[...]he) *mobility of bodies of subjects* (in the West or her regions =/= question of the mediatization of her emotional experiences}

*emotions ‘involve’ subjects and objects*

what constructs emotions as positive or negative residence?

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

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

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

model 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[...]

[...]br />
?a different program: not to be yourself
to bring our struggles together (not our so-called cultural differences)

refusal to integration is problematic as integration (into host's pleasure principle)

authentic imperialism has always been multicultural

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

on affect
affective character practice of retrospection: a bit pensive and passive, a bit slow and solemn?

1970s and 1980s anthropology of emotion: how feelings variously fix and stick through different compositions of language and discourse =/= anthropology of affect: how some feelings slip, evade, and overflow capture ==> *creative methods to collect evidence of environments making and shaping bodies in ways more complex than and ontologically distinct from the poetics on hand to describe it*

**poetics may quite possibly be all that we have, it certainly isn't all that we are**

[*]politics: permutations of evolving power relations and our reflexive attempts to negotiate and manage them

*affect theory: an effect of the world as much as a frame for viewing it

industry working also on affect, push confidently ahead, operationalizing their own idiosyncratic theories of affect toward the manufacturing of new regimes of technological knowledge on how bodies feel (Apple buying Emotient, SoftBank's emotional robot, collective AI cloud)

spread of populist anti-establishment sentiments
feelings increasingly become the primary field for strategizing, measuring, and experiencing politics with global precarity
•anger on the right
•fear on the left
•anxiety at large

affect: nonconscious intensities variously activating and deactivating bodies
emotion: those feelings that fix into place through a variety of discursive practices

methods of mining feeling
projects of knowing become projects of power : narratives seeking to close the affect-emotion gap

The Flash TV series character's motivation are more experienced as a story, for example, a goal, a personal pep talk, a collective call to arms--and not as momentum and force --> affect's sheer momentum

...effect as affect's long history breaking on a shore

countervailing forces of sense and story

to inspire a sense of critical urgency

affect ==> theory is of the world it so describes

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

contemporary tendencies in participatory art:
•**ongoing struggle to find artistic equivalents for political positions**
•tensions between quality and equality, singular and collective authorship
•sub-themes of education and therapy

***invention of a popular mass audience (in Italian Futurist serate 1910 onwards)
[...]

[...] death for the animals:
•عید Eid, God in sacrifice, release from hardship and burden; blithe disposal of animal; euthanize
•چشم‌زخم evil eye or witchcraft as the cause of animal's death, if they are lost through illness, theft, or accident

bonanza
anthrax

euthanize

inoculate

cagey
•canny حيله گر کمرو
•showing self-interest and shrewdness in dealing with others
•characterized by great cautious and wariness
•reluctant to give information owing to caution or suspicion

بو
-treating smell as indicating an unsettled situation
-inadvertent stench of dead bodies disrupts the composed mental image of the ideal corpse within [...] funereal practices
*odors introduce terror or the terror of the uncontained within the social* (Neveeda > Siegel 1983)


double-edgeed prospect

common curse
>
“in the riparian contextm land forms and breaks with regular irregularity” [--> #entropy]
shifting its course, the river inducts new affectees into how to live (this way)
-there is a manner in which life proceeds--instead of feeling in step with it one begins to feel out of sync***

#start a geographic learning, riparian thought; thinking by rivers (& not countries)

_->{.\_,;,_/;-=,/


rural cosmology
cosmology of modern science

human conception: flirtation with the failure to arrive


#two moveis:
•Exodus: Riddly Scott + Creation Bible + Big Bang + extinction theory + fluid animation research
•Noah: Nolan + Creation Bible + Darwin + motion graphic research
--> solving a problem proposed by _?_ }--> “the dream catcher” !!!
(in these cinematic examples we see the society imposed to the same spatiotemporal representational framework that science "discovers” in nature)


the insistent entanglements of physicality with the metaphysical

soil: earth rendered in the scientific register

“The alluvial sediments that come in the waters of the Jamuna river either become deposited as silt across floodplains or fall in the river to become ‘chars’” (Naveeda Khan 2014)

...the time of the arrival of clay is not assured
the inability to perpetuate human life*

the materialist metaphysics of Creation in non-elite belief

“you should not let a dog lick you.”
or “pigeon feather containing 40 different microbial diseases.” #clean
or “they are very dirty and will pass their germs to you.”

cross-species fraternity to the assertion of superiority over all animals

pragmatic + theological spoke:
1- divine privileging of humans
2- human right to transcend the ordinary (--> to aspire to God's pos[...]

[...]bond-->{ affect ==> we search for an object }


...certain objects already circulate as socila goods before we “happen” upon them --> we do not just find happy objects anywhere (--> how happy objects are found in Tasavof? located, lost, transported, sold, advertised, criticized, etc.) *happy objects point us somewhere, a “where” from which we expect so much (--> happy objects of Tasavof [or HOT] {Qur'an, khezr, woman, poetry, .../ قرآن / خضر / زن / شعر}-->their sense of values, practice, styles, and aspirations; where do they point Iranians? beyond, Zolmat, animal, shadow, everyday objects, etc. what are the feelings involving the “points” of alignment wuth these objects?) ~~--> relocation of expectations:
•from beyond to earth
•from global to local
•from future to now
•

in situations where feelings are shared or are in common (which is usually the case in the environments that I am involved with,) how do I usually play a role? ==> (re)location of responsibility

self-exclusion

to make Iran or India or Germany happy “in bed”

(@Sina) *what ever there is in the hear and now, it does not mean you do not have to rebel or not get into trouble.

idiosyncratic likes (or dislikes) =/= jouissance

Ahmed reading many narratives of freedom, in which an indifference is “directed” as the apparent gift of freedom (, father becomes indifferent to what her daughter does as long as it makes her happy) --> the unhappy objects of difference

fantasies of proximity (in sense8 TV series) --> if only we could be closer, we would be as one
the happiness of the characters of sense8 is the promise of “the one”

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

how to learn to read the discursive practices of being of ajayeb? the ways each being proposes its own (or another's) changing geometry and topology, their boundary-drawing practices, their differential productions, and how each being makes sense of its world
-(the authors and beings of ajayeb,) what are their capacity to discern the reality of their (relational) nature?
-how their determinate position (in their relational nature) is or may be (usefully) (con)figured as *specific connectivity*? [the question of specific connectivites of ajayeb]--> this requires from me poetics: diffractive descriptive acts
-what are the ajayeb's beings and mine intertwined practices of knowing and being?

the agential cut of the brittlestar is a survival kit: the arm is “cut” and becomes part of the other (predator)

Barad is reading the brittlestar to rework (challenge conventional conceptions of) her discipline's ontologies and boundaries =/= scientist's usual frame of application and amusement of “discovery” that feeds technological advancement, “the excitement and romantic overtones that inevitably accompany t[...]

[...]estates آبستن, worlds (Heidegger)
-the labored viscerality احشايى of being ‘in’ whatever's happening renders choices, aesthetics, surfaces and materialities *a part of something* (Stewart) ~~apass--> the sentience, of a worlding (lightened by soft scenes of the human condition [played out in:
•forms of pleasure @Sina
•weakness @Maarten
•fun @Elen
•humor @Eszter
•acquiescence رضايت ,تن در دادن @Leo
•self-deprecation اظهاربيميلى @Lili
•the intimacy of قبيح دانستن deprecating others @Xiri
•a bad but human habit @Aela
•some wicked little sorcery @קݙ
•])
-
-an attunement that takes form
-a milieu in which the mouth relaxes into a town accent (نواحی?)
-a disorientation in the face of what lies beyond (Janina)
-a love affair with light and color (Foad)
-uncurtained windows (my mother)
-
-
-->{
/> •one recognizable entity with qualities
•lived modalities
•a history of its social production and uses
 {elements, scenes, encounters, }--they-->{sediment, accrue, circulate, unfold, go flat, }-->{saturate a situation, fly under radar, pull into alignment, fall out of sync, }--> “a regional aesthetic hardens into iconic scenes of living”


calling to eachother in an intimacy of jokes about the things that can happen in their world

voice:
•the tone
•the timing
•the accent
•the phrasing
•the level of force
•the purposefulness of the way that voice lives in light, with trees, in the potentiality of a laugh
•

consistency of a laugh or an edge

***when the muteness of things metamorphoses into an aesthetic phenomenon*** --> singularities incite it

(an actual physical shadow of a state of being)
sing of something amiss:
•d> •depression
•withdrawal
•indifference
•dysfunction


(my mother in Tehran:) a curtained house reduce the gestural economy of seeing and being seen to an occluded vision in which objects are dark, shadowy outlines with black cores, like a world seen through a ripe cataract آب مروارید -->(the house video project i did ‘city of domes’ 2008 http://www.sinaseifee.com/Cathedral.html was actually about that kind of attunement in my mother's house. i was committed to the description of interiority; my allegiance was inward. watchful consciousness in which one witnesses the procession of inner events of light perception <== a sense of lack. sensous grounding of the inner life)
window: a method of worlding in itself, a node of lines of sociality and mood
curtained house --> sign of something amiss (depression, withdrawal, indifference, dysfunction) but “the actual physical shadow of a state of being that broke the circuit of[...]

[...]hat needs attending to (for you)?
•what/who are you in conversation with?



