[...]ics, 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’ as an anstract idea in our semiotic world and as an individual being in our material world)
•using the notion of delinking (reminded by Juan) with my research on the Book of Wonders. going from parable-thinking --to--> religious-thinking --to--> poststructuralist-thinking --to--> poetic-thinking --to--> riddle-thinking --to--> biological-thinking --to--> deconstructionist-thinking --to--> ...
•this other universe is always at the beyond--the other cosmos is a lure (?)
•all cages have wheels
•boat, as an image for both construction and destruction
•i don't need to be alone in destroying the boat
•how to move the boat =/= destination




possible workshops for Einat's project:
•moonwalk dance
•database programing --> how to live well with databases, not waging a quixotic war on database designers. we must learn how to read and understand database early in elementary school. databases are fundamental parts of our political social ethical cultural processes...
•regular expression --> how computer programming reads and patterns text
•text-based internet --> cyberfeminism
•intervention in the digital hegemonies (digital ==> cultural ==> material) (changes to the built digital environments, possiblities of reconfiguration --> production of space, articulations about ‘us’)
•what does it mean to look at a code? (a critical introduction to computer programming for artists)
•How to implement a programming language in (JavaScript?)--parsing, regexps, (http://lisperator.net/)
•teaching German with Holderlin's “Andenken” poem
•to create a *feast* (to celebrate is to become free of the habitual, becoming inhabitual. celebration is the tensional coming together of the unlikes --> through which human beings and gods could meet and greet. The festiveness that the celebration encourages constitutes the original Greeting. [Avital])

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

what i have beeing trying to mean by saying that i have been dependent on others to create spaces that a telling can happen, is actually a fundamnetal ellement of storytelling: the ***community. i need and depend on community in my tellings. (this has noting to do with the imperative of “communication” or having a “message”)
(is it what Stengers calls to promote an “oikos”?)


[Stengers]
“the *predominance* of the *concern for relevance* (-rabt-) builds up memory and experience”

political ecology : there is NO knowledge that is (both) relevant and detached
political ecology : relevance + attachment = knowledge

art of staging = designing a scene

[the House TV series, the issue of the protagonist is][...]

[...]> (some perspective are more guilty : master point of view)
No one ever accused the God of monotheism of objectivity, only of indifference. The god trick is self-identical, and we have mistaken that for creativity and knowledge, omniscience even. (self-identical [having self identity] =/=! creativity/knowledge)

Technology: skilled practices. (How to see? Where to see from? and so on.)

@Sana, ‘observation’ and ‘technologies of positioning’

how to see?
the science question in military
the science question in colonialism
the science question in capitalism
the science question in feminism
...

master theory =/= webbed accounts
(what does she mean when she dichotomises theory and account?)
instead of (creating and mastering) ‘theory’ she proposes webbing ‘accounts’***
-‘webs’ can have the property of being systematic
systematic: deep filaments and tenacious tendrils into time, space, and consciousness. systems are dimensions of world history.


she suggests to be accountable for (the intricacies of) visualization technologies in which we are embedded that we will find metaphors and means for understanding
and intervening in the *patterns of objectification* in the world.
--> politics and epistemologies of location, positioning, and situating
partiality =/= universality
*partiality: view from a body, always a complex, contradictory, *structuring, and structured body* (what does she mean by ‘structuring and structured body’?)

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

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

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

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

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

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

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

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

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

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

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

(Frankfurt School:) technology ~= instrumental reason ~= reification (madiat, jesmiat) as reason
(Habermas:) systems rationality, economic and bureaucratic rationality (==> patterns of meaning rendered functional) =/= communicative processes that sustain the lifeworld

the same Platonic tradition produces: {theory =/= practice} ==> {mind =/= body} ==> {"conceptual” =/= “material"} (and privileging one over the other)
(for the Frankfurt School) truth = "a moment of correct praxis”

what is at stake is the way ‘The Magician’ heroes’ way of non-relating to an entire environment and with it to an implicit “world” that they inhabit.
...that science is an ‘account’ of reality not a ‘tool’ for coping with it
...when the world and the instrument interact
descriptions of the affordances of indissoluble instrument / world complexes are at stake

then how can we think magic/knowledge/science without instrumentalization (‘something in order to’)?


the notion of ‘world’ and ‘worlding’ in other Hollywood sci-fi franchises, and the way a world (for example survival in Mars in ‘The Martian,’ surviving “outer space” in ‘Gravity,’ “pure wonder” and “abyssal unknown” in many Icarusian space exploration moves and movies, the deprived Earth in ‘Interstellar,’ and so on) is rendered dead or dangerous or prosperous, ideologies of anthropocentric extensionalism.

(this directly concerns my ajayeb apass research about the past, because hollywood constantly making science fictions about the past.)

[as much as Matt Damon is schizo-constructing a social environment (on “dead” Mars trying to contact “home”), Cinderella's schizo-affective relation with the talking animals is doing the same: talking back to a world that talks to her, where Matt is only able t[...]

[...]ich job i am try to get done with my good and bad concepts?)

where are we headed with our syntax?

“-scene” : the ‘now’ of the species [--> pleistocene image] also, a sharp change in the graph/diagram [https://en.wikipedia.org/wiki/File:Extinction_intensity.svg]

Sa'di, thinking not with the capital T, rather with the flower, with the cut tail of the animaux

competency + competency (of different animal, human, machine, pigeon, etc) [=/= subtraction, taboo, obligation --> deficiency*]
(additive competencies)

“excess” is the name of the world
there is always more that we don't know; what yet has to come; the world is constantly doing stuff; (--✕--> accelerate manifesto, apocalyptic narratives)
(i am drawn to and by excess, and i am engaged in it: in my lectures, talkings, writings, and I take it up also visually in my drawings. my ajayeb hypertext search is contingent and opportunistic, and its searches are non-systematic)

in apass what my project is all about: *loving to tell you about what i am reading* (why it seams too difficult, complicated and impossible to understand!?)
-“to provides a feast of reading pleasures”

holding each other's unasked-for patterns (@Luisa)
taking up each other patterns [which are sometimes obvious, sometimes cryptic]
(what is the other name of the practices of “string figures” in Iran? -->[stars, facts, fabulations, “far”s, patternings,]--> all cosmopolitical, composes the “we”)

•a “we” compositional
•an “ajayeb” compositional
•

anthropocene system thinking
•feedback loops
•thermodynamics & 18th century mathematics (=/= hyperbolic mathematics in ‘crochet’ --> excess of surface, --> story of interface)
•comparative interpretive thinking (a dominant western model of knowledge production--which i am using!)
•modern synthesis: restrictive system theories within evolutionary theories
•systems idea
•
*“The global scale takes precedence--because it is the scale of the model.”* Tsing

[title]
Bilingual Stories for Ajayeb NatureCultures
(...stories ‘for’ =/= ...stories ‘of’)

does Brexit and Trumplandia changes the landscape of English use as a language?

the image of pedagogy : semiotic apparatus (& technological) (--> the ritual of Simpson strangling Bart)


(why am i cultivating the) *non-inventive imagination* (and its antimetabole [or chiasmus, chiastic patterns of antithesis]: non-imaginitive invention)
often we find ourselves inventing everything (in political animation) =/= to figure out what are we attached to

(inheriting something =/=? being heir to something)

the scientist inside me begs me to narrow my temporal scale, choose an epoch, let's say middle ages, choose a c[...]

[...]r patterns [which are sometimes obvious, sometimes cryptic]
(what is the other name of the practices of “string figures” in Iran? -->[stars, facts, fabulations, “far”s, patternings,]--> all cosmopolitical, composes the “we”)

•a “we” compositional
•an “ajayeb” compositional
•

anthropocene system thinking
•feedback loops
•thermodynamics & 18th century mathematics (=/= hyperbolic mathematics in ‘crochet’ --> excess of surface, --> story of interface)
•comparative interpretive thinking (a dominant western model of knowledge production--which i am using!)
•modern synthesis: restrictive system theories within evolutionary theories
•systems idea
•
*“The global scale takes precedence--because it is the scale of the model.”* Tsing

[title]
Bilingual Stories for Ajayeb NatureCultures
(...stories ‘for’ =/= ...stories ‘of’)

does Brexit and Trumplandia changes the landscape of English use as a language?

the image of pedagogy : semiotic apparatus (& technological) (--> the ritual of Simpson strangling Bart)


(why am i cultivating the) *non-inventive imagination* (and its antimetabole [or chiasmus, chiastic patterns of antithesis]: non-imaginitive invention)
often we find ourselves inventing everything (in political animation) =/= to figure out what are we attached to

(inheriting something =/=? being heir to something)

the scientist inside me begs me to narrow my temporal scale, choose an epoch, let's say middle ages, choose a century let's say 15th, choose a year, choose a day, a moment, a micro-second slice of the cake of the milieu that you are interested in, the instance in the bazar with Halaj in the sun and so on.

(my old school) obligatory knowledge <-- salon of scietific entertainment
}-> (is about creating) proper witness***

the tropes i am building in my current research, do they help build a better Iran? and how?
interms of:
•an ongoingness
•a commitment to a recent future thinking

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

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

[title]
critical bestiaries
critique-bestiary

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

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

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


#[nodes and notes]

the emptyland, terrestrial life, ‘per-’ instead of ‘her’ or ‘his’
-the way i started with Haraway was thro[...]

[...] 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 influences me deeply, his voice and care when he opens his reflection, findings, etc.

ok, again, the ‘skill’ question:
•1--> what are the set of skills needed for my work?
•2--> which problematics these skills equip me to address?
•3--> can i (or should i) not know these problematics in advance?

the bow and arrow --|)-> ♥ in my apass endweek (as sound object) was a relic of our shared physical energetic space, the nondiscursive --> how to keep it inarticulate?
•a way to record space, which is always social =/= silenced with no agency of the recorder (the “quiet recorder”)
•also a playful respective reading of La Guin, (something that may seem a misunderstanding of her carrier bag theory)
•carving out a practice agility area

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

the question ‘what does X mean?’ is always ‘what does X mean for you?’

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

i am following the movement of certain words here

spam =/= internet

spam operates on/with patterns of literacy or an existing (in)sufficiencies in known categories of cognitive biases that people have

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

[title]
“it's your turn now to play”

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

(@Luisa on space,) (question of:) producing (your) presence

material-discursive --> semiotic-psychosis --> her Wortsalad

(Bocola > Kohut > Mondrian's bipolar structure:)
creation of universal beauty / aesthetic expression of oneself
(=?=> transcend the framework of artistic production)
exhibitionist pole of the self / idealized pole of the self
the grandiose self / the idealized structures
worldviews / self-images

what is the (diametric, dialectical) internal drama of her thinking and work?
(what are?) Luisa's overarching, idealized conception that lays claim to the validity of her values and standards as applied not only to herself and environment but to the entire universe: (question of structure)
•(pre-babylonian) universal abstractionism --> embodied knowledge
•fluid equilibrium --> movement of Being
[is this a romantic structural attitude?]
-and how is she confronted with cosmos prior to her inscriptions? (question of realism)
-what is (the mystery of) a ‘being through interpretation’ for her? (question of performativity)

[realistic:] to take possession of essential aspects of the external reality (~-> recreate them in the imagination) [--> empirical?]
[structural:] to experience the external reality as parts of an interconnected and comprehensive whole
[idealistic/symbolist:] to connect [...]

[...]//static1.squarespace.com/static/521a7b2ee4b0ee587906d191/t/5774531e03596e22f1d2c844/1467241246388/CBT+Case+Conference+Handouts-1.pdf


(a deep problem with behavior analysis is that it comes from the study of animal learning in the 20th century... observing cats trying to escape from home-made puzzle boxes, and things like that)


(for Eszter:) complex ~= coherent (=/= *contradictory*)

Eszter could benefit from learning about collective behavior sociology
/individual behavior is completely unpredictable
/collective behavior is to a large extent predictable

contagion =/= convergence
(Kelile Demne: evil is convergent)

*contagion: crowds exert a hypnotic influence over their members
*convergent: people who want to act in a certain way come together --> crowd diffuse responsibility but the behavior itself is claimed to originate within the individuals
*emergent-norm: people find themselves in a vague, ambiguous, confusing situation ==> new norms “emerge” on the spot, which may be at odds with normal social behavior
*value-added: release valve سوپاپ for built-up tension within community
*complex adaptive systems: autopoiesis or self-creation of patterns and new entities

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

(footnote on) personality disorder
deviating from ‘orders’ accepted by the individual's culture
-your distinguished and enduring behavioral and mental traits that differ from social norms and expectations
it is in relation to others --> cognition, emotiveness, interpersonal functioning, impulse control ==> personal, social, occupational disruption

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

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

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

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

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

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

borderline personality disorder =/= shades of gray
(a view that sees) significances as unfair and uncaring (devaluation) or flawless (idealization)
(a standardized criteria of diagnosis since 1980) a certain class of neurotics who, when in crisis, appeared to straddle the borderline into psychosis
fluctuation in identi[...]

[...]r /> •(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 changing its geometry and its topology --> ongoing reworking of bodily boundaries
(our, and an alien critter's “it”’s) discoursive practices: boundary-drawing practices by which it differentiates between “itself” and the “environment” ==> making sense of its world [--> that is why i am interested in the (better?) articulation of “differences” (= boundary-making practices, our “differential productions”) that we are making, as a way 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 th[...]

