =/= event recall
•

three childhood memories, stories, from elementary school:
•the mime of “you think (too much)”
•the weird pro hit on the coming ball
•peeping into the toilet
•

my childhood recognizing:
•filaments (hypha, hyphae, تار) of spider webs
•patterns of ants
•motion color blurings --> that present is “physical if the eye is quick enough” (Stevens)
•

the ways i was engaged as a child in scope-apparatus, micro-macro scales


what other stories, remembrances of the past are possible?
-different apparatuses of attention, reconstruction, and storytelling, that are equipped to hold diffractive patterns of ‘that which comes to mind’


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

can we care for “iranians” without “for iran”?
(i can't care less about Iran)

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

perhaps artistic research is all about playing cat's cradle (=/= autism) : (you have all sorts of limbs, even phantom limbs) you must learn sustaining the rhythm of accepting and giving, (collaborative) patterning (that requires passion and action) [this is one skill that matters a lot, what i have been trying to teach myself above anything else in the last years] [i am playing that game with Haraway, joining her (and others) in thick, collaborative patterning; generous knottings; thickening the knots, relaying a mutated and resituated pattern for the next play]
•getting the knot, proposing anoth[...]

[...]br />


Seifee wants to say something
something wants to say Seifee?


i like us to be skilled at
•objective perception
•5 minute perception
•rigorously passionate perception
•rhetorical perception
•sacred perception
•devilish perception
•queer non-perception
•having a taste for iranian stuff perception
•
--> polyskilled web of friends



#Bambi's mother studies:
•other stories possibility, past and history, performative approach to film
•politics of memory, and affect
•patterns of remembrance =/= event recall
•

three childhood memories, stories, from elementary school:
•the mime of “you think (too much)”
•the weird pro hit on the coming ball
•peeping into the toilet
•

my childhood recognizing:
•filaments (hypha, hyphae, تار) of spider webs
•patterns of ants
•motion color blurings --> that present is “physical if the eye is quick enough” (Stevens)
•

the ways i was engaged as a child in scope-apparatus, micro-macro scales


what other stories, remembrances of the past are possible?
-different apparatuses of attention, reconstruction, and storytelling, that are equipped to hold diffractive patterns of ‘that which comes to mind’


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

can we care for “iranians” without “for iran”?
(i can't care less about Iran)

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

perhaps artistic research is all about playing cat's cradle (=/= autism) : (you have all sorts of limbs, even phantom limbs) you must learn sustaining the rhythm of accepting and giving, (collaborative) patterning (that requires passion and action) [this is one skill that matters a lot, what i have been trying to teach myself above anything else in the last years] [i am playing that game with Haraway, joining her (and others) in thick, collaborative patterning; generous knottings; thickening the knots, relaying a mutated and resituated pattern for the next play]
•getting the knot, proposing another
•you must learn how to hold still
◦(more and more) in different material and conceptual grains of detail and resolution
•the most important thing in research practices is this patterning, networks reenacted (Katie King)
(Lili's kiss project was about that, blocked intersubjectivity, a matter of “learning to be affected”; can i say that Lili's issue is with the lack of [psychological, or psychic] dialogue? a language that no longer carries metaphor displaces the metaphorical drive: acting out the soul's metaphor in direct [nonverbal] action. the breath in Lili's work, is the same in her suffocated kiss and scream performance, once hold in and one unleashed, lack of a “breather,” of a “converser,” [...]

[...] shut people up that one don't acknowledge the hierarchies that emerge out of that *{alarm ==> hierarchy}*
•in apass i am trying to remember what my peers are doing, and when i see things i think of them, and they are in my citation network (they are all over ajayeb.net) and i am aware of what they have told me. words they are inventing are in my vocabulary too (that is why i am so energetic calling in Xiri's category change for example “generous suspicion”)
•collective research environment works by networks* (--> a problem with apass)


[*]epistemology = stories knowledges tell


sometimes practices demand:
•exclusive expertise (~ focus)
•extensive scholarship ==> linking and speculating
•attaching unexpected agencies and territories to each other


(better) understanding the mechanisms and affects of inclusion and exclusion in communities of practice
for example in apass (we are dealing with):
•suffer <== mutual incomprehensions
•pain <== heterogeneous knowledge worlds
•anger <== unevenly distributed power
•fatigue <== exposure to intensity
•tension <== different styles of knowing

unacknowledged suffering --(in past and present)@Hoda--> as well as pleasures


(what do you make out of reading your gender material?)


Greek brainwomb


feminism  ~/= feminist theory-->{highly diverse, located in many domains of practices in and out of the university, and understood to be this highly diverse activity}


the talks i have been giving are done by someone with a kind of mind and soul that just makes connections fast. i work orally. the lectures are heavily prepared (and some important ways unprepared in the manner of its performance: all those connections happening during the talk not knowing them beforehand, they happen by the encounter*) and full of cue (سخن رهنما، ايماء، اشارت) and quirk (تزئينات، تناقض گويى، تغيير ناگهانى فکر). my notes and scripting are invisible to my audience, but they are there at work. and it gets people excited. and that's the point. i work with confusion and excitement. i have not been good at laying out groundwork of skills, going to next level and so on. i am working with that feeling of “i am not sure what i am getting, 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 ce[...]

[...]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 everybody is organically part of more than one conversation at a time*** (Haraway)
(this is so important to recognize specially in collaborative research environments such as apass)


(in political movement:) working to a kind of clarity of ideological position ==> to do certain kinds of things (that are harder to do if you don't have them [those ideological positions] in the world) --> they are used as *tools* to produce what got called *political correctness* --> always producing those who count and those who don't count*
=/=? feminist movement = ***a kind of vulnerability 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)[...]

[...]f enlightening consciousness -->] enlightened *egoization* of the psyche =/= *a darker and softer kind of life* ~-> end of neurosis, end of analysis, end of consciousness...) analysis --in-20th-century--> rediscovering the soul and reawakening its imagination
(rethought -->) [*]analysis: essentially as imaginative activity (or an activity of the imaginal realm) as it plays through all of life --> [the idea of one's “fable” ~] ***what is the fantasy he has of what he does?***

analysis is an *enactment*
enactment necessitates *myth*: a tale about its ritual

mysogyny <-- manifestation of the western, protestant, scientific, apollonic ego

****Hillman (penetrating the analysis in accordance with mythical perspective):
*transference --> erotic*
*unconscious --> imaginal*
*neurosis --> dionysian*

-what are the manifestations of ego in ajayeb?

-please let's have a darker kind of light...



(Keats:) world = the vale of soul-making }==> you'll find out the use of the world

(Hillman:) psychoanalysis: something one learns through “analysis” --> processes of the mind, heart, and soul (that were not included in the field of psychology in the past century)

(Jung:) depth psychology: an ontology of the soul based on archetypes

(a -logy that allows the) soul's speculative function


Hillman proposing a deep uncertainty concerning the root metaphor, the true myth of the work (of analysis)

mystes
epoptes (an initiate in the Eleusinian mysteries; one who has attended the epopteia)
shaman
an initiator
guru of the body*

root metaphor of psychology (?)

