[...]ad shall be unclean

every swarming thing that swarms upon the earth is an abomination; it shall not be eaten. whatever goes on its belly, and whatever goes on all fours, it whatever has many feet, will the swarming things that swarm upon the earth, you shall not eat; for they are an abomination.

}-- Douglas--> (intent is) disciplinary =/= doctrinal


...as X ... disposed to believe Y

clean animals
animals animated by other beings (superhuman, demonic, etc.)

the idea of allegorical exegesis --> “each law about forbidden foods has its deep reasons”
“cloven-hoofed animal which part their hooves : all our actions must betray proper ethical distinction and be directed towards righteousness”
“chewing the cud : memory”

old testament
•blessing: source of all good things
•withdrawal of blessing: source of all dangers


xxxxxx


--------[how can we ask without question mark?]
*Lili: through acts/gestures, by creating relationality, and by using reiterational processes
*Esta: my body knows the answer of what i ask, other states of body, what is mark? --> culture/context specific
*Seba: finding the best questions in beauty is about learning pronunciation, the issue of pronunciation instead of questioning (or their merge?), (statement/question) --> doubt --> postponing an immediate answer (“but before you answer...”) --> death of question
*Esteban: not to do: impose an answer, not triggering in the other, expecting an idea of an answer
*Arianna: deep truth involved, process, point of passage (the axis of child traverses your axis) what you say to the other is a container
*Joke: question --to--> invitation, creating the invitation
*Pierre: posting a problem is not about general sentences, it is about finding new relations in the existing fabric of the world, problematizing our intuitions into problems, therefore it is important to have the “?”
*Sina: remembering beyond history

--------[how can we enter something and not enter it at the same time?]
*Thiago: nonpresence <--> thinking, without body?!
*Aela: is about the question of distance and inside/outside, by practicing openness, it is about when something enters ‘you’
*Sana: physical-presence =/= imagination (mental activity ~= dream) {She needs to see Miyazaki}
*Roger: we do it all the time, for him it is more about active engagement, role of feelings, moments that you are pushed out by the entity
*Maarten: no! enter =/= not-enter, research depends on definitions
*Juan: layers of realities are involved, it is about expanding the consciousness by charming it into 90% presences, theater gives a yes/no quality to the question of entering, actors, stage as Dystopie of presence
*Xiri: yes! this is of[...]

[...]r /> the existing fabric of the world, problematizing our intuitions into problems, therefore it is important to have the “?”
*Sina: remembering beyond history

--------[how can we enter something and not enter it at the same time?]
*Thiago: nonpresence <--> thinking, without body?!
*Aela: is about the question of distance and inside/outside, by practicing openness, it is about when something enters ‘you’
*Sana: physical-presence =/= imagination (mental activity ~= dream) {She needs to see Miyazaki}
*Roger: we do it all the time, for him it is more about active engagement, role of feelings, moments that you are pushed out by the entity
*Maarten: no! enter =/= not-enter, research depends on definitions
*Juan: layers of realities are involved, it is about expanding the consciousness by charming it into 90% presences, theater gives a yes/no quality to the question of entering, actors, stage as Dystopie of presence
*Xiri: yes! this is often the case, we are between 2nd-chances and being-torn-apart

--------[who told the first joke?]
*Gerald: objects =/= actual life (absurdity and absoluteness of objects) (contemplating about object ==> inner smile)
*Nicolas: father (by not getting it right), not mother (she is not the teller type), the tickler is about lunching possibilities
*Vladimir: God, Vladimir thinks this is theological and therefore axiomatic (that means self-evident or unquestionable)
*Lise: Monty Python, specifically the philosopher soccer video, in the way that makes you laugh
*Elke: God, God said “this is reality” (but we didn't get his joke)
*Steven: some funny kid in the street when he was 5 or 6, and it wasn't really a joke more a story

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

i like to set up a synonym-finder machine
(looking at mutations of ...)
--> the same way that in Attar's birds, one birds t[...]

[...]of international economy and contemporary art, their disastrous split, and where their formations meet and intersect.

KEYWORDS: cosmology, experimentation, existence, specification, future, knowledge, irrationality, permanence and substance, technological acts--of naming, a path of becoming--on the grid of technological dominion, suspicious partnership of “advanced democracies” and “high technology"--what allows their mutuality?, standard-testing--which sectors of existence it is traversing?, pre-technological traces of cognitive normalization, the very little difference between specification and “the real thing,” THE origin of the demand for rigorous specification, migration of questions out of the areas of instrumental fitness, human relation to the surrounding world, impoverished zoologies--under techno-epistemo-anthropocentric values, squeezing prehistoric modes of weakening subjectival normativity--a field that today gets heavily technologized,





to bring our needs and lures towards each other
bring my lure to the table (that thing which i can't stop following)

who/what are you pregnant with?

(that is what you are proposing)

(that is to play with the ‘histories of body and mind’ [Haraway] you inherit --> for me is to play with the pre-subjective singularities)
[inheritance is of great importance for our research. it is about the passing of obligations from something ghost-like. i am sure we have other modes of response available to us other than how Hamlet takes in what is inherited to him, other ways of responding to the ghostly beings that talk to us from death. (inheritance ~= inhabiting spirit [they cannot be possess as a piece of property], reading inflaming flashes of remote spirits [--> is this hear from one another looks like? is technology placed at the source of this reflection?--technology itself answers the call--(Avital)]) could we work with Ophelia's kind of #Wortsalad instead? (Salad-e Kalame, khoresht-e kalame; same thing happens to Shirin of in Khosro Shirin, but unlike Shakespeare, Nezami allows another poetic drift;) Heidegger's “die Sprache spricht” : language is monologue --?--> schizophrenia and schizophrenic discourse --?--> structure of speaking]
[speaking asserts a certain temporal priority which we must undermine]
-listening *before* speaking
-“We hear language speaking” (Heidegger); a non-organic speaking; language is not equipped with organs of speech? (Avital)


serious joking / joking seriousness [Haraway]
joke/jest/gesture
a space of play --> where ideas come in to being
(story of ‘or’. is it where the original joker came? using or instead of and)
(there is no ‘or’ in nature!? what are the earlier forms of or that we can trace in cave paintings or tool makings?)

**if you don't take my idea seriously i will be utter[...]

[...]hilosophical and biological headquarters (and steal their stories, their abstractions, etc.)
exchanging and sharing instruments and languages



this is about building something that is ‘good enough’ to get you through...

these practices doesn't necessarily produce ‘separate entities’ (indivis)
am i fantasizing creating a monolithic structure of ideas?


critique is an art that tangles with what you are proposing
(like an octopus in a lure)

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

stories that can interrupt death (of our time, anthropocene, etc.)
(example of biology-story into culture-story: (1) ladder of evolution --> progress (2) sperm/egg story --> gender performance)

to change stories so that they are more livable
we live stories

to make mistakes as fast as possible


... move across earth space and narrative space


situated stories
they can't tell everything, but what is needed here


https://en.wikipedia.org/wiki/Refugium_(population_biology)

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

ontological choreography
vital sort of play that the participants invent out of a history of body and mind they inherit

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

possible performances
*two doors, ?, talk, model, puppet
*using stop-motion animation, clay formation, material animal facial properties

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

seeing a car crashing, is seeing a causation, seeing a reasoning, is that logos? is it logos when we see a physical experimentation?

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

[Haraway]

the established (dis)order is NOT necessary!
grips of necessity
(the real does/did not have to be or happen that way. the ‘real’ is the result of contingencies and it can be undone by working the contingencies, with skill.)
laboring bodies, playing bodies, sensuous bodies
(feminism:) you can't get freedom outside of mortality
-theology, the negative way of knowing, the necessary discipline of positive affirmation in order to know what is not knowable, is a very helpful tradition


when it comes to language we, humans, will always win over the animals.
we will always be the ones who control the law, the database.
(all is bad news both for the charismatic endangered Bangali tiger and the individual chicken in the food industry.)
fight the divisions and differences
we are in a very bad place for animals and woman

can we do without instrumentalization?

categories of killable--the question of how we kill

the question of one's-own-old-hat

regarding what you are against: we might find ourselves properly addressing a particular issue but having no ability to make political connection,[...]

[...]ollection
refusing the division between material and immaterial
to call information-world immaterial is wrong
(this is the base of my work related to Haraway)
in the case of vision: the material and the semiotic always implode [the apparatus and the flesh] --> the effect of *disembodiment is a technologically produced effect* (that is also always affectional) (we have to get good at producing it)
[...so she was among (1983 Marxist) feminists (and the figure of cyborg is already in circulation for her--about the questions of reproduction technologies related to the situation of women) without biological education--not only that, many of her feminist allies thought of biology as the enemy [--> antinatural rejection of the sciences in feminist the agreement “that ‘nature’ is our enemy and that we must control our ‘natural’ bodies --> escalating logic of counterdomination] so her manifesto is all about that. biology is (a rich fabulous practice and) never innocent, and it is something that ‘we mean’. in the sense of ‘what do you mean?!'] [we are always telling knowledge stories that we need --> noninnocent]

(something is) boring =?=> (something is) wrong

why do i joke? it has to do with storytelling.
anything anybody tells me i tend to believe--what i learn from whores

working within an apparatus of thinking in order to get somewhere in a sustained way and not to drift into associations as fast as... -->
i can't finish the sentence until i can pay attention to what interrupts it. and if i syntactically require to come to the end of sentence, syntactically commits me to a position i don't hold. the technical requirement of clarity (and coherence--must learn how to do it). my storytelling is about how not to reach the end of sentence. (that Peter noted as suspension)

['thinking pushed into syntax’ --> my work lecture-performances are about a thinking excessing out of syntax. not all argumentation is made in syntax(= how a sentence must end), and turn it into a skill of nonsyntactical pragmatic language craft tradition, advocating the *exceedingly agential* world ~= there is always ‘a whole lot is going on']

the iterative and fractal quality of sentences
partial connections (of distinct entities) ~= analogy
analogy allows one part contaminate systematically another part and vice versa

(Haraway on feminism)
feminist theory is especially good in getting at in particular ways doctrines of nature's work to enforce ways of life on women, on people of color, on the enslaved, on those who do not possess the qualities of mind and self-possession, on those who are on the marked categories to the unmarked. the feminist have been particularly good at getting how genre works. gender, in this regard. [...] --> that female by nature is committed to the species and the male by nature committed to transcendence.
[...]

[...]h, canceling, making reading to get rid of it, and this is not the same as destroying.]

@Arianna, ‘cleaning agents,’ to toxicity? how can we learn to live with “toxic animacy”(Chen)? dirt: “consequences overwhelming their cause” (Latour)
-narratives about urgent necessity: that we need to understand more in order to cure, prevent, construct, excel, survive.
*afterlife toxicities (?)

@Lili: cycle of planets instead of heartbeat of a planet. tuning in the soup of planets, instead of getting the pulse of a singular planet. the nebulous milk way of liquid bodies, instead of rigid mass of individual blood--Pluto.

@Varinia: (in her dog video, regarding her engagement with 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[...]

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

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



from contingencies to certainties


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

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

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

trope - something other than its literal form

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


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

i have been building my own islamology or islam-studies department, through a low-voice critical mildly blasphemic rant about imagination
(anthropology of non-experimental imagination in the islamicated worlds)
[there is a difference between **experimental imagination** and imagination]

we are at the edge of extinctions
many species and lives are migrating to “where” and nowheres, pushing to the oblivion.

my issue with the ‘timing of understanding’ --> i don't want to be understood by you, i want to be loved by you ==> messenger + message --> so how do i produce lovers? (=/= Don Juan's type of love) --> there is a genius in your everyday talks that transforms me and has nothing to do with understanding (with the information that i grasp)


(using Martha Kenney thinkin[...]

