[...] feet, will the swarming things that swarm upon the earth, you shall not eat; for they are an abomination.

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


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

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

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

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


xxxxxx

nows the answer of what i ask, other states of body, what is mark? --> culture/context specific
*Seba: finding the best questions in beauty is about learning pronunciation, the issue of pronunciation instead of questioning (or their merge?), (statement/question) --> doubt --> postponing an immediate answer (“but before you answer...”) --> death of question
*Esteban: not to do: impose an answer, not triggering in the other, expecting an idea of an answer
*Arianna: deep truth involved, process, point of passage (the axis of child traverses your axis) what you say to the other is a container
*Joke: question --to--> invitation, creating the invitation
*Pierre: posting a problem is not about general sentences, it is about finding new relations in the existing fabric of the world, problematizing our intuitions into problems, therefore it is important to have the “?”
*Sina: remembering beyond history

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

--------[who told the first joke?]
*Gerald: objects =/= actual life (absurdity and absoluteness of objects) (contemplating[...]

[...]source’ that the commons takes uninterrogated. (and there is no way out of it because commons must take ‘a’ definition of resource for granted--and that makes it too easy to deconstruct). and it is too embedded within a political framework and vocabulary. and political is the most difficult syntax to start with, which won't allow it to access other literacies.
in this way the commons alone cannot properly address issues such as pollution, extinction, human-animal problems, rhetoric, inheritance, logic, alienation, and so on, that need multidisciplinary thinking.

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

•what is ‘feeling’ for Lili
•the issue of ‘similarity’ for Luiza
•zones of connectivity and presubjective singularities for Xiri. (what is even better than justice? kindness?)
(Xiri's use of the implicit element of ‘surprise,’ she is trying to communicate the ‘importance’ of her contents.) (trauma-story almost always silences other stories. -- she is compelled by her own storytelling --> baring witness to the injustice therefore resisting it.) --when the victimized personal veils the larger context of evil, the illusion of the true perpetrators - which is around you. (she stated the danger which is all around us.)
-the issue of immediacy for Xiri
-‘you can only heal what you have wounded’ (Wagner's Parsifal “only the weapon that made it will ever cure the wound.”)--what does this mean for our caring activities? @Sina: is this what you mean by western modern rationalization, and that is why you are thinking within the western/eastern philosophies, is the modern tools the antidote to themselves? (this is too soon for me to say and understand this question.)

what is my ‘will to’?
Xiri wants to abolish injustice?
Thiago, abolish selfishness?
Maarten, abolish weakness?
Aela, abolish entropy?
Sana,
Seba, abolish enmity?
Lili, abolish feelings?
Varinia, abolish obedience? [--what shortens our leash?]
Sina, abolish selfhood?
Vladimir, abolish non-disambiguity?

@Esta, her enunciated need for “framework” [~->? instruments of economization], could she be needing “pathway”: path instead of frame, and way instead of work. [frame =/=? overflowing (--> my method of script?); identity =/=? avidity, hers;]
interplay of scales
the scale of intimacy, (of skin, of shared heartbeats and feelings)
data and surveillance and seduction
intimacy: still an unpredictable force?
intimacy: the biological spring from which affect drinks?
how Esta's proposal is capable of traversing from the lovers’ bed to the wild embrace of the crowd to the alien touch of networks?

[and when i say “abolish,” i am using a word that is about rendering something obsolete, mansukh, canceling, making reading to get rid of it, and this is not the same as destroying.]

@Arianna,[...]

[...]lar planet. the nebulous milk way of liquid bodies, instead of rigid mass of individual blood--Pluto.

@Varinia: (in her dog video, regarding her engagement with the law and the question of comparative thinking:) what is the model for what, what is similar to what?
-is her model based on the idea that beings exist as individual? (is this a ‘difference’ that her work produces?)

@Agnes: you are a response to the bed, making the bed and being made by its caress and embrace. it is not that you want all the audience in the world to identify with a general question or present this as a universal expression, but what could go beyond localization is precisely this concept that you, like me, transitioning body in your environment (bed or whatever) are outstretches of homeliness and forces that distribute across space and discourse, territories and sensing zones, you are an exchange between self and environment. this is pragmatism. like the variety of bed sheets, we are proposed with answers that vary, before posing any question.
to reformulate the question that was posed to you: how your proposal is capable of traversing from the bed to the wild?


pre-historic personhood

my work is concerned with connections, mediation and passages.


what you take for granted, is in another words, what that you can't not know.


(my proposal:)
the past is not absolute!

the idea is that the mythical became the mythological --> Things could be treasured for their beauty as opposed to
their utility or their numinousness.


(Martha Kenney's) “wild facts”
facts that won't hold still
fables
fables of ajayeb, creatures of imaginations, (im)possible worlds

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

your institutional hacks


three things to consider in my work:
projection, immersion, and synthesis

seeking to be at once inside and outside the topic

the issue of topology -- what remains invariant as a result of transformation

suggestive power of the figure

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

synthesis =/=? genesis (to originate something, to design)
genesis =/=? apocalypse

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

in research, contrast between method and subject, is a tool
(in studying natural history)

in critique, contrast between effect and affect, is a tool
(assumed quality of the object and one's own named experience)
[these tools are perhaps cognitive objects]

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

Enlightenment as cultural European phenomenon versus a scientific British one

(the theatrical function of natural philosophy in the England Enlightenment)

the function of natural philosopher in 18th century was to use experimental science machines to turn i[...]

[...]you, i want to be loved by you ==> messenger + message --> so how do i produce lovers? (=/= Don Juan's type of love) --> there is a genius in your everyday talks that transforms me and has nothing to do with understanding (with the information that i grasp)


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

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

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

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

from paf:
-lunching a counter-exotic movement toward the Book of Wonders: (1) postponing immediate information. (2) ...
•if everything is not exotic then nothing is.
•framing as ‘tool,’ every tool is and has power, and is built in a discourse of power. tools are not innocent, nor can we do without them. they make us. what would be an idea of the ‘worst tool’ you can work with? poetics for me? [to write-about =/= to write-with the Book of Wonders. to use a language-tool that produces the most ambiguities and most misunderstandings, but that is the only way, there is no tool that can prommis clarity. evey tool produces its own ‘clear'--for someone, for some purpose. these makings are all tool-specific: making dichotomies, making similarities, making diferences, stc.]
•how far your research can host an encounter with alterity? and how this encounter can help you undo your prommises of communication, positionality, and conceptual buildings? weave new worldling entanglements with the problem--not to solve it, but stay with it. dissolve essential differences between dichitomies such as: knowledge and expression (or ‘knowledge’ and the ‘communication of knowledge’), experimental and ethical, joke and seriousness, interiority and exteriority, mysterious and clear, uncovering and veiling. produce creative impossibilities that do not resolve to bionary answers easily, that unstable possitionality for good, that open for forms of consiounesses to experience thoughts which differ from itself. to think and entertain both particularities and generalities (of logic, ethics, politics, aesthetics, etc.) encounter can be both infinitly singular and general. that is a form of suggestive work that can deal with the specific as well. (think about ‘chicken’ a[...]

[...]r /> solidity of found objects, in my case, the graphs and images i am making about ajayeb --> the graphs now reiterate for me as rituals in my research microworld.
with these graphs i am trying different ways of arranging space, time and matter when speaking a *sentence*. ...each language figures 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,
[...]

[...]t


عجایب ajayeb's relations to the world, rhizomatic connections to other practices that likewise explore a metamorphic (rather than representational) relation


Earth =/= cradle


Surrealists’ automatism to cultivate lucid trances is missing the techniques of imagination developed by Ibn Arabi, (or by Sohrevardi, and others)
(Breton's subjectivity is still hopelessly European)

=?=> to recuperate our physical force (old good Tasavof-?)


‘ideas’ --> to “animate” humans ~= erotically lure the human soul**
(Plato knew this)
to lure us into relevant metamorphic attention*

(Deleuze and Guattari:) my existence is my very participation in assemblages
in order to determine what is “really” responsible for what [= agency?].
-an agency that doesn't belong to us (who is ‘us’ in Stengers?)

the efficacy of assemblages (in ajayeb)
/> (assemblage --> landscape [in farsi: چشم انداز cheshm-andaz, is related not to the land but to the eyes, literally meaning the projection of gaze])

(the point is) to play a referential game that puts one at risk (instead of protecting via quote)

(let's immediately turn off that) monotonous little critical or reflexive voice whispering that (the only defense we have against fanaticism and the rule of illusions is that) we should not accept being mystified



commenting =/= touching
(lams kardan لمس کردن =/= ezhare nazar kardan اظهار نظر کردن) --> an issue in art criticism in Iran ایران


[@Foad]
**our senses are not for detached cognition but for participation**(David Abram)
-“The ways the senses themselves have, of throwing themselves beyond what is immediately given, in order to make tentative contact with the other sides of things that we do not sense directdirectly, with the hidden or invisible aspects of the sensible.”
-“suggestions offered by the sensible itself.”
-we never step outside the “flux of participation.”


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

[Thomas Keenan]

reading: that which happens when we cannot apply the rules --> experience of responsibility =/= moment of security or cognitive certainty

rhetorical reading

who speaks, writes, and reads? not simply humans

“how can we have any chance of finding a way to say what we don't know how to say if we don't pay attention to the silence of the other inside us?”

literature, is then understood as the experience of risk, chance, the undecidable =/= pathos of resolution


(in Western ethical, political, and literary traditions:) responsibility: a matter of articulating what is known with what is done =/= (Keenan:) *responsibility*: an asymmetry or an interrupti[...]

[...]ure the human soul**
(Plato knew this)
to lure us into relevant metamorphic attention*

(Deleuze and Guattari:) my existence is my very participation in assemblages
in order to determine what is “really” responsible for what [= agency?].
-an agency that doesn't belong to us (who is ‘us’ in Stengers?)

the efficacy of assemblages (in ajayeb)
(assemblage --> landscape [in farsi: چشم انداز cheshm-andaz, is related not to the land but to the eyes, literally meaning the projection of gaze])

(the point is) to play a referential game that puts one at risk (instead of protecting via quote)

(let's immediately turn off that) monotonous little critical or reflexive voice whispering that (the only defense we have against fanaticism and the rule of illusions is that) we should not accept being mystified



commenting =/= touching
(lams kardan لمس کردن =/= ezhare nazar kardan اظهار نظر کردن) --> an issue in art criticism in Iran ایران


[@Foad]
**our senses are not for detached cognition but for participation**(David Abram)
-“The ways the senses themselves have, of throwing themselves beyond what is immediately given, in order to make tentative contact with the other sides of things that we do not sense directly, with the hidden or invisible aspects of the sensible.”
-“suggestions offered by the sensible itself.”
-we never step outside the “flux of participation.”


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

[Thomas Keenan]

reading: that which happens when we cannot apply the rules --> experience of responsibility =/= moment of security or cognitive certainty

rhetorical reading

who speaks, writes, and reads? not simply humans

“how can we have any chance of finding a way to say what we don't know how to say if we don't pay attention to the silence of the other inside us?”

literature, is then understood as the experience of risk, chance, the undecidable =/= pathos of resolution


(in Western ethical, political, and literary traditions:) responsibility: a matter of articulating what is known with what is done =/= (Keenan:) *responsibility*: an asymmetry or an interruption between the orders of cognition and action

fable --> an exemplary *allegory of decision* (~~> installing or restoring subjectivity)
fables open abyssal aporias:
•to teach ‘singularity’ it offers ‘comparison’
•to underline ‘independence’ it resorts to ‘necessity’

[(the experience of) aporia =?=> morality, politics, responsibility =/= when the path is given]--> Germany is moving towards the removing of aporia [<-- a general panic popular in sci-fi]
(the very condition of possibility of) *responsibility*: a certain experience of the po[...]

[...]r /> fable ==> possibility of another kind of reading --> exposure to something that breaks with the regimes of meaning and sense


politics of difficulty

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

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


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

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

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

...practical effectivity of literature


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


...the rhetorical event of a comparison

#[the theater of example]

the threat of example's excess

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

(Derrida's) mode of enunciation and the literary vehicle entrusted with its exemplification :
*[...]it is sufficient to introduce, into the fold of speech acts, a few wolves of the type (“undecidability” or “unconscious”) for the shepherd to lose trac[...]

[...]lism,” “local difference as an object of study and raw material,” and “cooptation of imagination in the networks of information-connection.”
-(looking for other metaphors of) alignments =/= operational references to co-production
(Marti Peran) “The surplus of images has reached the maximum degree of pollution. In turn, the planetary connection ensures the exchange of images regardless of the visual regimes from which they come from. Images no longer speak anywhere. In this situation, the political task is to return to the linguistic battlefield. It won't be possible to do things differently if we do not start talking differently. The most urgent imperative is a language inventiveness.”


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


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

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

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

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


(capital gains concentrated in the) self-production of identity
subject occupied full time in itself
the logic of “do it yourself”
obliged to make countless small decisions in all areas
subject mixed up with the incessant movement of its own alienation
*hyperactive life --> poverty of experience*
the banality of “i Like”
(maybe interesting for Laura:) *fatigue* is the instant of stopping and pausing [of exercise and beautification] (after which a diversity might be possible)
[*]fatigue: capable tiredness --> politicizes discomfort
[#we are in the domain of passivity, disappearance and inaction]
Peran suggests a position of fatigue where (some time ago) was occupied by melancholy
“is this not a mere “don't like” that re-enters the spiral of our mobilization?”
“we are left with just[...]

[...]n suggests a position of fatigue where (some time ago) was occupied by melancholy
“is this not a mere “don't like” that re-enters the spiral of our mobilization?”
“we are left with just the option of making an index, a collection of trails and marks [...]”
sunday: “empty time that forces us to fill it through apparently free decisions that, if they are resolved properly, please us and re-constitute us” (Peran)
*freedom of action for self-realization* --> unstoppable egocentric machine
space of perpetual connection (@ERG's website)
(pseudo) communicative action by way of technological devices --> camouflaged alienation
“The promise of self-realization and the demand for visibility organize the mobilization of desire, turning it into work.”



do we need to formulize and formalize our uncomfortable concerns and experiences?
@apass, artist research



i want to *give connections*

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

#semester/seminar on destruction
-care, suffer, fubar,
[fubar: “fucked up beyond all recognition"--a term from veterans returning to the United States in 1960s]



#semester on Hojum
(surge,) on performance, media, sculpture, and surplus
Hojum has to do with the hojum (~=? ‘bodies’) of people to get in front of the line, the hojum of enemy, of friend, of information, also includes the plural form of ‘hajm’ (حجم)



#seminar on the history of translation
archaeology, interpretation, spaces of difficult translation, reading out of time, technology and transformational studies, semiotics, poetry, writing,

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

#on Situated Knowledges
-approach the text by creating intensity and my own partial perspective
-the elephant parable (against it)
-objectivity (disembodied view from nowhere)
-neutrality (biologically insane)
-marked people (my own story)
-situatedness of the situated
-The cyborg is a figure in which situatedness makes possible adventures with the beyond.
-globalization-as-situatedness: global is precisely space/place/time/situation
-the figure of the so-called scientist gathered around certain metaphors since the begining of the 17th cebtury, namely ‘objectivity’ and all its related adjectives: neutrality, perspective, universality, disembodiment (for certain race and sex), etc.
-metaphors create perspectives [the view that looks at blind men looking at the elephant]
-situatedness is different than ‘positionality’: a way of systematic error correction
-(resolving) specificity of vision --> scientific objectivity (is achievable)
-Haraway expresses her informed dissatisfaction with (the metaphysical substrate that supports) ‘social constrctivism’ and ‘traditional realism’ --> representationalist belief [...]