(until 1700: pattern = patron) --Hillman--> to discover this pattern [the general myth of our field] = to search for our patron: the father who creates and is the creative principle in us

[because] [we are uncertain of what we are:] we are uncertain of our author, from whom would come both our authority and our authenticity

tracing things back --> preserves of the mother-childhood and family (dominanting psychology) --> we come to her: ***materialism = maternalism (in acceptable disguise)***

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

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

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

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

[...]ndence <== *stoicism* (<~~)--> causality =/= anxiety

philosophy shows many ‘theories about causality = ways to reduce anxiety’ --Despret--> our experience sometimes require us *to go farther than the instrumental (causal)* and to discover a place where disorder may be reestablished in the movement and contradiction

*anecdotic causality*
([in apass we constantly do] the practice of using) [*]anecdote: expressive causalities*
anecdote: the intersection between the artist (patient) and feedback (therapist) --> circular causality --> (helps the feedbacker or therapist) *to understand and create another way of thinking about disorder and confusion*


stoic distinction: event which are dependent on one's *will* =/= events which are in the realm of one's *desires* (one which one has no control)
--> closely related to the (Seligman's) *causal attribution: a theory of contingent causality affecting the subject in her or his interpretation*

•نسبت دادن attribution =/= explanation (behavior assigned to its cause) =/= inference (quality/attribute assigned to the agent's observed behavior)
◦can we do without *explanatory style*? (a person's causal dimensions of stability and globality) --> past dealing (optimism, pessimism, etc.)
◦can we do without *locus of control*? (a person's locus conceptualized as internal) --> future dealing (fate, hope, etc.)

stoic philosophy ==resulting==> therapy
([Holakouee's] stoic conception of) ****therapy: it is not the events which make people suffer but rather the perception they have of the events****


Aristotle ==> totality of causal explanation of the event
his theory of four causes [material, efficient, formal, final] is limited by the eternal relation between the subject (the creator) and the object (the created)
•[(let's say) Aristotle is creating an] anecdotic causality: the search for a remote event, apparently insignificant, which has as much impact as the material event which is efficient, formal, or final

Antique law --> effort to reduce the event to an equation ==permit==> determination of the responsibility: the primary cause ==> to reduce the overwhelming richness of reality in movement
--> in obsessional perspective of scientific research: reduce the quantity of information to make the reality clearer (more coherent) --> (a series of signs in hermeneutical perspective ==permit==>) “the image (the event) =/= the background (the sum of the events)”

(anecdote ~=) myth: an illustrative and contradictory example --> the defense against anxiety (in reality's confusion) : the categorizing of opposites in order to establish orderliness in the world of a search for causes [<-- which is a fable]
==> *the event (at the absence of significance of the signs) would justify the present reality* (==>? integration)
[...]

[...]r /> [Marx's ruthlessness: criticism must not be afraid of its own conclusions]


what are the sources of “value” in ajayeb?
(sun, photosynthetic, micro-organisms, etc.)
fermentation, photosynthesis, respiration

ajayeb is the (shared, individual, or experienced) “memory” of which organizational layer or process of which communities of practice?


rethinking “invisible hand”
(dynamic between supply and demand. “planning system”?)

... against ... the dualisms that have been transmitted to us in the history of philosophy (matter vs. meaning, micro vs. macro, inorganic vs. organic vs. social, realism vs. social constructivism, etcetera.) and argue in favor of a new ontology according to which “mechanisms are largely causal, but they do not necessarily involve linear causality”



Neo-Materialism =/= Creationism: matter is an inert receptacle for forms that come from the outside imposed by an exterior psychic agency: “Let there be light!”

--> matter has morphogenetic capacities of its own and does not need to be commanded into generating form.

one of the idealisms that have been generated by postmodernism: that we know already how all past discourses have been generated, that we have the secret of all past conceptual systems, and that we can therefore engage in meta-theorizing based on that knowledge



Delanda: I am not convinced that avoiding dualities is the key to a new way of thinking (particularly if one simply adds new ones: modernism-postmodernism, rhizome-tree, power-resistance).

reified generalities that do not really exist: The Market, The State, and The People.

The duality emerges when one ignores the zone of overlap and reifies the averages.

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

[in ajayebnameh عجایب نامه...] to map the morphogenetic changes of the real



... bewildering heterogeneity of registers in ajayebnameh عجایب نامه

... treating entities trafficking in the futures

active capacities of description

this is not a project of repopulating the social sciences with nonhuman beings

the symbolic function of language is about detecting salient features of the world that can be organized in contrastive sets
(can we think not in contrasts?)

this is not about trying to think like X, that would be transposition of a relational experience at another scale

(non-religious semiotic model)
bodily disposition ==(produces)==> perspective ==(produces)==> self

the beings in ajayeb (عجایب‌) are ‘alive’ because of their ability to ‘do things’ in the ways they come to represent and interpret through me

recruiting scores of new actants so as to render the[...]

[...]traditio operates by its abilities of two transformation:
1. a radical transformation of the far away into the close and the proximate [#Zolmat] (dead is alive)
2. a positive view of all artificial transformations (=/= tendencyo conserve what it is)

**what happens if religion is allowed to weave its highly specific form of transcendence (salvation?) into the fabric of the other two modes of existence: reproduction and reference?

Leo's dream (and also deep sin): the urge radically to transform *that which is given* into *that which has to be fully renewed* --> alternative, dream of a different world
[=/= to grasp this world (and only this world) otherwise]

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

look at spec over the spectacular
(in ajayeb)

i can't give you a dialectical conclusion

maybe a mouth-full

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

[Paul Shepard]

/> our perception of animals as the language of nature in Thinking Animals and The Others; the “natural” way of childrearing in Nature and Madness; and the bear as a dominant sacred animal connecting people ceremonially to the earth in The Sacred Paw.

Octavio Paz reminds us: “The past reappears because it is a hidden present. I am speaking of the real past, which is not the same as ‘what took place.’ . . . What took place is indeed the past, yet there is something that . . . takes place but does not wholly recede into the past, a constantly returning present.”

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

[Corbin]

it is so dangerous to say any thinker, writer, artist, or phiosopher ‘was of his/her own time.’ nobody has ever been in their own time, never. we are constantly out of time.

things occur in Malakut, not in the time of this world.
it is a matter of interior history, exoteric in the e the etymological sense of the word, subtle history whose events do not take place in the exterior world of objects, but in the subtle world of lived states, events in the Malakut, in the world of the ‘Soul,’ in the ‘Heaven’ or the ‘Hell’ which man carries within himself.
(and this is precisely what is ‘changing someone's story’ is about. ‘let me change the rhythm of your story. let me change your history.’ ~= storytelling)
this history----interior wild facts----intermingles with his wills, and objectives itself in the web of exterior facts. these are events of ajayebnameh, Shahname شاهنامه, Qur'an قرآن, Grail Cycle and so on, the events of this history (inspire parables? and) make up sacred history (tarikh-e ghodsi تاریخ قدسی‌) =/= empirical historicity
*the question always remains:
-what *is of this world?
-what is the organ of perception?
-does oneself need to ‘belong’ to this sacred history in order to come to pass (i[...]

[...]r dissociation of thought/being, being/action



حیدر آملی Haydar Amuli's delinkings (destroying precisely certain dialectics or dichotomies:)

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

Holul حلول, Sodur صدور, Tajasod تجسد
(immanence, transcendence, incarnation)
(the eidos reflected in the mirror--divine in the prophet--remains untouched by the mirror, because the real is not ‘incarnated’ in the eidos, the reflected image)

-alame khiali عالم خیالی: imaginaire/Hollywood
-khiale khallagh خیال خلاق (--> alame mesal عالم مثال =/= alame ajsad عالم اجساد) :
1-khiale mottasel خیال متصل: imagining inherent in human
2-khiale monfasel خیال منفصل: imaginal apart from human
-alame hess عالم حسس: molk ملک --> universe of forgetfulness


Tonekaboni, is against: “mojudate moghayade vahmi faghede tagharor mibashand.” (موجودات مقید وهمی فاقد تقرر میباشند)
--> vahdate vojud وحدت وجود =/= vahdate mojud وحدت موجود
*danger: tarde amre mesali طرد امر مثالی ==> ma'ad dar amre khiali معاد در امر خیالی


death, life, past, and future are not properties of objects, rather of subjects (anha sefate nafs hastand آنها صفات نفس هستند) [Corbin]
and you bestow them to objects that you think they are “dead,” “alive,” “from past,” or “of future”


“khorre” or “khorne” according to zaratustra: a light originated from the essence of the divine being and because of that some apparitions have gained hierarchy, and each human capable of a certain techne.


the idea of a divine presence in *heikal* هیکل

according to Socrates: bodies are frames and tools of the selves (nofus نفوس)
according to Plato, what the self (nafs نفس) does not had essentially that is not had essentially that it had to descend into the material world? what the senses told the self that itself could not say?


an islamic-iranian cosmology:
 -jabarut جبروت (alame oghule karubi عالم اقول کروبی) (Nous)
 -malakut ملکوت (alame nofus عالم نفوس) (Psyche) --organ--> khiale fa'al خیال فعال (= jesme latife nafs جسم لطیف نفس. niruye khial نیروی خیال is trainded still in middle east. this inter-monde is where mater --> immaterial & immater --> material; jesm ruhani جسم روحانی‌ & ruh jesmani روح جسمانی ==> constant happenings of historic nature ==> Ma'ad معاد) --> amre mesali امر مثالی
 -molk ملک (omure mshhud امور مشهود) (Sarx)


[Ashtiani, 2nd vol, p44, footnote]
ensane okhravie daraye badan (انسان اخروی دارای بدن) --> nash'eye jesmanie alame akherat (نشئه جسمانی عالم آخر[...]

