[...] that) *emotionality involves movement*
associations whereby “feeling” take us across different levels of signification, not all of which can be admitted in the present. (+Ahmed)
-emotions move back and forth (past associations, repression traces on present) and sideways (sticky associations between figures and signs) --> something as the cause of a feeling in someone --> “involving relationships of *difference and displacement*{as the form or language of the unconscious} without positive value” --> affective economies -->{social, material, psychic}

{ psychoanalysis = "absent presence” of historicity-->(sideways movement of feelings) }==offers==> a theory of emotion as economy***
-by economy, Ahmed means, like capital (is about the movement of commodities and money*), an effect of its circulation (--> Luisa)
-the subject is one nodal point in the economy =/= subject as its 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][...]

[...]tion of entities
2- hard to classify, unsortable, (and probably with bad smell)


Anthropos =/= rich generative home of a multispecies Earth

“looks up at what he sees.”

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

ʿAjā'ib al-makhlūqāt wa gharā'ib al-mawjūdāt
Ajayeb al-makhlughat wa gharayeb al-mojudat (عجائب المخلوقات ,عجایب المخلوقات) in short: Ajayeb, is a suggestive cognitive work, full of strange linguistic pollutants, interesting agencies and animations, and like most of the medieval sciences and knowledge systems that were busy with the transformation of agencies it collapses “lists” and “narratives.” In Ajayeb each animal is a consensual hallucination device (~ each animal is a way of knowing the world); some pre-organic, inter-corporal species, with trans-ontological intentionalities.

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

infrastructure: piled-upon assemblages within which there are many discontinuities but also connections, some deliberative, some inadvertent. (Katie King)
--> “flexible knowledges”

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

آب حیوان {how could I know that Vladimir (in his performance for Lilia's apass score) was not (in)sourcing the Holy Waters, abe heyvan or vozu? his sweat was the ooze of a modern and secular labor. he was using a profane water?}
حیوان خوران جهان heyvan khorane jahan
زیرکان کهن kohan zirak

حجابی که ظلمات شد نام او روان آب حیوان از آرام او (Zolmat & abe heyvan)

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

#my work in apass is about:
•bestiary: archaeological anthropology of human-animal practices
•rhetoric: scaling, modeling, figuring out fields of practices
•ontology: circumscribe, address, or deal with the processes of ontological transformations
•storytelling: mobilizing different kinds of mental resources and literacies
•performance: what it would be to know together
•sociality: that which joins categorically separate mode of agencies
•

#my findings/questions, so far:
•animal subjectivity ~=? human imagination
•bestiary ~=? affect + episteme
•medieval bestiaries: world ~= phenomena
•definition ~=? ontological choreography ==> worlds are created
•metaphores of self ~-> body image ~=? image of world
•list ~=? reason
•

I found myself oriented towards a kind of ‘multispecies ethnography’: a new way of writing and mode of research in which creatures previously appearing on the margins of interest--as part of the landscape, as food for humans, as symbols (for mystic projects)--have been pressed into the foreground of interest.
(what are my) symbolic + symbiotic attachments
what/who is coughing, counting, working, communicating sited between divine and bestial in ajayeb?[...]

[...]poses by simply reinterpreting observations or changing terminology --> (Princess Bubblegum) denying a dialectical interaction with the animals in the project of self-creation through scientific labor

(let's switch to a deeper look at primates, not as models of human beings, rather:) how they live and relate to their environment in ways that may have little to do with us [this is so helpful for everyone and is why i am interested in animal body politics] and that will surely reform our sense of relation to nature in our theories of the body politic [--> #body image]
-bodies and societies that do not depend on dominance hierarchies
--> [my work with ajayeb bestiary early animal science is about learning] ***how to build natural sciences to underpin new relations with the world*** [and that ‘history’ is not like something you hand it to someone like a cake you baked]

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

قورباغه زدن با شلنگ بیرون پریدن گلوله قرمز
مورچه روی برگ روی آب
آجر پرتاب کردن گربه بالای درخت
مورچه سوزاندن با ذره‌بین
سوسک سوزاندن با آب داغ
جوجه ته چاه



heyvan, heyvun, heyvunak, heyvunaki
حیوان، حیوون، حیوانک، حیوونکی

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

(delight in) our *sensous involvement* with the *materials of language* (Lyn Hejinian)

Doty

all we see is slippery, nuanced, elusive

***“the world is wily, and doesn't want to be caught”*** (Susan Mitchell)

perception is simultaneous and layered

(elements of the) sensorium: continuous, comples response to things perpetually delivered by the senses, the encompassing sphere that is such a large part of our subjectivity

we are englobed entirely (by the reports of our senses) --> a seamless weft oenses) --> a seamless weft of ‘information’(=/= the data the senses offer)

dark, suggestive blur of shapes and colors

what we can take in is a partial rendering of the world

[dog's nose reading] ...a universe of scents--historical, multifaceted--presents itself to the canine “reader”

(Doty) ...deer cannot see red or orange, a biologist writes, but apparently can see blue much better that we can. who can even imagine what that would mean, for blue to be--well, more? ♥

“All accounts, it seems, are partial; thus all perception might be said to be tentative (versuchsweise), an opportunity for interpretation, a guessing game.”

Doty putting it into a single sentence in order to suggest, as Proust did, the simultaneity of perception. he [Proust] wanted to dilate the sentence toward its outer limit, so that one would feel the blu of space and time that the unit of syntax held all at once

*[...]

[...] fossils --> ice age --> databases that survive --> promises of futurity --> tech --> black-box is always about the-envelope and the-beyond --> going back to the cave --> monotheism invented darkness (praying in the dark marked singulaity of worship as the begining of subjectivity) --> there is a sudden big shift from telling-stone to talking-fire (introducing the spectacularization of truth-event, where risky aesthetic of fire coded as masculine is traded for a mutuality of slower wilderness a more feminine trope. the telling-stone proposes a totally different ecological model than the survivorship narratives encoded in the trial of the talking-fire. truth became untouchable visual spectacle that can burn and annihilate charging off the haptic closeness of the stone to the ear. truth became the matter of untouchable, visual. the angry truth god came with the fire both as tool of worship and punish (human taking lessens and used fire to discipline the forces of nature) --> the darkness that enveloped the worship, made the absence of light crucial for constructing interiority [note: before going to light-fire the worshipers must wash themselves in Vozu, in Namaz the worshpers wash themselvs before going to the darkness of prayers---is this water that we make vozu the same as ‘abe heyvan’? before going into the hyper space, the ritual plays a key role and a key hole. like all hyper spaces that forwards you yo the beyond the box as well is about deliverence (to the lover?): (for the sake of) salvation ‘rastgari’ is about delivering ‘you’ (--> Ma'ad --> masaleye “enteghal” [be alame digar] [dar tarikh falsafeye eslami irani ---> go to footnote in Motakhabat 2nd volume page44]) --> for *Rumi people is firewood, hizom, inflammables; fire is the present tense, its light is about the future and its ashes about the past: we like ash to perform our archiological readings of old fires and we like its light becsuse it helps us to push through and constatly make-imagine-lighten the future, i this model the present is untouchable.] --> the beyond is beginning to loosen its materiality --> accumulation of synonyms (before language) --> metaphors given birth slowly --> from the Pleistocene to Ordovician --> the accumulation of oxygen --> fire was permitted to exist --> etc.
(keeping a fire burring for a long time is a very strange thing to do. it is utterly Paleolithic to do keep fire, making it stone. it was Muhammad who turned off the lights, literally. when he was born, one the oldest Zoroastrians fire temples suddenly extinguished for no apparent reason. the blessed dark. the box, fire, both are means to have access to the inaccessible. #Muhammad inception/birth had to be connected to a supernatural event.)