[...]ics
•Kathleen Stewart: nonrepresentational theory --> other ways of description
•Katie King: technologies of writing --> a better thinking of locals and globals
•

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


unalianated critical work = art



Seifee wants to say something
something wants to say Seifee?


i like us to be skilled at
•objective perception
•5 minute perception
•rigorously passionate perception
•rhetorical perception
•sacred perception
•devilish perception
•queer non-perception
•having a taste for iranian stuff perception
•
--> polyskilled web of friends



#Bambi's mother studies:
•other stories possibility, past and history, performative approach to film
•politics of memory, and affect
•patterns of remembrance =/= event recall
•

three childhood memories, stories, from elementary school:
•the mime of “you think (too much)”
•the weird pro hit on the coming ball
•peeping into the toilet
•

my childhood recognizing:
•filaments (hypha, hyphae, تار) of spider webs
•patterns of ants
•motion color blurings --> that present is “physical if the eye is quick enough” (Stevens)
•

the ways i was engaged as a child in scope-apparatus, micro-macro scales


what other stories, remembrances of the past are possible?
-different apparatuses of attention, reconstruction, and storytelling, that are equipped to hold diffractive patterns of ‘that which comes to mind’

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

can we care for “iranians” without “for iran”?
(i can't care less about Iran)

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

perhaps artistic research is all about playing cat's cradle (=/= autism) : (you have all sorts of limbs, even phantom limbs) you must learn sustaining the rhythm of accepting and giving, (collaborative) patterning (that requires passion and action) [this is one skill that matters a lot, what i have been trying to teach myself above anything else in the last years] [i am playing that game with Haraway, joining her (and others) in thick, collaborative patterning; generous knottings; thickening the knots, relaying a mutated and resituated pattern for the next play]
•getting the knot, proposing another
•you must learn how to hold still
◦(more and more) in different material and conc[...]

[...]h دماغش
dar akhar -sh

حکمت مبتنی بر امور بین‌الذهانی
(hekmat mobtani bar omur-e) beyn-ol-azhajni = common sense


[title]
ajayeb:
کاتب وحی kateb-e vahy
کاتب وحش kateb-e vahsh

کتاب وحی
کتاب وحش


pragmatism --> مصلحت maslahat (chi bayad goft) ==> alternative truth
less concerned with “reality” or good and bad


#project: an experiential field inquiry on how people think about randomness in Tehran.
what was the last little thing or a historical epoch-shaping event that they concider as random?

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

(in apass we use constantly) ghias قیاس, and not esteghra استقرا (inductive reasoning)
•استقرا inductive reasoning: X ~=> Y (can be strong or weak) --> epistemic uncertainty (generalizing or extrapolating from specific cases to general rules) [this is related to ‘hypothesis formation' = use of specific observations to make generalizations --(?being replaced by)--> discovery-based sciences, in which ‘hypothesis formation' = data-mining, analysis of (large volumes of) experimental data with the goal of finding new patterns or correlations, and further: machine learning and automated theorem proving }--replacing--> (ajayeb's kind of) “natural history” emerged in 16th century (<== describing and classifying plants, animals, minerals) which is becoming more about popular audiences]
•deductive reasoning: X ==> Y (is valid or invalid) --> کل به جزء (applying reductively general rules that hold over a closed domain of discourse)
•[artist's most used process of reasoning:] صغرى کبرى syllogistic reasoning (قیاس): X =/= Y ==> Z (or: some A are B, some B are C ==> some A are C [which is often wrong], nesbat dadan chizi az yek nafar be deigari نسبت دادن چیزی به دیگری) --> premise's pattern of distribution is the key (~ case)
•abductive conclusions: finding the simplest or most likely explanation for the observations [--> many forms of conclusions are due to the lack of time in the process of reasoning. when we give feedback (‘fast diagnosis’ [--> is that why Lacan is useful?]) in apass we have initially 2 minutes to make conclusions from observations, which later is deepened in the duration of block --> کلی گویی = making sense of what is going here in order to guess what is going on elsewhere]
•

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

[...]ts that also craft and give form to what is inside: dragon, torture, journey, landscape, getting caught, etc.

what are art's investments in psychology today?

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

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

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

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

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

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

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

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

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

[*]analysis (is too potent) is too much a part of this century's self conception --requirement--> of ego psychology
([apollonic aim of enlightening consciousness -->] enlightened *egoization* of the psyche =/= *a darker and softer kind of life* ~-> end of neurosis, end of analysis, end of consciousness...) analysis --in-20th-century--> rediscovering the soul and reawakening its imagination
(rethought -->) [*]analysis: essentially as imaginative activity (or an activity of the imaginal realm) as it plays through all of life --> [the idea of one's “fable” ~] ***what is the fantasy he has of what he does?***

analysis is an *enactment*
enactment necessitates *myth*: a tale about its ritual

mysogyny <-- manifestation of the western, protestant, scientific, apollonic ego

****Hillman (penetrating the analysis in accordance with mythical perspective):
*transference --> erotic*
*unconscious --> imaginal*
*neurosis --> dionysian*

-what are the manifestations of ego in ajayeb?

-please let's have a darker kind of light...



(Keats:) world = [...]

[...]> (metaphysical fatigue)

***patience =/= passivity***

self-invisible transcendent subjects out on a noble journey to report on embodied nature

the problem of (pre-discursive:) believing that nature and society are really fundamentally there
--> conjuring tricks of establishing categorical purity (of nature, of culture, of nonhuman, of human)


(Haraway's three webs of discourse:)
1. cultural studies: a set of discourses about the (irreducible specificity of) apparatus of bodily/cultural production (=/= comparative culture studies)
2. feminist theory/project: view from the marked bodies (in stories, discourses, practices), where *the description of the situation is never self-evident* + need for an elsewhere
3. science studies: technologies for establishing matters of facts, ‘technoscience =/= science and technology’, artifacts with politics, science as practice + culture


can't cradle
one person can build up a large repertoire of string figures on a single pair of hands --> the figures can be passed back and forth on the hands of several players
--> *embodied analytical skils* [<-- my goal im apass]
--> making + passing on cultural interesting patterns
=/= making a tangled mess
=/= theory of everything (--> for example string theory, stc.)
=/= war game ==>{models of knowledge building, tropes for one's own practice}
=/= trials of strength passing as critical theory (~ heroic, agonistic encounters)

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

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

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

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

biology = politics (by other means)

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


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


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

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

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

archeological anthropology
human-animal stories
hunting each other / together
dom[...]

[...]jects essentialism then there is no choice but to answer the question like this: all objective entities are products of a historical process, that is, their identity is synthesized or produced as part of cosmological, geological, biological, or social history. This need for a concept of “synthesis” or of “production” is what attracted Marx to Hegelian dialectics since it provided him with a model of synthesis: a conflict of opposites or the negation of the negation. Deleuze and Guattari, on the other hand, replace that model of synthesis with what they call a “double articulation”: first, the raw materials that will make up a new entity must be selected and pre-processed; second, they must be consolidated into a whole with properties of its own. A rock like limestone or sandstone, for example, is first articulated though a process of sedimentation (the slow gathering and sorting of the pebbles that are the component parts of the rock). Then it is articulated a second time as the accumulated sediment is glued together by a process of cementation. They use Hjemslev's terms “content” and “expression” as the names for the two articulations, but this is not meant to suggest that the articulations are in any way linguistic in origin. On the contrary: the sounds, words, and grammatical patterns of a language are materials that accumulate or sediment historically, then they are consolidated by another process, like the standardization of a dialect by a Royal Academy and its official dictionaries, grammars, and rules of pronunciation.

(synthetic =/=? analytic; [a problematic distinction!] the logical particle “un-” in “no unmarried man is married”) (analytic =/=? contingent)
(Kantian?!) ‘a priori and synthetic’ ==> ‘a posteriori analytic’

[singular entities:]

The question of the “individuation of trajectories” is about mathematical models (which to me are the secret of the success of science) but you are correct that it goes beyond that. All entities synthesized historically are individual entities: individual plants and animals; individual species and ecosystems; individual mountains, planets, solar systems, et cetera. Here “individual” means simply “singular or unique,” that is, not a particular member of a general category, but a unique entity that may compose larger individual entities through a relation of part-to-whole, like individual pebbles composing a larger individual rock. A materialist ontology of individual entities is implicit in Deleuze and Guattari and Braudel, so we must give them credit for that, then move on and invent the rest.


..rethinking of the disciplinary boundaries (without using labels such as interdisciplinarity, etc.)



we must take in mind that materialism is good to be enriched, but, materialism is not an ‘a priori’!

in my research in apass on ajayeb عجایب‌, can be theoretical yet anti-methodological?
[...]

[...] /> [Haraway]
the metaphysical problem of (our) scale
(what are the scales in ajayeb? what is people in ajayeb? what it means to be animal? and what is their scale?)
ecologies that have many scales (in temporality and physicality): river scale, mountain scale, molecular times, Jinn's time, Ghiamat times, sense scale, ...

the ajayeb's model is (always?) the global scale?
--> how can i seek and describe multiple situated worldings and multiple sorts of translations to engage ajayeb's globalism? (using Haraway's word on Tsing)
-attention to friction ==> (ethnographic accounts of) global interconnection

(some metaphors:) metabolisms, articulations, coproductions (*? of ajayeb's histories)
relational, sympoietic, consequential,
in ajayeb, what is cosmic, what is terran, what is cursed, *?

in ajayeb:
•what are the figures of finitude, destruction, astralized hearing, enactments of generation, the figures that take action, take heart?
•what are the chthonic entities? {the finite complex material systems that can break down =/= stories that personify (Mother Earth) are *misplaced concreteness*. [(i am against) personified =/= figurative (which i love. figures can be tentacular, patterns, processes, stories.) what Foad would say?]}
•what are the gorgeous, luring, dangerous precarities (of the terra)?
•what are (its specific) art science worldings?

*those creatures across taxa (taxon, categorical classification, taxonomic group)
taxonomic conveniences


[with Haraway]

what is the optics of ajayeb?
[that is entertaining being reductive for a moment, but that is productive]
(to help with that, the optics of the anthropocene is the image of the earth from space, Gaia?)
-a cybernetic, systems-theoretic entity, studied in different scales
-various reports (on the state, fictioning the state of the earth?)
-a global kind of system knowledge
-a giant database ----> do i need to formulate my project into a technological practice?

what is the smallest unit of interest in the ajayeb cosmology?

the practices of relocating germplasms, including people in form of slaves, all over the earth in order to produce surplus that is transported elsewhere for capital accumulation... (Haraway)

industrial agriculture and plantation


to be storied and studied

the holobiont: host plus of all its microbial symbionts that form ecological units
-recasting the individual as a holobiont; the collective genomes
(Lynn Margulis)
holobionts: “multicellular eukaryotes plus their colonies of persistent symbionts”
(Gilbert, Sapp, and Tauber 326; cited by Kenney)
(thinking with holobionts) the immune system is re-cast not as “defensive weaponry” but as a “sociali[...]

[...]tion but not necessarily cognition) of prehensions (graspings, chang zadan چنگ زدن)
◦an actual occasion
=> beings do not preexist their relatings

the verb of reality is full of nouns with appendages

nature/culture: *local category abstractions* (=/= universal: misplaced concreteness)
subject/object: *potent consequences* (=/= preexisting foundations)

foundation is always contingent (Haraway > Butler)
•scale is contingent
•mutability is contingent

bestiary of agencies
kinds of relatings

in my work on ajayeb i am trying to carefully approach the notions of:
emergence, process, historicity, difference, specificity
-and by that teach myself an artful practice rich with:
co-habitation, co-constitution, contingency

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

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

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

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

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

[...]tories 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 chemical animacies)


*traumatic hope*
(Sedgwick: the reparatively positioned reader tries to recognize the fragments and part-objects she encounters or creates ~= what i am doing)

why tell stories like this, when there are only more and more openings and no bottom lines? --> because there are quite definite response-abilities that are strengthened in such stories (La Guin > Haraway > Kenney)

bottomless story ==> response-ability (an enabling of responsiveness within particular relatings--Schrader 2010)

not only human call & not only human respond --> the world is full of “propositions” (waiting to be registered by interested bodies) [yes we need to produce ‘interested bodies']

“fables of response-ability draw our attention to who is interested and who is made articulate in the apparatuses and ecologies we live inside.” (Kenney)*****

what is a narrative good for if it doesn't improve the quality of companionship (between human and nonhuman)? if it doesn't generate new sensitivities and enable different patterns of responsiveness?

stories of relationship ==> enlarge our thinking [=/= raising awareness]
these stories cannot known in advance --> note on fable #workshop, when you are excited about an assigned reading in a specific way only to find out that the participants connect or disconnect to something i don't notice


*wonder, a mode of attention to:
•the perpetual newness of the present (Irigaray)
•the other-worldliness of the past (Bynum)
•the aesthetics and politics of sf worlding that generate sensitivities for worlds-to-come (Stengers/Haraway)

latent possible worlds:
* could-have-beens
* almost-weres
* yet-to-comes


*ornamentation --> (inducing) wonder + (connection with) divine
-rich ornamentation --> honor something with our time, care, and attention
-‘encoding’ a writing requires time and attention, decryption ==> value and meaning
mystery of the undecipherable ==> occult knowledge {in a book that enrolls and transforms religious motifs, the experience of reading (or rather not reading) ...evokes the power of occult knowledge, the power of that which is hidden. (Kenney)}

occult knowledge <--> mystery <--> enchantment <--> ornamentation <--> illumination (=/= elucidate, tozihe shafaf توضیح شفاف) <--> wonder


***bibliographic aesthetics are arts of enchantment, vectors for the transmission of value and meaning***

why think and write with the aesthetic?

book as an object? writing as a practice? reading as world-making?***

(to feel) the ef[...]

[...]> Phenomena do not merely mark the epistemological inseparability of “observer” and “observed”; rather, phenomena are the ontological inseparability 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 (=/= pragmatic) in my conception of language?]-[...]

[...]badly

(human scientist's) deadly one-way test: unable to recognize the presence of the trapped one --> (for him) no one is at home in the categorically Other


[Seed Bag]

...the problem of destruction and wounded flourishing--not simply survival--in exile, diaspora, abduction, and transportation--the earthly gift-burden of the descendents of slaves, refugees, immigrants, travelers, and of the indigenous too.

