[...]torture, a strictly constellated confluence of acts equally troubling to Aristotle and Aristophanes.

•pardeh-dari پرده دری, hajeb حاجب (after neghabat نقابت is hejabat حجابت [Beyhaghi]) (Nezami in Leili-o-majnun: haft arus-e noh emari bar dargah-e to be pardeh-dari (هفت عروس نو عماری بر درگه تو به پرده داری) --?--> angelology) =/=? hayula(ism) هیولی


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

hermeneutics regarding Jurisprudence (feghh فقه) and theology depend on the exegesis of written texts. in both cases the process of understanding is an act of application(?)

interpretation/hermenutice =/= commons/collectivsm
(ta'vil bayad dar jahate axe harkate jami va moshtarek bashad)

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

(Kohn) to “provincialize” (rustayi روستایی, bastani باستانی?) language in order to make room for another kind of thought--a kind of thought that is more capacious, one that holds and sustains the human.

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

my point in animals without narrative is that the apparatus that is working for Attar in his representation of birds is the same as the narrative tool in the so-called wildlife documentary series which produces nature----a sy.


transcend is about traveling from trope to truth (obur az majaz be haghighat عبور از مجاز به حقیقت,) from virtual to concret. but that is too easily reversible. my point is to stop this transference and interrogate the trope itself. my work in amazon book is about this ‘majaz’ (مجاز), an interface that we are inhabiting.

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

the main (and only?) question in my work/performance/lecture is ‘when’ the gift will/have pass(ed) on.
--> holding on to, preparing, strategizing, spontaneity, and so on

-my texture aversion and preference in soft/hard fabric of language and material tonality? --> the “inanimate affections” (that give us pleasure in life) --> we often give each other soft gifts as a way to care for one another (@Janina)
*radical affection does not require intentional politics* (Chen)



[Shepard 2004] Stanner (W. E. H. Stanner, White Man Got No Dreaming) describes how the universe became a moral system and consists of three elements: marvels, species diversity, and institutions. Marvels refer to that presence of the unexpected that one always encounters sooner or later in nature, particularly when the terrain reflects something about the mind that implies a common structure. His second element, species diversity, coincides with one of the major moral issues of our time--the extinction of species and reduction of biodiversity.

-“marvels of affinity” is the key to reality, revealing how things are, what is known, and how to behave.

cosmogony (keyhan-zayi کیهان زایی‌)--how the u[...]

[...]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's essential nature is that of a free producer, freely reproducing [...]

[...] that i have only got half-digested (=/= through digestion, particular bodies of reading that people need to have mastered in order to argue)

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

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

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


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


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

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


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

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


***almost everybody is organically part of more than one conversation at a time*** (Haraway)
(this is so important to recognize specially in collaborative research environments such as apass)


(in political movement:) working to a kind of clarity of ideological position ==> to do certain kinds of things (that are harder to do if you don't have them [those ideological positions] in the world) --> they are used as *tools* to produce what got called *political correctness* --> always producing those who count and those who don't count*
=/=? feminist movement = ***a kind of vulnerability to not being who you thought you were*** : openness to risk, less of a defensiveness, less of an attack mentality, not shaping each other up into vanguards پيشقراول --> (towards thinking) differential/oppositional consciousness (=/= father, single kind of creators)


“you can know if you are wrong in rather interesting, situated ways”
@Leo
@Maarten


[*]"was[...]

[...] ‘this is what ajayeb is about’ (or Tasavof, etc.) --> ‘what is going on there’ (in ajayeb) is so built-in to ideologies of many kinds (of progress, deep ecology, of history, and so on)
•to build a little taxonomy (in apass)
•working to give up the series of self-certainties around secularism ==> giving ways to talk to the religious ones : getting to grasp what the world looks like in faith-based communities (=/= check-list of dogma)
•category thinking: get into differential liveliness (with all sorts of inequalities:) *who gets parsed how* [#archive, #articulation, #storytelling] (and thinking about what it means to take up these relationships in cultures saturated with science and technology)


Xiri was doing her research with categories of victim and opressor, and now they suddenly disappeared from her work. that category change or vocabulary change was suspiciously effortless


*remembering is an extremely creative practice (-note to Hoda-)
memories are like ecotone کناربوم (transition area between two adjacent ecosystems)


#(very important concept partly shaped by practices of Darwin into our lives:) “collect” --> lies (necessary?)
the frenzy of the 1700 of surveying nature and collecting speciment ==> bioinfomatic
‘collect’ promises nontransformation
--> metaphors of archive, information-intense ways of thinking about life on earth

*“demonstration” coined by science

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

(with Scout Calvert) the ways the digital apparatuses are working, and the kinds of tensions and creativities between the cyber infrastructures and the other kinds informational management discourses displace other book discourses *** --> categories explode in library practice
[Calvert donig brilliant discourse analysis of library sciences --> has direct impact on practices of reading#, different kinds of knowers]
techno-biblio-capital: techno-capital and library practices embedded in each other -->{ [*]technology: assemblages of people, computers, software, discourses, techniques and workarounds that make them function; [*]capital: a social arrangement in which buyers of labor power are entitled to profits and the sellers of labor power to wages and all the effects entailed in that arrangement; [*]techno-capital: techniques, discourse and technologies used to naturalize and derive capital from information and information technologies}
*curiosity = a small and local kind of *freedom[= agency within constrain ==enabling==> skillful meanings], curiosity resists control and has the power to defeat one's favourite self-certainties, can also be commodified 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” --> na[...]