[...]n, 2009)
-the angel of type is all about ‘being in futuro,’ which captures the logic of life's continuity --> “over the horizon” houses this “living future”
-What is the relationship between this angelic world beyond us and the sociocultural worlds we construct?
-“mosol” مثل : the realm of objective “stuff” that exists out there beyond us, on the other.


*Barzakh برزخ =/= anvare pak انوار پاک (pure lights)
Barzakh = seperation, obstacle, pardeh پرده, veil, (shadow? mediation?)
-everything material that can be addressed sensually, an evil negation.
-Barzakh is dark (that is a different kind of Barzakh than what i talked about with Mi? not really, there it is theorized as *shadow* and inter-mediation)
-projections happen in Barzakh




[from MOP with Mi]
We both take interests in morphology of historical forces and intensive thinking under the influence of materiality. To traffic in the tropics of an isthmus between the sensible world and the divine that was brought into our discussion, was proposed in my last letter those marvelous creatures living in the logic of precariousness, those who live in another temporality that is eyewitnessed in distanced pasts.
...
We are here on this site in a landscape of memory, in a progressive user-friendliness and a technology that signals our arrival in an Alam-e Barzakh (عالم برزخ), an ontological intermediate realm of images and forms, the creatures that populate this world have the incorporeality of “images,” much like the cyberspace we are born into and populate.
...
Not to remediate Barzakh (برزخ) but to propose a media theory, sketch it, and archive it for later. And there will be things that have to remain impossible to verify by us and in those records, the general-purpose language of the technologies that we choose to archive ourselves with, on the side of forgetting, the site of externalized memories, will not verify histories of presence tattooed under the ear of the elephant of our story, as you whispered somewhere in the dark.
[...]
Yes, vocal works that informed and influenced Qahveh-Khanehe (قهوه خانه) still can be found in some places of tea or cafe houses in Iran. They are called pardeh-Khani (پرده خوانی), here someone who is a pardeh-Dar پرده‌در (“-Dar” meaning that who tears apart the pardeh پرده, and pardeh meaning screen or veil--the concept of pardeh always contains “a perpetually hidden message”), ‘Khandan’ (خواندن) meaning in Farsi ‘to read’ or to sing-off a plain of signifiers, is also the verb ‘Darridan,’ (دریدن) [#Derridean acting] meaning to rip apart.
...
I am sorry; I am just entangled in the topologically impossible pardeh, as an interfacial space where the body and instrument of music meet. I am touching with my fingers the ‘first three’ pardehs o[...]

[...]uardianship (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”
-morality 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 our bigger semiotic material world, there is never just a life animal on the plate, the chicken has become killable first through linguistic interpretive representation network of semiotic relations. so my question in the birds performance was that how the excess of meaning is related in actuality to the removal of corporeality in Attar's non-birdness Simurgh (سیمرغ) till the chicken in khoresh-e morgh (خورشت مرغ).

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

[Scott Gilbert]

(all organic beings havgs have been formed on two general laws, according to Darwin:)
(1) unity of type and (2) conditions of existence --> inorganic? fire?
natural selection --> adaptation --> conditions of existence
embryonic homologies --> unity of type
==> “descent with modification” (or decent modifications)
[(embryology =/=) ‘fire’ could transform matters, “change” their class, their type and its unity --> “parvaneh sho!” (پروانه شو) Rumi مولوی wants embryology undermined?]

construct phylogenies
(phylogeny : branching out evolutionarily)


‘Haeckel claimed that Darwin's ideas included the progressive development of species. “Development and progress” was what characterized evolution. The explicit association of evolution with particular political, religious, and racial views became the hallmark of Haeckel's career. Haeckel proposed a causal parallelism between the embryological development and phylogeny. His “Bi[...]

[...], there is a measurement of time based on sa'd سعد and nahs نحس, the time of benevolent spirits and so on. the sensuous time, measurement is affect)


knowledge industry or “scientific factory”

how academic labor was implicated in capitalist systems and contemporary forms of knowledge/power

“ruse” (hile حیله, makr مکر, neyrang نیرنگ) --> my tool in work on ajayeb? -//-[مکر زنان ,گربه نره و روباه مکار, minorities associated with this accent: women, animals, machines,] [ruse in Kelile Demne کلیله و دمنه]
ruse: a set of small, mostly unconscious tactics by which workers resist capitalist systems (writing love letters on company's time, factory workers who takes a scrap of fabric home for his children to play with, etc.)
-“[h]ow to subvert the laws of the “scientific factory” through gift-giving, solidarity, and free exchange even when bosses and colleagues will not turn a blind eye” (de Certeau)

(how to?) collectively crafting critiques, commitments, stories, and actions (in the density and composition of ajayeb's atmospheres)
-feeling out their “rhythms, valences, moods, sensations, tempos” (Stewart)
-“real and virtual worlds, future and past worlds, fictional and theoretical worlds, always happening and happening and happening” (Kenney)


talking is also thinking


speculative valences (zarfiat ظرفیت) of wonder --> (through wonder, which) response-abilities are activated (?)

ajayeb is crafted responsive stories about life --> question of responsibility --> what kind of responsibilities are activated in the SF worlding (including reading it now) of ajayeb?


(work on ajayeb is about a practice of [writing] history as) *worlding the past*, to take the alterity of the past seriously and to be moved by textual encounter
-how can we not be subsumed by the sameness of the here-and-now? (collapsing of difference into sameness)
(my work on ajayeb is about) learning to tell better stories about the past*
*writing ~= (wonder:) a careful attention to differences in the practice of worlding the past. (demanding like a cat walking on our keyboard, interrupting you [Kenney])

(digital reading practices of) data mining =/= reading for the reactions of an implicit reader --> what the scholar of ajayeb (in the medieval) might have felt?


ajayebnameh is grounded in the history and materiality of scientific practices:
“Nature is neither knowable ...nor unknowable ...Nature is that about which ‘relevant knowledge’ may be produced. If we pay due attention to it, we can learn, discern relations, and multiply entities and ratios.” (Stengers 2011)

eliminativism: the belief that one story or one set of practices (usually called rational or scientific) can explain nature.[...]

[...]کلیله و دمنه]
ruse: a set of small, mostly unconscious tactics by which workers resist capitalist systems (writing love letters on company's time, factory workers who takes a scrap of fabric home for his children to play with, etc.)
-“[h]ow to subvert the laws of the “scientific factory” through gift-giving, solidarity, and free exchange even when bosses and colleagues will not turn a blind eye” (de Certeau)

(how to?) collectively crafting critiques, commitments, stories, and actions (in the density and composition of ajayeb's atmospheres)
-feeling out their “rhythms, valences, moods, sensations, tempos” (Stewart)
-“real and virtual worlds, future and past worlds, fictional and theoretical worlds, always happening and happening and happening” (Kenney)


talking is also thinking


speculative valences (zarfiat ظرفیت) of wonder --> (through wonder, which) response-abilities are activated (?)

ajayeb is crafted responsive stories about life --> question of responsibility --> what kind of responsibilities are activated in the SF worlding (including reading it now) of ajayeb?