[...]t parable (against it)
-objectivity (disembodied view from nowhere)
-neutrality (biologically insane)
-marked people (my own story)
-situatedness of the situated
-The cyborg is a figure in which situatedness makes possible adventures with the beyond.
-globalization-as-situatedness: global is precisely space/place/time/situation
-the figure of the so-called scientist gathered around certain metaphors since the begining of the 17th cebtury, namely ‘objectivity’ and all its related adjectives: neutrality, perspective, universality, disembodiment (for certain race and sex), etc.
-metaphors create perspectives [the view that looks at blind men looking at the elephant]
-situatedness is different than ‘positionality’: a way of systematic error correction
-(resolving) specificity of vision --> scientific objectivity (is achievable)
-Haraway expresses her informed dissatisfaction with (the metaphysical substrate that supports) ‘social constrctivism’ and ‘traditional realism’ --> representationalist belief in the power of the words to mirror preexisting phenomena. they both believe that scientific knowledge (in its representational formats: theoretical concepts, graphs, particle tracks, photographic images, etc.) mediates our access to the material world, whether it represents “nature” or “objects” of science both groups are subscribed to representationalism.
focus on the nature and production of scientific knowledge --(shift to science studies)--> dynamics of the actual practice of science }--> on ongoing pattern of situated activity

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

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

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

[...]erspective’ (what does she mean?)
==> become answerable for what we learn how to see. (Helen Verran: accountability; Isabelle Stengers: milieu thinking; Latour: ground;)
(partial way of organizing world)
unlocatable =? irresponsible (knowledge claims)
partial --> possibility of webs of connections: solidarity in politics and shared conversations in epistemology
-to unfold the problem of relativism: ‘the elephant parable’ promisses seeing equally and fully. “equality” of positioning: relativism (another “god trick”) (!=/= single-vision, totalization) =/= partial locatable] [mythic cartoon of pluralism] [myth of exact knowledges, dream of perfectly known, and politics of closure] --> positioning is at stake here

“all eyes, including our own organic ones, are active perceptual systems, building on translations and specific ways of seeing”

how to see ‘faithfully’... (what does she mean by that?)

appropriating the vision of the less powerful:
to see from the peripheries
to see from the depths

...this not unproblemat (why she uses double negation so often?)

“But how to see from below is a problem requiring at least as much skill with bodies and language, with the mediations of vision, as the ‘highest’ technoscientific visualizations.”

“Science has been utopian and visionary from the start; that is one reason “we” need it.” (what does she mean?)
(“utopian,” “visionary,” other old metaphors in science)

“Passionate detachment” requires more than ‘acknowledged and self-critical’ partiality. (being acknowledged and self-critical is not enough!!! how deos she mean?)
-‘perspective’ can never be known in advance --> knowledge potent for constructing worlds less organized by axes/axis of domination
-One cannot “be” either a cell or molecule--or a woman, colonized person, laborer, and so on. ‘passionate detachment'[...]

[...]aithfully’... (what does she mean by that?)

appropriating the vision of the less powerful:
to see from the peripheries
to see from the depths

...this not unproblemat (why she uses double negation so often?)

“But how to see from below is a problem requiring at least as much skill with bodies and language, with the mediations of vision, as the ‘highest’ technoscientific visualizations.”

“Science has been utopian and visionary from the start; that is one reason “we” need it.” (what does she mean?)
(“utopian,” “visionary,” other old metaphors in science)

“Passionate detachment” requires more than ‘acknowledged and self-critical’ partiality. (being acknowledged and self-critical is not enough!!! how deos she mean?)
-‘perspective’ can never be known in advance --> knowledge potent for constructing worlds less organized by axes/axis of domination
-One cannot “be” either a cell or molecule--or a woman, colonized person, laborer, and so on. ‘passionate detachment’ is about the impossibility of entertaining innocent “identity” politics : seeing from their perspective in order to see well.
-problem with “positionality”: {testimony from the position of ‘oneself'} We are not immediately present to ourselves and the self is assumed finished and whole simply there and original and its (grounding) knowledge is organized around the imagery of vision --✕--> Self-knowledge requires a semiotic-material technology to link meanings and bodies. ***Self-identity is a bad visual system*** --> ‘positionality’ (meaning: ‘acknowledged and self-critical’ partiality) [at best showing in which ways one is not unmarked] is therefore insufficient. {Identity, including self-identity, does not produce science!}
-instead we need a *split and contradictory self* (one who can interrogate positionings and be accountable) [~~/?-> shath شطح (=/= shar’ شرع, or even sharh شرح?), shathiat (شطحیات) in Tasavof (تصوف), rend رند, rendane رندانه]
-so, instead of “being” she proposes “splitting”: heterogeneous multiplicities that are simultaneously salient and incapable of being squashed into isomorphic slots or cumulative lists. --> The knowing self is partial in all its guises, never finished, never whole, stitched together imperfectly [that is what she means by ‘split'] ==>  join with another (without claiming to ‘be’ another) {if i am allowed i can map Haraway's “partiality” onto Deleuze's “schizophrenia” --> Greek for “split brain”  (Jonathan Crary, Suspensions of Perception, p.38) According to Beuler, “The selectivity which normal attention exercises among the sensory impressions can be reduced to zero, so that almost anything is recorded that reaches the senses.” One reason for the admiration which Deleuze and Guattari professed for the schizophrenic must lie in this complete lack of inhibition (khod-dari خودداری).} (a confusion o[...]

[...]mologies of location, positioning, and situating
partiality =/= universality
*partiality: view from a body, always a complex, contradictory, *structuring, and structured body* (what does she mean by ‘structuring and structured body’?)

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

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

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

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

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

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

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

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

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

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

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

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


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


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


(Barad on) Situated Knowledges: are not merely about knowing/seeing from somewhere (as in having a perspective) but about taking account of how the specific prosthetic embodiment of the technologically enhanced visualizing apparatus matters to pra[...]

[...] wants to re-figure, not disavow, objectivity

“story-tellers exploring what it means to be embodied in high-tech worlds” =/= technophobia

technophilia is narcissistic : the notion that man invented himself and that man is involved in some kind of narrative of technological escalation whereby the objectification of human intentionality in the world has finally surpassed itself, and man has achieved self-objectification in a machine that will finally name him obsolescence as he is and destroy him in a technological apocalypse figured by the computer. (Haraway) [we need better dog stories =/= (Iron Man:) man, made in the image of a vanished god, takes on superpowers in his secular-sacred ascent, only to end tragic]
“...man making himself (by realizing his intentions in his tools) yet again in the Greatest Story Ever Told.” (your artwork doesn't need to be this kind of story!)
or the Darwinist tale of “Mitochondrial Eve in a neocolonial Out of Africa”
we need stories of companion species, the “very mundane and ongoing sort of tale, one full of misunderstandings, achievements, crimes, and renewable hopes.” (Haraway, La Guin, Tessa Farmer,)

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

[Haraway on Ihde]

...technologies are not mediations--that is, something in between us and another bit of the world--rather, technologies are organs, full partners, in what Merleau-Ponty called “infoldings of the flesh.”

infolding =/= interface
•“What happens in the folds is what is important.”
•Interfaces are made out of interacting grappling devices.
•the infolding of others to each other is what makes up the knots we call beings or, perhaps better, following Bruno Latour, things.

“Technologies are always compound. They are composed of diverse agents of interpretation, agents of recording, and agents for directing and multiplying relational action. These agents can be human beings or parts of human beings, other organisms in part or whole, machines of many kinds, or other sorts of entrained things made to work in the technological compound of conjoined forces.”

*animal (in zoological terminology) : a composite of individual organisms, an enclosure of zoons, a company of critters infolded into a one.

compound = composite + enclosure
camera: the technological eye --> philosophical pretension and self-certainty (=/= Christian's camera)
-- camera as a black-box with which to register pictures of the outside world in a representational, mentalist semiotic economy

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

Vinciane Despret, Isabelle Stengers, Bruno Latour, ”_how they make their subjects interesting,_“
to tell the story of their work of “translation,” of invention.

refuse all loyalty to my homeland and its values

*heuristic: mental shortcuts that ease th[...]

[...] cathexes
(cathexes ~= electrical charge; the libidinal energy invested in some idea or person or object)

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

(15.02.2017) three objects from apass:
-complaint
-evidence
-monologue


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

on futurity; in SF capital (Mark Fisher) the information (somewhere between cybernetic futurism and “New Economy”) is a direct generator of economic value ==> ‘the information about the future’ circulates as as increasingly important commodity* (Eshun)

SF: engineering feedback between its preferred future and its becoming present --✕--> future --> manufacturing tools capable of intervention (=/=? disruption; the Sun Ra, character in the movie The Place is The Space, disrupts when he enters the youth club.)

@Ale --her--> predatory features/futures : (a space for researching[?] dimensions of) anticipatory designs, projects of emulation, manipulation, parasitism, interpellation into a bright corporate tomorrow <== faces smiling at screens (-->? a bitter joke)
-in her criticism of “eurocentrism” how are afrofuturism and arabfuturism located? (curatorial) let's invite them as her allies in Hansaring Studio.

countermemorial mediated practices

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

خودشیفتگی khodshiftegi:
[narcissistic personality disorder]
(exaggerated feeling of) self-importance, self-absorbed, self-perception of being unique, situated within self-presentation, sense of entitlement حق به جانب and self-centeredness schema
adult neurotic's sense of omnipotence --> relic of the old megalomania of infancy (~ all paranoic disorders) (~-> hurt with denial)

(Freud's) primal state: {id ~= ego ~= external world}--(not differentiated)
one could not lay hold of oneself as other ==> narcissism expires
(Lacan's) ego = another }==> the specular ego (in the mirror stage) =/= narcissistic
(‘=/=’ : erotic attraction or aggressive tension)

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


sublimation is passion transformed
or, object displacement, transformation of instincts,
a desuxualization (from primary to secondary narcissism) (--> what is Aela's “thirst for knowledge”?)~~--> unfolding into (differentiated elements of a oneness of) instinctual-spiritual experience. (Aela's) ‘oneness’ [an original unity + one hidden and defended against] stays alive as connection? --> the question of desire for Aela is about this hidden linkage.
[transitional objects, play, modifications of the pleasure principle, genital function,]
,
(noted by Christian Hubert: for Loewald:) *eroticism is genuine sublimation* : a reconciliation in the area of ego develo[...]

[...]dencies has been through perversity.)

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

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

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

*Juan's relationship with the (in)dependency of the individuated self of the artist--in this case himself--by means of mimetic techne is to overcome the visual artist's narcissism?

(Pierre:) being alone --> mimesis --> through mimetic intra-acting with the other
(Sina: there is no “being alone” only ‘feeling lonely’ which is itself a form of intra-acting : internalizing an external phenomena. “loneliness” is a belief that one has.)

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

narcissism as a mimetic and performative mode
transindividual narcissism --Maitra--> movement of the subject beyond ethnicity (ethnic formations that the bio-political processes of interpellation demand of the subject)
remediation of ethnic narcissism

[Maitra's queer diasporic reading practice of] (in diaspora media theory) performing an identity (that is “Iranian” for example)

*intermedia* (=/= multimedia: fuse disparate media)
frictions between different media
conceptual interplay between media
space of alchemical transformation
(at the level of) conflict of interpretations
radical understanding of interdisciplinarity

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

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

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

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

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

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

hupersexuality
...those who are undersexed


<[...]

[...]◦giving you what i don't fully understand =/= gift from above
•(in lecture) to allow language greet the unverbalized

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

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

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

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


#on hypertext note:
i am becoming skilled at looking at my notes:
{(1) what are the *skills necessary* [=/= tabula rasa (of the reader, of the audience) of the communo-capitalism's standard of “user-interface"--the strange idea that the interaction and reading doesn't need or must not need learned-efforts or skills, that it should be “easy” and “effortless” --> fallacy of the unskilled listener.] to engage, interact, and get involved with the interface, data-set, grammar, and literacy of (my) reservoir? }--> ** let's ask that question with every apparatus that engages us into desire, movement, articulation, ...
skills --> to become ‘literate’ in this particular way --> situated knowledge includes this situated literacy and skills of reading particular to the object of “text” (in that case how do i address my interest in the pervert reader? the skills of the unlearning*)
the skills necessary for my work to work comes with time, attention, and desire ~-=>? #harem (=/= ladies room)
--> (2) this skills of (my) reservoir, what set of questions or problems equip me to address?

varzidan, varz, varzide, ورزیده

Sennett's love for his subjects is extraordinary (=/= iconoclasm, futurism) and it[...]

[...]affective value shapes the surfaces of bodies and worlds; affect generates the surfaces of collective bodies (<==allows== not to locate affect in a subject or object) ~~--> [to initiate with Hoda an examination of the) *mobility of bodies of subjects* (in the West or her regions =/= question of the mediatization of her emotional experiences}

*emotions ‘involve’ subjects and objects*

what constructs emotions as positive or negative residence?

[*]psychoanalysis: a theory of the subject as lacking positive residence
(this ‘lack’ is commonly articulated as the “unconscious”: in Freudian terms, where an affective impulse is perceived but misconstructed, and which becomes attached to another idea. [can i say that my work in ajayeb, which i named it as ‘organizing my memory, and also, that which comes to mind’ is all about this reconstruction of cognizeds and percepts? is that why i am having less and less unconsciousness in my daily life?!])
-cognizant agah آگاه
-in Freud's model of unconsciousness, the affect itself is not repressed, rather, what is repressed is the idea to which the affect was attached --> displacement

(Lacan's) subject: proper scene of absence and loss*
a theory of the subject that the locus of the signifier settles --> constitution of the subject as “settlement”

([what is?] Eszter's right and will to keep looking for signs of difference. --when she was talking about idiosyncrasies of her countries)
*[with Eszter's “the nation has suffered enough!"] --Lezra--> politics in a sense is precisely concerned with what is or is not *enough*
“it's enough!” --> #demand something or before which I make a claim. it is practical (even technical) or is dealing with being practical
the haunting modifier of “enough”
the *amount* of something (-of suffering in this case) <-- “That's enough coffee”
-we are dealing with materialit[...]