[...]gious passion
?@Leo


-what modernism did to science is worse than what it did to religion
it deprived it of its energy, restricting it, to *mere furniture of the soul* [--> Iron Man's idea of technology-human relation]

modernism's politicization of science


speaking of science scientifically ==> a scientific ‘worldview’ is deployed
speaking of religion religiously ==> a vague assemblage of pious moral vacuities is taken as an ‘alternative worldview’
}--> they both accept an* unscientific science* and an *irreligious religion*


Latour (quickly dissolving nonsense that accrues as one opposes ‘knowledge’ and ‘belief’):
•science = reference chain (what allow access to the far away) [nothing is out of the reach of reference chain]
•religion = presence (what allow access to the near)

science ~/= concrete, worldly, matter-of-fact, present-at-hand, domain of knowledge (<-- political activism has to work with that kind of knowledge)


what use is it to save your soul, if you forfeit the world? --> sci-fi's real frontier & Noah's project


the transcendence and transubstantiation of science

when nature enters, religion has to leave. in two equally fatal exit strategies:
•to limit itself to the inner sanctum of the soul
•to flee into the supernatural --> that religion will try in vain to imitate scientific instruments (<-- The Magicians TV series) + misinterpreted science [==> taking Bible as if it were geology book (<-- look at the rising Hollywood films that scientifize the events of Bible) -- projects of connecting religion to the world]

‘exit religion’: it will have lost any pretence of influencing the course of events, its impact will only be decorative

(Descola:) ‘naturalism’ is only one of four ways in which connections between humans and nonhumans can be established


contrasts:
*reference chain*
*reproduction*

(Latour use of the term) *contrast* = mode of existence

immutable mobiles: to reach something far away through long arrays of instruments, you need to make sure that *necessities and constants are transported* with as little transformation as possible ==> to “reach” those entities

geometry, mathematical entities, inscriptions of all sorts ==> carry heavy-duty immutable mobiles

(Hoda's immutable mobiles are: [?])

[*]matter = highly elaborated, historically dated, and anthropologically situated hybrids***
(=/= ‘transportation of indisputable necessities through chains of cause and effect’ <-- a category mistake)

(for physicist:) “the ways we know the world = the ways in which the world behaves”
(less for chemist)
(not at all for engineer)


([in [...]

[...]araway appropriating the idea of modest witness for her own feminist purpose
•

three technologies for fact-making (that Shapin and Schaffer name):
1. material
2. literary
3. social

Adrian Johns in The Nature of The Book: particular booksellers could indeed use their *stewardship* of such heterogeneous spaces to further political ideals and interests. behind the scenes and up the stairs, an interested London bookseller became a significant actor in cultural events.

nominal agency
actual person
principle architect


systems move in space, time, and process
some archaeological structures (that one uncover) are stable, some in motion, some evolving, some decaying --> *“there is no way of ever getting access to the past except through classification systems of one sort or another”* (at best) the past could be reordered to better reflect multiple constituencies now and then. (Bowker + Leigh Star)


(my ajayeb research: “epistemic virtues” [or powers] of the 12th century encyclopedic wonder-books,) “epistemological decorum” --> (to capture) “truth-making practices in action” (Shapin)
==> (my commitment to ajayeb:) engendering reflection on the nature of and function of categorization itself

a wonderful bit of meta-language


The Exhausted Receiver


Margaret Cavendish description of a new world, called the Blazing World, her own brand of natural philosophy under the guise of a romance... science for ladies{
1- enthusiasm ==> new science
2- study of natural philosophy ==> cardinal virtues of ladies, modesty and religious reverence
3- leisure activity, appropriate pasttime
*she participated in discussions central to her life and times* (am i participating in discussions central to my life and times?!)
Cavendish self-consciously produced herself as a fantastic and singular... (--> is that what i wish to produce?)
-Cavendish strangely shared with Quaker women an experimental life of proliferating genders, of dress, of personhood, og agency, of writing, of personae, but not of this *enabling collectivity*

hermaphroditical view of things: partly artificial, partly natural

status of clothing as a signifier of identity [<-- not always]
crossdressing (#my sticker period)


[modest witness] (--> Haraway's literal and figurative queering of categories)
the rhetoric of the modest witness --> the naked way of writing, undorned, factual, compelling: “naked writing” [crafted in the context of being virtually present at a demonstration, the ‘practice of credible witnessing’ (==> “truth”) in technoscience] was a proper reference point for feminist examination of objectivity and its relationship to a science founded in exclusion of women. the new man of science had to be c[...]

[...] (i can sense the ajayeb's) pleasure in describing the animacy of forms
-describing a world is the pleasure of sensing the incipiency of *form in matter* and fantasy and the effort to draw the lines of form's traces. still palpable even it only imagined (Stewart ***)

(ajayeb's) heady business of making sense out of what happens
-to venture out in the manner of
-ajayeb sings an autopoetic refrain scoring and unfolding
-gesturing into form, a magnet burdened with impressions

textures give way to qualities of form


*before the blizzard: the sea monster

______________


Xh1IgPomwW8 Stewart's experiments coming at the phenomena of worlding through a series of angles organized prismatically:
•precision
•atmosphere
•attunement
•refrain ترجیع‌بند (poetic fixed form)

--> the tune on which people and things venture out
--> a kind of mapping infrastructure
--> lines and distributed biography


[pop-up book]
#description: (world is like a) pop-up map of possibilities [=/= map hylomorphically onto meaning]:
•(condensed) points of precision
•fundamentally divergent nature of things that happen --prompting-->
•the mode of social poiesis
•a path into continuous variation of matter and form, word and world
•(pop-up book made of) mobile and immobile flickering
•a thing that can be physical if the eye is quick enough
•a crystalline image of the deforming of a form
•bending itself (myself?) in refraction (=/= intimate register of knowledge and power)
•a conceptual machinery of cutting edges
•a compositional jumping off point; a ‘lifted out of’; a ‘being-moved in’
•...the ajayeb pop-up book two parallel spreading qualities and scenes across a cartography, registers differences in motion
◦a compositional writing (=/= representational method) in the effort to keep up with the distributed agencies of *what is throwing together and what is falling apart* (~ ajayeb) [--> it is a practice of trying, in line with my lectures, to follow where things (might) go that habits of attunement become as associational logic***]
•particulars to become a hinge لولاى در (opening onto a world throwing together and falling apart)
•mixing of shiny elements: *flickering ontologies* the expansive mapping of elements in paly
•a cartography of compositional elements, formal compositions and unmarked ways of being loop around each other

(27.08.2017 my work on ajayeb is an inquiry into description:) ***it is about many different forms that something can take and does take*** + the things that can be perceived and thought with those things

(attuning to) details in ajayeb loaded with intensities both strange and recognizable (=/= stable[...]