(In the feminist SF mode,) matter is never “mere” medium to the “informing” seed;

Homebody / traveler

...disruptive details of good stories that don't know how to finish

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

[Barad]

[...] remembering is not a replay of a string of moments, but an enlivening and reconfiguring of past and future that is larger than any individual. [...] The past is never finished. It cannot be wrapped up like a package, or a scrapbook, or an acknowledgment; we never leave it and it never leaves us behind.

Barad's mother's question: “what good is there in offering recognition that can't be recognized?”

[...] there is only the ongoing practice of being open and *alive to each(other)* meeting

“How to disrupt patterns of thinking that see the past as finished and the future as not ours or only ours?”



*measurement
** the nature of nature depends on the apparatus that measure it
***--> which measurements are at use in ajayeb?
(what constitutes a measurement for what?)

the strangest idea: that we have access to cultural representations and their content (that we lack toward the things represented) (=/= “agential realist ontology” barad-posthumanist.pdf) [Foucault's “words and things” is the name of the game] [--> @Aela, perhaps we can begin with a different starting point, other than the old idea of “humanity's own captivity within language--the starting place of the metaphysics of representation,” perhaps it would be better to begin with a different metaphysics... -->{the term ‘metaphysics’ (far from being the deep origin of high philosophy) actually comes originally from (the writings of) Aristotle on physics, rearranged three centuries after his death by Andronicus of Rhodes}]

materiality itself is always already figured within a linguistic domain as its condition of possibility(?(!))
[ (?(!)) : a contingent question pregnant with wonder]
[my starting point in my lecture/performance is with the concern (warned by Nietzsche) that language is being granted too much power, tendency to take grammar too seriously : allowing linguistic structure to shape or determine our understanding {--> rigs}
believing that ‘subject’ + ‘predicate structure of language’ (~ grammatical categories) --reflects--> (a prior ontological reality of) substance and attribute (~ underlying structure of the world)[...]

[...]ns 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
1- that the world is composed of individual objects with individually determinate boundaries and properties whose well-defin-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 an end product, rather an active factor in further materializations
(*** matter materializes ***)
matter's ongo[...]

[...])
•(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 disciplinary knowledge practices) *actual historically situated social conditions:
•speaking
•writing
•thinking
•calculating
•measuring
•filtering
•concentrating
•
--> statements + subjects emerge from a field of possibilities =/= statement as utterance of (originating) consciousness of a unified subject

(*)discursive practices: specific material (re)configurings of the world ==> local determinations of boundaries, properties, and meanings are differentially enacted

(*)meaning: ongoing performance of the world in its differential intelligibility (=/= a property of individual/groups of words)

**local causal structures --> one component {effect} is marked by another component {cause} (in their ‘differential articulation’ [~= intelligibility]) }--> in science this is called “measurement”

(question at Juan's work on clay:) (what could challenge?) the re[...]

[...]ct are the consequences of the observer's gaze’:) *animal actions are responsible consequences*
[(*)performance: the responsible consequence of a (no less) responsible gaze]

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

Verran, knowledge economy
knowledger always authored
cross-cultural knowledge practices



-physis, “I bring forth”, “I produce”, “I make to grow” (=/= “techne” in Aristotlian sense)
X-physis: a process which sticks out in the direction X --> how this morpheme has come to mean (since mid-15th century) “form” and “nature”? (this is about thinking of making)
“physis” requires the different perspectives of the four causes (aitia):
•material --> source of matter
•efficient --> power/motion
•formal --> containing its form
•final --> end


zoopoiesis --> 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 alwre 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 pr[...]

[...]he 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 optics

ajayeb's ecologies mixed (less of) reflection and (much more of) diffraction, are taken from a yet not detachments of the experience of phenomena and the apparatuses of its description, of percepts and affects
#my findings of composites of ajayeb:
•animals 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 ge 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 ma[...]

[...]operties of materials and their relationship to form only ever emerge relationally }--> how can i construct an approach for iranian miniatur, or radif in these terms
◦countors --> decomposes to the shape of horses
◦gold
◦fields
 --> and these forms emerged for people *who knew how to see it*
iranians experienced everything about the world as ‘...’ ? (جای خالی را پر کنید) --*-- the growth of children in an unreliable world نگرانی (#modalities of negarani)
inconstant and unreliable, continually threatening to transform ==> ontology involving matter =? metaphysics

(the drama of) finding the correct scale


***(Bailey > Alberti:) (“paradox of multiple worlds”:) when “other worlds” are precisely what is expected by an audience for whom the world is inherently unstable *** [<-- this is an iranian mode: loving outsiders, construct metaphysics, proliferating ajayebnameh, make belief in images, make thinking about kharej خارج, loving America, etc.]
}--> this was also why i couldn't think with Pierre's “other future” proposal; i am already living it


Alberti asks: will an ontological shift in scale reveal new ways of cenceptualizing the miniatures (the patterns)?

in Miyazaki the figure's size are part of an instantiation of scale rather than respond to an imposed scale
a scale must grow indiginously


Amazonian soul <~~--> harkat johari <~~--> tey-ol-arz طی‌الارض --> teleportation and tazkie nafs ?!
-designating a condition of transformability: all bodies contain the potential to transform into other bodies --> intrinsic capacity to be something else --> harkat johari حرکت جوهری
*tey-ol-arz --> intrinsic capacity to be somewhere else; [is tey-ol-arz in tasavof also about scale, body? (intensive difference) (condition of transformability is articulated in tey-ol-arz in terms of geo-temporal scale shift...)--> 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 [...]

[...]d death =/= history) ==> makes us think in terms of set-life courses
}==> allow us to imagine a standard individual outside of history

(Tsing's) history: overlapping tracks and traces and many trajectories of world-making, human and not human

irreversible time ==> indeterminacy (of history) --> new alliances --> the ability of assemblages to produce historical changes in our common world

what needs to be stated
what needs to be produced

context-dependent --?--> the way things are

architecture of podium <--✕--> labor-process of the actual speaker
how talks are *actually* produced
in your material practices
hybrid in digital manual tactile operations of speaking

noticing ants, spiders, little traps, species cohabiting, mutual coproduction of economics, ecology, labor-studies, house-hold studies, ajayeb-studies, and understanding of the orders of the natural and human world

(Gordon allowing) *algorithms to become stories*

(the technological enablement of some) *disciplines of attention*

“we are al lichen”: we are all ecosystem composite critters


ants, combining two kinds of noise, half-hazard patterns of interaction
half-hazard contact
half-hazard context
}==> it works (=/= perfection, precision/efficiency of clockwork)


#some Baradian models of intra-action in popular cinema:
•(intra-action received and wielded through discipleship and pre-programmed talent:) The Force in Starwars. [the story don't allow any other story of The Force and its contingencies other that good and evil tool-use of it]
•(intra-action resisted by individual subjectification:) the shadowy monster from the Upside Down in The Stranger Things, possessing the character. [the story is based on non-intra-active models and mode of being in the world of multispecies in multi-dimensions, it wants clear boundried subjects encapsulated by psychological ego and self-possession persons, ideas of identity and power --> life insurance system]
•(intra-action resisted by the political modern concrete individualism:) relationship with the phantom of state in The Handmaid's Tale. [overlapping a flat image of totalitarian society into religion]


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

technosphere: (conceptualized as) an unintended muddle of multispecies relationships emerging from contaminated landscapes, dumps
--reconsider-with-> feral technologies: novel and weedy capacities for materially significant change

invasive artificial intelligence

anthropocene: a multidimensional puzzle structured around complexities and ruptures --> when ways of being & ways of belonging can no longer be studied exclusively
(human-nonhuman-machine)

•who orders the technosphere?
•who inhabits th[...]

[...]hen i make images} sharing] our) subjugation to sensation


( sensibility [ ... ) sensuousness ]
                 |
affect <--  sensation --> affect
   affect          affect
          affect affect   affect
        affect      ::{~body~}::


sensation --distribute--> affects & percepts (across bodies)

excitation (unleashes bodily organization at the site of contact) = zone of an *expressed threshold* =/= zone of contact


multispecies materialities --Grosz--> life folds over itself to embrace its contact with materiality


rabbit mammalizes light
glow: a dynamizing force ==> making matter more


Hayward: through [Alba's] glow, her artfulness, we are reminded that species are not just relationships, nor are species ever directly in relationship with other species, we are resonances and dissonances of intensification, energetic cadences of one another--a sensorial ensemble [<-- what marketing would say about this?]


space between scientific experimentation (biocultural) & domestic cohabitation (composition #Cinderella, pet) --evoke--> invisible labour of jellyfish, research on the proliferation and patterns of cancer cells and the sensation of somalumenality [Hayward's Alba]


(Anker > Hayward:) the chimera must be understood in a social context: these beasts have always reflected the social, scientific and religious circumstances <-- my project in zoological vandalism


(Hayward's neologism --> posthumanist repositioning of visuality) carnophallogocentric visual appetite
...glow (intensifying vision) drifts through the bodies of consumers

eating (ingesting and killing of) jellyfish usually takes the form of dried crisps sprinkled into salads and Chinese food



Cinderella's techne --> companion
Crusoe's techne --> human

-fictional kitchen where Cinderella works (and is not a master of)

[learning from] Cinderella (her room has been undone and remade by cohabitation with birds, mice, evil mother --> changing the self and adapting) ==> ontology: a practice of co-constitutive awareness


Alba --engineered--> to glow
pig --engineered--> to become sausage

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

Seymour
bad affect
(bad environmentalism's) respond to mainstream environmentalism + questioning its broader ideals of nature
=/= conventional environmental affect

both identify & respond to the aforementioned absurdities and ironies, through absurdity and irony + related affects and sensibilities:
•irreverence بى ادبى
•ambivalence
•camp
•frivolity هرزه
•indecorum بى نزاکتى
•awkwa[...]

[...]>
(modern) aquarium: turning toward the monstrous oceanic but updated for a technoscientific postmodernity and anticipating a sci-fi futurity


exhibits as idealizations
the aquarium visitor is entertained into caring about environmental ethics and marine biology. enacting a moral imperative to protect local ecosystems, the aquarium is a savoir --> the parochial becomes the new cosmopolitan

technology + artistry + biology

playing with scale, volume, space
refractive technology:
•produces the visceral and optical experience of immersion...
•makes us profoundly aware of our bodies in space
•producing a disorienting visuality
*refracted vision = textured light*

refraction = corporal جسمى + carnal (جسمانى marked by the appetites and passions of the body) ==> effective stimulation


osmotic space
amniotic
eroded
bad boundaries
concretions
immersive medusa or jellies transducingly
snaky tresses of the mythical gorgon
more-ness of sensation
destroyed, transformed, conserved

jelly scatters
diffracting cilia and fluible mesoglea
metamorphosing diffraction patterns


multiple sensory registers temper the apparatus of seeing: sound, tactility, movement, proximity

immersion ==convey==> the experience of being totally inside a world, a state of mind, cultural and historical forms, and intellectual rumination =/= unreality or reality
==> cohabitation =/= representation

tactile visuality
fingery eyes
relies on textured proximity rather than objective distance
the visual apparatus is the touching body

[*]art: sensual movement of perceptual information (across media and bodies)

transduction:
(at an energetic transduction site: one form of organized energy asymmetrically converted into another kind of energy)
•transmission of messages through various media and the ways those messages become mis/translated into sense and sensation
•transmitted information reformatted and transformed through devices, forces, and processes, and then broadcast to other sensorial subjects... (---> go to my ajayeb-e pit story)


#telegram's zoological corruption =/= State, science


matter owes a debt to its own means of revelation: light

(Hayward's) [*]captivation: extraction of rhythm, pulse, color, texture ==> resonate for alternative purposes buth within the conditions of the frame

the (zoo's or aquarium's) display: motabolizes, creates, releases sensation into the world ==> environment of intense involvement --> familiar orderings are affectively transposed, altered, refigured

jellies --> surrealist white shapes

i am not sure --[...]

[...]ve version --> coexistence of the various versions of a multiple object (<-- this is localized or *situated* : it happens “there” and nowhere else)
work of observation in apass:
•conceptualizations of short-term social exchanges
•conceptualizations of agency-structure dynamics
•getting closer to the everyday activities of those speaking
•(context driven?) forms of analysis
•methodological repertoire
•note: composites of linguistic repertoires that are embedded in meanings (is part of what happens in apass, not after what happens.) --> a form of digestion***
*praxiography: forms of analysis produced by practice researchers, a type of ethnographic method that converses with multiplicity (--> following a trail, walking a path =/= map out a field ~= philosophy of artistic research), doctors [analyst] and patients [analysand, artist] ascribe meaning in different ways --Annemarie--> yet they perform or enact reality together --> they *do the reality of a disease [problem, artwork]*
++{Annemarie uses the term “enact” to show that objects (such as body and disease) exist as articulations of the practices that produce them (~= Butler's performance), enacting (not explained by what went before, present remains unstable, patterns and routines and surprises) =/= making (‘causes’ lie when ‘making’ happened)}
[*]theory: conversations about the realities our words help to explore (=/= seeking to fix concepts)
in knowledge practice realities are various brought into being (+ limits of that adaptability) --> *ontology:
--anthropology--> people order “reality” seriously differently
--biomedical--> why, when, where is this truth realized? what does it depend on? what are its alternatives? --> *ontology does not precede knowledge practices* (various practices are closely linked ==> ontologies are linked [for example a patient who talks to a doctor in a consulting room may receive a clinical diagnosis, while laboratory measurements ‘do’ her disease in a different way. or in artistic research environments such as apass.])

(Annemarie's) praxiography --> asking what are the techniques that make things (their empirical, epistemological found objects) visible, audible, tangible, knowable (for this artist in front of me #feedback @apass)**


‘empathy’ is a word that is often recruited when bodies are involved --> resonances with troublesome romantic meanings (magic, fold knowledge)
embodied empathy shifts its meaning from one situation to another --> different meanings ==> different outcomes
[*]empathy: the process by which one delegates to one's body a question, or a problem, that matters and that involves other beings’ bodies --> bodies are articulating and become articulated in the asking and in its responses
= making the body available for the response of another being (=/= feeling what the other feels)
==create=[...]