[...]ction to stimuli [overwhelmed by the speech of the others ~ neurosis], distorted thinking [overstressed emotional reasoning], , ,)
[*]behavior therapy: treatment of neurotic symptoms by training the patient's reactions to stimuli --> *cognitive restructuring* could help Eszter in her artwork? (to reestablish the relationships between stimuli and responses)
(techniques:)
•counterconditioning
•punishment (operant conditioning)
•habituation
•functional analysis
•*behaviour intervention plans*
•automatic thought record
•

i can only guess (with cognitive therapy) at the interior landscape of her reverie, her internal reality (~= psyche) [--> i am reminded by this again that knowing anyone's psyche is impossible, as in psychology is an impossible science]
[*]cognitive therapy: identifying and changing unhelpful or inaccurate thinking, problematic behavior, and *distressing emotional responses*
--> learning to monitor thoughts (in three layers:)
1. core belief [deepest level of our thinking, underlying self-values and perceptions of the world, have an absolute quality: “I am worthless.” “I am inadequate.” “if I fail, I am worthless.” “I am unsafe in the world.” etc.]
2. intermediate beliefs [expectations and assumptions, guidelines we follow, maintaining our anxiety and depression: “Always look for danger and expect it to be there.” “If I don't understand something perfectly, then I'm dumb.” etc.]
3. automatic thoughts [immediate thoughts that go through our mind in response to a situation, usually negative and unquestioned: “She thinks I'm weird.” “I won't pass that test.” “This is too hard. I'll never understand this.” etc.]

types of automatic thoughts:
•evaluation (evaluative thoughts)
•coping strategies
•avoidance
•

[cognitive distortions]
typical mistakes in thinking:
•*all or nothing* / all-or-none thinking (“If I'm not a total success, I'm a failure.”)
•*catastrophizing* [--> middle eastern fortune-telling, omen, foretell the future] ( “I'll be so upset, I won't be able to function at all.”)
•*disqualifying the positive* (positive experiences do not count: “I did that project well, but that doesn't mean I'm competent; I just got lucky.”)
•*emotional reasoning* (“I know I do a lot of things okay at work, but I still feel like I'm a failure.”)
•*labeling* (“I'm a loser.” “He's no good.”)
•*magnification/minimization* (“Getting a mediocre evaluation proves how inadequate I am. Getting high marks doesn't mean I'm smart.”)
•*mental filter* [selective abstraction] (“Because I got one low rating on my evaluation it means I'm doing a lousy job.”)
•*mind reading* [narcissism] (believe to know what others are thinking: “He's thinking that I don't know the first thing about this p[...]

[...]ocus, 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 plant was repositioned in our) making of public common spaces
-practices of concern
(attentive to the plant that was a) shared “thing” between us
what was mediated, navigated and articulated with that plant in apass 4th floor?
(with this i am trying to ask about the) kinds of imaginative world-making at work
gathering forces
-

the mice, and the pattern of rice, how did we become the reader of mice's text? --> reader is always always constructed.
the mice disconnected us from global digital networks and wrote something on the floor...
(which objects of our systems design supporting some and not others) leaving out what are locally perceived as “nonpeople” can mean nonworking system. (biologists not seeing their secretaries as doing real science, artists in apass not seeing the mice doing real work, etc.)
--> *(Leigh Star's) “ethnography of infrastructure”* -infrastructure is both relational and ecological, both transparent and opaque. it is part of the balance of action, tools, and the built environment. [*]infrastructure: a dense interwoven fabric of shared visions of possible and acceptable dreams (of the inovative, as techniques, knowledge, know-how, and the institutions).

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

my previous lectures have been communicating something I don't quite understand to an audience that doesn't want to know. but still somehow they became not indifferent to my madness and we managed to establish lines of interest and interference (=/= restoring the phalus to its proper place, or getting a membership)

i am building another wit =/= you know when you are on some kind of auto-respond, those smart fast answers. my wits take ages to come through. in a way i have been slowing down certain kinds of wit. that's also why it is s[...]

[...]s as doing real science, artists in apass not seeing the mice doing real work, etc.)
--> *(Leigh Star's) “ethnography of infrastructure”* -infrastructure is both relational and ecological, both transparent and opaque. it is part of the balance of action, tools, and the built environment. [*]infrastructure: a dense interwoven fabric of shared visions of possible and acceptable dreams (of the inovative, as techniques, knowledge, know-how, and the institutions).

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

my previous lectures have been communicating something I don't quite understand to an audience that doesn't want to know. but still somehow they became not indifferent to my madness and we managed to establish lines of interest and interference (=/= restoring the phalus to its proper place, or getting a membership)

i am building another wit =/= you know when you are on some kind of auto-respond, those smart fast answers. my wits take ages to come through. in a way i have been slowing down certain kinds of wit. that's also why it is so easy to silence me.

i have been also busy with the timing of understanding. how to keep understanding open and ongoing? there is this standard general sense that becomes very upset when things are not immediately understood (#double-click democratization of communication,) my workings have been perhaps invested in keeping my own (not-fully-)understood alive for a while. if things were instantly understandable we wouldn't be here.

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

question at Hoda

how to make her interested in metaphysics? in queer studies and practices

physics is the river of phenomena
meta: above, among, beyond

ontological commitment to:
sense of wonder
sense of sadness
sense of madness

what (else) literature can be if not elegy?

sonic level of sign-making and significance in her act

soft-spoken adjectives

“sigh”: poetry's start-up engine, aaaahh
somewhere between lament and mourning
proper address of the mother
which ‘scene of modern or classical language’ you are opening?
‘sigh’ is important, sigh initiates (many including german and iranian) literature
iranian historical comfort zones
where literature starts with sigh
when and how did you learn to sigh?

sigh is from the family of the specialized languages of complaining?

temporal climate of your remembrance (as mourning) --> related to the past?
mourning and memory are sojourn for her

incorporating the object of (her) loss
(holding onto) the unhappy objects of difference

anger, pain, misery, ...

which (good or bad) feelings saturates her poem?
question of saturation
which feelings modified by which poetics sutures which wounds? [...]

[...]e”

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

#semester, seminar study the “scene of writing”
keywords: deconstruction, fabrication, articulation, plasticity

[week 1,2,3] encounters between psychoanalysis, deconstruction, writing, concepts of language:
•Derrida --> Freud / “Freud & the Scene of Writing” (43 pages)
•Fleming --> Derrida / “Cultural Graphology Writing After Derrida” (first chapter: The Psychopathology of Writing, 29 pages)
•the schemas of text and the trace, Malabou on plasticity [=/= elasticity] (change of the paradigm of writing as developed in Derrida's Grammatology with the new paradigm of plasticity, her interest in relation between form, materiality and meaning) / “Plasticity at the Dusk of Writing” (28 pages)

[week 4] 20th century sciences and philosophies, the notion of fabrication of concepts:
•Xin Wei --> Whitehead / “Whitehead's Poetical Mathematics” (19 pages)

[week 5] on articulation:
•Deleuze and Guattari / “A Thousand Plateaus” (chapter 3: Double Articulation, 32 pages)

[week 6] feminist and women studies, scene of writing:
•aesthetic tentacularity: Lindsay Kelley & Eva Hayward / “Carnal Light”

[week 7] digital media:
•Flusser on hypertext / “Does Writing Have a Future” (chapter: Supertext, 6 pages)
•Bolter / “Writing Space” (chapter 3 Writing as Technology, 13 pages)


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

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

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

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

[...]of getting into eachother discourses ~~and--> (its) ongoing materialization --> *differential materialization* (is discursive; Barad)]
•patterns of difference
•I am against the ‘frictionless narrative space’ (in the absence of the dominant story) where “everything” (therefore nothing) is possible

(the workshop engages in thinking) intertwined practices of knowing and being
[this practice of storytelling might be relevant for those invested in questions of: knowledge production, speculative theory, situated bodies critique, situated knowledges critique, being ‘of’ the world,]
-to think creatures/beings that have evolved in intra-action with their environment
-to question and examine the ontological issues: the locus of knowledge is presumed never to be too far removed from the human. in the workshop we reimagine the locus of knowledge in other location that nonhuman might occupy
==> a better account for the *ontology of knowing* =/= merely ‘welcome’ dispossessed Others (women, slaves, children, animals, and other exiles from the land of knowers) into the fold of knowers [no! no!]
•to challange “I think therefore I am”: the idea that the “world” is an idea that exists in the human mind --> knowledge making is a not mediated activity =/= (Barad's) “direct material engagement”
•(the workshop begins with a position that believes:) knowing is a distributed practice that includes the larger material arrangement [then isn't the practice of writing insufficient?]


after the first round we can ask: what do you need (un)know to write/think that story? or, what do you need to forget/unlearn in order to be able to think/imagine that world?

another round of the workshop could be: #imagine and describe an alien world where there is no ‘mediation’ or activities that are not ‘mediated’

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

because of working on ajayeb, i am becoming oming a “definitionist,” or “definitionologist” (not in the classical sense of concept theory)
a definition i give is a local abstraction, even when it is making boundaries for a dispersed or global concept, it is still a situated knowledge. that means it might be categorical but not applicable outside this particulare niche of space and time, whether it is in a bar in a conversation with Eszter or when accessed in my hypertext

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

committed to the imperative of the Rig, things not to do in the pop-up book:
•use as ironic: incongruity in expectations of what is ment and what it will mean in advance
•use to symbolize: as a way of not dealing with sujet supposé savoir
•use of anamorphic gaze: a non-diffractive optical system
--> to be careful (or keep in check) with sequential palindromic notion of pop-up book, to deal with the parsable seesaw motif inherit in the pop-up book Blickmaschin
•use hylom[...]

[...]ue, situated knowledges critique, being ‘of’ the world,]
-to think creatures/beings that have evolved in intra-action with their environment
-to question and examine the ontological issues: the locus of knowledge is presumed never to be too far removed from the human. in the workshop we reimagine the locus of knowledge in other location that nonhuman might occupy
==> a better account for the *ontology of knowing* =/= merely ‘welcome’ dispossessed Others (women, slaves, children, animals, and other exiles from the land of knowers) into the fold of knowers [no! no!]
•to challange “I think therefore I am”: the idea that the “world” is an idea that exists in the human mind --> knowledge making is a not mediated activity =/= (Barad's) “direct material engagement”
•(the workshop begins with a position that believes:) knowing is a distributed practice that includes the larger material arrangement [then isn't the practice of writing insufficient?]

>
after the first round we can ask: what do you need (un)know to write/think that story? or, what do you need to forget/unlearn in order to be able to think/imagine that world?

another round of the workshop could be: #imagine and describe an alien world where there is no ‘mediation’ or activities that are not ‘mediated’

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

because of working on ajayeb, i am becoming a “definitionist,” or “definitionologist” (not in the classical sense of concept theory)
a definition i give is a local abstraction, even when it is making boundaries for a dispersed or global concept, it is still a situated knowledge. that means it might be categorical but not applicable outside this particulare niche of space and time, whether it is in a bar in a conversation with Eszter or when accessed in my hypertext

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

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

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

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

towards writing the end of apass dossier
•practices: workshops, (bow and arrow,) ajayeb.net, rigs --> pop-up book, notes, routines, excess,
•trajectory: bibliography, wonder, ongoingness, ontology,
•productions: study as artwork, reading as artwork, bottom-top approach to wri[...]

[...] for consumer culture specializing in providing private pleasure,
techno-capital objectivism: (neutrality of) collection developemnt and format choices --> power-sensitive judgments
“we will engineer ourselves out of that” --> naive technological optimism; *the technological question is cruicial to questions of power and knowledge*
-library science tends to position library as power-neutral spaces
-(Foucault: resistence to power is always present)
“freedom to” is always disciplinary (because there is always a particular subject enjoying that) [citizen of liberal democracy who exercises the freedom of representative government, so much as a consumer who exercises freedom of choice of commodities]
patrons as constituent مولفه (==> new knowledge + themselves as knowers) =/= seamless information consumer discursively produced as an unmarked singular independent self-contained stable universal white male heteronormative technophilic subject [<-•this donesn't realy exisit as a person, rather as discoursive productions]
(now) our electronic recreation is work: our every click is surveilled, generating data about our desires and curiosities that feeds back into our formation as techno-capital subjects (@Sven's enthusiasm with social media--how can Sven has a real chance of producing resistance knowledge?) --> this is not freedom! (-an account of freedom for one entails reciprocal unfreedom for others) --> mixtures of work and play in this new economy, (Calvert > Bateson) the meta-communicative nature of *play[= strict rules with genuine freedom, the dual essence of play: curiosity and relationality];
(Calvert arguing for) “knowledge-makers” who engages in creation of situated knowledges by activity adapting, processing and sharing knowledge within the ecology of library ~= *bibliographic apparatus*
(Calvert's heuristic device to imagine what library practices might emerge:) imperfectly literate constituent seekers

-a double consciousness of play, where cognitive sensation amid multiple affectivities are continually teased between assertion and rejection
-a doubled unconscious connoisseurship of realist conventions pressured at new horizons
[Katie King]

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

(women's) mini-encounters with god --> kind of materiality of god that don't fit any of the available categories


now-but-not-then quality of continuities


Haraway's deep commitment to the ties of science and competence, pleasure, empowerment, ([*]science:) this craft where you did this incredibly fragile, important, hard work of asking questions of the world in such a way that you might have half a chance of knowing if you are wrong***


you get it “there” ==> (you have a chance of) figuring out something else*


(sustainable life ways that involve) breeds =/= factory farming

[...]

[...]adow


figure of *mill* (the characters and technologies and ideas of the ages mill around in a state of a mild, semiblissful confusion) =/= Eszter's vortex

my intimate impressions “personal" = footprints of hyperobjects, distorted as they always must be by the entity in which they make their mark

situatedness is now a very uncanny place to be, like being the protagonist of a Wordsworth poem of a character in Blade Runner


*cool impersonality of the scientific language* (now is deprived of its ideological status)


the concept of the ‘world’ is no longer operational
can we think environmentally without the idea of ‘the end of the world’?