[...]tability = measurable, finite, packaged, <--✕--> (other modes of) invisible and articulation work

...when technicians/artists seeking new ways of writing (scientific/poetic) papers so that their work gets acknowledged ==(and yet)==> the nature of their (scientific/artistic) truth is not impeached***
--> and sometimes we restructure our work so that (organizational, informational or truth-related) challenges will not be necessary ----> (at the end of the day there will be [always?] an) information infrastructure for the kind of work which contains an account of your activity ==> “informational panoptica” (Bowker)

the classification systems we are giving to embed in the tools and reports we give in apass

(in apass problematically we are asked to) copy the transparency of our activity from one representational space (internal memory, nomenclature, past events, paper) to another (computerized record, giving a talk, time-framing) (=/= contingency) ==> an ecology of attention : ***what can be forgotten and what should be remembered*** ==> development of (information) infrastructure
what is remembered in the formal information systems ==> ontology of that system

...recorded on a form; and forms necessarily impose/naturalize classification systems (through the form's speed, rhythm, dimension, and how its specifications are implemented) ***
(how am i working this in my pop-up book and hypertex? --> classification scheme of relevant events for my research)
*informational space is (sufficiently well) pre-structured ==> some things/details can be assumed or are dropped out of the representational space
-in my pop-up book i am encoding a kind of memory in an organizational file ==>? “potential memory” (~= possible future reconstructions) <-- rejecting the ways in which memory is structured in the organization named Iran, or Middle East, or Germany, or Europe,
needed for development of potential memory:
•(forms of) erasure of local context --> to some degree this is always done
•(forms of) classification system --> computerized, affectual, or materially textured categories

* construction is always reconstruction *

artificial memory (characteristic of the 16th century:) “a search for the perfectly proportioned image containing the ‘soul’ of the knowledge to be remembered” --to--> discovery of the right logical category ==> classifying the memorization the world scientifically

classification system ==> filter --> encoding (of information about the environment) ==> coherent framework = memory (Schachter, 1996)

Bowker > Matsuda > Edouard Claparede's experiment (1907) of having a stranger rush into the classroom, do something outrageous, and then have students describe what happened --> “that the past--even of a simple event--was less a record than a sort of taxonomy. Not perceptions, but catego[...]

[...]Google, etc.:) vast stores of anonymized data to analysis and exploitation, engaging users and publics in new ways

axes of change: [fundamental transformations challenging our understanding of the ways knowledge is processed:]
1- technical systems and standards
2- new modes of analyzing social (re)organization that exploit the extensive traces left behind by users of information

including:
•education
•libraries: changing structures, services, and physical spaces
•publishing industry
•intellectual property
•global flow
•knowledge politics: filter bubble, counter-expertise,
•

unpaind individuals
“sticky” processes and routines --> *most knowledge workers’ salaries are still paid by bricks-and-mortar organizations with hierarchical structures, established insitutional cultures, systems of credit and compensation/

eventual rise of a scientific culture of “extreme openness”

(forms that are) human-readable & machine-readable <-- the move i made from my notebook to ajayeb.net



infrastructure =/= system

infrastructure perspective:
•modular
•multi-layered, multi-scaled (layered nature of infrastructure, navigating among different scales)
•rough-cut character
•ecologies/complex adaptive systems
-->** infrastructures consist of numerous systems, each with unique *origins and *goals, which are made to interoperate by means of *standards, socket layers [: a bony hollow into which a structure fits], social norms, and individual behaviors that smooth out connections among them
=/=
system perspective:
•fully coherent
•deliberately engineered
•end-to-end process


(Weinberger's notion of) *stoping point*
“knowledge as a series of stopping points”
•printed journal articles
•books
•textbooks
•(other fixed products)
--[changing to]--> a world where knowledge is perceptually in motion }--> in a way ajayeb.net is part of this transition
we face a world of abundant information, hyperlinked ideas, permission-free resources, highly public interaction, and massive, unresolved disagreement. (Weinberger)
individual expertise is (many argue) being replaced by the wisdom of crowds: noisy and endlessly contentious, but also rich, diverse, and multi-skilled [=/= fantasies of Black Mirror TV series]


wikis of all sorts

(?is my ajayeb.net a) citizen science

vigor and growing utility

“distance matters”
(Olson)


commodification of data : the presentation of datasets as complete, interchangeable products in readily exchanged formats


data-driven science
problem of evaluation
--> ***Do we know things if we can[...]

[...]e #scientification of christian genesis in Nolan's Noah film)
*imposition of a regular spatiotemporal representational framework* = (Bowker's) [*]convergence (a key aspect of synchronization): a cosmology (inspired by factory production) of nature and humanity--to make science, art and politics converge more and more towards the same goal, to introduce to them the notion of change, progress, succession, continuity, life, submit them to the same law (of constancy and uniformity)
•in astronomy: (1836) “the return of the comet of Halley at its predicted time has been remarked with intense curiosity and satisfaction by astronomers, and by the public. this has now become a regular and well ordered member of our system” (=/= ajayeb)

*representational framework of temporal regularity* ==> one can read backward into the past and forward into the future (--> # sequential palindromic time)
--> tale of the real archive : tale of stasis [==> “violent care”: preservation of current species and the imposition of stasis] : single law : (the fable of:) “perturbations and oscillations providing noise that true understanding would filter out”


fable of industry:
•how humanity had gone from being initially weak to currently king of nature : “industry = second nature”

•art submits to science
•industry recognizes science for its regulator


chaotic spacelike, lacking direction and granularity

working of childhood marked by staccato syncopation (=/= regular rhythms)

machine regularizes “man”: processes synchronizing him to industrial time
mechanical uniformity became the “natural” state of affairs


Facebook within the spirit of industry --> “under the [spirit of industry's] influence, people will begin by grouping themselves more naturally [...] people will come closer together, mass according to their real analogies and according to their real interests [...] the same ideas will circulate in all countries [...] uniformity of costumes [...] the same needs, a similar civilization, will develope everywhere [...] without confusion or violence, relations both as complex and as easy, as peaceful and as profitable as may be” -Charles Dunoyer


ufs (unidentified flying subject)
ufo


arguments about rates of change = about facts of change

eternal, unchanging present


train traveler looking out the window
a Newtonian world of abstract qualities size, shape, quanity, motion
==> space out of the window of a moving train: a new kind of geographical representation, abstract and regular


(a problem in management:) “time had conspired with capital to annihilate space
@Sana

[a ‘second nature’ being created] railway (+ telegraph) ==> commodification + communication

[...]