[...]

[*]articulation: speaking oneself into culture and history, but also creating a site, a gap, making room in cultural and political fabrications, and finding a tempo, a beat


•utopic inclusion (sexual, national, racial)
•*sexuality imagined as political promise* (radical force of nonnormative sexuality) [=/= (for Freud) sex is regressive]
•trans: energetic and fantastic space between objects

(racial, economic) **divisions = dependencies**

(Lyotard: we must) construct the anatomy of polymorphous perversion, unfold the immense membrane of libidinal body =/= system of parts

irreverent intimacies


thresholding: an intensity that must be exceeded for reaction to occur
“here is my home, i am freshly aware that my body is a threshold, an entry between rooms”

limits (of my body) = energized zones


sadomasochism stitches


*carnal improvisation* <-- paradigm of performance art in europe (---> go to karaoke in KHM, role of my body as medium in the circuit of transmissions, poetically imagine the shape of a new pattern)


pastpresent: an always present past in the present

*patterns longer than lived experience*

[*]history: libidinal tracings, erotogenic intensities, psychical cartographies


{ porosity = poiesis }--> collapse the boundary between the embodied self + its world + others ==> consitute a specific place


•puberty = the fantasy that this disfiguration will make me more myself
•teenager = you spend hours before the refracting reflection of your transmutating *body = your most intimate other* --> enact boundaries, sometimes lovingly, but also brutally


(senses are) reactive to the sensual abundance of the world but limited by affected perceptual milieus


[ /> [*]texture: residue of unmetabolized and metabolized sensations of animate forces --> emergence of bodiliness (<-- Hayward's rhetoric)

transitional body = textural body

architecture: the most binding part of the communal rhythm

appearance ~= metonymic
appearance allows her to emerge situationally as a woman, a gendered neighbor, a historical subject


(being under the influence of the moon:) enfleshing elements of your (celestial) environment within yourself and expressing parts of yourself back into the (terrestrial social) environment


identification: “i am like you = i know you” ==> resolve the divide of difference

(let's not make that kind of garden again -->) inclusion in Adam's nameable Eden of belonging (=/= Cinderella's transbestiary)

cross-species rejoiners
mended spiderwebs


error is (still a kind of) expression
[...]

[...]ural gods* (identified with narrow national political aspirations)
--> barbarization of the idea of divinity

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

(how to take seriously) water's materiality --> how to think with water (or *how water means*):
•water can bring human conceptual life along with it from local to global concerns
•[can help us to] go beyond qualities that express some timeless properties

(my point: the experience of fire is as inseparable from that of stone)
[Alberti suggests] *to think in terms of the properties of the phenomenon ‘rock/water’ as engendered by specific, embodied practices in this place* (=/= grappling with the question of the agentive capacities or properties of the rock or water)

***there are many waters (fires, jinns, divs, stones, shadows), not only many meanings of water (fires, jinns, divs, stones, shadows)***

}--> Alberti's brilliant response to Strang's bad idea of universal notions of properties (which is a very common tendency towards relationality among artists --> Strang: “common material properties of things, and the shared cognitive and phenomenological processes through which people interact with them, generate recurrent ideas and patterns of engagement in diverse cultural and historical contexts”)

to bear on the form and content of an argument about water as:
•material
•social
--> describing relations (human and nonhuman) established through water
*what water can do: flow*

agentive or affective capacities of materials --> (bad philosophy of flux) flow as a overgeneralized model for materiality =/= expanding relations water engenders through its properties in particular locations or rivers

*humans are able to shift conceptual scales through reflexivity*

(Alberti asking within archaeology:) how to reconcile materials and meaning without introducing a representationalist logic where meaning is applied to matter by a thinking subject? how to show their co-existence without resorting to determinism?

now everyone is busy and talking about *relationality* than about *meaning* (=/= my work has alwayes been about both, how to take risks in meaning, my lecture-performances = adventures of meaning)
-we cannot mearly talk about relationality {quasi-universal experience of properties ==> commonalities of meanings across time and culture}, the question of meaning remains --Alberti--> how are we to think about non-arbitrary categories, meanings and values without recourse to universal properties? how different meanings can adhere to the same substances?

materials (water, parasite, etc.) lend themselves to conceptual innovation

often things are willed away (not by a more agentive segment of the population [<-- paranoiac understanding], but) due to the attraction of other kinds of w[...]

[...]ss of chemical contamination and digestion stemming from plants. vision is rooted in the materiality of digestion.

the human eye is an organ complicit with plant photosynthesis.

in fact, seeing is a process of photosynthesis. as much as plant photosynthesis absorbs excessive light and turns it into the carbon structures of sugar molecules, the human eye has to mitigate light and turn it into the neural structure of vision, cognition, and memory. in this process the eye protects itself from the corruptive metabolism of light, tapping into some ancestral mechanism shared with plants.

if human eye protects itself like a plant, we can think of photosynthesis itself as a sort of primeval organ of vision spread out across the skin of the vegetable kingdom.

material commonality (worth exploring)

incarnate an external organ of vision

our tie with the general metabolism of light

correlations between human vision and the organic world

using a technique to record the surface of reality or using to reveal the internal chemical composition of matter

in the chromatogram, a light reaction reveals the inner chemistry and transforms matter composition into visual patterns

different regime of visibility
light is not just a stream of waves to be passively refracted and recorded but an active and autonomous medium of image-making

mineral kingdom -- forces that drive the becoming of both organic and inorganic matter

drive to formation (Bildungstrieb)

“Runge's willingness to attribute a life force to chemicals is a continuation of Romantic natural philosophy but meshed with Geothean morphology and experiment.” (Leslie)

chromatogram is an image, which discloses it's own bodily formation

here our focus should shift from the eye as a globular organ in the head of a vertebrate animal to the eye as an epidermic lens, a light-mitigating organ that attenuates the visceral contamination of radiation.

our inseparable alliance with plants

our eyes are immersed within a vegetative metabolism of a kind. we look at plants, but plants have already cannibalized our gaze as they become part of us looking back at them.


complex architecture of light:
plant photosynthesis is probably the most abused metaphor and analogy of life, widely quoted across a diverse spectrum of schools of thought to justify naturalist ideologies. it is believed that photosynthesis is behind a process of energy accumulation central to natural equilibrium and the food chain. however, there are various ways the process of light metabolism could be understood. it could also be understood as a process towards cosmic corruption and fermentation, or as a process towards more “complex architecture of light”.



[...]

[...]rganism never forgot its mineral origins)
in organic world, soft tissue (gels and aerosols, muscle and nerve) reigned supreme until 500 million years ago. at that point, some of the conglomerations of fleshy matter-energy that made up life underwent a sudden mineralization, a new material for constructing living creatures emerged: bone. it is almost as if the mineral world that had served as a substratum for the emergence of biological creatures was reasserting itself...



genes as sorting algorithms, are themselves sorted out by selection pressures such as: -climates -predators -parasites


structure-generating processes sort things (1) take heterogeneity [collection of materials---pebbles, genes, roles, etc.] (2) homogenize them [through sorting operations] (2) consolidate them (into more permanent state)

catalyst: a chemical substance capable of “recognizing” specific material and altering that material's molecular state --> now it reacts with certain substances with which it would not normally react.

catalyst provokes a meeting of two substances

autocatalytic loops

superposition (interconnection of diverse overlapping elements),
catalysts,
stable patterns,
spatial intervals,
sedimentation,
cooling magma,
threshold of crystallization,
vicious fluid,
molten materials,
bifurcation,
densification,
intensification,
reinforcements,
injection,
nucleation events,
dislocations,
endogenous,
endogenous stable states,
chemical clocks,
aggregate,
consistency,
elementary atoms,
stratified structures,
interlocking (matching temporally),


species --> (gene pool of a ...) = an organic stratified structure

stratifies structures involve simple form of causal relations---one arrow from cause to effect [we can see this modality in the creation of institutions]


coal is the product of one of several types of mineralization that organic matter can undergo, and submitted by “civilizations” to deposit intensive exploitation --> flow of nonhuman energy ==> fuel its industrial revolution

industrial age = the crossing of a bifurcation where previous autocatalytic dynamics come to form a self-sustaining autocatalytic loop.

(both) industrial revolution and biological evolution, they lack [rpgressive direction nor consistent drive toward complexification---some species complexity while others simplify


cities as real transformers of matter and energy
cities are open or dissipative (esraf اسراف) systems, with matter-energy flowing in and out continuously



(in autocatalytic loops) the trigger-flow interactions: interlocks a series of separately reproductive sy[...]

[...]== narrative integration of cosmology and morality (<-- can we do without it?)

eukaryote made from prokaryotes and of the mesocosmic level of animal and plant bod-ies made from reproducing eukaryotes


(three billion years ago, the oldest type of sex on the planet:)
bacterial omnisexuality --> promiscuous: not delimiting sexual exchanges with species barriers (+ it needs intermediaries such as plasmids or viruses to do so)
--> lateral transfer

omnisexuality: a means of genetically “locking” together once-diverse groups (of prokaryotes)

bacterial crowding ==> life on earth

endosymbiosis: one organism swallow another without digesting it ==> origin of new species [<=/= gradual accumulation of mutations]

cancer <== rampant multiplication of the occasionally vampiric mitochondria

bacteria's bodies are so genetically open, that the very concept of species falsjfies their character as a unique life form

Sagan
this zoological “I” [is open to radical revision?]

model of zoocentrism: encased self

(?what are ajayeb) bestiary's aesthetic model of a difference (=/=? zoocentric model)
--Burgess--> interference patterns generated by a series of symbiotically living form ==> artist

as an organism's connections to the external envimnment grow, that environment becomes its body [=/= Sina]

snail
snail whose house is carried on his back, the “case” of the “self” has been moved, through an incorporation of what once would have been called inanimate matters--organically worked and reworked

-subjective identities always already und ergoing active (de)composition
-(relations of) physiological identity and psychological subjectivity link up

Sagan trying to relativize that zoocentric bedrock of “self”

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



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

political chimeras

chiefs’ talk
fluent in a verbal genre
formalized speeches directed either to leaders of other groups (Southern Amazon in multiethnic and multilingual system of Upper Xingu) or to their own people, depending on the context in which they are delivered
--Guerreiro--> both the chief and his audience are symbolically constructed as “paradoxical” subjects characterized by contradictory predicates
•*how uncertainty can enact an exchange of perspectives* (through which the identities of the group and the chief are produced)

(from a gift-theory perspective) chief: donator of goods and words, and a receiver of spouses <-- unilateral direction ==> “chieftaincy کدخدايى: a place of nonexchange” [~ signs are deprived of their circulation value + reciprocity is denied under the demand that society make visible the foundations of power, maintaining them under the control of the[...]

[...] of these different beings
-evokes something that is implicit or absent to the observer
-chimerical images present a specific link between iconic representation (by imitation and convention) and indexical indication (visual, tactile or other) of a presence whose mode of existence, especially mental, is not realized materially
--> game between:
•perception & projection
•iconic representation & indexical indication
==> intensification (of the efficacy of chimeric images) : “capture the eye = capture the imagination” + demand that by projection [the observer] mentally “complete” the image

indexical signs have a causal contiguity (spatiotemporal contiguity) with what they signify

ritual action and artistic creation --Severi--> synesthetic

(my lecture-performances? ~ chimeric image of chiefs’ talk [khotbe خطبه fluent at combining different aesthetic resources] -->) linguistic + extralinguistic media in ritual performance (working/producing visual + mental images)
--> combining of indexical signs in communication acts ==> poetry of identities-in-motion (capable of projecting complex images of a nonvisual kind)
[*]image: an abstract portrait of identity fashioned out of cumulating patterns of congruence across all manner of indexical signs--including visual ones--that addressees and audiences can imaginatively experience, like a hologram
(Silverstein > Guerreiro)
~~--> ***relation between poetics and the production of identities***

chimerical representation: an art of ambiguity

(Strauss's Amazonian ethnology -->) dualism in perpetual disequilibrium: centripetal forces of centralization + centrifugal forces of dispersion

@apass ==> “societies against the state”
complex relations between hierarchy and counterhierarchy
(--> Renan's notion of monologue)


[Clastres's model rooted in Western language ideology looking at Amerindian language:]
metahistorical bond between *power & speech* cannot be conceived of separately
•state societies --> the word is a ‘right’ to power (that may be used to command)
•societies against the state --> the word is a ‘duty’ of the chief (an indigenous leader must be capable of offering society the words that it ‘demands’)
◾Amerindian chief: a voice preaching in the wilderness (literally says nothing, a repetition of “edifying discourse”) <-- his speech is not spoken in order to be listened to (~ ritualized act [=/= act of communication]) ==> chief's speech is transformed into pure value (~= poet's speech for whom words are values before they are signs) --> (for Clastres) language =/= violence: a facet of coercive power

denotative قوه تفکيک ()
predicative (Dickensian aspect)
referential (the efficacy of its context and meaning depends on something else)
enunciation [...]

[...]يک ()
predicative (Dickensian aspect)
referential (the efficacy of its context and meaning depends on something else)
enunciation (pragmatic) ==> effects on the enunciator + audience ~~Silverstein--> [*]politics: the dynamic arrangement and rearrangement of people as subjects within structures of actual and potential action of all sort --comprises--> poetics <== everything experienced as effective practice is formed semiotically (~ through sign)
*political oratory [=/= informing the content of a message] uses poetical resources that allow interlocutors to have their identities mutually constructed by means of indexical signs* (that connect the message's form to extralinguistic contextual facts) --> *message ascribes to me [=/= message describes my reality]*

Ali's use of political oratory in the context of ordinary interactions with me --> i forgot that the symbolic procedures that separate ritual speech from ordinary interactions are not necessarily intended to mean something
-what was the pragmatic conditions that define the kind of ‘language game’ Ali was playing?