(work on ajayeb is about a practice of [writing] history as) *worlding the past*, to take the alterity of the past seriously and to be moved by textual encounter
-how can we not be subsumed by the sameness of the here-and-now? (collapsing of difference into sameness)
(my work on ajayeb is about) learning to tell better stories about the past*
*writing ~= (wonder:) a careful attention to differences in the practice of worlding the past. (demanding like a cat walking on our keyboard, interrupting you [Kenney])

(digital reading practices of) data mining =/= reading for the reactions of an implicit reader --> what the scholar of ajayeb (in the medieval) might have felt?


ajayebnameh is grounded in the history and materiality of scientific practices:
“Nature is neither knowable ...nor unknowable ...Nature is that about which ‘relevant knowledge’ may be produced. If we pay due attention to it, we can learn, discern relations, and multiply entities and ratios.” (Stengers 2011)

eliminativism: the belief that one story or one set of practices (usually called rational or scientific) can explain nature.

a materialist understanding of ajayeb demands an interpretive adventure of how, with matter (in Stengersian way), we get sensitivity, life, memory, consciousness, passions and thought... =/= inert or mechanistic notion of matter

which metaphors stage nature as “witty agent and actor”?

speculative commitment --> learn how to relate differently ~-> (help us) name what we are doing in new and useful ways**** (Verran)
the egg from outside it doesn't seem to be doing anything --> to give the egg the power to challenge (our) well-defined[...]

[...]--> 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 and nonhuman)? if it doesn't generate new sensitivities and enable different patterns of responsiveness?

stories of relationship ==> enlarge our thinking [=/= raising awareness]
these stories cannot known in advance --> note on fable #workshop, when you are excited about an assigned reading in a specific way only to find out that the participants connect or disconnect to something i don't notice


*wonder, a mode of attention to:
•the perpetual newness of the present (Irigaray)
•the other-worldliness of the past (Bynum)
•the aesthetics and politics of sf worlding that generate sensitivities for worlds-to-come (Stengers/Haraway)

latent possible worlds:
* could-have-beens
* almost-weres
* yet-to-comes


*ornamentation --> (inducing) wonder + (connection with) divine
-rich ornamentation --> honor something with our time, care, and attention
-‘encoding’ a writing requires time and attention, decryption ==> value and meaning
mystery of the undecipherable ==> occult knowledge {in a book that enrolls and transforms religious motifs, the experience of reading (or rather not reading) ...evokes the power of occult knowledge, the power of that which is hidden. (Kenney)}

occult knowledge <--> mystery <--> enchantment <--> ornamentation <--> illumination (=/= elucidate, tozihe shafaf توضیح شفاف) <--> wonder


***bibliographic aesthetics are arts of enchantment, vectors for the transmission of value and meaning***

why think and write with the aesthetic?

book as an object? writing as a practice? reading as world-making?***

(to feel) the effect of (our own) language

art: “ontological theater” (=/=? ‘linguistic turn’ {--> Marialena's remark on The Pillow Book, that the film don't care about what is being written. she is a child of the linguistic turn?})
(=/= “return to reality” : “the ontological turn”)
(=/= language as “a necessary evil,” aesthetics characterized as the main instrument of ideological mystification)
~ learn to trust objects figured in unfamiliar ways* (, my bow and arrow[...]

[...]ty, slogans, publicity, terror, --✕--> roots {vegetal, earthly, ideal, heavenly,)
[Irigaray]

(@Ali , what is the source of movement? what is the motivating force behind mobility if not wonder?---in all dimensions)
(both active & passive) wonder ==> move

the “man” (in Nietzsche and Heidegger) thinks he is at the end of his growth, has completed a cycle

“can we look at, contemplate, wonder at the machine from a place where it does not see us?” *** --> the issue is how to be able to wonder at the face of something/somebody that is looking (back) at us. ,,,(@Lili)

surprise: not yet assimilated or disassimilated to known

energy tied to the dimension of the story =/= mobilization of new energies --> (still) blind to their horizon, or qualities

*desire: vectorialization of space and time (=/= Deleuze and Guattari notion of desire) --> movement toward, (not yet qualified)


mother who is magnanimous (großmütig) toward the little one


(-subject-[-) wonder {-]-desire-(-} world )


(for Descartes:) object <== alchemy of the subject's passion

places in brain that are (soft and) tender ---> not yet hardened by past impressions

***[for me the] (appearance of something or someone) new modifies the movement (of spirits in an unexpected manner) --> when we are faithful to the perpetual newness of the self, the other, the world --> faithful to becoming ***

Irigaray: *wonder* = passion of encounter (between the most material and the most metaphysical)

wonder:
•passion (of already born) --✕--> reenveloped in love
•touched and moves toward and within the attraction --✕--> nostalgia for the first dwelling
•passion of first encounter --✕--> repetition




[Haraway reading Derrida: on killing,]

(Derri(Derrida understood that this structure, this) logic of sacrifice and this exclusive possession of the capacity for response, is what produces the Animal

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

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

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

multispecies contingency

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

the capacity to respond and to recognize response

We can never do without technique, without calculation, without reasons,[...]

[...]atterning, consequences, and the possibility of response.
queer, off-category, sf worlding
(what are the SF worldings of ajayeb?--SF as building alternative ontologies. finding absent but possible presents--whether presented as elsewheres or other times. “[...]an elsewhere from which different [...] articulations of naturecultures and alterity could be explored.”)

“The one who would be normal, in a category of his own” --> ends badly

(human scientist's) deadly one-way test: unable to recognize the presence of the trapped one --> (for him) no one is at home in the categorically Other


[Seed Bag]

...the problem of destruction and wounded flourishing--not simply survival--in exile, diaspora, abduction, and transportation--the earthly gift-burden of the descendents of slaves, refugees, immigrants, travelers, and of the indigenous too.

(In the feminist SF mode,) matter is never “mere” medium to the “informing” seed;

Homebody / traveler

...disruptive details of good stories that don't know how to finish

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

[Barad]

[...] remembering is not a replay of a string of moments, but an enlivening and reconfiguring of past and future that is larger than any individual. [...] The past is never finished. It cannot be wrapped up like a package, or a scrapbook, or an acknowledgment; we never leave it and it never leaves us behind.

Barad's mother's question: “what good is there in offering recognition that can't be recognized?”

[...] there is only the ongoing practice of being open and *alive to each(other)* meeting

“How to disrupt patterns of thinking that see the past as finished and the future as not ours or only ours?”



*measurement
** the nature of nature depends on the apparatus that measure it
***--> which measurements are at use in ajayeb?
(what constitutes a measurement for what?)

the strangest idea: that we have access to cultural representations and their content (that we lack toward the things represented) (=/= “agential realist ontology” barad-posthumanist.pdf) [Foucault's “words and things” is the name of the game] [--> @Aela, perhaps we can begin with a different starting point, other than the old idea of “humanity's own captivity within language--the starting place of the metaphysics of representation,” perhaps it would be better to begin with a different metaphysics... -->{the term ‘metaphysics’ (far from being the deep origin of high philosophy) actually comes originally from (the writings of) Aristotle on physics, rearranged three centuries after his death by Andronicus of Rhodes}]

materiality itself is always already figured within a linguistic domain as its condition of possibility(?(!))
[ (?(!)) : a contingent question pregnant with wonder]<[...]

[...]t, study of ‘the literary animal’

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

Katie King

“flexible knowledges” on the edge of validity ♥ (--> almost invalid*)

fantasy of education
culture wars
intellectual enterpreneurs
upheavals and connectivities of globalization

changing patterns of interaction

(aren't we here to) change the patterns of interaction
(aren't we here to) change the faith of letters and love stories

reenactments (are fantasy practices and realities) =/= simple, accessible, and democratized (knowledge)

“layers of locals and globals”

[somehow I couldn't feel in his long term project what is Kobe's relation to] (processes and their product that require) developing and learning new skills, pleasures, and communities

-at the end many of us (are busy with or) want to (or inhabit the “will to”) modelling reality
this is also what ajayeb was busy with

***we are always doing both “purification” and “hybridization”
[]we direct our attention simultaneously to the work of purification and the work of hybridization ==> we immediately stop being wholly modern --> *our future begins to change* / *our past begins to change*
[my work on ajayeb (“hybrids down below” {Latour}) is precisely about (this kind of) transformation of pasts and futures] ==> meeting companion species {if my work on ajayeb doesn't teach me how to meet the dog in my street, the pigeon on my window, the juju on the edge of my paper, what is it good for then?!}

(*)companion species: assemblages of living and non-living ‘species’***
(Janina is all along engaged with companion species)


(an strategy:) allocation of responsibility for grasping information

assemblage at various levels and sublevels characterizes *explanations* and *practices*

technoscientific tsunami that will obliterate prior practices and cultures...

