[...]ualization of the techniques described by physics ==> constitution of environmental robustness ==achieving==> social acceptability] --> the rhetoric of a diagram embeding that assumption:
◦‘additive’ : that knowledge becomes relevant at ‘later’ stages in the life of the model asserted by the diagram. the purview of the ‘additive’ diagram : negotiation and strategy reside in the realm of subjectivity, therefore cannot be represented }==> subjects, those who do the organizing and the giverbing, do not belonge to the ‘core’ that the diagram claims to represent : [subject]--[emptiness]--[dieagram]
--> rendering innovation as a ‘general event’ of an ‘unspecifiable future’ that is progressed towards + idealizing sites [= times and places (of these affairs)] [not allowing the questioning of these sites as obligatory passage points (for innovation)]
--> claiming for itself a capacity to realistically map a stable system
(diagram of technological innovation: a cartography of stable entities and stable relations) =/= a complex and emergent system embedding ambiguity and contradiction
--> promoting an organizational regime that proceeds by conforming to standards of non-contradiction and non-equivocation in its rhetoric =/= baroque baldachin (arshe عرشه) (with other than representation capacities) explicitly recognizing complexity, openness, and emergence --offering--> [enabling graphics to offer] pilotage خلبانى

***every tool should pose not only technically complicated questions rather fundamental ones***

branched tree diagram: saying that knowledge of the ‘branches’ includes a conception of the truck, suggesting: to understand is to understand how the truck generates the branches, and that is what is learnt and transmitted by specialists (Stengers, @Eszter)


Verran ☞ Stengers working on the “gods and demons that populate physics”


[...] rejection and enclosure within the domain of ‘nonscientific’ or ‘simply subjective’ (of anything that cannot be reduced to the canon of the ‘simple’ model)
[Stengers]


(Verran on) the capacities of numbers to interpellate (رسما سوال کردن، استيضاح کردن) their users


diptych قاب دو لوحى


model of meaning-making that diagrams initiate (spatially + linguistically)

articulated sets of relations

a particularly efficacious form of certainty-generating rhetoric by ancient Greek mathematicians (appropriated by thier politicians), according to Netz: meaning-making in geometry proceeds in a particular way, a way that generates deductive proof --> (Netz's notion of) oral performance origins of meaning-making with diagrammatic device =/= (Verran's) graphics embedded within flows of words --> relations graphically plotted frame the relations plotted in flows of words (and reversed): diagrams labile ناپايدار in their forms of participation in collectives***

{my research on premodern systematic investigation of strange singularities of the labile phenomena [lability: liable to err and fall, slip, glide, flow] in the middle ages --helps--> how in the absence of authoritative *source of knowledge* in artistic research environments such as apass, *styles of knowing* mime and intertwine in poetics, practice, and politics}

speaking from diagram (offering possibilities of pilotage of the emergent relations) =/= speaking to diagram (a form of presentation, a proposed ‘found’ past in an idealized future, proposing as a realistic map of a given)

@Eszter: the question of recognizing the complexity of manipulating sets of relations expressed graphically --> developing (in my self) a contrast which offers possibilities for rhetorically distinguishing between ‘speaking from’ and ‘speaking to’ ==> shifts that can effect moves in collective meaning-making

wordy texts

(Star Trek's) displaying “our” modern commonplaces out of the place they are coming from --> makes me vomit
-in US sci-fi TV series we face that we are still Aristotlian, in our regulation of speech, we live under the regime of non-contradiction and of non-equivocation (tie up our public life in it) (--> when i say this is not my story, i am talking about another tradition of speech regulation)


proto-Baroque theater


*ambiguous monarchy*

absolutism has never been a feature of Iran monarchies

(who?) put an end to the complex, emergent baroque polity

a baroque sensibility was no longer salient in the Danish monarchical context and the baldachin became war booty --> that is how Adventure Time's sensibility is now

[Verran & Winthereik briliant thinking and literature:] “baldachin was designed to perform within the tense shifting landscape of partnerships associated with an aristocracy vigorously reorganizing itself as it emerged out of the crisis of the late medieval.”

there was a shift from ‘vertical to horizontal social integration’ (Christianson) with a better-off peasantry and a surge in the urban middle classes, and secular magnate families (najibzade نجيب زاده)

the baldachin was a device that performed in a force field--a wary but indomitable alliance of crown and noble magnates --> baldachin as a diagram in association with texts, the speech, and bodily gesture of court events


diagram: ambiguously and ambivalently ‘spoken from’ (--> proposing how a just society might be achieved) and ‘spoken to’ (--> a vivid vision of a just polity)

a figuration that equivocates over what a just society is

baroque diagram's felicity and ability to assist **collective passage through complexity**


tapestry (فرش / منقوش --> is concerned with collective way-finding ~ pilotage) and diagram }--> has to do with the collective


baldachin and the (innovation) model as material semiotic devices that intervene in the ‘happening of the real’ (Lury & Wakeford, Winthereik & Verran)
-they press upon others their presence as *participating entities* and offer *pilotage*

the model perfroms by eschewing اجتناب contradiction and equivocation =/= the baldachin (my graphs, atlases) elaborately figures both equivocation and contradiction --> *it equivocates about contradiction*
[equivocate: in Medieval Latin perfect passive participle of aequivocō “I am called by the same name”, doubtful signification]

Verran (in baroque form juxtaposing an engineering object with an art object) identifies diagrams as capable of effecting *dual rhetorical shifts*, effect possibilities of moving between speaking from and speaking to --> open up possibilities for equivocatign our contradictions + (representing =) *equivocating over what exactly is represented*[<-- in apass this is what i always do, in a way my project]

(@apass, attending to iconography opens up a space for asking:)
****what are doing here together?
****what kind of pilotage does this diagram offer and to whom?


(a way of abandoning the idea that these objects are essentially different) --> attending an object as:
•story
•diagram
•


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

intermingling the sexuality and materiality of bodies with the transcendental concepts and questions of spirituality and religion

to re-insert the body back into religious imagery

queer religious imagery

culture-jam
weaving their desire and bodies back into an exclusionary narrative

(un)critical faith

sexuality, gender, and bodily regulation in ...


deep inextricability of religious and secular discourses in constructing the body, as well as the ways in which such discourses alone can never tell the complete story of gendered and sexual bodies and practices (Wetzel)

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

Saadia Toor

() within the neo-Orientalist discourse [~= liberal modernity as embodied by ‘the West’ and Barbarism as connoted by Islam] ‘the Muslim’ enemy is today configured as both misogynyst and homophobic (with an essentialized Islam comfortably posited as the roots of illiberalism[= presented as the mark and the evidence of Islam's radical alterity from Western civilization])==> “civilizing missions” [such as my orientation course (as an ideological cover) in Germany] + [Hoda's bottom-lined subjugated self puts her on such “mission” (‘to rescue women’ and) ends any discussion with her (about women, or Islam)] [...]