[...]ms of the impressions it makes on our senses? / this is about the places things take and occupy in our phenomenal world. / it is difficult to discuss the night-sky without first breaking it up into constellations. (Matthew Carey)

i have been building my own islamology or islam-studies department, through a low-voice critical mildly blasphemic rant about imagination
(anthropology of non-experimental imagination in the islamicated worlds)
[there is a difference between **experimental imagination** and imagination]

we are at the edge of extinctions
many species and lives are migrating to “where” and nowheres, pushing to the oblivion.

my issue with the ‘timing of understanding’ --> i don't want to be understood by you, i want to be loved by you ==> messenger + message --> so how do i produce lovers? (=/= Don Juan's type of love) --> there is a genius in your everyday talks that transforms me and has nothing to do with understanding (with the information that i grasp)


(using Martha Kenney thinking:)
i am interested in crafting words, phrases, and languages that reworlds us. (reworlding is about reorienting us in the world differently. --> is that what i meant by changing the rhythm of somebody's story?) what is important for me is ***what words ‘do’ rather what words ‘point at.’*** --> if not evidence then ‘what’?! *****the magic of the right word*****

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

communicating knowledge is always also making it
(false: backstage making knowledge, finding truths, connections etc. and then all of this gonna be communicated by publication, teaching, exhibition, etc.)
all the useful ideas i ever had, have happened in the process of deliberating, communicating, exchanging, and so on.
**trying to communicate is the same as making knowledge
(i don't make, i communicate)

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

from paf:
-lunching a counter-exotic movement toward the Book of Wonders: (1) postponing immediate information. (2) ...
•if everything is not exotic then nothing is.
•framing as ‘tool,’ every tool is and has power, and is built in a discourse of power. tools are not innocent, nor can we do without them. they make us. what would be an idea of the ‘worst tool’ you can work with? poetics for me? [to write-about =/= to write-with the Book of Wonders. to use a language-tool that produces the most ambiguities and most misunderstandings, but that is the only way, there is no tool that can prommis clarity. evey tool produces its own ‘clear'--for someone, for some purpose. these makings are all tool-specific: making dichotomies, making similarities, making diferences, stc.]
•how far your research can host an encounter with alterity? and how this encounter can help you undo your prommises of communication, positionality, and conceptual buildings? weave new worldling entanglements[...]

[...] meaning-making tools. they hide their seams well. they are slick and trustworthy” (Porter) --> they are “materialized relations” (how can we tell a story of relations that for example numbers/math materialize?)
◦highlighting parts of ajayeb: as part of a material reading practice --> “highlighting” could easily be understood as metaphor of disembodied vision; highlighting is not about making things clear but about scribbling (bad-khat بدخط) as a mode of attention =/= (Descartes’) “natural light of reason”


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

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

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

-in a way the workshop is about an *approach* to knowledge generation[...]

[...]br /> ~-?==> changing the system of classification (of thought)

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


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

[some fables from science studies:]
•Emily Martin's egg/sperm story --> stories of atomism, distribution of agency, ----[The Egg and the Sperm: How Science Has Constructed a Romance Based on Stereotypical Male-Female Roles]
•Hayward's microscope --> tropes of natural history docu, ----[Enfolded Vision: Refracting The Love Life of the Octopus]
•Kenney/Haraway's origin/nature fable --> the omnipotence of the “origin” story in our descriptions and interactions with the natural world
•Scott Gilbert's immunological “bouncer” story =/= immune systems as inclusive agents of symbiosis
•Lynn Margulis: life (made possible) by “combat" [the survival fable that TV series “The 100” and “Kelile Demne” for instance is based on] --✕--> life by networking
•Haraway: the tale of “organism = a system of division of labor with executive functions” (==> extraction of wealth among us)
•Morton's causality-story
•brain/body story --> where the “move” came from?
•Sina's “standing on the shoulders of giants” --> knowledge/continuity, role of authority and humility in science ----[http://www.sinaseifee.com/giants.html]
•Sina's 3 little pigs --> architecture/tech/ echics of encounter --> story of the center and periphery ----[http://www.sinaseifee.com/pigs.html]
•“weapon fathered man” --> Kubrick's african genesis, technology + prehistory (in postwar period) “tool ==> man”
•
fables popular in apass:
•“a work [of art] should speak for itself”
•“the very last stage of the creative process is purely intuitive” --> when people say they stop “reading” or “knowing” when they want to create artwork
•“look really hard inside yourself for what you really want”
•“you are an agent of change” that means art or thinking or being ought to be operative, active, transformative, (even destructive) and that is “political” [--> this fable in found in language; ---> go to Barthes’ fable of the woodcutter]
•




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

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

#workshop, on question, feedback method, to improve the questions we ask each other
-what are the questions (i could ask) that make you the most articulate?
-the question that asks what are the good questions that offer an interesting becoming for th[...]

[...]br />
...to fall back on the conceptual priority of the subject, agency, or identity as the grounds --✕--> we have politics because we have no ground

(Keenan suggests) “deconstruction” is not offered here as an antiauthoritarian discourse, an attack on grounds, but as an attempt to think about this removal as the condition of any (political) action }~= democracy


(according to fables) responsibility begins in the bad example (--> the concept of conflict ~=> the ethics and politics of responsibility)

the classical subject --(the passage through the bad example)--> installed in its stance of responsibility and the safety of identity

“What is at stake in the fable is, more than anything else, the interpretation and practice of responsibility-our exposure to calls, others, and the names with which we are constituted and which put us in question.” (Keenan)

...practical effectivity of literature


•(for Annabel Patterson:) fable accomplishes a speculative Aufhebung : “[...]the role of metaphor is to mediate between human consciousness and human survival, [and here] the mind recognizes rock bottom, the irreducibly material, by rejoining the animals, one of whom is the human body”
•(for Louis Marin:) fable: uncertain model of praxis
•(for Hegel: Aesop was a “misshapen humpbacked slave” and his) fable = witty, witzig =/= spirit, depth, insight, vision, poetry, philosophy
•(for Lacoue-Labarthe:) fable: a name for the mutual implication and asymmetrical interference of literature with philosophy --> the suspension of the self-evidence of the categories “literature” and “philosophy” in order to use each to put the identity of the other into question. [to think the world as fable. Is it possible?]
•(for Keenan:) fable superimposes the relation of an address to the other in its singularity and in its anonymity (responsibility for the other) onto the traditional predicament of an articulation between the order of knowledge or cognition and that of action, ethico-political or otherwise --> *responsibility in Western philosophical tradition: an address to an other*


...the rhetorical event of a comparison

#[the theater of example]

the threat of example's excess

fables of responsibility ==securing==> *the morality of the subject who means* (who can they finally be submitted to the logic of an *evaluative destination*)

(Derrida's) mode of enunciation and the literary vehicle entrusted with its exemplification :
*[...]it is sufficient to introduce, into the fold of speech acts, a few wolves of the type (“undecidability” or “unconscious”) for the shepherd to lose track of his sheep: one is no longer certain where to find the identity of the “speaker” or the “hearer,” ... where to find the identity of an intention.*
--?--> wolf in she[...]

[...]most urgent imperative is a language inventiveness.”


(atomism)
-constant and precarious self-management of molecular projects in a horizon-less future
-artists in the operation of self-making ourselves


#the image i made for Sohrevardi; allegory of Sohrevardi; the image's discursive architecture and its diverse inventiveness; (being careful with being) seductive in staging diversity; --> “an ecology of monologues”? (Renan);
-“The monologue is a linguistic space freed from negotiation.” [...]  “Now, it seems that everything could be solved by the universal application of mediation, participation, collaboration processes [etc.] without realizing that this entails the strengthening of the social cohesion model that becomes universally inclusive.” [...] “The monologue, in this perspective, is a form of silence, a way of disappearing. One way to cease-to-be when we are forced to be.” (Peran)

how can i stop and resist “self-exploitation”? --> instead of thinking about transindividualism and commons, etc.

“An artwork executed from fatigue ‘exposes’ its intensity.” (Peran)
A “tired” artwork

(Marti Peran)
a minority that wishes to be a majority
the semiotic body disciplined to daily exercise and beautification
fatigue, unlike melancholy's passivity, implies performativity.
a way of being ill


(capital gains concentrated in the) self-production of identity
subject occupied full time in itself
the logic of “do it yourself”
obliged to make countless small decisions in all areas
subject mixed up with the incessant movement of its own alienation
*hyperactive life --> poverty of experience*
the banality of “i Like”
(maybe interesting for Laura:) *fatigue* is the instant of stopping and pausing [of exercise and beautification] (after which a diversity might be possible)r /> [*]fatigue: capable tiredness --> politicizes discomfort
[#we are in the domain of passivity, disappearance and inaction]
Peran suggests a position of fatigue where (some time ago) was occupied by melancholy
“is this not a mere “don't like” that re-enters the spiral of our mobilization?”
“we are left with just the option of making an index, a collection of trails and marks [...]”
sunday: “empty time that forces us to fill it through apparently free decisions that, if they are resolved properly, please us and re-constitute us” (Peran)
*freedom of action for self-realization* --> unstoppable egocentric machine
space of perpetual connection (@ERG's website)
(pseudo) communicative action by way of technological devices --> camouflaged alienation
“The promise of self-realization and the demand for visibility organize the mobilization of desire, turning it into work.”



do we need to formulize a[...]

[...]rtain metaphors since the begining of the 17th cebtury, namely ‘objectivity’ and all its related adjectives: neutrality, perspective, universality, disembodiment (for certain race and sex), etc.
-metaphors create perspectives [the view that looks at blind men looking at the elephant]
-situatedness is different than ‘positionality’: a way of systematic error correction
-(resolving) specificity of vision --> scientific objectivity (is achievable)
-Haraway expresses her informed dissatisfaction with (the metaphysical substrate that supports) ‘social constrctivism’ and ‘traditional realism’ --> representationalist belief in the power of the words to mirror preexisting phenomena. they both believe that scientific knowledge (in its representational formats: theoretical concepts, graphs, particle tracks, photographic images, etc.) mediates our access to the material world, whether it represents “nature” or “objects” of science both groups are subscribed to representationalism.
focus on the nature and production of scientific knowledge --(shift to science studies)--> dynamics of the actual practice of science }--> on ongoing pattern of situated activity

-(disembodied scietific) objectivity: that only certain people are allowed to have no body (Gender, race, etc.) and that high science in practice is not acting on textbook objectivity at all.

absent referents, deferred signifieds, split subjects, and the endless play of signifier

Haraway is feeling nervous with two views on objectivity:
(1)the ‘social constructionist’ view on this: getting to know the world ‘effectively’ by practicing the sciences --> knowledge is knowledge-game (on an agonistic power field) ==> science is rhetoric : artifacts and facts are parts of the powerful art of rhetoric ~=  practice is persuasion. {this view will use the nasty tools of semiology and deconstruction to insist on the rhetorical nature of truth.} --> Haraway calls this ‘The imagery of force fields’ (also an imagery of high-tech military fields and of automated academic battlefields) {will to power} (for Luiza)
epistemological electroshock therapy
(feminists protecting their) sense of collective historical subjectivity and agency and our “embodied” accounts of the truth --> these are just excuse not to learn
(2)Humanistic Marxism (structuring theory about the domination of nature in the self-construction of man) ([young Marx, influenced by Feuerbach =/= Hegelian idealism, saying that:] man's essential nature is that of a free producer, freely reproducing their own conditions of life [--however--> under capitalism individuals are alienated from their productive activity, etc.])

--> “chance for life”

science: Global System, universal knowledge --> translation, convertibility, mobility
of meanings, and universality

money in capitalism ~= reductionism in science
[...]

[...]ll use the nasty tools of semiology and deconstruction to insist on the rhetorical nature of truth.} --> Haraway calls this ‘The imagery of force fields’ (also an imagery of high-tech military fields and of automated academic battlefields) {will to power} (for Luiza)
epistemological electroshock therapy
(feminists protecting their) sense of collective historical subjectivity and agency and our “embodied” accounts of the truth --> these are just excuse not to learn
(2)Humanistic Marxism (structuring theory about the domination of nature in the self-construction of man) ([young Marx, influenced by Feuerbach =/= Hegelian idealism, saying that:] man's essential nature is that of a free producer, freely reproducing their own conditions of life [--however--> under capitalism individuals are alienated from their productive activity, etc.])