(learning to) see old and new forms of confusions, docility, subjectivity, morality, agency, empowerment (when we are together)
(to recognize and make) new sites of negotiation


Alberti: bodies of Minoan figurines “wear” the appropriate gender for a specific ritual practice, they don't “bear” gender (as their essential feature) ==> gender salience is always in question, not a propor presupposition
“sex has emerged as a salient attribute of the pot's character as a pot”

when zoomorphic figures are present...

ajayeb's zoomorphic figures with their salient attributes are not “purposed” necessarily being to encode their belief-system onto objects that we may read today--like story-board--but rather to make interventions into the world of human-nonhuman relations. to either assist or resist such transformations
[terms sharpened with[...]

[...], is filled with memory, emotions, and complexity [@Hoda]
*crafting a space for existence may involve:
•unfolding history
•mapping normative processes
•immersing a “body” in vulnerability (*)


deploy =/= unveiling
sort out =/= debunking هدايت


glocalizing


Katie King reading Hayward: [...] assembling apparatuses for enfolding visions of instrumental, subjective and cognitive technologies among ciliated (مودار, ریشه‌دار) bodies

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

technologies of the literal

grain of analysis, timescale, noting/creating hybrid objects of study
[comparing the incomparable --> lumping --then--> splitting]

***starting off a research project which eventually hopes to have something to say about that hybrid “thing”*** ...with some despised members of a particular time period (--> switching those who count as major or minor characters), promises to make it possible to build in *a range of genders (not just two), a range of writing technologies, a range of self-effacing acts, and a range of publics*, while working from a particular place and time

***there are many different interests creating the pasts***, the possible worlds...


(Leigh Star > Katie King > Sina) “comparing the incomparable”

here i am trying an outline of my interrelated research practices in a preliminary character, the intersection of which I am just at the beginning to understand


ajayeb: writing technologies of the 12th century Iran

plain style

soing naked as a sign

dress and address

ecology of writing technologies


(Katie King:) writing technologies: ideologies layered in time and space * under which writing has been divided [also cannot be divided] from other generations of cultural meaning

myriad hybrid forms, commingling in material and ideological proliferations
(with Katie King's interest in women's writing technologies)

“presentist”: a practice of classification and categorization to access pasts

continuities and local discontinuities --> is ‘continuity’ (always) a universal abstraction?**


relative universalization

prescrptions for speech and silence


what is gained and what is lost when “tidying up the archive”? (a german problem)

prescriptions for speech and silence

“politeness phenomena”

‘plain speech’ for Quakers: rejection of ‘idle’ speech. preaching was another version of sacrificing seld-will, and was appropriate speech.
public preaching in particular was also a challenge to social relations and interaction --> a challenge to gender, speaking public was a cultural humiliation for indiv[...]

[...]switching those who count as major or minor characters), promises to make it possible to build in *a range of genders (not just two), a range of writing technologies, a range of self-effacing acts, and a range of publics*, while working from a particular place and time

***there are many different interests creating the pasts***, the possible worlds...


(Leigh Star > Katie King > Sina) “comparing the incomparable”

here i am trying an outline of my interrelated research practices in a preliminary character, the intersection of which I am just at the beginning to understand


ajayeb: writing technologies of the 12th century Iran

plain style

soing naked as a sign

dress and address

ecology of writing technologies


(Katie King:) writing technologies: ideologies layered in time and space * under which writing has been divided [also cannot be divided] from other generations of cultural meaning

myriad hybrid forms, commingling in material and ideological proliferations
(with Katie King's interest in women's writing technologies)

“presentist”: a practice of classification and categorization to access pasts

continuities and local discontinuities --> is ‘continuity’ (always) a universal abstraction?**


relative universalization

prescrptions for speech and silence


what is gained and what is lost when “tidying up the archive”? (a german problem)

prescriptions for speech and silence

“politeness phenomena”

‘plain speech’ for Quakers: rejection of ‘idle’ speech. preaching was another version of sacrificing seld-will, and was appropriate speech.
public preaching in particular was also a challenge to social relations and interaction --> a challenge to gender, speaking public was a cultural humiliation for individual women --> the Quaker women practiced preaching as a personal humiliation instrumental to their own salvation [! in a weird way i also did this to my self] #becoming woman-->{a liquefying aspect: “womanhood” was used metaphorically to identify those who could not preach, the surrender of (male) authority to God by men was “female”
•inhibiting woman's prophetic agencies
•“lack of discipline” becomes discipline --!--> forms of discipline that appear “undisciplined” or out of control

(Katie King > Mack:) “Quakers not only bathed in a sea of polymorphous sipritual nature and eroticism; they occasionally wrote as if they had succeeded in floating above gender altogether”

“going naked as a sign” (and Quaker's “plain style”) --> Tasavof, ajayeb, and communication strategies of the so-called new science of the same time (of Quakers)
‘nakedness’ was simultaneously literally his own, a figure of the wor[...]

[...]actment” in words*


black-boxing is totally neccessary to use/study infrastructures, they produce the “artifactual richness” [= a kind of archaeological layering of artifacts acquired in bits and pieces over time--(Lucy Suchman)] of systems
*black-boxing makes elegant some elements of the system/s differentially*
each author does it:
•Shapin black-boxing his range of systems to its complexity and elegance
•Haraway appropriating the idea of modest witness for her own feminist purpose
•

three technologies for fact-making (that Shapin and Schaffer name):
1. material
2. literary
3. social

Adrian Johns in The Nature of The Book: particular booksellers could indeed use their *stewardship* of such heterogeneous spaces to further political ideals and interests. behind the scenes and up the stairs, an interested London bookseller became a significant actor in cultural events.

/> nominal agency
actual person
principle architect


systems move in space, time, and process
some archaeological structures (that one uncover) are stable, some in motion, some evolving, some decaying --> *“there is no way of ever getting access to the past except through classification systems of one sort or another”* (at best) the past could be reordered to better reflect multiple constituencies now and then. (Bowker + Leigh Star)


(my ajayeb research: “epistemic virtues” [or powers] of the 12th century encyclopedic wonder-books,) “epistemological decorum” --> (to capture) “truth-making practices in action” (Shapin)
==> (my commitment to ajayeb:) engendering reflection on the nature of and function of categorization itself

a wonderful bit of meta-language


The Exhausted Receiver


Margaret Cavendish description of a new world, called the Blazing World, her own r own brand of natural philosophy under the guise of a romance... science for ladies{
1- enthusiasm ==> new science
2- study of natural philosophy ==> cardinal virtues of ladies, modesty and religious reverence
3- leisure activity, appropriate pasttime
*she participated in discussions central to her life and times* (am i participating in discussions central to my life and times?!)
Cavendish self-consciously produced herself as a fantastic and singular... (--> is that what i wish to produce?)
-Cavendish strangely shared with Quaker women an experimental life of proliferating genders, of dress, of personhood, og agency, of writing, of personae, but not of this *enabling collectivity*

hermaphroditical view of things: partly artificial, partly natural

status of clothing as a signifier of identity [<-- not always]
crossdressing (#my sticker period)


[modest witness] (--> Haraway's literal an[...]

