[...]ocial, occupational disruption

egosyntonic personality disorders are most difficult to treat (such as: narcissistic personality disorder, anorexia, gambling problem)

*egosyntonic: in harmony with the needs and goals of the ego [--> defences ==> maladaptive coping skills ~=> anxiety, distress, depression]
*egodystonic: in conflict with the needs and goals of the ego, in conflict with a person's ideal self-image

obsessive-compulsive disorder --> egodystonic
obsessive-compulsive personality disorder --> egosyntonic

Freud: psychic conflict arising when the original lagging instincts come into conflict with the ego (or egosyntonic instincts) [such as: erection problem ==> egodystonic]

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

[*]personality disorder: (a type of psychological disorder generally defined by) the lack of insight into the disorder

borderline personality disorder =/= shades of gray
(a view that sees) significances as unfair and uncaring (devaluation) or flawless (idealization)
(a standardized criteria of diagnosis since 1980) a certain class of neurotics who, when in crisis, appeared to straddle the borderline into psychosis
fluctuation in identity --> chaotic identity (=/= chaotic imagination)
*the most treatment-resistant personality type*
-75 percent in female patients
-related to neglect in childhood

borderline personality disorder often comes with very smart people
borderline personality + high intelligence ==>
•parakandegi-e zehn پراکندگی ذهن sporadic and dispersed mind --✕--> hadaf jahat kushesh fa'aliat هدف جهت کوشش فعالیت having a target, direction, effort, activity
•going from one thing to another without consistency in life باری به هر جهت

borderline personality disorder + narcissistic personality disorder [seeing people from top to down] ==> winning arguments by mixing imagination and reality, saying everything they like to others
--> (donya-e zehni) a mental world in which imagination and reality are not distinguish (~-> lying)

(a nontherapeutic approach) to turn the borderline into storyteller:
•dissociation --into--> impossible association
•disconnection as a state of consciousness --into--> impossible connection
•lying as a feature --into--> fabulation
•manipulative behavior --into--> articulative
•demand --into--> performance
•chaotic identity --into--> chaotic imagination
•ذهن پراکنده (sporadic mind) --into--> ذهن انحرافی (deviant mind)
•sensitivity (of thin or no psychological skin) --into--> sensibility
•

a therapeutic approach to borderline personality:
•dialectical behavior therapy (<--?-- mindfulness)
•


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

[...]

[...]y --> chaotic identity (=/= chaotic imagination)
*the most treatment-resistant personality type*
-75 percent in female patients
-related to neglect in childhood

borderline personality disorder often comes with very smart people
borderline personality + high intelligence ==>
•parakandegi-e zehn پراکندگی ذهن sporadic and dispersed mind --✕--> hadaf jahat kushesh fa'aliat هدف جهت کوشش فعالیت having a target, direction, effort, activity
•going from one thing to another without consistency in life باری به هر جهت

borderline personality disorder + narcissistic personality disorder [seeing people from top to down] ==> winning arguments by mixing imagination and reality, saying everything they like to others
--> (donya-e zehni) a mental world in which imagination and reality are not distinguish (~-> lying)

(a nontherapeutic approach) to turn the borderline into storyteller:
•dissociation --into--> impossible association
•disconnection as a state of consciousness --into--> impossible connection
•lying as a feature --into--> fabulation
•manipulative behavior --into--> articulative
•demand --into--> performance
•chaotic identity --into--> chaotic imagination
•ذهن پراکنده (sporadic mind) --into--> ذهن انحرافی (deviant mind)
•sensitivity (of thin or no psychological skin) --into--> sensibility
•

a therapeutic approach to borderline personality:
•dialectical behavior therapy (<--?-- mindfulness)
•


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

%notes on #workshop of question (HWD)
-how come in my drawing class participancts couldn't even hold the pen
-participants lenzes couldn't focus, the words were in blur and in disarray
-i had to stop free associations and staggerings, and return to the task at hand
-it was like teaching a new language
-i was trying to share my methorodlogy, specificly. not a jam session
-is it neccesory or interesting to learn eachother methodlogies in order to get involved and engagned in eachother practices? maybe not --> go back to representational tools --are representational tools the best we have? or maybe, structurally we can't give workshop in apass HWDs or endweeks, because participants are not there by free will that is usually mobilising them to look for and join a workshop that they are interested in.

%(am I?) ‘coming back with advices’ in my work [[#Esta]]

is it interesting for me or my research to think about how we moved that plant around in the 4th floor?
*moving plants* is risky
as backdrop for human activity
passively vegetating
making local and global connections: which local or global connections was made (by Sina, Xiri and Esta moving the plant)? (how the [...]

[...]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 made for women imagine a picture--perfect scene of an Inside--a Home filled with tangible objects that Mean or a Self filled with the intricate dramas of dreams launched, wounded, and finally satisfied or left behind. Affect itself is laid out on the carpet like a beautiful fetish that it is okay to love.”

(the #telegram is littered with image-written signs of personal/public disaster)
the surge of affect toward the scene of abjection --> abjection itself is felt as a contagion --> Navid's comments turned into stickers
-fascination of catastrophe
-something pleads to be touched
-the act of looking at the telegram's forward: my desire is your desire and we are all together in the mass desire
-images on telegram offer affects to mime, lines of vitality to follow, intimate secrets to plumb, tips to imbibe for safety or good health or the search for things new and vibrant with collective envy
-browsing telegram, we're trudging the rough terrain of bodies, sensuous accumulation, impact


“Sometimes when you hear someone scream it goes in one ear and out the other. Sometimes it passes right into the middle of your brain and gets stuck there.”
[...]

[...]
the strategy of “reimaging” is methodological and intentional (in the opening minutes of the film Häxan) --> (in European terms, for a very long time:) “knowledge = recitations of the known”

+ creation of new images --> constituting its own evidence for what is at stake
(Christensen designating) **techniques of presentation rather than simple content**

****the “truth” gained by the reproduction of archival images**** <==through== their mobility in the context of their new use
--> (similar to Farocki) Christensen empties out such visual artifacts, expressing through their preestablished frame a meaning that was hidden and resisted



(Baxstrom + Meyers carefully treating the) methodological element of Christensen's image-making practices --in--> Häxan's depiction of the violent moral disorder of the Wild Ride of the witches to their Sabbats

(16th century) Wild Ride: a standard element of both demonological and popular literary accounts of the activities of witches, folding:
•older legends of wild hunters
•restless travels of the dead at night
•tales of the Furious Horde (a super natural band that was not originally associated with witchcraft)
•twisted chaos of the deep forest
Canon Episcopi regarding the power of demonic illusion to deceive women into imagining that they could travel great distances at night, often in the company of the goddess Diana
}--> conjoining of witch image to demonological discourse [<-- an empirically verifiable invention in the late medieval period and the Renaissance]

*the oscillating value of the non-fictive* (of its discrete artifacts)

hybrid human–animal creatures with each “natural” species being traceable within the complete appearance of the demonic creature


(coming into contemporary performance art -->) figures from antiquity:
•Saturn @Ale
•Circe @Bryana (changing men into beasts, games of chance, gambling, tricks, slight of hand, illusion, hybrid animal–human forms of the demons dancing around the “grandmother” with surprisingly young and beautiful appearance --melancholy--> general sense of sexual and societal disorder swirling around a placid, passive female protagonist) + empirical strain of the discourse of the witch
•Sabbat @Jassem
•
-->

pact of the witch
obsessed state of the hysteric
interplay of face and tableau

(Warburg's assertion that) donning a mask constitutes an active attempt “to wrest something magical from nature through the transformation of the person”
[putting on a mask --> transformation of the person --> obtaining omething magical from nature]

Christensen formally constructing “the witch” through a cinematic iteration of metoposcopic naturalism
(metoposcopy: a form of divination in wh[...]

[...]that Cinderella now reveals something else that corresponds with my research, an attic bestiary, a mini universe of meanings and beings with whom she is in conversation with and in a permanent collaboration of worlding.