[scenes and selves]***
•layered textures of a scene



(paying attention to pressure points of ajayeb ==>)
in ajayeb, what is
•maintained as a prized possession
•left to rot
•hardened into little mythic kernal
•morphed into a cold dark edge
•hopeful
•
•
--> things take place as [*]precisions: the pressure points that open onto potentialities are taken up as apparitional things (surat صورت) and then sharpened and repeated in compositions that labor to describe but also flourish on their own terms


my efforts have not been to finally “know” ajayeb, Sven, or Sana, [i have been reluctant to collect them into a good enough story of what's going on with them,] rather to fashion some sort of address that is adequate (and fabulous) to their form
-does the intensity and texture of my routines (talks, writings, etc.) make ajayeb habitable and animate?
-in the last year in apass i have been training myself to become attuned to what a particular scene might offer

#my apass ajayeb project:
(learning) building an idiosyncratic map of connections between a series of singularities --> to create a contact zone for analysis ****
[~?-> ajayeb.net, pop-up book]
[that's why i have been against the popular idea of authorlessness in apass, i am invested in (our) singularities; identity is a zone of attunement]--> Stewart calls herself “she” to mark the difference between her writerly identity and the kind of subject that arises as a daydream of simple presence
-to touch details that establishes a direct contact

?in our group who
•gazes
•imagines
•senses
•takes on
•performs
•asserts (not a flat and finished truth)
•is in a hot persuit of something definitive @Lili
•a point of contract @Esta
•

watching and waiting for an event to unfold
the still life that gives a pause --> the story of many of us

______________


“every achieved poem inscribes a perceptual signature in the world” (Stewart > Doty)

poems have to be achieved (in the social-material world)
(achieved =/= archived)

[*]poem:
•etching *lines of action* and mood across the sensations
•compositions at work


my ajayeb's
•objects of analysis: “compositional elements of thrown together worlds”
•objects of critique: “associative account of the modification and reciprocity of bodies and actions, environs, senses, rhythms, tones, and proprioceptions"[: sense of the position of parts of the body, relative to other neighbouring parts of the body]
•objects of database: “are soicialy, poeti[...]

[...]ng in the composition of the poem =/= straightforward record of perception

a tradition of seeking, in the vast book of difference (tha American continent offers)

(the poem) interprets a wordless, creaturely presence

baroque: attempt to dramatize the mind in action rather than in repose (Sa'di's baroque tendencies in Golestan)

fusing impressions synesthetically in a startling phrase
peeling scales provoke simile

...mind moving swiftly from observation to reverie

a compelling replica of inquiry ==> enlist the reader's participation in a version of the work of consciousness


descriptive acts --> attempt to render the world (and it is subject to revision)


*examplars of strangeness” (for my ajayeb, #writing Div descriptions)
-let's rewrite Div Sefid and give it more *wealth of detail*==> keeps the Div from becoming a symbol and allows it to *remain creaturely*
#Div poetry, to get close to a lived texture of creature, to allow the senses their complexity synthetic life

**every achieved poem inscribes a perceptual signature in the world**

the work of seeing ==> who is doing the looking, a specific, idiosyncratic sensibility

*detail ==> subjectivity* : we are brought into intimate proximity to the slipstream of (her) sensations --> *subjectivity* is made of such detail (of all the ways in which the world impresses itself upon us --> knowing through our scaffoldings of concerns, the tones and shadings of our moods) ~~--> we are in a sort of *readerly alliance*


[time]
#practice: try to describe what subjective time feels like --> to find variety of verbs to describe less readily chartable motions
(the time of interiority) pools, cibstricts, tunbles, speeds
-we live in a felt narrative progression, through which experience is transformed into memory
*memory edits*
what is memory but a story about how we have lived?
-timelessness: the interior landscape of reverie


lyric state of mind : seized by a moment that suddenly seems edgeless, unbounded
-wholly giving oneself over to experiencing an object
-unpointed awareness
-perfectly useless concentration
-entirely occupied
lyric moment is isolate =/= (parts of a) narrative are contiguous
(according to the lyric -->) consciousness or immortality is without date(?)

moment dilates as it is described
creating an alternate sense of duration


the surface of language
the complexity and interest of the surface

thickness means we have to *labor to enunciate* them -- is a way of mirroring the physicality of the world

seamlessness ==> our attention is suspended

(a poem/writing) shift time ==> put us inside a[...]

[...] “if you are miserable, then the trees look miserable to you”)
[*]qualifiers sefat صفت gheyd (adjectives and adverbs) intended to lend a host of sensory qualities to the sentence; (sometimes too much) adjectival or adverbial flavoring. [#training: remove every adjective and adverb, and see what you have got left --> **there is always a more exact term waiting to be employed**] (Foad's severe economy of means; Janina's allusive, shimmery surfaces delight) ([*]style: a simple way of saying complex things. -Cocteau)
[*]نظم nazm: musicality of poetry, poem's body of sound is its specific particular flesh, sonic texture --> **making the language more markedly like the world** [a trail, pathway through a wood of sounds, an unmistakably specific landscape, loyal to the local]
[*]synesthesia: occasion of excitement, a skein of complicated perception, (sort of a literary technique,) something like a snapshot of the image-making mind at work --> superimposition of both events and of senses (and of scenes?) ==> a consciousness
(aim of many artists:) “to form the sensorium, the sphere of perception in which we dwell” @Hoda =/= (Doty suggests:) it is work to sort them out (what sorts out senses? question @Hoda, she must learn: an accurate rendering of an idiosyncratic process of sensory overlap and association)
[*]لحن tone: special effects, evoking a ‘moment of’ ... intense statement of feeling ==> a concretely descriptive feeling
[*]questions are always a little more trustworty than answers (?) -- sometimes things said do not take the *rhetorical form of a question* [--> in apass i was training to be able to capture those kind of ummarkedly questions] --> something said (described) with room for indeterminacy ///*convex mirror* (Doty's refractive thinking)
[*]فعل verb, the descriptive force of the right (hardworking) verb, a kind of muscular concreteness. sometimes verbs gain descriptive force when other parts of speech are newly cast in active roles

*invocation = directly addressing the thing creates a sense of immediacy and of connection
*thou, with its suggestion of divinity or beloved --> prayer
*hectic: uncomfortable alliance, inharmonious, something that might set the teeth on edge
*destroy --> a death-steeped perception that reads the wind as a “destroyer”
*world of fused duality


‘and’ --> the signature element of a place, of a landscape, the conjoined body : the animate and the inorganic as one thing


*the project of being alive* (is little understood)

([my project is perhaps] to become) a person whom the ancient world is remarkably vivid*** ♥
to have gossiped about figures of ancient Persia

to believe that the *world is queer* (=/= Mobed, Foad, Reza)
(we need -->) a window of doupt through which all creative possbility comes into being

(Forster:)[...]

[...]ggest==> intuition of a *centered or focused formation* --> circle, sphere
***circumstances and surroundings still preserve a symbolic value, but milieu forgoes reference to any other relation other than that of a position forever denied by exteriority --?-->
چو پرگار می‌شدم...
چو نقطه...
گرد...
now refers to befor, here to its beyond, and so on without cease***
(in iranian poetry) environment: a pure system of relations without supports

*}==> environment: a universal instrument for dissolving *individualized organic synthesis* in the anonymity of universal elements and movements
(for example) metamerism of fish: “fish do not lead their lives themselves, the river has made them lead it, they are *persons without personality* (<== strictly mechanistic use of the notion of environment [<-- Descartes beast machine])
Lamarck: the environment dominates and control the evolution of living beings through the intermediary of *need*(= a subjective notion entailing reference to a positive pole of vital values)
(for Lamarck:) life and environment (which is unaware of it ~(Lamarckian *vitalism*:) ‘there is an originality of life of which the environment takes no account’) are two series of asynchronous events ==>
[*]adaptation: life's renewed effort to “stick” to an indifferent environment
[*]being: the effect of an effort [--?--> striving]
(--> this asynchronicity ==> “us” and “place”)
==> environment does nothing for life --Bichat--> “life: set of functions that resist death” (~-> tales of survival in America sci-fi TV series)
life resists solely by changing its shape in order to survive


Darwin explaining the ‘appearance of new forms’ conjunction of two mechanisms:
1- mechanism of the production of differences ~ variation
2- mechanism of the reduction and criticism of these produced differences ~ vital competition and natural selection
(for Darwin the fundamental biological relationship:) the relationship of the living being to other living beings --> precedence over environment conceived as a set of physical forces
-competition of forces
-accidental morphological variation
(for Darwin:) ‘to live' = to submit an individual difference to the judgment of the set of living beings ~= *die or be part of the jury*
monstrosity: the rule
originality: provisional ordinariness


finalism --Darwin--> selection
***both Lamarck and Darwin denounce finalism and celebrate mechanism
(both, [complementary] biologists to whom) life appears as a datum which they seek to describe without being too concerned about accounting for it analytically [--> not accouting for the analyticallity of their objects?]
Lamarck --> (thinks of life in terms of) *duration*
Darwin --> (thinks of life in terms of) *interdependence*
<[...]