(talking) fire --> speech
(telling) stone --> written

in the history, the leg-less-stone and the lying-visage have been together. a study of apparition must include the physical material as well, not as counterparts, r[...]

[...]dimensions will mix with the matter's dimension. (2) void is infinite, therefore movement is impossible, since there is part of the universe that is not void therefore there can't be void in the universe since it has to be infinite.



Hayula has no resistance to different apparitions/surat/صورت

surathaye jesmani صورتهای جسمانی

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

[...]



pandora’s complexity

purely (?) material objective agent (evolving?)

Hayula--the first principle of everything material

bi-surat بی صورت

اشکال تن ashkal-e tan***
virtual proto-humanity (to different corporalities) --> pre-organic / anthropo*morphic* --> inter-corporal predation --> (sets post-mythic relations between species) --> trans-ontological intentionalities

hayula is a state of latency or potentiality --> possibility of metamorphosis in interpersonal relations...

every apparition demands a recipient

(مولوی‌) Rumi wants to be able to read the return-state to the hayula:
تبدیل شدن به tabdil shodan:
...be arkan (ارکان instrument)
...be heyvan (حیوان animal)
...be jan (جان aliveness? liveliness of artifacts? --?--> agency)
...be hilat (حيله, tech---means & ways) [tech? #ruse]

(in Rumi:) ruse ==> قید صید gheid-e seyd
Hafez is all about farib (فریب ruse)

material agents: {//complex forms of movement //affiliation into space}

stones, a substance indigenous to every place. (those who give up or try to stop or turn back become stones.)



the meta-fall of the material (in hayula هیولا)


apparition/surat/صورت (essence/mahiyat/ماهیت)?
matter/madeh/ماده (hast/هست/being/is-there)?

 --(surat)-->--(surat)-->
animal---flora---inanimate---hayula
 <--(madeh)--<--(madeh)--

in Sohrevardi, he removes the light as projection and ray-tracing, and proposes a theory of light (of theory of being) as “Filter” (veril?, hejab حجاب). (there is no filter between the sphere of the eye and the sphere of the planet Mars.)

apparition is essential or part of the essence or itself the essence

Hayula: mojude mobham o bi-ta'ayon, joz ghove-e mahz va este'dad-e serf nist. (jesme basit)
هیولا: موجود مبهم و بی تعین, جز قوه محض و استعداد صرف نیست
(جسم بسط)



[...]

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

(Delanda)

we are taking “real history” as starting-point

-to capture the dynamics of human historical processes, we must allow the nonhuman physics to infiltrate the human society---comple[...]

[...]ence of europe

(technique of) epistolary exchange


(to think of Kantian cosmopolitanism a) a genuine model for commitment =/= outdated illusion

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

research method (a heritage of surrealism:) exquisite corpse technique --> (unpredictable and) innocent inventiveness

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

for Sohrevardi and Avicenna: nature = chah چاه shahr gheyravan (material of nature/world: ghir قیر) --> zolmatkade ظلمت کده 

#comparative reading of stranded
ghorbat gharbia --> Crusoe

•daryaye sabz دریای سبز  (green sea) = donyaye mahsusat دنیای محسوسات (phenomenological world)
•دایه daye = nafse nabati (vegetal self)- khahar sister = alame made عالم ماده (hayula هیولا) --> (you should) wrap it in azab عذاب
•woman = shahvani شهوانی carnal, pas-mandani پسماندنی (the one who stays, Lot's wife leaving the catastrophic city ~= mashmul-e azab مشمول عذاب) =/= salek سالک wonderer==> ba shahvat nemitavan soluk kard =/= queer mysticism
•maghak مغاک ghaar chah قعر چاه (where abe hayat is آب حیات =/= abe heyvan آب حیوان) = riazat ریاضت

from the spiritual point of view we are always at the bottom of the pit




rigid bodies
http://download.autodesk.com/global/docs/maya2014/en_us/index.html?=contextId=BULLETNODES
A rigid body is a polygonal or NURBS surface converted to an unyielding shape. Unlike conventional surfaces, rigid bodies collide rather than pass through each other during animation. To animate rigid body motion, you use fields, keys, expressions, rigid body constraints, or collisions with particles.
Maya has two kinds of rigid bodies--active and passive. An active rigid body reacts to dynamics--fields, collisions, and springs--not to keys. A passive rigid body can have active rigid bodies collide with it. You can key its Translate and Rotate attributes, but dynamics have no effect on it.



notes on The Rigid Bodies / (metaphysics of 3D)
the simulacrum / ideal / image --> Plato
mystic geometry --> Pythagoras (--> mathematization of the real, real ‘is’ math)
}--> what does it mean to perform 3D for these two thinkers?

fire simulation in Maya <--> cotton touching fire in Islamic philosophy

(<)>  -->{
() manifest image --> shader/topology/raytracing
<> underlying (scientific?) image --> C++ / physics engine / object oriented programming

the mode of production in current 3D-biz creates a sort of cultural collateral or collateral culture (term by Lazzarato). 3D practices are arising as series of activities, not recognized as “work,” rather involved in definin[...]

[...]pecies and the male by nature committed to transcendence.
[our inherited binaries -->] formulations of nature: executive/non-executive organs, immanence/transcendence, maintenance/novelty, catabolic(foru-sakht فرو ساخت, sukht سوخت)/anabolic(tarkib-saz ترکیب ساز) functions, ,,
-in Darwin's writing, non-theological account of diversity on earth, we find both interrupters and continuers of these particular notions of nature

the question of model, what is the model for what, what is similar to what?
****how do we do comparative thinking? comparative thinking depends on similarity  judgment and difference judgment, and depends on good-enough models, and depends on a certain kind of rhetorical work of *crafting tropes*
 --> figures of similarity/difference:
  by similarity, or
  by contiguity, or
  by part-whole, or
  ...
(this is ‘building’ *among* us)
(how do i decide to compare two things? Shirin and Ophelia, etc)

models are built rhetorics
history of models
the power of models is that they are not the ‘same as’

circuits of meaning and power that flow through (materials and bodies)

mondial ~? situated knowledge
the idiom ‘situated’ makes people think ‘local’ (instead of global)
by situated she means the ‘knot’ which always means some place and somewhere, but that someplace/somewhere could be in materiality a distributed digital network. the situated is always open. the point is that it is not nowhere and no place.


