[...]s traversing?, pre-technological traces of cognitive normalization, the very little difference between specification and “the real thing,” THE origin of the demand for rigorous specification, migration of questions out of the areas of instrumental fitness, human relation to the surrounding world, impoverished zoologies--under techno-epistemo-anthropocentric values, squeezing prehistoric modes of weakening subjectival normativity--a field that today gets heavily technologized,

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

to bring our needs and lures towards each other
bring my lure to the table (that thing which i can't stop following)

who/what are you pregnant with?

(that is what you are proposing)

(that is to play with the ‘histories of body and mind’ [Haraway] you inherit --> for me is to play with the pre-subjective singularities)
[inheritance is of great importance for our research. it is about the passing of obligations from something ghost-like. i am sure we have other modes of response available to us other than how Hamlet takes in what is inherited to him, other ways of responding to the ghostly beings that talk to us from death. (inheritance ~= inhabiting spirit [they cannot be possess as a piece of property], reading inflaming flashes of remote spirits [--> is this hear from one another looks like? is technology placed at the source of this reflection?--technology itself answers the call--(Avital)]) could we work with Ophelia's kind of #Wortsalad instead? (Salad-e Kalame, khoresht-e kalame; same thing happens to Shirin of in Khosro Shirin, but unlike Shakespeare, Nezami allows another poetic drift;) Heidegger's “die Sprache spricht” : language is monologue --?--> schizophrenia and schizophrenic discourse --?--> structure of speaking]
[speaking asserts a certain temporal priority which we must undermine]
-listening *before* speaking
-“We hear language speaking” (Heidegger); a non-organic speaking; language is not equipped with organs of speech? (Avital)


serious joking / joking seriousness [Haraway]
joke/jest/gesture
a space of play --> where ideas come in to being
(story of ‘or’. is it where the original joker came? using or instead of and)
(there is no ‘or’ in nature!? what are the earlier forms of or that we can trace in cave paintings or tool makings?)

**if you don't take my idea seriously i will be utterly incomprehensible**

crafts-person for the building of lures of propositions --> ‘abstractions’
(abstraction is fragile and can hold worlds together)


where Europe comes from? (woher kommst du? i am born in, i am born in, ...)


what animates us rather than what civilizes us



(to Shabnam:) to ‘mourn with’ rather than ‘mourn about’
(-about =/= -with)
(structure of mourning)

[...]

[...]ing no ability to make political connection, to think beyond the categories
*thinking: a materialist practice with other thinkers--done best as storytelling

for me politics is that to be able to locate ways of life that deserves work, that which deserve opposition, that which deserve our curiosity


disembodiment is a technologically produced effect--many people are very skillful in creating that effect --> effects that are also affect/affectional

(Haraway on writing the cyborg manifesto) SK
the physiological state of neutrality is an affective state
(the notion that violent and passion counts as affect and neutrality is without affect is chemically bizarre) -- neuro-chemistry of a certain kind of self-collection
refusing the division between material and immaterial
to call information-world immaterial is wrong
(this is the base of my work related to Haraway)
in the case of vision: the material and the semiotic always implode [the apparatus and the flesh] --> the effect of *disembodiment is a technologically produced effect* (that is also always affectional) (we have to get good at producing it)
[...so she was among (1983 Marxist) feminists (and the figure of cyborg is already in circulation for her--about the questions of reproduction technologies related to the situation of women) without biological education--not only that, many of her feminist allies thought of biology as the enemy [--> antinatural rejection of the sciences in feminist the agreement “that ‘nature’ is our enemy and that we must control our ‘natural’ bodies --> escalating logic of counterdomination] so her manifesto is all about that. biology is (a rich fabulous practice and) never innocent, and it is something that ‘we mean’. in the sense of ‘what do you mean?!'] [we are always telling knowledge stories that we need --> noninnocent]

(something is) boring =?=> (something is) wrong

why do i joke? it has to do with storytelling.
anything anybody tells me i tend to believe--what i learn from whores

working within an apparatus of thinking in order to get somewhere in a sustained way and not to drift into associations as fast as... -->
i can't finish the sentence until i can pay attention to what interrupts it. and if i syntactically require to come to the end of sentence, syntactically commits me to a position i don't hold. the technical requirement of clarity (and coherence--must learn how to do it). my storytelling is about how not to reach the end of sentence. (that Peter noted as suspension)

['thinking pushed into syntax’ --> my work lecture-performances are about a thinking excessing out of syntax. not all argumentation is made in syntax(= how a sentence must end), and turn it into a skill of nonsyntactical pragmatic language craft tradition, advocating the *exceedingly agential* world ~= there is al[...]

[...]n philosophies, is the modern tools the antidote to themselves? (this is too soon for me to say and understand this question.)

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

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

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

@Arianna, ‘cleaning agents,’ to toxicity? how can we learn to live with “toxic animacy”(Chen)? dirt: “consequences overwhelming their cause” (Latour)
-narratives about urgent necessity: that we need to understand more in order to cure, prevent, construct, excel, survive.
*afterlife toxicities (?)

@Lili: cycle of planets instead of heartbeat of a planet. tuning in the soup of planets, instead of getting the pulse of a singular planet. the nebulous milk way of liquid bodies, instead of rigid mass of individual blood--Pluto.

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

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

[...]e possitionality for good, that open for forms of consiounesses to experience thoughts which differ from itself. to think and entertain both particularities and generalities (of logic, ethics, politics, aesthetics, etc.) encounter can be both infinitly singular and general. that is a form of suggestive work that can deal with the specific as well. (think about ‘chicken’ 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[...]

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

(if i continue with digital tech in reading ajayeb i have to ask) how the digitized ajib knowledge can resist appropriation and translation into an idiom that will not sustain its metaphysics****
◦powerful relational work that numbers (also? = =/= --> => etc.) perform -> “numbers are a particularly smooth and manipulable meaning-making tools. they hide their seams well. they are slick and trustworthy” (Porter) --> they are “materialized relations” (how can we tell a story of relations that for example numbers/math materialize?)
◦highlighting parts of ajayeb: as part of a material reading practice --> “highlighting” could easily be understood as metaphor of disembodied vision; highlighting is not about making things clear but about scribbling (bad-khat بدخط) as a mode of attention =/= (Descartes’) “natural light of reason”


%report on fables of objects #workshop (22.02.2017 HWD apass): attention to the sense and feeling of disparity, dispersity, stability, sublimity, authority, epicness, weakness, severity, solidity, scale, (a)social connections, and tangibility in the character of the object of each participants in the stories we wrote. where were active and passive qualities located? how were agencies distributed?
•origin story --> evolution story, love story [the object falls in love with...]
•daily story
•beast feeding story --> training story
evoking temporality of evolutionary time, face-to-face time, historical time, tiny scale time,
 -each story has a music, texture of colors, pattern of meaning and affect
•bodyguard --> fantastic creature invented to protect an organism (your “object”). this bodyguard can be organ[...]

[...]ional constructions, setup for a specific myth and dismantled after. sometimes old rigs are reused or repurposed for new rigs.
-resist peaceful naturalization
-uncomfortable software
-building/creating technologies as one way to do ontological politics (in postcolonial context)
-my experiments with ajayeb:
 -(the danger in using) computer software to archive ajayeb's or ajib knowledge =/= lively collective memory tool
 -the software that is slick and seamless runs the risk of the digital media appear as *self-sufficient representations* (<--✕--> living context)
 -archived and frozen in time
-sorting operations

(if i continue with digital tech in reading ajayeb i have to ask) how the digitized ajib knowledge can resist appropriation and translation into an idiom that will not sustain its metaphysics****
◦powerful relational work that numbers (also? = =/= --> => etc.) perform -> “numbers are a particularly smooth and manipulable meaning-making tools. they hide their seams well. they are slick and trustworthy” (Porter) --> they are “materialized relations” (how can we tell a story of relations that for example numbers/math materialize?)
◦highlighting parts of ajayeb: as part of a material reading practice --> “highlighting” could easily be understood as metaphor of disembodied vision; highlighting is not about making things clear but about scribbling (bad-khat بدخط) as a mode of attention =/= (Descartes’) “natural light of reason”


%report on fables of objects #workshop (22.02.2017 HWD apass): attention to the sense and feeling of disparity, dispersity, stability, sublimity, authority, epicness, weakness, severity, solidity, scale, (a)social connections, and tangibility in the character of the object of each participants in the stories we wrote. where were active and passive qualities located? how were agencies distributed?
•origin story --> evolution story, love story [the object falls in love with...]
•daily story
•beast feeding story --> training story
evoking temporality of evolutionary time, face-to-face time, historical time, tiny scale time,
 -each story has a music, texture of colors, pattern of meaning and affect
•bodyguard --> fantastic creature invented to protect an organism (your “object”). this bodyguard can be organic, nonorganic, cyborg, any form, but always an agent. tell us why/how this or that feature helps the bodyguard with its task
•generation stories, describe and follow your object in three generations, its child and grandchild
•[for the second day or warm-up first day?] constraint based writing: (Kenney > Christian Bök's “literary genetics” poetics of encryption of data; poetic vectors, to “infect” the language;) describe/story your object (or an operative “verb” within your discourse) with univocalics: without using “e” or only using a single vow[...]

[...]topus]
•Kenney/Haraway's origin/nature fable --> the omnipotence of the “origin” story in our descriptions and interactions with the natural world
•Scott Gilbert's immunological “bouncer” story =/= immune systems as inclusive agents of symbiosis
•Lynn Margulis: life (made possible) by “combat” [the survival fable that TV series “The 100” and “Kelile Demne” for instance is based on] --✕--> life by networking
•Haraway: the tale of “organism = a system of division of labor with executive functions” (==> extraction of wealth among us)
•Morton's causality-story
•brain/body story --> where the “move” came from?
•Sina's “standing on the shoulders of giants” --> knowledge/continuity, role of authority and humility in science ----[http://www.sinaseifee.com/giants.html]
•Sina's 3 little pigs --> architecture/tech/ echics of encounter --> story of the center and periphery ----[http://www.sinaseifee.com/pigs.html]
•“weapon fathered man” --> Kubrick's african genesis, technology + prehistory (in postwar period) “tool ==> man”
•
fables popular in apass:
•“a work [of art] should speak for itself”
•“the very last stage of the creative process is purely intuitive” --> when people say they stop “reading” or “knowing” when they want to create artwork
•“look really hard inside yourself for what you really want”
•“you are an agent of change” that means art or thinking or being ought to be operative, active, transformative, (even destructive) and that is “political” [--> this fable in found in language; ---> go to Barthes’ fable of the woodcutter]
•




no need for “conflict” nor “hero”
(in the way we give feedback, relate, narrate, story, and tell eachother our matters of care and concern, and where we create zones of attachment; both in your “art work” and the mundane everyday of ‘getting on together’ --> interrupting one's own framework)

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

#workshop, on question, feedback method, to improve the questions we ask each other
-what are the questions (i could ask) that make you the most articulate?
-the question that asks what are the good questions that offer an interesting becoming for those to whom the question is addressed
-to ask: does this apparatus has stakes in docility or availability?
-more interesting questions ==enable==> more articulated answers ==> more articulated identities
-asking (questions) (is not about ‘you want to know,’) is about constructing interest ==> chance of interesting answers
-asking about the differential productions,  “=/=” or “=” or “==>” in each other practices. these assessments are propositional and poetic remarks, guessing the artificialities that we live with, not finding of matters of fact
◦asking about particularizations (تخصیص) and generalizations (تعمیم)

[...]

[...] on question, feedback method, to improve the questions we ask each other
-what are the questions (i could ask) that make you the most articulate?
-the question that asks what are the good questions that offer an interesting becoming for those to whom the question is addressed
-to ask: does this apparatus has stakes in docility or availability?
-more interesting questions ==enable==> more articulated answers ==> more articulated identities
-asking (questions) (is not about ‘you want to know,’) is about constructing interest ==> chance of interesting answers
-asking about the differential productions,  “=/=” or “=” or “==>” in each other practices. these assessments are propositional and poetic remarks, guessing the artificialities that we live with, not finding of matters of fact
◦asking about particularizations (تخصیص) and generalizations (تعمیم)

**literature begins, Blanchot writes, “at the moment when literature becomes a question”** (this is completely different than asking or question-marking in literature) [...] this question “is posed to language by language that has become literature” (the question that the meaning of the text asks is the question asked by literature; [of course at the moment of reading]) [then what is a text before becoming a question? complaining? revolution?]--%(negation wishes to realize itself.)

--> Rorty's critique of Descartes's way of asking questions

we have to be careful with our practice of questioning, because we often end up privileging a group of people by attributing it to “higher” levels cognition and of being “critically” in the world (=/= animal, nonpeople, other people with other ways of being in/with the apperceptive world that don't use the technology of questioning, as it is crafted historically and naturalized in the west for the univerasal method of ‘knowing more’)

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

#workshop, reading group
•reading as passionate betrayal. (hunting for precious empirical details, refigurative, reparative, poaching, reading can be a betrayal of textual authority and an act of survival)
•addressing /present* differences, not already pre-figured differences
•(condition of friendship, staying close to the text) staying close as a reader, as someone who could hold the text of the Other, receiving it in the withdrawal / Entzug  (drug rehabilitation)
•i am in no position of ‘understanding’ or being clear about the text
•(i understand now that) it is not up to me to tell you how to read
•what makes you write or scratch a text?
(aaaakh... our alphabetico-logical cultures...!)
•if everything is not fundamentally unreadable (snafu) we wouldn't be reading
•it is about to situate the place of a (un)learning
•throwing access to each other (not only in terms of transferential intensity #sss)
•which[...]