(Morton asking for) a geophilosophy that doesn't think simply in terms of human events and human significance

Morton: global warming =/= climate change
if one takes the ‘climate change’ as a substitute for ‘global warming’ is like “cultural change” as a substitute for Renaissance, or “change in living conditions” as a substitute for Holocaust


acronyms, abbreviations:
dialoc دیالوک --> decrease in appropriate levels of concern
tomas توماس --> terrain of media and the sociopolitical realm
cohhatg کوهاج --> coincidence of human history and terrestrial geology
hhatg حج --> human history and terrestrial geology
pb پی بی --> philosophy's bandwidth
sdwa صدوا --> substances decorated with accidents -->
ldwa لدوا --> lumps decorated with accidents --> featureless lumps, and those things have accidental properties, like cupcakes decorated with colored sprinkles (arayesh آرایش) }--> this thinking still continues, despite the fact that ‘thought has already made it irrelevant’ --> thamii تامی, (for example birds for Attar are merely decorative features of Attar's social, psychic, and philosophical space)
soth صوث --> speculating outside of the human
sim سیم --> small island of meaning
etimom اتیموم --> everything is made of mind
hhbn هبن --> hand-holding benevolent narrator (-which is vanished)
(auto) cad کد --> (automatic) comforting aesthetic distances
iockat --> intentional objects commonly known as thoughts
atot آتو --> (you only ever perceive your particular) anthropomorphic translations of things
ejich جیش --> exhilarating jump into cognitive hyperspace --> displacement that Copernicus or Derrida does
foe --> fantasies of embeddedness [<-- phenomenology <== grounding of Kant (begining in 1900)]
avaa اوا --> a vertiginous antiliteral abyss
iwen --> intimacy with existing nonhumans
mok --> mathematization of knowing (--> Descartes, Newton) ==> hiding philosophical and ideological decision[...]

[...]ion)
•Heidegger
•Derrida (displacing the human from the center of meaning-making)
•Nietzsche
•Deleuze and Guattari
•
~= there is no edge =/= (film Lucy or Neil Tyson series suggesting that) there is an edge (of time to see everything perfectly), in some (privilaged) transcendental sphere of pure freedom, Lucy's chair literally sitting a VIP box beyond the edge --> anthropocentrism: the idea of a privilaged transcendental sphere
Kant --> (although we are limited in finitude) our transcendental faculties are at least metaphorically floating in space beyond the edge of the universe --> #milieu #tasavof #sufism


...هزار و یک hezaro yek
universe of trillions of finitudes


[*]thing: a rift between what it is and how it appears


(Morton > Herman:) human consciousness wants *to preserve knowledge as a special kind of relation to the world quite different from the relations that raindrops and lizards have to the world* (<-- so dangerous and so difficult to resist [<-- next level of situated knowledges] -->) also want to claim that the very status of [his] utterance is somehow special <== (human) ‘thought’ is given a unique ability to negate and transcend immediate experience
(claims that the human doesn't exist ==>) elevating the strucure of human ‘thought’ to the ontological pinnacle سرمنزل

everything (such as modernity) banks on a certain forms of ontology and epistemology to secure its coordinates


speculative realism, a rogue machinery

saving power:
•expecting an eschatological solution from the sky
•a revolution in consciousness
•a people's army seizing control of the state
•

obsessive robots (that hold open the sliding doors of history just as they appear to be snapping shut, imprisoning us in modernity forever)


*distance*: (the schizophrenic defense, “object in mirror,”) a psychic and ideological construct designed to protect me from the nearness of things
-the concept of ‘nature’ is (such) an “object in mirror” (#amazon project)
بنداز دور mythical land away --> a dis-dimension called ‘away’ (door دور) in iran (door andakhtan دور انداختن)
(there is no away on this surface we are in) --> throw away: an optical effect : there is no loger distances our image from us in a nice, aesthetically manageable way, but sticks to us --> we are glued to our phenomenological situation (--> entanglement of equipment and quanta =/= three pigs)

a threatening proximity

“i do not feel ‘at home’ in the biosphere” (yet it surrounds them and penetrates them) --> most humans feel that way. how one's entire physical being is caught in its meshwork of narezayati نارضایتی
(physical existence carrying with it) a trace of unre[...]

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

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

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

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

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

few things (that i hate hysterically) that i think i urgently need (and any artist) to have a very good grasp of (within modern capital economy):
•marketing (--> integrated storytelling)
•fashion (--> manipulative regimes of time and place)
•journalism (explanatory technologies of news and opinion, vox, kurzgesagt, corporate media, immersive journalism, forensic aesthetics)
•politics (=/= political science): achieving and exercising positions of governance that have control over communities
•hollywood/comics (*corporate-produced fiction* --> business-decisions connecting cross-overs; ideas of: customer and merchandise)


i can't shake off the idea that behind every marketing strategy there i a predatory behaviour concealed


***there is nothing quite so humiliating and disempowering as trying to prove the truth***

‘trying to prove the truth’ is the worst position you can find yourself in and it means you are fucked. because you are doing it to empower yourself in the face of a biger power that lies and claims you. the conditions that had let that happen are the question, not the truth of the matter --> that is why i find journalism most of the time useless

impossibility of having an interview with iranians (myself included): [<==? chaotic subjectivity]
deflection --> dodging: not giving meaningful answers : gradations of non-answers you are receiving
taking a keyword, repeating it, sounds like answering the question, introducing a nonsequitur to trip up the host
==> more confused & less informed

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

#project Puchberg landscape Austria
shifting baseline syndrome: reshaping the landscape and forgetting what was before ==>{ (new) reality = shaped and ruined landscapes
(Emirates was for me such reality of shaped ruin)
admiring one landscape and its biological entanglements (Puchberg Austrian meadows, with it cows and horses[...]

[...]t a time when a leftist project seemed to have vanished from the political imaginary (in Europe)

*changing identity of the audience across the 20th century* (Bishop & Crary on this topic)

*artistic models of democracy* --tenuous?--> actual forms of democracy

to refute the commodity-object in favour of an elusive experience

(Bishop:) today's participatory art is often at pains to emphasise process over a definitive image, concept or object. It tends to value what is invisible: a group dynamic, a social situation, a change of energy, a raised consciousness.

hit-and-miss field trips

the more one becomes involved, the harder it is to be objective – especially when a central component of a project concerns the formation of personal relationships

comfortable outsider status: impotent but secure in one's own critical superiority

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

only working with (that seems to be) your idea

(the problem of) being always so deliberate and cautious

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

Hillman

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

what are art's investments in psychology today?

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

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

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

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

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

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

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

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

[...]ke mathematics) is a priori disciplines (or has an a priori methodology) at its core
-the posibility of *true answers* for “artistic questions”(?) --? can anybody outside your field be made to care whether you're right?
a priori =/= contingent
higher-order truths of...
self-supporting community of experts (= trap)
“philosophy is garbage, but the history of garbage is scholarship” -Burton Dreben

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

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

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

https://mapmagazine.co.uk/notes[...]

[...]ngs and have erasure without remanence, it will go in the state of latency (underground) just to blow up in your face later (the ‘return’ of the repressed has ballistic velocities) --Derrida--> you have to work through with meaning and language (otherwise the old meanings always come back, you are never responsible enough with old meanings)

a word, becomes a thorn in our collective thigh
(what i am learning *rigor* from Avital > Derrida) something looks wrong, (instead of jumping on it and tagging it out,) first say why it is right, what necessitated and motivated it, why it had to be there = rigor: locate the problem zone + say why it had to be there (why it rhymes with what)

(mistake or glitch =/=) error: an exemplary error that teaches you, that had to be made to get where you are going, you had to get into this zone (and as traumatic as it might be) it was neccesory and necessitated by the system that was pushing you forward, it pushed you toward a place of error and blindness and forgetting

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

practice of *worldly thinking* with Stewart
vivid pragmatics
weird robust realism of deobjectified deliteralized things =/= ajayeb
to correspond with #telegram media
constitutive differings

teenage: self-division between the move to surge out in a risky worlding and the labor of return alone and weighted

festering + sheltering

“When everything else has gone from my brain—the President’s name, the state capitals, the neighborhoods where I lived, and then my own name and what it was on earth I sought, and then at length the faces of my friends, and finally the faces of my family—when all of this has dissolved, what will be left, I believe, is topology: the dreaming memory of land as it lay this way and that.” Dillard > Stewart

rock-solid otherness

sitting on the granite curb... --Stewart--> sitting on a threshold of expressivity
(Stewart's) intercorporeal intermundane world =/= dull naturalism

(dead matter =/=) the capacity to correspond with a multiplicity of continuous worldings that are both plastic and dense --> grounds us

indeterminate lines of force ripple across the phenomena of a field --> materiality ==> ‘our thought: multidimensional contingent overdetermined’

**we remember in stories of accidents, sledding, and labors**


emerging in circulations (or)
resting in stone (or)
the facades of strip malls

compositional writing: an associational register (of connections and differences) that worlds object-reals [real: a tangle of elements thrown together in a radical composition]

social-material world = composition = prismatic --> for people who are:
•attuned to them (or)
•identified with them (or)
•hostile[...]

[...]excluded
•
}--help--> anecdotic implication (=/= therapeutic system's theory):
•anecdote becomes the frame of the conversation
•risk of becoming involved in the anecdote's ridiculous fleeting liveliness
•

the anecdote, which dramatized the dead end where the intervenor's capacities are reduced to non-existence --> can also revitalize the relaional process (if introduced in a new quasi-causal chair)
[anecdote's] circular causal hypothesis which reduce the anxiety create a more accessible reality --> constructing a myth = [*]story: lies which tell the truth**
•anecdote takes it place in a causality chain where it lives for a fleeting moment carrying a *parasitical* or a *paratherapeutic* significance
==> construction of a specific restricting environment in which the parties [family and intervenor, artist and feedbacker] are trapped
--Despret--> ***the reduction [of anecdote] becomes the starting point for a new release of the energy it liberates***(!?)

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

Zoological Vandalism: Chimeric Pragmatism in Animal-Filled Media
Zolmat and the Black Box as Media Beyond
Primordial House and Suffering Landscape
Changing Inside”, a multi-media performance and intervention with Mia Habib and Jassem Hindi
Four Oriental Cartography of the East
About Dense Properties

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

shift in our idea of nature not any more a source of *fecundity: how we relate abundance in nature to the way we live ourselves

we have to fight to keep things democratic (itself a privileged idea) and not autocratic when it comes to climate change

in Frozen II animated movie, Elsa build her way out of climate (magic = technology)

to make a debate point =/= trying to answer your question

(Hegel) negative values are much more clearer than affirmative values


the dangerous and dominant belief that whatever problems we face in this society the misfits (particular exceptional individual) can change it all

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

(from being an artist to artist researcher)
to articulate and demonstrate with brilliance ‘what you know’ --to--> to be able to exquisitely explain ‘how you know what you know’ [--?--> *metacognition: thinking about one's own thinking = reflection (thinking about
what we know) + self-regulation (managing how we go about learning)]
-metacognitives kills: to get good at recognizing flaws or gaps in one's own thinking + articulate thought processes + revise efforts
*classroom = mirror* (process of stepping back to see what you are doing)

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



my whole work is about two things now:
•to think cumulati[...]

[...]isposition ==(produces)==> perspective ==(produces)==> self

the beings in ajayeb (عجایب‌) are ‘alive’ because of their ability to ‘do things’ in the ways they come to represent and interpret through me

recruiting scores of new actants so as to render the theater of worldly interactions more complex and interesting


what is the sociocultural world we construct?


dream images, vivid mythical scenes,


form travels/passes through us

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

[Latour modes of existence]

(to distinguish types of)
incompatible truths

“truth"--is the expression of an encounter with forms of existence

to understand the others in the absence of a description of ourselves
(what is realistic?)

to direct attention towards the beings about which humans are interrogating themselves



عجایب‌ ajayeb is a ‘network’ more than anything else, in it “God” has no special privilege, is not located in addition to or beyond other beings

we are seeking to redefine the paths of beings that are unique to ajayeb without giving them substance and without jumping immediately into transcendence. (using Latour words) [transcendence is never gradual, in the places i come from, it is always a shock, happening, a truth-event]
-each word (God, Angle, Jinn جن, fog, etc.) brought into its own network,
-what are contrasts and of category mistakes particular to each
-and their crossings----and what is the vocabulary specific to each crossing

the network of associations necessary for the exercise of religion without bracketing off its ontological requirements.

explanatory rage (tavahoshe roshangari توحش روشنگری) --✕--> networks necessary for religious meaning

(the aim is) deploying the network (of ajayeb)
it is about grasping ajayeb's beings not as substances but as *trajectories*--and give them a more precise *direction.*

what is important in working these modes what kinds of possibilities are “afforded” to the investigator, myself. what kind of actor am i?

(specifications of the type of beings that the mode leaves in its wake)

**other beings necessary for its existence**
(my personal/public question, what other beings are necessary for my existence? and therefore for your existence as well.) ----> the heterogeneity of the actors needed for the pursuit of any course of action


*metamorphosis (a mode of existence first detected in psychogenesis?) what we encounter whenever we address the manner in which existents are transformed or transform in order to subsist (zist زیست)
-defined by a certain kind of continuity and obtained by a certain type of discontinuity
-metamorphos[...]

[...]the always fragile maintenance of the relation between material and form
 -*specifications* of “fictional beings” (that leaves in its wake) ==> worlds (unlike fic all other modes fold for their own use by managing to extract from materials)

All continuations of a “course of action” suppose a discontinuity that must be overcome in order to define a trajectory. ==> gap, break

the mini-transcendence required for any definition of the being-as-other

(haven't we managed?) to allow several modes of existence to run, flow, pass, each one appearing indeed to possess its own conditions of truth and falsity and its own mode of subsistence

‘libido sciendi’: to recognize the branching that allows us to stop confusing the chains of reference it has to establish in order to ensure knowledge with the leaps that things have to make to maintain themselves in existence

*“beings of law,” : those beings that wake a judge up at night and force him to ask himself “Did I make the right decision?”


(feeling smashed by) ‘the task of mimicking the world’


*articulation* is an ontological property of the universe; a being is articulated (rather than being a silent presence, made immediate, persistent, given duration without existence).
-It is the articulation of beings that enables us to talk about them and to judge, that is to say, to monitor the risks they take in being “permitted by” and “promised to”. (modes of existence)
translation, discrepancy, displacement, interpolation,
(problem with “statement” [=/=? articulation] is that it must correspond to a ‘state of affairs’ [~=? politics])
==> to free science from: completeness, comprehensiveness, formality, expressibility, inscriptibility. (Vollständigkeit, Verständlichkeit, Formalität, Ausdrücklichkeit, Unbeschreiblichkeit.) [what is a science that is not describable? ~-> Sohrevardi {forms of enunciation}--> how to specify the Sohrevardi's felicity (sa'adat سعادت) conditions (of enunciation)? ---- (his) “equipped knowledge” (=/=? situated knowledge), awkward distributions, etc.] #(this is all about me trying to learn how to make room...)
knowledge moves around everywhere without our knowing how
“waiting to be known”


*translation =/= {transportation without deformation ~= description}
every transfer is translation
(political:) transfers of necessity
following the thread of modes
translation =/= displacement: merely a change of place
translation refuses the choice between being and non-being and rejects the principle of non-contradiction by which a thing cannot be, in the same respect, both itself and another.
translation: to be at the same time and in the same respect one thing and another --> this is the condition of being --> give place to mediators / “excluded middle”
(translat[...]