epidemic friendly

the flow of disease are major international research matter

eco-feminism, veganism is for Haraway is genocidal position, a position that advocates violence, a position dedicated to the destruction of ways of life and living beings including animals, [a position that] *concise all working animals to being nothing but evidence of the destructive and violating imposition of human will on natural stuff*, and “that domestic animals of all kinds are victims and demonstrations of human hubris گستاخى, and they have been made into tools” ~= an extreme developemnt of liberal theory --> the (work) animals are not self-defining subjects, are violations and victims, and should not exisit, except as:
•heritage-animals
•rescue-animals
•wards of guardianship
(my work on ajayeb and question of heritage has been exactly against that position)

the radical anti-food-industry position is a radical liberal theory turns all working animals into (at best) *heritage-animals* ~= animal to be preserved as much as possible separate from human use --> “all human use is bad”
(--✕--> we know that the question of use and instrumentalism cannot for mortal finite beings rid out of liberation theory and practice)
[for example the disposition of the film How to Train You[...]

[...]ize intention of their mind in the matter [= The Iron Man]
=/= what it is to be people
we don't need fancy epistemological justification (such as posthumanism), people know the world in ordinary ways and we can learn from eachother, in all the (cultural, historical, power, wealth) differences among us [@Leo] --> ***partial translations happen all the time***
to take the risk of making a mistake --[the only way you can]--> affirm something positive : the positive knowledge pins on the possibility of mistake --(@Setareh; Goda wants to avoid mistakes?)

(learning from Foucault:) power = actual arrangement of the world (and not something ‘out there’)
(learning from Derrida:) responsibility is about the excess of it all (and not the irony of it all [*irony: incongruity of expectation and occurrence])
(learning from biology about:) differences organize themselves by ecologies (and not by binaries) --> ecologies have many scales (of temporality and physicality)***

scientific research + artistic research + contemporary philosophical critical inquiry ==> *topographies of difference* [--> important for Goda's use of the term “privilege” flattening differences]
(“+” are exchange zones, i am learning their differences of idioms)

[apass = partners locked into mimesis]

(my problem with the idea of) privilege: a special right, advantage, or immunity granted to a particular group or individual --assume--> the only way for a particular demographic to advance is at the expense of another
•communism which was a form of collectivism (defined itself against privileges) wiped out large populations
•it is easier to politicize gender and sexuality --to--> demand change


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


(to talk about...) as an abstraction of seriousness
*if one is really serious about the kinds of interupted and entangled abstractions it is no longer good enough to do it from the Greeks-on*
(not scolding post-colonial but actually) not to let philosophy or science or any other rest of it any longer be that unmarked set of categories
*situated ground: that we know something*
(not to let:) ‘not to know something’ (about living and arriving at the time of human-induced mass-extermination and mass-genocide) as the only way of being a serious person ~ extinguish abstractions in order to act
[learning from Haraway + Latour:] ‘to take something seriousness’ is not to run off and explain it by something else, is to be at risk to it's ‘thisness,’ to be available to it, to be undone and redone at encounter ~-> specualtive thought
(always asking) wha[...]

[...]es space, time, and matter into different kinds of objects. in my writing tools with ajayeb, what type of material objects my language, or Hemedani or Qazwini's language, commits us to? my graphs are “spatiotemporal particulars” and “sortal particulars”. trying to talk about ontological assumptions embedded in the English (and any other) language. the diagrams are *rigs*. i am using rigging instead of framework. --> clever technological rigs, are provisional constructions, setup for a specific myth and dismantled after. sometimes old rigs are reused or repurposed for new rigs.
-resist peaceful naturalization
-uncomfortable software
-building/creating technologies as one way to do ontological politics (in postcolonial context)
-my experiments with ajayeb:
 -(the danger in using) computer software to archive ajayeb's or ajib knowledge =/= lively collective memory tool
 -the software that is slick and seamless runs the risk of the digital media appear as *self-sufficient representations* (<--✕--> living context)
 -archived and frozen in time
-sorting operations

(if i continue with digital tech in reading ajayeb i have to ask) how the digitized ajib knowledge can resist appropriation and translation into an idiom that will not sustain its metaphysics****
◦powerful relational work that numbers (also? = =/= --> => etc.) perform -> “numbers are a particularly smooth and manipulable 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 w[...]

[...]etics ends and environment begins” [...]
(Haraway > Gilbert)

“All stages of the life histories of evolving animals had to adapt to eager bacteria colonizing them inside and out.”
To be animal is to become-with bacteria


to inhabit an inter-subjective world, to love is about meeting the other in all the fleshly detail of a mortal relationship (to wit, first, somehow to learn what this other needs and desires)---permanent search for knowledge of the intimate other, with inevitable comic and tragic mistakes in that quest


thinking about animals as “other worlds” in a science fictional sense


scientifically informed, empirically grounded practice

theory ...still a limited discourse and a rough instrument

“who is at home?” --> ask in respect for all of time who and what are emerging in relationship --> (the obligation to ask) who are present and who are emergent? ***
/>
(what are our) categorical labor
labor of training --> somehow all the participants of training are remodeled by it
labor of scale-making
(these are world-making practices, storytellings)

significant otherness-in-connection =/= intention-ascribing idioms of literalist anthropomorphism that sees furry humans in animal bodies and measures their worth in scales of similarity to the rights-bearing, humanist subjects of Western philosophy and political theory ==> assign privileges or guardianship (in place of ownership) in a modernist great chain of being

*action: beautiful, hard, specific, personal;
=/= abstract scales

differential sensibility =?=> situated emergence =?=> more livable worlds ~ ontological choreography

category of “rights” don't just exist (preformed to be uncovered,) rather we enter into a rights relationship with an other (animal or human)--> Hearne's “reciprocal possession"<sion”
-morality is a species-specific capacity
~ if i have X, my X has a human (which is me)


off-leash and cliff-enclosed @Varinia


(Haraway:) time-space scales co-constituted by human, animal, and inanimate agencies
1. evolutionary time (at the level of the planet earth) --> naturalcultural species
2. face-to-face time (at the scale of individual lifetimes) --> mortal bodies
3. historical time (at the scale of decades, populations, nations)

to tell (detailed love and training) stories at these levels

this is about distributed agencies in “layers of locals and globals,”

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

my interests lies really with the ecological cosmologies in my neighborhood (iran, old, middle east, far east, past, present,)
that is why i was interested in the birds of Attar, pig of san'an, wolf of the pigs, crow of the partridge, and so on.
so things take[...]

[...]erpetual newness of the self, the other, the world --> faithful to becoming ***

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

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




[Haraway reading Derrida: on killing,]

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

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

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

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

multispecies contingency

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

the capacity to respond and to recognize response

We can never do without technique, without calculation, without reasons, but these practices will never take us into that kind of open where multispecies responsibility is at stake.