[...]ments are propositional and poetic remarks, guessing the artificialities that we live with, not finding of matters of fact
◦asking about particularizations (تخصیص) and generalizations (تعمیم)

**literature begins, Blanchot writes, “at the moment when literature becomes a question”** (this is completely different than asking or question-marking in literature) [...] this question “is posed to language by language that has become literature” (the question that the meaning of the text asks is the question asked by literature; [of course at the moment of reading]) [then what is a text before becoming a question? complaining? revolution?]--%(negation wishes to realize itself.)

--> Rorty's critique of Descartes's way of asking questions

we have to be careful with our practice of questioning, because we often end up privileging a group of people by attributing it to “higher” levels cognition and of being “critically” in the world (=/= animal, nonpeople, other people with other ways of being in/with the apperceptive world that don't use the technology of questioning, as it is crafted historically and naturalized in the west for the univerasal method of ‘knowing more’)

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

#workshop, reading group
•reading as passionate betrayal. (hunting for precious empirical details, refigurative, reparative, poaching, reading can be a betrayal of textual authority and an act of survival)
•addressing /present* differences, not already pre-figured differences
•(condition of friendship, staying close to the text) staying close as a reader, as someone who could hold the text of the Other, receiving it in the withdrawal / Entzug  (drug rehabilitation)
•i am in no position of ‘understanding’ or being clear about the text
•(i understand now that) it is not up to me to tell you how to read
•what makes you write or scratch a text?
(aaaakh... our alour alphabetico-logical cultures...!)
•if everything is not fundamentally unreadable (snafu) we wouldn't be reading
•it is about to situate the place of a (un)learning
•throwing access to each other (not only in terms of transferential intensity #sss)
•which appetites and tastes are required to fulfill the *ethics and erotics of curiosity* (that I am cultivating and depending on)? flourishing (of my ajayeb) depends on a reading that is more like “mutual partial digestion” (Katie King, Haraway) [=/= “eating well"] the text
•“every time i read X, something new shows up”

my practice of ‘rhetorical reading’ (=/= ‘close reading’; or more like close reading and letting go. “close” is itself a metaphor, a rhetoric of reading;) doesn't work with the idea that there is something ‘in’ the text per se (coded or encoded meaning or some sort of knowledge made and installed by an author), or that the writer wants to say something to the reader, [...]

[...]nsity #sss)
•which appetites and tastes are required to fulfill the *ethics and erotics of curiosity* (that I am cultivating and depending on)? flourishing (of my ajayeb) depends on a reading that is more like “mutual partial digestion” (Katie King, Haraway) [=/= “eating well"] the text
•“every time i read X, something new shows up”

my practice of ‘rhetorical reading’ (=/= ‘close reading’; or more like close reading and letting go. “close” is itself a metaphor, a rhetoric of reading;) doesn't work with the idea that there is something ‘in’ the text per se (coded or encoded meaning or some sort of knowledge made and installed by an author), or that the writer wants to say something to the reader, or that the text is symptomatic with meaning and that its intentions needs to be listened to. rather, in a post-Lacanian critique, i work the text like a pattern of language, an organization of space, text as word-sequencer. it is like looking at an image, still starting from top-left to bottom-right of the page, a process of highlighting or embodied attention that produces non-zero clusters of salient words that come to glow different than others. but the way they become highlighted is not due to some idea of significance of the text but because of my--the reader's--interests, past readings and educated meaning-associations. this mode of reading is not at all suggested to newbies in literature, sorry but this requres some degree of advancement in one's abilities and skills of writingreading, that means the reader already enjoys an ongoing well-articulated interest before coming to a particular sitting with a piece of writing, and this means the rhetorical reader's encounter with the text is highly situated and is not a blind date. in this case reading is a radical meaning-making practice full of adventures and preparations, drawings and graphs, diffractions and detours, connections and risks of (mis)understanding in certain ways. this ‘reading’ looks very much ‘writing’ alike.
-the reading becomes *rereading past writing*, re(past)ed(writ)ing, a reading that has writen itself in palimpsestic lines. in a Derridean sense: (one is equiped with the question) “what is writing itself (in this text)”?
-two speculative spheres meet in rhetorical reading: one of the text and one of the reader, but they have to ‘stick’ to one another, the stickiness of your reading matters in consequential ways. this is against the idea that we read and each understand personally whatever.
•my second issue with ‘close reading’: there is no correlation between the speed of reading and comprehension/apprehension

*reading practices*
ontology usually decides what reading is --> *book-binding is reading. editorial compositional reformating and remodeling of the space of the text is reading.

(Stewartian) reading that happens in the writing: you can't do any kind of exegesis of the reading تفسير, r[...]

[...]r />

(let me) fast forward to ‘nowhere’
chance-encounters in your/my efforts of ecriture (in San'an text)
(it is not possible to choreograph chance, we can only report our encounters with it)

like San'an, many of us are facing an anxiety of withdrawal from the world that claims us

i am interested in to-link to that which (suddenly) interupts my reveries


to sharpen my capacity for incapacitation


not being afraid to look into many archives of mistakes (ajayeb?)


‘will to scientific knowledge’



[Latour]

(certain) seperation is political :
when we are talking about (re)uniting curricula, linking fields in humanities we are talking about not bringing together two things that are separate, but actually interogating the distribution of power, a way a distributing agancies.

it is not a “common world” to discover, it is a common world to be produced. and the only way to produce it, is through the usual tools that we have in our disposal, which are comming from ‘representation.’

compose =/= discover/uncover

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

enterances in ajayeb work, already generating form:
*-fire (talking fire)
*-darkness (Zolmat)
*-jinn
*-veil (pardeh)--purity of veiled origin; hidden matrix of signification (on which theoretical work secretly depends?) [also reading the secularization and the lifting of the veil, prostitute paradigm, conceptions of love,]
*-wall(?)


“truth” is veild, according to middle east (truth <----> pardeh پرده)
begining with the Greeks’ notion of basanos, relating truth to torture, a strictly constellated confluence of acts equally troubling to Aristotle and Aristophanes.

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

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

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

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

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

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

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

my point in animals without narrative is that the apparatus that is working for Attar in his representati[...]

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

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

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



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


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


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

[Thomas Keenan]

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

rhetorical reading

who speaks, writes, and reads? not simply humans

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

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


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

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

[(the experience of) aporia =?=> morality, politics, responsibility =/= when the path is given]--> Germany is moving towards the removing of aporia [<-- a general panic popular in sci-fi]
(the very condition of possibility of) *responsibility*: a certain experience of the possibility of the impossible ~ aporia }==> the impossible invention --> *responsibility must be an invention*
[-Germany's notion of law: like any idea of law, are not by themselves motivators for morality or immorality, it is really upon (human) culture to do that.]


fable ==> possibility of another kind of reading --> exposure to someth[...]

[...]of the other inside us?”

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


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

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

[(the experience of) aporia =?=> morality, politics, responsibility =/= when the path is given]--> Germany is moving towards the removing of aporia [<-- a general panic popular in sci-fi]
(the very condition of possibility of) *responsibility*: a certain experience of the possibility of the impossible ~ aporia }==> the impossible invention --> *responsibility must be an invention*
[-Germany's notion of law: like any idea of law, are not by themselves motivators for morality or immorality, it is really upon (human) culture to do that.]


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


politics of difficulty

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

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


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

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

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

...practical effectivity of literature


•(for Annabel Patterson:) fable accomplishes a speculative Aufhebung : “[...]the role of metaphor is to mediate between human consciousness and human survival, [and here] the mind recognizes rock bottom, the irreducibly material, by rejoining the animals, one of whom is the human body”
•(for Louis Marin:) fable: uncertain model of praxis
•(for Hegel: Aesop was a “misshapen humpbacked slave” and his) fable = witty, witzig =/= spirit, depth, insight, vision, poetry, philosophy
•(for Lacoue-Labarthe:) fable: a name for the mutua[...]

[...]s the disfigured Phrygian Aesop (recently granted the power of speech after assisting a priestess of Isis and hence become too difficult for his previous master to handle). Their first exchange is exemplary, as the philosopher interrogates the slave in order to determine whether “he knows anything,” receives equivocal replies, and finishes by asking, “Do you want me to buy you?”
(Life of Aesop)


thinking fable as language : ‘Fabula’ (narration or account), derived as it is from the Latin root ‘fari’ (to speak) and linked to the Greek ‘phanai’ (to speak or to say), finally implies nothing other than language as such

Mythos and logos, the one is not more true (or more false, deceptive, fictive, etc.) than the other


(to open to the) alterity of an ungoverned figuration


hero: the adventure of an identification that can only occur in the comparison that a fable demands

Horace's dictum: “with a change of names, the fable is told about you” (a trans-subjective movement, a tropological system =/= metaphor or metonymy, )


(for Nietzsche) responsibility: the ability to make and keep one's promises = being (able to be) held accountable (not simply by another but) already in advance by and for oneself : to answer to oneself in the place of the other
•Nietzsche's fable of morality: lamb & bird of prey (“eagle is evil ==> lambs are good”)--> [the fable enacts the victory:] the lambs triumph in gaining the ability (and then the right) to hold the birds of prey responsible for doing what they do, for being what they are --claim--> the strong man is fee to be weak, the bird of prey free to be a lamb ==gain==> the right to make the bird of prey accountable for being a bird of prey
◦morality: a fabulous narrative about language and how it gets turned (with animals playing its roles) into an ethical and epistemological system --> the medium of the exploitation (*putting to use or the abuse of a linguistic possibility*)
◦the interpretation or institution of the birds as subjeets (choosing, willing
agents) depends on a fiction, a fable: the doer is merely a fiction added to the deed
==Nietzsche==>
•*responsibility: an exploitation of a verbal possibility*
•*fable: turning the merely grammatical subject into the fiction of the acting* <== zoomorphism (=/= anthropomorphism)


fable of the eagle and the raven
the story of the raven that, having once watched with envy as an eagle snatched a lamb from the flock and carried it off, later attempts a similar feat. But a raven is not an eagle, and his claws get stuck in the fleece of a wether (not a lamb): his prey becomes his trap. He is captured by the shepherd, his wings are broken and taken from him, and he is given to the shepherd's children as a plaything
•identity check
•the bird begins the fable with[...]

[...]e of the eagle and the raven
the story of the raven that, having once watched with envy as an eagle snatched a lamb from the flock and carried it off, later attempts a similar feat. But a raven is not an eagle, and his claws get stuck in the fleece of a wether (not a lamb): his prey becomes his trap. He is captured by the shepherd, his wings are broken and taken from him, and he is given to the shepherd's children as a plaything
•identity check
•the bird begins the fable without (knowing) its name
•establishment of the raven as an (ir)responsible agent, one that can be called to respond for itself <-- an “I” has a name and a choice about its action, because it could have done otherwise
•raven's errancy consists precisely in wandering away from its name <-- in the past =/= now (now I know well that i am a rauen) we can act responsibly
•act in accord with the fate prescribed for you by your name --> restore the proper name ==> establishment of the responsible agent
•critical system of “error --> correction --> I = name” ==fix==> the link between the order of cognition (whether false supposition or true knowledge) & that of action (take a lamb / as
the eagle did)
•don't compare yourself with what you are not --> reader is you are asked to compare yourself with the raven (follow its example)
}--> fable of responsibility = a story about language and its danger (raven may be like an eagle, but it is not an eagle) --> “know your name + do what it say” --> *responsibility: the response to the name by which one is called* --> the idea that *supposing & knowing* belong to one and the same homogeneous system*

(the art of) supposition: disguise, false knowledge (guess, surmise, premise)
--or--> ungovernable and unrecoverable force of *positing* (position or imposition)

(generation of the pure name in fable of the eagle and the raven:)
non-symmetrical movement from nameless bird --to--> birdless name (a wingless not-eagle)


why fables are important? <-- others and their traces are always working within us already, in a space and time that cannot be reduced to that of consciousness (or self-presence)
•profound linguistic or rhetorical complexity of the call and response

the raven resounds (it does not just start talking) <-- it starts with the others: eagle, wether, shepherd

Lacoue­ Labarthe --> identification (the self-becoming of the Self) has always been thought as a matter of examples (+ their appropriation) --raven--> (paradoxical impera­tive) “imitate me in order to be what you are”

wolf in sheep's clothing (Aesop's “A Case of Mistaken Identity”)
a wolf thought that by disguising himself he could get plenty to eat. Putting on a sheep­ skin to trick the shepherd, he joined the flock at grass without being discovered. At nightfall the shepherd shut him with[...]