[...]they appear to me? [...] objective processes can have a subjective nature.”

what it would be like for me to behave as a bat behaves =/= what it is like for a bat to be a bat


schematic conceptions of Eszter


(old model of understanding:)
* --> stimulus (things sparkling) --> perception (hiting the senses) --> apprehension (mind aware without judgement) --> comprehension (psychological judgement about the manner of situation) --> knowing ==> world of doing, in which “action” is: expected (mother attending the child, free liberating the prisoners), commanded (soldier's hierarchy, job's duty), solved (engineer puzzling out a problem)


the things apprehended from a particular point of view (particular visual phenomenology) are not connected to that point


Neobeobachtungen
moshahedat مشاهدت
نگاه جدید


*essence of the internal world* --> who is busy with this? (this will define the fate of animal subjectivity)


*view from nowhere*: that their particular viewpoint is not part of the common reality (--✕--> sociology of science)


X is Y
“is”: converge, a technique of modeling (~~> sync)
X, Y: two referential paths
we know how X is supposed to be true


people are no told at an early age that *all matter is really energy* (--> capitalist physicalism. then what you say abnout ‘energy’ is saying something about the nature of reality)
physicalism: the hypothesis that a mental event is a physical event


someone with instinct metamorphosis


(my feedbacks in apass does not only apply to intentional mental events of each other)

(Nagel asking for:) to devise a method of expressing in objective terms much more than we can at present [but he is stuck in the idea of] “a phenomenology that is objective*

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

with Jassem and Mia

Norway ~= (a breakable) illusion --> that somebody is living it
green competition and technopositivist hubris

question of topology (in dream)
(topology: those qualities that remain invariant after transformation --> persistent forms)

fantastic peasant

a piece of hanging cloth that suggests horrors to receptacle receiving eyes


•landscape --> sounds
•poems
•divisions in Norway (<== second world war)
•sami cultural disappearance
◦domestic violence
◦racism
◦refugee geopolitics
•seagull, fish, salmon farming
•interviews
•doom --> delirium, murder, hallucination, whispering,
•ruin (of signs)
•entropy (=/=? emergence)
•

*affliction landscapes* --> Leid: existe[...]

[...]ey point to monstrosity of man
•they point toward life's symbiotic entanglement across bodies
monsters: nature suddenly unfamiliar (acting like udyr)

[*]ghosts: phantoms inside [your] (natural) history, layered temporalities of living and dying (==shape==> landscapes), creatures of ambivalent entanglement --> (help us read) *life's enmeshment in landscapes*


suffering from the ill of another species (or people):
•bacteria inside (<== pollution, radiation)
•people next door (<== war, politics)
}--> this is the condition of anthropocene entanglement



[productive horror of our civil performance--Kirsten, Sina, Jassem and Mia:]

temporalities of ruin, body, optics
                   |     |     |
       matrix of rage, lure, desire

rage (violently affective contact)
--> ghosts: [--> Jassem and Mia's performance ~ “big story"]
•**histories tumbled into histories** (“ghosts” <== bad death <== settler colonialism + expansive capitalism --> they brought with them a peculiar kind of time: looking straight ahead to the future [==> optimization & salvation of a *single past*] --> ruthless ambition & [modernity's time:] metronomic synchrony 🕓)
•animating feral and partial connections
•remind us of an *impossible present* (that we live in)
* (embodied) contingency, asymmetry, indeterminacy *
•hauntings (are not immaterial!) : presumptive absence (presumed in the absence)

lures
--> monsters: [--> Kirsten's objects ~ small stories, little niches with ghostly contours (like a car's tire) ~ things growing in abundant]
•**bodies tumbled into bodies** (“monsters” <== assets and wastes (animal entanglement with the burning man) <-- bad symbiosis)
* unspectacular afterlife of discarded things * (debris of capitalist waste)
•weaving magical figures, conjuring fictions
•constant speculation, that are fed and touched, reparative and tender
•textured, formful, colorful
*lure: things that evoke or capture feelings and responses ==> to lure out relational responses

desire (superposition)
--> optics: (a form of distance) [--> Sina's stories ~ superposition [different scales] of dispersed times [~ unruly temporalities], multiple practice of knowing smallbig spacetime mattering]
•**positions tumbled into positions** (tumbled into politics: some instruments of seeing producing perspectives are more guilty than others)
* (disembodied) multiple practices of knowing --> landscapes: arrangement of life and afterlife, space that grows from ‘endings’ <== ‘death of’(s) ~~> contaminated (stories/diversities)
--> diagram: http://ajayeb.net/?q=rationalizable
(Sina performing) diffractive optics of knowing ==> ongoing articulation [=/= perspective]


•i shoul[...]

[...]aws” [<-- Hayward's politically correct and simple fantasy about good and bad]

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

*body* --> sociohistorical construct & constrain
=/=
*embodiment* --> sense of being bodily (pain, ...) [<-- my focus has been on this one more than the other] --> **never embody ironically!** (<-- maybe irony is OK in visual or written medium?)
•embodiment goes beyond body (my body is still my body but also not)

•to pose
•to transpose

in my work, i transpose: walk through readings (=/= transform: performative “true” embodiment)
•transposition: a mapping of senses, to change something into another form (+ its foreclosures, refusals, limits) = expressive excitation, provocation of difference that cannot be resolved by penetration or collapsed selves =/= interpenetration

border crossing: forces and excitations of location, of neighborhood

sensation: a composite of affects and percepts

personal =/= individual

Hayward's story is shaped by repression : a wish to be seen as she wants to be seen =/= Sina

story: act of violence and deception

medicalized legacy of transsexual's self-narrativizing --> synchronous field of wrong body-ness ==> account

accurate accounting =/= describe transitional sensations

described: formalistically detailed transpositional

post-animal: the afterward of the animal is meat


bumptious coherence of bodies

(neighborhoods) designed to make some vulnerable while others safe
percussed by bullets or by traffic
*threat as invitation*

جراحی زیبایی who alter themselves through surgeries and hormonoes *to feel themselves differently*
(shia in iran is islam after a cosmetic surgery to feel their religion differently)

*changing sex is about changing senses and species* @Foad


depending on my needs, i pretend not to understand

instrumentalization of animal life
surgically changing body


technique of eschew اجتناب
eschewing a nature or culture distinction


sex in pieces
spheres of imagination


[my work:] transhistorical diagnosis: reading in pieces neighborhoods of imagination (opposed to what is available)
#sleep-walking


web-building beasts (spiders) [webbing =/=? weaving: a feminine trope?] }--> expression of the body
my fleshy referent 🕷
over-reaching subjects
*spider's web ==propose==> home and territory are of and with the body*
spiders are scenes of arachnophobia and revultion
extending bodily substance through sexual transition
(arrangment of) sensorial milieu of the self + profusion of the world
(tr[...]

[...]/> [my work:] transhistorical diagnosis: reading in pieces neighborhoods of imagination (opposed to what is available)
#sleep-walking


web-building beasts (spiders) [webbing =/=? weaving: a feminine trope?] }--> expression of the body
my fleshy referent 🕷
over-reaching subjects
*spider's web ==propose==> home and territory are of and with the body*
spiders are scenes of arachnophobia and revultion
extending bodily substance through sexual transition
(arrangment of) sensorial milieu of the self + profusion of the world
(trope for fear as emancipation)
an urban designer
weaver of cityscapes
[*]web: skeletalization of the surface, extension of the surface affects of the spider, dynamic threshold of sensibility --Hayward--> (the body is strengthed) react through a spatial and temporal generativity --> body: inter- and intra-threadings of many sensuous vectors that relay like the spider in its web ~= cities, web-builders
*center of her web = her touch world*
-moves quickly, even uncannily, there/then not, sill/in motion, unsettling/reassuring (seems to trap only dust)
*lived-web = optic skin, a resounding connective tissue
(spider's capacities to) create, syncopate, improvise
(spider and me in the appartment) we resonate in relation to our different movements and processes

[*]trap: a mouth, a mode of utterance, the “O” curve of lips and throat that sounds out and names the apprehension of being embodied
--> ***positionality ~/= situatedness = to be trapped*** (to speak and receive ranges of sensuous input from one's environment) --> *our bodies are not endlessly available to intentionality*

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


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

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

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

irreverent intimacies


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

limits (of my body) = energized zones


sadomasochism stitches


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


[...]

[...]s precisely what characterizes ethnography


counterintuitive ==give==> representation its psychological salience

the experience of dreaming is full of counterintuitive representations (rapidly forgotten)

counterintuitive context of ritual communication --> successful propagation of a representation (memorable)
for example recitation of shamanistic chants --construct--> an acoustic mask =/= convey meaningful message

for religion (and marketing?) culturally successful representation : *a counterintuitive representation formulated within counterintuitive conditions of communication*

}--Severi--> we need a more expressive theory of cultural propagation (<-- my try in telegram bestiary text)


doctrinal (semantic memory) and imagistic (episodic memory) religious modes

(how to better be understand the contemporary art's drive to) *ritual communication* --> performed through both action & speech
•the context: establishment of a particular form of interaction (from a series of contradictory connotations, being two things at the same time --> symbolic transformation) ==construct==> a special identity of the participants
--> xxxx جمع گرایانه syncretistic movement @apass (used as an instrument of resistance?)


messianism = intense propagation + paradoxical identification
--> convert entire populations in a short amount of time

pragmatics of communication --> appearance of a paradoxical “I” personified by the prophet

(warrior shaman messiah's) contradictory self-definition ==able==> enunciate paradoxical statements
--Severi--> to be faithful to the local tradition

Appache --> opposition to Christianity take the firm of conceptualizing Christianity as a different religion
•absorbing but not understanding the elements (of Christian religion) ~= being impressed by story {<-- i do this in my artistic work but i don't ask for devotion or trust}
--> using typical imagistic methods, ritual of dance

the old man Arnold

chant (ritual symbolism) -->
•treat illness
•accompany rite of passage
•impart magical powers
-

(amerindian) shamanism --> establishes a metaphorical link, a set of analogies ~= mystical relationships between ritual objects and living being [--> construct its own truthuniverse, supernatural dimension thought of a possible world]

bleeding pearl

parallelism : (a technique of) threading verbal images together

[Severi's early interpretation of] tradition (would need to) preserve the text + instructions to use --by--> verbalizing them (store them in the chant)

Kuna --> description of the position of the speaker (“shaman is now seated there and is saying...”) characterizes the special [...]