[*]formalization: reduction of combinatory and creative possibilities of language by the use of formulas, archaic vocabulary, syntactic and stylistic patterns {--> distancing the
discourse from its semantic content ==> attention to its context and performance ==> effects}

ritual action --Severi--> reflexivity: definition of its own meaning and effectiveness within the context of ritual communication

(@apass's) performative and poetic structure
[Guerreiro -->] chief = consanguine kin ابى & potentially dangerous enemy [---> go to transference]
(chief's fellows's both as children & prey)

ritual speech ==> ***complex enunciator*** [~= #feedback]
ambiguity of duality of gestural and verbal [==> exchange of perspectives (=/= exchange of words)] --?--> paradoxical construction of identities
+
chimerical representation --> presence of counterparts (of percepted fragmentary signs) to its audience


beautiful and strong body
serene and generous behavior
linguistic abilities (“made to discourse”)
(we are living with) mythical, aesthetic, and ritual elaboration
guiding them with “good speech”
pleasing them by sponsoring rituals
welcome messengers (“made in order to greet messengers”)

relational and possessive

(possessed form of) asymmetrical relationship between a denominated (individualized) person and an undifferentiated collective

agglutinate
enunciated in the same tone with no pauses to breath
+
expletive ah
+
set of particles
+
deictic ige (evidential [devaluating?] particle that indicates proximity, presence, or existence, fixed to the copula --> piece of advice?)

expletive an[...]

[...]ogies so advanced we achieve absolute vision)
•Balsamo --> cosmetic surgery (~= new visualization technologies) ==> new forms of dominance [---> go to Kardashians TV shows], *replacing the male gaze with a normative disembodied technical gaze
•Haraway --> technocratic gaze
•Strafford --> (starting in enlightenment) *automated spectralization* (in visual presentation of the world) --> the intention and purpose of the gaze became medicalized and technologized [---> go to cartography]
•
}--> (from technoscience to feminism) theorists have noticed a *splicing* of direct and tactile human perception of reality with another reality, one that is mediated and technical ==produce==> a new reality that negotiates the individual's knowledge of the universe in diverse and complex ways (<-- not catastrophic =/= Hörl)


(time of) intellectual and artist upheaval ==> new and surprising modes of imagining the human


1950s concept of cybernetics constituted a fundamental change in thinking about control, communication, information, life itself (+ new language of feedback, autopoiesis, cellular automata, neural net)

1990s
computers + information --> cybernetic theory: (stressed that) information patterns are more important in understanding organisms than materiality
*cybernetic view of the world --> information coded in pattern & randomness =/= material absence & presence*
•(both) human and technological = informational entities
•human = cyborg: (human conceived as) cybernetic organism

[?how] discourses (narratives + metaphors + symbols) of science and technology --Campbell--> use in advertisement to create meaning

**technological imagination --seize--> social imagination**
always reinforcing the *awesome power of technology to capture reality* (objectively + without any agenda)
•movie Fantastic Voyage 1966 <--Dijck-- fascination with envisioning the body from a different perspective
•status of foetus (float in black and white) <--Haraway-- meanings whose legitimacy comes from technological systems of perception
•[computer-generated images =/=?] camera-generated images <--Cartwright-- (paradox of) camera's role in capturing the real + camera's capacity to evoke emotion and present a sense of the unattainable ~= (to appear to be at once) both *magical* & *truthful* ==introduce==> new subjectivities into marketplace

mediation of visual phenomena through the eye of technology ~=> new sets of truths (about the body, environment, etc.) --often--> a **disembodied technological gaze looks at the body**


advertisement becomes more highly finished, excessively produced, artificialized --> a technological gaze is found in the discourse of advertising --> scientized & technologized images celebrate a particular view of ***life as information***

[...]

[...]and my Amazon trip) as case-study and neutralize its indigenous ontologies

(John Hartingan:) Anthropocene as “charismatic mega-category”
(of the white intellectual space of the Euro-Western academy)
(which sweeps many competing narratives under its roof?)

(indigenous artists, Rebecca Belmore & Jolene Rickard:) material might act as a bridge, instead of a mirror
(narcissistic obsession of Western civilization/art with material-as-mirror)

(Dwayne Donald:) place-based cultures and knowledge systems
colonialism is basicly “disconnection”, denial of relation
(in its heart is written “we are not related”)

(so few indigenous bodies are present in sites where academic discourse are being forged and practiced) when they are present, they are often dismissed as biased, overly emotional, or unable to maintain objectivity over the issues they present. (can i say the same treat is with iranians? and in which scene or context? -- iranians are “not” famous for exhaustive discursive unemotional and unopinionated maintenances)

(around me / around here) => importances and pleasures of going from “around me” to “around here”

(how can we stop in art to) recreate exploitative patterns from the past (?)

ecological imagination is a turn towards reciprocity and relationship

in Kinect the path of a journey is refracted, mirroring a critical site of refraction, as a practice. walking with Hanno in the Amazon forest is a joyful and critical engagement through a form of practice that resists universalizing tendencies.

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

tree is never tree-like (filial, Arborescent, versus rhizomatic)
vertical vs. lateral
Arborescent vs. reticulated (like the patterns on a giraffe or spots on the python)
stake at “relationships”



how can we problematize narcissism? what if it is the wrong word describing a certain property of life? Narcissus is recognizing himself in his environment and he dissolves himself in that image. the main thing about this story is that he is most alive via the story, Narcissus is basically undead.

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

close-range vision

how can we practice movement and touch in the physio-locality of the eyes?
tentacularity
touching was considered a cruder scanning at close range and seeing a more subtle touching at a distance
importance of far distance over close range => refer to project Standing on the Shoulders of Giants (2015, Sina)

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

forest's “space”

Hernri Lefebvre distinguishes Representation of space and Representational spaces. ... Representational spaces are “directly lived” through associated images and symbols which overlay physical space, making symbolic use of its objects.

[...]

[...]ms
colonialism is basicly “disconnection”, denial of relation
(in its heart is written “we are not related”)

(so few indigenous bodies are present in sites where academic discourse are being forged and practiced) when they are present, they are often dismissed as biased, overly emotional, or unable to maintain objectivity over the issues they present. (can i say the same treat is with iranians? and in which scene or context? -- iranians are “not” famous for exhaustive discursive unemotional and unopinionated maintenances)

(around me / around here) => importances and pleasures of going from “around me” to “around here”

(how can we stop in art to) recreate exploitative patterns from the past (?)

ecological imagination is a turn towards reciprocity and relationship

in Kinect the path of a journey is refracted, mirroring a critical site of refraction, as a practice. walking with Hanno in the Amazon forest is a joyful and critical engagement through a form of practice that resists universalizing tendencies.

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

tree is never tree-like (filial, Arborescent, versus rhizomatic)
vertical vs. lateral
Arborescent vs. reticulated (like the patterns on a giraffe or spots on the python)
stake at “relationships”



how can we problematize narcissism? what if it is the wrong word describing a certain property of life? Narcissus is recognizing himself in his environment and he dissolves himself in that image. the main thing about this story is that he is most alive via the story, Narcissus is basically undead.

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

close-range vision

how can we practice movement and touch in the physio-locality of the eyes?
tentacularity
touching was considered a cruder scanning at close range and seeing a more subtle touching at a distance
importance of far distance over close range => refer to project Standing on the Shoulders of Giants (2015, Sina)

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

forest's “space”

Hernri Lefebvre distinguishes Representation of space and Representational spaces. ... Representational spaces are “directly lived” through associated images and symbols which overlay physical space, making symbolic use of its objects.

Representation is a distinctive manner of imagining the real, and is a fundamental phenomenon upon which all culture rests.

or instead of how a forest looks like, what is the forest made of? and for whom? what is the forest made of is the matter of negotiation (between the different kinds of beings who think differently about the forest)

in order not to neutralise the forest to culture (cultural history as an explanatory priority to the historically contingent circumstances) we can propose two questions of older critique[...]

[...]pure [which is impure? when history changes])

my allegorical covers

meaning of:
•non-disproportion
•nonviolence

Socrates: you are in crisis because you are ignorant of geometry

even: same
odd: other

برهان خلف borhane kholf, irrationality of the absurd

the irrational is mimetic


=======================


“before-after” temporality narrative

Serres's fabulous work on the effects of the style in science
--> styles profile from (a sort of) stability *** -they inspire disciplines and furtilize fields of research, they seizes what is at stake in sciences

who believes that the passage from local to global is always possible?!
Lucretius answer is immediately “no”

in apass each of us is somehow busy with the critique of unidimensional platitude characteristics of our milieus. / Is that the global notion in our researches?

I want to take it up, maybe fulfill, and modify the project sketched out in ajayeb al makhlughat 10 centuries ago.

#my reading act with ajayeb is like the practice of pencil monoprint on paper on a relief surface. The patterns of reading emerge as the pencil moves gently across the paper, pressing down or not. The paper, pencil, pressure, movement, the object behind, the touch of three elements, interactive interfacial patterns of readingwriting with ajayeb's textual corpus*


” [...] the industrialized world is frequently condemned to considering the concrete universe as its representation.”
Stengers + Prigogine

(?what do we have that helps us give up the idea of a) rational nature of the real
observation ==> generalization
measurement ==> precision

which precisions can be achieved by other than measurement?

How not to travel through the universe like free and self-determined gods? (#magicians)

Stengers > Leibniz @Luisa: “movement is produced within a full world, an interdependent world in which nothing can happen that has not been made possible by the state of the set of bodies according to a harmony that determines and checks at every moment the unfolding of the different movements.”


the full and compact nature, version of ajayeb

my work in apass is on a theory of transformation among languages (not about the best point of view =/=> system integrated =/=> trajectories calculated):
•ajayeb's natural language
•system language of differential logic
•english grammar and syntax
•organic and intersubjective space of my peers
•old farsi
•animal
•


“speak of” science
“speak about” science
“speak” science
“speak” metaphysics

speaking the language[...]

[...] />
we don't love our selves nor our neighbors

San'an, when he thinks he is getting close, he has abysses he has to clear

which language the house speaks? or which language German speaks?

house of literature, house is the site of kinship too.
if literature is like a house at all



unreadable algorithm of encounter

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

I hope we can get along famously



my work has been really about old forms in the city, how should we build,
tyranny,
packaging (packaging existing knowledge, the way for example the IT industry does it.)
am I against packaging?


rationalizing and separating functions in the city



place, space, face,



in the history, the leg-less-stone and the lying-visage have been together. a study of apparition must include the physical material as well, not as counterparts, rather as its play-mate.

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

the structure of space in San'an poetry

distinction between subject and object, between signifier and signified, encompassing the whole of dualistic logic through its branching patterns, through its definitions of set pathways between root and branch.

the Arborescent model of relationships in San'an story?

The rhizome likewise resists structures of domination, such as the notion of “the mother tongue” in linguistics, though it does admit to ongoing cycles of what Deleuze refers to as “deterritorializing” and “reterritorializing” moments.

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

about my performances:

“There is no longer a tripartite division between a field of reality (the world) and a field of representation (the book) and a field of subjectivity (the author). Rather, an assemblage establishes connections between certain multiplicities drawn from each of these orders, so that a book has no sequel nor the world as its object nor one or several authors as its subject.”
(Deleuze - Rhizome)

...consists not in an argument, but in the ecstatic elaboration of a metaphor, a web of interconnected concepts, the development of a new vocabulary without a pause for explanation or so much as a simple definition.

“...a mapping rather than a tracing”

“What distinguishes the map from the tracing is that it is entirely oriented toward an experimentation in contact with the real. The map does not reproduce an unconscious closed in upon itself; it constructs the unconscious”

“It fosters connections between fields, the removal of blockages... “
(removing some blockages of meaning-lock in San'an)


my lecture, emphasizes the rhizomatic to foster imaginative work that challenges typical critical forms.

not to overlook the [...]

[...]st (or other aesthetic-philosophical strands of extremisms) would tell us not to look away, for the thought and expression have taken the shape of a ‘meteorological device,’ forecasting seasons (of storm)...

(you take the mithridatic venom to) cross into the next level of temporal experience

he makes “engravings of the atrocity”
(حکاکی از) سبعیت

a fanatical response to the storm


a charismatic authority undertakes a poetic articulation
or a poetic articulation becomes committed to an ideological program
[Iran Iraq war]


mysticism, a protocol of extremity, geared towards the immensification of narrow vision
gigantic singularity
itself the house of many paradoxes: that of wisdom and rage, that of boundlessness and confinement, that of precision and enormity, nature and technology (apprentices to a lesser artisan-metallurgist god interested only in functional architecture and instrumentalized objects), betrayal and devotion,
mysticism is one of postmodern ‘mask,’ there are many others (the chaos-mask / face?, etc.)
one of many existential prototypes, subjectivity constellations, etc.

sliding between hostile and relaxed patterns of ...

with a sixth sense for disappearance
gained attunement to nothing
what are the athleticism of this stillness?

the turn in the thought of the mystic to externalize that same meditative daze!
what if an enthusiasm took hold to transfer this personal, self-contained oblivion onto a universal plane?
a single mood-shift: interiority feels the need to stretch out into exteriority.
without the logic of judgment


(in the aftermath of the 2th century) many visionaries of western thought (--postmoderns--) have emphasized a (desperate) need to inject ambiguity and doubt into our collective imagination



where is absolutism in San'an?

own descent (Abstieg) into paranoia

when in master-disciple relationship one is asked/taught not only read the works of past visionaries: rather to entertain the same mania, drunkenness, cruelty, or absorb temperament that engendered the very materialization of that text.
[Attar asking us to entertain the same mania when reading Tazkirat al-Awliya?]

...lending cryptic terminologies and cosmic ideas

to become an echo of a profound legacy


we ask again: which phantom-sphere is more interesting? more aesthetically and philosophically attractive in its contours, appearances, and orchestrations?

which archive remains in fire throughout?