[...]esponsibly
•act in accord with the fate prescribed for you by your name --> restore the proper name ==> establishment of the responsible agent
•critical system of “error --> correction --> I = name” ==fix==> the link between the order of cognition (whether false supposition or true knowledge) & that of action (take a lamb / as
the eagle did)
•don't compare yourself with what you are not --> reader is you are asked to compare yourself with the raven (follow its example)
}--> fable of responsibility = a story about language and its danger (raven may be like an eagle, but it is not an eagle) --> “know your name + do what it say” --> *responsibility: the response to the name by which one is called* --> the idea that *supposing & knowing* belong to one and the same homogeneous system*

(the art of) supposition: disguise, false knowledge (guess, surmise, premise)
--or--> ungovernable and unrecoverable force of *positing* (position or imposition)

(generation of the pure name in fable of the eagle and the raven:)
non-symmetrical movement from nameless bird --to--> birdless name (a wingless not-eagle)


why fables are important? <-- others and their traces are always working within us already, in a space and time that cannot be reduced to that of consciousness (or self-presence)
•profound linguistic or rhetorical complexity of the call and response

the raven resounds (it does not just start talking) <-- it starts with the others: eagle, wether, shepherd

Lacoue­ Labarthe --> identification (the self-becoming of the Self) has always been thought as a matter of examples (+ their appropriation) --raven--> (paradoxical impera­tive) “imitate me in order to be what you are”

wolf in sheep's clothing (Aesop's “A Case of Mistaken Identity”)
a wolf thought that by disguising himself he could get plenty to eat. Putting on a sheep­ skin to trick the shepherd, he joined the flock at grass without being discovered. At nightfall the shepherd shut him with the sheep in the fold and made fast all round by blocking the entrance. Then, feeling hungry, he picked up his knife and slaughtered an animal for his supper. It happened to be the wolf.
-->  a character that does not belong to one can involve one in serious trouble



[*]fable: (name of the) *literary thing* that aime to *teach responsibility* --Keenan-->  self-understanding of the free subject (<--fable--we are exposed to something in language that troubles the possibility of that understanding)

[in my lecture performances with] fable [I aim to] offer an allegory-of unreading, of reading without limits and without guarantees --> freedom

governmental concepts:
•subject
•agency
•will
•choice
•freedom
•rights
}--deconstruction-->  limitation o[...]

[...]l and response

the raven resounds (it does not just start talking) <-- it starts with the others: eagle, wether, shepherd

Lacoue­ Labarthe --> identification (the self-becoming of the Self) has always been thought as a matter of examples (+ their appropriation) --raven--> (paradoxical impera­tive) “imitate me in order to be what you are”

wolf in sheep's clothing (Aesop's “A Case of Mistaken Identity”)
a wolf thought that by disguising himself he could get plenty to eat. Putting on a sheep­ skin to trick the shepherd, he joined the flock at grass without being discovered. At nightfall the shepherd shut him with the sheep in the fold and made fast all round by blocking the entrance. Then, feeling hungry, he picked up his knife and slaughtered an animal for his supper. It happened to be the wolf.
-->  a character that does not belong to one can involve one in serious trouble



[*]fable: (name of the) *literary thing* that aime to *teach responsibility* --Keenan-->  self-understanding of the free subject (<--fable--we are exposed to something in language that troubles the possibility of that understanding)

[in my lecture performances with] fable [I aim to] offer an allegory-of unreading, of reading without limits and without guarantees --> freedom

governmental concepts:
•subject
•agency
•will
•choice
•freedom
•rights
}--deconstruction-->  limitation of ethico-political responsibilities

for Keenan: **question of respon­sibility = question of freedom**

the free community of rational beings cannot simply be (regulatively) invoked

calculable & programmable law

responsibility: (names the predicament in which) *coincide the necessity/inevitability of action & the failure of law*

•politics (and ethics) --name--> the urgency and necessity of a response
•responsibility (and freedom) --name--> the impossibility of response with guarantee

      ethical =/= actual
         |           |
impossibility =/=  totality of what is

***impossible =/= not-possible***
--Derrida--> the impossible occurs at every moment (that belong to the effort of reading)

“have we not acquired the right to say everything?” (Sade)

who reads, and how, a text addressed to no one?
what status does it have?


[Lode Lauwaert]
for Blanchot Sade (libertine aristocrat novelist) was the writer par excellence
we should think about Sade in explicitly revolutionary terms [Sade's work ~= Robespierre's Reign of Terror]
•Sade's ideal of society is a reactive reality (it takes form specifically in reaction to something external) --> undertaken endlessly efforts against modes of social organization that are based on an stab[...]

[...]f-understanding of the free subject (<--fable--we are exposed to something in language that troubles the possibility of that understanding)

[in my lecture performances with] fable [I aim to] offer an allegory-of unreading, of reading without limits and without guarantees --> freedom

governmental concepts:
•subject
•agency
•will
•choice
•freedom
•rights
}--deconstruction-->  limitation of ethico-political responsibilities

for Keenan: **question of respon­sibility = question of freedom**

the free community of rational beings cannot simply be (regulatively) invoked

calculable & programmable law

responsibility: (names the predicament in which) *coincide the necessity/inevitability of action & the failure of law*

•politics (and ethics) --name--> the urgency and necessity of a response
•responsibility (and freedom) --name--> the impossibility of response with guarantee

      ethical =/= actual
         |           |
impossibility =/=  totality of what is

***impossible =/= not-possible***
--Derrida--> the impossible occurs at every moment (that belong to the effort of reading)

“have we not acquired the right to say everything?” (Sade)

who reads, and how, a text addressed to no one?
what status does it have?


[Lode Lauwaert]
for Blanchot Sade (libertine aristocrat novelist) was the writer par excellence
we should think about Sade in explicitly revolutionary terms [Sade's work ~= Robespierre's Reign of Terror]
•Sade's ideal of society is a reactive reality (it takes form specifically in reaction to something external) --> undertaken endlessly efforts against modes of social organization that are based on an stable internal point of reference
in Sade:
1. selfishness has an ontological (not a moral) meaning : ‘the essence of man = negation of the value of the other's existence’ (+ a destruction of the positive meaning other people have in normal life) =/= being-for-the-other
2. characters with theocentric universe (who deliver extended theological discussions)
3. blasphemous passages (negation of God's existence) --> Sade’s specific philosophy of nature (reference to nature is enough for a proper understanding of reality)
4. *every type of destruction always ultimately serves nature* --> nature (by virtue of her desire for optimum production) is forced to destroy her products continuously [--then--> how to annihilates nature?] --(essence of Sade's world)--> **radical negation**

each individual negation involves affirmation (of the other, humanity, God, nature) --Blanchot--> (Sade's oeuvre =) a movement of radical negation that is nothing but its *negative power* (it never affirms something)

Sade = [...]

[...]m not contaminated by a particular creation --> Reign of Terror = (a horrible state of) “between” the overthrow of the old & the establishment of the new regime
(~~> contemporary Iran's political state's endless resistance)
•endless resistance =/= enduring constitution (~= institution)
•negation =/= affirmation

Sade's three different forms of inconvenience:
1. cruel tableaux vivants --> emotional inconvenience
2. contradictory unreasonableness (for example “religion should be abolished  ==> a republican man to be a good husband and father” + “family should be destroyed, all women belong to all men”) --> intellectual inconvenience
3. (grotesque goal of) Sade aims at describing the whole of reality (seeking to say the last word about reality, *to say everything*) --Blanchot--> *the fury of writing* or *the revolt of writing* (Sade = abundant prolific excessive writer, *writing in an exuberant way* [while in prison for 32 years]) --> anesthetic inconvenience

Blanchot's Sade = ideal writer
•we should not understand Sade's oeuvre in an intellectual way (there is no message or insight)
◦disappearance of meaning in the materiality of language -->{death of content ==Saussure==> ‘the signifier'}--> reading Sade = accessing the rough meaningless materiality of language itself
•we should not understood Sade's content as a reflection of an authentic self (un moi profond) --> Sade as a person disappears into the background
◦we should not understood his writing as an instrument he uses to express content --> ‘language = an independent reality’ (=/= Sade as a master of language)

(Hegel and) Sartre --> literary works must be engaged and should express the author's involvement with reality
(for Sartre:) writer: someone who thinks about the
current course of the world and who wants to change the world with his literature
--> “language = a loaded gun” (literature should be understood by reference to the message)
=/= Alain Robbe-Grillet, Jean Ricardou, Eugène Ionesco
=/= Sade > Blanchot: writing need to bring the reader in touchwith the materiality and the autonomy of language


we never read just once

logos: the word that names and relates properly --> great truths are told in the light of day and discourse

Sade --Blanchot--> search of a new lucidity (pursued by clear assured decisive aifrma­tiom =/= interrogatory mode)

xxxxxxxx

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

[D+G]

the intersection of concrete forms ==> abstract figure
[bringing objects close to each other produces story*]

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

my engagement with other apass participants, a form of critique as part of an ‘ecology of practice’ (Stengers)
-what are the questions (i could ask) that make you the most articulate?[...]

[...]ing* (Sade = abundant prolific excessive writer, *writing in an exuberant way* [while in prison for 32 years]) --> anesthetic inconvenience

Blanchot's Sade = ideal writer
•we should not understand Sade's oeuvre in an intellectual way (there is no message or insight)
◦disappearance of meaning in the materiality of language -->{death of content ==Saussure==> ‘the signifier'}--> reading Sade = accessing the rough meaningless materiality of language itself
•we should not understood Sade's content as a reflection of an authentic self (un moi profond) --> Sade as a person disappears into the background
◦we should not understood his writing as an instrument he uses to express content --> ‘language = an independent reality’ (=/= Sade as a master of language)

(Hegel and) Sartre --> literary works must be engaged and should express the author's involvement with reality
(for Sartre:) writer: someone who thinks about the
current course of the world and who wants to change the world with his literature
--> “language = a loaded gun” (literature should be understood by reference to the message)
=/= Alain Robbe-Grillet, Jean Ricardou, Eugène Ionesco
=/= Sade > Blanchot: writing need to bring the reader in touchwith the materiality and the autonomy of language


we never read just once

logos: the word that names and relates properly --> great truths are told in the light of day and discourse

Sade --Blanchot--> search of a new lucidity (pursued by clear assured decisive aifrma­tiom =/= interrogatory mode)

xxxxxxxx

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

[D+G]

the intersection of concrete forms ==> abstract figure
[bringing objects close to each other produces story*]

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

my engagement with other apass participants, a form of critique as part of an ‘ecology of practice’ (Stengers)
-what are the questions (i could ask) that make you the most articulate?
-to feel what questions, passions, modes of attention animate one another
-to find yourself moved by their concerns
-what we articulate with our bodies? --> what do our gestures mean?
-what do they activate? ----> they don't always enact a precise language --(rather)--> gestures as organs for feeding, feeling, and grasping***
-(sensing) the trajectories, moods, and intensities the other apass participants get caught up in, attached to, inhabit, to catch you in your acts,
(why knowing together?) **worlds come together through collective action and how they attract, repel, enroll, animate, and incite (tahrik تحریک, eghva اغوا) us. [...] worlds are “lived [compositions] with tempos, sensory knowledge, orientations, transmutations, habits, rogue force fields.” (Stewart)
-(engaging) in a form of critique that detour into descr[...]

[...] that, if they are resolved properly, please us and re-constitute us” (Peran)
*freedom of action for self-realization* --> unstoppable egocentric machine
space of perpetual connection (@ERG's website)
(pseudo) communicative action by way of technological devices --> camouflaged alienation
“The promise of self-realization and the demand for visibility organize the mobilization of desire, turning it into work.”



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



i want to *give connections*

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

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



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



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

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

#on Situated Knowledges
-approach the text by creating intensity and my own partial perspective
-the elephant parable (against it)
-objectivity (disembodied view from nowhere)
-neutrality (biologically insane)
-marked people (my own story)
-situatedness of the situated
-The cyborg is a figure in which situatedness makes possible adventures with the beyond.
-globalization-as-situatedness: global is precisely space/place/time/situation
-the figure of the so-called scientist gathered around certain metaphors since the begining of the 17th cebtury, namely ‘objectivity’ and all its related adjectives: neutrality, perspective, universality, disembodiment (for certain race and sex), etc.
-metaphors create perspectives [the view that looks at blind men looking at the elephant]
-situatedness is different than ‘positionality’: a way of systematic error correction
-(resolving) specificity of vision --> scientific objectivity (is achievable)
-Haraway expresses her informed dissatisfaction with (the metaphysical substrate that supports) ‘social constrctivism’ and ‘traditional realism’ --> representationalist belief in the power of the words to mirror preexisting phenomena. they both believe that scientific knowledge (in its representational formats: theoretical concepts, graphs, particle tracks, photographic images, etc.) mediates our access to the material world, whether it represents “nature” or “objects” of science both groups are subscribed to representationali[...]