[...]ized digital imagery of the present and the so-called age of mechanical reproduction?
•ongoing abstraction of vision - Problems of vision
•transformation in the makeup of vision
•history of art <-> history of perception?
•onlooker (Zuschauer)
•historically important functions of the human eye ==> medical, military, and police hierarchies
•Most of the historically important functions of the human eye are being supplanted by practices in which visual images no longer have any reference to the position of an observer in a “real,” optically perceived world.
•where abstract visual and linguistic elements coincide
•avoid mystifying it by recourse to technological explanations (this was my mistake!)
•an observer is more importantly one who sees within a prescribed set of possibilities, one who is embedded in a system of conventions and limitations.
•measurable in terms of objects and signs
•newly constituted human sciences in regulating and modifying the behavior of individuals.
•it was through these disciplines that the subject in a sense became visible
•passage from the geometrical optics of the seventeenth and eighteenth centuries to physiological optics
•to expose the idiosyncrasies of the “normal” eye
•Retinal afterimages, peripheral vision, binocular vision, and thresholds of attention
•outcome of a complex remaking of the individual as observer into something calculable-and regularizable and of human vision into something measurable and thus, exchangeable.
•standardization of visual imagery
•in the amphitheatre / on the stage / in the Panoptic machine
•dissociation of touch from sight ==> “separation of the senses” and industrial remapping of the body in the nineteenth century
•unloosening of the eye from the network of referentiality incarnated in tactility ==> fitted for the tasks of “spectacular” consumption
•Perception for Benjamin was acutely temporal and kinetic;
•a mobile consumer of a ceaseless succession of illusory commodity-like Images.
•Machines are social before being technical
•desiring machines
•The paintings of J-B. Chardin are lodged within these same questions of knowledge and perception His still lifes, especially, are a last great presentation of the classical object in all its plenitude, before it is sundered irrevocably into exchangeable and ungrounded signifiers or into the painterly traces of an autonomous vision.
•that the very process of becoming tired was in fact perception. “When the eye fixes itself on a single color...
•the clear eye of the world
•The more Schopenhauer involved himself in the new collective knowledge of a fragmented body composed of separate organic systems, subject to the opacity of the sensory organs and dominated by involuntary reflex activity, the more intensely he sought to[...]

[...]for tactile experience, driving and impulse to expand one's universe and eventually to project it, to exhibit personal passionate voyage of imagination -- effects of a spectatorial movement that is evolving further in Selfie. that is the emergence of such sequential virtues motion capturing that comes to inhibit the train of thought = interconnection in the sequence of ideas expressed during a connected discourse and how this sequence leads from one idea to another (modernity).  

(i don't do filmic voyage)

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

By Consequence, or train of thoughts, I understand that succession of one thought to another which is called, to distinguish it from discourse in words, mental discourse.
“When a man thinketh on anything whatsoever, his next thought after is not altogether so casual as it seems to be. Not every thought to every thought succeeds indifferently.” (— Thomas Hobbes, Leviathan, The First Part: Of Man, Chapter III: Of the Consequence or Train of Imagination)

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

the current forms of biotic forests is due to the spreading of seed-dispersing plants millions years ago (what about abiotic? Kinect)

one of issues related with rate/speed is synchronicity

the effects of biotechnically / bioculturaly situated people

Amazon's nature in opposition to slave gardens (slave plantation systems with factory machine) (along with imperial botanical gardens)
for travel and propagation of...
moving material semiotic
part-time organisms


when visuality is looked at in a haptic modality (the tentacular face for example), vision can be figured as touch, not distance. negatively curving in loops and frills, not surveying(/surviving) from above.

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

when a depiction (poetic, visual, etc.) is dangerously ambiguous?

are we really immersed in data realities? and that really means we are losing the sight on experiences fetched by our bodies?

co-existing and contradictory incomplete models that ground us in our critically limited existence. what does beyond the (techno-cartographic-episto-cogno-histo-) map's horizon means for this situated “us”?

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

(Amanda Boezkes)

the ontological purification apparatus

we are now on an idea of the earth in so to calibrate our sensorial systems to adjust to human-born unpredictabilities that override and neutralize long-standing histories of local knowledge.

how an ecological perspective can be incorporated into vision -- become a visuality? -- mobilization of visuality

how an artwork may account for the ways ecological change registers in vision?

geo-aesthetics

information is not energy-specific (Gibson)
[...]

[...] was neither an ancient nor an inevitable happening

the crisis of climate change calls for thinking simultaneously on both registers, to mix together the immiscible chronologies of capital and species history.

as Gadamer pointed out, Dilthey saw “the individual's private world of experience as the starting point for an expansion that, in a living transposition, fills out the narrowness and fortuitousness of his private experience with the infinity of what is available by re-experiencing the historical world.”

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

(Peter Galison, in Image of Objectivity)

“let nature speak for itself” (!) a new brand of scientific objectivity that emerged in the 19th century => restrain themselves from imposing their hopes, expectations, generalization, aesthetics, even ordinary language on the image of nature. (the image of nature has never been objective)

the present usage of objectivity can be applied to everything from empirical reliability to procedural correctness to emotional detachment

each component of objectivity opposes a distinct form of subjectivity; each is defined by censuring some (by no means all) aspects of the personal.

personal idiosyncrasies

this ideal of objectivity attempts to eliminate the mediating presence of the observer

the phenomena never sleep and neither should the observer

heroic self-discipline

profoundly moralized vision

and like almost all forms of moral virtuosity it preaches asceticism

human worker whose attention wandered, whose pace slackened, whose hand trembled

the self-recording instrument promised to replace the weary artist

machines offered freedom from will

being true to nature:
-in its method (mechanical)
-in its moral (restrained)
-in its metaphysics (individualised)

early alternative approaches to creating picture that were true to nature, but not objective in the mechanical sense


atlases habituate the eye, they are perforce visual


(contrast to the scientific visual forms of photography where one is on the right place at the right time with the right equipment) the Kinect's total randomness

one problem of atlases is that they have to decide what nature is
they all have to solve the problem of choice: which objects should be presented and from which viewpoint (Kinect choosing mechanism and arbitrariness?) (can we not choose what nature is when we are at it? and when we are at nature?)


rejection of aesthetics (but what seduction exactly betrays? or what does it make accurate?)


average (is truth to nature?)


asceticism of noninterventionist objectivity


“s[...]

[...]e, laborious (work)

moral virtuosity never exists without an appreciative audience

by ringing the changes on the resonant cultural themes of self-purification through self-abnegation, scientists persuaded themselves and others of their worthiness to assume priestly functions in an ever more secularized society.

humanity and self-restraint, the one imposed from without and the other from within, thus define the pride-breaking morality of the scientists.

objectivity is a morality of prohibitions rather than exhortations

subspecies of interpretation: projection, anthropomorphism, insertion of hope/fear into images/facts of nature,


varieties of objectivity:
A. mechanical objectivity
B. the metaphysical element that makes objectivity synonymous with truth
C. aperspectival element that identifies objectivity with the escape from and all perspectives

it is tempting to collapse all of objectivity into the view from nowhere. this temptation to simplify by conflation should be resisted, for the highest expressions of objectivity in one mode may seem worthless when judged by the standards of another mode.
(as humans we must deal with our personal, idiosyncratic, perspectival perception)

photo: accurate rendering of sensory appearances

objectivity is a multifarious, mutable thing, capable of new meanings and new symbols: in both a literal and figurative sense, scientists of the late-nineteenth-century created a new image of objectivity

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

we must consider the paths people and trees have taken

entangled networks of matter and meaning

“i don't mind being ‘close to nature.’ but i know what they mean when they say that, and it's not what i mean.”
--Linda Noel, Koyungkawi poet and acorn mush maker

oaks were travelers and mixers

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

(Tomaz Mastnak)
Botanical decolonization

planting and displanting of humans and plants are elements of the same multispecies colonial endeavor

native plants as a discursive field

complex and unmarked ways that plants have been  sorted out as ‘native’ or ‘nonnative’

(as a measure of perfection and ‘civility’) gardening was also the key to the survival of colonies

(for Bacon) ‘plantation’ meant in the first place to ‘Plant in’ people
‘plantation in a pure soile’ (founding a colony)

once we see colonialism as the literal planting and displanting of peoples, animals, and plants--as inscribing a domination into blood and soil founded in the fantasy of molding ecosystems with godlike arrogance--it becomes clear how colonialism ushered in the anthropocene

na[...]