[...]or in cultural events.

nominal agency
actual person
principle architect


systems move in space, time, and process
some archaeological structures (that one uncover) are stable, some in motion, some evolving, some decaying --> *“there is no way of ever getting access to the past except through classification systems of one sort or another”* (at best) the past could be reordered to better reflect multiple constituencies now and then. (Bowker + Leigh Star)


(my ajayeb research: “epistemic virtues” [or powers] of the 12th century encyclopedic wonder-books,) “epistemological decorum” --> (to capture) “truth-making practices in action” (Shapin)
==> (my commitment to ajayeb:) engendering reflection on the nature of and function of categorization itself

a wonderful bit of meta-language


The Exhausted Receiver


Margaret Cavendish description of a new world, called the Blazing World, her own brand of natural philosophy under the guise of a romance... science for ladies{
1- enthusiasm ==> new science
2- study of natural philosophy ==> cardinal virtues of ladies, modesty and religious reverence
3- leisure activity, appropriate pasttime
*she participated in discussions central to her life and times* (am i participating in discussions central to my life and times?!)
Cavendish self-consciously produced herself as a fantastic and singular... (--> is that what i wish to produce?)
-Cavendish strangely shared with Quaker women an experimental life of proliferating genders, of dress, of personhood, og agency, of writing, of personae, but not of this *enabling collectivity*

hermaphroditical view of things: partly artificial, partly natural

status of clothing as a signifier of identity [<-- not always]
crossdressing (#my sticker period)


[modest witness] (--> Haraway's literal and figurative queering of categories)
the rhetoric of the modest witness --> the naked way of writing, undorned, factual, compelling: “naked writing” [crafted in the context of being virtually present at a demonstration, the ‘practice of credible witnessing’ (==> “truth”) in technoscience] was a proper reference point for feminist examination of objectivity and its relationship to a science founded in exclusion of women. the new man of science had to be chaste, modest, heterosexual man who desires yet eschews a sexually dangerous yet chaste and modest woman --> *female modesty was of the body; the new masculine virtue had to be of the mind* [women's presence turns out to disrupt the experiment (of the scientist or sufi) altogether] (“[...]best of women, pious, chaste, modest, and compassionate, are rendered unfit for science by the very qualities that make them the best of women”)
(Haraway, why credible witnessing is still at stake:) “this is[...]

[...]#]
(Haraway + Potter + Shapin + Schaffer:) elaboration on the idea of modest witness in which “modesty” might flip between either two sides:
1- historically masking a masculine solipsism as a preciously unmarked category: modest witness =/= haec vir : God forbid that the experimental way of life have queer foundations
2- (working across partialities) to create “a more adequate, self-critical technoscience committed to situated knowledges”


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

oratory

tension between dedication and prevarication (zaban bazi زبان بازی)

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


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


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

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


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

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

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

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

(what are the) stickiness of ajayeb's being (?) or, in which affective economy they are ‘passed around’? [social goods, accumulating affects, contagious مسرى? it tends to pick up whatever comes near, or gives us a certain kind of angle on what comes near*]
•wonder
•cause ==> ?
•
}--> social bond is always rather sensational*

(Ahmed suggests) thinking through affect as “sticky”: affect is what sticks, or what sustains or preserves the connection between ideas, values, and objects
{ affects as contagious =/= (inside/outside) “outside in” model of emotions (for axample, when w[...]

[...]ikalische-identitat-podcast listen to the way the story of the Afgani music is told by norient (“music in the globe”, “multi-modally”) --> articulation of western human rights & disarticulation of other ecology of stories
=/= Charles Amirkhanian radio programm Ode to Gravity

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

the protector of spiders who dies by the bite of a spider
-susceptible bodies entagled in networks of care, life and death, that are not always harmonious to popular narratives of nonviolence


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

ajayeb: mythoepic literature in translation from a Middle Persian corpus
-when i say ‘Middle Persian corpus’ what i actually mean is a shared world of ritual, religion, and mythology between Iranian, Urdu, Turkish, Zoroastrianism in Iran and Vedic Hinduism in India, Indo-European inheritance in ancient Iranian culture, South-Southeast Asian literatures, translations and transcreations (and transliteration) of stories (prose, poetry, drama, epic, jokes, parables, figures [that are not always part of the canon], the irreverent بى ادب, ) in Indian and Southeast Asian contexts,

my project is about learning the ‘how’ of cultivating the ability to fruitfully approach texts from different cultures and pasts
-(to study) the radical poetic force of the Persian texts--in ajayeb
-to become enhanced and enchanted in skills of reading wider ranges of linguistic registers
-to open up an approach to a dauntingly complex region of islamicated thought (not the ideological enterprise of “Islam”, which is usually badly politicized in the historical memory of the West. we could get interested in the economics of corruption and technologies of rule, the evolution of government bureaucracies and classificatory schemes, anti-colonial critique,)

ajayeb is on the side of counter-classical traditions of standard Muslem-ness, and its less elite histories and cultural forms,

(intellectual identity:)
cross-dresser of the order
autodidact odds
sufis, merchants, nomads, poets, pilgrims, smugglers, laborers,
religious identity, religious knowledge, religious violence,

medieval persian mysticism:
•oral, temporal nature of speech
•speaking I to the unknown and unknowable Other
•the discourse of love
•apophatic discourse -->? politically subversive
•linguistic fragmentation, edges of meaning
•


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

dense and textured stories

(generativity is fueled by) densely felt textures

worlding of the place:
•the material, sensory labor of attending to an emergent and enduring hum
•the force of things amassed of phantom limbs
•actual residue of people “making something of things”

direct materiality of people's shared sense = attending to what is ha[...]

[...]f 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)
-a form of worlding--an intimate, compositional process of dwelling that bears, gestures, gestates آبستن, worlds (Heidegger)
-the labored viscerality احشايى of being ‘in’ whatever's happening renders choices, aesthetics, surfaces and materialities *a part of something* (Stewart) ~~apass--> the sentience, of a worlding (lightened by soft scenes of the human condition [played out in:
•forms of pleasure @Sina
•weakness @Maarten
•fun @Elen
•humor @Eszter
•acquiescence رضايت ,تن در دادن @Leo
•self-deprecation اظهاربيميلى @Lili
•the intimacy of قبيح دانستن deprecating others @Xiri
•a bad but human habit @Aela
•some wicked little sorcery @קݙ
•])
-
-an attunement that takes form
-a milieu in which the mouth relaxes into a town accent (نواحی?)
-a disorientation in the face of what lies beyond (Janina)
-a love affair[...]

[...]t doing, what is in this consistency of rhythm?}

[*]social: comprised of entities that are both present and absent (==> ajayeb), atmospheres, affects, virtual memories, hauntings, and that these are themselves moments of endurance (or not?), instants of the holding together of the disparate itself
(Stewart > Doel)


[!* Stewart describing the color] *red: “it moves through streams and tendrils into an associational register of connections and differences, materials and noumena وجود مجرد, the coagulation دلمه شدن and diffusions of lines of influence and bits of matter.”
(in my visual art studies we were given redness as a symbolic element in a representational order and a matter-of-fact) =/= state-of-sensory-alert, redness as an actual composition spun into representations, objects, and states of sensory alert
“[...] a germinal aesthetic. a tendril of practices and sensibilities gathered into an energetics of form
> •black sky and ocean --> limit, outline, elemental flux, matter waiting formlessly
•white ice and snow --> stasis, shape and form, a blankness that challenges composition, the transitoriness
•red --> the feebly real, the long, low-frequency wave-lenght of the dying stars, the past, the effort to fix dead reality in a cast *
•green --> plants that glare with a harsh reality, the violence at the heart of the world we inhabite
•blue --> a limited, temporary success in fixing experience in a pattern
•


a landscape animated by the primariness of color =/= Molenbeek

american indians became “red” through a complex semiotics of encounters with colonists


...who knows what kinds of desires, fears and dead ends

(pay attention to Stewart list making narrative:)
events, sites, actors, stakes, consequences, properties, competences, modalities, attunements, velocities
>

... a world ==> ephemeral sparks ==> an atmosphere ==pulled==> qualities of sociality, personality and language out of people [--> ajayeb] ==created==> spaces of care, territoriality, order, horror


the stark mantras of representational critique: that the play of abstract categories (real/fabricated, nature/human habitat, wild/tame, red/white, high/low, etc.) bloodlessly determine worlds or adequately describe them ==> { everything is political = to always know what the political is }--> ‘political’ : something that exists in the big picture of broader significance, something strongly obvious (but not to most people!) that meanings can be automatically assigned to things and are the basis of those things’ value -->!@Ali

the effect of context

matters of composition, each with a “we”:
•feeble نحيف
•experimental
•eccentric --> Elen
•habitual --> my mother
•generous
•[...]