[...]e from *optics* [a politics of positioning, in Situated Knowledges] to *diffraction* [an optical metaphor for the effort to make a difference in the world, in Modest_Witness]


Katie King: “apparatus of literary production”: a matrix from which “literature” is born.
...the “facticity” of biological discourse that is absent from literary discourse and its knowledge claims. ----> Are biological bodies “produced” or “generated” in the same strong sense as poems? (biological body ~= poem)
“material-semiotic actor”: the object of knowledge as an active, meaning-generating part of apparatus of bodily production

bodies as objects of knowledge are material-semiotic generative nodes.
“objects” do not preexist as such --> Their boundaries materialize in social interaction. Boundaries are drawn by mapping practices.


world =/= mother/matter/mutter
world ~= coyote (a figure of the always problematic, always potent tie between meaning and bodies. world as coding trickster.)

(feminism) movement rooted in specification and articulation (of [different kinds of] ‘elsewhere’) =/= (assumption of the right or ability to) identities and representation (of identities)


#workshop reading SK (for apass)
Which version of “realism” are you talking about? Recollecting truth and objectivity are activated whenever a ‘point of view’ is produced among other metaphors that we use in our practice and thinking in techno-scientific societies. In this group reading session we are going to study one of the most stubborn and pervasive phantasms in art and sciences, the figure of objectivity, with the Donna Haraway's 1988 essay ‘Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective’. This reading focuses on politics and epistemologies of location, positioning, and situating in our power-sensitive conversations, and what does it mean to become accountable and responsible for one's own noninnocent translations. We begin with her essay on the 2nd of February and talk about each of our practices in particular continuing on the 9th.


she wants to re-figure, not disavow, objectivity

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

technophilia is narcissistic : the notion that man invented himself and that man is involved in some kind of narrative of technological escalation whereby the objectification of human intentionality in the world has finally surpassed itself, and man has achieved self-objectification in a machine that will finally name him obsolescence as he is and destroy him in a technological apocalypse figured by the computer. (Haraway) [we need better dog stories =/= (Iron Man:) man, made in the image of a vanished god, takes on superpowers in his secular-sacred ascent, only to end tragic]
“...man making himself[...]

[...] you want. this subject is functionally established. one of the laws of our encounter is that puts the speaker/writer/analyst/text/etc in the (even architectural) center: the subject-supposed-to-know in Lacan the analyst who sits there as a tower of knowledge that mostly withholds what s/he knows --> transferencial energy directed towards him/her --> drama of identification (--> break-out of narcissism for Freud)
-it is one of the (negative?) binding transferential contracts in relation to “the one who speaks”
[*anthropology of exchange* --> Transference: (for Lacan) Each time a man speaks to another in an authentic and full manner, there is, in the true sense, transference, symbolic transference--something which takes place which changes the nature of the two beings present. Later Lacan articulates the transference in sujet supposé savoir: transference is the attribution of knowledge to the Other, the supposition that the Other is a subject who knows. “As soon as the subject who is supposed to know exists *somewhere* ... there is transference.” (Seminar II, p. 232)] [keep in mind that the (post?-)Lacanian theory is about the *constitutive function of the signifier in relation to the subject.* ... for Lacan, What constitutes the person and its identity can now be read as a text, and the author is not the subject, but the trajectory of the signifiers that represent the desire of those who occupy the place of the Other for the subject.]
[about demand: Lacan argues that “demand constitutes the Other as already possessing the ‘privilege’ of satisfying needs,” and that indeed the child's biological needs are themselves altered by “the condition that is imposed on him by the existence of the discourse, to make his need pass through the defiles of the signifier.” ... The subject has never done anything other than demand (since infancy!)] *{question =/= demand}*--> Nancy
[the use of ‘transference’ is a way to account for the relationship between readers and texts. the emphasis in Lacan is on the ‘supposed’ and not on the ‘know’. reader assume that the text ‘knows’. --> What Lacan's understanding of the transference points to is the fact that we must see the meaning of any given text not within the text itself but as a reconstruction between reader and text.] [in other words, transference is ‘a representation of the past’ (childhood and etc.) to the present ]
a pedagogical problem: rapid transferencial turn-over: going from one subject-supposed-to-know to the other (=/= reading)
#the kind of ‘reading’ [encountering a text, artwork, speech, ourselves, etc.] that i am talking about is not about this transferencial energy directed towards the sujet supposé savoir. this practice of reading is about to read together and to read ourselves reading, to an atentiveness to the way we are reading or not-reading or aberating from something and be attentive to that disjunctive movement. what is noncomprehension? what is the exp[...]

[...]hey have in themselves, that initiates the teaching and learning process rather than the art knowledge actually possessed by the teacher” (Hetrick). (is it the architectural gesture--the center--that produces the recognition of the teacher situated as “teacher”?) *“the spell of transference.” / at some point some gesture is taken by the student as a sign of hidden knowledge and intention ==> transference establishing itself; (how education [and love?] without transference looks like? --> Julia Scher, ‘post-Lacanian’ means that you don't ‘transfer’ to the art-work nor artist?) #harem
parent --> teacher }==> what the student may desire to become (be recognized as)

according to Lacan there is no Pir (~ [often iconoclast] leader, guide, mentor, expert, knowing-hero, enlightener, rescuer knowing more, knowledgeable pedagogue/leader “helping students find themselves,” [--> my failed transference with Saeed])

-->? Discourse of the University* : (systematic) “knowledge” replaces the nonsensical master signifier in the dominant commanding position; in this case the sujet supposé savoir dependent upon the related knowledge of the Other, or the source of “the field” (journals, textbooks, etc.) ==> (arbiter of) truth --> *to transmit knowledge that is already given*
[account of knowledge as a symbolic and social network, master signifier, subject positions,]

in placing the ‘text’ in the position of a knowing expert who has the answers Lili (unconsciously) idealizes her texts, and of course when her ‘texts’ fail to satisfy that desire she demands ‘knowing’ from them in terms of cynicism: the feeling or state of being annoyed and irritated by them. this is a structural space of ‘demand’ in her. for me what is at stake is the complex nature of encounter between Lili and text which takes place in an artificial space--a symbolic space--that is at the same time the place of real investments of her desires.

@Lili; is she (like the rest of us humans) looking for an active, predatory art?--> if non-communicative non-predatory non-kinetic [a common issue with the students of choreography and dance in general] art exists on this planet, then we kave to learn “a whole new set of techniques.” [La Guin])
--the meter of ‘time,’ that essential element, matrix and measure of all kown human-animal art. what if there are other metric systems? art not as an action, but a reaction? not a communication, but a reception? {---> go to my master studies Diploma on passivity in performance art}

registers of ‘complaining’ in Lili's discourse. she is a bit like Faust groaning, habe nun akhhhhh Philosophie and so on. [Ach of Sprache] (that they have done all the work, they know everything, yet know not enough of what really counts [that is the incalculable] and cannot be satisfied by mere knowledge available to them. nor can they keep themselves to the restricted zone of knowability.) so Lili say[...]

[...]Aufgabe, it means it is impossible, we take it on as a kind of ethical, political obligation, but in the word Aufgabe is also ‘Gabe’ meaning ‘gift’ in German, it is gift and giving-up. [Derrida beautifully asks to negotiate endlessly with the ‘given,’ even if the Gift that is given is poisonous.] -->{ we can see how operate but also how they contaminate (and leak into each other.) we might have a sense of three of them}
-ontology of “struggling” a way out of Aporia [denotes, in philosophy, a philosophical puzzle or state of puzzlement] --> we can't! --> we must try to work to locate modalities of stagnancy (rokud) without necessarily seeing the Exit. how do we live with these catastrophic markers that mark us?
-Paleonymics: a certain operation according to which one continues to put old words to work. The use of a pre-existing word in a new context. -- we are stuck with old pomping meanings.
--(Stengers) connecting materialism with struggle --> (in apass) we are descendants of this trope

for Luiza, the meaning of ‘infold’? instead of ‘unravel’? --> interface*
(i want to point out the ‘synthesis’ in her work rather than the ‘analysis’ implied in the term ‘unravel’)



Lacoue-Labarthe made Heidegger possible to read for Avital
(and that is what Avital does, make a lot of things possible to read for me)

(to incorporate a) *rigorous hesitation* (=/= Leo's “slowness”)
going step by step in the confrontation (essential to the unfolding of thought)
**not turning ‘weakness’ (or metaphorical weariness) into a (compelling) paraconcept [<-- Levinas does it]
-taking on the the big topoi of the day like a warrior
courage --comes--> from the *abyss of needling fearfulness*
*German romantics invented the always-with-community, a living-with, a Mitsein practice of living life philosophically (full of moments of restricted solitude, pressure zones, etc.)
(office of friendship...) i am friend in a Freudian ambivalence, that means i undermine the friend, try to trap him and catch him off guard
-if you are so calm, then i will try to bring you over to my side of the barricade of obsessional neurotic (a condition in which the mind is intruded upon against her will by images, ideas, or words. consciousness remains lucid and power to reason remains intact ==> temporarily deprivation of individual of freedom of thought and action [<== intrapsychic conflict of sexual origin that mobilizes and blocks all flows of energy (in the case neurotic a source of pleasure to the child =/= hysteric)])
-when we write do we need to demonstrate a far-ranging grasp of the political consequences of every possible metaphysical move?
...prime mover or suspects such as Plato, Heidegger, Derrida
*acceleration: that we are result-oriented, business-oriented, under the gun of gains, and subject to the push towards scientific objectificat[...]

[...]complaints about the insufficiencies of being.)} --> is complaint parasitized by calls for retribution?
Klage (complaint) --to--> Anklage (accusation)
*complaint remains a repetitive fixation that feeds rather than exhausting its course (/Avital, aw9Cv_wQ4CQ) -- it does not finish itself off, or move up the ladder of transformation [important for Sana], actually increases pain --> so, (according to the analyst:) complain is jacking up one's suffering (the Analytiker can't take it anymore)
Avital > Kittler: the Ach of Sprache, (in our historical language usage:) literature or language as complaint. sigh in literature (also pointed out by Lili)
--the modern techo-monster Faust opens with the complain
**what is then a proper address?
...the wish for more

-do machines complaint or lament?

@Luiza; (one of sub-phenomenon of utterance) *blush* registers a complaint(?)
(--> to be noted that certain white skin-colors considered racistly “capable” of displaying moral anxiety.)
-a level of affect and meaning that remains at the loss of words, between shame and excitement, confession and disavow. blush speaks for her at moment when she cannot stand up for herself?
-or it betrays her with a sudden spread of skin-mapping releasing a secret or indexing a moral blemish (lakedar لکه دار), a pigmentation... (how to read it?)
-blush manages to register a complaint and it signs off [concludes] at an unspoken accusation...
-blossoming of senses, cultural significance, who is capable of blushing? --> (decency's) *outrage* (--> libidinally charged, prompting a political arousal --> still a vitality stirs in the complaint--*the complaint can bring movement*) [Luiza's climate of resistance and her integrated modality of ‘struggle'] --> **inner life of morality**
-flush?

[complaint,] is it issued from a place of impotence or does it have the potential to move mountains? (Avital--Sina's emergency supply of meaning)
can it arrive at any destination whatsoever?
‘complain’ and ‘explain’ relationships
(laughter as a form of complaining)
‘complain’ and ‘politeness’ relationships
what complaint has to do with our anger-management programs?

complaint ~/= lament (complaint won't shut up but lament desires its ending)
lament is fined to mourning and loss ~/= complaint (resisting a fixed relation to loss) seems unable to mourn
*complaint cannot mourn. [complaint as a form of mourning-disorder]
(is mourning busy with ‘continuity in life’? a world that is not made of connections: zendegi bi/ba tadavom زندگی‌ بی/با تداوم, jahani ke be ham mortabet nist جهانی‌ که به هم مرتبط نیست)

is any critique not a complaint? not throwing something in the field of complaint? (--> Luiza, Lili; certain forms of protest dominates their utterances)[...]

[...] with a sneer (artwork as puzkhand پوزخند --> @Ali )
[**“sneer” is a contemptuous or mocking smile, remark, or tone, coming from a family of sarcastic tropes of complaint and ironizated complaining]
-their art-work finds and flourishes in a terrain of terror. in their nonspeculative work there is no “but, what if” or “but, not yet” and therefore no ‘becomings’
-for Hito and Rabih: zeitgenössisch (contemporary) = grausam (atrocious)
-they dichotomize (fact/fiction, real/unreal, etc.), rather than allowing a novel and interesting question to be raised
-what is the state of unknown in one's practice? rather than being a news agency




[negativity?]--> your bad feelings --> غر ghor complaint --(turn it into)--> critique --(start doing)--> research --(get)--> diploma --(turn it into)--> phd --(make your)--> department of studies --(into)--> craft tradition
[you don't have to start with negativity!]
[you don't need to end in your own myth tradition!]