[...] chain


...if one is the master of justice
freed from violence, he goes forward unnamed
-against the mechanisms of Mars (or moon) , we now let things to come to being as objects, outside the mechanisms that regulate our unregulated violence
-sacred forms a field of knowledge --of-->{intersubjective & polemical relationship}

first, sacred is located elsewhere, placed outside the world, then Nature is born objectively --> in the new contract, the exact word can be spoken
...but a new crisis make it start over again
-the sacred is formed by (this) catastrophic and repetitive dynamic

ruse (kalak کلک, che kalake khubi چه کلک خوبی): the “laws” of nature a projection of a (usually political) constitution on the world; to give a status of a natural necessity to arbitrary power
ruse ~ reason---the dominance of the here and now

no one is better endowed by nature for trickery than a Greek. These masters invented dichotomy, separation, and partition. ... They invented the theory of the specificity of various realms (~ cosmology?)

their divisions and clarifications ==> “we today have the weak and awkward fancy to read the world as polysemic and out of sync”, polytomy {from Greek: πολυ-, poly-, “many” and σῆμα, sêma, “sign” ==> multiple semes or sememes and thus multiple senses. ---(soft/hard) polysemous ontologies---(polytomy =/= homonymy اشتراک لفظی ,یک لفظ =/= synonymy یک معنی‌)}  ~--> the awareness of any metabasis to another genre, “discrete” (--> 3D apps today)

(Greek) mathematic =/= illusionist
“if there is a separate field in which no one can keep cards up their sleeves without being resoundingly defeated, it is definitely mathematics.” (Serres)

Greeks theory of segments in the representation of distinct worlds *** (when one uses greek technologies today, which worlds are rendered distinct?)
mathematics, myth, medicine, theory of exchange, ...

Serres's field trip

(Lucretius and our answer to the) what is a living thing?
•! a thing in equilibrium and disequilibrium, a flow, a vortex, heat, etc
•atomist physics




what ‘abundance’ means for Juan?
For me? for Sa'di in golestan...?
abundance is when it seems the artist hasn't put limitations on the flow of signs and meanings.
#my basic methods(?): abundancies, adjacencies,
~-/?--> simplest complex, simplex (concern of comparative topology) ~= the stable network of compositions

my ajayeb hypertext, what is there the specific ‘law of putting together letters’ ([and atoms?] to produce a text)? That means the question of Greekness and syntax technology, and my reworking articulated
•alphabetical proto cloud (Serres) --?--> without law, random
•what are [...]

[...]of person [=/= dinosaurs] + camel: beast of burden and of humility (Aesop's fables) and as creatures of uncontrollable lust (from depiction by monks in medieval times to teach moral fables to the public)

performance of a textual sex change operation

(monotonality) monovisuality of the dominant visual message

logocentric: a transcendental signified to which the text refers


Plato's powerful attack on writing as “dead speech”: Socrates and Phaedrus walk in the countryside. Socrates recounts to him a myth about the origin of writing: the king Thamus is presented with a present from his son Theus; the gift of writing. Theus tells his father that the gift will make his people wise as it will improve their memory --✕--> Derrida shows that in the same argument Socrates goes on to describe speech as another sort of writing; he actually uses a writing metaphor to describe the “true nature” of speech “not merely as a knowing, living, animate discourse, but as an inscription of truth in the soul”


deconstruction =/= re-interpretation
     |                    |
impossible +          providing a
plausible story       different story


deconstructive reading (idiosyncratic to the text) ==offer==> multiple & contradictory potential meanings to the text


Derridean approach to meaning making:
•cricular
•paradoxical
~= it requires us to *deconstruct the deconstruction* --> *work against meaning and interpretation*


name of man: (the name of that being who throughout the entire history has dreamed of full presence = the reassuring foundation, the origin =/= play)

[my fable workshop was about this -->] Derridean deconstruction of images -->
•drawing attention to the way image constructs itself in order to implicitly represent a single history (=/= seeking to tell the truth about what X means)
•keeping alive the contradictions within it (=/= solutionizing)


(?how to deconstruct [iamges of]) nanotechnology: practice of manipulating all types of living and non-living matter at its atomic level
•corporations portraying nanotechnology as a positive and legitimate force (+ visually close down the possible meanings of its products) = Iron Man
•nanospace: planetary bodies afloat in the darkenss of intergalactic space
•fantastical unserious endeavour


([what is?] my problem with) message شعاری


**advertisement ==> confuse agency & ownership**

the fantastic is rescued by the human (face)

(in advertisement -->) **the ways in which knowledge & reality are marshalled into collective visual consensus**


visual deconstruction --> rigor towards the idiosyncrasy and singularity of any text


res[...]

[...]e of that being who throughout the entire history has dreamed of full presence = the reassuring foundation, the origin =/= play)

[my fable workshop was about this -->] Derridean deconstruction of images -->
•drawing attention to the way image constructs itself in order to implicitly represent a single history (=/= seeking to tell the truth about what X means)
•keeping alive the contradictions within it (=/= solutionizing)


(?how to deconstruct [iamges of]) nanotechnology: practice of manipulating all types of living and non-living matter at its atomic level
•corporations portraying nanotechnology as a positive and legitimate force (+ visually close down the possible meanings of its products) = Iron Man
•nanospace: planetary bodies afloat in the darkenss of intergalactic space
•fantastical unserious endeavour


([what is?] my problem with) message شعاری


**advertisement ==> confuse agency & ownership**

the fantastic is rescued by the human (face)

(in advertisement -->) **the ways in which knowledge & reality are marshalled into collective visual consensus**


visual deconstruction --> rigor towards the idiosyncrasy and singularity of any text


restricted economy of the text ==> particular meaning =/= Derrida: moveing from a restricted --to--> general economy of the text

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

metaphysics: enterprise of returning (strategically, ideally) to an origin (a priority) thought to be simple, intact, normal, pure, standard, self-identical [=/= to think in terms of derivation, complication, deterioration, accident]
<--Derrida-- (the most constant profound potent metaphysical gesture in Western philosophy:) conceiving simple before the complex, essential before the accidental
}--> logocentric thought: thought which does not adequately attend to the contradictions inherent in its own medium ==> [logocentrism:] (fable) faith in the status of language as a lucid carrier of meaning (=/= attentiveness to the materiality of communication and the implications of such a project)

pecific languages make communication material, and exploring the interplay of terms within a linguistic system (-->? baroque) =/= Enlightenment = Age of Reason (logos)




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

Beauty and the Beast
or, blast of the clean slate



(goddamn it)

The picture of a relatively undifferentiated and continuous topological space undergoing discontinuous transitions and progressively acquiring detail until it condenses into the measurable and divisible metric space which we inhabit, is a powerful metaphor for the cosmic genesis of spatial structure. (Intensive Science & Virtual Philosophy)

[...]

[...]f confrontation and provocation


to write on chaos
to write as chaos
to write chaos***


[an iranian topology of imagination:]
subjectivity --> deception
literature --> rage
chaos --> annihilation



deserter

textual encounter --> the method by which a chaotic imaginary is uncovered and set loose:
1. lure consciousness into desertion
2. perceive textual artifacts as forces of immanent contagion
3. identify the text as a carrier of shadow-becoming
4. text conceive the setting of inhuman

deserter (position) --> unearthing --> chaotic imagination

...a fractal exteriority that alters and generates vivid, intensified hierarchies of instinct, desire, and knowing*



*exhaustion
damaged allegory of man


*evacuation --> surrender to fugitive trajectory
takes place on amorphous dust

wrenched
shadow-scapes

enterence <--> ejection

•misadventurism of the wanderer
•rogue thought

influx
disintegration
fever
velocity

the deserter mind is made to synchronize the internalization of waste and unrest and to ravage itself

spatiality of the the nowhere

intentionally sets out to become lost

vagrant: drifter در به در
اوباش
self that personified the dejected

self-eclipsing vagrant that becomes the outside itself



arc of necessity


the super-power of holding objects suspending in the air --> an intruder topology where everything is held suspend...

{ false subjectivity = hiding place }<-- chaotic imagination overruns it

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



Glissant

constrictions of the ‘forced poetics’ of writing (in plastic arts)

grandiose concept of the writer (of writing as an ordering process)

world meant as raw material for a book

Glissant's thoroughgoing exploration of models of disorder/chaos --> (his subversive epitome of) *opacite/opacity* --> realm of the intuitive and indeterminate as a corrective response to the systematizing pressures of assimilation and deculturation
==> to create a more immediate, oral, corporeal language
-inadequate process of attempting to note down, chronicle or relate the experience of opacity

chaos + opacity + resistance (in Glissant)
primordial act of defiance lajbazi

negation = heroic (=/= pedestrian)

Glissant's anonymous and pedestrian form of resistance --> knowledge of camouflaged reality

“The one with whom the poet is enchanted, that he name[...]