[...] are primary and relata are a consequence of relating ==dynamics==> intra-action {phenomenon = experiment + measuring device + techician + previous results + setting + ...})
•DeLanda's assemblage (how humans and nonhumans produced communities that changed in composition and through time... =/= linguistic model of context)
•

**relational ontology : stronger your “allies” are, the more reality you can claim** [= (Latour's notion of) truth]

[critique of human exceptionalism ==>] open ontology --> contingent categories: phenomena and assemblages are temporary, contingent, and unbounded

flat ontology: one made exclusively of unique, singular individuals, differing in spatio-temporal scale but not in ontological status --symmetry--> *to get at differences without determining what they are in advance* (<-- useful for ajayeb studies)
•archaeological types/objects: reified sets of relations
•job of the archaeologists: establish alternative taxonomies of being

ruin memories

nonrepresentational =/={"world of ideas =/= world of things” ~= the ideas must correspond to a truth demonstrable in the world of things}

(Lucas's) materialization: we can still say things about the past with great certainty

theories + apparatuses + material remains

ontological realism --claim--> objectivity and truth may be contingent but are nonetheless demonstrable and robust

archaeologist ontological approach: working on “material pasts in the present” ~= ‘how past actually gathers in the present’ =/= “material record = fragmentary evidence of history”
•(material's temporary sensitivity ==>) [*]residue: the idea of memory objects, material entities in which the memory of a moment in time is recorded

(it is precisely the) past --endures-in--> assemblage


interpretive endeavors <--characterize-- extension of the meaning of the social
•ontology as a new interpretive tool
•additive (=/= reconstructive)

Alberti's approach (in ontological equivalence of bodies and pots in anthropomorphic ceramics from northwest Argentina...):
social ontology --> reconstruct the ontologies of past societies [<~~ my work on ajayeb]

ontological archaeology's background in feminism, queer, and phenomenological
approaches ==> interest in the body


influence of the animal turn in archaeology
nonanthropocentric zoological studies

(nomenological explorations of animal representations in Attar and tasavof)

what kinds of beings existed within the social universe of pre-Columbian Andean peoples

(renovated concept of) animism: ethnographic meta-analogy for past ontologies --> models of relationality for archaeologists to interpret material patterning in the archaeological record[...]

[...]aterial pasts in the present” ~= ‘how past actually gathers in the present’ =/= “material record = fragmentary evidence of history”
•(material's temporary sensitivity ==>) [*]residue: the idea of memory objects, material entities in which the memory of a moment in time is recorded

(it is precisely the) past --endures-in--> assemblage


interpretive endeavors <--characterize-- extension of the meaning of the social
•ontology as a new interpretive tool
•additive (=/= reconstructive)

Alberti's approach (in ontological equivalence of bodies and pots in anthropomorphic ceramics from northwest Argentina...):
social ontology --> reconstruct the ontologies of past societies [<~~ my work on ajayeb]

ontological archaeology's background in feminism, queer, and phenomenological
approaches ==> interest in the body


influence of the animal turn in archaeology
nonanthropocentric zoological studies

(nomenological explorations of animal representations in Attar and tasavof)

what kinds of beings existed within the social universe of pre-Columbian Andean peoples

(renovated concept of) animism: ethnographic meta-analogy for past ontologies --> models of relationality for archaeologists to interpret material patterning in the archaeological record

investigations of personhood

(building toward a) taxonomy of past ontologies --✕--> ontological critique

(Alberti >) Viveiros de Castro's project: to systemize amerindian thought into a metaphysics such that it can have a reciprocal effect on anthropological thought and “naturalist” or Western metaphysics



ontological realism ==>{

new language attempt to imagine the complex topology of relational realities:
•Latour --> network: things exists as a consequence of the strength of their articulation
•Ingold --> meshwork =/= Aristotelian hylomorphism
•Barad --> entanglement = Quantum physics + queer theory ==> properties belong to the phenomena in question =/= inherent to things
•DeLanda --> assemblage: how humans + nonhumans produced communities that changed in composition and through time in neolithic and bronze age

assemblage --replace--> context

assemblage = phenomena --> temporary, contingent, unbounded

Latourian critique of categories =/= beyond human correlationalism

pluralizing ontology ==> charges of relativism <-- ‘objective knowledge =/= contingent foundations’ }--> nonrepresentational approach =/= over interpretation, abstraction

archeology operates by seeking strong and effective articulations between theories, apparatuses, material remains

ontological realism (=/= naturalism, constructivist) --> objectivity and truth are continge[...]

[...]realism ==>{

new language attempt to imagine the complex topology of relational realities:
•Latour --> network: things exists as a consequence of the strength of their articulation
•Ingold --> meshwork =/= Aristotelian hylomorphism
•Barad --> entanglement = Quantum physics + queer theory ==> properties belong to the phenomena in question =/= inherent to things
•DeLanda --> assemblage: how humans + nonhumans produced communities that changed in composition and through time in neolithic and bronze age

assemblage --replace--> context

assemblage = phenomena --> temporary, contingent, unbounded

Latourian critique of categories =/= beyond human correlationalism

pluralizing ontology ==> charges of relativism <-- ‘objective knowledge =/= contingent foundations’ }--> nonrepresentational approach =/= over interpretation, abstraction

archeology operates by seeking strong and effective articulations between theories, apparatuses, material remains

ontological realism (=/= naturalism, constructivist) --> objectivity and truth are contingent, but also demonstrable and robust
@Chloe


material record: an expression of **how past gathers in the present** (=/= fragmentary evidence of history <-- forensic approach)

past continuously unfolding and therefore changing


Alberi --> (social) ontology: a new interpretive tool
additive work (=/= reconstructive)

archeological accounts of other's ontologies

animal turn in archeology --> nonanthropocentric zoological studies
Willerselv
Viveiros de Castro

Amazona --> animism (more than any other anthropological material) has provided modes of relationality to archeologists to interpret material patterning in archeological records --> [*]animism: an ethnographic meta-analogy for past ontologies
•blurring between nature and culture
•relationship with other-than-human agencies (animal, spirit, artifact)
==✕==> ontological critique

Viveiros de Castro --> systemize amerindian thought into a metaphysics ==> to have an reciprocal effect on anthropological thought (western naturalist metaphysics)

reference to a “common world”

new animism ==> ontology becomes another name for culture

Alebrti outlining:
•anthropological project that considers ontology as a critical question productive of conceptual engagement
•work of archeologists who theorize and practice archeology on the basis of indigenous theories
}--> where new animists turn to animism for a source of analogies, critical ontology turns to animism for a source of theory

perspectivism: multiple natures (worlds) + singular culture (way of knowing those worlds) [~ working from *commonali[...]

[...]e of categories =/= beyond human correlationalism

pluralizing ontology ==> charges of relativism <-- ‘objective knowledge =/= contingent foundations’ }--> nonrepresentational approach =/= over interpretation, abstraction

archeology operates by seeking strong and effective articulations between theories, apparatuses, material remains

ontological realism (=/= naturalism, constructivist) --> objectivity and truth are contingent, but also demonstrable and robust
@Chloe


material record: an expression of **how past gathers in the present** (=/= fragmentary evidence of history <-- forensic approach)

past continuously unfolding and therefore changing


Alberi --> (social) ontology: a new interpretive tool
additive work (=/= reconstructive)

archeological accounts of other's ontologies

animal turn in archeology --> nonanthropocentric zoological studies
Willerselv
Viveiros de Castro

Amazona --> animism (more than any other anthropological material) has provided modes of relationality to archeologists to interpret material patterning in archeological records --> [*]animism: an ethnographic meta-analogy for past ontologies
•blurring between nature and culture
•relationship with other-than-human agencies (animal, spirit, artifact)
==✕==> ontological critique

Viveiros de Castro --> systemize amerindian thought into a metaphysics ==> to have an reciprocal effect on anthropological thought (western naturalist metaphysics)

reference to a “common world”

new animism ==> ontology becomes another name for culture

Alebrti outlining:
•anthropological project that considers ontology as a critical question productive of conceptual engagement
•work of archeologists who theorize and practice archeology on the basis of indigenous theories
}--> where new animists turn to animism for a source of analogies, critical ontology turns to animism for a source of theory

perspectivism: multiple natures (worlds) + singular culture (way of knowing those worlds) [~ working from *commonality* rather than *alterity*] --> a theoretical bomb =/= analogies based on ethnographic content

spirits experienced as diminutive yet brilliantly decorated or huge and grotesque

the more intense ==> the more body it is

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

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

(if) ontology: what is ==> alterity: part of what others say ‘wha[...]