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

@Anouk (@her “breathing archive”): (Lev Manovich's) relationship between ‘interface’ and ‘database,’ ‘perceptable’ to ‘information’. [Database as Symbolic Form: http://courses.ischool.berkeley.edu/i290-1/s04/readings/manovich_database.pdf]
what is for Anouk ‘information’? and what is for her the relationship between information, knowledge, interface, and perceptable?
for her what is the relationship between ‘information’ and ‘infinite’? (infinite as the universe of all possible images)

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

*Pierre's ‘rights of nerves’ --> “talking to everybody”
[rights of nerves: you are promted to do what you do out of disgust, outrage, fear, or driven by anxiety, you don't know why, you are compelled towards an object or project or thing or unthing]


*Seba: for him “narrative =/= complex” (the question of “complexity's situatedness”) for him: “multiple perspectives ==> coherency (=/= bi-rabt بی‌ ربط, na-ham-dusti ناهمدوستی ?)” (is his idea of “coherency” leads to ‘friendship’? is for Seba ‘amity’ [ravabet-e hasane روابط حسنه] at stake? )
Seba's epistemological object(?): ‘evidence’ (=/?=>! cordial dispositions)

(complexity is the name of our game. Haraway)

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

my current work and interest involves the investigation of individualized subject formation (tajarode nafs تجرد نفس ?); interrogating the production of language; and tracing the divisible distinguishing limits between categories of human, animal, and monstrous.
#subjects of interest: The translator, language, the sublime, animals/animality, technicity/mechanicity, the divine/sacred,

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

the myth of Poros, Penia, and Eros for Aela:
(in Plato's Symposium;) Penia, the “child of poverty,” decides to forcefully im[...]

[...]d Terror

(‘The Magicians’:) magic: instrumentalizing the logos
knowledge is literal --> magic spells are literal {the result of magic spell is predetermined}. in this case, the magic is both an instrument of power and renunciation of knowledge
(Heideggerian) techne of the Western project is an instrumentality that takes over, arrests, or enframes what it desires to manipulate or contain. (Christian Hubert's notes)
=/= poiesis, a bringing-forth (in Heidegger: blooming of the blossom) (also Greek)

“[(for the techno-monster-magicians) everything is] code to be cracked”

a kind of fantasies that Don Ihde calls techno-fantasy, which have been part of the transhumanism since 19th century

the toxic distinction between techne from episteme (since Homer). ‘The Magician’ suggests magic as a technology or tool apart from its context of involvements and referentialities : a hermeneutic or alterity relation =/= (Heidegger:) the tool is an embodiment relation
(one of the characters even states that humans without magic invented computers as replacement)

‘The Magician’ dismisses the generation of knowledge in the praxis of tool-use. science/magic is pragmatic relation of equipment or tools as ready-to-hand. the ideology 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). <br /> -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 [...]

[...]ic) narcissism =/=? fossilization (~->? mimesis)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

hupersexuality
...those who are undersexed

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

%note on Alice's workshop:
how th[...]

[...]-how to create intersubjective ambience/ambivalence --> regulated relations between one person and another }--these are--> cultivated plots
how can i, starting with apass, learn to create theaters of a subtle sociability (in which beings with different forms of language and physical aspect are ontologically indistinguishable)?

the category of “persons”: variations in the modes of communication that are made possible by an apprehension of perceived qualities that are unequally distributed

whose dialects are mutually intelligible?

human narcissism : that if a being possess a soul is only then capable of recognizing humans
---then let's give everyone souls!

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

(Massumi > Deleuze's) critique ~= modulation --> actively modulated from within the situation, immanent to it {
-augmenting* (taking a certain tendency to the limit)
-diverting* (deflecting it into a different tendency)
-transmutational* (interacting with other tendencies in a way that invents a whole new direction as a kind of surplus value of interaction)
-or, it can lead to a clash that stops the process

asking people “to be true to what they represent” ==> having them “encapsulated in already arrived-at opinion and judgment” ==> blockage

war of “disqualification” ~ Stengersian non-event
being (represented and) legitimated in proxy war

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

@Zoumana; “decadent gardener” that connot keep distinction between kin and pest, nature and culture
what is a garden full of indirections, snakes?

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

#my trope-findings, (bilingual nonsystematic comparative thinking for storytelling) (work with Avital?):
•پیر Pir / sujet supposé savoir (--✕-->? پیر فلک Pir-e falak in Hafez)
•غر Ghor / complaint (--> shekayat شکایت, and then, khamush خموش in Hafez)
•تعارف Tarof / greeting
•transcend <--> darajat درجات‌ (-> Attar)
•super-ego <--> Div-mardom دیو مردم (-> Nezami)
•NatureZolmat (ظلمت --> ajayeb)
•آبرو Aberu / economy of value
•طی‌الارض tey-ol-arz / body scale, intensity and excess
•نگرانی negarani <--> practices of care




on Aberu, I became interested due to my lack of Aberu in presentationl quality and its abundance in other area's of my psychosomatic becoming.
Aberu traverses, calls itself in, animates, and exists for later visits.
-when you are devalued by the marked of bi-aberu, you are less tied to the strictures of shame, and ‘your behavior’ becomes performance material


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

agency =? boresh برش, jahd جهد (in Farsi), “agential cut enacts a local causal structure” (Barad)

agency of ‘hemat’ همّت
he[...]

[...] Pir-e falak in Hafez)
•غر Ghor / complaint (--> shekayat شکایت, and then, khamush خموش in Hafez)
•تعارف Tarof / greeting
•transcend <--> darajat درجات‌ (-> Attar)
•super-ego <--> Div-mardom دیو مردم (-> Nezami)
•NatureZolmat (ظلمت --> ajayeb)
•آبرو Aberu / economy of value
•طی‌الارض tey-ol-arz / body scale, intensity and excess
•نگرانی negarani <--> practices of care




on Aberu, I became interested due to my lack of Aberu in presentationl quality and its abundance in other area's of my psychosomatic becoming.
Aberu traverses, calls itself in, animates, and exists for later visits.
-when you are devalued by the marked of bi-aberu, you are less tied to the strictures of shame, and ‘your behavior’ becomes performance material


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

agency =? boresh برش, jahd جهد (in Farsi), “agential cut enacts a local causal structure” (Barad)

agency of ‘hemat’ همّت
hemate shahi همّت شاهی, lavazeme hemat لوازم همّت --> apparatus
sufi's hemat ~= magic

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

@Seba after accelerate manifesto reading: (what is and how can we not pivot on our work) the measure of the meaningfulness of action. (Seba's notion of losing hope is because he put himself unconsciously in a cost-benefit analysis? “what is the effect of my actions?”) [in practice it is difficult to embody speculative thinking. we are still in the space of thinking in terms of the probable.]
to do hope-work is about ‘not talking (too much) about the future’ =/= commitment in terms of probabilities, refusal to treat your subjects as if they were objects of management --> let's set aside our own hopes, and work to honour the **hopefulness of others** (Deborah Rose)

“And hope is here, all around us. Creatures want to live.” (not in the “future”)

the accelerationists putting things in their cascade of failures, (everything sinks effortlessly into it,) and creating a vanishing point in terms of a western saturated temporality. for them the present is the time of announcing the news of salvation or apocalypse, and has no thickness. (the desire) to step out of history, and is made void in the process of realization, the idea that “everything is possible.” they experience their freedom as universal freedom * (noted by Blanchot.) [--> the problem with all male action heroes...]

(is this a kind of “game-over” discourse?)

*time (thinking with Haraway)
the sequential palindromic time (in Western-related cultures) [جناس قلب palindrome: from the Greek roots palin “again” and dromos “way, direction”; a word, phrase, number, or other sequence of characters which reads the same backward as forward; (un)parsable palindromic motifs;]
there[...]

[...]e of thinking in terms of the probable.]
to do hope-work is about ‘not talking (too much) about the future’ =/= commitment in terms of probabilities, refusal to treat your subjects as if they were objects of management --> let's set aside our own hopes, and work to honour the **hopefulness of others** (Deborah Rose)

“And hope is here, all around us. Creatures want to live.” (not in the “future”)

the accelerationists putting things in their cascade of failures, (everything sinks effortlessly into it,) and creating a vanishing point in terms of a western saturated temporality. for them the present is the time of announcing the news of salvation or apocalypse, and has no thickness. (the desire) to step out of history, and is made void in the process of realization, the idea that “everything is possible.” they experience their freedom as universal freedom * (noted by Blanchot.) [--> the problem with all male action heroes...]

(is this a kind of “game-over” discourse?)

*time (thinking with Haraway)
the sequential palindromic time (in Western-related cultures) [جناس قلب palindrome: from the Greek roots palin “again” and dromos “way, direction”; a word, phrase, number, or other sequence of characters which reads the same backward as forward; (un)parsable palindromic motifs;]
there are many sorts of temporalities in West, but the most naturalized and intuitive, ready-to-hand (and black-boxed) version of it is the “past, present, future.” the notion of ‘present’ becomes a (mathematical) vanishing point, a pivot or a point rather than itself a thickness, an inaccessible past being transmuted into a future that is always to come. [=/= the lived time of the flesh]

--> what counts as a responsible person in temporality? (@Seba, @Pierre's “future”)
in my work on ajayeb in apass, i choose to give account to responsibility in a way *to face those who come before rather than to face the future*, this is about a switch in the direction of attention.
•narratable memory with named people turned to ancestors and moved into dreaming time
•past: quiet country --> bear the mark of the care of generation, inhabits both living and dying --> recuperation (behbud بهبود, ramagh رمق)
•present: wilderness --> ongoingness (thickened with creatures)

[in (my reading?) ajayeb's temporality] things come from the past and the future simultaneously


what i respond to = what i inherit


science (in the way that is presented) is outside history, and becomes simply that which is “the case” of the world
**everything that one does is inside time, but that which is acquired (becomes a view onto a scene) and is outside of time**

***(dangerous) ways of being outside of the time of the thick present*** (Haraway)
‘-scene’: a thick presence of now, has many durations in i[...]

[...]rn-related cultures) [جناس قلب palindrome: from the Greek roots palin “again” and dromos “way, direction”; a word, phrase, number, or other sequence of characters which reads the same backward as forward; (un)parsable palindromic motifs;]
there are many sorts of temporalities in West, but the most naturalized and intuitive, ready-to-hand (and black-boxed) version of it is the “past, present, future.” the notion of ‘present’ becomes a (mathematical) vanishing point, a pivot or a point rather than itself a thickness, an inaccessible past being transmuted into a future that is always to come. [=/= the lived time of the flesh]

--> what counts as a responsible person in temporality? (@Seba, @Pierre's “future”)
in my work on ajayeb in apass, i choose to give account to responsibility in a way *to face those who come before rather than to face the future*, this is about a switch in the direction of attention.
•narratable memory with named people turned to ancestors and moved into dreaming time
•past: quiet country --> bear the mark of the care of generation, inhabits both living and dying --> recuperation (behbud بهبود, ramagh رمق)
•present: wilderness --> ongoingness (thickened with creatures)

[in (my reading?) ajayeb's temporality] things come from the past and the future simultaneously


what i respond to = what i inherit


science (in the way that is presented) is outside history, and becomes simply that which is “the case” of the world
**everything that one does is inside time, but that which is acquired (becomes a view onto a scene) and is outside of time**

***(dangerous) ways of being outside of the time of the thick present*** (Haraway)
‘-scene’: a thick presence of now, has many durations in it

(my work on ajayeb's past tense trans-species affair) is about those with whom one must get on together, in the enacting of responsibility for those who came before. how not to exit time? (= “staying with the trouble”)

trans-species affair then and now

(in our) multi-dimensional inhabiting of space with critters (you can't only talk about capital, land, labor without having a multispecies affair)


Badiou's points on accelerate:
•unifying us around negativity
•future of western world
•question of private property --> key of soical organization


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

#work on video series (with? Christian, Esta,)
messy short videos (for youtube or other places)
1. critique of magic in cinema
2. representation of knowledge in cinema
3.
to perform past and present alarmingly simultaneously, to intermix the directions of causation and influence, they cannot be linear and progressive, against a production of present [presentism]


[...]

[...]with Foad)
6. garden (باغ)
7.


#what am i learning from Hiwa's Chicago Boys project?
history, recent region departures, study group, music, jam, more and more people together with their voices and stories, faces, sing, play, discomfort in instrument, tour, collectivity, sojourn in stage, conviviality, cover song,
-when i look at the videos of the project i feel like i want to do or be part of something like that, i want those qualities, i want the way people are looking and feeling like there.

#i am learning from Kohn that the survival is complicated, from Haraway that world works by excess and therefore filled with hope, with Sennett and Delanda a better account of socio-material history, from Ahmed a different understanding of psychoanalysis, from Barad poetry and argumentation, from Scher the effort needed to become interested, from Kenney that there is no need for a “standard language” to describe your interventions or to produce a body of knowledge about your matters of concern,

(this is one place that i am recognizing and foregrounding a binary structure:)
•women in my life: Avital, Haraway, Ahmed, Scher, Barad, Despret, teaching me science and art, attentive modes of differential reading and writing, practices of care and concern
•men in my life: Serres, Sennett, Delanda, Levinas, Anand, teaching me a non-guilt-driven knowledge of history and past, a different mode of remembrance which provokes a different mode of response and responsibility


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

alive --[]--> dead --[]--> ancestor

what provokes storytelling?

(Harawayian) inhabiting ==> responsibility --> alignment

(a split-self at home with) contradictions ==> dealing with situated knowledge }--> this is about ‘ongoing’

note to self: not to throw away the contaminated concept that we have, (for example 'human intentionality,’ ‘human rights,’ etc) *but to hold on (while knowing how contaminated it is) to any concept (which are always unsettled) until it gets a particular (situated) job done
(which 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 a[...]