Engage them [the dogs] as mindful bodies, in relationships of response?

the practical labor of nonmimetic sharing(?)

[we make ‘knowing’. knowing is always a practice of making, and always embodied. the idea that thinking involves disembodiment of the knowing organ is just insane.]

“articulating bodies to other bodiesbodies” ----> disarticulating bodies to rearticulate other bodies

entangled assemblages of relatings knotted at many scales and times with other assemblages, organic and not

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

ajayeb is system imagination

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

[Naveeda Khan]

Perhaps the question could be posed as, how do we come to grips with the universal, the supra-historical, or even the cosmos within our global present, imagining a local that lays claims upon all three?

is there a Muslim environmental imaginary?

‘Islamic ecology and environmental ethics’ --> the need to center a vibrant materiality or the liveliness of things in the anthropology of Islam (that has been to date largely preoccupied with Muslim polities and subjectivities.)

It should come as no surprise that my own efforts at centering materiality comes through studying how these predo[...]

[...] />
--Morris--> ghost problem --✕--> possbility of a politcal form
contingent politicization and the accidental in the Southeast Asia

theatrical acts of civil disobedience
democracy protestors
conjure the spirits of those who have been killed
political vengeance

(wherever there is) violence in Southeast Asia (even if this violence is merely the
force that possesses machinery) ==> ghosts
~=
(wherever there is) force that would oppose life (even and perhaps especially by resembling it) ==> ghosts

[the doxa of] {(no preparation) premature death / banished by disbelief ==> unhappy ghost, vindictive melancholy}[= *effect of context*]--in-->
•pulp novels
•secular humanist elite literature
•rumor
•folklore
•

(Morris points that) such specters are densest in the places where the accidents of modernity are most like to occur

*the death that is caused by another death*

technologization of life and death, movement and war --> *making one vulnerable to death* <== (often) a function of technology (technologization of life and death, movement and war, etc.)

*ghostliness (in Southeast Asia): an idiom with which to address issues about the difficult delineation of a boundary between the living and the dead* (=/= matter of improper burial)

if the dead cannot join the living, the living can die and thereby mingle with the already deceased ~-> fright

the location (where ghostliness arises) is not spatial but temporal (“something happened”)--> in a strange way, for the “occurrence” has no place in time ==> stop time and to displace other narratives (--> it has the structure of trace)
[@Marialena's summoning to life =/= (living) beings who can be summoned to death]
}~~?--> (Freud's) death drive (<== traumatic neuroses) + (Kantian conception of)
accident


(for Freud:) [*]consciousness: the form of a resistance to the world

unconscious is “timeless” : incapable of discerning order (in a Kantian sense)

trauma (=/= anxiety) ==> disables the pleasure principle but not the compulsion to repeat (which is typically a source of pleasure)
[*]trauma as precisely such a disturbance of time and of causal sequentiality

{earlier philosopher's analogy: substance (essentially unchanging) =/= accident (the name of that which metamorphoses over time) }=/={ Kant's analogy: accidents = the “particular ways” in which substance is determined to exist}
--Morris--> causality: a concept that responds to and covers over a gap in the human capacity to inhabit a world of accident
--Freud--> sudden, unexpected event incapacitates the psyche (and its maturation) to such an extent that it will relate to the world only as accidentally existing --> [*]accident/trau[...]

[...]tegically instrumentalizable, and absolutely lethal power. the kind that enables people to go to war, the kind that operates at the point where language fails (--?--> the use of poetic mystical enchantment in Iran-Iraq war for sending young soldiers to the battle fields)

witchcraft only becomes visible in the moment of accusation, as a retrospective effect of oracular diagnosis (Evans-Pritchard)
(...no one is sure that he has indeed heard a witch)--Bubandt--> witchcraft: a condition of doubt (=/= a system of belief)
--✕--> Morris questions: doubt =/=? belief

Morris asks --> doubt:
•whether illness is caused by witchcraft?
•whether one's neighbor is a witch?
•*whether one is oneself a witch?*

in Buli (=/= The Magicians TV series, Harry Potter film version of magic):
•witchcraft does not explain the world
•witchcraft is not an alternative mode of reasoning
•witchcraft does not permit anyone to control the forces (that assault and wound human being)
•witchcraft provides neither certitude nor escape from the anxieties that death bears for the living

(the interiority of the other is unknown and unknowable ==>)
[*]witchcraft ==provides==>
•an idiom in which the world's very immunity to explanation is affirmed (often with violent and terrifying consequence)
•figures and narrative forms in which to address (also reproduce) the opacity and ambivalence of sociality

[context:]
the other (like the empty seashell) is unknowable, though we must engage others and seek recognition from them to escape solitude and death [...] in forms of giving and reciprocation that demand generosity but that are also likely to provoke avarice --emerge--> witchcraft: a relentless question about appearances and the problem of knowing what they disclose

doubling of genitalia and mouth in Buli dream imagery

(marriage: to manage witchcraft)
tradition “establishes the ideal format for conviviality” ==ensuring==> sexuality and consumption are made the basis of sociality =/= witchcraft (as a perversion of marriage)

in Buli (against mistranslation or misrecognition of the foreign modern):
•Christian missionization (19th and early 20th century, and again in the 1930s)
•modernist developmentalism and statism under Suharto
•technologization associated with natural resource-based capitalism
}--scenario--> effort to become modern ==> enter an order of truth and knowledge (=/= dissimulation and doubt)

valorization of reciprocity (in Halmahera)

Morris asks: is not the coimbrication of doubt/belief precisely what the discourses of the Enlightenment science, namely knowledge through revelation of what is, promised to replace?

(Bubandt's assumptions in Kant/Morris terms:)
•doubt <== anxiety,[...]

[...]h century --> this procedure changed dramatically (with the emergence of the witch in europe)
•witch was understood as an agent of satan
•responsibility of civil and religious authorities to protect pious christians (from a power that would overwhelm the faithful regardless of their individual acts, intentions, or beliefs)

inchoate suspicion (of the fearful, the resentful, the spiteful) --> reporting --> inquisitors (positioned as experts) --> take this suspicion forward administratively --> *impersonal sociological sense* (<-- an example of Weberian rationalization)

to suspect someone of maleficium was not new --✕--> (in witch accusations) authorities were now eager to act on suspicions in dependently


unresolved sexual desires + such passion would be redirected in pathological, perverse manner ==Häxan==> witch accusations

the film emphasizes the crucial role sex played in discerning what constituted witchcraft and its status as a knowable category of (malefic) human practice


a great deal of demonological thinking was devoted to justifying the fact that civil and Church officials, despite their fears, by and large were not bewitched


following satan's idiom...