--> “chance for life”

science: Global System, universal knowledge --> translation, convertibility, mobility
of meanings, and universality

money in capitalism ~= reductionism in science

...when we are talking about genes, social classes, elementary particles, genders, races, or texts

*vision: a sensory system that has been used leap out of the marked body ==> a gaze from nowhere
-“Vision is always a question of the power to see--and perhaps of the violence implicit in our visualizing practices”
-also, the visual metaphor allows one to go beyond fixed appearances, which are only the end products. The metaphor invites us to investigate the varied apparatuses of visual production (including: the prosthetic technologies interfaced with our biological eyes and brains.)

unmarked body: the power to see and not be seen
objectivity in scientific and technological, late-industrial, militarized, racist, and male-dominant societies

(she asks for:)
“So, I think my problem, and “our” problem, is how to have simultaneously an account of radical historical contingency for all knowledge claims and knowing subjects, a critical practice for recognizing our own “semiotic technologies” for making meanings, and a no-nonsense commitment to faithful accounts of a “real” world, one that can be partially shared and that is friendly to earthwide projects of finite freedom, adequate material abundance, modest meaning in suffering, and limited happiness.”

Haraway asks for an embodied objectivity that is able of accommodating *paradoxes* --> ‘situated knowledges’
-what does she mean when she says “All components of the desire are paradoxical and dangerous, and their combination is both contradictory and necessary.”

(instruments of visualization in multinationalist, postmodernist culture:) disembodiment : to distance to know
the visualizing technologies (--> my amazon project)

a perverse vision that has produced ‘techno-monsters’ (what d[...]

[...]ave 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 objectification* in the world.
--> politics and epistemologies of location, positioning, and situating
partiality =/= universality
*partiality: view from a body, always a complex, contradictory, *structuring, and structured body* (what does she mean by ‘structuring and structured body’?)

--the sciences and politics of interpretation, translation, stuttering, and the partly understood.

*Feminism: critical vision ==(consequent upon)==> a critical positioning in unhomogeneous gendered social space.

location --> vulnerability ~~> (full of limits and contradictions)

“rational” knowledge : to be free from interpretation, to be free from being represented : to be fully self-contained (~ fully formalizable)
-no! let's make Rational Knowledge a process of ongoing critical interpretation among “fields” of interpreters and decoders --> a power-sensitive conversation
-accountability and responsibility for translations

. Situated knowledges are about communities, not about isolated individuals
(pinocchio and geppetto parable)

objectivity = positioned rationality
=/= images of escape and transcendence of limits (filled in Hollywood and sci)

faithfulness of our accounts to a “real world” (no matter how mediated for us and no matter how complex and contradictory these worlds may be)

Sex is “resourced” for its representation as gender, which “we” can control

Situated knowledges require that the object of knowledge be pictured as an actor and agent
-which version of “realism” is she argueing for?

“[...] we are not in charge of the world. We just live here and try to strike up noninnocent conversations by means of our prosthetic devices, including our visualization [...]

[...]s
(pinocchio and geppetto parable)

objectivity = positioned rationality
=/= images of escape and transcendence of limits (filled in Hollywood and sci)

faithfulness of our accounts to a “real world” (no matter how mediated for us and no matter how complex and contradictory these worlds may be)

Sex is “resourced” for its representation as gender, which “we” can control

Situated knowledges require that the object of knowledge be pictured as an actor and agent
-which version of “realism” is she argueing for?

“[...] we are not in charge of the world. We just live here and try to strike up noninnocent conversations by means of our prosthetic devices, including our visualization technologies.”

in the rich feminist practice in science (more than anywhere else) passive categories of objects of knowledge are “activated”

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


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


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


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


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

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


world =/= mother/matter/mutter
world ~= coyote (a figure of the always problematic, always poten[...]

[...]rom gene to foraging pattern, thereby fundamentally changing the biological politics of the body.)
-(example: Emily Martin)


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


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


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


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

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


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

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


#workshop reading SK (for apass)
Which version of “realism” are you talking about? Recollecting truth and objectivity are activated whenever a ‘point of view’ is produced among other metaphors that we use in our practice and thinking in techno-scientific societies. In this group reading session we are going to study one of the most stubborn and pervasive phantasms in art and sciences, the figure of objectivity, with the Donna Haraway's 1988 essay ‘Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective’. This reading focuses on politics and epistemologies of location, positioning, and situating in our power-sensitive conversations, and what does it mean to become accountable and responsible for one's own noninnocent translations. We begin with her essay on the 2nd of February and talk about each of our practices in particular continuing on the 9th.

[...]

[...] Ekaterina > captured by Hoda > found object by Sina)

stories that collect other stories:
1- archive ~--> sortability
2- translation ~-->  linearity
==> universality (that both these stories claim)
(my work on hypertext apass ajayeb graph rigs, is to deal within these conditions of storying. my shift of interest)

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

(“dealing” @Luiza:)
(or in Lili's term “..a way to tackle issues”)

[with Avital]
*modalities of dealing-with:
-parasitism
-(under the spell) drugs =/= struggle (according to Marxian protocol: one is drugged and disabled [Date-rape-drug as an incapacitating agent] and neutralized by state apparatus, drugs are administrated and spend in all sorts of insidious ways.)
on the discourse of stupidity: Marx (in writing to Engels says that he) believed that proletariat are stupid. Marx's insight to replace the other drugs that have put so many into a stupor. people with Religion are not around, they are praying somewhere to some hallucination [this is Marx, Freud, Nietzsche, and others in 20th century] --> ideological stuporous drugs, ‘everyone is stoned on something’ =/= alert and lucid. [highly problematic!]
-this is about a body recognizing its ‘enemy’ (the figure of enemy for every and each of us and the way we “recognize” it, as historical bodies and minds inheriting the boys of 20th century.) ---- the state of the struggle depends on certain metaphorologies on ‘clean’ that are problematic and phantasmatic and on the loose. --> [the issue is that there is no “clean body”.] how to do dirty work? (--> for ‘morality’ and ‘clean’ go to Freud on the origin on morality: morality began as we stopped sniffing our asses and stood erect, nose in the air, away from the dirt [that we are] --> morality's phobic appropriations and designations, [Lacan: from the genital order to the sublime; az kun be fayakon از کون به فیکون %--> #ouroboros #serpent], [so when we stood up, stood erect, our genitals became center, exposing ourselves to the other, sexually centered exposure], [], [],)
-Marxian: language/tool/art as a virus that infiltrates ideological structures
-Lacoue-Labarthe: in 20th century there are three fundamental modalities of “dealing-with,” three modes of relatedness to our concerns, our anxieties, our worries, our work, our projects [three major motifs for the thinkers that continue to provoke our thoughts]: (1) *struggle* that would be the Marxian motor, the modality in terms of concern for social justice. [Delanda on Marx --> a model of synthesis: a conflict of opposites] (2) *mission* as introduced and lunched by Heidegger, who was on a mission: we have a mission, we have a mission of transmission, we have a mission to inscribe things--not from God but from what has happened to us and been left to us after the death of God (as Nietzsche has annou[...]

[...]/> -for Hito and Rabih: zeitgenössisch (contemporary) = grausam (atrocious)
-they dichotomize (fact/fiction, real/unreal, etc.), rather than allowing a novel and interesting question to be raised
-what is the state of unknown in one's practice? rather than being a news agency




[negativity?]--> your bad feelings --> غر ghor complaint --(turn it into)--> critique --(start doing)--> research --(get)--> diploma --(turn it into)--> phd --(make your)--> department of studies --(into)--> craft tradition
[you don't have to start with negativity!]
[you don't need to end in your own myth tradition!]

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

@Anouk (@her “breathing archive”): (Lev Manovich's) relationship between ‘interface’ and ‘database,’ ‘perceptable’ to ‘information’. [Database as Symbolic Form: http://courses.ischool.berkeley.edu/i290-1/s04/readings/manovich_database.pdf]
what is for Anouk ‘information’? and what is for her the relationship between information, knowledge, interface, and perceptable?
for her what is the relationship between ‘information’ and ‘infinite’? (infinite as the universe of all possible images)

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

*Pierre's ‘rights of nerves’ --> “talking to everybody”
[rights of nerves: you are promted to do what you do out of disgust, outrage, fear, or driven by anxiety, you don't know why, you are compelled towards an object or project or thing or unthing]


*Seba: for him “narrative =/= complex” (the question of “complexity's situatedness”) for him: “multiple perspectives ==> coherency (=/= bi-rabt بی‌ ربط, na-ham-dusti ناهمدوستی ?)” (is his idea of “coherency” leads to ‘friendship’? is for Seba ‘amity’ [ravabet-e hasane روابط حسنه] at stake? )
Seba's epistemological object(?): ‘evidence’ (=/?=>! cordial dispositions)

(complexity is the name of our game. Haraway)


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

my current work and interest involves the investigation of individualized subject formation (tajarode nafs تجرد نفس ?); interrogating the production of language; and tracing the divisible distinguishing limits between categories of human, animal, and monstrous.
#subjects of interest: The translator, language, the sublime, animals/animality, technicity/mechanicity, the divine/sacred,

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

the myth of Poros, Penia, and Eros for Aela:
(in Plato's Symposium;) Penia, the “child of poverty,” decides to forcefully impregnate herself with the inebriated Poros, “the personification of plenty,” who is always in opposition with aporia, (~ snafu before aporia,) “puzzlement, which breaks with the logic of identity,” and thus defining aporia. The result of this union is Eros...
poverty + {plenitude × aporia} ==> eros : {agency of passivity + resourcefulness}
1-metaphysical inquiry be[...]

[...] the magical fights.)
this notion of magic as tool (=/= epistemological object) in use achieves (what Don Ihde calls) *instrumental transparency* --> It “withdraws” when in use, but becomes conspicuous again when broken or missing [--> this is precisely the standard account of technology in high-techno-scientific capitalist sunny societies] --> the idea that magicians can “forget” (or “lose”) their magic suggests a guarantor of instrumental transparency of magic (or knowledge).
-the popular vision of magic hinges around the desire for total transparency**
-this instrumental rationality is the heart of the modernizing project (which characterizes capitalism) --> the value-free calculable efficiency of administrative processes (--> a project of domination and denial of dependence) (=?=> Auschwitz)

(how to make The Magician's bounded utilitarian individualism unthinkable?)

(Frankfurt School:) technology ~= instrumental reason ~= reification (madiat, jesmiat) as reason
(Habermas:) systems rationality, economic and bureaucratic rationality (==> patterns of meaning rendered functional) =/= communicative 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 =/= m[...]

[...]lf as other ==> narcissism expires
(Lacan's) ego = another }==> the specular ego (in the mirror stage) =/= narcissistic
(‘=/=’ : erotic attraction or aggressive tension)

Nietzsche: the utterance “I am ugly” created “the beautiful”
[does this mean: “I am beautiful” created “the ugly” (in the other and world)?]


sublimation is passion transformed
or, object displacement, transformation of instincts,
a desuxualization (from primary to secondary narcissism) (--> what is Aela's “thirst for knowledge”?)~~--> unfolding into (differentiated elements of a oneness of) instinctual-spiritual experience. (Aela's) ‘oneness’ [an original unity + one hidden and defended against] stays alive as connection? --> the question of desire for Aela is about this hidden linkage.
[transitional objects, play, modifications of the pleasure principle, genital function,]
,
(noted by Christian Hubert: for Loewald:) *eroticism is genuine sublimation* : a reconciliation in the area of ego development and of internalization. (@Aela)
-desublimation (of reason?)
objective of sexuality conceptual transformation into Eros --> (asking Aela with Marcuse:) what is the non-repressive sublimation of the resexualized body? (=/= neurotic reactivation of narcissistic libido)
why Eros is so powerful? what kind of sublimation is the culture-building power of Eros?

in Derrida, narcissism is the passage to the Other, and not necessarily merely a collapse into oneself.

auto-erotic solipsism

باطل کردن طلسم ضمیر the ego appears [displaced elsewhere in the world as an effect] as the result of primary narcissism?
(batel kardan-e telesm-e zamir) dispulsion of ego
*ego forms in the world* (Lippit)

auto-erotic economy

the ego in the island, finding footprints of the others
(Freudian protocols of existence:) there is no world, there is only islands. --> multiplicity of isolations ~-> individuation

“In narcissism the ego disappears from the world and reappears in the imaginary realm of invisible interiority.” (Lippit)

{the erotic attachment to outside objects}<--pervert =/= narcissist-->{withdraw, calls it “instinct for self preservation"} (a shortcut: my way of undering my own narcissistic tendencies has been through perversity.)