[...]ronomy in calling forth a historical time as regular and perfect as that of the clockwork solar system (hymned as an accurate clock)
}-->
“archival process ~= a natural technology” --> from natural to ideal: archive being mediated by technology marked by clockwork regularity
==> “earth = clock” (associated with the triumph of industrial society, because it ran like clockwork [---> go to german pünktlich punctuality]) --> industrial time writen into Lyell's geology: two methods of factory production *the division of labor* and the *parceling up of time into regular units* are both writen into time that Lyell created for the new discipline of geology
--> factory & geology were the precisely the same problem: *organization of time*


census
statistical record-keeping, a central technology for a modern state

statistical thinking


(this is Lyell in Bowker's research on memory practices in sciences:)
through a linguistic metaphor, Lyell endeavored to explain the apparent asymmetry between past and present. this metaphor brings out the peculiar centrality of humanity in Lyell's geology and thus the centrality of human society to his problematic


idea of the ‘book of nature’

(Lyell's logic) --> we humans have access only to a limited and random grammar of the ‘book of nature’ ==> *burden of proof* lies with those with thier set of *past causes* to explain the past
[!!]

Lyell's geology is a kind of bookkeeping device that allows the storage of vast amounts of information by sorting them into a kind of filing cabinet of different kinds of events (=/= ajayeb)
(his work revolving around an understanding of archives)

Lyell's “economy of nature”
principle of division of labor into the profession of geology + into the economy of nature }==> cumulative reports in a stateless present (=/= situated knowledges) ==> calculus of regularity out of apparent chaos and old time


true language of geology

(from a) groundwork --> contemplation of more general questions --> complicated results -->{ indefinite lapse of ages --> the existing causes of change


(?Marialena contributing to) earth's archive

scriptural authority (=/= rigor)


halcyon future
ایام خوب گذشته ayam-e khub-e gozashte/ayande


when the center of calculation is in place, there is no need to move

past --> knowledge developed catastrophically, and analysis were framed in terms of catastrophes
present --> knowledge develops uniformly and analysis are framed in terms of continual steady change


Buchez --> science would be the agent that converged both human and natural history onto isomorphic time*** [fantasy of Star Trek]

symmetry between [...]

[...]e of vast amounts of information by sorting them into a kind of filing cabinet of different kinds of events (=/= ajayeb)
(his work revolving around an understanding of archives)

Lyell's “economy of nature”
principle of division of labor into the profession of geology + into the economy of nature }==> cumulative reports in a stateless present (=/= situated knowledges) ==> calculus of regularity out of apparent chaos and old time


true language of geology

(from a) groundwork --> contemplation of more general questions --> complicated results -->{ indefinite lapse of ages --> the existing causes of change


(?Marialena contributing to) earth's archive

scriptural authority (=/= rigor)


halcyon future
ایام خوب گذشته ayam-e khub-e gozashte/ayande


when the center of calculation is in place, there is no need to move

past --> knowledge developed catastrophically, and analysis were framed in terms of catastrophes
present --> knowledge develops uniformly and analysis are framed in terms of continual steady change


Buchez --> science would be the agent that converged both human and natural history onto isomorphic time*** [fantasy of Star Trek]

symmetry between the past of the geological discipline and of the earth


[title]
Freud's penis

inscription of records onto skin


the changes humanity has brought are (not of physical but of a) moral nature

strange tale! --> it is the bestial part of humanity fitting into the economy of nature, whereas civilized humanity operates in a different dimension to nature ==> creating the temporary appearance of an anomaly in “nature's book”


[title]
*the time of the good record keeper*

time of God
< />

sybarites (an urbanite addicted to luxury and pleasures of the senses)
sycophants (=/= a public informer)


incalculable, irrational past seems to Lyell full of noise and cacophony irregularity


memory ensconced in books (~ filtered memory, rational memory, part of the archive with its very clear point of origin in printing) freed us from instict and brutality [---> go to TED talk ‘big history’ by David Christian, fable of printed record and progress of humanity tale]
(Bowker > Babbage:) until the invention of printing, “the mass of mankind were in many respects almost the creatures of instict” --> “flood of light over the darkened intellects of their thankless countrymen”
(the spirit of 19th century embodied in Babbage) making the ***act of making information*** such a key variable:
(print rational/archival memory ==>) new space and time ==> (need for) regular working of the machines of nature a[...]

[...]mans and things, and how things that exist in more than one community of practice are used in performing cooperative work


the role of practical knowledge in organizational life

sensitivity of an ethnomethodological orientation

(apass's) intellectual capital (is not centered in their official document repositories and databases, rather is in the largely undocumented ideas, insights, and know-how of its members: Lilia, Pierre, Nicolas, Joke, Steven, Michele,)

exigencies of work

****much of knowledge often remains embodied in the practice
commonly shared through conversations and stories among small circles of colleagues and work groups --> local vernacular --convert--> other forms ==> other members of the organization can understand & *act upon* together

Sina --> richer comprehension of socially organised work practice into the process of engineering technological systems

> Calvert --> her work is about the enduring qualities of the book and how its resistance to commodification enables this thing we call a public library.
she is interested in developing library-appropriate research methods for thinking critically about old and new technologies
-we naturalize the way technological infrastructures make ethical decisions for us =/= producing methods/ethic that allows librarians to mandate characteristics in developing technologies which both preserve librarians’ prerogatives to make (necessary visible) ethical judgment calls <-- Calvert
جعبه--"containers” continue to dictate the name of the game (for the immensely diverse patronage of the public library)