Häxan's tortured relation to “the truth”
the question of empirical certainty and reenactment haunts the status of the film as evidence

*acting the ideal type breathes life into the emptied, cliched figure* :
•Christensenrelying on the fact that the truth of the witch will take its most visible form by acting her out mimetically (~= Christensen chooses to “play” satan using his idiom to breathe life into his witch)
•Flaherty knew that the visceral force of Nanook of the North depended on the felicity of his Inuit interlocutors reenacting themselves




Christensen seems to be offering a cure for the *secularized christian blindness* at the heart of *positivist human science* --> his audience is pulled in “through a lens of science =/= as misguided inquisitors”


working with *figurative givens of witches and demons* --formulate--> visual thesis (about uncanny, mobile power)

etchings into a material
carving outlines into the image of figures that have been hiding in plain sight


beautifully composed tableau of the torture chamber
static plane of the tableau =/= sense depth signify an open or free space

totality of (depicted) violence <--> composed alterity of the scene's stylistic correspondence between accused and inquisitor

(Christensen's method of) oscillating rhythm between tableau and face
-suppressing perspective and depth of field in favor of a continuous affective movement as expressed in the face
--Baxstrom--> Häxan is not grounded in a setting here; it is gr[...]

[...]aithfulness - *the myth of the strong personality*) ==> Siyavash--patriarcal type of guy who doesn't know how to greet her snaky figure politly--excuses himself of a vital encounter and sustains an ascetic subtraction, and lets Ferdosi--alwayes on God-Fire's side--execute Sudabeh through the bad boy Rostam hyper-masculinity itself. Siyavash/Rostam is utterly non-queer, Siyavash: Rostam's pet project, domesticated, passes the exam. Sudabeh is shocked and screwed-over by the narrative and spectacularisation of the fire's truth-event in an “enactment” plotted by Ferdosi--she is done, she doens't have a deal with fire. She is accused of being Eros, of being garrulous, of wasting words with lunatic prodigality, the chattering, ranting, gossiping female, the tattle, the scold, the toothless crone her mouth wind-full of speech.
smell of Sudabeh: moshk, golab, sharab, infinite odors--she is ‘full of it.’ drugs, toxins, rumorous texts, etc. smell of Siyavosh: nothing. neutral. sober. his silence-treatment appeals to the big father. (king's nose. smelling as justuce method? objective observation, provisional logic of nose, smell of smoke, and fire)
Rostam takes no delight in Sudabeh's voice since its register is nothing sweet nor low.
Siyavash corresponds to a set of idioms and is enraptured in the movement of certain silences in which he can grasp only certain falsehoods or menaces.
so Siyavash is ready to go to-the-fire but not to-the-woman.
(never hesitant, even kills his own son by ignoring his signals) Rostam never daird to look the devil in the eyes (---Sudabeh had?)

the Sudabeh's case is a non-agonistic agon, not to be fooled by its decieving differences from Rostam's combats--both are competition as a form of exclusion. in her case we see forms of social conflict in gender, class, race, and even material relations, (she is not relating to fire) leading to her losing the boy's game.

under the barbarous mathematics of Rostam, her figure fades into aspects and grammar of men,

fire signaling essence, essencing being (of her, his, it)
[things are still essencing at the distance---what Rostam radically is unable to understand]

(a network of relations and nonrelations depends on the way we address how Ferdosi greets Sudabeh, failed in the exam and examination ==> fire creating a network of relations [Rostam, Siyavosh,] and nonrelations [Sudabeh, King,])
-what are the conditions enabling the delivery of the Sudabeh [to the beyond (of Shahname)]? (of greeting her?) which poetic sites [we don't want to enroll]? (we don't want to enroll in Rostam's department. the tragic hero, he ‘hits’, always after to save his sovereign, good at haft-khan, ending beasts [we are interested in the beasts, and not in his “seven” trails], so hurried in killing that he finshes his own son, not invincible to treachery and that is his end. but what was treachery again? (in Shah[...]

[...]nd form binding constrains, is a universal mater, the spectacle of burning flame manifests itself as a positivity out of reach and beyond. the case of fire is different than Deobord spectalcle who speaks: “Everything that appears is good; whatever is good will appear.”

therefore fire specatle is not image, rather social relationship between subjects that are mediated by it

thus the function and phenomenon of separation mediated by fire becomes part and parcel of the unity of the world, from now on
-a new form of the sacred emerged with the discovery of fire's image
-produced new worshipful subjection

the language of the fire as spectacle is composed of signs that talk to Moses, Zaratostra, and others
-in this writing i like to rewind theology and pause at the moment Moses meets Fire in mount sinai, go after some media theoretic specualtions, asking what are the conditions of this (inter)mediated encounter? and what are the consequences of talking to fire? (technicity and affectibilty)
(mount sinai : cradle of stone, rendered dead matter when ‘he’ comes out of stone-age)
•the Israelite's God, who appeared “by day as a cloud and by night as a fire” (Exodus 13:21)

[fire and brimstone, an idiomatic expression of signs of God's wrath in the Hebrew Bible (Old Testament) and the New Testament.] --> the fate of the unfaithful
(--> perceptible to the naked of the prohpet)

fire's mechanisms of contemplation

(in my preaching here i won't do what christians used to encourage repentence)

it is important not to put fire in abstract opposition to concret stone activity

mystic order ~?-> spectacular order

the spectalce of fire reciprocal alienation was part and parcel of human social life and its essence underpinning its relations to the real

diversities and contrasts in looking into the image of flame

what is already in society that fire (spectacle) gives expression? the beyond

(fire, we are) governed by its agenda

***monopolization of the realm of appearances*** (excluding other illusions, apparition, tellings, etc.)

-with fire a new brand of storytelling
***fire's spectacular aspect (accumulated to the point that) produces an image-object that is a seperate entity [accumulation --> generality/category --> new object], that of the mediated, from the fire itself, a second objecthood detached from its materiality, introduing transcendent immateriality --?--> metaphysics
-taking over life and existence


from vision to wisdom
categories of visulaity took human cognition hostage, gave rise to a metaphysical tradition/abundance imposing itself upon existence, regulating the perception of material life, philosophizing ‘reality’ to ‘beyond nature’ : *alienated thought* (due to the a[...]

[...]ace of visibility (/ field of articulability)
•it is an aesthetic dream, dream of ismorphism between the discursive object and the visible object
•exteriorization of the body (relation between face / hand / tool )
•The “exact meeting place” of form, matter, tool, and hand is the touch(Henri Focillon)
•

////////////////////////

In this interconnection of embodied being and environing world, what happens in the interface is what is important.
--Don Ihde, Bodies in Technology

At first glance, strapped to the body of critters such as green turtles in Shark Bay, off Western Australia, humpback whales in the waters off southeast Alaska, and emperor penguins in Antarctica, a nifty miniature video camera is the central protagonist. Since the first overwrought seventeenth-century European discussions about the camera lucida and camera obscura, within technoculture the camera (the technological eye)seems to be the central object of both philosophical pretension and selfcertainty, on the one hand, and cultural skepticism and the authenticitydestroying powers of the artificial, on the other hand. The camera--that vault or arched chamber, that judge's chamber--moved from elite Latin to the vulgar, democratic idiom in the nineteenth century only as a consequence of a new technology called photography, or “light-writing.” A camera became a black-box with which to register pictures of the outside world in a representational, mentalist, and sunny semiotic economy, an analogy to the seeing eye in brainy, knowing man, for whom body and mind are suspicious strangers, if also near neighbors in the head. Nonetheless, no matter how gussied up with digitalized optical powers, the camera has never lost its job to function as a judge's chamber, in camera, within which the facts of the world--indeed, the critters of the world--are assayed by the standard of the visually convincing and, at least as important, the visually new and exciting.
... first we have to plough through some very predictable semiotic road blocks that try to limit us to a cartoonish epistemology about visual self-evidence and the lifeworlds of human-animal-technology compounds.