Cinderella lives with the precarity of a family who torment and insult her on a daily basis. I kept asking myself, why doesn't she become estranged? Cinderella is circumscribed in all sorts of ways, yet she is capable of knowing new things about the animals she lives. She incorporates a form of transhumanity that lies in (1) the way she is inhabiting and composing with a place that she is not a master of nor can she escape from, and (2) in the way animals give her power and meaning. Can we think of Cinderella as an amateur ethologist? A skilled practitioner of attention to animals, for whom the ways that attention is addressed matters. A Cinderella who does her job is bizarre. It engages us in a totally different manner than a Cinderella who is the victim of evil circumstances. Not considered as a victim, she becomes much more present, inviting more interesting questions about her labor of knowledge production. This opened for me a space to think about her inhuman gesture of endurance, her know-how of being in a world that proliferates with chaotic zones of improvisation with animals. From Cinderella one can learn cross-species politeness and exploring ways of imagining what animals are capable of, with and because of her labor. This is her mice-trap. Steeped in routines of schizo-affective hallucinating with talking animals, her technique of trap-making is not a category of human behavior, but a model for a form of intelligence. I argue that as a lover and interlocutor of mice, her traps are in the form of a net in which her subject becomes entangled. Lures are frequently needed to prompt meaning to an animal. Cinderella to the mice, is an alluring producer of sociality. Her mice-trap produces the meaning of the social. The mouse is captured not as prey but as material comrade and ally.


[....]


Sometimes there is no maker behind the trap. They are created by the world, by random, emergent, coalescence of elements in the environment. In a witness-fable by Kelileh o Demneh we have a moment of problematization of cunning intelligence. The story goes, once a fox was walking down his forest when he noticed animals were escaping from something. Upon further investigation he found out they were running from a special sound that scared them, a loud drum. At this stage, he is curious but vigilance and not afraid, because he knows the forest is all deceit and trickery. His inner thought is opportunistic or playful, he thinks there must be something juicy there that I can get my hands on. Lured in the other direction than other animals, he goes to the source of the sound, and puts his paws in it. He realizes that the sound was created by the force of wind moving a tree branch t[...]

[...]br /> walk not upright,
from their claws drips bitter gall,
their footprints are (full of) evil venom.

(from [more primitive?]) dread --to--> fascination

the shivers and chills (of death)
that fritter the sun of things,
spawn of the god of heavens,
spawned on an evil spirit,
the death warrants, beloved sons of the storm god,
born of the queen of the netherworld,
who were torn out of heaven and hurled from the earth as castoffs,
are creatures of hell, all

we are not determined, we are engendered


numinous as immanent --> external habituation: inviting (or magically enforcing) the presence of the power within

efforts of such habituation:
•cult dramatic
•fashioning or appropriate divine images
•religious literature
•temples

*cult drama: the form fills with its content*
literally re-present god, presenting his external form, (bring about the god's presence through ritual representation of him) --> beneficent results for the community [--> still works today]
•sacred marriage
•yearly lamentations
•battle drama (primeval contest for world order against the forces of chaos)
fashioning of images (of the god) --> to achive lasting presence

poetry: means of invoking the presence of powers [--> we are doing this still?! bad poetry]
creative power of the word underlines all mesopotamian (religious) literature
•works of praise
•works of lament (specialized lamentation-priest @Sana, Ali )
*lament: influencing and swaying the divine heart by reminding the god of past happiness, rather than by magically recreating that past*


(mesopotamian:) *temple = house*
(implication between) the divine owner and his house --> emotional closeness of a human owner and his home + the *closeness of essence* (of being) --amounting--> to embodiment =/= habituation
--> house = temple = representation of the power that is meant to fill it

(similar to human dwelling) ***house = temple = the place where the owner could be found (or felt)***
--> that god (the owner) was present and available

the god's retainers --> because the temple was god's home, was not only near and approachable, he was involved with the fortunes of the community and commited ti maintaining it --> *mesopotamian temple was profoundly awesome* (it carried awesome aura, awesome or angry nimbus هاله)
-the temple was covered with loveliness
-the god's private apartment shrouded in darkness : the dark room (no eye is to see)
--> specific closeness of essence + the power inhabiting it

authoritative revelation
know what was “the proper thing”

house mountain
house rising sun
house causing light
he who i[...]

[...]/> cream
center for research in epistemology and matter

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

***sharjah project***

[general approach of the project:]

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

by traversing the domains of revolutionary ideology, avant-garde literature, new-wave cinema, extremist thought, and protests from the limitless imaginative reservoir of their political, poetic, spiritual, and aesthetic predecessors--this projects examines a Middle Eastern navigation of identity (via the concept of the ‘mask’) and its particular modest/hostile modes of resistance (via the concept of the ‘text’). visiting sites such as: subversive epitomes of charismatic authority undertaking a poetic articulation, when chaotic imagination makes contact with nothingness, the will to chaos, and inscription of fatality in literature-as-moral-transaction.


[pressure points:]

mobile within a speculative/suggestive milieu, this project is interested in examining literary sites such as Kelile-o Demne's communal forms of fragile human cohabitation (11th century political/bestial fable), Rumi's simulation of nonexistence (13th century production of schizo-darvish), Hafez's engineering metaphor-factory (14th century imaginal faculty of extreme presence), Hedayat's Buf Koor the Shelley's Frankenstein's monster favorate book (20th century forms of renunciation), Amir Naderi and Forough Farrokhzad films (20th century strategies of withdrawal), Jala Al Ahmad and Ali Shariati writings (20th century fatal concepts of the outside), [list to be modified]


[background:]

this form of half-digestive omnivorous work is situated in a larger trajectory of creative investigations, which i have been busy with under “storytelling,” are dealing with the questions of conditions in which non-antagonistic critical encounters between ordered conventions of knowing and chaotic textuality/imagination is possible. to take the mind where it does not belong. to the rogue arsenals of middle eastern reservoir of imagination and its locatable mimicries. to its repetitive scaffoldings, fugitive trajectories, its performances of fatal experience of the text. to unload its corrosive textualities and let them run their acids across one another. this project is interested in both the unleashing and the pleasure of watching the text die.

part o[...]

[...]sive epitomes of charismatic authority undertaking a poetic articulation, when chaotic imagination makes contact with nothingness, the will to chaos, and inscription of fatality in literature-as-moral-transaction.


[pressure points:]

mobile within a speculative/suggestive milieu, this project is interested in examining literary sites such as Kelile-o Demne's communal forms of fragile human cohabitation (11th century political/bestial fable), Rumi's simulation of nonexistence (13th century production of schizo-darvish), Hafez's engineering metaphor-factory (14th century imaginal faculty of extreme presence), Hedayat's Buf Koor the Shelley's Frankenstein's monster favorate book (20th century forms of renunciation), Amir Naderi and Forough Farrokhzad films (20th century strategies of withdrawal), Jala Al Ahmad and Ali Shariati writings (20th century fatal concepts of the outside), [list to be modified]


[background:]

this form of half-digestive omnivorous work is situated in a larger trajectory of creative investigations, which i have been busy with under “storytelling,” are dealing with the questions of conditions in which non-antagonistic critical encounters between ordered conventions of knowing and chaotic textuality/imagination is possible. to take the mind where it does not belong. to the rogue arsenals of middle eastern reservoir of imagination and its locatable mimicries. to its repetitive scaffoldings, fugitive trajectories, its performances of fatal experience of the text. to unload its corrosive textualities and let them run their acids across one another. this project is interested in both the unleashing and the pleasure of watching the text die.

part of the disposition of this proposal is also the suggestion that the two collaborators of this project, Jassem and Foad, are invested in those notions in their practice. Foad Farahani's poem “farar” enacting contemporary arary artistic formations and past-compound-mask, and Jassem Hindi transnational poetic agency, are both artists with acute appetite for chaotic imagination. Their instinct for the fusion of nothingness and excess, appearance and disappearance, creation and destruction, is at once carved and unpacked in the literary-poetic mosaics of their work: Foad's use of middle-persian mystic sensibilities and Jassem's combination of intensive encounter with the poetics of apocalypse and acid textuality.

My work has been about: learning/training in the crafts of noticing little traps of semiotic and material trans-species cohabiting, mutual coproduction of economics, ecology, affect-studies, metaphysical household studies, and understanding of the orders of the natural and human world, in the particular history/story of the East. in my projects i take history as the overlapping tracks and traces and many tranjectories of world-making, human and nonhuman. the textual performance of th[...]