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

bilingualism
different languages (farsi and arabic in ajayeb) refers to different value systems and to different lived experience

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

[Ahmed]

(c/> (complaint ~=) diversity-work = data-collection

we learn about the damage we cause, of how causes are understood as damage

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

my old background (in computer sciences):
•www.joelonsoftware.com (Joel Spolsky runs a company which sells bug databases, “FogBugz”)
•wiki.c2.com
•“Structure and Interpretation of Computer Programs”


computational process

abstract beings (processes*) manipulate other abstract things (data*)
--> a pattern of rules (program*)

programming: *metalinguistic abstraction* [--> engineering design] : building a mini-language to express a problem, using a fixed computer programming language (on a given hardware) to construct a new language that enables describing (and hence to think) the problem --> using:
•primitives means of combination
•primitives means of abstraction
--> repres[...]

[...]
Declareth this worldes chaunge.


...monsters began to lose their religious resonance
it was unlawful to “delight” in the undesirable
portentous meaning of monster

(from) fear --to--> delight
(from) prodigy --to--> wonder
(from) sermon --to--> table-talk
(from) horrible, terrible, effrayable, espouventable --to--> strange, wonderful, merveilleux (marvelous جالب)
(from) final cause --to--> proximate cause (physical explanations and the natural order)
}==> nature began to assume the role of an autonomous entity with a will (and sense of humour of her own) ~~> natural wonder



wonder literature ([lavishly illustrated bestiary, cosmography, travel literature, geological curiosa, herbal and astrological lore,] of later 16th and 17th century Daston) --> secularization of an interest in (monsters as) prodigies
--part-of--> the great body of common culture
--affinity--> popular 16th century genre of diverses lefons (selections from famous authors)

catalogues of strange instances or hidden properties of animals, vegetables and mineral
(middle class culture in elizabethan england)

prodigies denuded of their supernatural aura & (presented) to surprise and entertain the reader =/= to acquaint the reader with imminent apocalypse and judgeme

Certaine Secrete Wonders of Nature

portentous events بد شگون

(crocodiles) to be granted honorary monstrous status by virtue of their rarit

many will reade them [monsters], heare them and haue profit by them, that otherwise whould neuer haue knowen them. For many (I suppose) will buye this Booke for the things whereto they are affectioned, that neuer coulde or would have bought, or looked on the bookes, wherein all they are. -Lupton

common and popular forms of escapist literature: *travel books* anks* and *chivalric romanc*
(--> don Quixote)
monstrous races (men with a single giant foot, or huge ears, or their faces on their chests, giants and dwarfs)

medically oriented monster literature

[Daston:] Pare was forced to eliminate a section on lesbianism, with a graphic description of the female genitals, before including Des monstres in later editions of his collected work


A Helpe to Memorie and Discourse (of Wonders, Foreign and Domestic)
*the passages and occurrences of the world* #ajayeb
•the creatures thereof
•the casualties therein

little-known properties of... (wine and water, fish, dogs, cuckolds, hunchbacks and monsters)

popular ignorance
solitary efforts of the professional scholar
culture of the educated layman (lawyer, businessman, government official, and their wives and daughters)

[change in sensibility (&-=>? change in in[...]

[...]sifies as more people engage with it
[like all the concepts and metaphors we are working and patterning in apass]

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

Malabou's plasticity (<--✕-- différance)
the subject is plastic (~= malleable, =/= elastic), it never springs back into its original form, it can explode
[we are now dealing with a (highly adaptable, flexible, and disciplined) rational autonomous subject in a post-industrial and global world]
neuronal subject
mojud-e dahri-e ma'ghul

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

[...] اسم اعظمِ
esme a'zam

reality has an autor --> author always has a proper name

Alice (in wonderland): words can have many meanings
Haraway: the question is: which one (of many meanings) is to be {the master (meaning)}--> problem of art criticism in iran --> *let's resource aesthetics* / in iran we need more “making-with” and “make-kin” rather than “criticize” or “grounding” (of criticism) or...

[*]master: one with power to dispose something, male head of house, conqueror, a man skilled in something --> *one holding this title*
-->[*]to author: to have the power to originate, to name [#Beyzai seeking to produce natural iranian knowledge] (Sohrevardi who learned to write and speak, also must decipher a text, the book of nature, authored legitimately by islamicated inheritances...)
-Haraway discussing women's travail to construct a voice, to have authority, to author a text, to tell a story
-modes of telling (that we adopt in our attempt to produce authority)

(اسم اعظم esme a'zam -->) knowers--on top --> (usual tricks) to recede while substituting a fetish (of self) --✕--> subject and object can cohabit without the master-slave domination


sexist science


?am i laying: a foundation for an epistemological [...]

?do iranians need this:
•theories which are the heritage of Greek science (and of the scientific revolution of the 17th century)
•an epistemology (informing our inquiries) be a family member to existing theories (of representation and philosophical-realism [that which Holakouee promotes for “modern” iranian]) (--> to avoid the problem of epistemological anarchism: an epistemology that justifies not taking a stand on the nature of things is of little use to women trying **to build a shared politics** [Mehdi is angry at the sculpture community because they embody that failure])
•(to adopt) a radical form of epistemology that denies the possibility of access to a real world and an objective standpoint
•noninvasive knowing (such as Sa'di) and prediction and control (#Olearius)
•(authority and power, as Beyzai is after,) to name/give the world a new identity, a new story
•accurate rendering of an idiosyncratic process of sensory overlap and ass[...]

[...]slave domination


sexist science


?am i laying: a foundation for an epistemological [...]