[...]rticulation] is that it must correspond to a ‘state of affairs’ [~=? politics])
==> to free science from: completeness, comprehensiveness, formality, expressibility, inscriptibility. (Vollständigkeit, Verständlichkeit, Formalität, Ausdrücklichkeit, Unbeschreiblichkeit.) [what is a science that is not describable? ~-> Sohrevardi {forms of enunciation}--> how to specify the Sohrevardi's felicity (sa'adat سعادت) conditions (of enunciation)? ---- (his) “equipped knowledge” (=/=? situated knowledge), awkward distributions, etc.] #(this is all about me trying to learn how to make room...)
knowledge moves around everywhere without our knowing how
“waiting to be known”


*translation =/= {transportation without deformation ~= description}
every transfer is translation
(political:) transfers of necessity
following the thread of modes
translation =/= displacement: merely a change of place
translation refuses the choice between being and non-being and rejects the principle of non-contradiction by which a thing cannot be, in the same respect, both itself and another.
translation: to be at the same time and in the same respect one thing and another --> this is the condition of being --> give place to mediators / “excluded middle”
(translation enjoys that) a being can be itself through the intervention of a being other than itself
(monitoring translations in ajayeb) --> and my treason/translation which brings about completely different trajectories, which allows itself to be grasped by surprise or action etc. / to trace a/its network
translation ~=? occasion ~~--> the essence of situation
-no one can simply (ever) “remain the same,” “without doing anything” --> one needs to pass ~= translation


*interest: a mediator that arises between two entities that do not know, before it arises, that they could be attached to each other. -->{
-‘object’: set of quasi subjects that are attached to it
-‘subject’: set of quasi objects that are attached to it}--> what new translation interest makes the (quasi) subject of a (quasi) object grow. --and vice versa--


radical position of *semiotics* on the issues of context, referent, and enunciation (that anthropology is able to escape)
(i am talking about a semiotics that is not obsessed with the search for “structure”)
{ (fictional beings ~=>) semiotic ~=? ontology }--> science of “sense” (=/= science of “signs”)
-the world itself is articulated
{ the study of sense =?=> extrication from language }--> this bifurcation (enshe'ab), as old as philosophy itself, used the discovery of “reference” as an opportunity to expel the referent to a position outside language.


(Aristotle's narrative : “the imitation of an action” -->) Ricoeur's three types of *mimesis:
1. prefiguration ()
2. configuration (k[...]

[...]me trying to learn how to make room...)
knowledge moves around everywhere without our knowing how
“waiting to be known”


*translation =/= {transportation without deformation ~= description}
every transfer is translation
(political:) transfers of necessity
following the thread of modes
translation =/= displacement: merely a change of place
translation refuses the choice between being and non-being and rejects the principle of non-contradiction by which a thing cannot be, in the same respect, both itself and another.
translation: to be at the same time and in the same respect one thing and another --> this is the condition of being --> give place to mediators / “excluded middle”
(translation enjoys that) a being can be itself through the intervention of a being other than itself
(monitoring translations in ajayeb) --> and my treason/translation which brings about completely different trajectories, which allows itself to be grasped by surprise or action etc. / to trace a/its network
translation ~=? occasion ~~--> the essence of situation
-no one can simply (ever) “remain the same,” “without doing anything” --> one needs to pass ~= translation


*interest: a mediator that arises between two entities that do not know, before it arises, that they could be attached to each other. -->{
-‘object’: set of quasi subjects that are attached to it
-‘subject’: set of quasi objects that are attached to it}--> what new translation interest makes the (quasi) subject of a (quasi) object grow. --and vice versa--


radical position of *semiotics* on the issues of context, referent, and enunciation (that anthropology is able to escape)
(i am talking about a semiotics that is not obsessed with the search for “structure”)
{ (fictional beings ~=>) semiotic ~=? ontology }--> science of “sense” (=/= science of “signs”)
-the world itself is articulated
{ the study of sense =?=> extrication from language }--> this bifurcation (enshe'ab), as old as philosophy itself, used the discovery of “reference” as an opportunity to expel the referent to a position outside language.


(Aristotle's narrative : “the imitation of an action” -->) Ricoeur's three types of *mimesis:
1. prefiguration ()
2. configuration (kingdom of the “as if”)
3. refiguration (integration of the imaginative or “fictive” or “as if” into actual) of the field of action;

‘reading’ is configuration (Ricoeurian)

•use of symbols : being able to grasp one thing as standing for something else;
•narrative: competency in the temporal structures governing the syntagmatic order of “followability”


...empirical means to locate the boundaries of capitalism

(to enclose something -->) ontology of the Accounts Book --> Attar's T[...]

[...]د) (Sarx)


[Ashtiani, 2nd vol, p44, footnote]
ensane okhravie daraye badan (انسان اخروی دارای بدن) --> nash'eye jesmanie alame akherat (نشئه جسمانی عالم آخرت)
(baghaye) badane okhravie alame made (بقای بدن اخروی عالم ماده) --> hades zamanie (حادث زمانی)


لطیف latif ~= immaterial

actual/real ~= a dream between earth and sky


asemanhaye napeydaye nojumi آسمانهای ناپیدای نجومی (celectial skies invisible)
dadehaye vahyi داده‌های وحی (data of revelation)


Avicenna (selselemaratebe ebn-sinaie oghul سلسله‌ مراتب ابن سینایی عقول):
[each aghl عقل or angle with its own sky and nafs نفس ==> a whole universe for itself]
sending from one aghl to the other, till the 10th aghl = unlimited human nafs
10th aghl ~= philosopher's active aghl ~= ruh al ghodos روح القدس

(سهروردی) in Sohrevardi: angle and nafs are in the same trip

aghle hayulayi عقل هیولایی


[Averroesian/ابن رشدی =/= Avicennian/ishraghi/اشراقی] ==> destruction of the intermediate world of angles ==> secularization :
sociology <-- theology <-- angelology
(divine materiliazation --> social materialization)
totalitarianism <== ideology <-- spirituality (~=? intellectual immaterialism)

(?signing in iran:)
ghodsi shodane nahadha = orfi shodane maba'adotabi
قدسی‌ شدن نهادها = عرفی شدن مابعدالطبیعه
sacredization of institutions = secularization of metaphysics


the tragedy is not the affirmation of individualism, it is rather the forgetting of the infinite entity :
non-mystic monotheism ==> a personalized (incarnation of) God (--> everything ‘personal’ is subject to death and negation) ==> entrance of God in collectivism


تغییر ماهیت عالم taghyire mahiate alam (change in the essence of the universe) is the subject of study for iranian ancient philosophies and cosmologies

contemplation (moshahede nazari مشاهده نظری) ~= action
knowledge ~= creating (that insensible speculative world) (the world of ajayeb and its siblings is created and stated in my inner vision)
[hush-e nazari هوش نظری, ability to abstract, is the ability to look from above]
[(jaleb budan-e) heja-e bimani هجای بیمعنی, interest for meaningless morpheme]

(human's function:) the transfigurative function of the transcendental machine (karkhaneye mojarad-sazi کارخانه مجرد‌سازی, by Sheikh Muhammad Tabatabayi)



*ta'vil bayad dar jahate axe harkate jami va moshtarek bashad تأویل باید در جهت عکس حرکت[...]

[...]d types*) --> Platonic + Zoroastrian + (shiite) Islamicate [via Sohrevardi] cosmologies
-the angel/type that both emerges from and sustains the many lives of its many tokens (~= tashasho تشعشع).
according to ancient iranians, rab-ol-no or the type-God decided its own destination (calculation of its own destiny), but there was no correlation between the ‘type’ and its ‘token,’ there is no whole being created, there is no individuality being created. this general type has its own intellect/sense/reason (sho'ur شعور.) their relationship is of rage and love (ghahr قهر and mohebat محبت,) according to Sohrevardi.
-what question is posed from somewhere (slightly) beyond? a question includes the likeness of its answer (Kohn, 2009)
-the angel of type is all about ‘being in futuro,’ which captures the logic of life's continuity --> “over the horizon” houses this “living future”
-What is the relationship between this angelic world beyond us and the sociocultural worlds we construct?
-“mosol” مثل : the realm of objective “stuff” that exists out there beyond us, on the other.


*Barzakh برزخ =/= anvare pak انوار پاک (pure lights)
Barzakh = seperation, obstacle, pardeh پرده, veil, (shadow? mediation?)
-everything material that can be addressed sensually, an evil negation.
-Barzakh is dark (that is a different kind of Barzakh than what i talked about with Mi? not really, there it is theorized as *shadow* and inter-mediation)
-projections happen in Barzakh




[from MOP with Mi]
We both take interests in morphology of historical forces and intensive thinking under the influence of materiality. To traffic in the tropics of an isthmus between the sensible world and the divine that was brought into our discussion, was proposed in my last letter those marvelous creatures living in the logic of precariousness, those who live in another temporality that is eyewitnessed in distanced pasts.
...
We are here on this site in a landscape of memory, in a progressive user-friendliness and a technology that signals our arrival in an Alam-e Barzakh (عالم برزخ), an ontological intermediate realm of images and forms, the creatures that populate this world have the incorporeality of “images,” much like the cyberspace we are born into and populate.
...
Not to remediate Barzakh (برزخ) but to propose a media theory, sketch it, and archive it for later. And there will be things that have to remain impossible to verify by us and in those records, the general-purpose language of the technologies that we choose to archive ourselves with, on the side of forgetting, the site of externalized memories, will not verify histories of presence tattooed under the ear of the elephant of our story, as you whispered somewhere in the dark.
[...]
Yes, vocal works that informed and influe[...]

[...]ic world beyond us and the sociocultural worlds we construct?
-“mosol” مثل : the realm of objective “stuff” that exists out there beyond us, on the other.


*Barzakh برزخ =/= anvare pak انوار پاک (pure lights)
Barzakh = seperation, obstacle, pardeh پرده, veil, (shadow? mediation?)
-everything material that can be addressed sensually, an evil negation.
-Barzakh is dark (that is a different kind of Barzakh than what i talked about with Mi? not really, there it is theorized as *shadow* and inter-mediation)
-projections happen in Barzakh




[from MOP with Mi]
We both take interests in morphology of historical forces and intensive thinking under the influence of materiality. To traffic in the tropics of an isthmus between the sensible world and the divine that was brought into our discussion, was proposed in my last letter those marvelous creatures living in the logic of precariousness, those who live in another temporality that is eyewitnessed in distanced pasts.
...
We are here on this site in a landscape of memory, in a progressive user-friendliness and a technology that signals our arrival in an Alam-e Barzakh (عالم برزخ), an ontological intermediate realm of images and forms, the creatures that populate this world have the incorporeality of “images,” much like the cyberspace we are born into and populate.
...
Not to remediate Barzakh (برزخ) but to propose a media theory, sketch it, and archive it for later. And there will be things that have to remain impossible to verify by us and in those records, the general-purpose language of the technologies that we choose to archive ourselves with, on the side of forgetting, the site of externalized memories, will not verify histories of presence tattooed under the ear of the elephant of our story, as you whispered somewhere in the dark.
[...]
Yes, vocal works [...]

[...]ween science and philosophy--and art?)


...a matter of technological selfunderstanding,

...nor do I insist on sustaining the pathos that propels the images...

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

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


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

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

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

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

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


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

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

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

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

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


destructive (and artistic) modes of production.

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



Avital's “speculative telephonics”

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

the place where a call can break[...]

[...]oof” of me. one way of responding to that demand of name is to give your name as a performance in an amerindian mode: “three were dead before they knew.” that's my name.] The material ritual practice of ‘recognition’ : “Who is there?” and “It's me!” of the everyday life ==> makes us concrete subject (in the ideology in democracy and law) --> independent agents with self-produced identities. (in capitalist societies) **subject: a self-conscious “responsible” agent whose actions can be explained by his or her beliefs and thoughts.** subject formation defines the limits of each individual; values, desires, and preferences. ---- in a way that I realize that a ‘hailing’ was addressed at me, thinking ‘that means me,’ and the answer is what transforms me into a subject : a “mis-recognition” [--> we can open a dossier on prophet and ‘answering’ the call]; [~-> what Tarof hails?] ---- for Althusser being aware of the other is a form of ideology. (how to recognize ourselves outside of ideology?)} (Foucauldian/Althusserian: passively defined by identity ==> mobilizing around these identities --?--> potential for resistance)
(Althusser's) police officer [محتسب mohtaseb?] --hails--> concrete subject
(Foucault's) expert discourses --hails--> sexuality
(Adorno's) mass media --hails--> passive consumer
(Gauntlett's) uncritical consumption --hails--> assumption --> bad worlding
(Mulvey's) cinema --hails--> male protagonist
(Butler's) boy/girl --hails--> gender identity
(Sina's) تعارف Tarof --hails--> divnity ??

***(crafted faithfully?) more potent the tropes, the truer the story***
(without being distracted by scandals and meta-stories?!)

stories traffic in tropes, figures of speech
(the dogmatic and bizzar idea of) “trope-free communication”

*metaplasm, remodeling, remolding,,, inverting meanings, transposing the body of communication,
(in my graphs, or rigs, what a substitution in a string might change the meaning?)

what is the “troping that makes a fleshly difference”?

origin story (~=> establishing origin) ~=> sober scientific report ~=> scales of intelligence ~=> human as master

the “mere” village dog:
-canine Eves surviving in their mitochondrial DNA
-canine Adam through his Y-chromosome legacies

which metaplasmic, remodeled versions of ‘name’ could give ajayeb's being

(in apass I have been against the “what do I want as an artist?” question:)
pay attention to significant otherness =/= reflection of one's intentions

what is the name of the game? complexity, flexibility, opportunism, (finite worlds called:) domestic, wild, feral,
[who is naming the world what?
•accelerationism: “game-over”
•capitalism: “resource”
•technophobia: “obsolescence”
•technophilia: “information”
•monotheism[...]