[...]al), Jala Al Ahmad and Ali Shariati writings (20th century fatal concepts of the outside), [list to be modified]


[background:]

this form of half-digestive omnivorous work is situated in a larger trajectory of creative investigations, which i have been busy with under “storytelling,” are dealing with the questions of conditions in which non-antagonistic critical encounters between ordered conventions of knowing and chaotic textuality/imagination is possible. to take the mind where it does not belong. to the rogue arsenals of middle eastern reservoir of imagination and its locatable mimicries. to its repetitive scaffoldings, fugitive trajectories, its performances of fatal experience of the text. to unload its corrosive textualities and let them run their acids across one another. this project is interested in both the unleashing and the pleasure of watching the text die.

part of the disposition of this proposal is also the suggestion that the two collaborators of this project, Jassem and Foad, are invested in those notions in their practice. Foad Farahani's poem “farar” enacting contemporary artistic formations and past-compound-mask, and Jassem Hindi transnational poetic agency, are both artists with acute appetite for chaotic imagination. Their instinct for the fusion of nothingness and excess, appearance and disappearance, creation and destruction, is at once carved and unpacked in the literary-poetic mosaics of their work: Foad's use of middle-persian mystic sensibilities and Jassem's combination of intensive encounter with the poetics of apocalypse and acid textuality.

My work has been about: learning/training in the crafts of noticing little traps of semiotic and material trans-species cohabiting, mutual coproduction of economics, ecology, affect-studies, metaphysical household studies, and understanding of the orders of the natural and human world, in the particular history/story of the East. in my projects i take history as the overlapping tracks and traces and many tranjectories of world-making, human and nonhuman. the textual performance of this project is in the effects of my research and practice with the questions of globalism and inheritance: difficult translational spaces, communicative nonunderstanding, relational aesthetics, and the differential sites of reading. and i use performative lectures: a material practice, hybrid in digital manual tactile operations of speaking.

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

“Four Masks of an Eastern Postmodernism”

insurgent, poet, mystic, sectarian
    |       |       |        |
chaos, violence, illusion, silence

•(sectarianism) apocalyptic writing
•(poetic) will to chaos
•(mystic) exile space
•(insurgent's) otherless subjectivity


یاغی
شاعر
نوچه
زاهد


[perform[...]

[...]ing, human and nonhuman. the textual performance of this project is in the effects of my research and practice with the questions of globalism and inheritance: difficult translational spaces, communicative nonunderstanding, relational aesthetics, and the differential sites of reading. and i use performative lectures: a material practice, hybrid in digital manual tactile operations of speaking.

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

“Four Masks of an Eastern Postmodernism”

insurgent, poet, mystic, sectarian
    |       |       |        |
chaos, violence, illusion, silence

•(sectarianism) apocalyptic writing
•(poetic) will to chaos
•(mystic) exile space
•(insurgent's) otherless subjectivity


یاغی
شاعر
نوچه
زاهد


[performative methodology]
for the collaborative part of sharjah project, i like to propose four “masks” (or “rotational avatars”) of subjective anarchy, that are few among many existential prototypes and subjectivity constellations of eastern postmodernism, as collaborative sites of encounter with four (or less and not necessarily individual) artists/participants.

•collaborators’ masks: chaos, violence, illusion, silence / (yaghi یاغی, sha'er شاعر, noche نوچه, zahed زاهد)--each endeavoring to discern the ontological possibilities and aesthetic imaginations of four theoretically-worked dispositions that Jason Bahbak Mohaghegh puts forward: insurgent, poetic, mystical, sectarian modes of consciousness, operating within multiple terrains of human and inhuman experiences of the middle east.
--> masks (the above mentioned four masks are accompanied by four “performative epitomes”): the exile, the animal, the shadow, the machine, (the monster, the thing, the contagion, the mirror image)

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

installation:
speculative objects (~/= anthropological objects) --to--> quasi objects
between research, social critique, speculative theory, and artistic production --> politics of representation

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

[*]insurgent:
resistance to modernism, and revolutionary agency
<== exhaustive disintegration of belief-structures in modernity
otherless individuation
eternal war
killer's freedom
(affective) overreaction


[*]poet:
will to chaos (--a type of consciousness that perceive the catastrophic-apocalyptic hint at each turn)
<== cataclysmic time of modernism (<-- great social disorder: prison, exile, censorship, etc. [==> Hedayat, Shamlu, Forough, Nima's tone of aggression --> a proto-sectarian space: secret societies, iconoclastic trajectories, *the compartmentalized and esoteric iranian avant-garde with aesthetic devices of: unity, isolation, subversion])
fugitive postmodern [...]

[...]c:
sunken tranquility, relaxed self-annihilation, ascetic renunciation of material (=/= postmodernism's obsession with speed, with narcissistic technologies, hyper-materialism)
neomystial trajectories of new-wave iranian cinema filmic style --> hypnotic effect =/= audition, dialogue, narrative
& exile space


[*]sectarian:
will to extremity
(apocalyptic writing)
breakaway modality
نوچه پروری noche-parvary's effective radars and tactics of attunement, detection, narration
(annihilatic temptation to) convert the text into a closed circle
(sect's threats of) forbidden power, moral ambiguity, collective density(/destiny)

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

[this project works with:]

[]
contributions/responses of:
•radical leaders (Jala Al Ahmad, Ali Shariati, Khomeini) --> ideological suspicion towards models of machinism and cosmopolitanism in the modern age
•intellectual forerunners (--> sectarian)
•literary icons (textual innovations of Hedayat, Shamlu, Akhavan, Baraheni) --> *poetic violence* and its apocalyptic tendencies --> that the declared east is plunged into a catastrophic epoch ==freed==> a “will to chaos”
•artistic visionaries (Naderi, Forough, iranian new-wave cinema neomystical) --> strategies of withdrawal, aims of disappearance, situated in obscure elsewheres of auditory and visual landscape
}--> #ideology #literature #mysticism #sectarianism
(from the middle eastern front) to (the issues of):
◦post-historical instant
◦catastrophic resistance
◦creative imagination
 }--> issues of:
◾technology
◾representation
◾globalization
◾colonialism
  +}--> drastic reinterpretations of:
◽time and being
◽death
◽pain
◽transcendence
◽victory
◽blood

~~(modernity is an extremist epoch)==> mithridatic approaches
anticultural visionaries
extreme --> resistance-fighter/ideological dictator, artistic forerunner/experimental thinker, different constellations of desire
***mithridatism مهردارو mehr-daru: *internalization of toxicity* (the gradual ingestion of lethal substances so as to gain immunity) --> an archaic protective tactic, an ancient model of defense, (subterranean practice of pirates, alchemists, cult leaders, shamans, guerrilla columns, spies, paranoid kings's *logic of encounter*)
(poetic extremism -->) mithridatic: dispensing fragmented verses, aphorisms, and engravings of the atrocity; invitation and unleashing of the malevolence itself, to seduce obliteration;
-affliction, existence thriving in the wound
(assumptions of) inevitability + anticipation + projection ==> mithridatic remedy (in ideological & literary apparatuses): “swallowing partial g[...]

[...] /> [civilizational taxonomies]
of globalist division of labor
of democracy (+ its negational counterpart [~ third world] <-- to be very careful about it, i like to develop a bit of paranoia for it)

(in the alterity of ‘the textual’ someone else might be living)

[(who/why does that? -->) translation of] a familiar topography --into--> an ontological modality

state of non-temporality (<--?-- majaz @Hoda) ==> no more locked in the imperishable antagonism of: interiority & exteriority, presence & absence }--(Hoda's)--> extravagant paradox of *proximity & distance*
==✕==> derivative subjectivity


architects of the law (that Elen is against)


(fable of the) “despotism of the oriental way-of-life”


existential homogenization

traumatic obligation

disjointed + cyclical (mind) ==> ? ...

the (faint) whisper of “no more.”


disarray


artificial becomes set in stone as the natural

bankrupt master-discourse

explode text & life into...


horizon of textual expression

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

the idea of chaos for the experience of writing and thought

[*the world as a whole*, inexhaustible + urgent + unmastered (abundance of self-creation/destruction) --> totalitarian stimulus ==>] chaos: [~=?! hegemonic will to mastery]
•poetic imagination (--> an art that ventures and wins chaos)
•insurgent mind-set (--> that every man is surrounded, oppressed, and penetrated by chaos --> Heidegger wants to live =/= insurgent's reflex in middle eastern anticontext, *eastern revolutionary ethos*, “thinking of struggle = dialectical”, no revolutionary intersubjectivity [~= otherless subjectivity])

Apollonian hyper-rational retreat from the void
Ascetic immensified retreat from the world

self-willed experience of the edge allowed to guide forward

(Nietzsche's Zarathustra's chaotic temperament:) “one must still have chaos in oneself to be able to give birth to a dancing star.”