?do iranians need this:
•theories which are the heritage of Greek science (and of the scientific revolution of the 17th century)
•an epistemology (informing our inquiries) be a family member to existing theories (of representation and philosophical-realism [that which Holakouee promotes for “modern” iranian]) (--> to avoid the problem of epistemological anarchism: an epistemology that justifies not taking a stand on the nature of things is of little use to women trying **to build a shared politics** [Mehdi is angry at the sculpture community because they embody that failure])
•(to adopt) a radical form of epistemology that denies the possibility of access to a real world and an objective standpoint
•noninvasive knowing (such as Sa'di) and prediction and control (#Olearius)
•(authority and power, as Beyzai is after,) to name/give the world a new identity, a new story
•accurate rendering of an idiosyncratic process of sensory overlap and association
•
•


[*]biology: modern origin story
biology tell tales about origins, about genesis, and about nature

biologizing


[what is the word made of, what is the flesh made of]
***(Haraway highlights) an inherited knowledge through the paternal line: the *word* was Aristotle's Galileo's Bacon's Newton's Linnaeus's Darwin's; the *flesh* was woman's --> and the word was made flesh, naturally

(in Europe, from 15th to 18th century, transformations of [both] metaphors [and social systems]:) female nature --from--> nurturing mother --to--> patient-resournce
--> capitalist forms of patriarchy: *merchant تاجر seeing dialectic of apocalypse* (TV series such as West World, etc.)


[the book of nature]
nature is authored (by somebody)

(power +) autorship ==(fabricates)==> reality


Milton's justification of the ways of God, [to tell stories]

*(how many times we[?] are) forced to read a book in a language that signifies our lack, our difference*

two rhetorical strategies for contesting (جنگیدن برای) a voice (-to set the terms of speech that define good knowledge):
1- reinterpreted the origin story to get it right the second time
2- rebelliously proclaimed a totally new story


(Olearius does the same with iran and his european audience,) [Haraway on] Barash “reveal to the popular audience the inner voice of biology, the cake of nature under the icing of culture, the biogrammer of genes structuring the message of the organism--all that modern people structuring the message of the organism--all so that modern people might come to know themselves and fulfill their potential. Barash maint[...]

[...]erson who gazes upon a map works through a welter of impressions about the geographical information it puts forward—along with his or her own fantasies and pieces of past or anticipated memory in dialogue with the names, places, and forms on the map[...]

(Olearius drawings and frontispieces) establishes a geography, manufactured from cartographic elements

When a geography is given a sense of identification, of difference, doubt, a discerning gaze, or a critical reverie [the people, animals, subjects in the map cannot see how they are being mapped]


(how certain places are made to become the) simulacra of others*

perspective, visual style, narrative economy, scale, [...], the stakes of mimesis, and reception


story about the demise of nation and its cartographer:
(Dreamtigers by J. L. Borges)
In my childhood I was a fervent worshiper of the tiger: not the jaguar, the spotted “tiger” of the Amazonian tangles and the isles of vegetation that float down the Paraná, but that striped, Asiatic, royal tiger, that can only be faced by a man of war, on a castle atop an elephant. I used to linger endlessly before one of the cages at the zoo; I judged vast encyclopedias and books of natural history by the splendor of their tigers. (I still remember those illustrations: I who cannot rightly recall the brow or the smile of a woman.) Childhood passed away, and the tigers and my passion for them grew old, but still they are in my dreams. At that submerged or chaotic level they keep prevailing. And so, as I sleep, some dream beguiles me, and suddenly I know I am dreaming. Then I think: this is a dream, a pure diversion of my will; and now that I have unlimited power, I am going to cause a tiger.
Oh, incompetence! Never can my dreams engender the wild beast I long for. The tiger indeed appears, but stuffed or flimsy, or with impure variations of shape, or of an implausible size, or all too fleeting, or with a touch of the dog or the bird.

****
The one that is in the other forever betrays its differences with respect to its surrounding milieu in the field of the frame.


cartography at the time of its emergence in early modern print-culture [...] maps were tipped into books to call attention to the aspect and format of a medium for which seeing and reading were of a same character.


toward productive, critical, and even creative speculation


a map in a movie begs and baits us to ponder the fact that who we are or whomever we believe ourselves to be depends, whether or not our locus is fixed or moving, on often unconscious perceptions about where we come from and may be going.

To be able to say who one is depends on believing in the illusion that consciousness is in accord with where it is felt in respect at once to itself and to its milieus.***
[...]

[...]veloping the Duke's Kunstkammer/Wunderkammer

Gotterffische Kunstkammer --> “Wunderbuch” (book of wonders), with its insistence on the concepts of writing + drawing

Olearius's genre of frontispiece, his engraved title pages --follow--> Norbert: kluger Vater or fleissiger Praeceptor
clever father / industrious preceptor مرشد مربى #Pir [--> “our common father in heaven"], wants to introduce his children and students to something in arts or sciences, “make them understand” by means of his mouth + pen :
*analogy/simile: showing something grand by showing them something small --> an astronomer shows on a small hand-globe (*globo coelesti*) the make-up of the great heaven with all its visible bodies, where a point means a star ~(in the same way)~> the geographer represents on a small terestrial globe (*globo terrestri*) the entire circle of the earth with all its landscapes ~(in the same way)~> “our common father in heaven,” the Lord, his revealed Word, he wrote for us (his children and students) the great book of wonders --recognize--> Himself
}--> (the concepts of) microcosm & macrocosm : something small (a dot on a globe) stands for something else, larger than itself (a city) ==> individual objects of study or curiosities of nature, that are collected and presented to a reader/observer, represent a greater whole ==> interconnectedness --> “the great chain of being” ~-> God teaches humans by means of natural wonders #ajayeb
}==> (microcosmic world of the) frontispiece = visual macrocosm of the larger book, *the textual macrocosm* that it introduces
[my video atlas in Eckernförde was reworking with frontispiece as it is meant to intrigue the reader with its complex set of visual images (taken from classical coins and medals, from devices and emblems), to be decoded after reading the book that follows. Olearius brings all desciplines onto the stage of his's world: ethnography, history, natural science, geography, architecture, and literature --> this is very baroque _+]

Olearius's didactic program: to entertain while instructing

(tasavof's) world as *mundus symbolicus* <== cosmos of significance (~= art + history + nature)

[Das grosse Wunderbuch die Welt]

*theatrum mundi*
staging of nature (~ ajayeb) : nature in all its various manifestations (animal, vegetable, and mineral) must be displayed on a stage (of the title page, on the compartments of Kunstkammer)
•an arch of gateway resting on a platform or plinth (--> a basic model provided by classical architecture for the majority of Renaissance and Baroque stagings), a design that recalls the structures of allegorical tableaux used for triumphal entries into Italian and Dutch Renaissance cities, on order to honor the hero of the day
•(early modern title page *iconographic program*) incorporating the feature of the triumphal arch in order to signify the sy[...]