[...]tner (equivalence, benefit, reciprocity --> alliance)
slave (captivity, labor, devotion, service, worship --> bondage)
--or--> l.a.b. stands for: laboratory, alliance, bondage {bondage should be part of every (artistic or knowledge-intensive) practice}

the question/problem of: incompatibility of past and present, there and here

object of event or journey (expedition, venture,)

story of the “archive of...” : collection of savored differences

the unreal is not always imaginative or speculative
it is sometimes:
a drive (suffering, passion,)
a password (encryption)
a device (machine, guide,)
accidental and chosen

the character’s wisdom, impulse, cunning, courage (endangerment), innocence (purity), violence (rage, atrocity)

intelligence: diabolical perception

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

(to achieve) the perfect secret: a secret that when revealed remains a secret (a riddle, a puzzle ~= monster: confrontation of the raw unnamable)
future liar --> to resurrect (in the form of fable or rumor):
•fake archive (=/= real witness)
•buried forged artifacts in some gamble
•
--> future out of sync (hyperbolic commons) ==> (an aesthetic of) temporal deviation [=/= messianic time of revolution, historical time of modernity, chronological time of capitalism,] --> (the task of) **thinking untimely**:
•forgetting
•erasure
•recreative
(Artaud's vampiric schizophrenic untimeliness...)

(Sina + Mohaghegh's) *existential radicalism*

night: underground of time
where other things can happen
a phenomena where people encounter mercilessly anonymous indifferent impersonal inhuman nature of the universe
(Mohaghegh's work on the renditions of nocturnality)

(carnaval's) multiple forms [prototype after prototype] --> formfullness =/= (deconstruction's) formlessness

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

ordering ==> violence, exclusion, injustice, sacrifice =/= ~=> residue (of ordering --Serres--> its excluded inessential, peripheral, parasitic) *thermal exciter*
•the anthologizing, selecting, and ordering act @Marialena
•with the discourse of parasite we are at including and inclusion

now our relationship to knowledge is to be more extravagant and parasitic =/= economic and fast

every time we write (sometimes referring the reader to the dictionary) we are also reviving language

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

criminal's relation to the dark (fugitive, dealer, prowler ولگرد) =/= wanderer's relation to the dark (nomad, sojourner, sleepwalker)

Mohaghegh --on--> sub-identities whose survival relies upon a certain exact mastery of night's formulas + learning its co[...]

[...]hildrensmedia.net)

imagine children -->
•nature of emotions
•relationship to religion
•relationship to society
◦articulation of attitude towards society
•constructing concept of:
◦individual
◦community
◦nation
◦gender
◦age

Elias's notion of emotion --> a broad category to index concepts of morally, ethics, politics, aspirational acts,

(everything depends on the ways we remember our [emotional experience of] childhood)

(memory = salad of) fragments of memory + emotions from our experience + emotions experienced by others + what we have been told by others about our childhood


common theory --> age between two and eleven children are most sensitive to external factors ==> most vulnerable to advertising

*age seven*
children are increasingly controlled by symbolic relationships and images (+ make judgment about things)

*under five*
{human characters ~?/= animated characters}--> belief in imaginary characters and monsters, management of emotions

*age two*
(end of) two --> children begin pretending (until age of five)

*over four*
idiosyncratic system of thinking about causality (extraordinary plays larger role than adults)


create and identify emotions in visual images

fantasizing =/= fantastical thinking

(for children) wishing = mental + magical + it exists in relatio to skill [---> go to Cinderella, waiting]


Elias's study of children images (visual material featuring children) in Persianate cultures (turkey, pakistan, iran) --> (role of) ***childhood/children = location of enacted emotion***
childhood + religion + visual culture <-- implementation of ideology in society

turkey, pakistan, iran:
•strongly ideological (like other states)
•multiethnic
•shaped by encounter with colonial empire
•strategic (=/= cultural) engagement with (west) global powers
•belief in the existence of charismatic religious authority
•belief in barkat برکت

Iran special relation to *religious visual art*


(Elias's) aesthetic: social imagination, creating reaction without words (= showing)
=/= telling
=/= nonutilitarian form of contemplation of art
=/= cognitive


Western mid 18th century philosophy ==> “aesthetics”
lower cognitive faculties
experience of sensate body
how the world strikes the body
emotional and affective response

modern aesthetics --> contemplation of beauty (superior to idleness and boredom <-- some sort of failure of moral vigilance)
“art = description of beauty”
==> Kant: aesthetics = sublime beauty (=/= quotidien)
}--> (f[...]

[...]emotional experience is not precultural but preeminently cultural --> Lutz

anthropological approach l:
•metaphors/words for different emotions --Kovecses--> individuals choose to conceptualize their emotions differently within the constraints impressed on them by in universal physiology {*force: the primary emotional metaphor*}
•body-based constructivism

(William Reddy >) emotive: (for example saying “i am happy.”) performative (effects change) + constative (describes the world)
•emotive utterance --> getting through of something nonverbal into verbal --> failure of representation --> a person
}--Elias-->
•logocentric concept of emotive <-- comes from speech act theory (there is no evidence that thinking and saying out loud “i am happy” have the same effects, or forcing one self to smile)
•there is no reason to consider one action more or less descriptive than performative than the other [--Sina--> my whole work has been about arguing the performativity of descriptive acts, there are no descriptions that do not generate emotions]
•lack of methodological distinction between (anthropological) fieldwork [: subject is changed by the presence of researcher] =/= historical research
•problem of synchrony in “emotive” <-- ignoring memory, aspiration (on the list of the emotional actor)

emotional states can be evoked or avoided(?)
conditions can be manipulated with the goal of shaping emotions in the future


emotion and its affects
•emotion --> medicated and sustained
•affect (a very recent idea) --> ephemeral instantaneously rises and dissipates (leaving residual effects)
}<-- a heuristic device (difference) to highlight different kinds of experiences, their perception and impact

affect is under inquiry in understand:
•customer culture
•entertainment industry
•
•(individual located in larger communities)

[*]affect: embodied thought : culturally and corporealy informed cognition = thoughts + apprehension “i am involved”
[emotion = i am involved]

(Elias) arguments in favor of affect (affect-culture):
1. (help us to understand) relationship between *(human) bodies, nature, action*
2. explains cooperative living, sacrifice, generosity, attachment, affection (better than theories that focus on economics, politics, power)
3. critical apparatus for gaining knowledge from human interaction and social movements --understand--> future
(concept of) affect --> productive way of understanding human attitude and behavior

_____________
affect theory
•(Spinoza ==>) Deleuze's ethnology of bodily capacities ==> Massumi
•(Darwin --?-->) Tomkins's psychobiology and differential affect ==> Sedgwick

Tomkins
basic affect transcend culture
durable [...]

[...]riting which bring the record to life
•mapping the configurations the record helps bring into being

how the structuring of the record speaks to the structuring of the bodies (of the artists?) we investigate? (@Sofia, Olga)

record -->{
production of human bodies
organizational hierarchies
selective memories

_________


Ribes Bowker - Between Meaning and Machine.pdf

...in the wake of ontologies
in participating in knowledge projects, first we learn about ontologies and then learned how to create them
(we rarely “produce” knowledge, we always participate)

ontology: an information technology for representing specialized knowledge in order to:
•facilitate communication across disciplines
•share data
•enable collaboration

(am i) representing the knowledge of my communities (?) -- what does that mean?

*routinization* (is that which is at stake in ontologies) --?--> *apprehension*: orientation to the informational organization of ones field
(to attend the routinizations and apprehensions in one's own practice --> ontology building)
•my routines of reading, highlighting, writing, idiosyncratic talks, feedbacks, questions, silences,
--> (attend to the) transformative consequences of learning and traversing routines --[+]--> the practice and material tools that accompany the reworking of them {knowledge in informational terms, fables, etc.}--> problematic of inter-operability
--> (and asking) how a (broader) community's interests are at stake with this? {to engage and enrol that community through what activities?} #microworld

(my routines:) with confidence deliberately working with:
•interrupting stories with stories
•partial connection (and its performance)
•moving arguments through by infecting them with other arguments (=/= dialectical)
•mobilizing (multidisciplinary) fields (=/= the imperative of knowing A, B, and C first before you do D)
•mobilizing citation apparatus --> that which gives sense to what enables this work --> deliberately having a conversation with ajayeb al makhlughat
•mobilizing anachronic apparatus --> mobilizing different timescales ==> mixing up what counts as “us” (=/= chronology [?==> belonging])
•remembering what one knows (and organizing, performing, reworking it)
•having stakes in rationality (i constantly criticize rationality, but as you can see, i am not at all throwing it out)
•omnivorous approach
•

wild facts amenable (تابع) to formal representation (formal modeling)

routine: practically enacted, having no existence outside its performance, embedded in the configuration of material resources that enable practical work

[#workshop fables] how, by traversing the routine,[...]

