[...]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 GuattaGuattari / “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 Writing as Technology, 13 pages)


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

#workshop little fables of practice, second day storytelling
(proposed initially to Lili:) #imagine and describe an alien world where its populace don't practice ‘knowing’
with this practice we get into questions of (--without directly addressing/announcing them we will provoke a better understanding of what we might think of them:)
•knowing --> (the inseparability of) knowing, being, and doing
•the ‘suppos’ of the supposed to know
•rhetorics, and intrinsicalit[...]

[...] />
#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 Writing as Technology, 13 pages)


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

#workshop little fables of practice, second day storytelling
(proposed initially to Lili:) #imagine and describe an alien world where its populace don't practice ‘knowing’
with this practice we get into questions of (--without directly addressing/announcing them we will provoke a better understanding of what we might think of them:)
•knowing --> (the inseparability of) knowing, being, and doing
•the ‘suppos’ of the supposed to know
•rhetorics, and intrinsicality (“on the inside”)
•response --> (‘knowing’ =) differential accountability =/= differential responsiveness
•environment
•description (discursive significance)
•world, and sense-making
•geometry (and -metry)
•(intelligibility and) materiality enacted --> question of discourse
•epistemology
•conceptions of space and time
•reflection (as a pervasive trope of knowing) [mirroring, imitation, reflection, tropes of “sameness"]
•material discursive evolving
•mattering; matter and intelligibility, episteme and techne, macro and micro,
•

the workshop is in a way about the trope of knowing, ontology of knowing

(ways of) knowing entangled with mode of being
(with which creature?) matter's dynamism is intrinsic to its biodynamic way of being (--Barad--> for brittlestar everything is intrinsic)
(creatures that) constantly changing its geometry and its topology --> on[...]

[...]h speed to move on, including complete autonomy on the direction and velocity of movement, accompanying the North-American notion of freedom and relation to destiny. in Iran the movement is also based on personal cars but everyone is stuck in traffic, so there is a freedom of choice implied and is initially available but then on the plain of possibilities there are all sorts of technologically situated block-roads that traffic in and hinder motility. this is also a condition of Tarof. “shoma befarmayid!” (after you!)

*Tarof might be as well a mode of resistance in order not to enter the economy of the other (--> at the mercy of the other), when they say “it's on me.”


•رودربایستی <--> ? a [در رودربایستی گیر کردن] (a --?--> حیا)


shah: one who sits while others stand --> tarof as king's behavior (tarof is adab-e salatin?) ~~--> tasavof's tarof: takalof (=/= javan-mardi: ‘self = guest’)
Khhv0M9n5_g

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

every call to speak involves some violation and over-joy, putting oneself in a persecutory way on the line, what Sa'di calls in “Dar Favaede Khamushi” in 4th chapter of his Golestan ‘on the disadvantages of speaking’ or “On the Advantages of Silence” (Written in 1258 CE)



literate or obliterate



infinitely less violent --> that there is never absolutely nonviolent, a value infinitely small but never zero; infinidecimals
degree of violence = 1/x {while “true”: x+1}


(Augustine:)
(Because of the arbitrariness of being:) “to love" = "I want you to be”
[we need to be witnessed:]
because “we have not made ourselves,” we “stand in need of confirmation. We are strangers; we stand in need of being welcomed”

*strangers and exchangers (sarraf)


this is an artistic concern with foreign-policy

<br /> [Arendt:] (in 20th century) shifts in the terms in which we locate the ethics and values of responsibility
citizen --> refugee
[demand for clear ethical responsiveness]
*citizen: an entity assumed to occupy the secured interior zones of polity (who generates the affect and discourse of care, concern, responsibility, and rights;)
*refugee: foreign and shifting body with no home base--has become the exemplary locus for any possible cosmopolitan ethics

you feel like a foreign body until you finally get a job, love, being greeted,
(you may remain foreign until the other claims your body: the police, the lover, the employer, some microorganism that make you sick, and so on.)


(Nietzsche's view of) the friend as the future***
Holderlin asking “Wo aber sind die Freunde?” (a central complaint of ethical proportions and political consequence), (that they have not come to the place from which the poet is greeti[...]

[...] all his thinking starting out from anywhere, from any idea, any word, any thought that happen to be at issue. Deconstruction is the name for this?

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

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

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

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

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

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

(Writing is) is winking at someone (you like)  while listening to my favorite music.

A writing that is not structurally readable -- iterable -- beyond the death of the addressee, would not be writing.

The supplementarity of digression, a fictional supplementarity. Freud is compelled to tell a story but in the act of doing so, he betrays the annulment or effective impossibility of this story. Sons murder of primordial father. Origin of morality: earliest moral restrictions in primitive society have been explained by us as reactions to a dead which gave those who performed it the concept of crime.

The feeling that a text is especially written ‘for’ derrida... As if waiting for him to come along and point it out.

Freud's story is less the narration of an imaginary event than the simulacrum of narration. Freud's quasi event, is at once of fictional narrative and as narrative as fictive. It is the origin of literature at the same time as the origin of law, derrida suggests.