Gilbert stresses that nothing makes itself in the biological world, but rather reciprocal induction within and between always-in-process critters ramifies through space and time on both large and small scales in cascades of inter- and intra-action. In embryology, Gilbert calls this “interspecies epigenesis."43 Gilbert writes: “I think that the ideas that Lynn [Margulis] and I have are very similar; it's just that she was focusing on adults and I want to extend the concept (as I think the science allows it to be fully extended) to embryos. I believe that the embryonic co-construction of the physical bodies has many more implications because it means that we were ‘never’ individuals”

caring: becoming subject [...]

[...]f translation between different languages and even within a single language.

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

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

silence knows no history...?

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

“Tense Past”

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

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

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

the metaphysics of the insult, in San'an story

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

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

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

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

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

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

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

fracture of words and the maltreatment of grammatical norms, by children, they are a exploited and rebellious class, the child seeks to keep the world open to his own, by refusing to accept the rules of grown-up speech.

Lear note: surrounded by incomprehensible or hostile reality, the child breaks off verbal contact. He seems to choose silence to destroy his imagined enemy. Like murderous Cordelia, children know that silence can destroy another human being.

The multitudinous existence of child has left comparatively few archives.

...the uniquely vulnerable and creative condition of the childhood

privileged inferiority (of both child and woman)

intercourse and discourse

feminine use of subjunctive, [...]

[...]/>
linguistically programmed conceptualizations vs. biologically determined apprehensions of sense data

...lady Macbeth negates the fierce reality of Macbeth vision

...communication like breathing is subject to obstruction and homicidal breakdowns, under stress of hatred, of boredom, or of sudden panic, great gaps open ...that their previous understanding had been based on a trivial pidgin which had left the heart of meaning untouched.

What is the female speech in San'an?

By far the greater proportion of art and historical record has been left by men. The process of ‘sexual translation’ or of the breakdown of linguistic exchange (is seen, almost invariably, from a male focus.)

-the breakdowns and translations in San'an story.
-The sexual translation and breakdown of linguistic exchange in San'an story.

How, when, and who can see or render the genius of women's speech and see the crisis of imperfect or abandoned translations (from both sides)?

...having an ‘ear’ for contrasting pressures of sexual discourse or identity

in San'an, man and woman, each respective experience of eros and language had set them desperately apart.

In whose idiom, male or female, one can grasp (only) falsehood or menace?

...as declaimer of my own stifled, tongue

any model if communication is a model of translation, of transfer of significance. No two localities use words and syntax to signify exactly the same things, to send identical signals (of valuation and inference).
[the matrix space tries to create that assurance of identical signals, the electronic, digital space, grid, systematic, node based-- but linguistic storytelling is not]

In performance, corresponding to my level of literacy, and a private thesaurus, part of my subconscious and personal memories, and using the singular and irreducibly specific ensemble of somatic and psychological identity.

Getting out of one's own dictionary of private remembrance, in old age.

A study of translation is a study of language

the ideal of a totally personal voice, of a unique ‘fit’ between an individual's expressive means and his world-image, perused by the poets.

Only when we reflect on it, when we lift the facts from the misleading context of the obvious, that the possible strangeness, the possible ‘unnaturalness’ of the human linguistic order strikes us.

I am interested in this pluralist framework we are living in since the inception of recorded history.
...
It is not a formal hard-edged linguistic relegation, rather a metaphysical speculation

(making a ‘language atlas’?)
constructs of universals / transformational grammars: that have nothing of substance to say about the prodigality of language atlas

my i[...]

[...]iting is) is winking at someone (you like)  while listening to my favorite music.

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

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

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

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

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

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

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

john Keats, prospective; Williams Wordsworth, retrospective. Prospective work consists of hopeful preparation, anticipation of future power rather than meditative reflections on past moments of insight and harmony. Oriented towards the future.

All i am doing today, like derrida, can be seen as a grafting (ghalameh zadan) or extension, supplement or prosthesis, an outgrowth from somewhere else, earlier on.

I will attach to the story of maulwürfe like the shit on his head.

Recalling and reinventing Shakespeare, the idea is not to bring it from past to present, something that is already disjointed in time towards the future. I push the characters of King Lear to a future. The deconstructive reading of the play has to do with the opening of the future itself. It is utterly important that you do something unpredictable for yourself. If you are in the business of hate, love suddenly, changing tracks brings the unexplainable to the trajectory. Going in discipline is like riding a train on rails, i am not saying to go off the track and crash or stop, but to change track experimentally and to change gear. The tracks are built for us to move in the field of thought, they don't cover the whole surface, by moving along them we can witness the new to emerge from our interdisciplinary run.

Derrida shows, reminds, that we ca[...]

[...] out of language? --the Tasawwuf/Tasavof verbal linguistic tradition

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


(protest against “was” ---> go to Attar's relation with biographies in Tazkirat al-Awliya---he mobilizes ‘personalities’ in the index of his mystic-ontological demand---what would the lack of personality take revenge of Attar?)
we are at a tense past and a past tense---prison tense


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


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


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


the metaphysics of the insult, in San'an story


I am interested in the conventions in which texts can be read, in which a semantic statement can be carried over into someone's own idiom. I am teaching how to reread texts of Attar and so forth.
I think we have civilization because (we have learned) ‘to translate out of time’



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



San'an's sudden interest in the woman/child (Tarsaa could also be a young boy) reminds us the uniquely vulnerable and creative condition of the childhood

privileged inferiority (of both child and woman)

we are dealing with both intercourse and discourse


how his voice will change after San'an actually gets the girl?


...communication like breathing is subject to obstruction and homicidal breakdowns, under stress of hatred, of boredom, or of sudden panic, great gaps open ...that their previous understanding had been based on a trivial pidgin which had left the heart of meaning untouched.


What is the female speech in San'an?

-the breakdowns and translations in San'an story.
-The sexual translation and breakdown of linguistic exchange in San'an story.


...having an ‘ear’ for contrasting pressures of sexual discourse or identity


in San'an, man and woman, each respective experience of Eros and language had set them desperately apart.