[for Juan:] (artistic) narcissism =/=? fossilization (~->? mimesis)

*mimesis* is not about form
in order to represent the character of the supposed ‘word’ of another
mimesis + techne ~= copy (@Juan)

diegesis =/=? mimesis
(telling) -- (showing)
(recounted) -- (enacted)
}--> poiesis _////(actually a useful and necessary difference, synthesized by the Greeks--Plato and Aristotle)
(...and what about the question of the medium?)

*Juan's[...]

[...]multimedia: fuse disparate media)
frictions between different media
conceptual interplay between media
space of alchemical transformation
(at the level of) conflict of interpretations
radical understanding of interdisciplinarity

diaspora: no longer having a clear answer to “where are you from?”

what might we learn from narcissism (from mimesis)?
mediate and fracture the writing of the self

wound: disconnected event
not adding up to a comprehensive narrative of the ethnic self

*ego-under-construction*
Freud's primary narcissism, we love ourselves before loving others
(for the child) narcissism = intermediate
(secondary) narcissism: the processes by which the distinction between the ego and external object is lost
(Lacan) loss of distinction between the ego and its reflection in the mirror
--> narcissism helps the infant in trying to distinguish himself from the mother/other

narcissism beyond infantile sexuality -->
narcissism: structure (=/= state) <== when the burden of desire on the subject becomes intolerable

(?what are new structures of) artistic narcissism
*an occasion to erotisize your own body*
to erotically emphasize a particular memory
stitching together of the naked ethnic body

hupersexuality
...those who are undersexed

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

%note on Alice's workshop:
how the idea of mimesis came when we were not sure what she meant by “make note.” the signifier of “note” defined itself in a collective mimetic semi-conscious way.
(=/=? my work on how signifiers transmit and transform --> parasitism, rumorology, etc. ... weaker neighborhoods of thought)

Alice's notions:
•explosion <--> dance
•the “generative” notion in her discourse (--> notion of “active,” and “conscious intentionality” [--> a property of human agency and agential exceptionality. (the metric of) her work/workshop distinguishes the self-aware active entity from non-communicative receptive entity, ***intransitive =/= transitive-->{her privileged object}, and that distinction is not useful for me right now])
•the authority of the trope “practice” for Alice
(what would be a nonmimetic understanding of eachother? @Juan)
•the workshop was not her ‘thinking’ or ‘making’ in process or an open question or a not-knowing, rather the workshop was based on her (finished) ‘notions,’ with her ‘indisputables,’ her ‘literal’ objects; (dance, active, body, imagination, practice, generative, creative, etc.)
•production of the “I” in her work; (a nasty side-effect: collateral individuation) (when were the moments in the workshop that an interesting “we” was created and for whom?)
•the problematic difference between ‘literal’ and ‘metaphorical’ at the footing o[...]

[...]ogether of the naked ethnic body

hupersexuality
...those who are undersexed

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

%note on Alice's workshop:
how the idea of mimesis came when we were not sure what she meant by “make note.” the signifier of “note” defined itself in a collective mimetic semi-conscious way.
(=/=? my work on how signifiers transmit and transform --> parasitism, rumorology, etc. ... weaker neighborhoods of thought)

Alice's notions:
•explosion <--> dance
•the “generative” notion in her discourse (--> notion of “active,” and “conscious intentionality” [--> a property of human agency and agential exceptionality. (the metric of) her work/workshop distinguishes the self-aware active entity from non-communicative receptive entity, ***intransitive =/= transitive-->{her privileged object}, and that distinction is not useful for me right now])
•the authority of the trope “practice” for Alice
/> (what would be a nonmimetic understanding of eachother? @Juan)
•the workshop was not her ‘thinking’ or ‘making’ in process or an open question or a not-knowing, rather the workshop was based on her (finished) ‘notions,’ with her ‘indisputables,’ her ‘literal’ objects; (dance, active, body, imagination, practice, generative, creative, etc.)
•production of the “I” in her work; (a nasty side-effect: collateral individuation) (when were the moments in the workshop that an interesting “we” was created and for whom?)
•the problematic difference between ‘literal’ and ‘metaphorical’ at the footing of her thinking (--> my whole apass research is about this)
•(artist's) imagination as a magic wand that can transform things

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

it felt like Alice b[...]

[...] -transmutational* (interacting with other tendencies in a way that invents a whole new direction as a kind of surplus value of interaction)
-or, it can lead to a clash that stops the process

asking people “to be true to what they represent” ==> having them “encapsulated in already arrived-at opinion and judgment” ==> blockage

war of “disqualification” ~ Stengersian non-event
being (represented and) legitimated in proxy war

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

@Zoumana; “decadent gardener” that connot keep distinction between kin and pest, nature and culture
what is a garden full of indirections, snakes?

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

#my trope-findings, (bilingual nonsystematic comparative thinking for storytelling) (work with Avital?):
•پیر Pir / sujet supposé savoir (--✕-->? پیر فلک Pir-e falak in Hafez)
•غر Ghor / complaint (--> shekayat شکایت, and then, khamush خموش in Hafez)
•تعارف Tarof / greeting
•transcend <--> darajat درجات‌ (-> Attar)
•super-ego <--> Div-mardom دیو مردم (-> Nezami)
•NatureZolmat (ظلمت --> ajayeb)
•آبرو Aberu / economy of value
•طی‌الارض tey-ol-arz / body scale, intensity and excess
•نگرانی negarani <--> practices of care




on Aberu, I became interested due to my lack of Aberu in presentationl quality and its abundance in other area's of my psychosomatic becoming.
Aberu traverses, calls itself in, animates, and exists for later visits.
-when you are devalued by the marked of bi-aberu, you are less tied to the strictures of shame, and ‘your behavior’ becomes performance material


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

agency =? boresh برش, jahd جهد (in Farsi), “agential cut enacts a local causal structure” (Barad)

agency of ‘hemat’ همّت
hemate sha hemate shahi همّت شاهی, lavazeme hemat لوازم همّت --> apparatus
sufi's hemat ~= magic

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

@Seba after accelerate manifesto reading: (what is and how can we not pivot on our work) the measure of the meaningfulness of action. (Seba's notion of losing hope is because he put himself unconsciously in a cost-benefit analysis? “what is the effect of my actions?”) [in practice it is difficult to embody speculative thinking. we are still in the space of thinking in terms of the probable.]
to do hope-work is about ‘not talking (too much) about the future’ =/= commitment in terms of probabilities, refusal to treat your subjects as if they were objects of management --> 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 thei[...]

[...]mi)
•NatureZolmat (ظلمت --> ajayeb)
•آبرو Aberu / economy of value
•طی‌الارض tey-ol-arz / body scale, intensity and excess
•نگرانی negarani <--> practices of care




on Aberu, I became interested due to my lack of Aberu in presentationl quality and its abundance in other area's of my psychosomatic becoming.
Aberu traverses, calls itself in, animates, and exists for later visits.
-when you are devalued by the marked of bi-aberu, you are less tied to the strictures of shame, and ‘your behavior’ becomes performance material


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

agency =? boresh برش, jahd جهد (in Farsi), “agential cut enacts a local causal structure” (Barad)

agency of ‘hemat’ همّت
hemate shahi همّت شاهی, lavazeme hemat لوازم همّت --> apparatus
sufi's hemat ~= magic

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

@Seba after accelerate manifesto reading: (what is and how can we not pivot on our work) the measure of the meaningfulness of action. (Seba's notion of losing hope is because he put himself unconsciously in a cost-benefit analysis? “what is the effect of my actions?”) [in practice it is difficult to embody speculative thinking. we are still in the space of thinking in terms of the probable.]
to do hope-work is about ‘not talking (too much) about the future’ =/= commitment in terms of probabilities, refusal to treat your subjects as if they were objects of management --> 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 thic[...]

[...]duction 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, 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, [...]

[...] /> interms of:
•an ongoingness
•a commitment to a recent future thinking

‘homo-’: stuff of the soil, that figures of bright and sunny image of the same

#rigs and syms*
•games
•technological designs
•plots
•mechanisms
•sfs
•jokes
•jests
•

[title]
critical bestiaries
critique-bestiary

belonging = achievement (dastavard دستاورد) + violence (khoshunat خشونت)

...the ways we renounce the world through the use of the word “real” and “really”

(Stengers:) weaving: not secular nor religious, not traditional nor modern, is sensuous


#[nodes and notes]

the emptyland, terrestrial life, ‘per-’ instead of ‘her’ or ‘his’
-the way i started with Haraway was through the way i read her notion of ‘critter,’ juju (جوجو) in Farsi, jako junevar (جک جونور), little life animators often easy and ok to kill, a term in farsi for kids that worlds for them in particular ways
bio (“qualified life”) =/= zoe, juju, “bare life” (Agamben): that which is killable --?!--> that which must be transformed
[stories of originary exclusion and composition of body]

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

the form and function are having too tight fit. no no no!
(cities) being inclusive but not integrative

(setar different technique of vibrato and measure for instance in Saba and Ghavami, which part of the finger or body, one works in certain way for one and not for the other musician --> the explicit unpacking of the activity : what was formerly tacit [zemni, khamush, =/= habit] becomes dredged into explicit [=/= expressive] consciousness, precisely because there is a resistance, that there is something not right for the musician ==> reconsidering, reexploring --> the technique then again disappears into the tacit realm --> technique becomes variegated)
**tacit --> explicit (~= that which becomes available for reconsideration)**

when one masters a skill it is about being equipped to address a whole new set of problems
{expertise/mastery: problem solving}=/={craft: problem finding}--> when other things become problematic---the condition (in the craft work) that when you learn how to do one thing you see other things that need to be explored [-> question for Eunkyung's drawing skills and practice]

*craft is more important than art(?) (Sennett)
...the notion that the work art breaks the conventions of practice, that it is something that makes an epistemic break. --> emphasis on innovation (something new)--that is a reflection of sort of 19th century bourgeois ideas of about making art.
•privileging the creative act over the craftsman act
•in innovation the “innovator” is separated from the “mass” =/= craftsmanship is colle[...]

[...]dditive --> (in craftsmanship) the performance is myself
•creativity being a form of individuation or separation (@the exploratory shift in Eunkyung's work that Pierre highlighted)

*** craft-work is about additive skill; it is about building on what you know rather than throwing it out *** (=/= capitalist logic of progress, creativity in the sense that ‘something’ where before was ‘nothing’) ---> a different way of building quality (into practices and objects)

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

Bakhtin's dialogic, to become a skilled listener : listening = response (=/= simply answering) --> (when we speak) we give other people talismans that are not (perfectly) clear to us----we penetrate and unpack what someone doesn't have the words clearly and response to what they intend --✕--> “common understanding,” “make something work,”

cooperation is about getting deeper into something

conditions that more skills are required (and not the opposite)

in modernity everything seams to need to be verbalized. what happens to the unverbalized, the unprogrammatic? --> can you have an implicit right which can't be verbalized? maybe no, maybe this is the limit of the social...

purposiveness: when you hear somebody go “i am going to put clearly what we all want...” you have submitted to that person (almost erotic) --> “they really know who they are” ==> you become a spectator to their definiteness

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

who the fuck = theology
how the fuck = empiricism
what the fuck = ontology
how the what the fuck = epistemology
why what the fuck = metaphysics
why the fuck = ethics
why give a fuck = teleology
the fuck itself = phenomenology
fucked up = pathology
fuck all = nihilism

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

Aela to Sven: “everytime you disappoint me you gain in depth” (5 April 2017)

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

(06.04.2017) %notes after my apass endweek presentation:
•my implicit focus and energy on the body and its organs of gesture that animates us
•loving telling you what i read
•giving you what i don't fully understand =/= gift from above
•(in lecture) to allow language greet the unverbalized

(it is about) organizing my memory
(it is about) that which comes to (my) mind, and “things” coming to minds
(it is about) the things I am told
__[these are perhaps other names of cognition, affect, memory, semiotics, history, inheritance, figuration, interface, thing-relations, huntology,]
__in our shared space where we let eachother in the effect of our languages, I want to practice what comes to mind when I stand in front of you and your work, ask myself ‘what else’ comes to mind? in a sense, my project on ajayeb is that kind of training

also in apass i want “t[...]