“chaos" = what (western) modernity has left (in east)
(that is why terminologies of “nomadism” can hardly be appropriated in middle east--they are chaotic, not nomadic)


[idioms of resistance] ~~--> intoxicating sense of power

(anti-,) “being-against”:
•in modernity: a direct/dialectical opposition of forces
•in postmodernity: an oblique/diagonal stance
•today: “alternatives within" = an imperial device that works well ‘in itself’ but not ‘for itself’ --> trans-systemic reality

...to believe in an outsider subjectivity capable of ahistorical imagination

(inflated dispositions of) triumphalism and alarmist nightmare

[...]

[...]he unthinkable strangeness of reality as possible
•on an ongoing desertion of the real

Adorno: “works that make socially univocal discursive judgments thereby negate art as well as themselves” @Laura's judgment on the fascist body (--> can consumption be resistance? @Laura: becoming fascist body ==> ? )

the medium of film-making in present-day iran attempts solely to bring the crypto-vantage of the everyday into obscurity-ridden view (to leave less clear --> my pre-2012 videos ‘Vagabond,’ ‘Constant Prince,’ and ‘city of domes’), allowing for a critical distance on the part of the spectator to examine one's own being-in-the-world in raw, blurred form (the truth is haze itself --> Hoda)

exoticization of the local --> reduce it to a nativist enterprise

(Mohaghegh > Tomlinson:) the everyday culture has ingested foreign elements from exogenous sources, with the various elementss gradually brcoming “naturalized” within it =/= image of pure, internally homogenous, authentic, indigenous culture


Sharjah art foundation of the Emirate's *postcultural imagination*


literary front
Hedayat, Yushij, Shamlu, Forough

Hedayat's The Blind Owl variants of a “will to chaos”

middle eastern avant-garde's vision of the writing-act --sketching--> a fugitive postmodern map of escape from its grasp

[in] moments of great social disorder
==> secret societies, iconoclastic trajectories, a type of consciousness that perceives the catastrophic-apocalyptic hint at each turn

(how an eastern or third world vanguard characterize itself in the heart of major historical tremors:) [listen to their *tone of aggression*:]
Nima: “with my poetry i have driven people into a great conflict; good or bad, they have fallen in confusion; i myself am sitting in a corner, watching them: i have flooded the nest of ants”
Forough: “all those who are involved in creative work have as their motive ... a sort of need to confront and struggle with annihilation”
Shamlu: “the children of the depths,” “the children of the storm,” “the horsemen,” “the bold ones,”

--> definition of the poetic world as a protosectarian space
رابطه مریدی مرادی
دار و دسته
قبيله

(Ali, to a subculture of) persecuted and endangered

==> peripheral narative (marginal leadership) become a force of intrigue and seduction (among iranian youth)

-how did poetry respond to historical events of atrocity and transition
-did the poets understand themselves as resembling a mystical, criminal, mercenary, or revolutionary edifice?

amorphous, obscure, versatile (thinkers and writers launching an intellectual-existential offensive against the disenchantment of the modern age)
along archetypes:
•power[...]

[...]wl) “I had no idea in what direction I was going [...] I did not care whether or not I ever arrived at any palce”

Mikhail Bakhtin --> art for iranian artists = (carnivalesque) a site that grants the right to understand, the right to confuse, to tease, to hyperbolize life; the right to parody others while talking; *the right to not be taken literally*, not ‘to be oneself’ [...] the right to rip off masks, the right to rage at others with a primeval (almost cultic) rage--and finally, the right to betray to the public a personal life, down to its most private and prurient little secrets

Baudrillard: the real is no longer possible ==> illusion is no longer possible ==>{impossibility of rediscovering an absolute level = impossibility of staging illusion}--> hollows the inability of existence to escape its own fictive composition (=/= epistemologies of repair, reading, weaving, etc.)

(Hedayat's) techniques of stealing from the reader the most basic hermeneutic device of distinguishing between imaginary and the actual --> Hoda, Ali

***annihilation: ontological death ==> death of ontology***

زنده به گور buried alive, an unmediated experiential sensitivity to the randomness of existence

***chaotic imaginary =/= tyranny of historicity***
--> ahistorical figure, having traversed the borders of language, humanity, time, space, and reality --> Foad's poem (--> world as endless becoming or nightmaze) =/= historicized existential experience (folloing only two distinct path, of subject and object)

*philosophy = learnign how to kill* (=/= Socratic-Platonic versoin of “philosophy = learning how to die”)

Hedayat straying beyond signification, mortality, and ontological or phenomenological framing =/= my work with ajayeb

([why?] many artists do that) ***to make oneself unrecognizable***

consciousness: only a host of many someones

Nietzsche's transvaluation of historical limitations --> experience would no longer find itself entrapped by apparitions of objectivity and cohesion and could theretofore invite chance, risk, and endless experimentation
will to power --> a premediated calculable claim to mastery

Nietzsche: art as an active competitive exchange =/= Schopenhauer's mystical retreat: art to lure aside from the great road of suffering of humanity those who are wretched, exhausted, and sick, and to offer them a brief lustful moment--a little intoxication and madness (--> a view that many artists today hold)

Nietzsche + Hedayat + Aslani + Hoda's immediate acknowledgement of the world-as-unreal =/= obstacle of historicity =/= Sina: I am following a very different critique of historicity in ajayeb
بادیه نشین فلسفی Nietzsche + Hedayat (elicit repercussions for) subordination of history to a kind of literary-philosophical piracy or bedo[...]

[...]of the knowing subject's violence)
the community is desperate to exist ==degenerates==> into totalitarian declaration of its rights; obsessed with constructing mythologies of presence (and being represented)
=/= the exile (the animal, the child, the shadow, the monster, the machine, the thing, the contagion) carries none of the anxiety of ontological authenticity. they come and go, as impersonal, nameless, metamorphosing creatures, never too long in the same place, always with some *new game* or *secret to pursue*

communities --> distinctly humanist : importing a kind of micro-universality --> ladem with oppressive suggestions of an inborn ethical obligation (originally from the enlightenment) ==became==> source of judgment ==> taxonomies of power ==> disenchantment, alienation, genocidal playback

Mohaghegh suggests the always social logic of community formation is toxic, “the death sentence to its mutability and actual freedom” --> to avoid the “trappings of a social framework, with its false codifications of ethical responsibility, and seek more elusive pathways of dialogue and juncture” (--> i am not sure about it, this could be also problematic)

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

[title]
**chaotic topology of imagination**

Ali's constant antagonism (in his work and in his speech acts)

Mohaghegh's use of “third-world authors”
they write the unnamable --&--> execute a vast becoming (of devastating scale and proportion)

to place these authors in immediate exchange with “western” thought --> to allow for a toxic, فرسایشی abrasive confrontation that reveals the outstanding distance from such conventions of knowing [--> my work is about this, to visist (visit + resist) these sites of critical encounter and embed them in my performative acts ==> to provide/produce a condition in which a non-antagonistic critical encounter between the “Western” order of knowing and the chaotic textualities of “Middle East” is possible]


epistemic warfare (~/= my ajayeb)


masks of an impersonal nightwalker consciousness

madness
hallucination
amnesia

becoming a faceless engraver

their explicit conceptual elements:
•burial --> blindness
•annihilation --> contagion
•shadow --> inhuman
•desertion --> deception
}--> chaotic experience


(according to Mohaghegh) this chaotic middle eastern elsewhere is not yet openly acknowledged by literature
-borderline illegible narratives
-emergent textualities

(my allegiance is with Mohaghegh's allegiance with) badlands of postcolonial site and its rogue arsenals [...] ==allows==> a fugitive, errant trajectory

(i have been tracing the locatable mimicries of middle east)


[...]

[...]
(is this what i do?)

chaotic text must fashion a generative prism, unnatural admixtures, *contaminated alliances*

[let's] *unload texts toward corrosive depths [...] where they run their acids across one another* --> my work

transition from theory --to--> theft
transition from (the profession of the) reader --to--> smuggler

(strands of thought ranging:)
from cruelty --to--> fatality
from alchemy --to--> piracy

chaos --> anarchic potential, disquieting worlds

(Mohaghegh asking:)
*is chaos an affirmative or nihilistic experience of the world?
*is chaos primarily creative or destructive?
*is the expressive act (aesthetic or philosophical) a chaotic state?