[...]y,’ ‘human rights,’ etc) *but to hold on (while knowing how contaminated it is) to any concept (which are always unsettled) until it gets a particular (situated) job done
(which 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
<[...]

[...] 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 through the way i read her notion of ‘critter,’ juju (جوجو) in Farsi, jako junevar (جک جونور), little life animators often easy and ok to kill, a term in farsi for kids that worlds for them in particular ways
bio (“qualified life”) =/= zoe, juju, “bare life” (Agamben): that which is killable --?!--> that which must be transformed
[stories of originary exclusion and composition of body]

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

the form and function are having too tight fit. no no no!
(cities) being inclusive but not integrative

(setar different technique of vibrato and measure for instance in Saba and Ghavami, which part of the finger or body, one works in certain way for one and not for the other musician --> the explicit unpacking of the activity : what was formerly tacit [zemni, khamush, =/= habit] becomes dredged into explicit [=/= expressive] consciousness, precisely because there is a resistance, that there is something not right for the musician ==> reconsidering, reexploring --> the technique then again disappears into the tacit realm --> technique becomes variegated)
**tacit --> explicit (~= that which becomes available for reconsideration)**

when one masters a skill it is about being equipped to address a whole new set of problems
{expertise/mastery: problem solving}=/={craft: problem finding}--> when other things become problematic---the condition (in the craft work) that when you learn how to do one thing you see other things that need to be explored [-> question for Eunkyung's drawing skills and practice]

*craft is more important than art(?) (Sennett)
...the noti[...]

[...]g

conditions that more skills are required (and not the opposite)

in modernity everything seams to need to be verbalized. what happens to the unverbalized, the unprogrammatic? --> can you have an implicit right which can't be verbalized? maybe no, maybe this is the limit of the social...

purposiveness: when you hear somebody go “i am going to put clearly what we all want...” you have submitted to that person (almost erotic) --> “they really know who they are” ==> you become a spectator to their definiteness

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

who the fuck = theology
how the fuck = empiricism
what the fuck = ontology
how the what the fuck = epistemology
why what the fuck = metaphysics
why the fuck = ethics
why give a fuck = teleology
the fuck itself = phenomenology
fucked up = pathology
fuck all = nihilism

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

Aela to Sven: “everytime you disappoint me you gain in depth” (5 April 2017)

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

(06.04.2017) %notes after my apass endweek presentation:
•my implicit focus and energy on the body and its organs of gesture that animates us
•loving telling you what i read
•giving you what i don't fully understand =/= gift from above
•(in lecture) to allow language greet the unverbalized

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

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

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

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

[...]nd when I stand in front of you and your work, ask myself ‘what else’ comes to mind? in a sense, my project on ajayeb is that kind of training

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

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

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


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

varzidan, varz, varzide, ورزیده

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

[...]to become ‘literate’ in this particular way --> situated knowledge includes this situated literacy and skills of reading particular to the object of “text” (in that case how do i address my interest in the pervert reader? the skills of the unlearning*)
the skills necessary for my work to work comes with time, attention, and desire ~-=>? #harem (=/= ladies room)
--> (2) this skills of (my) reservoir, what set of questions or problems equip me to address?

varzidan, varz, varzide, ورزیده

Sennett's love for his subjects is extraordinary (=/= iconoclasm, futurism) and it 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 --|)-> <3 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? ([...]

[...]of emotion ==> materialization of bodies

(emotions construct) bodies as ‘enveloped’

in standard psychological model, fear ‘has’ an object
*(Ahmed's) fear: “passing by” (=/= arriving) of the object, impossibility of containment of object

anxiety is an approach to objects =/= fear is an object's approach

in Freud: self is made by the fear of father


Ahmed's model of ‘impact of fear’
fear does not leat to containment but an expansion --> his/her embrace of the world
•being sealed into a body that takes up less space!
**fear works to restrict some bodies through the movement or expansion of others** (interesting for Mona's work)
[structural possibility:] proximity of fear-object --is--> possibility of future injury

impressions of coherence, “sticking together”
(that is perhaps why dictionaries and bestiaries are interesting: because their elements do not “stick together” in the sense of an affective economy [of inquiry and narrative] #lists)


ontology of insecurity --> (naratives of) crisis ==> “return” (to values) --> fetish
-production of crisis is crucial for insecurity
-declaration/announcement of *crisis* reads the fact/figure/event and transforms is into a fetish object that then acquires a life of its own
-it must be presumed that things are not secure, in and of themselves, in order to justify the imperative to make things secure (again)-->(the word “again” in the rhetoric of safty becomes itself the fetish object with its own life)
[security is bound up with “the not (me/us)"]

being invaded by inappropriate others [in histories of Iranian modes of intersubjectivity: ‘being invaded by the appropriate other’ ~=? being of Tasavof, #slave manifesto, let me know if you want me to kill your master.]

(in the 1999 film Matrix we see the image of the ‘strengthening the will’ of the human community in the face of the nunhuman machine others: Matrix ==> “us”)
(Matrix's) narative logic of an internal strength being posited as responsible for recovery, survival, and moving forward of the human race. (@Maarten, displacements of weakness and strength)

values that garantee survival
technologies that garantee survival
--> they become moral


those who____
speak (against) the “truth” of the world, cause the “ruin” of the world

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

say your name before talking
it's a Q and A, a lecture
--> it is a violent day
asking for your name is intrusive enough, even before asking where you come from [--> #estizah]


(learning from Heidegger:) abbreviation is already an effect of technology
case of Germany specially
and persian san'at (صنعت techniques and technologies) of subject-making
•‘is’ --[...]

[...]ain)-->(the word “again” in the rhetoric of safty becomes itself the fetish object with its own life)
[security is bound up with “the not (me/us)"]

being invaded by inappropriate others [in histories of Iranian modes of intersubjectivity: ‘being invaded by the appropriate other’ ~=? being of Tasavof, #slave manifesto, let me know if you want me to kill your master.]

(in the 1999 film Matrix we see the image of the ‘strengthening the will’ of the human community in the face of the nunhuman machine others: Matrix ==> “us”)
(Matrix's) narative logic of an internal strength being posited as responsible for recovery, survival, and moving forward of the human race. (@Maarten, displacements of weakness and strength)

values that garantee survival
technologies that garantee survival
--> they become moral


those who____
speak (against) the “truth” of the world, cause the “ruin” of the world




say your name before talking
it's a Q and A, a lecture
--> it is a violent day
asking for your name is intrusive enough, even before asking where you come from [--> #estizah]


(learning from Heidegger:) abbreviation is already an effect of technology
case of Germany specially
and persian san'at (صنعت techniques and technologies) of subject-making
•‘is’ --> information system
•‘ich’ --> intangible cultural heritage


[#contract, concerning modalities of being-with:] anxiety, Sorge, (~ care?) is *disclosive*, for Heidegger, is an ontologically fundamental mood that opens you up to the possibility of understanding, anxiety is the leading mood that allows understanding
(in Heidegger) anxiety ==> understanding
(in Farsi) negarani نگرانی --> vision بینندگی --> basirat بصیرت ==> ta'amol تأمل (modalities of meditation and speculation)ation)
(in psychoanalysis) anxiety =/= fear
(in capitalism) anxiety --> boredom ==> capital
(in settler white colonialism) anxiety ==> safty
(in Ahmed) anxiety --> approach to objects
(in Ahmed) fear/anxiety ==> effect of “that which I am not”

(ghol قول, gharar قرار, gharardad قرارداد [~ that which is promised by the ghol], ghovate ghalb قوت قلب) contracts also come to reassure, otherwise we might be in the radically open space of psychosis.
***contracts, they disambiguate the space***
{+} (pointed out by Derrida:) “contract” is less terrorizing than assuming that there is something natural that binds us... (@Luisa) contract is a non-natural conventional object. (the textual nature of contracts allows it to be read, written, rewritten, reformatted and rearranged.)%-->{ontic & ontologic}
•what kinds of violations does the contract capaciously includes in itself?
•there is nothing natural [...]

[...]ible cultural heritage


[#contract, concerning modalities of being-with:] anxiety, Sorge, (~ care?) is *disclosive*, for Heidegger, is an ontologically fundamental mood that opens you up to the possibility of understanding, anxiety is the leading mood that allows understanding
(in Heidegger) anxiety ==> understanding
(in Farsi) negarani نگرانی --> vision بینندگی --> basirat بصیرت ==> ta'amol تأمل (modalities of meditation and speculation)
(in psychoanalysis) anxiety =/= fear
(in capitalism) anxiety --> boredom ==> capital
(in settler white colonialism) anxiety ==> safty
(in Ahmed) anxiety --> approach to objects
(in Ahmed) fear/anxiety ==> effect of “that which I am not”

(ghol قول, gharar قرار, gharardad قرارداد [~ that which is promised by the ghol], ghovate ghalb قوت قلب) contracts also come to reassure, otherwise we might be in the radically open space of psychosis.
***contracts, they disambiguate the space***
{+} (pointed out by Derrida:) “contract” is less terrorizing than assuming that there is something natural that binds us... (@Luisa) contract is a non-natural conventional object. (the textual nature of contracts allows it to be read, written, rewritten, reformatted and rearranged.)%-->{ontic & ontologic}
•what kinds of violations does the contract capaciously includes in itself?
•there is nothing natural about here and us being here. (spatiotemporally clock tells us not only what time it is, but also where and who we are: how “time-teller” is spatially architecturally phallically positioned: in the center, on the top, wrapped around the body, and so on.)


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

[apass opening week 08.05.2017, (my response to) what is “artistic research”?] artistic research is a fancy way of transforming your “weird feelings” about the world into an “inquiry,” so to say, and at the same time resist to be faithful to standard accounts of what counts as a “serious knowledge claim.” So it includes a lot of messy thinking-feeling, embodied practices, affects, poeticity, semi-scientific work, magic, data collection, mutative interpretative reading, forgetting things, detours, rituals, dead-ends, writing under the influence of scarce foreign obscure philosophies, literary drugs, and boldly using metaphors from different disciplines of “study” that one can find. So, on the one hand, it is a term, invented to indicate a “fluid modern personality” within a turn in humanity studies that opens up to ‘what an artist already knows’ or ‘what an artist is allowed not to know’ within their specific historically situated set of tools. And, on the other hand, it indicates an important shift in the education of art, in which the attitude of the artist changes: instead of making things into a “resource” for artistic creation, rather making things int[...]

[...]lly open space of psychosis.
***contracts, they disambiguate the space***
{+} (pointed out by Derrida:) “contract” is less terrorizing than assuming that there is something natural that binds us... (@Luisa) contract is a non-natural conventional object. (the textual nature of contracts allows it to be read, written, rewritten, reformatted and rearranged.)%-->{ontic & ontologic}
•what kinds of violations does the contract capaciously includes in itself?
•there is nothing natural about here and us being here. (spatiotemporally clock tells us not only what time it is, but also where and who we are: how “time-teller” is spatially architecturally phallically positioned: in the center, on the top, wrapped around the body, and so on.)


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

[apass opening week 08.05.2017, (my response to) what is “artistic research”?] artistic research is a fancy way of transforming your “weird feelings” about the world into an “inquiry,” so to say, and at the same time resist to be faithful to standard accounts of what counts as a “serious knowledge claim.” So it includes a lot of messy thinking-feeling, embodied practices, affects, poeticity, semi-scientific work, magic, data collection, mutative interpretative reading, forgetting things, detours, rituals, dead-ends, writing under the influence of scarce foreign obscure philosophies, literary drugs, and boldly using metaphors from different disciplines of “study” that one can find. So, on the one hand, it is a term, invented to indicate a “fluid modern personality” within a turn in humanity studies that opens up to ‘what an artist already knows’ or ‘what an artist is allowed not to know’ within their specific historically situated set of tools. And, on the other hand, it indicates an important shift in the education of art, in which the attitude of the artist changes: instead of making things into a “resource” for artistic creation, rather making things into a “topic.” That means a whole new set of relationalities and new forms of attention need to be learned and cultivated, which were historically often absent in the education of art.


-i want to bring a circus inside {--> within}
-my business still with aesthetics (my own image) (narcissistic stuff...)
-to show up as a guy, castrated and very advanced (--> you can only come up castrated unless you are extremely advanced, #harem stuff)
-i am trying to come forward with all the rigor and rhetorics available to me

the death score

Leo correcting his proper name in my mouth. (signature: master of your name --> master of your house)
Leo named his future projection: “Empathoscene”
[sometimes your name is the first doorkeeper (as in Kafka'a Turhüter)]

Eszter's ‘what is there as an obstacle to the freedom of man (?)’ (question marked by me)
--> the spatial gesture o[...]