[...]r /> ajayeb is all about the ***staging of nature***
{Latour:} reductionism offer an enormously ‘useful’ handle to allow scientists to insert their instrumentarium, their paradigms and produce a long series of practical effects.
(efficient handles =/= staging of nature)

we must learn to tell trickster stories {a speculative sense that activates possibilities for thinking, feeling, and knowing within coyote nature =/= a closed conception of “reality itself"} OR ELSE we will end up settling for a rather vague version of what physics claim to be reality [~= a generalized (==> irrelevant?) version of a specific form of authoritative knowledge --> that which “simplifies away our world in terms of idealist judgments about what would ultimately matter and what does not” (, Stengers)] ----> (who has ?) the power to explain, (who/what decides what kind is ?) relevant knowledge


[Stengers] (wonder has everything to do with stories,) wonder incites storytelling
1 --> importance of narratives in our knowledge-making practices
2 --> politically robust narratives (that world us differently)


can the ontological be addressed without the ethical?
(feminism's answer is ‘no’) --> a materialism that is immediately ontological, epistemological, and ethical (=/=? Delanda's materialism)

ajayeb (+ my work on it ?) is a pragmatic project to fabricate a different kind of knowledge assemblage (Stengers > Kenney > Sina)
=/= (21st century) logics of capitalism
=/= toxic categories of modernity


i need (to learn) an inviting rhetoric


(Roughgarden)
([focus narrowly on] sexual selection =/=) social selection : “...selection for, and in the context of, the social infrastructure of a species within which offspring are produced and reared”

co-parenting, animal friendships, same-sex sex, non-reproductive sex, and other reproductive social behaviors

*physio-semiotics: physical traits that have social functions, that communicate to other members of the social group

(Darwin sexual selection : claims that in humans, men are more jealous about sexual infidelity of their partners, whereas woman are more jealous of emotional infidelity. their theories based on a sexual conflict model, is that this is an evolutionary adaptation that helps males ensure that they raise their own offspring and helps females ensure that the males will stick around to provide for their children.) --> is there another story? (this is a speculative + empirical question) --> multiple evolutionary stories are possible

(Roughgarden demands) a more rigorous relationship between narrative and evidence (=/= prevalence of studies where the “[raw] data are mined to effect an appearance of the confirmation of [a single] hypothesis”) ----she returns to the most potent fables of sexual selection [...]

[...] ==> disenchanted “ecologies, populated by blind, reactive automations”

evolutionary stories =/= involutionary stories --> organisms become *involved* with one another's lives

(involution, pich-dar پیچدار, act or an instance of enfolding or entangling, an inward curvature or penetration; a function, transformation, or operator that is equal to its inverse, i.e. which gives the identity when applied to itself.)

“mimetic relations among plants and animals take shape in the thickness of the space between bodies, where affect and sensations are *transduced* through *excitable* tissues” (Myers & Hustak)--> affective ecologies, intimate encounters, articulate orchids


(on ajayeb,) ***creating sticky new attachment sites for thinking (human/nonhuman relations)***
###learning multiple writing tactics:
•thick description
•refiguring
•reading against the grain
•citational poaching (shekar-e gheir-mojaz شکار غیر مجاز) (also, i am trying to quote Muhammad, Sa'di, ajayeb, the bird sometimes, and something is called in)
•speculative fiction
•
==> to move/draw myself and my reader into my matter of care


project of *narrative remediation*, to re-story, to stage matters of care differently

(biological) ‘resilience’ is a tricky thing to narrate in ‘relational worlds’ (=/= military world) abounding with transforming and transformative agencies***

to meet the future organisms that we are becoming (Hayward) --> stories that figure us as: {constituted, contaminated, vulnerable, agential, creative, expressive,}--> all at the same time; (how to hold them all together?)

(Stryker > Haraway > Hayward > Kenney > Sina > Cinderella)
***so much that constitutes me I did not choose, but, now constituted, I feel myself in a place of agency*** ----> (my) ontological obligation {ontology: what there is and what debts we owe to it}--> *involutionary storytelling* (~/->? involuntary storytelling)

--> lives, affects, and bodies of organisms: “energetic forces, coextensive overlappings, shared milieus make species; species are sensuous responses” **Hayward

thinking with animals : {figural + literal}
spiders, rats, ...

“the transitioning body is also a gossamer outstretch of homeliness, energetic force or potential, a discursive pulse, a throb of sensations distributed across sensoriums, spaces, and times, delimiting territory but also sensing zones, places, and coherences.”

criticism = speculative fantasy

undoing the eye's property of vision (Kelley and Hayward)


([my account of] ajayeb's stories are) moral tales that model an ecological attention to relationality, vulnerability, and resilience ==> living well in a world contaminated (by all sorts of linguistic and chem[...]

[...] of agentially intra-acting ‘components.’ That is, phenomena are ontologically primitive relations--relations without preexisting relata. [*relatum: one of the objects between which a relation is said to hold. *relata: would-be antecedent (tabar تبار) components of relations.]


reverie of reflectivity =/= refraction (--> makes explicit transforms the tendency of the image to orient representation, foregrounding the threaded visual space between the image and the spectator.)

***dynamic (re)configurings of the world, specific agential practices/intra-actions/performances through which specific exclusionary boundaries are enacted***
(Kaja Silverman, the subject of semiotics)

spectatorships =/=! representations =/=! referents
(ontological distinction: “=/=!”)

the surreal technoscientific look --?--> allowing wondrous but material extensions into the ajayeb domain

in creating a “look” for ajayeb: whether or not a used/user interaction can have ethical dimensions?


refraction is not framework, but a pathway. it engages patterns of interference and exchange



the xeno-sensual in the ajayeb
different differences that are sensed and mediated

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

poetic historiography
(historiography: the study of the writing of history and of written histories)

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

to begin writing about ajayeb with the citational, ‘avardeand ke...’ (...آورده‌اند که)
citation, an important characteristic of fables, is about relational histories.
absence of definitive source (in my old childhood favorite radio show, by bring an endless list of fantastic source and bodies of lures) allows monsters to flourish and me the full range of my passionate crafts. ajayeb's compelling mystery demands (from me) an unorthodox and omnivorous approach (hame-chiz-khar همه چیز خوار).

اما راویان اخبار و ناقلان آثار و طوطیان شکرشکن شیرین گفتار و خوشه چینان خرمن سخن دانی و صرافان سر بازار معانی و چابک سواران میدان دانش توسن خوش خرام سخن را بدینگونه به جولان در آورده اند که ...

•Mirabile dictu... (miraculous to say...)

towards Despret's talking parrots
parrots (shekar-shekan) (and philosophers) really like to control the exchange, to keep control of a conversation : their refusal to let another individual choose the topic of conversation
***(parrots have) a pragmatic rather than a referential conception of language
[am i also referential (=/= pra[...]

[...]its ambit (hoze حوزه), and when they find the right way of formulating it, they answer*

[*]asking ~= constructing interest ~=> (a chance of) interesting answers
•ask your subjects to construct interest
•the appropriateness of question
•problems are only interesting if they interest (?)
•(all) apparatuses create subjectivities


to attend to animal “paying attention” --> good translators of intentions
(how did I become interested in this?)


in farms, “talk is incessant. And because there is talk, there is talking back.”

talking back and forth --> exchange judgments about intentions --> adjusting the intentionalities (between human and animal; relevant also for Varinia's dog relation [--> ‘I know that you know what I intend to do']--)--> language as a mean for creating an overlapping awareness between two speakers (Despret, Hearne, Sennett) =/= language “populates” each of the beings present with perspectival propositions, which are so many propositions of intentionality:
•one makes say (@Sven)
•one makes ask
•one puts oneself ‘in’ the place of
•one doesn't interpret
•one experiments
•
--> these are perhaps non-immediate form of knowledge
--> these practices inscribe the animal and human in the world of “speaking” [@Marialena]
--> these are “perspectives” that “populate” our world

(each) [*]perspective is made up of translation of intentions*
(animal breeders are perspectivists)


situations of the exchange ~= situations of subjectivity --> adopting perspectives (--> <--) judge intentions }--> ‘response’

[*]intersubjectivity: accepting the proposal of subjectivity; becoming what the other suggests; acting in the manner in which the other addresses you [--> my apass bow and arrow, was about this suggestivity]

the apparatus of question (that you suggest,) activates some modes of existence rather than others

...shared perspectives, shared intelligences and intentions, resemblances, inversions and exchanges of properties (between humans and animals)

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

my practice and work on ajayeb is grounded in the history and materiality of scientific practices

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

(ajayeb's) particular and exceptional nature

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

(Despret)

“anthropo-zoo-genetic” : a practice that constructs animals and human

(how can i design an apparatus for ajayeb) to perform availability?
(build) questions that construe and construct signs that ‘make a world’ for the animal (entity of the ajayeb)
-how can i offer possible interesting becoming to the animals of ajayeb, in offering a way for them to articulate the system, (not to ma[...]

[...]its of mind that grant language and other forms of representation more power in determining our ontologies
-questions of correspondence between description and reality --> questions of ontology, materiality, and agency. (the things i am busy with in apass)
-(discursive dimensions include) questions of meaning, intelligibility, significance, identity formation, and power
% Austin's speech acts, relationships between saying and doing --> Derrida's poststructuralist amendments --> Butler (with Foucault's understanding of the productive effects of regulatory power) in theorizing the notion of identity performativity {@Xiri, we understand gender not as a thing or a set of free-floating attributes, not as an essence--but rather as a “doing”: “gender is itself a kind of becoming or activity ... gender ought not to be conceived as a noun or a substantial thing or a static cultural marker, but rather as an incessant and repeated action of some sort” --> with this regard what questions should Xiri ask her subjects?}

{ practice of representation =/= represented entity }--> this “=/=” is ontological ==> question of accuracy (of representation) --> scientific knowledge objectivity

focus on the nature & production of scientific knowledge (--> mediates our access to the material world) --(science-studies)--> dynamics of the actual practice of science }--> ongoing patterns of situated activity

-*origins of “appearance”*-
...with Democritus's atomic theory emerges the possibility of a gap between representation and presented. (the idea that something “appears”)
-Democritus:
•atomism (-->? cornerstone of modern science)
•democracy (-->? cornerstone of modern politics)
}--> the idea that the world is composed of individuals with separately attributable properties**** (==> Newtonian physics of independent objects, @Heike)

*Newtonian framework --> meaphysics of individualism<br /> 1- that the world is composed of individual objects with individually determinate boundaries and properties whose well-defined values can be represented by abstract universal concepts that have determinate meanings independent of the specifices of practice (--this is exactly what Marialena should be carefull about: abstract univerality of ‘language,’ and the independency of her ‘recorder’)
2- that measurement involves continuous determinable interactions such as the values of the properties obtained can properly be assigned to the premeasurement properties of objects separate from the agencies of observation

(*)concept: specific material arrangements, concepts are defined by the circumstances required for their measurement

(is Luisa's “wholesomeness” also about a feeling for inseparability?)


deployments of power <--> body--{bodies, functions, physiological processes, sensations, pleasures,}

matter is not [...]

[...]> go to critique of ‘positionality’)
“position” only has meaning when a rigid apparatus with fixed parts is used (for example a ruler is nailed to a fixed table in the laboratory ==> establishing a fixed frame of reference for specifying “position.”) --> any measurement of “position” using this apparatus cannot be attributed to some abstract independently existing “object” but rather is a property of the ‘phenomenon’ : ***the inseparability of “observed object” and “agencies of observation”***
--> simultaneous indeterminacy of “position” and “momentum” [*momentum*: material arrangement involving movable parts] [--> deconstructing the material exclusion of “position” and “momentum"]

(*)phenomena: primary epistemological unit, the ontological inseparability of agentially intra-acting “components” (Barad); ontologically primitive relations; relations without preexisting ‘relata’(~= mutual ontological dependencies =/= independent entities)
•(specific) intra-action ==> relata-within-phenomena
•(specific) agential intra-action ==> boundaries and properties of components of phenomena become determinate }~= phenomena
(*)apparatus = phenomena [=/= inscription devices, scientific instruments set in place before the action, machines that mediate the dialectic of resistance and accommodation, neutral probes of natural world, structures that deterministically impose some particular outcome,]
-apparatus: “dynamic (re)configurings of the world, specific agential practices/intra-actions/performances through which specific exclusionary boundaries are enacted”
(perpetually) open to:
•rearrangements
•rearticulations
•(and other) reworkings (--> [in my amazon project:] getting the instrumentation to work in a particular way for a particular purpose)

(boundaries are always ‘enacted,’ not ‘made’)

(*)reality: “things"-in-phenomena, ongoing ebb and flow of agency *****
-shifting boundaries and properties that stabilize and destabilize

(*)world: a dynamic process of intra-activity in the “ongoing reconfiguring of locally determinate causal structures” [~= contingency] with determinate boundaries, properties, meanings, and patterns of marks on bodies *****

(*)universe: agential intra-activity in its becoming

(*)word: material-discursive practices ==> boundaries are constituted (for example the differential constitution of “humans” and “nonhumans”; @Varinia)
==> meaning (=/= ideational, andisheyi اندیشه‌ای‌) --> specific material (re)configuring of the world

(*)discourse: that which constrains and enables what can be said, practices that define what counts as meaningful (statement)***
(learning from Foucault, discursive practices are the local sociohistorical [=/= transcendental, phenomenological, ideational] material conditions that enable and constrain disciplinar[...]

[...] the fact of human/nonhuman mingling

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

my Rigs diagrams are ‘swarms’? -a multitude of different creative agents
ajayeb.net (how can it be:) not a website but a “para-site”
•am i creating an ego (for ajayeb) in my ajayeb.net? if yes, that would be interesting how?

topos/topic of hypertext, spatial character of electronic writing
topic [from Greek ‘topos’: a place, in ancient rhetoric used to refer to commonplaces, conventional units, or methods of thought] exist in a writing space that is not only a visual surface but also a data structure in the computer --> Hypertext: “is not the writing of a place, but rather a writing with places, spatially realized topics.” (Bolter < Hubert)
-in my hypertext, which writing materials, cognitive mappings, itineraries of reading, textual stability, loops and reductions are addressed?

•in ajayeb.net the so-called url address or location bar, is itself a control panel, a graphical user interface widget; how did i come to use “?q=” : rhetorics of technologized inquiry in place before i even could think about how do I allow my objects constituted by “?”, “q” and “=” of the language and grammar of internet
•(when i uploaded my hypertext i faced immediately the big data:) google webmasters tools is my first readership, it communicates its reading with me; (did i have a desire to make the hypertext for a machine?) who/what is doing the reading (in the world of big data)? the interpretive work that is going on, in a writing and reading done by computers ==> ethical and social values
•url pased in facebook post, results into a link to فلزیاب، مطالب علمی و آموزشی / مدار فلزیاب و دستگاه فلزیاب تضمینی, a series of websites for selling treasure finders, finding metal under the ground, ganj, and so on...

the English (since second world war) --> (1) international lingua franca of high technology, (2) the language of computers
-in ajayeb.net the enforcement of standard spelling and even grammar is week or nonexistent
-the amount of linguistic replicators that circulate through my ajayeb hypertext are bound to a colloquial English, they are nevertheless “English”. but this English is being changed and adapted by my foreign use in different ways
-a flourishing of a neo-English and Farsi miniaturization of Eng


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

sometimes the answer to the question is to investigate the question itself
Despret asking with Rowell: how can we be sure that primates have a more complex social life? --> how did we build the comparison?*** --Latour--> if they are so intelligent, how did they get the ‘chance’ to become so ‘well equipped’?
(in this question can be raised an unexpected animal)
[(how) the makhlughat/مخلوقات/creatures/beings of ajayeb were well equipped (with agency, will, inte[...]