*(east's) horizon fastened to the exteriority of Western thought*

experiential elsewhere

the so-called [*]cultural difference: an old game of declaring the world's disjointment
==> many people (including myself) ***to perceive their intellectual and poetic exercises as in partial alignment with the creative possibilities of their culture***
*partial cultural alignment* --> german discourse on integration


[chaos] manifesting and fading within countless spheres of speculation:
•Benjamin's temporal arabesque
•schizoid desire-production of Deleuzian nomadology
•Artaud's hysterical demand (-demand is always hysteric)
•fable of “chaos outside the system” (Schlegel's concept)
•active presence of an inhuman turn in Camus
•Serres's ‘genesis’ a quasi-mystical force of an immemorial nature
•Mohaghegh's ‘chaotic’ marks (no resurrection of a primitive world but rather) an extravagant departure from the history of being, an expressive wire being shaped as we speak

[*topologies of imagination / mode of consciousness / their specific poetic-philosophical mind:]
Europe/West --> possessive (when it is colonialist)
Europe/West --> schizophrenic
Sout East --> nomadic
Middle East --> chaotic


*chaotic writing*
(artistic research writing as it is practiced in apass [--> *closure of a whole system*] =/=) a *writing-toward-chaos* (--> Hoda =/= closure ~? catharsis تزکیه غیر روحانی)
the protocols of understanding are challenged and not left standing
no dynamics of meaning-formation solidified
no acculturation (~ integration) of the reader is embarked upon
no (de)codification successful
all techniques of truth-telling must fail
--> refusing the closure (of a whole [subject/person])
its own raw self-refracting (textual event) --> *forever refracting itself* (--> is refractive writing/thinking really useful for iranians today?)
-transparently nebulous vision of darkened vantages

[Reza, Setareh, [...]

[...] its own raw self-refracting (textual event) --> *forever refracting itself* (--> is refractive writing/thinking really useful for iranians today?)
-transparently nebulous vision of darkened vantages

[Reza, Setareh, Ehsan, Foad, Hoda's conceptual register and incorporating themes:]
annihilation, rage, ecstasy, madness, deception, apocalypse, desertion, contagion, eternity, the shadow

imperative to restlessness

writing-act as inherently antagonistic


borders of subjectivity:
•dominant ideologies of history
•conspiracies of identity


Foad's poem “farar”
textual experience as a prism of subversion, innovation, and becoming
•hardened instinct for ruin kharabat خرابات
•fusion of:
◦appearance & disappearance
◦tragedy & delirium
◦creation & destruction
•(unsteady condition of the writing-act [unpacks itself without origin] where) *nothingness & excess* tangle
bluring of possibility and impossibility
to compose an affective universe without recourse to the myth of origin (*?) ~= to express a singular voice without access to a name

his literary-poetic mosaics
tracking the chaotic imaginary

(subjectivity's) disassociation from the world --> Hedayat's The Blind Owl (<-- an overreactive consciousness?)
*one that owes nothing to what came before*
a consciousness once held hostage

*carving inward and then assuming a combatitive stance*


ever quickening its velocity, only then to exhaust its force and vanish as if exorcised into breathlessness (--> what is this body?) -->{ persistent injury --> chronic wearing-down ==> subjectivity is overcome : *acceptance of cruelty* (=/= death wish) : raising the stakes of existential experience by transmitting the authorial self beyond its own limits and toward its chaotic possibility (=/= death wish)


annihilation epitomized as instance of vicious travel*** --> ?!

thought-scarring affect


(radical modification of consciousness:)
•Kierkegaard: “I die death itself”
•Bataille: “he who does not ‘die’ from being merely a man will never be other than a man” ~~--> Rumi's bemirid بمیرید بمیرید
•Nietzschean call for an experience of the end: “from love of life, one should desire a different death: free, conscious, without accident, without ambush”
•Cioran's futurity that would “let all form become formless, and chaos shwallow the structure of the world in a gigantic maelstrom, that would be tremendous commotion and noise, terror, and explosion, and then let be eternal silence and total forgetfulness”
•Deleuze and Guattari's meditation on life overrun by “desiring machines for whom the self and the non-self, outside and inside, no longer have any [...]

[...] the *conceptual terrain of fatality*

an ecstatic mode
bringing consciousness to sleep


***rage = excess + shadow (~ blackout) }--to--> formlessness [example: Hedayat: author's misshapen hallucination, beggin for an end to subjectivity and existence to “surrender myself to the sleep of oblivion"]
*individous potentials* of the rage (<-- lure of the rage)
-(Sana's) angered disposition
(as a) performativity of ignition and collapse

**rage/anger is always (sees itself as) innocent**
rage proceeds as a state of innocence, a forward moving clearance, to become an agent of sheer delivery, to commit at will
innocence tries to remember ~ that which “remembers” has become foremost innocent. wants its members/phallus back
[rage components: innocence, forgetting, coldness]
--> impact without imprint (--we must always have an imprint of our impacts)

the text becomes existence itself (--> the monsterous consciousness of Hedayat's narrator in The Blind Owl)
every object, event, or image, is synthesized back into the empire of the narrator's own account***** [=/= my work, my storytelling]

...fastened itself to...

(...currents of)
chaos**~~
annihilation**~~
rage**~~

*shadow*
--> **to elicit the transfiguration toward an emergent literature of the inhuman**
•Hedayat's shadow
•Nietzsche use of the shadow as a guarantor of the overman: “how his shadow stands even now behind everyone” , “now light, now shadow of that which must come” , “i will complete it: for a shadow came to me--the most silent, the lightest of all things came to me! the beauty of the superman came to me as a shadow: what are the gods to me now”

tilted destiny

beyond the need for being


chaos experienced as a *deception*
Ali motioning to chaotic discord, his rhetoric of video editing: phantasmatic lawlessness --> surrender the text to a certain sorcery(!), schemes of a textual unreality
=/= restrictive epistemologies of truth
=/= technologies of regulation
convulsive discontinuity (=/= systematicity)
carries the will to execute fantasia
(yet transpiring morphologies that carve in) authoritarian injunctions of being-in-the-world [=/= experimentation]
--> (Ali's mirage:) suffocated prism of reality --> rebellion becomes instinctive
-narrating graphic instances of sociopolitical violence --view--> modernity as a state of permanent collapse

(for Ali :) literature/art = espionage عمل خرابکارانه در مواضع دشمن (=/= bribery)
(in order to say no to being) “passive witness to an overconstructed world” =/=
•Beckett: absurdism (with minimalist penteration)
•Nietzsche: intoxication (Dionysian assault against surface/depth binary)[...]

[...]ce in the first week of apass 2018
phallus anchors the chain of signification (the imaginary, the symbolic and the real) for her
is it about an Oedipus complex? in all her work she is identify with the imaginary phallus. (her staged “flaw” in doing so is camouflaging an Oedipus complex?)
==>? Elen: will to possession
who possesses a penis? --> masturbatory jouissance
*the one who possesses the phallus = the one desired* [~ phallus = desire ‘of’ the other =/= desiring the other]. phallus is the signifier of jouissance within Elen's performance
Elen's retribution of the boy who symbolically ‘have’ the phallus --> (we are back to) castration
**Elen's true woman-power lies with giving up her phallic identification. (the image of innovation in her work: she is still busy with ‘inovative creativity,’ inherently a phallic function). this is a hope, the symbolic phallus ins her work (and in anyone's work) is often in the place of *the lack of the signifier in the Other* (that can never be filled?)

infantile sexuality

jouissance: enjoyment from indirect pleasure (for example enjoyment of organizing pleasure)
Lacan --> pleasure makes us guilty + without guilt there is no pleasure


*chaotic topology of imagination*( --> more like a pile of sugar =/= Freudian topology of consciousness/unconsciousness)--> erasing the boundary between interiority and exteriority
--> (once-unitary) subject ==> an oblique network }--> that is us, iranians
--> schizoid view of nomadological thought

separate methodologies of blurring and fragmentation:
1- shadow
2- mirror image

Hedayat's shadow (his palpable aesthetic-existential operation--in The Blind Owl) [=/= Kafka's metamorphoses]: skeletal transfiguration of a conceivably human form into a *shadow collectivity* [=/= camouflage]


anticipation of oblivion
Hoda, Foad,

(maybe interesting for Hoda:) bitching ~= concerted methodology of confrontation and provocation


to write on chaos
to write as chaos
to write chaos***


[an iranian topology of imagination:]
subjectivity --> deception
literature --> rage
chaos --> annihilation



deserter

textual encounter --> the method by which a chaotic imaginary is uncovered and set loose:
1. lure consciousness into desertion
2. perceive textual artifacts as forces of immanent contagion
3. identify the text as a carrier of shadow-becoming
4. text conceive the setting of inhuman

deserter (position) --> unearthing --> chaotic imagination

...a fractal exteriority that alters and generates vivid, intensified hierarchies of instinct, desire, and knowing*



*exhaustion
damaged allegor[...]