-which (archival?) constructs promise to survive us?
-things that run on hollow spectacles of meanings and simulations of depth
-adapting old tales to new territories of [...]

[...]

image assemblage wallpaper:
“Bad Temper - Apocalyptic Climates of Endangered Subjectivity”



delve
delvi
delphi

dilated

dionysian ecotone for performance
defp

dionysian epitom studies for performing ecotone
desfpe

artistic research center for material epitom studies
arcfmes
(art)mes

eccentric center of/for material and performance studies
(eco)maps

dionysian epitom for material and performance studies
demaps

eccentric center of/for epitomized material studies
ecfem

cologne center for social research
ccsr

ecotone
epitom

parc
performance and research center

cream
center for research in epistemology and matter

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

***sharjah project***

/> [general approach of the project:]

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

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


[pressure points:]

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

[...]y, similar exuberant phraseology, and motifs in extremis --> ‘cruelty,’ Artaud wanted to “reject form and incite chaos.” antipsychological violent physical determination (a cruel yet necessary act upon the spectator) to shatter the false reality (theatre/art as a place where the spectator/actor is *exposed* [=/= “protected"]) =/= (aesthetic) distance (---> go to ‘distance matters’); this is the paradigm in iran's theatre and performance scene, where the audience are to be engulfed and physically affected by the show, ‘to be trapped and powerless’ as a theatrical value is an Artaudian tradition.
-delirium: he wanted to deliberately become/stay mad [--> Jassem, Sana's methodology, the state of horrible energy] in order to heal/strengthened
-ecstatic loss of the self, hermetic elements in his works, and the idea of the “complete actor,” whirlpool of feelings and lunatic expressions, counter-force from the act of gesture, (and from his teacher Dullin) emphasis on mime, gymnastics, improvisation, voice production, and various exercises intended to heighten sensory perception, all reminds me of my own theatre training with Reza in jome class.}


(demonizing) the vital concept of the outside(r)


untrustworthy epistemic climate --> patterns of smoothness/coarseness

militant negotiations of desire

(Dabashi's vertical-horizontal colonialism:)
the third world subject:
1- marginalized by enlightenment discourse
2- materialy exploited under global division of labor
}-->{
alienated by:
1- (horizontally) the epistemic violence of colonialism
2- (vertically) foreign colonial state + indigenous comprador elite (واسطه‌ها و دلالان سرمایه‌داران خارجی در کشورهای آسیا و آفریقا و آمریکای لاتین)
2- (vertically) subsequent oppression and exploitation of anti-colonial regime
3- (horizontally) global division of labor


navigation of identity



the reward of the victim جایزه قربانی (--> to be beaten)
the reward of the survivor (--> the self-conscious affirmation of having endured and gone beyond)

slave moralities

the *self-with-no-other* (too far gone)

Hegel's master-slave dialectic (an insight into the skeleton of domination): the basic way in which it is always the master (self) who requires recognition from an external entity (the othered slave) [--> Westworld TV series base: master remains in a state of complete dependency for his own self-definition on the slave, whereas the slave can gradually ascend toward an independent consciousness by virtue of his subjection --> “its own being-for-self” (=/= multispecies companionship)]
or
Spikvak's dissolution of the master-slave dialectic: proposition for individuals to imagine themselves as both “[...]

[...]the monstrosity of the historical + celebratory poeticization of the subject
=/= Nietzsche and Hedayat's subjectivity [should] not to be held in a “derivative placement =/= the here and now” (one must imagine beyond طالع بینی <-- شخصیت فراسو نگر) --> (card reading) one must place under scrutiny the commensurate manner in which the historical is navigated, orchestrated, and then overcome [=/= alibi for some alternative discourse of literary-philosophical humanism or aesthetic transcendence]
[?what is Adrijana's card reading relation to] the desire to divorce history from any potential taxonomy of meaning or intelligibility --Hedayat--> “one is confined in a proud, deceptive consciousness... that rests upon the merciless, the insatiable, the murderous, in the indifference of his ignorance--hanging in dreams”


the poem i wrote in 2010 “our metaphor” https://archive.org/details/ourmetaphor is an example of (my Nietzschean and Hedayatian influence, to address) the indeterminacy and illogic necessarily associated with a chaotic world
(for Nietzsche:) positivism = historical subjectivity's fictive interiority --leads--> decadence of a will to truth, attributing to events a rational look by fixing them within universalizing patterns of signification
Nietzsche: “it is precisely facts that do not exist, only interpretations” =/= fraud of the historical ==>
•Platonic idealism
•messianic grandiosity of the Hegelian world-historical process
•
•*rational historicism: a discursive phenomenon indispensably linked to enlightenment epistemology and its overriding drive for world-mastery*
}=/= explosiveness of a chaotic universe + experiential immediacy of this creative-destructive effusion نشد

Nietzsche's The Birth of Tragedy (seemingly) a study of the pre-Socratic culture of Dionysian ecstasy --but--> a self-projected hallucination of antiquity ==> *theme of history as subjective dreamscape* (--> my way of working historical ajayeb is Nietzschean[?])
-in Human, All Too Human, Nietzsche wages an archaeological assault against the composition and enforcement of moral and metaphysical (from religion to law, discussion of the ascetic ideal and the origin of ressentiment and slave morality)

misunderstanding of “the will”
Nietzsche's skepticism (is his a priori) --> the link between chaos and a certain poetic evocation

*monumental*: seeking out heroic episodes from the the past as examples of imminent قريب الوقوع greatness within the present and future (resurrecting examples of nobility) <-- an ethos behind which large-scale causes are mobilized (+ antiquarian ~=) [*]archive: a harmless reverence for that which has elapsed, leading largely to a compulsive preservation of faded events for no other purpose than that of ensuring their permanence in memory
=/= [*]critical: the courage for insurg[...]

[...]-manufacture of pain
-theology of suffering

the discovery of the event, as a question for anthropology, is precisely that: *event exceeds structure*
(exess ==> reimagining the networks that compose our lives)

Veena --> Bhopal industrial disaster: neither social relations nor locally available knowledge were sufficient to apprehend the event. it is at this point that people had to actively search for new knowledge, for new kinds of social actors that might help them address the question of what was happening to their bodies --> they had to reconstruct social relations to include the existence of international legal systems and governmental bureaucracies in their image of society***

toxic potency (==> difference, collective violence [such as the partition of India and Pakistan =/=], stable violence [such as a village caste dispute],,,)

poles of life and death that separates different kinds of collective violence --> the sexual and reproductive violence witnessed in the Partition connot be understood by taking social relations as model
(Veena)

...distance that arises out of forms of proximity

Veena 3 books:
•Structure and Cognition --> illuminates certain recurring patterns
•Critical Event --> paints a kind of national lanscape
•Life and Words --> turn to an art of an anthropological portraiture

...healing properties of the everyday
...everyday life generates its own forms of toxicity

(Singh's) art of portraiture
of individuals, of milieu,

*singularity (of a portraiture) may express something both local and global*

Veena --> how would we conceptualize the moments of potentially violent uncertainty?
-Benjamin: invocations of the uncanny
-Derrida: the spectral
-Veena: eventedness of the everyday (--> skepticism)

Cavell (on Hollywood cinema and other sites where the drama of separation and union is played out) --> how philosophers have typically focused on skepticism [longstanding western philosophical question and doubt about existence] with respect to material objects and the external world
...existence of the finite neighbour (seemingly known other) --> may become unknowable

--> *Veena discovers the concept of skepticism for anthropology (as a discipline centrally concerned with the varying conditions of human relatedness and otherness)*

[i have been trying dicover skepticism unsystematically in artistic practices those that have strong concerns of social justice and suffering, but i never named it as such. @Hoda, Xiri's emphasis on the threatening nature of liminality (demand for equality or freedom) =/= **to take the possibility of unsettlement or chaos as founding concern**]
--> skepticism (may) suggests a differnt route of inquiry

(Veena -2007:) “the inti[...]

[...] /> (you cannot be not connected to) *collective assemblage* (of enunciations)

(what is my -or-) do i need an abstract machine that connects my language to the semantic and pragmatic contents of statements, to the collective assemblage?

my ajayeb: a throng (هجوم) of (neo-English-Farsi) dialects, patois, slangs, and specialized languages


my Rigs... :
•local restrictions of wach word
•the tendency of words to occur next to each other their degree of crystallization

[for my hypertext] (Zellig Harris:) the constraints or demands that words place on one another are transmitted as socially obligatory information [as physical information, the kind measured in bits, not the semantic information used in dictionary definitions.]

socially obligatory ‘information’-[as ‘physical information’ (kind measured in bits) =/= semantic information (used in dictionary definitions)] ==(transmits)==> constraints or demands that words place on one another

(my hypertext ajayeb is an) “informational niche”
[and what about the matter of ‘actual use’?]
ajayeb.net “rules”: a set of normative combinatorial constraints
recursive application of existing constraints ==> new patterns

*process of language: from optimal to obligatory*
(in respect of history: obligatory meanings of Attar, and so on)
--> in my work this flow is reversed: from obligatory (meanings of Attar or ajayeb) to optimal. that is perhaps why sometimes people say that they don't understand me or that I am wonge.
-memory is the matter of statistical fact: (core) meaning ~= “selection”

***the fate of my contribution depends on and is determined by my position in the communicative network


pidgin دست وپا شکسته ومخلوط : creative adaptations
ajayeb.net is a pidgin?
*pidginization: any process of reduction or simplification of linguistic resources {"=/=”, “=”, “==>”, “-->"}

my ajayeb writing:
step 1: redundent simplification of linguistic resources [--> creoles نژاد مخلوط: that segment of a continuum of variation which exhibits the maximum divergence from the standard but which is still connected to other portions of the meshwork (Farsi+English)]
step 2: reenriching itself with features eliminated during step 1 ~ recomplexification of creoles }==(how?!)==>
step 3: diversifying the number and type of uses it can be put to

double articulation: a sorting operation that yields a homogeneous distribution of elements and a consolidation operation that defines more or less permanent structural linkages between sorted materials.
if and when the materials on which a sorting device operates acquire the ability to replicate with variation, a new abstract machine emerges, in the form of a blind probe head capable of exploring a spac[...]

[...]gs” among dispersed, diffracted, and emergent methods of attention
-to redesign “aboutness” (as nonrepresentational : recursive relational agency of/about reciprocities in worldly processes)
-to redesign fiction of writing (khipu)
-to redesign @apass archive --> records of how things have happened, with whom, when, with what informational needs (instead of abstractions layered up), sometimes as agencies, sometimes as (in Sandoval's terms) oppositional and differential consciousness, (boundary objects) storing and performing our details and affects and memories

punitive parsimonies of explanation:
•over-simplications of complex systems
•pressures for social critique
•to travel as social panic
•retreat to political loyalties (<== confusion overwhelm cognitive schema)
•retreat to political belonging in search of trust
•

(more boundary objects:) many sorting apparatus reframings at varying grains of detail each savoring textures of disciplinary and other precisions amid noncoherent and materializing logics
(constitutive, agential) **cuts are connections**
-to minimize damage and maximize flourishing

differential details --in--> “us” --in--> Bateson's living patterns --in--> starfish's invertebrate radial symmetry --in--> redwood cloning timelines --in--> recursive epigenesis --in--> mechanism and structure in a segmenting egg --in--> human affiliations of power and state and love...



[*]differential consciousness: systems justice sensitive to multiple contexts, *politics of attachment*
@apass's environment (mix of communities of justice and of practice):
belief and disbelief, memberships and belongings, triggered and assembled
****to commit to a well-defined structure of identity for one hour, day, week, month, year**** (=/= Manning)
+ transform that identity according to the requisites of another oppositional ideological tactic (if reading of power's formation require it --> that's how i became more iranian in Europe)
•differential: instantaneous change of one quantity relative to another, a quality that differentiates between similar things (==> derivatives) =/= different

اخرت eschatology
study of end-times [--now--> climate change, global restructuring, ]
-humans are often precariously enduring on the planet
(Cuban Missile Crisis...)
-when urgencies (become too predictive) ==> less sensitivity to the unanticipated --> (Seba's “save the world” =) all too human desires for control or for moral prescriptions

with Katie King --> *systems justice* requires something much more complicated
•we have to work with our extended being
•find out new things about it

-how can we go beyond human intention and systems of control?
-we need, and there are, many ways to minimize damage [...]

[...]◦it takes the one/many form (potentially containing unity within the plurality of a many) [cardinal number --> conserve value]
•the whole/parts form (having plurality contained within a unity) [ordinal number --> conserve order]

(in) shape-shifting between:
one/many form
whole/parts form
symbolic/indexical mode of semiosis
indexical/iconic mode of semiosis
}--> number works in inventive ways


thousands of Australians regularly attending their streams with bottles, thermometers, and pH meters, peering at tiny creatures they have scooped up with a net, trying to identify what they are and count their numbers

(the slogan) “you can't sustain what you haven't measured”

numbers so enthusiastically generated by volunteers --also--> contribute to constituting water as commodity, expanding possibilities for ‘doing business with water’


cordon sanitaire --> consistency must be quantifiable
two databases, separate institutions and websites, is counter-productive in a project assembling and disseminating information on the state of the nation's water resources?
@apass

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

patterns of behavior
forms of style
--emerge--> ?

(Rai researching the materiality of the ecology of sensation of mobile phones in India helps me to think about Iran telegram media)
new ecology of sensation ==> patterns

perspectivalism: (history of) the dominance of representationalism in the engagement with a living multiplicity at stake

each image has:
•a certain duration
•at different scales of perception
•a non-coinciding resonant unity (a unity-in-multiplicity)
•*mutating affect =/= representation*
•potential occasions for a perceptual event (that exceed their actualization) =/= mise en abime
•pointing the capacities of perception in multiple direction
•strike you as potential events in gradients of textual vision, haptic and mutating accross senses
•excessive information that calls for another diagram of bodily capacities
•where a machinic phylum becomes sensitive to certain forces
•

an ecology of sensation meeting its cliche:
•Bollywood meets graphic novels at the back of a rickshaw
•Agra's Mughal-era oriental(ized) stone work turning topological and dimensional (less or more racist? --Rai--> to what extent is the question relevant to what it does?**)
•Ferris wheel on Juhu beach
•the weighting machine at the local station


(Rai + Keenan --> give me) new resources for imagining justice and democracy

all habits are preindividual : where the subject and population meets

photographs (photoshopped life) ==enable==> a hauntology to emerge[...]