[...]tive yet brilliantly decorated or huge and grotesque

the more intense ==> the more body it is

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

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

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


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

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

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

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


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

kinetic activity + the experience of being in the field

aesthetic attentiveness of bestiaries


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

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

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

metaphysical archeology + ontological anthropology --> perspective on reality


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

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

Alberti
Ingold

correspondence: (a pre-conceptual practice -->) epistemological intimacy in the practices of art, science, and anthropology
•a way to understand one's own research process

(archeology: a science of correspondence)

Alberti suggesting to separat[...]

[...]new past from things? [<-- my question in my research on ajayeb]
•how i am subjectively involved in the past we investigate
•how i am objectively part of those pasts


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

kinetic activity + the experience of being in the field

aesthetic attentiveness of bestiaries


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

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

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

metaphysical archeology + ontological anthropology --> perspective on reality


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

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

Alberti
Ingold

correspondence: (a pre-conceptual practice -->) epistemological intimacy in the practices of art, science, and anthropology
•a way to understand one's own research process

(archeology: a science of correspondence)

Alberti suggesting to separate arts and crafts (for analytical purposes)

artwork: non-conceptual outcomes of practice

artwork & archeological things --share--> ontological problem of how to make something new [~ *sensations/past never before experienced/thought*] out of (circumscribed body of) materials

archeological things carry both sensation & *residue of concepts* with them (~~> artistic research =/= artworks)
==> resurrect the conceptual potential immanent to the specific arrangement of materials (and their temporary forms)

(ontological dilemma [of both art and archeology]:) *how to anticipate the coming into being of something sensed but as yet not thought?*
(---> go to metaphor)

scientific interpretation and explanation of the past <-~ archeology
{my work: speculative interpretation and explanation of the past [--> prefigure new becomings + intensification and unleashing of ‘i am part of what i seek to understand’ (= my subjectivity)] =/= lock the past into predictability}
•my ‘things’ in ajayeb are to an extent ‘archeological things’

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

archeology --Alberti--> [...]

[...]eing studied

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

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

metaphysical archeology + ontological anthropology --> perspective on reality


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

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

Alberti
Ingold

correspondence: (a pre-conceptual practice -->) epistemological intimacy in the practices of art, science, and anthropology
•a way to understand one's own research process

(archeology: a science of correspondence)

Alberti suggesting to separate arts and crafts (for analytical purposes)

artwork: non-conceptual outcomes of practice

artwork & archeological things --share--> ontological problem of how to make something new [~ *sensations/past never before experienced/thought*] out of (circumscribed body of) materials

archeological things carry both sensation & *residue of concepts* with them (~~> artistic research =/= artworks)
==> resurrect the conceptual potential immanent to the specific arrangement of materials (and their temporary forms)

(ontological dilemma [of both art and archeology]:) *how to anticipate the coming into being of something sensed but as yet not thought?*
(---> go to metaphor)

scientific interpretation and explanation of the past <-~ archeology
{my work: speculative interpretation and explanation of the past [--> prefigure new becomings + intensification and unleashing of ‘i am part of what i seek to understand’ (= my subjectivity)] =/= lock the past into predictability}
•my ‘things’ in ajayeb are to an extent ‘archeological things’

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

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

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

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

craft --Ingold--> knowledge grow from the crucible of our practical and observational engagement with being and things
(Aristotlean poiesis ~~-->) [*]craft: slow and intimate knowledgeable work (of how we get along with the world; that cultivates in oneself the skill for dis[...]

[...]n have an impact on your thinking, concepts, ontology ==> unlocking what is most “of the past” about things

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

Alberti
Ingold

correspondence: (a pre-conceptual practice -->) epistemological intimacy in the practices of art, science, and anthropology
•a way to understand one's own research process

(archeology: a science of correspondence)

Alberti suggesting to separate arts and crafts (for analytical purposes)

artwork: non-conceptual outcomes of practice

artwork & archeological things --share--> ontological problem of how to make something new [~ *sensations/past never before experienced/thought*] out of (circumscribed body of) materials

archeological things carry both sensation & *residue of concepts* with them (~~> artistic research =/= artworks)
==> resurrect the conceptual potential immanent to the specific arrangement of materials (and their temporary forms)

(ontological dilemma [of both art and archeology]:) *how to anticipate the coming into being of something sensed but as yet not thought?*
(---> go to metaphor)

scientific interpretation and explanation of the past <-~ archeology
{my work: speculative interpretation and explanation of the past [--> prefigure new becomings + intensification and unleashing of ‘i am part of what i seek to understand’ (= my subjectivity)] =/= lock the past into predictability}
•my ‘things’ in ajayeb are to an extent ‘archeological things’

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

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

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

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

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


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


(we need more) art: careful accumulation of skills


21st century historiographic trends in art

artists increasingly *deploy simulacra of archeologica[...]

[...]s memory, time and temporality, the fabric of history
-Shanks

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


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


(we need more) art: careful accumulation of skills


21st century historiographic trends in art

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


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

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

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


prosaic nature of archeological research
production of the finds


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

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


craft: a model for careful practices and knowing the world =/= artwork: a model for how to break out of disciplinary frames and how to think of the ontology of archeological things [--> what Sennett calls epistemic breaking]

questions for the art:
•what effect is produced?
•how does this effect wrench from its materiality what has not been perceived or sensed before?
--> for archeology same question, from the material that remain from the past in the present

(the traditional task of art:)
•defamiliarization: to estrange our common consciousness and sensations of the world
•place of immanence: to project the coming of something materially new that is latent in our current reality. to *treat facts as events* tha[...]

[...]artists)
•create a kind of intellectual framing
•incorporate archival research
•themes of memory and entropy
•question of absence
•


prosaic nature of archeological research
production of the finds


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

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


craft: a model for careful practices and knowing the world =/= artwork: a model for how to break out of disciplinary frames and how to think of the ontology of archeological things [--> what Sennett calls epistemic breaking]

questions for the art:
•what effect is produced?
•how does this effect wrench from its materiality what has not been perceived or sensed before?
--> for archeology same question, from the material that remain from the past in the present

(the traditional task of art:)
•defamiliarization: to estrange our common consciousness and sensations of the world
•place of immanence: to project the coming of something materially new that is latent in our current reality. to *treat facts as events* that are about to come into being
•art is non-conceptual : impacting the nervous system without conceptual mediation --> sensations are monumentalized in the artwork for the future
•

...to treat the material of the past as anticipating something new

(my research and work on bestiary:)
•how can we produce new works that challenge us to think and experience archeological things (ajayeb) in new ways without resort to explanation or interpretation through a process of disarticulation, repurposing, and disruption of archeological artworks with a political intent in mind? (interpretive framework)
•how to allow ajayeb to continue to operate effectively on us?

both affective and historical force (of ajayeb)


art engenders material becomings (classical definition)
art engenders imaginative becomings

learning from archeology: to be pre-conceptual : the process of craft, to grasp how concepts make their way into things


undisciplinary space (instead of transdisciplinary)

disarticulation: repurposing and disruption of archeological artworks with a political intent in mind
--> cannot escape the anecdotal when it comes to interpretation --> artifacts (for example a neolithic Balkon clay figurine) become symbols for social positi[...]