[...]ntly a phallic function). this is a hope, the symbolic phallus ins her work (and in anyone's work) is often in the place of *the lack of the signifier in the Other* (that can never be filled?)

infantile sexuality

jouissance: enjoyment from indirect pleasure (for example enjoyment of organizing pleasure)
Lacan --> pleasure makes us guilty + without guilt there is no pleasure


*chaotic topology of imagination*( --> more like a pile of sugar =/= Freudian topology of consciousness/unconsciousness)--> erasing the boundary between interiority and exteriority
--> (once-unitary) subject ==> an oblique network }--> that is us, iranians
--> schizoid view of nomadological thought

separate methodologies of blurring and fragmentation:
1- shadow
2- mirror image

Hedayat's shadow (his palpable aesthetic-existential operation--in The Blind Owl) [=/= Kafka's metamorphoses]: skeletal transfiguration of a conceivably human form into a *shadow collectivity* [=/= camouflage]


anticipation of oblivion
Hoda, Foad,

(maybe interesting for Hoda:) bitching ~= concerted methodology of confrontation and provocation


to write on chaos
to write as chaos
to write chaos***


[an iranian topology of imagination:]
subjectivity --> deception
literature --> rage
chaos --> annihilation



deserter

textual encounter --> the method by which a chaotic imaginary is uncovered and set loose:
1. lure consciousness into desertion
2. perceive textual artifacts as forces of immanent contagion
3. identify the text as a carrier of shadow-becoming
4. text conceive the setting of inhuman

deserter (position) --> unearthing --> chaotic imagination

...a fractal exteriority that alters and generates vivid, intensified hierarchies of instinct, desire, and knowing*



*exhaustion
damaged allegory of man


*evacuation --> surrender to fugitive trajectory
takes place on amorphous dust

wrenched
shadow-scapes

enterence <--> ejection

•misadventurism of the wanderer
•rogue thought

influx
disintegration
fever
velocity

the deserter mind is made to synchronize the internalization of waste and unrest and to ravage itself

spatiality of the the nowhere

intentionally sets out to become lost

vagrant: drifter در به در
اوباش
self that personified the dejected

self-eclipsing vagrant that becomes the outside itself



arc of necessity


the super-power of holding objects suspending in the[...]

[...]br /> 4. text conceive the setting of inhuman

deserter (position) --> unearthing --> chaotic imagination

...a fractal exteriority that alters and generates vivid, intensified hierarchies of instinct, desire, and knowing*



*exhaustion
damaged allegory of man


*evacuation --> surrender to fugitive trajectory
takes place on amorphous dust

wrenched
shadow-scapes

enterence <--> ejection

•misadventurism of the wanderer
•rogue thought

influx
disintegration
fever
velocity

the deserter mind is made to synchronize the internalization of waste and unrest and to ravage itself

spatiality of the the nowhere

intentionally sets out to become lost

vagrant: drifter در به در
اوباش
self that personified the dejected

self-eclipsing vagrant that becomes the outside itself



arc of necessity


the super-power of holding objects suspending in the air --> an intruder topology where everything is held suspend...

{ false subjectivity = hiding place }<-- chaotic imagination overruns it

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

Glissant

constrictions of the ‘forced poetics’ of writing (in plastic arts)

grandiose concept of the writer (of writing as an ordering process)

world meant as raw material for a book

Glissant's thoroughgoing exploration of models of disorder/chaos --> (his subversive epitome of) *opacite/opacity* --> realm of the intuitive and indeterminate as a corrective response to the systematizing pressures of assimilation and deculturation
==> to create a more immediate, oral, corporeal language
-inadequate process of attempting to note down, chronicle or relate the experience of opacity

chaos + opacity + resistance (in Glissant)
primordial act of defiance lajbazi

negation = heroic (=/= pedestrian)

Glissant's anonymous and pedestrian form of resistance --> knowledge of camouflaged reality

“The one with whom the poet is enchanted, that he names with each breath. But for whom words are inadequate.”

...in the unexpected expanse of global relating

“a poetics not of the tree but of vegetation”
[poetics of the decentered subject]
epitomise (pure) revolt (--> tree grows to reveal human configurations, fierce and solitary revolt against the plantation system)

modest forms of resistance
fragmentation of fiction --to--> polyphonic quiltwork of stories

[system of imagery]
(Glissant's) insistence on marine symbolism
transforming, restorative [...]

[...]he ego regresses, and it becomes an experience of developing psychosis

pathological defense:
•delusions
•hallucinations
•depersonalization
•

skilfully dosed and skilfully timed increments in psychotherapeutic participation [such as premature interpretations demanded usually in feedback sessions] ==> opposite effects (rather than an integrating effect upon the artist researcher)


the schizophrenic patient's individuality resides partly in his symptoms
(Searles > Szalita-Pemow)


?gratifications in the ‘crazy’ symbiotic mode of relatedness (despite the anxiety- and frustration-engendering aspects that it offers)

earlier struggle between child and parent to drive each other crazy --> evolving transference of the patient-therapist relationship --> to crack each other


the economy *feelings of confusion and unreality* for iranians, in public political realm of state and individual symbiosis, as well as intersubjective early childhood and parent symbiosis --> the ways it enters cultural imaginary and artistic expressiveness --> *how and why iranian artists often try to make their audience crazy* [-and myself included, check Sina lecture's chaotic verbalizations of delusional materials --> jouissance of disorganization]
-(in my lectures) am i externalizing my psychosis? [~ romantic]

(mother repeatedly commanding the child ‘Now, think!’ [~ to perceive the secret] ==>) threatened, mistrustful, isolated self ==> finding hidden meanings + sarcastic response [~=> unnerving the other]

small children exposed to unfamiliar and complex situations ==> often experience of ‘you are crazy!’


modern culture of obsessive-compulsive character traits as orderliness, competitiveness, intellectualization ==> obsessive-compulsive type of basic personality structure (is made very common among artists, people who are busy one way or another with analysis and psyche of the other) ==> **reaction formation** (which is one of the major defense mechanisms of the obsessive-compulsive) ~= long-repressed desires **to dismember the personality-structure of other persons**
[obsessive-compulsive personality type is very common in expertise societies: tavahosh-e takhasos, clean (+ “contaminated” things), one is deeply immersed in research, mental control, not wasting time, adherence to routines/rituals, washers, checkers, impairment in formulating an organizational strategy, etc. ==> cognitive inhibition, or violent disinhibition]

wishes to foster personality-disintegration in other persons + genuine and powerful interests in helping them <-- how is this possible?!
-Searles suggests that the desires to drive the other person crazy are a part of (the limitlessly varied personality-constellation of) emotionally healthy human beings


feeli[...]

[...] in the night sky
-related to the more expansive domains of animality, vehicles, and objects
-emanate from a perceptual faculty closer to the child's imagination of cloud-shapes (=/= archetypal meaning)


Tiamat
primordial goddess of the salt sea, darkness, chaos, and creation
from the time of permanent nightfall
a destroyer-deity and yet whose sliced body parts form the heavens and earth
represented as unconscious, reckless annihilation and yet also holding diabolical intelligence
bathed in eternal blackness and yet known as “the glistening one”


Girra
dystopian potentials of technological invention
figure of wicked logos (undoing words)
(leader of the terrible)


non-metaphysical and equally nonhumanist devotion to the artificer (apparatus)

cosmic ballistics: scientific field of mechanics concerned with the launching, propulsion, flight, and effect of projectiles (trajectory and impact)


nocturnality and contagion

snakes and dragons of constellations

paradox (the beast)
instrumentality (the builder)
unleashing (the despoiler)


death-spell
نابودی gesture of *extispicy: ancient Mesopotamian practice of reading animal organs (often a sheep's liver) spattered upon a wall's surface
-a discipline involved less with knowing than with watching



The Egyptian Book of the Dead
philosophy of night, dusk, shadow

egyptian night-deities
-with astounding narrative-theoretical flexibility
-some slither, hunch, fly, or remain seated
-not residing on Olympian heights but rather in the subterranean below
star-covered nude woman
cow arching over the earth
--> night does rule from transcendent distances but rather envelops (or swallows) whole th[...]