[...]lesti*) the make-up of the great heaven with all its visible bodies, where a point means a star ~(in the same way)~> the geographer represents on a small terestrial globe (*globo terrestri*) the entire circle of the earth with all its landscapes ~(in the same way)~> “our common father in heaven,” the Lord, his revealed Word, he wrote for us (his children and students) the great book of wonders --recognize--> Himself
}--> (the concepts of) microcosm & macrocosm : something small (a dot on a globe) stands for something else, larger than itself (a city) ==> individual objects of study or curiosities of nature, that are collected and presented to a reader/observer, represent a greater whole ==> interconnectedness --> “the great chain of being” ~-> God teaches humans by means of natural wonders #ajayeb
}==> (microcosmic world of the) frontispiece = visual macrocosm of the larger book, *the textual macrocosm* that it introduces
[my video atlas in Eckernförde was reworking with frontispiece as it is meant to intrigue the reader with its complex set of visual images (taken from classical coins and medals, from devices and emblems), to be decoded after reading the book that follows. Olearius brings all desciplines onto the stage of his's world: ethnography, history, natural science, geography, architecture, and literature --> this is very baroque _+]

Olearius's didactic program: to entertain while instructing

(tasavof's) world as *mundus symbolicus* <== cosmos of significance (~= art + history + nature)

[Das grosse Wunderbuch die Welt]

*theatrum mundi*
staging of nature (~ ajayeb) : nature in all its various manifestations (animal, vegetable, and mineral) must be displayed on a stage (of the title page, on the compartments of Kunstkammer)
•an arch of gateway resting on a platform or plinth (--> a basic model provided by classical architecture for the majority of Renaissance and Baroque stagings), a design that recalls the structures of allegorical tableaux used for triumphal entries into Italian and Dutch Renaissance cities, on order to honor the hero of the day
•(early modern title page *iconographic program*) incorporating the feature of the triumphal arch in order to signify the symbolic entry into the written work [<-- we don't need to do this!!] --> *formal monumental opening* (leading the “reader” to the ‘interior of’)--> Olearius's frontispiece (monumental, awe-inspiring works that aimed to spark the viewer's interest):
◦(to commemorate) official functions at the court
◦literary activities

[*]baroque: ***the art of not rejecting anything*** (el arte de no renunciar a nada -Montesinos)
(am i baroque?)

different types of frontispiece:
1. divided into geometrical compartments (german origin?)
2. depicting a particular scene (german invention) [images/elements chosen/included for doctri[...]

[...]]description: a writing culture lodged in emergence, generativity, potentiality

things that come into form through an assemblage of affects, routes, conditions, sensibilities, habits

what it means to meet the world:
(Stewart) *as a nearing* [=/= raw material for exploitation]
(Heidegger) as the ringing between composing subjects and objects
(McCormack) felt as ways of going on in the world
(Deleuze) as increases and decreases, brightening and darkening
() in a cartography distributed across a field of intensities and durations
[=/= rush to incorporate them into a representational order of political or moral significance]

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

[*]epistemology = stories of knowledge from before that somehow we are still living with now (#fable)
Geroulanos -->{ Ardrey --to--> Kubrick's african genesis : “weapon fathered man”
technology + prehistory (in postwar period)
“tool ==> man"}

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

knowing images
epistemic image : knowledge-based pictorial gestures (in my work without) --> organization + collecting + demonstrating theories + scientific tools + direct references to natural objects
--> searchable interfaces (+ desire for condensed information)
(**list ==> searchable**)

(Apianus's early modern cognitive horizon -->) eye: another organ used to calibrate settings
activated eye --> new empirical pursuits

my epistemic images : work of an image fetishist

bestiary: animal character diagnosis

[horses]
(from) genre of taking care of the animal: veterinary --to--> chiromancy: profiling of the animal conditioned through the serial nature of list (==> control)

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

Brancaforte
readings of the apparatuses framing Olearius's books
tradition of representing Persia in the West (Xenophon and Herodotus)
narrative elements of Olearius’ works remain largely unexamined


Brentjes

elm naghli (artistic research knowledge) =/= elm aghli (rationality)

(science) elm in Iran <== (10th century written in Persian:) limits of the world [hodud al-alam] + pharmacological medicine + (translated ~= adaptations of) astrology

10th century --> gradual decline in literacy in Arabic ==> Persian treaties on sciences

rag-shenasi (knowledge of the pulse) --> Avicenna

روضة المنجمین

rowzat (روضة to look) [~/=? nozhat نزهت] ~= garden ~= astrological site
-(iran) university garden =/= (greek) university gymnasium


book: expository discourse (رساله توضیحی، تفسیری، نمایشی)
•poems on the subject
•تحسین و تمجید lengthy lauda[...]