[...] something work,”

cooperation is about getting deeper into something

conditions that more skills are required (and not the opposite)

in modernity everything seams to need to be verbalized. what happens to the unverbalized, the unprogrammatic? --> can you have an implicit right which can't be verbalized? maybe no, maybe this is the limit of the social...

purposiveness: when you hear somebody go “i am going to put clearly what we all want...” you have submitted to that person (almost erotic) --> “they really know who they are” ==> you become a spectator to their definiteness

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

who the fuck = theology
how the fuck = empiricism
what the fuck = ontology
how the what the fuck = epistemology
why what the fuck = metaphysics
why the fuck = ethics
why give a fuck = teleology
the fuck itself = phenomenology
fucked up = pathology
/> fuck all = nihilism

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

Aela to Sven: “everytime you disappoint me you gain in depth” (5 April 2017)

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

(06.04.2017) %notes after my apass endweek presentation:
•my implicit focus and energy on the body and its organs of gesture that animates us
•loving telling you what i read
•giving you what i don't fully understand =/= gift from above
•(in lecture) to allow language greet the unverbalized

(it is about) organizing my memory
(it is about) that which comes to (my) mind, and “things” coming to minds
(it is about) the things I am told
__[these are perhaps other names of cognition, affect, memory, semiotics, history, inheritance, figuration, interface, thing-relations, huntology,]
__in our shared space where we let eachother in the effect of our languages, I want to practice what comes to mind when I stand in front of you and your wyour work, ask myself ‘what else’ comes to mind? in a sense, my project on ajayeb is that kind of training

also in apass i want “to catch you in your acts”
it is my privilege to recognize you (as...)

asking:
1- what do I know?
2- what am I told?
3- (how getting good at to) explain what somebody else said

1- the first question has no clear answer, what i know is not placed somewhere in me, it is always an articulated matter of ‘with’ or in interaction with, it is a sym, changes before i can grasp, knowing is done always with a figure or a thing, it includes all sorts of optics and technologies, (affect theory, media theory, epistemology,)
2- the response to the second question is also not clear, i am not sure what i am told, i don't remember or hear, what i am told is infolded in what i know, (when i started with my islam lecture series i was testing the waters of these two questions and the possibility of s[...]

[...] />

Aela to Sven: “everytime you disappoint me you gain in depth” (5 April 2017)

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

(06.04.2017) %notes after my apass endweek presentation:
•my implicit focus and energy on the body and its organs of gesture that animates us
•loving telling you what i read
•giving you what i don't fully understand =/= gift from above
•(in lecture) to allow language greet the unverbalized

(it is about) organizing my memory
(it is about) that which comes to (my) mind, and “things” coming to minds
(it is about) the things I am told
__[these are perhaps other names of cognition, affect, memory, semiotics, history, inheritance, figuration, interface, thing-relations, huntology,]
__in our shared space where we let eachother in the effect of our languages, I want to practice what comes to mind when I stand in front of you and your work, ask myself ‘what else’ comes to mind? in a sense, my project on ajayeb is that kind of training

also in apass i want “to catch you in your acts”
it is my privilege to recognize you (as...)

asking:
1- what do I know?
2- what am I told?
3- (how getting good at to) explain what somebody else said

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


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

[...] { 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 relationships of difference and displacement --> they align subjects --> effect of collective --> (in Ahemd's economical model of emotions) they work to bind subjects together : the nonresidence of emotions is what makes them “binding” --> her notion of economy =/= {inside/outside model --> positive residence of emotions: “I have an emotion” or “something makes me feel a certain way"}--> “fear does not come from within the subject, nor does it reside in its object”
-([@Ho[...]

[...]ns of difference. --when she was talking about idiosyncrasies of her countries)
*[with Eszter's “the nation has suffered enough!"] --Lezra--> politics in a sense is precisely concerned with what is or is not *enough*
“it's enough!” --> #demand something or before which I make a claim. it is practical (even technical) or is dealing with being practical
the haunting modifier of “enough”
the *amount* of something (-of suffering in this case) <-- “That's enough coffee”
-we are dealing with materiality and measure
{has that anything to do with the enough of Ekaterina's “good-enough mothers”?}--> true enough-ness for an effect to be achieved

model of emotion ==> materialization of bodies

(emotions construct) bodies as ‘enveloped’

in standard psychological model, fear ‘has’ an object
*(Ahmed's) fear: “passing by” (=/= arriving) of the object, impossibility of containment of object

anxiety is an approach to objects =/= fear is an object's approach

in Freud: self is made by the fear of father


Ahmed's model of ‘impact of fear’
fear does not leat to containment but an expansion --> his/her embrace of the world
•being sealed into a body that takes up less space!
**fear works to restrict some bodies through the movement or expansion of others** (interesting for Mona's work)
[structural possibility:] proximity of fear-object --is--> possibility of future injury

impressions of coherence, “sticking together”
(that is perhaps why dictionaries and bestiaries are interesting: because their elements do not “stick together” in the sense of an affective economy [of inquiry and narrative] #lists)


ontology of insecurity --> (naratives of) crisis ==> “return” (to values) --> fetish
-production of crisis is crucial for insecurity
-declaration/announcement of *crisis* reads the fact/figure/event and transforms is into a fetish object that then acquires a life of its own
-it must be presumed that things are not secure, in and of themselves, in order to justify the imperative to make things secure (again)-->(the word “again” in the rhetoric of safty becomes itself the fetish object with its own life)
[security is bound up with “the not (me/us)"]

being invaded by inappropriate others [in histories of Iranian modes of intersubjectivity: ‘being invaded by the appropriate other’ ~=? being of Tasavof, #slave manifesto, let me know if you want me to kill your master.]

(in the 1999 film Matrix we see the image of the ‘strengthening the will’ of the human community in the face of the nunhuman machine others: Matrix ==> “us”)
(Matrix's) narative logic of an internal strength being posited as responsible for recovery, survival, and moving forward of the human race. (@Maarten, displacements of weakness and st[...]

[...]aciously includes in itself?
•there is nothing natural about here and us being here. (spatiotemporally clock tells us not only what time it is, but also where and who we are: how “time-teller” is spatially architecturally phallically positioned: in the center, on the top, wrapped around the body, and so on.)


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

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


-i want to bring a circus inside {--> within}
-my business still with aesthetics (my own image) (narcissistic stuff...)
-to show up as a guy, castrated and very advanced (--> you can only come up castrated unl[...]

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



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



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

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



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


ephemeral things become food

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

Esta, risking one's life


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

Xiri's sense of entitlement to accusation


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


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

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


instead of (the “[...]

[...]modified by which poetics sutures which wounds? زخم‌بندی
or to be more psychoanalytically correct: where is the wound?

my own affirmative exposure of the unhappy effects of her poetry

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

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

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

sokhan-e ranj سخن رنج

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

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

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

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

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

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

within the rhetoric of integration a 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 --> De[...]

[...]ulare niche of space and time, whether it is in a bar in a conversation with Eszter or when accessed in my hypertext

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

committed to the imperative of the Rig, things not to do in the pop-up book:
•use as ironic: incongruity in expectations of what is ment and what it will mean in advance
•use to symbolize: as a way of not dealing with sujet supposé savoir
•use of anamorphic gaze: a non-diffractive optical system
--> to be careful (or keep in check) with sequential palindromic notion of pop-up book, to deal with the parsable seesaw motif inherit in the pop-up book Blickmaschin
•use hylomorphic: assumes form is inscribed onto passive matter (by an agent with a design in mind)
•

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

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

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

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

(curiosi[...]

[...]-up book, to deal with the parsable seesaw motif inherit in the pop-up book Blickmaschin
•use hylomorphic: assumes form is inscribed onto passive matter (by an agent with a design in mind)
•

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

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

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

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

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


unalianated critical work = art



Seifee wants to say something
something wants to say Seifee?


i like us to be [...]

[...]ains 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,” of a partner in cat's cradle.)--[i like to propose a repatterning: in research environments we play a lot “catch me if you can”: to catching you in action, to capture your ‘knowing’ in action, to capture eros or logos in act, --> #beauty is interested in action]
•it is about “understanding living with contradiction” : making choices without necessarily turning the other choices into something an enemy does --> important for collective research life; “[we] need each other's extremes”; *our activisms are not the same*: to open up to our extremes, to open up to what you are not sure of --> to find ways to be in productive alliance (=/= the notion that everybody has to do everything [tell Xiri])
•(educating oneself) actually know how to explain what somebody else said and not just what you said*** --> figuring out how to disagree with each other as well as agree, that no statement is going to be taken as evidence of being the enemy (--> we face this in apass)
•learning how to recognize authority (as a mentor and participant) (the problem of the inability to deal with authority, common in early feminist movement, traces in Xiri) --> being alert to how hierarchy 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
•fatig[...]

[...]cripting 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 certain time only to do a certain kind of work)] --(because)--> you are always jumping into the middle of something that is ongoing before you, into the middle of many conversations. you are learning how to get it in several ways at once. the hypertext that i have been building also characterizes these kinds of layering upon layering of textual work. teaching myself how to write and how to play with ideas.
working with (Haraway's) kind of good-enough approach to a body of scholarship --> inhabiting many things that i have only got half-digested (=/= through digestion, particular bodies of reading that people need to have mastered in order to argue)

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

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

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


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


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

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


(in apass i am catching my self giving “advice” to others-[...]

[...] as a scholar. i need someone to work with me line-by-line. i need to go people who have serious educations in my subject, and ask them questions, and read.
and i am missing that kind of connectivity that your writing being read performs. do i need an atmosphere in which my kind of writerly activities are honored and foregrounded, and expected?

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


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


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

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


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

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


***almost 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 preci[...]

[...]atharsis of mean-spirited
--✕--> festering (cherkin چرکین) alienation
--*--> vitality of the game itself

the image on the screen <--(game)--> the walking simulacrum of social life

the loop of the citizen as consumer

***Mimesis in a State of Shock*** @Hoda
-the link between shock and a cushioned recluse is direct, seductive, and mimetic

“When affect makes its jump between the visible thing, the idea, and the social sensibility, it can leave in its wake uncanny connections between otherwise disparate states of arrest, like shock and recluse گوشه نشينی” (Stewart)


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

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

spectrality and concrete substance

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

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

-what to wear as the magic of affect itself

copy ~= contact

movies, ads, malls, car phones, daydreams,

modernity's mimetic machine


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


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

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

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


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

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


the labor of looking

“Movies ma[...]

[...]take me for a healer when, in fact, I am only attracting others, for my own profit, in the trap of a simulated assistance.”


(your) interview and interruption


I would take a bullet for you
/////
you go for the knife and i prepar myself to die

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

duty ~= Dienst nach Vorschrift
(the problem is that it is not enough to have a duty, rather, you have to define what ‘duty’ is. that is the only duty)

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

MADMAN#1: i like to think, “i am rich they can't hurt me.”
MADMAN#2: that's a mistake.
MADMAN#1: i am being punished for making my job look easy... Although, that kid, guy, he has a spark. He is a pure account man.
MADMAN#2: and what is that job all about?
MADMAN#1: i don't know. it's about listening to people and never saying what's really on your mind.
MADMAN#2: no. it's about letting things go so you can get what you want.


“I could tell the minute she saw who I realy was, she never wanted to look at me again, which is why I never told her.”
--> i am not telling you anything, because the minute you see who i realy am, you never want to look at me again.

“...but nobody knows what is wrong with themselves, and everyone else can see it right away.”

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

is this an honour?