[...]is --> zoopoetics, explorations of how animals (zoo) shape the making of text, study of ‘the literary animal’

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

Katie King

“flexible knowledges” on the edge of validity ♥ (--> almost invalid*)

fantasy of education
culture wars
intellectual enterpreneurs
upheavals and connectivities of globalization

changing patterns of interaction

(aren't we here to) change the patterns of interaction
(aren't we here to) change the faith of letters and love stories

reenactments (are fantasy practices and realities) =/= simple, accessible, and democratized (knowledge)

“layers of locals and globals”

[somehow I couldn't feel in his long term project what is Kobe's relation to] (processes and their product that require) developing and learning new skills, pleasures, and communities

-at the end many of us (are busy with or) want to (or inhabit the “will to”) modelling reality
this is also what ajayeb was busy with

***we are always doing both “purification” and “hybridization”
[]we direct our attention simultaneously to the work of purification and the work of hybridization ==> we immediately stop being wholly modern --> *our future begins to change* / *our past begins to change*
[my work on ajayeb (“hybrids down below” {Latour}) is precisely about (this kind of) transformation of pasts and futures] ==> meeting companion species {if my work on ajayeb doesn't teach me how to meet the dog in my street, the pigeon on my window, the juju on the edge of my paper, what is it good for then?!}

(*)companion species: assemblages of living and non-living ‘species’***
(Janina is all along engaged with companion species)


(an strategy:) allocation of responsibility for grasping information

assemblage at various levels and sublevels characterizes *explanations* and *practices*

technoscientific tsunami that will obliterate prior practices and cultures...

(learning to) see old and new forms of confusions, docility, subjectivity, morality, agency, empowerment (when we are together)
(to recognize and make) new sites of negotiation


Alberti: bodies of Minoan figurines “wear” the appropriate gender for a specific ritual practice, they don't “bear” gender (as their essential feature) ==> gender salience is always in question, not a propor presupposition
“sex has emerged as a salient attribute of the pot's character as a pot”

when zoomorphic figures are present...

ajayeb's zoomorphic figures with their salient attributes are not “purposed” necessarily being to encode their belief-system onto objects that we may read today--like story-board--but rather to make interventions into the world of human-nonhuman relations. t[...]

[...]ho are relatively unskilled (in practical divinity, casuistry, or theology, and so on)


*** what kind of classification work, work of historical representation, is necessary now to show over time with greater clarity, in cooperation with more and more communities of practice, that in the best of all possible worlds, at any given moment, the past could be reordered to better reflect multiple constituencies now and then? ***
(Katie King + Bowker + Leigh Star)

[my ajayeb-making is about] partial connections (across time) ==> communities


([my point in work on ajayeb:] we need) the possbility of competing and shifting claims on individuals (=/= self-making individual), rather persons with partial connections (across time) and queer relations with pastpresent ==> negotiating forms of evidence ==> units of analysis ==> past reordered

[with the help of Katie King's figure of writing technologies:] i am interested in and interested to help make historical representations of nonhuman iranians in writing technological ecologies (which are inevitably products of new social movements, new research agendas, new publics of interest, and new contests for historical meaning)

with ajayeb this became immediately my concern: *infrastructures of historical representation*

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

(what are the) stickiness of ajayeb's being (?) or, in which affective economy they are ‘passed around’? [social goods, accumulating affects, contagious مسرى? it tends to pick up whatever comes near, or gives us a certain kind of angle on what comes near*]
•wonder
•cause ==> ?
•
}--> social bond is always rather sensational*

(Ahmed suggests) thinking through affect as “sticky”: affect is what sticks, or what sustains or preserves the connection between ideas, values, and objects
{ affects as contagious =/= (inside/outside) “outside in” model of emotions (for axample, when we say: atmosphere “getting into the individual”)-->[part of the intellectual history of (crowd) psychology and the sociology of emotions] }--> affect becomes an object only given the contingency of how we are affected
“what we will receive as an impression will depend on our affective situation” --> Julia's post-Lacanian feedback: bodies never arrive neutral
*everything depends on the angle of our arrival* (<-- my point in lecture-performances) ~-> **pedagogic encounter is full of angles** (--> is that why i am becoming increasingly pedagogic?)
(by distinguishing between “did/how it work for you” and “did/how it work for the artist” -->) *internal communication =/= external communication* [what goes on inside the text on the level of fictional mediation is not to be confused with the non-fictional realm inhabited by the reader nor by the author]

(we are facing the right way -->) *aligned[...]

[...] goods, accumulating affects, contagious مسرى? it tends to pick up whatever comes near, or gives us a certain kind of angle on what comes near*]
•wonder
•cause ==> ?
•
}--> social bond is always rather sensational*

(Ahmed suggests) thinking through affect as “sticky”: affect is what sticks, or what sustains or preserves the connection between ideas, values, and objects
{ affects as contagious =/= (inside/outside) “outside in” model of emotions (for axample, when we say: atmosphere “getting into the individual”)-->[part of the intellectual history of (crowd) psychology and the sociology of emotions] }--> affect becomes an object only given the contingency of how we are affected
“what we will receive as an impression will depend on our affective situation” --> Julia's post-Lacanian feedback: bodies never arrive neutral
*everything depends on the angle of our arrival* (<-- my point in lecture-performances) ~-> **pedagogic encounter is full of angles** (--> is that why i am becoming increasingly pedagogic?)
(by distinguishing between “did/how it work for you” and “did/how it work for the artist” -->) *internal communication =/= external communication* [what goes on inside the text on the level of fictional mediation is not to be confused with the non-fictional realm inhabited by the reader nor by the author]

(we are facing the right way -->) *aligned =/= alienated* (<-- we are out of line with an affective economy)
***(then how to) share an orientation [, also refuse to share an orientation toward certain things]
[an aesthetic question which is moral. how two of my teachers, Julia and Phil, did this?]

to get along =? to share direction


politics of good feelings

(slide between) affective and moral economies

*how feelings participate in making things (good) <--✕--> germanicity
how bodies turn toward things

[*]affect-->{
•messiness of the experiential
•unfolding of bodies into the worlds
•drama of contingency

“hap” -->{
•happening --> chance
•happiness --> stickiness
}--> contingency of what happens as something good --> *worldy question of happenings*
=/= (21st century) hard work, Aufgabe, happiness as an effect of what you do

happiness is
•intentional: directed toward objects --> phenomenological sense
•affective: contanct with objects


happiness puts us into intimate contact with things, [...] even if that something does not present itself as an object of consciousness (Ahmed) --> *coming and going of objects*

“to be affected by something is to evaluate that thing”


#my Rigs? simulate a course of action of description
•near the object?
•near sphere (<== happiness)
•core sphere
[...]

[...]ncement, “the excitement and romantic overtones that inevitably accompany the story of the scientist as explorer breaking into new frontiers” (Barad)


(embodiment-->) *bodies are not situated in the world. They are ‘of’ the world (in its dynamic specificity)* (Barad) (@Femke)

[*]objectivity
=/= occupying a determinate position in a given environment
=/= occupying a particular coordinates in space and time, in culture, and in history
=/= seeing from somewhere [=/= “objectivism” (view from nowhere) or “everywhere” (relativism)]
=/=


(like Barad's brittlestars) which ajayeb's being's bodily dynamism resists (or constructs) the familiar notion that space is preexisting container:
•space: a stage on which actors take their place
•time: the mere uniform ticking of clock
(how ajayeb's worlding is similar or different than the familiar notion of Shakespeare's “world is a stage...”?)

[Barad, poet of matter, time and space:] “Matter does not move in space and time. Matter materializes and dynamically enfolds different spatialities and temporalities.”*

*there is only exteriority within*
--?--> models that position representation as the lens that mediates between the object world and the mind of the knowing subject --> (an optics that reflects) a geometry of absolute exteriority between ontologically and epistemologically distinct kinds =/= ajayeb's diffractive differential materializations

perhaps that arm that got detached from you, could have a chance of not becoming a jettison phantom limb forever haunting the missing amputated ‘you,’ rather, a part of “companion species being helping out”? --> *connectivity does not require physical contiguity* (@Luisa's string “theory”)
[*phantom limb* (a concept every theorist/artist should take seriously), in Descartes: used as an illustration of the deception to which the inner sener senses are prone.
“fossil images,” persistence of pathological excitation to the peripheral nerves. (the condition of ‘amputees’ for the one who re-members and builds archives for his phantasmatically lost limb) *imaginary loss of a penis* --> a “tool” for a recovery of what was “always already” missing --> Freud: libidinal memorial to the lost limb (@Elen's kind of mourning for preoedipal (~= precastrated) body, and her (erroneous) localization of it on the motorbike)
Grosz: “It is only through controlled use of the phantom that the artificial limb can (gradually) take the place of the lost limb”
#body image]


ecologies of reflection and diffraction --> resolution of nature

[*]diffraction: an effect that limits the ability of a lens (or a system of lenses) *to resolve an image*
•(to evolve a creative tension,) a trade-off, between the resolution of detail and diffraction effects, between geometrical and physical opt[...]

[...]s varying number of legs --?--> animal + movement
•fantastic creatures --?--> animal + environment + affect
•fable poetics --?--> animal + apparatus of description
•tentative citationality [other name of “rumor”?] --?--> nonhuman + human relational histories
•remembering is an extremely creative (& imaginative) practice
•
--> ongoing, open-ended articulation of the world (<-- my work on ajayeb)
--> these are the diffraction patterns in ajayeb that are (artistically, politically, ethnically) significant for me (?)
--> these are instances of resistance against biomimesis in ajayeb (?) [biomimesis is involved with mirroring, imitation, or reflection, and other tropes of “sameness"] =/= trans-materialities of the creatures of the world, they transgress the sacrosanct divides between techne and episteme

(many creatures of our shared world have) evolved in intra-action with their environment, and old bestiaries, such as ajayeb, critically inhabit a mode of description and affect situated within the intra-activity of technologies of writing and perception
•the creatures of the mud know better not to get caught up in a “geometrical optics of knowing”
we are seeking a different genus of knowing =/= mediating machine, inscription devices, lenses, panopticons, and various other epistemological tools that many science studies and cultural studies scholars fancy. (is that also what Marialena fancies? her list of tools)

[*]intelligibility: an ontological performance of the world in its ongoing articulation
not a specifically human capacity, intelligibility does not require an (usually human) inttelective agent

the problem with design is that designers (as well as scientists and engineers) are busy with building ‘enhanced communication networks’ and principles of ‘usefulness’, in the way they relate to the “forms” of nature

*connections and commitments (come together)*

the copyright symbol © should be a sign not of the right to copy but, if anything, of the responsibilities entailed in producing differential materialization (for whom and at what costs?)*
Barad ♥


(brittlestar, the plant in my room, ajayeb's creatures,) ...their being is a flexible distributed growing and regenerating multi-oriented shape-shifting topologically variant dynamical system of diffraction gratings

(rhetoric of) re-veiling, which provokes the seeming need for a revealing of nature


entanglement --> inseparability --> spatially separated particles in an entangled state do not have separate identities

there is no epmirical evidence of such a disjunction ontologies at a particular scale, “micro-world” and “macro-world”

who insists on “quarantining quantum queerness”?
quarantining scale and time
quarantining Sadra to “his” time,[...]

[...]odification and reciprocity of bodies and actions, environs, senses, rhythms, tones, and proprioceptions"[: sense of the position of parts of the body, relative to other neighbouring parts of the body]
•objects of database: “are soicialy, poetically, materially compositional”


the social, the subject, matter and event are comprised of:
•affects
•potentialities
•energetics
•attunements
•orientations
•disorientations
•atmospheres
=/= finished actualities*


ajayeb is compositional, that means something reaches a point of expressivity, something throws itself together as matter already configured yet enigmatic and provocative
(Stewart helping me talk ajayeb)

(am i working to) bridge between more compositions (?)


“watching a spider negotiate its unlikely territory”


(useless concentration)


Foad, Sina, we were a slipstream of sensations made of all the ways that world impressed itself upon us


[*]world: a partial stabilization of practices, capacities, tendencies and affordances in the form of a recursive patterning (Anderson + Harrison > Stewart)
•mixed-media compositions of matter and thought-feeling
•the world of ajayeb magnetizes materialities and forms of alertness for me to what's singular and prolific. i am circling through a heritage of (iranian) romanticism and pragmatism to arrive (with Stewart) at “the precision of a worldly composition's mattering forms”
◦*worlding: happens as matter poems composed of sensations, motion, bodies, and objects (--@Luisa)
•an attachment to the forms and forces of emergence and concrescence itself [...] in the actuality of this and that

learning from my mother by moving in the manner of her

we become *sentient* in making massages that courses in-between self and world

[*]pragmatist (thought): a moment like the front edge of an advancing wave crest always becoming more than itself

[*]writing: an experiment that can register years of living out the thing that is just then froming up the world as “...”


love folters and blows


Janina, teaching me, being in love with the surface of the world

@Elen, she shouts: drive! and see what happens to your senses.


Taussig's “I Swear I saw This” is the stuff of ajayeb. he wrote a book about a drawing he made in his notebook when he saw what might have been a woman leaning over what looked like a man lying down at the enterence to a freeway tunnel in Medellin in 2006 --> ajayeb is also about writing about what ‘might’ be or have been.

**a mediation on writing and drawing in a horrible world**

#my drawings in my notebook/papers in our apass meetings
-a h[...]

[...]"the precision of a worldly composition's mattering forms”
◦*worlding: happens as matter poems composed of sensations, motion, bodies, and objects (--@Luisa)
•an attachment to the forms and forces of emergence and concrescence itself [...] in the actuality of this and that

learning from my mother by moving in the manner of her

we become *sentient* in making massages that courses in-between self and world

[*]pragmatist (thought): a moment like the front edge of an advancing wave crest always becoming more than itself

[*]writing: an experiment that can register years of living out the thing that is just then froming up the world as “...”


love folters and blows


Janina, teaching me, being in love with the surface of the world

@Elen, she shouts: drive! and see what happens to your senses.


Taussig's “I Swear I saw This” is the stuff of ajayeb. he wrote a book about a drawing he made in his notebook when he saw what might have been a woman leaning over what looked like a man lying down at the enterence to a freeway tunnel in Medellin in 2006 --> ajayeb is also about writing about what ‘might’ be or have been.