[...] the death score

Leo correcting his proper name in my mouth. (signature: master of your name --> master of your house)
Leo named his future projection: “Empathoscene”
[sometimes your name is the first doorkeeper (as in Kafka'a Turhüter)]

Eszter's ‘what is there as an obstacle to the freedom of man (?)’ (question marked by me)
--> the spatial gesture of the ‘stop’ (#Selma)

Maarten's version of confusion (stated by himself) is due to that: the messianic horizon is essentially confusing (?)
his autopoiesis and cognitions

Nicolas's notion of “leaking” has to do with marginal non-textual non-accounted-for moments that bleed in absolute non-contractual and non-appropriable event? (the so-called moment when we show things to each other)
•his ‘climate of creativity'~~~_[what does ‘criticism’ mean for him?]
•when he says “gesture,” is he accessing ‘gesture’ having an uncalculable semiotic value =/= ‘performance’ that can be measured in economical terms? [but, what kind of consequential work is gesture doing?]
(Nicolas's order of inquiry and discovery)
(--> what is at stake is how do you locate the effects of your work. for Nicolas it is locate at the “sides” [which is already problematically prepositioned outside of him] --Ahmed--> ab object can be affective by virtue of its own *location* [...] and the *timing* of its appearence)
[the ‘image of the rigid’ in his presentation]

Kristien's chart:
questions <--> symptoms
answers <--> openings
past <--> diary

for Lilia: apparatus = score
for Eszter: apparatus = preparation {--?--> everything depends on the ways we prepare}
for Sina: apparatus = (chaotic/strange) attractor
for Hoda: apparatus = negative feelings
for
for
(other non-Agambenian notions of apparatus: Katie King's, Barad's, Wark's)
[Agamben still thinks of structure in Euclidian terms, pre-chaos theory and fractal geometry of (non)equilibrium. thermal chaos and dynamic system theory has changed the ways we think about global/local stabilities, discontinuities and noise. sympoiesis is another one.]
-with ‘apparatus’ what is at stake: flow of energy, order, waste, transformation,

Vladimir's tether on disambiguity

Elen, adding her own wheels to the flow(s)
and putting a stick/spoke in a rolling wheel (of others?) [her saboteur trends, چوب لای چرخ (=/=? kharab-kari خراب کاری), what is chub lay-e charkh for her? vandalizing the discourse of others]
-the famous vandal of wikipedia with the recursive name “-on wheels” (Willy on Wheels, adding “on wheels” to the title of every single page, using the move function of Wikipedia: renaming the existing title ==> moved to another namespace, without changing the base title)
-like myself, her saboteurs are critically [...]

[...]>
@Elen, DUI: driving under influence, what are we on when they were driving her cars
DUI has become the pharmecy take on drugs to take away and winning the drug war
movement under influence, MUI
legelized use of motor activity
driving while impaired/driving while intoxicated (DWI)
drink-driving (UK)
driving risky (DR)
drunk driver (DD)

the notion of game and rule for Elen and Luisa and Eszter: it is until ages of 3 and 6 that children must not play by rules, and only after that the concept of rule-based-games (such as sports) should be introduced to them. what does that say about our artistic environment when we talk rules or breaking rules?
i am becoming more interested in the ‘rules’ that the artist (or non-artist) is proposing, and not my own ‘freedom’ in their work. what does it mean or do to become interested in the *freedom of others* and not yourself? ==> paying attention to the most implicit rules of your game, that means i am paying attention to your freedom that has articulated itself in the creative gesture


instead of (the “how” of) “how do i show my interested texts?” (which was proposed in Maarten's exhibition of poems) i like to ask (the “what” of) “what requires reading?” (also @Sven) (my kill-joys in apass ... am i being too ontologic with everything? --> I am operating from the position that understanding materials, practices, and interpretation implies questioning ontological assumption ==> challenge concepts)


@Eszter: is there a notion of ‘natural’ embeded in her ‘compelled’? there is nothing natural about us being here, there is nothing natural about here
•cognitivism: (when talking of representation) a psychology of doing which emphasizes human cognition endowment enabling man to develop intellectually ==> classifications (are easy seen) as properties of mind =/= classifications as materials or materially textured --> “a common way to hear people's experience of this materiality is through metaphors. So the generation of metaphors is closely linked with the shift to texture.” (Bowker)
•behaviorism: a theory of doing that focuses on objectively observable behaviors and discounts independent activities of the minds involved in the doing

-->? behavioral intervention
(footnote on) behavior therapy --> breaking one's loops (of: reverie [mind fleeing across secluded planes], reaction to stimuli [overwhelmed by the speech of the others ~ neurosis], distorted thinking [overstressed emotional reasoning], , ,)
[*]behavior therapy: treatment of neurotic symptoms by training the patient's reactions to stimuli --> *cognitive restructuring* could help Eszter in her artwork? (to reestablish the relationships between stimuli and responses)
(techniques:)
•counterconditioning
•punishment (operant conditioning)
•habituation
•functional [...]

[...]hat go through our mind in response to a situation, usually negative and unquestioned: “She thinks I'm weird.” “I won't pass that test.” “This is too hard. I'll never understand this.” etc.]

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

[cognitive distortions]
typical mistakes in thinking:
•*all or nothing* / all-or-none thinking (“If I'm not a total success, I'm a failure.”)
•*catastrophizing* [--> middle eastern fortune-telling, omen, foretell the future] ( “I'll be so upset, I won't be able to function at all.”)
•*disqualifying the positive* (positive experiences do not count: “I did that project well, but that doesn't mean I'm competent; I just got lucky.”)
•*emotional reasoning* (“I know I do a lot of things okay at work, but I still feel like I'm a failure.”)
•*labeling* (“I'm a loser.” “He's no good.”)
•*magnification/minimization* (“Getting a mediocre evaluation proves how inadequate I am. Getting high marks doesn't mean I'm smart.”)
•*mental filter* [selective abstraction] (“Because I got one low rating on my evaluation it means I'm doing a lousy job.”)
•*mind reading* [narcissism] (believe to know what others are thinking: “He's thinking that I don't know the first thing about this project.”)
•*overgeneralization* (“[Because I felt uncomfortable at the meeting] I don't have what it takes to make friends.”)
•*personalization* [narcissism] (believe others are behaving negatively because of you: “The repairman was curt to me because I did something wrong.”)
•*should/must* [imperatives] (having a fixed idea of how you or others should behave: “It's terrible that I made a mistake. I should always do my best.”)
•*tunnel vision* [cyclopean view] (“My son's teacher can't do anything right. He's critical and insennsensitive and lousy at teaching.”)


what is the most central belief about herself?
which experiences contributed to the development and maintenance of the her belief?
which positive assumption helped her cope with the core belief?
what is the negative counterpart to this assumption?
which behaviors help her cope with the belief?

*basically there is often no evidence that the automatic thought is true

http://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 [...]

[...] neccesory or interesting to learn eachother methodlogies in order to get involved and engagned in eachother practices? maybe not --> go back to representational tools --are representational tools the best we have? or maybe, structurally we can't give workshop in apass HWDs or endweeks, because participants are not there by free will that is usually mobilising them to look for and join a workshop that they are interested in.

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

is it interesting for me or my research to think about how we moved that plant around in the 4th floor?
*moving plants* is risky
as backdrop for human activity
passively vegetating
making local and global connections: which local or global connections was made (by Sina, Xiri and Esta moving the plant)? (how the plant was repositioned in our) making of public common spaces
-practices of concern
(attentive to the plant that was a) shared “thing” between us
what was mediated, navigated and articulated with that plant in apass 4th floor?
(with this i am trying to ask about the) kinds of imaginative world-making at work
gathering forces
-

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

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

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

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

i have been also busy with the timing of understanding. how to keep understanding open and ongoing? there is this standard general sense that becomes very upset when things are not immediately understood (#double-click democratiz[...]

[...]t, it is still a situated knowledge. that means it might be categorical but not applicable outside this particulare niche of space and time, whether it is in a bar in a conversation with Eszter or when accessed in my hypertext

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

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

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

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

towards writing the end of apass dossier
•practices: workshops, (bow and arrow,) ajayeb.net, rigs --> pop-up book, notes, routines, excess,
•trajectory: bibliography, wonder, ongoingness, ontology,
•productions: study as artwork, reading as artwork, bottom-top approach to writing,
•findings: every research practice: must include “body image”, must include “the image of creativity” especially if you are iranian, must employ ontological attention to differential productions, must rework decompose redefine its root-metaphors, must give extensive equipment list, must trace its social connections in a wider ecology of practices, must include a critique of technology,
•moments of composition: a scene animated by some quality, or... taking place as accidents (or not)

key literature, magic wands:
1st stage:
•Richard Sennett: Flesh and Stonne --> learning about body image
•Manuel Delanda: A 1000 Years of Nonlinear History --> learning about material histories
•Eduardo Kohn: How Forests Thinks --> learning about semiotics
•Timothy Morton: Sublime Objects --> learning about ontology
•Avital Ronnel: (lectures and articles) --> learning about poetics
•Donna Haraway: (lectures and articles) --> learning about rhetorics
2nd stage:
•Martha Kenney: Fables of Attention --> *rationality: mixture of the highly rational and the highly fantastic
•Karen Barad: Posthumanist Performativity, Invertebrate Visions --> learning about apparatus
•Eva Hayward: visualizing apparatuses --> her interest in optics, in the optics in which marine invertebrates and people come together through visualizing apparatuses
•Vinciane Despret: The Becomings of Subjectivity in Animal Worlds --> learning about anthropo-zoo-genetics
•Kathleen Stewart: nonrepresentational theory --> other ways of description
•Kat[...]

[...]terature, magic wands:
1st stage:
•Richard Sennett: Flesh and Stonne --> learning about body image
•Manuel Delanda: A 1000 Years of Nonlinear History --> learning about material histories
•Eduardo Kohn: How Forests Thinks --> learning about semiotics
•Timothy Morton: Sublime Objects --> learning about ontology
•Avital Ronnel: (lectures and articles) --> learning about poetics
•Donna Haraway: (lectures and articles) --> learning about rhetorics
2nd stage:
•Martha Kenney: Fables of Attention --> *rationality: mixture of the highly rational and the highly fantastic
•Karen Barad: Posthumanist Performativity, Invertebrate Visions --> learning about apparatus
•Eva Hayward: visualizing apparatuses --> her interest in optics, in the optics in which marine invertebrates and people come together through visualizing apparatuses
•Vinciane Despret: The Becomings of Subjectivity in Animal Worlds --> learning about anthropo-zoo-genetics
•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?
-differen[...]

[...]hierarchy}*
•in apass i am trying to remember what my peers are doing, and when i see things i think of them, and they are in my citation network (they are all over ajayeb.net) and i am aware of what they have told me. words they are inventing are in my vocabulary too (that is why i am so energetic calling in Xiri's category change for example “generous suspicion”)
•collective research environment works by networks* (--> a problem with apass)


[*]epistemology = stories knowledges tell


sometimes practices demand:
•exclusive expertise (~ focus)
•extensive scholarship ==> linking and speculating
•attaching unexpected agencies and territories to each other


(better) understanding the mechanisms and affects of inclusion and exclusion in communities of practice
for example in apass (we are dealing with):
•suffer <== mutual incomprehensions
•pain <== heterogeneous knowledge worlds
•anger <== unevenly distributed power
•fatigue <== exposure to intensity
•tension <== different styles of knowing

unacknowledged suffering --(in past and present)@Hoda--> as well as pleasures


(what do you make out of reading your gender material?)


Greek brainwomb


feminism  ~/= feminist theory-->{highly diverse, located in many domains of practices in and out of the university, and understood to be this highly diverse activity}


the talks i have been giving are done by someone with a kind of mind and soul that just makes connections fast. i work orally. the lectures are heavily prepared (and some important ways unprepared in the manner of its performance: all those connections happening during the talk not knowing them beforehand, they happen by the encounter*) and full of cue (سخن رهنما، ايماء، اشارت) and quirk (تزئينات، تناقض گويى، تغيير ناگهانى فکر). my notes and scripting are invisible to my audience, but they are there at work. and it gets people excited. and that's the point. i work with confusion and excitement. i have not been good at laying out groundwork of skills, going to next level and so on. i am working with that feeling of “i am not sure what i am getting, by i think i am getting it”. i also always come back, loop again through the same material, go back to the question we were raising before and ***“watch what is happening to the language”***(Haraway). these are the ways my connections work. artistic and scholarly work works by **modes of attention** [--remember--> your mode of attention (= your mode of abstraction) is doing the foregrounding and the world is not actually built that way. so you make ‘your mode of attention = world’ to inhabit something for a certain time only to do a certain kind of work)] --(beca[...]

[...]h confusion and excitement. i have not been good at laying out groundwork of skills, going to next level and so on. i am working with that feeling of “i am not sure what i am getting, by i think i am getting it”. i also always come back, loop again through the same material, go back to the question we were raising before and ***“watch what is happening to the language”***(Haraway). these are the ways my connections work. artistic and scholarly work works by **modes of attention** [--remember--> your mode of attention (= your mode of abstraction) is doing the foregrounding and the world is not actually built that way. so you make ‘your mode of attention = world’ to inhabit something for a certain time only to do a certain kind of work)] --(because)--> you are always jumping into the middle of something that is ongoing before you, into the middle of many conversations. you are learning how to get it in several ways at once. the hypertext that i have been building also characterizes these kinds of layering upon layering of textual work. teaching myself how to write and how to play with ideas.
working with (Haraway's) kind of good-enough approach to a body of scholarship --> inhabiting many things that i have only got half-digested (=/= through digestion, particular bodies of reading that people need to have mastered in order to argue)

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

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

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


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


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

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


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

*taxonomy: (constantly morphing) tools, they work and get wo[...]