(a) better thug


so, one summer evening, I was wrong, ...

once when i was wrong...


thank you for that kind (of an) introduction



i like to make decorations for other people's work

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

Instructions of Shuruppak
“In those days, in those far remote times, in those nights, in those faraway nights, in those years, in those far remote years.”



daftare bimani دفتر بیمعنی<br /> hezar nokte هزار نکته



i can only stutter and telegraph you mutilated message
also i offer the hermeneutic of frustration so that we don't feel we have mastered or understood necessarily



janebe hagh ra gereftan جانب حق را گرفتن ==> hagh-be-janebi حق‌به‌جانبی


safineye nadan سفینه نادن
safineye nadani سفینه نادانی

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

Bettina's self almost entirely to be construed within the order of the will


(Hillman:) Eros is always curiously weaker than the problem it must deal with. --> logos is biger than its problem



1. revolution: changing/disturbing the value system
2. reform: changing/disturbing the social norm (hanjar هنجار) --> eslahat اصلاحات
3. invention/noavari: changing/disturbing the system/institution/sa[...]

[...] some A are C [which is often wrong], nesbat dadan chizi az yek nafar be deigari نسبت دادن چیزی به دیگری) --> premise's pattern of distribution is the key (~ case)
•abductive conclusions: finding the simplest or most likely explanation for the observations [--> many forms of conclusions are due to the lack of time in the process of reasoning. when we give feedback (‘fast diagnosis’ [--> is that why Lacan is useful?]) in apass we have initially 2 minutes to make conclusions from observations, which later is deepened in the duration of block --> کلی گویی = making sense of what is going here in order to guess what is going on elsewhere]
•

(?am i learning about and moving my art into) formal sciences: language tools concerned with characterizing abstract structures described by sign systems ==> providing information/knowledge about the structures used to describe the world
-a formal logical system with its content targeted at the real things
-all their statements are analytic
=/= synthetic statements (propositions are true by how their meaning relates to the world)

‘natural sciences’ using tools from formal sciences and validated by ‘peer review' = refereeing = *the process of subjecting somebody else's work*

issues with artistic feedback that i have directly encountered:
•our abilities for observation are questionable (--> apprehend what you notice)
•our abilities for induction are questionable (--> movement from observation)
•our abilities for inference are questionable (--> connecting with something other and elsewhere)
•our abilities for questioning are questionable (--> risking what you know + constructing interest)
}--> feedbacks are performative, perspectival, descriptive, discoursive, affective, fabulous, rhetorical, allegorical, experimental, speculative, agonistic, antagonist, sadistic, funny, rude, brute, masochistic, direct, sympathetic,


[two (organic?) ways of learning:]
**learing through networked syntax: meaning emerges as network, something new must be interconnected to others, cognition works in the network: a subject matter must be linked to dozen other things in order to be congnized ==> something disconnected from their network is something meaningless موضوع‌ها به صورت ارتباطات ذهنی مرتبط با هم [--?--> mental intelligence: cannot learn something random]
=/=
**learing through syllable, unconnected unit of something new (an arbitrary syllables هجا‌های بی‌معنی) can be cognized without previous links [--?--> linguistic intelligence هوش زبانی, can learn new language easy]

}--> [although i am against and strongly hate arbitrary syllables] perhaps we need both, because sometimes internalizing an alien syllable (via linguistic intelligence) might nest and flower their own random m[...]

[...]and how?
•facing the challenge of bringing specificity and imaginative traction to our objects of attention, how do we build nontranscendental abstractions?
•and, why self-promoting is such a turn-off? (projecting a self-image of being cool and correct)
how do you (not, and why not) tell the tale of your adventures and achievements? or, how can we respond to the ‘demand for the mobilization of desire’ in the economy of attention that Manning brought with herself? and how that economy is different from that of apass?



in the spectrum of ‘auto-ism’ (not the pathological term for developmental disorder) ['auto-’: from Greek αὐτo-, “self"] ‘being socially inept, being with oneself,’ we can also locate ‘allism’ ['allo’: from Greek ἄλλος, állos, “other”, “else"] --> allistic: ‘to be skilled at being with the different other (assumed human)’

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

eurocentric =/= european
•i actually love “european.” i learn from it all the time. how does the world looks like from here.
•but eurocentrism is horrible. they assume an origin and displace it to any place/time --> it happens when a philosopher tries to be anti-western but assuming the same origins of thinking for everybody else and not taking the time to become interested in the (non)thinking forms of noneuropeans


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

#workshop on 3D animation all on Nude Descending a Staircase
inspired by minute 16 of “Pink Slime Caesar Shift” (2018)


“there is much more to you that meet the eye.” the motto of transformation in secular capitalism, sang by Jane Fonda and Transformer Optimus Prime

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

researcher's questions
in your obscure (elaborate and awkward) meditations, (?can we ask:) what is sacrificed, what is recooked, canibalized, chewed over, and eventually buried? in which economy of pleasure and pain is this mobilized? which harmful (or hedonistic) sensualism is deployed? which hallucinating enfant is writing? which raw material is being transformed into the gold of humanity?
-the question of will: which world is murdered and repopulated by the act of (your) will alone?

a research method of starting a conversation, for apass
*take me to you reader* --> bring me to the subject who you think is reading you, receiving your work in some sort,

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

few things (that i hate hysterically) that i think i urgently need (and any artist) to have a very good grasp of (within modern capital economy):
•marketing (--> integrated storytelling)
•fashion (--> manipulative regimes of time and place)
•journalism (explanatory technologies of news and opinion, vox, kurzgesagt, corporate media, immersive journalism, forensic aesthetics)
•politics (=/= polit[...]

[...] />


Hillman

like the conver of his book (myth of analysis), an internal drama externalized materialized in the media, sci-fi fabulations of violence and war (such as Game of Thrones) are perhaps projects that also craft and give form to what is inside: dragon, torture, journey, landscape, getting caught, etc.

what are art's investments in psychology today?

all (including artists) must envision suffering and illness as something “wrong” =/= the fantasies, feelings, and behavior arising from the imaginal part of ourselves are *archetypal* in their sickness and thus *natural* --> (those odd irrationalities) ***are required for life***
--> then what is there to analyze? (<-- relevant question for apass)

“unconscious” and “psychodynamics” are *fantasies that could be replaced with better ones*

(Hillman's archetypal psychology) **asks the psyche to move with its sickness into life**

(to discover) a sense of soul in the sufferings of Psychopathology : ***something lives in me that is not of my own doing*** (--> demon, psychic force,,,) to take soul with one wherever one goes and to react to life in terms of this soul

symbolic meanings, insights, eros, body, craziness, the *lower aspects of the gods* --> the freedom to imagine and to feel psychic reality

“inner reality” --> called up by ego ==> individuality = to be peculiar, to be peculiarly what one is, with one's own odd patterns of archetypal responses

♥***we are never only persons; we are always also Mothers and Giants and Victims and Heroes and Sleeping Beauties*** (<-- what i am learning from psychoanalysis)

the mythic appears within the language, observation, and theories even of science

recent attempts to move out of analysis: (@Aela)
•group therapy
•sensitivity training (--> apass)
•love-ins
•blowi blowing-the-mind with drugs
•

[*]analysis (is too potent) is too much a part of this century's self conception --requirement--> of ego psychology
([apollonic aim of 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 -->[...]

[...]s 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 garbage is scholarship” -Burton Dreben

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

act of cultural and economic exchange
act of reciprocal exchange, of creative mutuality (to benefit in a myriad of ways related to our professional status, our institutional ‘worth,’ the social and cultural capital perceived to be attached to the ‘networks’ in which we operate)
[to interrogate] concepts of artistic labor and value
time, labor, [...]

[...]/>

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 garbage is scholarship” -Burton Dreben

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

act of cultural and economic exchange
act of reciprocal exchange, of creative mutuality (to benefit in a myriad of ways related to our professional status, our institutional ‘worth,’ the social and cultural capital perceived to be attached to the ‘networks’ in which we operate)
[to interrogate] concepts of artistic labor and value
time, labor, and the creative investment that was embodied within [the object that you make]
[you might start with] requiring a catalogue containing critical essays to institutionally ‘legitimate’ your exhibition --yet--> sophisticated, playful and interesting ways to comment on and engage
*numerous ways in which cultural forms (in this case contemporary art) are simultaneously entangled in a number of spheres of meaning, value and mediation* ==> activate ongoing dialogue
[*]capitalist marketplace:
•people in both established and emerging ‘global’ economies forced to fulfill their everyday needs
•‘the market’ is naturalised and reified within social relations in ways we don't necessarily always recognise or acknowledge --> suffused and sublimated within creative production, our lexicon and gestures
(19th century anthropology's) the idea of [*]alterity: understanding how ‘other,’ ‘primitive’ societies operated ‘outside’ of modernity --assumption--> ‘small scale[...]

[...]g ways to comment on and engage
*numerous ways in which cultural forms (in this case contemporary art) are simultaneously entangled in a number of spheres of meaning, value and mediation* ==> activate ongoing dialogue
[*]capitalist marketplace:
•people in both established and emerging ‘global’ economies forced to fulfill their everyday needs
•‘the market’ is naturalised and reified within social relations in ways we don't necessarily always recognise or acknowledge --> suffused and sublimated within creative production, our lexicon and gestures
(19th century anthropology's) the idea of [*]alterity: understanding how ‘other,’ ‘primitive’ societies operated ‘outside’ of modernity --assumption--> ‘small scale’ societies exchange (barter, gift exchange, and so on) would always, with evolution, give way to more ‘sophisticated’ means of trade
•Malinowski (study of the Kula ring) --> form of producing and reifying power relations
•Mauss (gift economies) --> gifts as stand alone systems + other kinds of economic structures
•Strathern (Melanesian gift exchange) --> how personhood is a malleable concept that is both implicated in, and created by, conceptions of individuality (tripartite views of people as constituted of a mind, body and spirit), or dividuality (persons as constituted from multiple essences and social relations, including the giving and receiving of gifts) + how gender is both studied and understood in the acts leading up to the performance of gift exchange
•Appadurai () --> ‘things’ have ‘social lives'that can be studied in relation to the different spheres of use
•
}--> (our understanding of) the human capacity for unlimited modes of developing creative forms of exchange and economic systems

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

https://mapmagazine.co.uk/notes-contemporary-art-and-anthropology

operations of statecraft:
•queuing in social security offices<br /> •filling in tax forms
•circulation and arrival of letters demanding council tax payments
•census taking
-
}--> social organization that seems so habitual (mundane and ordinary) ==> unreflexively experienced

state's ordinariness --> irresistible enchantment --> overwhelming power ~~> supernatural trance-like experiences state seem to engender in populations =/= state as a rational entity

*capitalist market is a faith-based system* <== concealed practices of divination and the ‘conjuring’ of value and capital from what in many cases are immaterial voids

unmasking of its practices (~= faith + skepticism) ==> state power

mutant forms of technological self-subjugation

(Weber's) magic: coercive proceduralism --> managerial practices that characterise biopolitics

[*]census taking: pre-determined categories (like race, nationality, gender and political persuasion) are[...]

[...]gories (like race, nationality, gender and political persuasion) are set out as objectively existing taxonomies (+ ‘data’ manually gathered from individuals to ‘fit’ those categories) and thus summon [a term with magical implications purposefully employed here] a population into being
-McClanahan

census ==> statistics: factish object: hybrid and unstable (possibly inaccurate) yet fetishised and faith-based technologies that possess the ability to transform (the individual parts of social and cultural groups into a sacred somatic whole [~ people/nation])--> biopolitics
-can art succeed in transforming such a ‘whole’ into free and autonomous individual beings?

references to panopticon society
(?which camera angles suggest) naturalization of surveillance culture



[title]
*observational aesthetic* <== convergences of contemporary art and anthropology

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

[ajayeb -->] concept or theory --> (a training in) absorption + attention + framing =/= truth effect

[title]
Whatever Professor

[why apass asked me to do their website's] indexing: (a shrewd and thoughtful creativity in) the first interpretation of a content's body =/= presuming a standard taxonomic form
==>
•surprises
•styles of critical thought generates power in twists of voice and craft
•
allows one please to demonstrate the wonder
“We ask our readers to perform the jamb when language overruns the mental breathing that reading entails.” (Lepselter)
•or, nothing disappears --> You breathe the air you're given. (“I felt ripples from a rape in the seventeenth century, behind a barn somewhere in Romania, where generations later my bitter grandmother disparaged her children without knowing why.”)
•or, words sediment next to something laid low
•or, (index as in) to point sideways --> shifter's only meaning is the object it happens to point to
•drawing figures, hooks, asterisks
•or, placing what's structural, technical, transferential, pulped, leaking, intense
{things: an integrated thin layer to epitomize and abstract in new ways how people are hooked up with their technologies; parsing and criss-crossing some of the built-in categories and new needs of the people who are using it;}


things that do the reading, editing, assembling

*every edit ==> (set off a cascade of:)
•word falls
•Rubik's Cubes
•tropes
•infrastructures
•genres
•rhymes
•off-rhymes
•tonal flips
•half-steps

[compositional listening]
one reads aloud + the others *listening compositionally*

#writing exercise:
following out the impact of things (words, thoughts, people, objects, ideas, worlds) in hundred-word units

[...]