In whose idiom, male or female, one can grasp (only) falsehood or menace?


...as declaimer of my own stifled, tongue



my performance, corresponding to my level of literacy, and a private [...]

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



San'an's sudden interest in the woman/child (Tarsaa could also be a young boy) reminds us the uniquely vulnerable and creative condition of the childhood

privileged inferiority (of both child and woman)

we are dealing with both intercourse and discourse


how his voice will change after San'an actually gets the girl?


...communication like breathing is subject to obstruction and homicidal breakdowns, under stress of hatred, of boredom, or of sudden panic, great gaps open ...that their previous understanding had been based on a trivial pidgin which had left the heart of meaning untouched.


What is the female speech in San'an?

-the breakdowns and translations in San'an story.
-The sexual translation and breakdown of linguistic exchange in San'an story.


...having an ‘ear’ for contrasting pressures of sexual discourse or identity


in San'an, man and woman, each respective experience of Eros and language had set them desperately apart.


In whose idiom, male or female, one can grasp (only) falsehood or menace?


...as declaimer of my own stifled, tongue



my performance, corresponding to my level of literacy, and a private thesaurus, part of my subconscious and personal memories, and using the singular and irreducibly specific ensemble of somatic and psychological identity.


the ideal of a totally personal voice, of a unique ‘fit’ between an individual's expressive means and his world-image, perused by the poets.


this is not a formal hard-edged linguistic relegation, rather a metaphysical speculation

*note to self: my interest in the ʿAjā'ib al-makhlūqāt (جائب المخلوقات وغرائب الموجودات) is due to the traces it provides into verbal literacy, a living vulgar language of mix, rather than a dead structure such as Manṭiq-uṭ-Ṭayr (منطق الطیر) of Attar.


Cultures (during Attar's?) seem to expend on their vocabulary and syntax acquisitive energies and ostentations entirely lacking in their material lives.
[very interesting point by Serres regarding the language of mysticism, Attar and others.]



my translation of Attar, an interlinear version of the script, a virtual archetype of translation

think about the presence of interpreters in the building site -- Kafka's literature house


Only if men could use language without perusing meaning to the forbidden edge of the absolute.


‘a poetic vocabulary of concepts’
‘connections or affinities’
pursuit[...]

[...]xt & 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


communist (Marxist silhouette) and liberatory combatants of the 20th century, intellectuals persecuted and exiled in the course of anti-fascist struggles, freedom-fighters of the anti-colonial/anti-imperialist wars --> nostalgic portrait of the contemporary militant
(Nietzsche, Kafka, Bataille, Foucault, Artaud, Baudrillard, Serres, D+G, etc.) continental thinkers architects of masks:
•the overhuman (--> Nietzsche)
•the supplicant
•the deviant (or barbarian --> Foucault)
•the body-without-organs (--> D+G)
•the criminal
•the schizoid
•the headless monstrosity (--> Bataille)
[(an exilic) postcolonial intelligentsia]


---{Nietzsche and Artaud's familiar persuasive authority, similar exuberant phraseology, and motifs in extremis --> ‘cruelty,’ Artaud wanted to “reject form and incite chaos.” antipsychological violent physical determination (a cruel yet necessary act upon the spectator) to shatter the false reality (theatre/art as a place where the spectator/actor is *exposed* [=/= “protected"]) =/= (aesthetic) distance (---> go to ‘distance matters’); this i[...]

[...]desire]

(female star rendered both strong and weak)
1. exposing and defying the horror figure (first)
2. embodying the horrific abject subject (second)

in the narrative of horror
•the moral forthrightness that makes the female subject survive, endure, move on
•they are punished but never totally obliterated into the horror scene


internalization of fear ==>? domestication =? maintaining the status quo in community fronts --Foucault--> docile ==> productive for state formation

(the survivor never fully survives and triumphs over the adversaries of the) horror scene --> open-endedness of the closure = of knowing + of being abjected

(libidinal drive in) citizenship claims in nation-formations ~= (libidinal drive in) continuing performative of the horror subject
}--> one is constitutes through but never thoroughly in power relations


white sexy female star + horror + social melodrama (= Charmed)

orally told tales of female violence
miscegenation
desire for liminal female sexuality
necrophilia
female haunting
heterosexual desire
nostalgia for truth
==provide==> template for cultural idiomatic imagination

historical experience --> futile & enunciated through the orality of retelling (+ being capable of retelling)


historical justice has not been served in actual social reality ==> the horror scene bears the constant threat and possibility of repeating itself on the future

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

#idea
namaz gestures as alchemical ruse to open portals, kill enemies, transmute objects, and other specs

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

Naveeda chapter 1 mosque

mosque =/= shell for prayers
•monumental structures built by the state

old mosque: part of complex devoted to
•learning
•dispensing justice
•channeling charity

oft repeated statement: Pakistan is a mosque [~= one has to learn to inhabit this place, aquire the right etiquette in sharing it]  (--> what it means to be Muslim in Pakistan)
•a place of assembly?
•a sacred place?

qabza, ghabze قبضه, violent seizure, forcible  possession
(depending on who you ask -->) Pakistan under ghabze by:
•the state
•venal religious figures
•unscrupulous lay muslims
•sectarian groups
•

“narratives of loss --> investment on self-betterment* (+ bettering of one's community) ~= striving

emergence of new independent mosques --> new property arrangements (+ admin + funding) --> growth of civil institutions

city bureaucracy of Islamabad ==Hull==> *uncivil politics* (سیاست غیرمدنی =/= civil society)


(like Tehran) La[...]

[...]o mere reference

[*]public art: the art of a world bifurcated by capital --tending--> *monumentality: an exaggerated literality + excess of scale (incapable of irony)

(of image -->) textuality: something lurking off that bids us engage the ambiguity

metonym

critique: (analogy of) a movement toward the outside

a grammatical negative can never efface what it attempts to contradict
a call for judgment hides in the defensive gesture


criminality: departure from (or failure) to recognize a law

new violence
•violence against the sovereignty of local subjects
•violence against an internationalized regime that increasingly claimed exclusive sovereignty for itself


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ethnography of capitalist crisis (a project on:)
•the politics of [*]transparency: the ideological pointing stick by which the market has appropriated for itself the function of regulating the state (where it was the function of the state to regulate the market)
•how capitalism ([Morris] in Thailand) disguises itself as mere monetization
•how money's total and totalizing meditations have come to be experienced in the contrary idioms of immediacy and eternal present-being
•

([i am] learning with Morris) ethnography of crisis
-how capitalism in Thailand disguises itself as mere monetization
-how money's (total and totalizing) mediations have come to be experienced in the contrary idioms of immediacy (and eternal present-being)
-rhetorics of transparency and visibility (conceived in aesthetic domains)

(narcissistic act of) teletechnic encompassment


*spirit mediumship*
[auratic threshold of representation]
(the nationally renowned spirit medium) Chuchad, flamboyant media savvy
daguerreotypy: a demonic receiving device that had the capacity to retain and thereby diminish the photographed subject's substance
(in Thai) kaan thaay [taking, wasting] ruup [picture]
•Thai word for photography
•concomitant transformation and discharge
--✕--> spirit practices were brought into conversation with the mass media
•conceptualized largely in terms of atavism and/or residue (repressed orgiastic impulse buried)
•(located on the periphery of) the *nation's geo-body* [=/= state's formed public]


(from the perspective of rationalist Buddhist orthodoxy [and in the case of iranian superstitions, Holakouee خرافه khorafe] -->) mediumship: (imagined as) a temporal interruption of the nation's modernity

communist occult practices
emasculating magic

phantasmatic triad of nation, religion, monarch

mediums = state's other


[today]
•identification between the  local and the glob[...]