**a mediation on writing and drawing in a horrible world**

#my drawings in my notebook/papers in our apass meetings
-a hand that draws a scence also draws itself into its corporality, conjuring it in the manner of
-a line records as for what it leads the doodler to see
-“a autobiographical record of a discovery of an event” --> a trace and suspension of a wobbly emergence of alertness (to what my friend might have said) ---> these are lived abstractions


possible paradigms for the convergence of emergence:
•affinity --> Leo
•complexity --> Eszter
•(auto)poiesis --> Hoda
•perception as action --> Elen
•speculative realism --> Zoumana
•radical virtualization --> Aela
--> we are all somehow busy (in apass) with reorienting to the creativity of thought-action crossings


life is germinaly جرثومه‌ای aesthetic, and the aesthetic anywhere is already political* --> Kenney

[title]
ajayeb's stories of natural and dreamed up things
the immaterial matterings of supra-personal imaginal real of ajayeb forms


(different names for the same thing:)
•forms of emergent in the conduct of life (Nietzsche, Foucault attending to the intimate relations between knowledge and power)
•worlding, the mirror play of materiality and its poetic composition (Heidegger)
•planes of expressivity reaching a point of recognition or force (Deleuze and Guattari)
•the shimmer (Barthes)
•rhythm in itself (Lefebvre)
•structures of feeling into political theory (Raymond Williams)
[...]

[...]
no: no --> de-historicizing effects of imposing psycho-cognitive shamanic models of art
no --> purely cognitive significance (of...)


*miniature: a ritual activity, a grave offering, a sympathetic magic, a capture of the power of the original
--> common stories about how miniatures can be interpreted in archaeology


(ontological research approach)_
scale is utterly important because “careful attention to alternative ontologies of scale introduces new interoretive possibilities for...” (Alberti)

*ontology: the sense of a real, solid world
for example the question of “the substance of the world”, everyone has answered that already (reiterating that which makes sense) ==> concept of real --(invent)--> *cosmology (<-- this is not a relativizing gesture) ==(force)==> production of new concepts and materialities
@Eszter: importance of asking the right questions: unless we do, the answers make no difference (Grosz)


scopes and scales ()--> “dimensionally manifold weave of knowledge worlds” (Haraway + Katie) are at stake in:
•science display
•TV series
•ajayeb
•pet video
•emergent transdisciplinary scholarship
•transmedia commercial apparatuses
•
*with reading/enacting ajayeb what is at stake is the “effectivities in realizing knowledge stories” --> epistemological affects


[*]scale
•operates through intensity and not size
•emergent and performative (Jones), (juxtapositions of) scales ==> “interesting psychological and phenomenological effects”
•a flat approach to scale does not separate the social and material, or the micro from the macro ==> [*]size: (emerges as a possibility, as) one means of enacting the potential of another scale; accidental effect of intensity: materialization of intensity and excess ==> humanity***
•is about intensity and excess --> potential for visibility/invisibility and proximity to the original condition of undifferentiated, intensive difference (~=? hayula; perfect formless form)***; intensive different “h” of hayula هیولا...
◦ه
◦‍ه‍
◦‍ه
◦ه‍


Alberti argues for a form of ontological symmetry between the theory we bring to bear on our evidence and the way that material acts as evidence (@Seba)


*[mesopotamia] chronically unstable bodies
a corpus of zoo-anthropo-biomorphic artifacts and traps
anthropomorphism manifest in distorted corporeal forms and appendages ضميمه

all sorts of dualism are at work in the archaeological imaginary of the region from Amazon to the Andes

marking a body =/= representation of that act

Alberti's arguments”
•the fantastic forms, bulges, protuberances برامدگى, and other modifications of bodies [...]

[...]hift...)--> a moment of indiscernibility between “here” and “there” --> a super-divided being (intensive multiplicity) --> *(a specific form emerges:) a dynamic and intensive corporeality* (--> excessive intensity of all spirits) --> my argument is that tasavof is not the negation of body in favor of soul --> the key is not size or time but intensity or excess ==> to think tey-ol-arz: to think in many kinds of times, flesh, vulnerability, etc.]
tey-ol-arz metaphysics is based on the idea of a radical and infinite superposition of states: insides and outsides ~= heres and theres : are figures and ground to each other (--> #beyond)
--> there is no interior space to the body (~ there is no there/beyond to the body,) just an invisible body


#work on an exposure of work with tey-ol-arz with other interested artists
in Tehran, maybe in my parents house, informal space for opening a discussion in Farsi-English
(involve Pierre? where to get money?)
*campus: (a place where) new kinds of conversations are being invented in stabilized and social forms (sometimes departments, sometimes just research clusters)
i need to make that kind of mini-scale of quasi-organization between Tehran and Brussels: workshops, episodic and travel-mediated knots of practice


**(Alberti 2013 argues that) anything in the immediate, intimate vicinity of people can be subjectivized or personified through exchange and shared affects** --> an argument for ajayeb


‘to know a thing' = 'to subjectivize it’ : to add the maximum amount of intentionality to them (--> #equip them to talk well)


pots made to:
•to communicate (to an audience)
•to establish (relationships)
•to persuade (others of their point of view)

de-subjectivization: sometimes (objects) left deliberately partially subjectivized, semi-potent in their potential to know and be knownr />
the intensely subjectivized pots --> *impede activity and enable knowledge*

•convince
•avtivate
-
•persuade
•communicate
•establish

eyes wide open: inability to see the invisible

*to see is to be seen*

buried pots, relational bodies firmly in place, teaches the dead to see properly, to maintain a perspective (Albeti)


[title]
(with Alberti) trap-thinking for ajayeb storytelling --> to make capable of knowing different things, invoking, quoting, reciting, citing, exicing, inciting different kinds of knowledge [cit- : to call, start] --> mobilizing #citational apparatuses --> they enter into a ‘type’ of relation particular to each


[*]traps(/pots): bodies fully engage in perspectival communication and battles of will, variously constructed and provided with affects and capacities, capable of knowing different things and of in[...]

[...]nd
•he is dibbling at, performing being an archeologist
•‘play at’ archeology
=/= Simon Callery

Alberti > Russell
transform archeology from metaphor to allegory --play--> archeology-as-aesthetics through performance [--> risk of undermining and reinforcing art as a subjective practice concerned with only aesthetics and affective]


craft: a model for careful practices and knowing the world =/= artwork: a model for how to break out of disciplinary frames and how to think of the ontology of archeological things [--> what Sennett calls epistemic breaking]

questions for the art:
•what effect is produced?
•how does this effect wrench from its materiality what has not been perceived or sensed before?
--> for archeology same question, from the material that remain from the past in the present

(the traditional task of art:)
•defamiliarization: to estrange our common consciousness and sensations of the world
•place of immanence: to project the coming of something materially new that is latent in our current reality. to *treat facts as events* that are about to come into being
•art is non-conceptual : impacting the nervous system without conceptual mediation --> sensations are monumentalized in the artwork for the future
•

...to treat the material of the past as anticipating something new

(my research and work on bestiary:)
•how can we produce new works that challenge us to think and experience archeological things (ajayeb) in new ways without resort to explanation or interpretation through a process of disarticulation, repurposing, and disruption of archeological artworks with a political intent in mind? (interpretive framework)
•how to allow ajayeb to continue to operate effectively on us?

both affective and historical force (of ajayeb)


art engenders material becomings (classical definition)
art engenders imaginative becomings

learning from archeology: to be pre-conceptual : the process of craft, to grasp how concepts make their way into things


undisciplinary space (instead of transdisciplinary)

disarticulation: repurposing and disruption of archeological artworks with a political intent in mind
--> cannot escape the anecdotal when it comes to interpretation --> artifacts (for example a neolithic Balkon clay figurine) become symbols for social position ~= allegorizing (=/= speculation)

historical energy (force) of things = something of the past that endures in them


(old and unhelpful definition of) art: impacting nervous system without conceptual mediation (directly impact living bodies) --engender--> material becomings ["art = giving birth"]

--Alberti--> art (and anthropology) need the pre-conceptual: the pro[...]

[...]•how can we produce new works that challenge us to think and experience archeological things (ajayeb) in new ways without resort to explanation or interpretation through a process of disarticulation, repurposing, and disruption of archeological artworks with a political intent in mind? (interpretive framework)
•how to allow ajayeb to continue to operate effectively on us?

both affective and historical force (of ajayeb)


art engenders material becomings (classical definition)
art engenders imaginative becomings

learning from archeology: to be pre-conceptual : the process of craft, to grasp how concepts make their way into things


undisciplinary space (instead of transdisciplinary)

disarticulation: repurposing and disruption of archeological artworks with a political intent in mind
--> cannot escape the anecdotal when it comes to interpretation --> artifacts (for example a neolithic Balkon clay figurine) become symbols for social position ~= allegorizing (=/= speculation)

historical energy (force) of things = something of the past that endures in them


(old and unhelpful definition of) art: impacting nervous system without conceptual mediation (directly impact living bodies) --engender--> material becomings ["art = giving birth"]

--Alberti--> art (and anthropology) need the pre-conceptual: the process of craft (to grasp how concepts make their way into things)


[*]concept: fragment of past world

maker + material ==emerge==> concept

-in artistic research @apass are we dealing with the simulacra of knowledge?


understanding the potters (and artists) who made the ceramics as crafters = understanding them as *intimately connected with a particular world* <-- knowledge of which came through skilled material practice
#feedback
-how does it apply to digital relations?

•practiced caressing of hand over clay forms (~ handling, nurturance) ==> zoomorphic, anthropomorphic bodies (Ingold call it anthropogenic)
•digital interface CG ==> ?
•


-how to read or confront ajayeb bestiary artifacts and think of them as *taking on something of the pre-conceptual labour that went into them*? --> (?how can it) provoke an art-like response [<=~ sleepwalking: no ontological difference between then and now ==> you are confronted with a raw material of affect and concept =/= past artifacts as vehicle for complex belief systems] }==drive==>
•new sensorial experience
•new conceptual work
---> go to description, Stewart


coalescing of language & concept & ...


[*]drawing: (the effect of being) harassed by reality

to be harassed by ajayeb past people animals (struggling in their reality)
--> go t[...]

[...]


“ajayeb” a term i use inclusively to examine a living and nonliving ‘historical site’ / ‘heritage web’ in order to learn/talk/speculate about what counts as writing ~= writing technologies ==> production of knowledges

(Katie King's) bits of pastpresent, a tool for scale making
~(Weston's) time claims
[*pastpresent: decline epistemologically charged purifications that devout complaints of “presentism” mandate]

-in my research (willing and required to become a beginner) i am asking: why past and present are so easy to separate?
(~~--> how our vision of past and future creates our present?)
==> directions, spinning dynamics,

in a sense my work on ajayeb is a critique of “presentism"[= overvaluing historically and culturally local constructions of the meaning and importance of a particular set of stories and their conditions of production (of “ours”). (for example the “future” story)]
-->? speculative presentisms (Dinshaw's queer historiography)

*globalization: “that travelogue of distributed, heterogeneous, linked, sociotechnical circulations that craft the world as a net called the global” (Haraway)
~= processes responsible for the power and mobility of media, money, politics, sexualities, and knowledge practices*** --> these meanings and powers can be “glocalized”: altered, filled in, indigenized, and reunderstood *within local agencies*(: people, art forms, practices of everyday life)
(globalization processes) ==> academically uncomfortable and sometimes politically reprehensible سزاوار سرزنش forms of hybrid histories

(Katie King's flexible knowledges:) layers of locals and globals

my aim in my research is creating *struggle for understanding* [= many communities involved in reading, writing, interpreting,] --> ***we are all members in these communities struggling for understanding***

Urton paying attention to decompiling intermediaty positions between so-calles reading and writing --> string records --> numerical accounts or maps or... ==> histories and narratives

my research on ajayeb in apass as a practice is about *disassembling and reordering classifications we use to access pasts*


the excursion i did in Vladmir's block was somehow about examining sites of implicitly or explicitly knowledge production in commercialized forms
museum, TV documentry as a metaphor {a richly contaminated set of crafty metaphors and realities} and narrative frame, a momentary melding of pastpresents in imaginative reenactment --> economic globalization figuring in artistic/academic capitalism
(--> ajayeb is also of this kind,) *site of heritage* culture as promoting particular versions of history, nation, science, art, and religion*** --> (the excursion made me) with ajayeb to be careful with ‘the commerce with global knowl[...]

[...]ajayeb is a critique of “presentism"[= overvaluing historically and culturally local constructions of the meaning and importance of a particular set of stories and their conditions of production (of “ours”). (for example the “future” story)]
-->? speculative presentisms (Dinshaw's queer historiography)

*globalization: “that travelogue of distributed, heterogeneous, linked, sociotechnical circulations that craft the world as a net called the global” (Haraway)
~= processes responsible for the power and mobility of media, money, politics, sexualities, and knowledge practices*** --> these meanings and powers can be “glocalized”: altered, filled in, indigenized, and reunderstood *within local agencies*(: people, art forms, practices of everyday life)
(globalization processes) ==> academically uncomfortable and sometimes politically reprehensible سزاوار سرزنش forms of hybrid histories

(Katie King's flexible knowledges:) layers of locals and globals

my aim in my research is creating *struggle for understanding* [= many communities involved in reading, writing, interpreting,] --> ***we are all members in these communities struggling for understanding***

Urton paying attention to decompiling intermediaty positions between so-calles reading and writing --> string records --> numerical accounts or maps or... ==> histories and narratives

my research on ajayeb in apass as a practice is about *disassembling and reordering classifications we use to access pasts*


the excursion i did in Vladmir's block was somehow about examining sites of implicitly or explicitly knowledge production in commercialized forms
museum, TV documentry as a metaphor {a richly contaminated set of crafty metaphors and realities} and narrative frame, a momentary melding of pastpresents in imaginative reenactment --> economic globalization figuring in artistic/academic capitalism
(--> ajayeb is also of this kind,) *site of heritage* culture as promoting particular versions of history, nation, science, art, and religion*** --> (the excursion made me) with ajayeb to be careful with ‘the commerce with global knowledge production’ --(what is at stake)--> structure of pasts, peoples, and sensation
*heritage culture ==(impress)==> public histories* --> appropriation of national and personal identities; today (specially in university) no one is “immune from governing pressures of heritage culture or the impression of corporate management assumptions, styles, funding requirements, and money-making imperatives in enterprise culture” (Katie King > Morley & Robins) [i can imagine apass is struggling with this specially in Brussels]
(@Vera's position as a museum tour guide, exploitations of the interpreter/reenactors, who are promised semiprofessional recognition within social historical practice but instead end up as engineers of a “feel good” atmosp[...]