Kant, Freud, Kafka, what makes important all these thinkers for Derrida has to do with how each in their different way brings out a ghostly or virtual ‘narrativity and fiction’ at the very core of legal thought.

Law is always an idiom. An idiom is an expression with a meaning that cannot be guessed from the meanings of the individual words: its door concerns only you. One's relation to the law is singular.

The drama of naming (@Sonja naming the dance, dancing the name, is she dancing the name of the dance)

john Keats, prospective; Williams Wordsworth, retrospective. Prospective work consists of[...]

[...]d. He went and we all go.
Saddle such fall much in the way of love. This person is conscious, knows that love. Anything said may be intercepted.
Mercy, despair, deceit, and securely.
This can hear the secrets of the soul, Nasibat (نصیبت) cannot be won without balls. This is certainly the heart and soul, must be heard. Water
and mud reliance should not be heard. War was the heart and soul of
each tail hard. Dirge in that mourning was hard.

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

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

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

his mental hygiene, through strange theological appartouses, is not standing intrusions and pollutants of the middle ages trans-religiousity and cross-boundry encounters between the dislikes and those who differ in sexuality.
his hygiene is polluted
but in a peotic reappropriative act of Attar this will operate in another iteration to produce a more radical transcendence; still again a vital encounter with religious pollution is avoided



[my teacher and prosecutor --> malamat, San'an students]

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

[title]
main title:
“Four Eastern Cartographies of Entrapment”

video:
“Writing on Chaos - A Terminal Intimacy”

performance:
“The Reward of The Victim - Towards Poetic Extremism”

image assemblage wallpaper:
“Bad Temper - Apocalyptic Climates of Endangered Subjectivity”



delve
delvi
delphi

dilated

dionysian ecotone for performance
defp

dionysian epitom studies for performing ecotone
desfpe

artistic research center for material epitom studies
arcfmes
(art)mes

eccentric center of/for material and performance studies
(eco)maps

dionysian epitom for material and performance studies
demaps

eccentric center of/for epitomized material studies
ecfem

cologne center for social research
ccsr

ecotone
epitom

parc
performance and research center

cream
center for research in epistemology and matter

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

***sharjah project***

[general approach of the project:]

this proposal gathers literary forces from the speculative insights of Jason Bahbak Mohaghegh (on ‘radical modes of resistance’) and Edouard Glissant (on ‘modest modes of resistance’) in order to perform a ‘slider’ between hostile and relaxed patterns of “contact” and “nothingness” that has been rotating throughout the past century in the Middle East. the performance of a knowledge-zoom in the hypnotic effects, nondialogue, nonnarrative, and radical exile spaces that have emerged in eastern postmodernism to revers[...]

[...]ends to reveal its ideological perspective in the gaps between a silent, spatial, schematic rendering of an area (in visual form) and a voluble [por harf پر‌حرف], copious, emphatic, printed discourse that strives to tell of the invisible history that the image cannot put into words”

questions of
•authorship
•political power
•intellectual influence


Meerwunder, exotic curiosities from the sea


“we were about a gun-shot's distance”

in the age of incipient European colonialist expansion

a truly Baroque (bestseller) work, Vermehrte Newe Beschreibung der Muscowitischen and Persischen Reyse
(in terms of Oriental drama)
erudition (fazl فضل) + adventure }-> in narrative
•it is Adventure Time




proto-ethnography
acquire eyewitness information about a relatively unknown part of the world
-(with Olearius's style we can hear) ethnography's mantra: “writing from the ground” --> attention to the shakenness of difference (encountered or imagined) [Stewart bringing my attention to the writing affect:] “ground” sends people bouncing, takes place as a threshold, hits the senses as a set of provocations. “Writing matters if objects of analysis are to be understood as emergent forms with qualities, intensities, and trajectories that can be described or evoked. Writing is not epiphenomenal to thought but its medium. As it sidles up to worlds, disparate and incommensurate things throw themselves together.” (Stewart 2012)
(the ground of Iran on which Olearius stands cannot be summarized in a literalized description, under the spell of a kind of cartographic shorthand [tond-nevisi تند نويسى، مختصر نويسى], into a strangely idealist paradigm that imagines the things of the world)
*writing can be:
•the practice of writing ourselves into our worlds as emergent and disparate ensembles --> speculative concept of ‘worlding.’ [to consider our] writing as an inscription that configures the spaces of form and event in daily living
•Stewart slowed ethnographic practice: Why does writing matter in ethnography? How do forms of writing change cultural theory? What questions do forms of writing raise about subjects and objects, forms of attention, the possibility of thinking through description? How do you describe a scene, a character, an event, a situation, a collective sensibility, a difference, a world? What does it mean to add density and texture to ethnographic description? What can ethnography do?
•attuned to the *forms and forces* unfolding in scenes and encounters --> *apparatus of conceptualization* [pulled into (a tricky) alignment with (your field's) immanent concerns and with the concerns of the worlds.] your (anthropological) objects have to “be walked around,” “approached from precise angles,” and seen as “states of being,” e[...]