[...]work)] --(because)--> you are always jumping into the middle of something that is ongoing before you, into the middle of many conversations. you are learning how to get it in several ways at once. the hypertext that i have been building also characterizes these kinds of layering upon layering of textual work. teaching myself how to write and how to play with ideas.
working with (Haraway's) kind of good-enough approach to a body of scholarship --> inhabiting many things that i have only got half-digested (=/= through digestion, particular bodies of reading that people need to have mastered in order to argue)

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

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

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


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


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

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


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

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


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


(in political movement:) working to a kind of clarity of ideological position ==> to do certain kinds of things (that are harder to do if you don't have them [those ideological positions] in the world) --> they are used as *tools* to produce what got called *political correctness* --> always producing those who count and those who don't count*[...]

[...]ing myself (a little bit more) competent and confident in (some) scientific literacy and in (some of) the skills of the arts and literature --> ?

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

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


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


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

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


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

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


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


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


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


[*]"was”: (so important for iranians [#past]) a geographical place, a place:
•of pain
•of fantasy
•of hope
•of possibility
•of defeat
•of breaking[...]

[...]t means as soon as you name what you mean by ‘women,’ you have told some kind of really impossible lie.
(how my muslim trained sensibilities are working and mattering in my ajayeb research? ways to respond to *the deadliness and the irreplaceable liveliness of religion* [کشندگی و سرزندگی یکتای مذهب], a semiotics with implosion of sign and flesh)--> (i am so happy that) i cannot not know what it is like to be in a believing community (a faith-based community)***


...out of your own particular little historical traditions


*because my research is about ajayeb it can never only be about ajayeb*


you can't do feminist theory without paying attention to the details of women lives
your mode of attention to women in the world ==(shapes)==> your mode of attention to:
•the way databases get set up
•the ways interdisciplinarities get crafted
•how you think about tools and genomics


my main point of my project has been about getting better at how to inherit your histories without trashing them*** (even figuring out how to inherit a history that you don't want to inherit)
(Islam, shyness, kindness, ajayeb, Iran, stuttering, being all too ready to find complexities, )
•to become relaxed about predigested version of ‘this is what ajayeb is about’ (or Tasavof, etc.) --> ‘what is going on there’ (in ajayeb) is so built-in to ideologies of many kinds (of progress, deep ecology, of history, and so on)
•to build a little taxonomy (in apass)
•working to give up the series of self-certainties around secularism ==> giving ways to talk to the religious ones : getting to grasp what the world looks like in faith-based communities (=/= check-list of dogma)
•category thinking: get into differential liveliness (with all sorts of inequalities:) *who gets parsed how* [#archive, #articulation, #storytelling] (and thinking about what it means to take up these relationships in cultures saturated with science and technology)


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


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


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

*“demonstration” coined by science

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

(with Scout Calvert) the ways the digital appar[...]

[...]ese relationships in cultures saturated with science and technology)


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


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


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

*“demonstration” coined by science

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

(with Scout Calvert) the ways the digital apparatuses are working, and the kinds of tensions and creativities between the cyber infrastructures and the other kinds informational management discourses displace other book discourses *** --> categories explode in library practice
[Calvert donig brilliant discourse analysis of library sciences --> has direct impact on practices of reading#, different kinds of knowers]
techno-biblio-capital: techno-capital and library practices embedded in each other -->{ [*]technology: assemblages of people, computers, software, discourses, techniques and workarounds that make them function; [*]capital: a social arrangement in which buyers of labor power are entitled to profits and the sellers of labor power to wages and all the effects entailed in that arrangement; [*]techno-capital: techniques, discourse and technologies used to naturalize and derive capital from information and information technologies}
*curiosity = a small and local kind of *freedom[= agency within constrain ==enabling==> skillful meanings], curiosity resists control and has the power to defeat one's favourite self-certainties, can also be commodified for consumer culture specializing in providing private pleasure,
techno-capital objectivism: (neutrality of) collection developemnt and format choices --> power-sensitive judgments
“we will engineer ourselves out of that” --> naive technological optimism; *the technological question is cruicial to questions of power and knowledge*
-library science tends to position library as power-neutral spaces
-(Foucault: resistence to power is always present)
“freedom to” is always disciplinary (because there is always a particular subject enjoying that) [citizen of liberal democracy who exercises the freedom of representative government, so much as a consumer who exercises freedom of choice of commodities]
patrons as constituent مولفه (==> new knowledge + themselves as knowers) =/= seamless information consumer discursively produced as an unmarked singu[...]

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


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

(cryptic and as) crystal clear as a scream


[a question or something else] lodged in a tactile sensate anxiety --> aesthetic scene (of the senses) --> scene --> shape
(anxiety has to do with the sensate and tactile and opens onto asthetic)
(some do this all the time [unknown shock of anxiety in the morning]:) morning --> mourning --> sudden dread and start scanning () () [], (trauma as an) everyday walking path

traumatic realism: a figuring that, like traumatic memory, fails to represent the inflicting force as an object in a symbolic order and therefore feels compelled to literally re-present it over and over, *miming the original haunting impact.* (Stewart > Hal Foster)
-the subject surging to bear an affect, surging toward an actualization, passionate connection of the subject who goes with the flow in an intoxicated moment (=/= sober distance)
(Hoda's impact of) shocked subjectivity (--> the real understood as traumatic) --> conjure up memories of death --?--> communal grieving
{referential vs. simulacral readings @Hoda, Marialena (‘referential object for’ / ‘empathetic object in’ /or ‘criticality of’ [<-- i don't agree with these clear cuts of ”/"]; what is “the reality of suffering and death” (or “reality and suffering of death”) for Hoda? (Xiri's interest in her) object's “total integration” into the political economy}

(Stewart's) signs of the senses
satisfaction in the making of sign-shrine
(question of satisfaction at Hoda:) satisfaction as a force, and end, in itself spoken through the bright, blunt, sensate aesthetics of the sign
-something slashes [= a wound made by cutting] at itself and spits at the world (/ politics of slashing --> poetics of slashing / the young girls who “cut” themselves so they can feel alive or, literally “come to their senses”) -- dramas of surge and arrest --> They do not ask for interpretation or construct the subject who would assign them a meaning, [they refuse] reference to “underlying systems” of si[...]

[...]impact


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

(cryptic and as) crystal clear as a scream


[a question or something else] lodged in a tactile sensate anxiety --> aesthetic scene (of the senses) --> scene --> shape
(anxiety has to do with the sensate and tactile and opens onto asthetic)
(some do this all the time [unknown shock of anxiety in the morning]:) morning --> mourning --> sudden dread and start scanning () () [], (trauma as an) everyday walking path

traumatic realism: a figuring that, like traumatic memory, fails to represent the inflicting force as an object in a symbolic order and therefore feels compelled to literally re-present it over and over, *miming the original haunting impact.* (Stewart > Hal Foster)
-the subject surging to bear an affect, surging toward an actualization, passionate connection of the subject who goes with the flow in an intoxicated moment (=/= sober distance)
(Hoda's impact of) shocked subjectivity (--> the real understood as traumatic) --> conjure up memories of death --?--> communal grieving
{referential vs. simulacral readings @Hoda, Marialena (‘referential object for’ / ‘empathetic object in’ /or ‘criticality of’ [<-- i don't agree with these clear cuts of ”/"]; what is “the reality of suffering and death” (or “reality and suffering of death”) for Hoda? (Xiri's interest in her) object's “total integration” into the political economy}

(Stewart's) signs of the senses
satisfaction in the making of sign-shrine
(question of satisfaction at Hoda:) satisfaction as a force, and end, in itself spoken through the bright, blunt, sensate aesthetics of the sign
-something slashes [= a wound made by cutting] at itself and spits at the world (/ politics of slashing --> poetics of slashing / the young girls who “cut” themselves so they can feel alive or, literally “come to their senses”) -- dramas of surge and arrest --> They do not ask for interpretation or construct the subject who would assign them a meaning, [they refuse] reference to “underlying systems” of signification that make them readable as texts
-something refuses to disappear
-(Hoda's land is) the land of sheer circulations --> (the question of) equilibriums --> how can she with her audience (let's say “we”) enter the unnatural calm of another form of arrest? to feel the scene resist synaesthesia

a state of the senses making contact with pen and paper (and matches)

(my enduring love of watching images, my) optical eye

“[...] young embodiments of a modern middle-ground-in-the-making came face-to-face with an otherness that compelled a closer look” --> violently affective contact

surged toward the scene of their confident excitement[...]

[...] passionate connection of the subject who goes with the flow in an intoxicated moment (=/= sober distance)
(Hoda's impact of) shocked subjectivity (--> the real understood as traumatic) --> conjure up memories of death --?--> communal grieving
{referential vs. simulacral readings @Hoda, Marialena (‘referential object for’ / ‘empathetic object in’ /or ‘criticality of’ [<-- i don't agree with these clear cuts of ”/"]; what is “the reality of suffering and death” (or “reality and suffering of death”) for Hoda? (Xiri's interest in her) object's “total integration” into the political economy}

(Stewart's) signs of the senses
satisfaction in the making of sign-shrine
(question of satisfaction at Hoda:) satisfaction as a force, and end, in itself spoken through the bright, blunt, sensate aesthetics of the sign
-something slashes [= a wound made by cutting] at itself and spits at the world (/ politics of slashing --> poetics of slashing / the young girls who “cut” themselves so they can feel alive or, literally “come to their senses”) -- dramas of surge and arrest --> They do not ask for interpretation or construct the subject who would assign them a meaning, [they refuse] reference to “underlying systems” of signification that make them readable as texts
-something refuses to disappear
-(Hoda's land is) the land of sheer circulations --> (the question of) equilibriums --> how can she with her audience (let's say “we”) enter the unnatural calm of another form of arrest? to feel the scene resist synaesthesia

a state of the senses making contact with pen and paper (and matches)

(my enduring love of watching images, my) optical eye

“[...] young embodiments of a modern middle-ground-in-the-making came face-to-face with an otherness that compelled a closer look” --> violently affective contact

surged toward the scene of their confident excitement

impact ==> the social

#storytelling, compelled to repeat the event as the sentience of it still reverberated in their senses



a grounded writing, that sends people bouncing, takes place as a threshold, hits the senses as a set of provocations, or presents as *a problematic sensed in circuits of reaction already set in motion* @apass

(working with Stewart) writing affect #workshop
a practice of writing ourselves into our worlds as *emergent and disparate ensembles* --> we need the speculative concept of worlding (a term that wins philosophy, criticism, digital studies, and cultural study) in Tehran urgently
-the workshop offers a process of sharing, hearing, questioning, and proposing--for oneself and for the sake of others ==> to start to think through a project or concept by working with words
-we will learning how to read closely and to give feedback that is most useful for the authors
-working w[...]

[...], literally “come to their senses”) -- dramas of surge and arrest --> They do not ask for interpretation or construct the subject who would assign them a meaning, [they refuse] reference to “underlying systems” of signification that make them readable as texts
-something refuses to disappear
-(Hoda's land is) the land of sheer circulations --> (the question of) equilibriums --> how can she with her audience (let's say “we”) enter the unnatural calm of another form of arrest? to feel the scene resist synaesthesia

a state of the senses making contact with pen and paper (and matches)

(my enduring love of watching images, my) optical eye

“[...] young embodiments of a modern middle-ground-in-the-making came face-to-face with an otherness that compelled a closer look” --> violently affective contact

surged toward the scene of their confident excitement

impact ==> the social

#storytelling, compelled to repeat the event as the sentience of it still reverberated in their senses



a grounded writing, that sends people bouncing, takes place as a threshold, hits the senses as a set of provocations, or presents as *a problematic sensed in circuits of reaction already set in motion* @apass

(working with Stewart) writing affect #workshop
a practice of writing ourselves into our worlds as *emergent and disparate ensembles* --> we need the speculative concept of worlding (a term that wins philosophy, criticism, digital studies, and cultural study) in Tehran urgently
-the workshop offers a process of sharing, hearing, questioning, and proposing--for oneself and for the sake of others ==> to start to think through a project or concept by working with words
-we will learning how to read closely and to give feedback that is most useful for the authors
-working with questions:
•How do forms of writing change cultural theory?
•What questions do forms of writing raise about subjects and objects, forms of attention, the possibility of thinking through description?
•How do you describe a scene, a character, an event, a situation, a collective sensibility, a difference, a world?
•What does it mean to add density and texture to description?


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armies of metaphors and metonymies that are to justify war

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“there is something quite special about the recently discovered entities such as climate. these entities cause us to reflect on our very place on Earth and in the cosmos” ==> hyperobjects (“seem to force something on us”) --> i say every object does that, and it is not recent: ajayeb al makhlughat is about the description of that force

hyperobjects Morton
-an object that is “hyper” in relation to some other entity
-they are vis[...]