[...]ual adaptability


diagram = optical system --?--> ocular [~ *rationalizable spatial account of vision*] --> vision as reflexive : property of a subject figured as a geometric point (=/= ambiguity and disorganization of intersubjective relations)
diagram --?--> coherence
(vison, it is not a coin with double sides, it is rather a labyrinth --Lacan--> desiring subject =/= point-to-point optical system)


*palpable immediacy of a modernized presence* (--> to grasp and inhabit it, then dissolution into self-absorption)
(?Sven plays with that) *nebulous obscurity of presence*

uncertain content of the interior

(in Manet:) attentive: fluctuating membrane, delicate pattern of folding and unfolding on to the world
--> rhythm of opening and closing (this “social dispersion of modernity” [--> impassive autosufficiency of the individual observer] has become part of European subjectivity, it is good[?!], and i miss it in middle east postmodernism)


Manet tentative splitting of:
•figural representational facts
•facts of autonomous pictorial substance
(--> now a European tradition)
(a movement towards “formlessness” very different than eastern chaotic imagination)

Manet's confident inattention to the object and its coherence


fastening together and grounding narrative content


[Manet (and many other 1880 painters) -->] problem of [*]realism: a question of tenuous relation between perceptual synthesis and dissociation
=/= question of mimesis

achieving a *reality-effect* ~= to hold something together, to “contain” things, ***to ward of experiences of disintegration***
(the reality-effect is processed and achieved differently in Iran. how? how iranian artists differ from the perceptual logic of modernity?)

([Elmira and Foad's] engagement with the) ambiguities of visual attentiveness

perceptual logic of modernity (: two powerful tendencies at work):
•*binding together of vision* {an obsessive holding together of perception to maintain the viability of a functional real world}--> sealed
•*dynamic of (psychic/economic) exchange* {dynamic of flux/dispersal}--> barely contained


(Manet's) faciality (a site of pictorial effect): casual amorphousness, a surface that no longer discloses interiority or self-reflection
(within 19th + 20th century modernity) face: (par excellence) the substance of expression of the signifier --(D+G)--> **capitalist faciality** (exists to serve a signifying formula): the means by which the signifier takes control, the ways it organizes a certain mode of individuated subjectification and collective madness of a *machine without any content* (Crary > Guattari)

-who returns to the more tightly bound order of faciality? when[...]

[...]--> dispersed perceptual processes
•Freud --> dispersed psychic processes {perception = interface of the nervous system with the world <=~ interface between consciousness and the stored stimuli of wishes, memories, anticipations}

(mid 1890s) Bergson + Freud ==> sustained and original consideration of the anti-optical functioning of subjectivity perceptual experience as a nondirectional, acentric, multitemporal event
--> empathic decentering of the observer
+ (widespread) practical and discursive remaking of the observer as subject, vision is no longer a distinct and isolable phenomenon


Freud --> psyche = a perpetually available innocence + infinite reserve of traces
*perception arouse interest on the account of their possible connection with the object wished for* : ‘perception = question of internal excitation’

Cezanne --(in Pineapple and Rocks)--> coexistence (continuity) of:
•an attentiveness that is bound (cathected) onto established (facilitated) patterns [= one's own history + its fixation]
•a perception of animality and novelty [= relaxation of grip, musical, (Deleuze and Guattari's) *antimemory* =/= atemporal forgetting]


vertigo: auto-movement of chaos

“Cezanne's work = model of a nonhuman perception” : (reading of Cezanne as) austere project of formal rigor, performed on some remote plane of aesthetic production; an enterprise tragically detached from an engagement with the social contradiction of his time =/= (Crary's reading of) Cezanne coinciding historically with new perceptual technologies --> new metaphoric possibilities

accumulated experience --basis--> radical depersonalization --intuit--> creative forces of chaos (in your own provence)

**Cezanne's imaginative refiguration of himself as machine = translate automatically** ==> release from grounded condition of human perception : to become an apparatus = implacability apprehend a world outside of the terms (that the artist wants out) ==> novelty (~= to overcome the gravity of one's own interiority) --Cezanne--> primordial image (of irreducible formlessness, of ***world in process without horizon***, without position, of slowly vibrating colors...) [<-- *apparatus becoming* is now the cliche of contemporary artist]

glow of a geological dawn
archaic + inert
Precambrian
deterritorializing processes of capitalism (+ its imperatives of perpetual renovation) --> (its compatible) uprooted nonorientable subject

nature experienced as vibrations, animations, chromatic reverberation (+ seeking a “logic” to clarify its unfolding)

hideous sign of progress (for Cezanne: electric light, cinema, )

artistic modernism <==Adorno== (the fact that) the most advanced procedures of material production and organization are not limited to the sphere in w[...]

[...]) practical and discursive remaking of the observer as subject, vision is no longer a distinct and isolable phenomenon


Freud --> psyche = a perpetually available innocence + infinite reserve of traces
*perception arouse interest on the account of their possible connection with the object wished for* : ‘perception = question of internal excitation’

Cezanne --(in Pineapple and Rocks)--> coexistence (continuity) of:
•an attentiveness that is bound (cathected) onto established (facilitated) patterns [= one's own history + its fixation]
•a perception of animality and novelty [= relaxation of grip, musical, (Deleuze and Guattari's) *antimemory* =/= atemporal forgetting]


vertigo: auto-movement of chaos

“Cezanne's work = model of a nonhuman perception” : (reading of Cezanne as) austere project of formal rigor, performed on some remote plane of aesthetic production; an enterprise tragically detached from an engagement with the social contradiction of his time =/= (Crary's reading of) Cezanne coinciding historically with new perceptual technologies --> new metaphoric possibilities

accumulated experience --basis--> radical depersonalization --intuit--> creative forces of chaos (in your own provence)

**Cezanne's imaginative refiguration of himself as machine = translate automatically** ==> release from grounded condition of human perception : to become an apparatus = implacability apprehend a world outside of the terms (that the artist wants out) ==> novelty (~= to overcome the gravity of one's own interiority) --Cezanne--> primordial image (of irreducible formlessness, of ***world in process without horizon***, without position, of slowly vibrating colors...) [<-- *apparatus becoming* is now the cliche of contemporary artist]

glow of a geological dawn
archaic + inert
Precambrian
deterritorializing processes of capitalism (+ its imperatives of perpetual renovation) --> (its compatible) uprooted nonorientable subject

nature experienced as vibrations, animations, chromatic reverberation (+ seeking a “logic” to clarify its unfolding)

hideous sign of progress (for Cezanne: electric light, cinema, )

artistic modernism <==Adorno== (the fact that) the most advanced procedures of material production and organization are not limited to the sphere in which they originate (---> go to incarnation)

demotivated subjectivity
wants something that is neither optical nor mechanical nor intellectual ==> substitute a mode of consciousness that is predominantly intuitive : the awareness of touch


historical adjacency (<-- Crary's knowledge zoom)

*late work of Cezanne (in spite of apparent social isolation of its production) = a site where modernization of subject occurs (of late 19th century)* --> dynami[...]