[...]es whose expertise could help him learn something new and often unexpected --> passionate, even if problematic, experience of living in a world where God matters*
◦*emotional experience: with theater actors, who know about creating, discriminating, disclosing, and sharing emotional experiences*

***from whom should we inherit our practices, and how?***

learning from Despret's *anachronism* (her field philosophy)
اشتباه در ترتیب حقیقی وقایع

(heritage of Socrates) form of epistemic and ethical bifurcation ==> search for hidden causes (underlying the conduct of actors)
Socrates's “you think you know, but actually, you don't know and you don't think” ==created==> ***[1]a device that inhabits thinking and produced only mental paralysis***

--✕--> (Despret:) investigators rarely ask the question of how the people they interview might be interested in the questions addressed to them

*relevance = adventure*
there are many examples of how a piece of abstract knowledge that looked like devoid of any imaginable consequences came to matter (acquired an importance nobody would contest)
-relevance may be lost in translation
*ecology of dynamic and fragile patterns of relevance, of modes of mattering for oneself and for others (Savransky)
[*]relevance: a sense that there is value beyond ourselves (something that is not ourselves, matters) --Stengers--> (daring to connect the) speculative + ethical + practical
(risk of) to renounce *knowledge as a right* + embrace *knowledge's achievement as an event*


[title]
(ego engineering)


***[2]device of anonymity (“to protect people”) ==> distributes expertise, and builds induces performs an asymmetry of roles
•the imperative of deontology
•(can be) a regime of insult

“you, the refugees” --> an anonymous mass marked with **an identity that they had not chosen, and from which they cannot invent themselves**

risk of disclosing
risk of separating
risk of isolating
risk of making people talk while silencing
risk of stealing the words
risk of of drawing the words out from the speaker
risk of retying the secret to its etymology [secretus: to separate, to isolate]


(what we like to think about in apass) to reflect on what anonymity can produce in other research situations
[instead of asking “what the body does/produces?” =/= what Sina's body does for the spider in his room? what Ninja Turtles body does for Iron Man? what anonymous refugee body does for Xiri? what Jane Fonda body does for Laura? etc.]

***anonymity ==> identity***
(the position of “subject” in an investigation is created by erasing the name)
•“feel free to say anything you want” or “speak without fear" = your words will have [...]

[...]ey have to be made into documents)
4. there is a phenomenological position (the object is perceived to be a document)

indexicality: *the quality of having been placed in an organized, meaningful relationship with other evidence --> gives an object its documentary status* [<-- for who and why is this useful?]


modernist mentality:
•scientific management
•standardization
•bibliographic control
--as--> complementary and mutually reinforcing bases for achieving progress

spiritual movement of anthroposophy --> cognitive aspects of the medium of the message
==> document: repository of an expressed thought + spiritual character

1963
document: micro-thought on a flat surface (fit for physical handling, transport across space, and preservation through time)

cultural anthropology --> “material culture” --> onject as document
artifacts contribute important evidence in the documentation and interpretation of experience

artistic research = aesthetic object + signifying object

semiotics
information sciences
Barthes --> object-as-sign
there is always a meaning which overflows the object's use
text: patterns of social phenomena not made of words or numerals


[signs have to be treated a something invented]
*social construction of meaning* ==> viewer's perception of the significance and evidential مدرکى character of documents ==> “relevance” is now considered to be situational and ascribed by the viewer (in digital)
}<== the property of being a sign is not a natural property <== ***property is given to objects***


Wikipedia: all signifying objects (points to) ~~> forensic aesthetic: all evidence = signifying فوری (easy + immediate) =/= aesthetic object فرار (volatile)

object in evidence --> offer it as evidence by the way it is arranged, indexed, presented
its manner --> in arranging material so that someone may be able to make use of it as new evidence for some purpose (=/= finding material that already is in evidence)

what is a digital document?
--Buckland--> becomes more problematic, unless we remember the path of reasoning underlying the largely forgotten discussions of Otlet's objects and Briet's antelope


**documenting the antelope** =/= ajayeb
antelope: Ethiopian word for the elusive unicorn

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

Calvert
technobibliocapital

librarians cannot hope to really change how people seek knowledge in libraries (they are not *information awareness office* ~= news agency)

will to knowledge --manifest--> in a massive electronic data processing project

[*]library science: a set of practices for producing knowledge in subjects[...]

[...]

(through the assessment of the works of Deleuze and Guattari, and now popular narratives) the relation between human and machine is based on internal, mutual communication, and no longer on usage or action (~ human operator linked to a machine as an exterior object) [~/=? companion species]


irresistible imperative of communication ~~--> continuous effects of control

panoptic techniques & attentive imperatives (function reciprocally)

classical power:
•repression
•ideology
•
modern power:
•normalization
•modulation
•modelling
•*information that bear on:
◦language
◦perception
◦desire
◦movement
--> by way of microassemblages
(= *subjectification*)

-the shape of absentmindedness in my performances is skewed by the attentive imperative of modern subjectification? something unfocused, **something folds back against itself** =/= “processing” a stream of heterogeneous stimuli (in film, radio, television, cyberspace)
-my audience felt an uncomfortable sense of their own inattentiveness (in my performances of the experience of dissociation, of temporality incompatible with capitalist patterns of flow). what is they are asking me is to give a stream of heterogeneous stimuli --> ****how temporality is inhabited****


to diffuse (societies of spectacle) into (a single) integrated society of spectacle (==> separate, isolated, but not introspective individuals)


(film and television in competition with) *daydream* --> a domain of resistance internal to any system of coercion [?]-->
(?is capitalism's contemporary arrangement allowing/playing an) oscillation between spectacular attentiveness and the free play of subjective absorption
~ info/telematic systems simulating the possibility of drift ==> modes of sedentarization
--> (Crary asks) how creative modes of trance, inattention, daydream, and fixation can flourish in the interstices of these circuits? @Sven ...amid technological forms of boredom ~ *modern boredom* [--> cognitive and perceptual synthesis. boredom is involved with the intensification of a sense of selfhood? ~~--> romantic (turned inside out?)]


*perception without awareness* (vilified in art and criticism)
--?--> automaticity: performance under conditions of divided attention

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

Manet: disengagement of perception from a model of interiority
Manet's painting discloses some of the important reconfigurations of the status of the observer (that had occurred by the middle of 19th century)

my Olearius video figuratively repositions the observing subject outside of the term of which system of vision?
world present to the subject in relations of reflection?

...three ob[...]

[...]head)’ [~ multidimensional polyvocal corporeal code] overcoded by what we call the Face
(////we have to escape the face and facialization!)

indication of bodies in my peers projects in apass:
-kinds of subduing and constrain necessary for the construction of an *organized and inhibited corporeality* (--> Laura's project)
-instruments of domestication

fixed pictorial (--> a holding action) --> social organization



study object of empirical sciences around 1880: perceptual field newly decomposed into various abstract units of sensation + related possibilities of synthesis
+ newly invented nervous disorders (hysteria, etc.)
--> (busy with) failures of the integrity of perception --> disassociated fragments --> (impairment asymbolias:)
*agnosia*: inability to make any conceptual or symbolic identification of an object ~ visual information experienced with a primal strangeness:
“perceptual field --✕--> pragmatic plasticity”
flat perception, no determination of depth object
}--> labelled as pathological [=/= my amazon project--was a form agnosia:
•resistance to consuming the world in a productive or social way
•rejection of habitual or conventional patterns of organized perceptual information]
-this is part of the phenomenology of knowledge***
desymbolization of perception --> Foad

{for Janet:} attention: power of mental synthesis (~ the power of subject to form new perception, to have memories)
{for Freud:} attention: dynamic activity of repression


“[a] society recognizes itself and its own positivity through the morbid and pathological forms it identifies and invents” (Crary + Foucault)

subjectivity: provisional assembly of mobile and mutable components --> attentiveness:
•conscious/voluntary {task-oriented, higher behaviour}
•automatic/passive {areas of habitual activity, daydreaming, reverie, somnambulant states}


(the state of) the seated woman


[19th century regime of facility]
Clark's “face of fashion” (= Manet's blanks), fashion would keep one's face from any identity (==> ‘the look’: public, outward, blase, impassive, not bored, not tired, not disdainful, not quite focused on anything)
impersonality -->(Benjamin's modernity:) public space in which, for the first time, individuals are systematically habituated not to return the gaze of the other [~-> “chi dadash!?” or “was guckst du?!"]
-for three centuries, the meaning of human face was explained in terms of rhetoric of language. in 19th century suddenly face occupies a precarious position: it is belonging to a human being as a:
•physiological organism
•privatized, socialized individual subject
--Darwin--> split status of face:
•symptom of an organism's anatomical and physiological [...]

[...]make an image of what you see *beneath the imposed order of humanity* (19th century preoccupation with “innocent vision” <== to be completely estranged from the world <-- Schopenhauer) ==> access to things-in-themselves
•Husserl --> pure form of consciousness *stripped of all accretions of habit and socialization* ==> “seeing essences”
--> their work challenged (sought to exceed) features of perception that apparatuses (of production and consumption) regulated and standardized

Husserl
attempt of description of objectivists in a certain atemporal fixedness =/={attention: heightened awareness of a narrowed or focused range of perception, operation of selection, question of existence of content in consciousness, empathic function which belongs in the sense of intuitional experience ~= psychophysical, associationist, sensationalist, atomistic accounts of perception and cognition ==> how reliable and consistent the knowledge about the world is possible + (classical model of vision:) privileged point of view of a perceiving subject from which the objectivity of the world could be apprehended}
issue of cognitive and perceptual synthesis
•to resecure an unconditional basis for logic and science
•to escape from refined habitual patterns of perception inherent in various aspects of rationalization and compassion of experience in 1890s and 1900s (--> dynamic, kinetic, distracted texture of modern sensory life ==> attention: malleable entropic force susceptible to fatigue, distraction, and external management)
•to quest for the logic of meaning ==> primordial oneness of consciousness
----> (for Husserl) attention appears and appertains in the possibility of an *impersonal, preindividual, transcendental sphere free of anything empirical, of anything spatiotemporal* ==> attention: intentional act with an absolute structure, quasi-machine searchlight for an unwavering mode of looking at the act of looking
--Crary--> amid the dynamic dissolution of modernization (a world in which previously stable meanings, signs, social relations were being uprooted, made exchangeable, and put into circulation) Husserl proposes [in a hopeless quest] a monolithe technique of attention (to discern a halo of absolute authenticity around every object or relation) to determine the universal structure of (the authenticity of) subjective lifeworld [unable to go beyond ‘pre-cinematographic conditions’ (~ movement thought only from the anchorage of a static “pose”)]
 --Varela--> Husserl's (+ MerleauPonty) turn towards experience (the “things themselves”) was entirely theatrical : lacked any pragmatic dimension [---> go to Despret, Stewart]

what Cezanne did seek to “suspend” (to forget)?

(sensitivity to) perceptual experiences that had been ignored, marginalized, or incompatible (==> unarticulated)--within--> organization of knowledge about vision
}==> (Cezanne's) “atte[...]

[...]consecutive visual stimuli) --> how within the context of technological modernization, faster mechanical speeds are reciprocally related to new bodily forms of stasis (---> go to Virilio)
•chronometric device: measurement of relation time

}--> the break or interrupting of vision becomes the primary element within perceptual experience, rather than a visual continuum that maintains the cohesiveness of the world

}==> *possibility of pure sensation without perception*


“mental test”
detailed psychometrics of individual performance and behavior --preoccupied--> features of a generalized consciousness

20th century behaviorism --> abandonment of interest in any internal or introspective experience (in favor of data resulted from objective external controlled observation)
 ==Cattel==> application of systematized knowledge to the control of human nature
--Crary--> **accommodation of subjective life to machine operations** (+ speeds, temporalities)



new objective world: decomposed into autonomous and abstract stimuli (+ machine rythmes that differed dramatically from those of the body) ==> repositioning of the perceiver (+ motor readiness) }-->
•new patterns of production
•spectacular consumption

*machinic interface is the body* ==> related temporal shaping of everyday life

computer ==> psychic field of expectant attentiveness <--within-- one inevitably trains one self to maximize the speed of response to specific commands and functions (and derive at least one satisfaction from these habitual operations of mechanical facility)

}<--Crary-- epistemic shift in 20th century to theorise of subjective vision


instantaneity: unproblematic presentness of vision

Helmholtz (discovery of slow speed of nerve transmission) ==> “present state” of perception is deployed within a temporally extended physiological set of events


19th century --Foucault--> the essence of human life ceased to be something representable in the tabular space of classical representation =/= human life understood in terms of it's existence in time, of functions and energies that unfolded and developed outside the **immediacy of classical visibility**


*the conditioned reflex*
a chimerical notion of the western imagination in the 20th century

reflex (central cerebral process, onset of stimulus ==> preparation of motor response)
•one of the ways in which attention was positioned within knowledge of human behavior
==producing==> new forms of sensory experience outside of (various myth of) organic wholeness of subjectivity (--> distinction between “natural” & “artificial” sensation [---> go to my work in WIELS bestiary characters: what was individual experience in middle ages?])
•[...]