[...]entists create can be read as an eternal present

(total recall:) memory as a metaphor needed by a ‘handicapped’ observer who cannot see a complete system

(same technique was used in Gulf War, Ali's production of consensus by flat) encephalogram

Ehsan's transmission sub rosa of information: stories and practices from his wild, discontinuous, ever-changing past


(Lyell's geology of earth:) working from the position that there was no sign of the origin of the earth, nor any portent of its end--what we have access to is a set of records in the landscape which leave the impression of massive upheaval and discontinuity in the past


tools to think past =/=? tools of (our own) archive


“most groups [...] engrave their form in some way upon the soil and retrieve their collective remembrances within the spatial framework thus defined” (Halbwachs 1968 > Bowker)

built: we often don't think of such [reworked natural landscapes] trails in memory terms, because it is not our own personal memory that is being engraved--it is the collective memory of our culture


(my favorite) specialized archival technology (~= memory practice): list*

synchronization in the 14th century, where information provided the ‘coin’ which allowed multiple endeavors--social and natural, along a (different) material substrate

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

idio + sync
-idio- (“private,” “one's own,” not capable of engaging in the public sphere, for Athenians: concerned exclusively with private (--> a natural state of ignorance that all persons are born into) (private soldier with no skills?) [~=? mast مست] =/= “polites” ~ police [~=? mohtaseb محتسب (--from--> احتساب, شمارنده, بشمارآورنده)])
-syn- (“with”)


کرم + حلیه
hile + karam

سجده شوریده

خام کن پخته تدبیرها

اول او اول بی ابتداست
آخر او آخر بی‌انتهاست

کار فلک بود گره در گره


(expelled from the temple of science) the collector and the classifier --> to grosser objects that we can taste, touch, accumulate

the master of ceremonies to a cage of tigers

Bowker on Charles Lyell

Buckland: (generally speaking) all things on earth can be seen at once objects and archives:
•as objects: they function in the world
•as archives: they maintain traces of their own past

a rock:
•object of lithosphere
•document of its history (striation: past glaciation; strata: complex stories of deposition + radioactive isotopes; journy through the mantle; etc.)


earth: a variable legible palimpsest

[...]

[...] /> آخر او آخر بی‌انتهاست

کار فلک بود گره در گره


(expelled from the temple of science) the collector and the classifier --> to grosser objects that we can taste, touch, accumulate

the master of ceremonies to a cage of tigers

Bowker on Charles Lyell

Buckland: (generally speaking) all things on earth can be seen at once objects and archives:
•as objects: they function in the world
•as archives: they maintain traces of their own past

a rock:
•object of lithosphere
•document of its history (striation: past glaciation; strata: complex stories of deposition + radioactive isotopes; journy through the mantle; etc.)


earth: a variable legible palimpsest

(office procedures & computer programs are both) designed as *abstract machines*
-for ajayeb i designed an abstract machine called ajayeb.net to realize a seamless interchangeability between my artist/research procedures and computer programs

bootstrap: a simple system activating a more complicated system

(i have become hypersensitive to:) progressivist telling of the history of the earth =/= strangely synchronic world where there is no effective arrow of time

[*]synchronization: the work that it takes to bring the various bits of the world into a single archival framework*** (with their metaphors and strategies) ==permit==> cohabitation of discipliness --> **synchronization of the social and natural worlds to the same temporality**
(synchronization is always at work and is technologically determined)
--> conjuring of the social and natural world into forms that render themselves amenable to recording ==> (imperial records) archiving changes the world & creates a record of it --Derrida--> sequential & jussive (imperative)
+ scientific work epitomized the developement and rigorous application of these procedures (---> go to Serres's origin of geometry and greek empire)
***synchronization brings material forms (commodity flow, train travel) together and when geological and historical time are mapped into the same time --> metaphorical & ideological & material interact (==> emerging powerful possibilities) [--> in art we also do a lot of syncing and synchronization (<-- this is perhaps what Pierre meant by saying that researchers are creating their own science)]


time management, a central issue in industrialization
Babbage: clock = regulator of time

industrial world-knowledge ==> importance of the division of the history of the earth into equal periods of time

information drive (a drive *to save as little information as possible about something*)

(Latour's) oligopticon: special places where the micro-structures of macro-phenomena are crafted, local activities be[...]

[...]con: special places where the micro-structures of macro-phenomena are crafted, local activities become a “bigger” issue (such as parliaments, courtrooms, offices), where different strands of “macro-social” phenomena are weaved
-they see much too little, but what they see, they see it well (=/= total surveillance of panopticon)


watch (from 1800 to 1820 at least 100000 clocks and watches were produced every year)

“clockwork ocean” with waves and cycles of salinity as “balance wheels”
(Bowker > Graham Burnett > Fontaine Maury)

}==> imposing a **temporally mediated qualitative difference between the creator and created** (instantiated on the factory floor and in nature) --> creators stood outside regular space and time (=/= situated knowledges)

(19th century) scientific work = imposition of a representative framework of regular space and time on social and natural time
(science was and still is) making society confirm to the same spatiotemporal representational framework it was/is “discovering” in nature (---> go to the #scientification of christian genesis in Nolan's Noah film)
*imposition of a regular spatiotemporal representational framework* = (Bowker's) [*]convergence (a key aspect of synchronization): a cosmology (inspired by factory production) of nature and humanity--to make science, art and politics converge more and more towards the same goal, to introduce to them the notion of change, progress, succession, continuity, life, submit them to the same law (of constancy and uniformity)
•in astronomy: (1836) “the return of the comet of Halley at its predicted time has been remarked with intense curiosity and satisfaction by astronomers, and by the public. this has now become a regular and well ordered member of our system” (=/= ajayeb)

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


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

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


chaotic spacelike, lacking direction and granularity

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

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


Facebook within the spirit of industry --> “under the [spirit of industry's] influence, people will begin by gr[...]

[...]anity--to make science, art and politics converge more and more towards the same goal, to introduce to them the notion of change, progress, succession, continuity, life, submit them to the same law (of constancy and uniformity)
•in astronomy: (1836) “the return of the comet of Halley at its predicted time has been remarked with intense curiosity and satisfaction by astronomers, and by the public. this has now become a regular and well ordered member of our system” (=/= ajayeb)

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


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

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


chaotic spacelike, lacking direction and granularity

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

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


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


ufs (unidentified flying subject)
ufo


arguments about rates of change = about facts of change

eternal, unchanging present


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


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

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

in our trip to Rivage with Marialena we were in terested in signs in the built landscape, the “second nature” in the nature of Rivage, which were “concrete embodiments of the environmental partitioning that made farming possible”

a heterogeneous[...]

[...] of the window of a moving train: a new kind of geographical representation, abstract and regular


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

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

in our trip to Rivage with Marialena we were in terested in signs in the built landscape, the “second nature” in the nature of Rivage, which were “concrete embodiments of the environmental partitioning that made farming possible”

a heterogeneous collection of lived spaces and histories
a heterogeneous collection of lives and spaces

why translation must be a monopoly (according to railway):
you need centralized bureaucracy and effective monopoly in order to operate with efficiency [...] you could not have every train running on its own (loca) time ==> (Bahn railway map =) a representation that permit efficient operation --> *an absolute time and annihilated space*

(industrialization -->) railway/railroads --> basic accounting techniques used by American business enterprise (into the 20th century)
==> infrastructural technology: organizational form (accounting techniques, reports, etc.) synchronized with its own impact on the world (regularizing it) providing both a ***material and metaphorical implusion*** (to order its forms of inquiry/activity)


@apass monday reading
means of new infrastructural technobody ==> technoscientific representations ==> (dual process of) commodification (railway) + representation (abstract space-time)
--> “you need to be able to represent the world in a *coherent and standard* form [~ databases] in order to run railways [or program language operation] and deal in commodities

increasingly less well-defined boundaries --Serres--> we need analytic categories that allow us to account for the unified representational time and space applied to both bureaucratic and scientific work --(Sohn-Rethel)--> (relationship between) **commodity form and the process of intellectual abstraction** [-abstractness governs the whole orbit of commodity form]. when commodity is up for sale, it is by definition not to be used; it exists in a kind of “frozen time” outside the normal flow of time. it moves in an abstract spatiotemporal world (~= “second nature"[==> cognitive faculty of conceptual things] =/= concrete world of “first nature”)
*import* the ideal abstraction basic to greek philosophy and to modern science


systematizers

nested series of regions

synchronic extension --> “trace” back records in past: indian empire preceded edgyptian preceded persian preceded western. a second world, Europe, is contained within larger world (~= european union) --> (fable of the “step by step”:) man has step by step, broken with this natural asian world, [...]

[...] implusion*** (to order its forms of inquiry/activity)


@apass monday reading
means of new infrastructural technobody ==> technoscientific representations ==> (dual process of) commodification (railway) + representation (abstract space-time)
--> “you need to be able to represent the world in a *coherent and standard* form [~ databases] in order to run railways [or program language operation] and deal in commodities

increasingly less well-defined boundaries --Serres--> we need analytic categories that allow us to account for the unified representational time and space applied to both bureaucratic and scientific work --(Sohn-Rethel)--> (relationship between) **commodity form and the process of intellectual abstraction** [-abstractness governs the whole orbit of commodity form]. when commodity is up for sale, it is by definition not to be used; it exists in a kind of “frozen time” outside the normal flow of time. it moves in an abstract spatiotemporal world (~= “second nature"[==> cognitive faculty of conceptual things] =/= concrete world of “first nature”)
*import* the ideal abstraction basic to greek philosophy and to modern science


systematizers

nested series of regions

synchronic extension --> “trace” back records in past: indian empire preceded edgyptian preceded persian preceded western. a second world, Europe, is contained within larger world (~= european union) --> (fable of the “step by step”:) man has step by step, broken with this natural asian world, and constructed, through industry and trial a world informated by liberty [--> my german orientation course, “that is why refugees are coming here"]


fable: history as the tale of struggle (~ liberty against fatality)

(glorious) race into the future


temps
•time
•weather


(i have been working against:) “the irrelevance of the past for a purified real present (which Bowker underlines in Lyell's work)

syllogism صغرى کبرى
soghra kobra

senility kohulat


**database
(replacing syllogism) principle of the *division of labor* --> simultaneity of groups (of people) --> “the succession of acts of which a single act is composed, is the same thing as the succession of diverse works necessary to arrive at a result which is nevertheless single.” (this) succession ==> division of labor


“there is not context only text” --> when you get to Paris, upbringing and race are irrelevant to a person's actions. contemporary humanity would move completely outside the flow of narrative time


1830s geology
history: a science of singularity and secular change
earth: records of catastrophic events that affected the body terrestrial (much as political events affected the body politic)
[...]