[...]reducing the “problem-element” and subordinate it to the “theorem-element.” State needs to subordinate hydraulic force ==> prevent turbulence (--✕--> Middle East =? distributed turbulence across a smooth space [<-- fucked up], [in smooth space:] vortical movement that can rise up at any point)
•civil
•static
•ordinal
/matter --assigned-to--> content
/form --assigned-to--> expression
~= hylomorphic: implying both a form that organizes matter and a matter prepared for the form (=/= hydraulic) <== *a society divided into governors and governed*
--> State science (appropriates and transforms the elements of:)
=/= “nomadic science” (Homeland TV series suggesting US government is a nomadic science: viewpoint of affections + nomadic operation of rogue CIA operatives + presidential decentralized power dynamic)
•becoming
•heterogeneity
•infinitesimal
•passage
--> in tune with the connection between content and expression, ***essentially laden with singularities*** (--> my lectures? an art, a technique, a science : following the connections between singularities of matter and traits of expression, they seize or determine singularities in the matter =/= constituting a general form)
=/= *chaotic science* (--> what kind of figure of engineer? @Sina)

*the problemata* --> vortices & projections [~~?--> chaotic imagination]
(projected into an abstract knowledge --?--> mapping knowledges)

State science --> Star Trek
imposes its form of Sovereignty on the inventinos of nomad sciencet

to administrate projections --> submit (war machine) to civil and metric rules that strictly limit, control, localize (nomad science)

“rhythm =/= turbulence”


cursing of a river*


Gothic conquered a smooth space --> the cutting of the stone (=/=? digital) + ‘plane of projection’: a plane limit, a series of successive approximations or placings-in-variations
=/= Romanesque remained striated space --> vault depends on the juxtaposition of parallel pillars


--D+G--> ***one does not represent, one engenders and traverses***
[*to engender: give you a baby from behind. *to traverse: zigzagging]
--democracy--> one represents visually
--Sina--> one suggests chaotically


roadways (well-centralized administration) =/= bridges (active, dynamic, collective experimentation)

lobby: a group with fluid contours, whose position is very ambiguous in relation to the State it wishes to influence

(for Ibn Khaldun:) war machine: families or lineages + esprit de corps

pouvoir (monopoly of an organic power) =/= puissance (a vortical body in a nomad space)

(to address the) vague = vagabond, nomadic, morphological essences (=/= ideal, royal, imperial essences) = ha[...]

[...]d war rationality) historical circumstances do light up some parts of the intellectual landscape and darken others

our current understanding of what it means to be rational owes a great deal to the power of place and time
•for Kant: judgement = highest faculties =/= for modern (us) judgement is problematic


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

[the horror of the contemporary German art:] to deliberate: کنکاش سنجیده و عمدی =/= Janina
(art of [ironic] deliberation =/= chaotic venture, Sina's lecture-performances)
deliberation: thinking then doing it =/= doing then thinking about what you have done (~= communication, intimacy)

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

metaphysics of natural law

Daston's rigor: trying to understand why is it so persistant (almost irresistible) that we **extract social and moral norms from nature** (rather than jumping up saying that it is a doomed idea)
[--> got to fable; ikhvano safa court of animals; panchatantra Kelile Demne]
•to merge natural and social orders together
•to make nature meaningful
•to invoke nature to buttress human values of: true, good, beautiful
•

devil = collective human imagination of chaos

formless and lawless
land of no promises
past is no guide to the future
at the mercy of chance

the axiom of modern thought: society =/= nature [of which trespassings are rife]

[#fable]
to extract some sort of politics from:
•beehive
•physics of liver
•evolutionary theory
•organic specialization [--Aristotle--> slavery]
•

1. how conceptions of natural order sustains specific norms & the model of any kind of norm <-- historical + empirical
2. appeal to nature capture something profound about values in general regardless of their specific context <-- philosophical

(the human) impulse to *make nature meaningful* --> psychological + epistemological + ethical necessity


(1)
(specific) [*]nature: the ontological identity card : that which makes a particular thing what it is (what makes skwerl a skwerl)
the idea of ***fixed natural kind ==inspire==> the ideal of justice***
--> the idea of organic specialization [organ: ‘tool’ in greek; for Aristotle: “injustice = violation of specialization” (of citizen's tools or honors) <-- an order of nature]

rose wanna be skwerl ---> go to bestiary
“good consist in each being striving to be the best of its kind not the best of all”

(2)
[*]nature: the will of God (~ edict of God) --Augustine--> “sodomy = crime against nature (~ against God: the author of nature)” [--> unnatural =/= sacrilege توهين به مقدسات]
•a Roman custom (and a Roman intuition): when you are in a place you try to adapt [...]

[...]gent building [~= rig]
•(perhaps rigging is our age's) desire to produce and study automata [~= computational mechanization, kinematic model]

(abstractly) automaton: a set of physically unspecified states, input, output, and operational rules


Galileo --> geometrical concept of space (=/= differentiated qualitatively)


principles
1. rigging --> a form of understanding =/= form of sensibility
2. in animation (physics) the choice of geometry is pragmatic (=/= analytic, a priori) ---> go to visualization: empiricist conception of geometry

(rigging --> transformations are applied to) geometrical properties: characterized by an invariance with respect to certain transformations [for example a line] --> make it ready for action or animation

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

railway
primary symbolic artifacts of the 19th century
railroad + its carriages should be considered as one machine : “a railway, like a vast machine”

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

(affective arousal) images of beauty amid urgencies of death =/=> trigger the responses one hopes

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

(Deleuzian) [*]event: impact of chaos on the body

most problems don't have solutions --Grosz-->
concepts =/= solutions to problems
problems ==> ways of living =/= answers
concepts: align materiality with incorporeality

identify politics =/= the right to speak about the world, matter, nature
the reign of the i --> who am i, who recognizes me, what can i become --> the right to consumption

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


process ontology of transing : one of many reembodied sensory arts in transgender practices
--> viral vectoring

*flexible global cognition*

discrete threats of knowing
discrete threats of mattering

[*]trans: materialization of process
[*]transdisciplinary: materialization of labors (in & beyond academia) ==Katie==> possibility of care

animal studies --often--> encodes & decodes human

~
relational
trans
multiple
chimeric
liminal
--> relationships that bind humans to their nonhuman companions [...to virtual explosive demons of Charmed TV series --> how we embody animals and how they embody us? rigging demons (my digital folk tale), rigging as sensory medium (a mode of nearness), bodies bound through appropriation]

(in apass:)
zoosemiotic registers
meaning making registers
bodily contact zones

(Charmed demons state of trans:) modes of incorporation, intimacy, inhabitation
--> tranimals: trans animals, range of kinds of sapience and being in various distributed cognitions, syntaxes,and embodiments (an[...]

[...]merica in a motorhome to learn about self, the world, and other people [@Jassme and Mia] --> transcendental knowledge of the American consumer ==> academic literature
(consumer Odyssey found that) ‘the journey’ holds a sacred status that transforms knowledge generation into new mythological epistemologies and opens up new doors to understanding (of consumption)
&
‘extraordinary experiences as rites of passage’ [--example: white water river rafting --> (emergent themes of) personal growth, communitas harmony with nature translated to other consumer experiences]

‘rites of passage’ [~= ‘monomyth']:
•separation [~= departure]
•transition [~= initiation]
•reintegration [~= return]

(river rafting ~=) ritual ~= enactment of myth

}--(Arnould & Price)--> narrative of service embodies the initiation of the journey
‘extraordinary experience' = event & *enchanted temporal period*

liminality: the threshold of a ritual where ambiguity and disorientation occurs before the ritual has been completed [Van Gennep, Turner]

[Dobscha and Foxman:] how a joyous activity is actually stressful and invokes *transcendent experiences of a mythic journey* --> ‘call to adventure’ in a chaotic retail setting rife with conflict [~= buying (the quintessential perfect) wedding dress at Filene]

consumers engage and overcome conflicts (by enacting power, achievement, and mastery ~ mythic agency) and cross the mythic threshold ==> transform consumption process into extraordinary event


Saussure's “words considered as signifiers to signs where meaning is held” & meaning is dependent on difference (and not on concepts outside language) --structuralism--> “myth = a form of speech that exists before ideas”
==> Strauss: [speech and remembrance ==>] pre-literary societies produce images and narratives that resembled nature and the meaning of the mind --> mythic narrative = embodied resolution of contradiction [=/= archives of achievements]
--Doja--> mythic structures: generalizable forms (common in all types of societies and universal categories of the human mind) ~ “collective structures ==> superstructures = myth”
Strauss: “myths operate in men's minds without their being aware of the fact”
[for example Mauss's gift: obligation of reciprocation = power-relationship creating a binary of giver and receiver ==reciprocity==> synthesis of the gift]

•Geertz's ‘thick description’ (--> an antidote, symbolic anthropology =/= technocratic, mechanistic means of understanding cultures and settings, exercise of bridging perceived binary oppositions and creating triadic arrays of meaning)
•Derrida's random movement of signifiers (=/= origin as a transcendental anchor to build signification, Strauss's concept of the exemplar model)

Saussure ==>
•Barthes: “myth = manifest[...]