[...]w’ [--?--> *metacognition: thinking about one's own thinking = reflection (thinking about
what we know) + self-regulation (managing how we go about learning)]
-metacognitives kills: to get good at recognizing flaws or gaps in one's own thinking + articulate thought processes + revise efforts
*classroom = mirror* (process of stepping back to see what you are doing)

(useful for artists) sciences of understanding:
•anthropology
•psychology



my whole work is about two things now:
•to think cumulatively (=/= epistemic breaks) --> more you know more your are interested in
•to think by layering (=/= singleness of partisan meaning) --> what you do is based on previous work



my research in storytelling:(from premodern) *describe the world* [bestiaries] --to--> (modern necessity to) *calculate the world* [recognizing a calculated world --how--> *secularization of interest* (in monsters, religious iconography, etc.)



adventure time tv series
educational model for children how to become post industrial liberal subjects --> adventure of imperialist mentality
the choreography of flexibility and solidity
Finn is the body from nowhere by example, he goes to dimensions of fire, ice, dream, etc. and his ontology of knowledge and identity remains intact (he grows up like a good old cowboy) =/= you look at the land from the ice and you don't see the same reality if you look at it from the fire realm. ice/gas/water, you are always looking at it from somewhere. Harraway named it “situated knowledges”. and it seems these locations are not free floating and not available for everyone. some are more attached or stucked to particular positions, some less, they are “marked” as Harraway put it.


anti-knowledge disposition of sex-education tv seriese
verybody is self-educating in the story
all positivity is created by ‘bravery,’ not their ‘knowledge’
nobody knows anything or can know anythingbravery has replaced faith ()
•Otis's knowledge: psychology is debunked
•Maeve's knowledge: existentialism is irrelevant


if in art we have affinities with unknowing and we are comfortable with misunderstanding and partial comprehensions --then--> let's use that to direct our readerly activities to texts that are difficult and different to us --> this is why I don't accept it when artists in research environment withdraw from reading certain positions by saying “this text is too academic.”



what is the state of art after Goya?



sites where political meaning is produced (the impulse to resist or correct inequality, injustice, lack, damage, tension, etc.) =/= attachment site (languages charged with power, inequality)
(i am interested in women) not because of gender [...]

[...]◦to think by layering (=/= singleness of partisan meaning) --> what you do is based on previous work



my research in storytelling:(from premodern) *describe the world* [bestiaries] --to--> (modern necessity to) *calculate the world* [recognizing a calculated world --how--> *secularization of interest* (in monsters, religious iconography, etc.)



adventure time tv series
educational model for children how to become post industrial liberal subjects --> adventure of imperialist mentality
the choreography of flexibility and solidity
Finn is the body from nowhere by example, he goes to dimensions of fire, ice, dream, etc. and his ontology of knowledge and identity remains intact (he grows up like a good old cowboy) =/= you look at the land from the ice and you don't see the same reality if you look at it from the fire realm. ice/gas/water, you are always looking at it from somewhere. Harraway named it “situated knowledges”. and it seems these locations are not free floating and not available for everyone. some are more attached or stucked to particular positions, some less, they are “marked” as Harraway put it.


anti-knowledge disposition of sex-education tv seriese
verybody is self-educating in the story
all positivity is created by ‘bravery,’ not their ‘knowledge’
nobody knows anything or can know anythingbravery has replaced faith ()
•Otis's knowledge: psychology is debunked
•Maeve's knowledge: existentialism is irrelevant


if in art we have affinities with unknowing and we are comfortable with misunderstanding and partial comprehensions --then--> let's use that to direct our readerly activities to texts that are difficult and different to us --> this is why I don't accept it when artists in research environment withdraw from reading certain positions by saying “this text is too academic.”



what is the state of art after Goya?



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


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


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

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

[...]

[...]y of everything (--> for example string theory, stc.)
=/= war game ==>{models of knowledge building, tropes for one's own practice}
=/= trials of strength passing as critical theory (~ heroic, agonistic encounters)

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

Delamont & Williams --> (Haraway's) thread metaphor ~= *metamethod*

(from) [analytical] tangled yarn ball --to--> [activist] can't cradle

Galison's intercalation [molecular interweaving] --> exposing an overt technology (the radar wants to be seen as both winner of war + advancing pure physics)
~/=
Haraway's weaving [textile dissection] --> exposing a covert technology (patriarchy, eugenics, colonialism, racism embedded behind the public face of conservation, education, biopolitical establishment)

biology = politics (by other means)

cyborg
•has no original eden it was banished from
•has no dust it can return to
==Haraway==> situated partial knowledges


gendering the laboratory ==>
•modest witness
•new forms of gender (male virility,)


touching the elephant and knowing
touching different part of the world
touching a human body and guessing at the riddle

by touching the different parts => some are running, rotting, flickering, etc.

for doing anatomy you need a corpse (that means you already rule out things such as eating)

archeological anthropology
human-animal stories
hunting each other / together
domestication

Tsing

the greedy beast within us

collaborative garden (feed together)

descriptive practices of poetics and natural history


mission of all atlases to characterize (not simply inventory) phenomena
(to characterize, not invent; mixed in ajayebnameh عجایب‌المخلوقات / عجایب نامه?!)

atlases habituate the eye, they are perforce visual
(what ajayebnameh habituates? not the eye?)

to explicate rival cosmologies

one problem of atlases is that they have to decide what nature is
they all have to solve the problem of choice


atlases of characteristic images presented individual cases as exemplary and illustrative of broader classes and casual processes (but not ajayebnameh عجایب نامه, aj bring precise individual instances in its unique stories)


atlas(es) of(/for) the eye

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

[the identity of objects:]

Manuel Delanda: Any materialist philosophy must take as its point of departure the existence of a material world that is independent of our minds. But then it confronts the problem of the origin of the enduring identity[...]

[...] 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 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 (in the Malakut ملکوت)? (being born in it, etc.)

[what was your fetish again? what was your Qibla قبله? what would be...]

platonic ideals, periodization of sacred history

ملا صدرا Mullah Sadra revolutionized the metaphysics of being, in reversing the order of priority of essence (mahiat ماهیت). he gives priority to existence (vojud وجود) : that means, it is the act and mode of existing that determine the nature of essence. the act [...]

[...]ior 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 (in the Malakut ملکوت)? (being born in it, etc.)

[what was your fetish again? what was your Qibla قبله? what would be...]

platonic ideals, periodization of sacred history

ملا صدرا Mullah Sadra revolutionized the metaphysics of being, in reversing the order of priority of essence (mahiat ماهیت). he gives priority to existence (vojud وجود) : that means, it is the act and mode of existing that determine the nature of essence. the act of existing is in effect capable of multitude of degrees of intensification or of degradation.

(عجایبِ ajayeb-e) man: human-faced demon (ajene ensan-nama اجنه انسان‌نما) / ... / ... / sublime state of perfect Man
-and body passing through a multitude of states : Hayula هیولا? / ... / jesm (جسم corruptible worldly body) / ... / divine body (jesm-e elahi جسم الهی)

Mullah Sadra is the philosopher of metamorphoses and palingenesis (estehaleh-ha استحاله‌ها & rastakhiz-ha رستاخیز‌ها)
*phenomenology of the act of existing*


there was a time (12th century--my favorite) when Avicenna ابن سینا was translated into Latin (in Toledo,) a moment when our cultures in east and west corresponded to the same type, a moment when the concept of science was inseparable from its spiritual context. ----> think of the alchemists for whom the operation undertaken in the laboratory only attained its end if it was accompanied by an interior transmutation of the man--that is to say only if it effected the interior birth (of spiritual man)

Alchemist's chemistry
Nicolas Oresme's geometry
[out of history]
Descartes’ geometry is also out of history, discontinuous

(for Corbin) Modern / Western venture = application of the intelligence to the scientific investigation of a nature that has been desacralised, which must be violated in order to find out its laws (and to subject its forces to the human will)


the dichotomies or 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 mi[...]

[...] 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 of Setar ستار, and thinking about to jack into the vague differences between another two magical canvases / magnetic disks: Plane of Destiny (lohe mahfuz لوح محفوظ) and Plane of Memory (lohe hafez لوح حافظ), while listening to the virtual narratives of Ghahveh-Khane theater. Which creatures have you encountered, in your travels, that bypass human installations (of memory)?

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

a Zoroastrian data: pre-existential ~ azali ازلی, sabegh-ol-vojud سابق الوجود

atefiate mahsus [عاطفیت محسوس] (queer? a queerness not familiar with mysticism?)
queer is about ‘marahele johare atefi’ (مراحل جوهر عاطفی), mohabat محبت (kindness or love,) without leading to ‘faghre erfani’ (فقر عرفانی)

[i have problem with] (escaping) the ‘pit of nature’ (chahe tabiat چاه طبیعت) in Sohrevardi's thought
-(he inverses the earth from positive to negative geology, sphere becomes pit)
-the project of post-Babylonian autopoietic-self, a self that is defined by the ‘meta-fall’ into the “pit of nature.”

‘andam-shenasi peikare latif’ (اندام‌شناسی‌ پیکر لطیف)

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

[Avital]

what are the ways in which ajayebnameh relates to itself as its own future, its own labor and announced commitments?
(our reading of ajayeb is not a time quiz involving applicability and whether or not one “buys it.”)


i am “drifting” without anxiety into a new [...]

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

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


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

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

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

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

testing ~=/?==><--> the real
(elliptical circuit established between test & real)


Freud was working on to tests which are lost now: Aktualitätsprüfung to distinguish between reality and immediacy

Lacan has linked testing to the subject's creation of a first “outside"----a space that is no longer the same as “reality”

the way the state takes possession of the body presumptively on drugs.
-in this way, drugs are seen as eccentric: what is outside, or moves outside the center, can center it, they are animated by an outside already inside
-how drugs are isolating or how they establish community (of those who are somehow together or with nonpresence.) anything that refigures individuality or collectivity that brings you together with the other and absolutly keeps you apart from the other
drug: Dionysian frenzy, aspirin, religion, dirty language,
-I am sorry I have no drugs to offer you today!
-not everyone in civic societies has the privilege of getting high and mind-altering (that which supposedly suggests vulnerability,) running arround drunk staggering and out-of-it, they will be beaten the hell out of it, they have to be sober, on alert and self-protective

your pee belongs to the state----new civic readability

{four bodies don't belong to themselves: children, addicts, outlaws, and ghosts, are all busted by the state or certain legislated majority}


destructive (and artistic) modes of production.

test, does it have an essence? Is it pure relationality?



Avital's “speculative telephonics”

Heidegger: sign = cutting edge, Zeichen --Holderlin--> “we're cutting out” =/= (Avital:) schizo knows how to disconnect, how to depart, how to cut the shit

the place where a call can break into a body[=? orificial openings of a subject]

emergency verification: we are still trying to cut into the emergency line (that we are on) after the crashing down of the transcendental [...]