[...]of language, of the factory, of the family, of the political party, and so forth. Consequently my body is not plunged into one space but into the intersection or the junctions of this multiplicity.” (Hermes, pp 44-45) (@Aela)

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(feminist open-source --✕-->?) I am actually coming from a masculinist closed-source culture-thing, that is to say, my background is in masculinist black-boxed concepts of being and beyond, that means i have a different relationship with interference and parasitism
•how and when a concept becomes black-boxed? by which processes?
@Sven: what matters is the input/output, stimulus/response [--> “black-box of the beyond” (#zolmat writing)] --> transfer characteristics, data-flow, the ontology of the “internal working” : “open” exchanges inforamtion about its interactions }--> open-source is part of the tradition of anthropocene system thinking: network synthesis, system engineering, theory of the organism, evolutionary theory, thermodynamics, and world system perspective

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

what are the nodes of energy in interdigitalities intra-actions in human-machine relations?

***we are belonging to a set of cultures that regularly believes in the idiom of: organism =/= technology
--> this little ontological dichotomous device is doing serious worldings, making and destroying worlds

technologies of descriptive practices
technology is descriptive practice
technology: anything describable as a technology --> idiom اصطلاح

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

[title]
age of stone, and stories for computers

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

(#workshop in Stuttgart 11.04.2017 with Femke http://pad.constantvzw.org/p/possiblebodies.rigging)
provisional sketch for a workshop on “Rigging,” notes and nodes


on the notion and practice of Rig in CG
(CG as in “computational gesture”)

[title]
on Rigging and skinning: stories for cultivating creation and creatures of the industrial empire.
a practice in: rhetoric of technical reasoning in inorganic skeletal animacies.


•I begin with the position that believes in the essential ambiguity of technology
•let's look at some terms and notions and the ways they are enacted, practiced, and embodied, and to practice some hermeneutic fluency in phenomenological conditions in what we call character animation


KEYWORDS: soft bodies, skin, skinnig, Rig, Rigging, unwrapping, fold, CG, animation, locomotion, kinectics, skeleton, mechanics, interface, technology,


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

Rigs are about:
-ways of arranging space, time and matter : like a sentence, that sticks words sequentially together in a certain way. Rig would be a way those elements are attached to one anot[...]

[...]h other and establish ongoing relations, usually involving conditions of coercion, radical inequality, and intractable conflict.

“contact language”: an improvised language that develops among speakers of different tongues who need to communicate with each other consistently, usually in the context of trade.

“colonial frontier” --> “contact zone” shifts the center of gravity and the point of view
...the space and time where subjects previously separated by geography and history are co-present, the point at which their trajectories now intersect

a “contact” perspective emphasizes how subjects get constituted in and by their relations to each other


* travelers and travelees *
in terms of co-presence, interaction, interlocking understandings and practices, and often within radically asymmetrical relations of power


***strategies of innocence*** (constructed in relation to older imperial rhetorics of conquest)
--> main protagonist of the anti-conquest is a figure (Pratt sometimes calls) the “seeing-man”: (an admittedly unfriendly label for) the white male subject of European landscape discourse--he whose imperial eyes passively look out and possess


the idioms of travel and exploration


two processes in Northern Europe (“planetary consciousness”):
•the emergence of natural history as a structure of knowledge
•the turn toward interior exploration
+
•Bourgeois forms of subjectivity consolidated themselves
•new territorial phase of capitalism propelled by searches for raw materials began
•coastal trade extended inland
•


ways of reading and focusing rhetorical analysis

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

[Brancaforte]

word + image
art + science
visual + discursive

the reality that he [Olearius] has experienced

Conley: “the mass of textual material that accompanies single-sheet or atlas maps tends to reveal its ideological perspective in the gaps between a silent, spatial, schematic rendering of an area (in visual form) and a voluble [por harf پر‌حرف], copious, emphatic, printed discourse that strives to tell of the invisible history that the image cannot put into words”

questions of
•authorship
•political power
•intellectual influence


Meerwunder, exotic curiosities from the sea


“we were about a gun-shot's distance”

in the age of incipient European colonialist expansion

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


[...]

[...]ty were values freely exercised upon a coded body.”
-Avital


my work over the etymology of the signifier --> moon index
(i shoot up trash fiction)


(Freud) *pain is imperious* متکبر

(failing) to meet the requirements of an authentic alterity
(we are) into forgetting and the simulacrum (=/= truth)
•hallucinator: the creature of the simulacrum (par excellence)
(trafficking in) abstract forms of forgetting

the poor
the body-broken
the racially hallucinated other


chemical prosthesis (mushroom or plant) responds to a fundamental structure

drug addict --> a mystical transport going nowhere
drug addict offers her body to the production of hallucination, vision, or trance
--> going nowhere fast


being exposed to existence = placing one's body in the grips of a temporality that pains --> addictive = artificial, beside oneself


drugs --linked-to--> a mode of departing, to desocialization [without the assurance of arriving anywhere] (~= activity of writing) =/= production of real value


...movement of the simulacrum without address (or, in another idiom, without purpose, point)

Nietzsche was the first philosopher who --Avital-->
1. to think with his body
2. to put out the call for a supramoral imperative


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

we are implicated inscribed disarticulated and reresignifed by technological prosthesis
there is no outside to technology
there is no off switch to technology
wonderological tracks of technology

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how much nature has to change before our descendants cease to be human?
about when in the course of evolution our ancestors became human?
(unanswerable good questions)

if the human is not the one consuming, who is?

animals consume
(numinous agentic status of) dead consumer

human aspects of consumption: learning, decision making, reason, perception, ethics, agency, desire and choice --arise--> *between humans and intelligent machines*

[*]posthuman: a move that seeks to locate being, or aliveness, or meaning in the not-quite-human-as-we-know-it

(humanist) epistemology: how we investigate and describe the world
(humanist) ontology: how we understand what constitutes life and objecthood

==Campbell==> help consumer research:
1. expand the range of temporal reference (look into the future of how consumption will look like)
**assumption of the future: the future will be a post-consumption existence**
2. expand the range of physical reference (extraplanetary consumption: what the ***consumption of place*** means; embryonic consumption sites: sto[...]