[...] (seek to grasp and be grasped) --becomes--> diagram of perception (seek to envelope and be enveloped)

Cezanne's discovery: any attempt to stabilize perception ==> disintegration and transformation

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

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


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

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


vertigo: auto-movement of chaos

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

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

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

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

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

[...]tc.)? when we look at it in this text with the object of cloud...


labyrinth ~=? architecture's ornamental activity
[*]ornament: epression of an excessive force of form, the blossoming of a force that has nothing more to achieve --> fecundity
-ornament shifts among different planes at different speeds ==illusion==> movement and depth

labyrinth --(Deleuze and Guattari)--> “smooth space” [can be explored only by legwork]
labyrinth --> immersion & navigation [--> descriptions of technology]
labyrinth --> texture field (a form of emerging visuality)

Jassem + Sina's labyrinthine polychromic activities (==> underlying artistic creation) --> interpret form symbolically through the visual residues of the technical operations

fetish: unnatural participation with things

*field theory*
behaviour of a dynamic system that is extended in space
all fields in nature are quantum fields
•[*]matter: energy bound within fields
•[=/= classical magic --> action at a distance]
•system --> a relation-concept [=/= additive whole]
--> ability to exhibit gradients, or lines of force

self-organization: (the capacity of a field) to generate patterns spontaneously


topological reading is a christian tradition, theory, and practice of interpreting the figurative meaning of the Bible. It is part of Biblical exegesis.

According to ideas developed by the Church Fathers, the literal meaning, or God-intended meaning of the words of the Bible, may be either figurative or non-figurative; for instance, in the Song of Songs (also called Canticles or Song of Solomon), the inspired meaning is always figurative. The typical meaning is the inspired meaning of words referring to persons, things, and actions of the Old Testament which are inspired types of persons, things, and actions of the New Testament.

The early uses of allegory and topology were very close. Later a clearer distinction was made between the allegorical mystical, and tropological moral, styles of interpretation

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

(Mitchell:) vision has played the role of the sovereign sense since God looked at his own creation and saw it was good, or perhaps even earlier when he began the act of creation with the division of light from the darkness.

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

(Corbin)

Platonic archetypes in terms of Zoroastrian angelology

psalms and invocations to the beings of light

the celestial physics, which limits the number of Intelligences

victoriality
Sovereignty of Light, heralded by Zarathustra زرتشت‎‎

(arch)angelic vectors

to grasp the notion of ishraq (eshragh اشراق), the structure of the world that it governs, and the form of spiritu[...]

[...]ble of engaging in ‘symbiotic’ relationships with the human body. [...] means through which the environment is experienced and acted on.


essential ambiguity of technology / of material human-technology relations

hermeneutic fluency (and the special enigma) of the connection between text and world

*bird's-eye=?/!~navigational~/?=.'<-phenomenological
[...in front of the open (blank) page (of the book) (we teach children to take the) position of the industrialist, the urban planner, or the Cartesian philosopher --> outside the page is outside and inside the page is inside ]@Eunkyung's scriptural enterprise --> Derridean proper space of writing
-the panopticon as observing instrument for human sciences is embeded in the page of the book we open. part of this tradition =/= first person shooter

(Ihde on) game-bodies: (on multistability -->) ‘modes of navigation’ [macro phenomenological conditions, modeling observational possibilities, ]:
[1]- third person (pretended) overhead view looking down a map-like world and plotting your course, one says “I go to X.” he calls it “the reading position” (usually a western navigator) --> using instrumental mediations to translate this (overhead) position, star patterns are with the north star
[2]- first person shooter, take your body as stable position, one says: “X is coming to me.” (usually a south pacific navigator) --> reading phenomena as instruments, dynamic motion of star patterns are without the north star
[3]-



every major culture/civilization watches the *movements of heaven*
technologies of temporality, lunar calendars (mostly migratory or non-agricultural people who were into smaller cycles) and solar calendars (people who were into lager cycles), knowledge of repeated patterns of environmental phenomena
from stonehenge [= stabilizer of perception, #stone telling the movement of heavens;] to chip (, devices to record cycles) --> the technoscience has changed (phenomenologically merely) in scale
[*] science is always science-mediated-through-instrument [--> regarding ajayeb: #model is the principal instrument of (modern) science.]---> am I in which model-shift? (how? and why?):
•idealized models [~-> my “art"] (<--)to--> heuristic models [~-> my lectures] ?
•computational models [~-> my CG period] (<--)to--> phenomenological models [~-> my ajayeb] ?
•fantasy models [~-> my ?] (<--)to--> theoretical models ?
•representational models [~= my images?] (<--)to--> epistemological models ?
[*]

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

like the blind man's cane or probe, means through which the environment is perceived and acted on, how is the 3D computer simulations an embodiment relation? what are the (dis)embodied habituations of the hacker? ==> philosophy of action : how 3D work as an (dis)embodied artifact change our relation [...]

[...] to make clothes in-between art and fashion (now and the future, the self and the other)


it-girl

Beatlesque escape

new paths that young people are charting requires clothes



(Archer is making me interested in fashion by helping me go through the) economic and scopophilic grains of the fashion industry

the idea of the ‘new look’ absolutely dominating the fashion scene during the mid 21st century
‘new look’ fashion strictly obeying the laws and divisions of optically delineated Cartesian space, and its attending epistemo-ontologies and political economies (-Archer: the proportions of Dior's famous silhouette absolutely required that one always take a well-heeled “step-back” in order to comprehend themselves in a mirror, a camera lens, or even a street window) --> (offering consumers new manners in which) to dress, but also **to see and to understand themselves and their potentiality**

[myself, like many critical artists of my generation, we glean (harvest خوشه چينى) the occurrence of ideological violence]

relaxed clothing shapes
affordable
easy-to-care-for
mix-and-match fabrics
hyper-modern color combinations and patterns


couture خياط زنانه

animosity, bad blood, animus's system, the system is made

perennial enfant terrible
(the naked constant prince)

social change <== **fashion must (and will) go out of fashion**
Gernreich's economic critique of the fashion system --?-->{ disregard of the wearer's comfort which is an obvious feature of all civilized woman's apparel ==> conspicuously figured the middle-class woman caught-up in the middle of the fashion system as being utterly passive and woefully unimaginative -->
•seeing woman's fashionable transfiguration only in terms of what it properly signified within the bounds of a patriarchal civil society and a capitalist economy
•failing to appreciate the pleasures that fashionable styles offer their wearers in spite of the physical and social restrictions they impose
}--> parochial economic critique (operating in a wholly rational realm) =/= (Elizabeth Wilson:) how these ‘transforming actions’ might do violence to these orders --Archer--> **how the powerful and highly volatile work of desire unfolds within the fashion system**

***oppression =/= passivity***

Gernreich --> fashion ‘works’ not simply by way of its significant expense, but rather at *the expense of signification*

{ fashion = fantasy }==> fashion offers our desires a medium through which:
•to formally manipulate the discourse of the body
•to violently threaten the rational ordering of its meaning
•to from which to produce pleasures that exceed satisfaction or sense
•to operate on the text/ile in[...]

[...]d literally kill life

(psychological concept of) sature (to join two lips of a wound): pseudo-identification of an initial moment of seeing and a terminal moment of arrest --Owens--> *medusa effect*: imaginary identification of the seer and seen (immediacy, capture, stereotype)

Lacan placing the moment of arrest prior to the moment of seeing --> what happens when we look at a picture : first an arrested gesture (a picture) then the act of seeing (completing the picture)

[*]to pose: to present onself to the gaze of the other as if one were already frozen (immobilized, suspended, a picture), **mimicing the immobilizing power of the gaze** --Owens--> pose forces the gaze to surrender
***to pose = to pose a threat*** ~ apotrope

artist reflects the stereotype back on its self --> to defeat an apotrope with an apotrope
is Kruger different than politically motivated artists (consciousness-raising)?
--Owens--> Kruger stages the techniques of stereotype (that interpolate her/him as subjects)
-is the viewer led or allowed to reject her work's address? ==?==> gesture of refusal --or?-- mobilization of the spectator


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

Archer (philosopher of wardrobes, patterns and textility) on Owens's medusa effect ~~✕--> Calderwood's drawings *messy material semiotic* (figures that forcefully demand one's attention) --> queer pleasure to be caught in their dense but finely rendered patterns
-following the phallic loops & yonic openings (that obscure any semblance of a singular true body)

apotropaic stockings
جوراب زنانه بلاگردان

Kruger & Calderwood --Archer--> searing critique of gender identity and the ways that gendered stereotypes capture the body within a tight weave of politics and ideology

[*]medusa effect: a critical gesture located when the swipe of Perseus's sword just reaches the Gorgon's perfectly posed neck ==possibility==> infinite outcomes
-a transitory but potent act of resistance (lies between identify and difference)

Kruger's feminist-inflected pronoun --> refigure the personal pronoun's normal operative function ==> viewers dislodge themselves from the law of the letter ==expose==> language of gendered oppression's limits

find a way of articulating oneself beyond pronoun's strict logics (--> alternative subject position) =/= Calderwood --> *contingency of seeing* : “manipulating the intensity of certain optical patterns in order to scramble--or dazzle--those fields of vision that the ‘apparatus of the pattern’ is traditionally tasked with managing”

[*]gender: semiotic apparatus; representation of a relation (that of belonging to a class, a group, a category -de Lauretis), gender assigns to one entity (an individual) a position within a class ==> a position vis-a-vis other preconstituted classes[...]

[...]patterns and textility) on Owens's medusa effect ~~✕--> Calderwood's drawings *messy material semiotic* (figures that forcefully demand one's attention) --> queer pleasure to be caught in their dense but finely rendered patterns
-following the phallic loops & yonic openings (that obscure any semblance of a singular true body)

apotropaic stockings
جوراب زنانه بلاگردان

Kruger & Calderwood --Archer--> searing critique of gender identity and the ways that gendered stereotypes capture the body within a tight weave of politics and ideology

[*]medusa effect: a critical gesture located when the swipe of Perseus's sword just reaches the Gorgon's perfectly posed neck ==possibility==> infinite outcomes
-a transitory but potent act of resistance (lies between identify and difference)

Kruger's feminist-inflected pronoun --> refigure the personal pronoun's normal operative function ==> viewers dislodge themselves from the law of the letter ==expose==> language of gendered oppression's limits

find a way of articulating oneself beyond pronoun's strict logics (--> alternative subject position) =/= Calderwood --> *contingency of seeing* : “manipulating the intensity of certain optical patterns in order to scramble--or dazzle--those fields of vision that the ‘apparatus of the pattern’ is traditionally tasked with managing”

[*]gender: semiotic apparatus; representation of a relation (that of belonging to a class, a group, a category -de Lauretis), gender assigns to one entity (an individual) a position within a class ==> a position vis-a-vis other preconstituted classes

flooding the visual field ==> refuse to lend themselves to the task of figuring things out ‘what is this?’

(let's suspend) act of perceiving oneselffrom a particular, fixed place in order to open up onto a sense of imagination [<-- identity, identification, positionality]

*discourse of desir* --Lyotard--> desire does not speak; it does violence to the order of the utterance

(?am i using the queer strategy of) **pattern-jamming** ==> nonbinary variance =/= proliferation of tick-boxes (identity politics)


•modes of ornamentation
•systems of organization
patterns --> repetitions ==> naturalize the appearances of certain recurrences in life ==> stabilize (our notions)
[*]pattern: an essential forecasting tool, (through pattern's) rhythms we come to place bets on our future [like the sun's cycle], maps of those terrains where belief most directly meets desire, where aesthetics meets significance

stripes --> capacity to serve as “a tool for setting things in order” (--Pastoureau--> between the lines a tangle of uncanny specters lurk)
-stripe's ability (not simply to signify but) to formalize or figure the abnormal within medieval visual and material culture [a cu[...]

[...] gendered oppression's limits

find a way of articulating oneself beyond pronoun's strict logics (--> alternative subject position) =/= Calderwood --> *contingency of seeing* : “manipulating the intensity of certain optical patterns in order to scramble--or dazzle--those fields of vision that the ‘apparatus of the pattern’ is traditionally tasked with managing”

[*]gender: semiotic apparatus; representation of a relation (that of belonging to a class, a group, a category -de Lauretis), gender assigns to one entity (an individual) a position within a class ==> a position vis-a-vis other preconstituted classes

flooding the visual field ==> refuse to lend themselves to the task of figuring things out ‘what is this?’

(let's suspend) act of perceiving oneselffrom a particular, fixed place in order to open up onto a sense of imagination [<-- identity, identification, positionality]

*discourse of desir* --Lyotard--> desire does not speak; it does violence to the order of the utterance

(?am i using the queer strategy of) **pattern-jamming** ==> nonbinary variance =/= proliferation of tick-boxes (identity politics)


•modes of ornamentation
•systems of organization
patterns --> repetitions ==> naturalize the appearances of certain recurrences in life ==> stabilize (our notions)
[*]pattern: an essential forecasting tool, (through pattern's) rhythms we come to place bets on our future [like the sun's cycle], maps of those terrains where belief most directly meets desire, where aesthetics meets significance

stripes --> capacity to serve as “a tool for setting things in order” (--Pastoureau--> between the lines a tangle of uncanny specters lurk)
-stripe's ability (not simply to signify but) to formalize or figure the abnormal within medieval visual and material culture [a culture accustomed to transmitting visual messages along very different frequencies: an image was created by superimposing successive levels, and, to read it well, it was necessary to begin with the bottom level and, passing through all the intermediary layers, end with the top on] (-what is noise for medieval visual culture?)
-with the stripe: the structure is the figure ==> force certain bodies into genuine non-place --> fields of actual nonsense
-(modern stripe's clarity is a case of) how ideologically saturated, or unnatural, the act of looking is
-(genealogy of stripe --> historical processes:) *yesterday's noise --into--> today's signal*

***power is formally established and formally critiqued through the adaption or the obliteration of patterns*** ==> *pattern manipulation* so strategically necessary [@Laura, Elen] --> (Archer's) call to:
•to take advantage of those aesthetic practices that can direct attention away from a pattern's typical symbolic function (*or responsibilities to secure meaning a[...]