[...]solating or how they establish community (of those who are somehow together or with nonpresence.) anything that refigures individuality or collectivity that brings you together with the other and absolutly keeps you apart from the other
drug: Dionysian frenzy, aspirin, religion, dirty language,
-I am sorry I have no drugs to offer you today!
-not everyone in civic societies has the privilege of getting high and mind-altering (that which supposedly suggests vulnerability,) running arround drunk staggering and out-of-it, they will be beaten the hell out of it, they have to be sober, on alert and self-protective

your pee belongs to the state----new civic readability

{four bodies don't belong to themselves: children, addicts, outlaws, and ghosts, are all busted by the state or certain legislated majority}


destructive (and artistic) modes of production.

test, does it have an essence? Is it pure relationality?



Avital's “speculative telephonics”

Heidegger: sign = cutting edge, Zeichen --Holderlin--> “we're cutting out” =/= (Avital:) schizo knows how to disconnect, how to depart, how to cut the shit

the place where a call can break into a body[=? orificial openings of a subject]

emergency verification: we are still trying to cut into the emergency line (that we are on) after the crashing down of the transcendental signifier


in the (technologically enabled) disappearance of long-distance what happens to the ‘elsewhere’ calling to the schizobody?

how our pretechnological ears were (trained) before the telephone?

the “call” comes from me and from beyond and over me.

Telephonics coils itself around a concept of “being there” supported by the recognition that contact has been broken. Still, the break is never clean, just as contact was never continuous. The entire metaphysics of identity, presence and locality is scrambled, bringing with it a certain historical mutation in the relationship of the “self’ to other, to the irreducible precedence, as Derrida puts it in ‘Memoires,’ of the other. The other calls; you answer. But “you” have not yet been constituted, gathered or pulled together prior to the call.

Wortsalad ---- Opheilia's kind of mouth that shoots poesy, one has the feeling that no one is there.
/ precisely when ophelia is about to become the poet Shakespeare strangles her in water to make place for hamlet's tragic autopoiesis /

it is (generally) very difficult to know “who” is talking --> “whom” is being addressed

endure the agony of the being called (a being-on-call, an answering device)

modeling different styles of irony

(what are we) telehearing (?)


language is the history of index finger (“...even when it is placed o[...]

[...]r acquired habits of mastery.” (Avital on Heidegger's Holderlin's Andenken)
***Mastery is not a content but a habit.***
disposition from knowing is required if we are to let the word of ajayeb speak to us (in the form of greeting)
[as Holderlin announces that the “remains” for which poets are responsible.]----> memory (don't let engineers build you archives! (making it about grounding and historicity, instead:) let the poet be responsible for whatever has “remained.”) [this would be Holderlinian advice]
-inappropriable remainder(s)

memory/remember is sojourn
memory and its (peculiar) temporal climate
-how can we not situate remembrance as mourning? (as Holderlin teaches everyone)
remembrance =/=? joyous festivity [----the issue and point in project Persische Abend PARS VIDEO 2014]

the minute you see in a text (@Hoda, Sana, Ali having even) one memory that is clear and guaranteed --> your signals should go on: there is one unrevised (in an original form), no secondary revision, *pure memory* <-- this is a memory that is unnegotiable for them

*on Wind
wind, is a coming that arrives from the future
(compare “going” [staying behind] in Attar, Hafez, and Holderlin) [in San'an nobody is greeting, there is no greet-event. Attar misses: Greeting as pure letting go**]
(Avital on Holderlin:) “[...] in going, comes. Parting is not a mere leave-taking and empty staying behind. Parting is also not a mere going away and disappearing. The poet remains in the rustling wind. to the extent that he goes with its going. [...] Nonetheless. the poet stays with the wind. Accompaniment now shapes the Greeting. As the gusting wind is alternately a coming and a going. so is the Greeting a staying behind that nonetheless flutters away. becoming a going with. [...] The poet's staying behind is crucial. Staying behind is not meant to mark the isolation or even desolation of the poetic act. [...] Neither passive nor active, remaining behind indicates a way of going back, a returning to the source.”
-traveling to the impossible place of the other
-(wind) come and go without touching down or dropping anchor
-the agency, animacy and sentience of the wind is described by ajayeb's sensuous subjects within the wind. one feels enwrapped, enveloped in a sentient being that moves across vast distances, it comes and goes --> the materially textured poetics of description in the ajayeb-e bad باد

the poesy (~ fictional =/= truth, real) (Wahrheit und Dichtung) of ajayeb (are no longer distinguished from each other)

(greeting is the poet/artist's most essential mode of being)

a designed closure or reappropriation that locks the Other into a schema of subjectivity ---- at once promoted and subjected
*(re)fastened to the Greek origin
promoting the ousider to insider (who now holds an Ursprung and ori[...]

[...]
(ajayeb-e chah) عجایب چاه
wonders of pits --> wonders of moon (Moghana مقنع, bringing a moon out of a pit, mah-e nakhshab ماه نخشب) [Moghana's work on mirror], [neiranjat نیرنجات and telesmat طلسمات (of Moghana’) ~=? ruse, tech],
[signifier of wonder:] mahi (ماهی‌ fish) [reflection of the moon in water] --> mah (ماه‌ moon) --> pointing at helal-e mah (هلال ماه half-moon) --> mouth of the beloved (یار yar) [registered in poetry of Sa'di سعدی] --> wonder finger on the open mouth
-also, Galileo's new telescope pointing at the moon (and sun-spots 900 years later than the chinese did,) and his pervasive approach to the knowledge milieu that he lived in, set the secular registers of truth
گفتم اگر از تو در خواهم شکافته شوی چه کنی؟ گفت شکافته شوم. بدو اشارت کرد و ماه به دو پاره شد

(ajayeb-e aab) عجایب آب
آشنا ashena (=/= stranger) in Farsi comes from the relationship with water and swimming, somehow knowing the water
cognition (in Greek cogn, ‘having learned’), in Farsi shenakht (شناخت) is rooted in water, ashena: shenavar dar bahr budan شناور در بهر بودن, floating body, -shenasi شناسی‌-

(ajayeb-e donya) عجایب دنیا
wonders of earth(?) --> ghul (غول), serial killer, house full of bones (horror story)
(after donya/earth comes immidiatly, ghiamat قیامت)
donya: the temporal world (~=? cthulu) (--?--> material-semiotic time-space of donya)
-search ‘donya’ and its semiotic network in Ferdosi and others
-search ‘alam’ (in Nezami: dar alam alam afaridan در عالم عالم آفریدن)
-‘zamin’ or zamini (زمین، زمینی‌), what is meant when we say one thinks zamini in ajayeb? which zamin?

(ajayeb-e mardom) عجایب مردم
look at the word ‘mardom’ in m’ in Shahname and how it (dis)articulates Div (دیو), animal, demon, dad (دد), janevar (جانور), etc.
‘mardom o janevar’ مردم و جانور (--> Shahname)
other name of mardom: folan فلان (unkown), yaru یارو (known),

(ajayeb-e jan) عجایب جان
jan-parvar جان پرور (Nezami)

(Mehran Rad)
andakhtan (انداختن) --> andaze (اندازه) --> hendese (هندسه) --> mohandes (مهندس) =/= engineer (in english from engine)
andakhtan: to throw two things close to each other (two lovers in the bed)
=/= (catapult) manjenigh منجنیق ~ mechanic [two different ontologies of geometry and measurement]

(ajayeb-e khasf) عجایب خسف
ecological disasters
فرورفتگی و پستی و مغاکی ظاهر زمین
فرورفتن در زمین
--> page 150, Haman story, fire not burning Haman's heart, an example that God has no special priv[...]

[...]h the notions of:
emergence, process, historicity, difference, specificity
-and by that teach myself an artful practice rich with:
co-habitation, co-constitution, contingency

on-the-ground work:
-Verran # Nigeria Yoruba --> “emergent ontologies,” “get on together” (...how can *general* knowledge be nurtured in postcolonial worlds committed to taking *difference* seriously?”)
-Thompson # Kenya --> “ontological choreographies” (...bodies, human and nonhuman, are taken apart and put together in processes)
-Strathern # Papua New Guinean --> “partial connections” (...patterns within which the players are neither wholes nor parts ... necessary counter-intuitive geometries and incongruent translations)

what kind of refigurations i need for the tropic work that feel is required for the for ontological choreography of ajayeb (in technoscience or elsewhere? other societies with liberal or non-liberal individual or state, with other techno-monsters, automated warriors, terrorists, and all the waste, cruelty, indifference, ignorance, and loss that comes with, as well as joy, play, labor, and invention--)?
-how do i narrate this (ajayeb and non-ajayeb, the wondrous and the mundane) co-history?
-how do i embody an art of relating (as is never done once and for all)?

*species : biological kind of reality + scientific expertise necessary to that kind of reality
(what would or could trouble ‘biological kind,’ ‘categories of organism’?)
{ machinic + textual + organic ~-=> species }--> causality-story, origin-story, Real-Presence-story (~transubstantiated signs of the flesh),
•species is about defining difference, rooted in polyvocal fugues of **doctrines of cause**
•one thinks of species as logical category, logical type, visual impression, members of a category that have the same characteristics. but you also say “be specific!” you want the opposite. you want a list of relentless particularities.
•(for Haraway species is about) a particular kind of semiotics where sign and flesh are tangled

Marx and Freud in shit and gold, primitive scat and civilized metal, in specie

[title]
**ajayeb's technologies of (Persian) subject/object-making**

nature and culture implode into one another (in the relentlessly historically specific ways)

(Haraway > Althusser) **interpellation** (estizah استیضاح) ==> concrete individuals (in the modern state)
*the ideologically loaded narratives ==> life and death, health and illness, longevity and extinction, etc.
{how not to do estizah (our objects, peers)? latent individualization in apass's requirement of ‘intentionality’ from its participants: “no sleep-walking!” [--> art as “explicit intentional act.” Merleau-Ponty's account the body-schema.] [estizah is the site of encounter with the ‘man of law’ in which one beco[...]

[...]y-story, origin-story, Real-Presence-story (~transubstantiated signs of the flesh),
•species is about defining difference, rooted in polyvocal fugues of **doctrines of cause**
•one thinks of species as logical category, logical type, visual impression, members of a category that have the same characteristics. but you also say “be specific!” you want the opposite. you want a list of relentless particularities.
•(for Haraway species is about) a particular kind of semiotics where sign and flesh are tangled

Marx and Freud in shit and gold, primitive scat and civilized metal, in specie

[title]
**ajayeb's technologies of (Persian) subject/object-making**

nature and culture implode into one another (in the relentlessly historically specific ways)

(Haraway > Althusser) **interpellation** (estizah استیضاح) ==> concrete individuals (in the modern state)
*the ideologically loaded narratives ==> life and death, health and illness, longevity and extinction, etc.
{how not to do estizah (our objects, peers)? latent individualization in apass's requirement of ‘intentionality’ from its participants: “no sleep-walking!” [--> art as “explicit intentional act.” Merleau-Ponty's account the body-schema.] [estizah is the site of encounter with the ‘man of law’ in which one becomes a man of law: by asking what is your “name and business,” demanding “proof” of me. one way of responding to that demand of name is to give your name as a performance in an amerindian mode: “three were dead before they knew.” that's my name.] The material ritual practice of ‘recognition’ : “Who is there?” and “It's me!” of the everyday life ==> makes us concrete subject (in the ideology in democracy and law) --> independent agents with self-produced identities. (in capitalist societies) **subject: a self-conscious “responsible” agent whose actions can be explained by his or her beliefs and thoughts.** subject formation defines the limits of each individual; values, desires, and preferences. ---- in a way that I realize that a ‘hailing’ was addressed at me, thinking ‘that means me,’ and the answer is what transforms me into a subject : a “mis-recognition” [--> we can open a dossier on prophet and ‘answering’ the call]; [~-> what Tarof hails?] ---- for Althusser being aware of the other is a form of ideology. (how to recognize ourselves outside of ideology?)} (Foucauldian/Althusserian: passively defined by identity ==> mobilizing around these identities --?--> potential for resistance)
(Althusser's) police officer [محتسب mohtaseb?] --hails--> concrete subject
(Foucault's) expert discourses --hails--> sexuality
(Adorno's) mass media --hails--> passive consumer
(Gauntlett's) uncritical consumption --hails--> assumption --> bad worlding
(Mulvey's) cinema --hails--> male protagonist
(Butler's) boy/girl --hails--> gender identity
(Sina's) [...]