[...]ed across a field of intensities and durations
[=/= rush to incorporate them into a representational order of political or moral significance]

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

[*]epistemology = stories of knowledge from before that somehow we are still living with now (#fable)
Geroulanos -->{ Ardrey --to--> Kubrick's african genesis : “weapon fathered man”
technology + prehistory (in postwar period)
“tool ==> man"}

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

knowing images
epistemic image : knowledge-based pictorial gestures (in my work without) --> organization + collecting + demonstrating theories + scientific tools + direct references to natural objects
--> searchable interfaces (+ desire for condensed information)
(**list ==> searchable**)

(Apianus's early modern cognitive horizon -->) eye: another organ used to calibrate settings
activated eye --> new empirical pursuits

my epistemic images : work of an image fetishist

bestiary: animal character diagnosis

[horses]
(from) genre of taking care of the animal: veterinary --to--> chiromancy: profiling of the animal conditioned through the serial nature of list (==> control)

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

Brancaforte
readings of the apparatuses framing Olearius's books
tradition of representing Persia in the West (Xenophon and Herodotus)
narrative elements of Olearius’ works remain largely unexamined


Brentjes

elm naghli (artistic research knowledge) =/= elm aghli (rationality)

(science) elm in Iran <== (10th century written in Persian:) limits of the world [hodud al-alam] + pharmacological medicine + (translated ~= adaptations of) astrology

10th century --> gradual decline in literacy in Arabic ==> Persian treaties on sciencesr />
rag-shenasi (knowledge of the pulse) --> Avicenna

روضة المنجمین

rowzat (روضة to look) [~/=? nozhat نزهت] ~= garden ~= astrological site
-(iran) university garden =/= (greek) university gymnasium


book: expository discourse (رساله توضیحی، تفسیری، نمایشی)
•poems on the subject
•تحسین و تمجید lengthy laudatory adjectives to describe the dedicatee:
◦patronage of the courts
◦the teaching circles
◦the family lineages of professions
◦the existence of “amateurs de sciences” (the private individuals interested in science)
•anecdotes (historical or legendary)
•questions and answers
•observation on the usefulness and the excellence of knowledge in general


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

ethnography:
•set of methods for knowing about social relations [--> st[...]

[...]ty
the question of: how can we translate contexts? (the context of which I bring my precarity differs from here in Brussels)

(the notion of *difficulty* in) Cinderella =/=? Robinson Crusoe
Crusoe's precarity (European) is something that you can overcome
•technology --> I can develop something out of my precarity and survive being struck on an island
•Crusoe's techne --> human =/= Cinderella's techne --> companion
•Crusoe ==> *rise of the ordinary individual in the nation* <== every individual values themselves high enough to consider themselves the proper subject of serious literature
◦modern individual: an ordinary & alone person is able to triumph over physical environment ~ to be able to exploit every situation

using diary format for Cinderella was inspired by respond to Crusoe's epistolary and confessional method of writing
(one of the earliest genre of) realistic fiction
written during the Enlightenment
one of the most widely published books in history
==> castaway narrative: improvise the means of survival from limited resources at hand
•progress through technology
•rebuilding of civilisation (civilisation = a form of triumph)
•unfriendliness of nature
◦he is with a dog, two cats and a parrot but he cannot talk to them =/= Cinderella
◦Crusoe starts making Bible fals (فال انجیل opening the Bible to a random page and read a verse that he believed was addressed at him)
◦he makes list (pro & cons --> debit & credit [--> mentality of business studies] --Weber--> book-keeping: distinctive technical feature of modern capitalism)
◦
•Crusoe: true protagonist of the empire (--Joyce--> prototype of British colonialism, *mythology of colonialism* --Sina--> #fable of imperialism)
•(romantic notion of) nature: idyllic =/= (Crusoe) nature: unforgiving + sparse }<-- utopian =/= dystopian nature --> Lord of the Flies

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

(with Annemarie's help @apass)

*sources of knowledge =/= styles of knowing* ==> tensions

judgment: an occasion to apply one's own standards =/= observation: a mean to get to know somebody else's standards

difference
which differences exactly?
what are their interferences and their diffractions?
--> the surprises that come with finding “variations”

(stories about)
vessels & fluids
pain & technicians
patients & doctors
techniques & technologies

(bracketing the practices =/=) foregrounding the practices --> objects come into being and disappear with the practices in which they are manipulated ==> reality multiplies
=/= single passive object in the middle waiting to be seen from the point of view of seemingly endless series of perspectives (SK the elephant parable)[...]

[...] subject of serious literature
◦modern individual: an ordinary & alone person is able to triumph over physical environment ~ to be able to exploit every situation

using diary format for Cinderella was inspired by respond to Crusoe's epistolary and confessional method of writing
(one of the earliest genre of) realistic fiction
written during the Enlightenment
one of the most widely published books in history
==> castaway narrative: improvise the means of survival from limited resources at hand
•progress through technology
•rebuilding of civilisation (civilisation = a form of triumph)
•unfriendliness of nature
◦he is with a dog, two cats and a parrot but he cannot talk to them =/= Cinderella
◦Crusoe starts making Bible fals (فال انجیل opening the Bible to a random page and read a verse that he believed was addressed at him)
◦he makes list (pro & cons --> debit & credit [--> mentality of business studies] --Weber--> book-keeping: distinctive technical feature of modern capitalism)
◦
•Crusoe: true protagonist of the empire (--Joyce--> prototype of British colonialism, *mythology of colonialism* --Sina--> #fable of imperialism)
•(romantic notion of) nature: idyllic =/= (Crusoe) nature: unforgiving + sparse }<-- utopian =/= dystopian nature --> Lord of the Flies


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

(with Annemarie's help @apass)

*sources of knowledge =/= styles of knowing* ==> tensions

judgment: an occasion to apply one's own standards =/= observation: a mean to get to know somebody else's standards

difference
which differences exactly?
what are their interferences and their diffractions?
--> the surprises that come with finding “variations”

(stories about)
vessels & fluids
pain & technicians
patients & doctors
techniques & technologies

(bracketing the practices =/=) foregrounding the practices --> objects come into being and disappear with the practices in which they are manipulated ==> reality multiplies
=/= single passive object in the middle waiting to be seen from the point of view of seemingly endless series of perspectives (SK the elephant parable)

philosophy used to approach knowledge in an epistemological way (~ preconditions for acquiring true knowledge = Alex's question “what is artistic research”) =/= (Annemarie's) *knowledge = a matter of manipulation (=/= reference)* ==> ethnographic interest in knowledge practices (--to--> “what are artist researchers doing?”)


xxxxxxxx

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

#project: to create a multidisciplinary knowledge program around the relationship between art, marketing and [?], highlighting the imbricated فلس فلس nature of [?] as tangible resou[...]