[...]> a core science of our time)
archive ==(is central to ‘thinking about’ & ‘writing down’ of)==> objects being studied


information explosion of the early 19th century + new ways of describing the past


“locality of each geologist will be the terrestrial globe” (--> locality of Olearius)

heroic age --> everyone constructed complete systems (that are thrown up and down in cataclysmic succession [!]) [--> question of artistic research]


...relics of the animate creation of former ages [--> science special effects, museum of continuity,]
[title]


indifinite space as filled with worlds...


colossi

earthquakes
floods
storms

tranquil variations


“second nature”:
•(from) past
•analytical constructs of extended present


[title]
***an irregular past and a totalizing memory***
(‘chaos’ characterized of/for archive ==> human nature)

moral duty as humans [!!**] --> to recognize stasis at the heart of disorder **** (--> an ancient fable, archetype) *apperceive[~ perceive in terms of a past experience, accumulative perception] synchrony in the midst of diachrony[~ look for historical changes/roots in languages]* + to sync ([*]synchronization: to bring social and natural time into a unified form <--through-- production and storage of records)
@Marialena

the metronomic story
the mnemonic story


***spatializing time***
(for humanity) going out in space, to India, to the Orient, or within France to Brittany or the Pyrennees, was going backward in time (~ mapping technique ==> position of “humanity” out there nowhere --> anomalous, moral, short term [--> “impact” of Star Trek crew(~ a cult of people who have unlocked the secret of life and the universe) on the worlds they visit])
==> faceless scientist working in a vast and effective machine (--> Haraway talks about the same)


new memory practices
•***lie at the heart of our ways of knowing (both ourselves and the world)***
•they skew our available ontological space

it seems our contemporary memory practice is highly prosaic [~ german?] (=/= baroque)


[***mythological dimensions of new memory practices:] (*there is a compelling connection between the information revolution as an economic fact and as a statement about the nature of universe:)
19th century rationalization + bureaucracy (==> dramatic new information-processing and communication technologies) ==> today's institutions = **to oppose entropy** @apass
DNA ~= global economy --> nature of existence & new technology synchronized
(--> a history of science as successive decentralization of human) ==> ***eschatological (base of) information r[...]

[...]
the mnemonic story


***spatializing time***
(for humanity) going out in space, to India, to the Orient, or within France to Brittany or the Pyrennees, was going backward in time (~ mapping technique ==> position of “humanity” out there nowhere --> anomalous, moral, short term [--> “impact” of Star Trek crew(~ a cult of people who have unlocked the secret of life and the universe) on the worlds they visit])
==> faceless scientist working in a vast and effective machine (--> Haraway talks about the same)


new memory practices
•***lie at the heart of our ways of knowing (both ourselves and the world)***
•they skew our available ontological space

it seems our contemporary memory practice is highly prosaic [~ german?] (=/= baroque)


[***mythological dimensions of new memory practices:] (*there is a compelling connection between the information revolution as an economic fact and as a statement about the nature of universe:)
19th century rationalization + bureaucracy (==> dramatic new information-processing and communication technologies) ==> today's institutions = **to oppose entropy** @apass
DNA ~= global economy --> nature of existence & new technology synchronized
(--> a history of science as successive decentralization of human) ==> ***eschatological (base of) information revolution*** : every material structure or energy flow (@Ali's pot carrier) could be used/seen to carry information
--> (mediated in 19th century:)
nature of the universe --to--> nature of humanity --to--> organization of economy

information mythology [~ “information” can travel anywhere and be made up of anything ~ “everything is information"] = interface between the social and natural worlds
}==> ‘a general statement about the nature of information' = 'a general statement about the nature of the universe’
(Bowker:) the new memory modality was at root an economic process of ordering social and natural space and time so that “objective” information can circulate freely [==> democracy, science]
==> package the world + make it deterministic
--✕--> (we must) make information historical (again)*

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

Avital's work has concerned itself [...] with the fact that technology is irremissible. Mary Shelley projected this view of technology with her massive, monumental, commemorative work on the technobody, which was the nameless monster. The problem with (or opening for) technology is that no one is or can stay behind the wheel, finally, and no one is in charge. And the way she has tried to route and circuit the thinking of technology--indeed, in a posthumanist frame--exposes the extent to which it belongs to the domain of testing.

the contiguous neighborhoods of broken experience and rerouted memory

the my[...]

[...]people adapt technologies

librarian's articulation work is both technological and affective =/= competitive


(in techno-capital) supressing labor costs ==> deskilling

deskilling and de-professionalization under the intertwined guises of competitiveness and innovation

an example of deskilling:
-Haraway: “to be feminized means to be made extremely vulnerable; able to be disassembled, reassembled, exploited as a reserve labor force, seen less as workers than as servers; subjected to time arrangements on and off the paid job that make a mockery of a limited work day; leading to an existence that always borders on being obscene, out of place, and reducible to sex. deskilling is an old strategy newly applicable to formerly privileged workers.”

education has been difficult to comodify, and remains labor intensive =/= innovations in online education ==> creating inroads in the deskilling and commodification of teaching labor:
•course curriculum --> course content
•teaching --> delivery
*video technologies + internet ==> face-to-face interpersonal relating to be captured and reused --> new depths of commodification
*internet technologies can be used to provide rigorous, asynchronous learning and mentorship, or they can be used to decrease labor costs, but they cannot do much of both simultaneously(? --> question @apass)


Calvert: [...however,] for competition--[or any good/bad object we are working on] to be a useful strategy, it has to happen in a larger context of cooperation and collaboration
(for example the notion of “future” has to happen in a larger context in which different futurities for diverse communities is thinkable)


method <=={
+ sensitivity to the historical moment (multiculturalism, extreme changes in the meaning of ‘global,’ etc.)
+ an assemblage of tools that are ready to hand (theoretically driven, are pleasant and effective to use, etc.)
+ embody an ethical commitment to -->
◦emic: the values and meanings of those who are being studied
◦etic: within a way to explore the conventions, standards and infrastructures that both constrain and enable their experiences


Leigh Star
•qualitative methods
•lateral thinking
•poetics of infrastructure
•[*]boundary objects: examines assemblages of humans and things, and how things that exist in more than one community of practice are used in performing cooperative work


the role of practical knowledge in organizational life

sensitivity of an ethnomethodological orientation

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

[...]ments where the question of ‘how to care?’ is insistent but not easily answerable** (‘care’ as an analytic or provocation)
-Kenney


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

Manoto TV station program “sher yadet nare” شعر یادت نره respond to the questions of translation (from the UK produced program “Don't Forget the Lyrics” into an Iranian contemporary popular media culture) and memory practices (archival memory act performance pop quiz show mixed with consumer culture TV broadcasting)

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

*cognitive companions* (--> coordinating multiple agencies characteristically)
-tiny clay token sheep were enclosed in clay envelopes with markings indicating what was inside (*molding and inscribing clay* was the favored sensory technology for making in Mesopotamia 5000 years ago)
•maybe your makings involves “true writing” that companions preferentially with language
> •maybe your makings involves spinning plant and animal fiber and feeling, tying, and untying knots
•processual affirmative re-writings
•systeming meditations
•context-sensitive pushback
•operational closure (of a system)
•fluctuation, entrainment, blocked synchrony
•
[Katie King use of a term, how she shifts it from mechanism to affect:] [*]stigmergy: feeling of being in among and as the self-organizing bits that are system-ing (=/= a method of communication in emergent systems, mechanically defined as “indirect coordination” self-organizing termites and ants or flash mobs or political action)
@apass: how do you provide different *undisciplined ways of envisioning* new kinds of environments, artifacts and practices? (entangle design, science, fact and fiction, boundary objects, system-ing, [*]design: ***making things that tell stories*** [=/= telling stories])
(my encounters with) ajayeb's vibrating particularism
[*]website, talksite: play, trial and error, permutation and mistakes (none of it innocent or exemplary @ERG's website) ==> *cognitive reassembly*
-->{relations between developers and users to create and work out a technical interface ==> communicative tangle}
transmedia story (with its origins commercial and suspect, often entangled with social critique and social panic ~= conditions of making knowledge today; we knowingly or without reflection, gather and pin together such stories across media...)
-you can't take *citation pools* for granted
-how we will take what each other says
companion gatherings (do not exactly cohere or consort well) ==sometimes==> violation of standardization (that some believe is more equal)
(companions need to) [*]learn: emergently sensitize and attune among new cognitive and political circumstances (in and as their very moments of unknowing, when ethical and moral sortings are properly in flux)
(with)[...]

[...]Rai + Keenan --> give me) new resources for imagining justice and democracy

all habits are preindividual : where the subject and population meets

photographs (photoshopped life) ==enable==> a hauntology to emerge in the viewing subject


a priori conceptualism =/= a practice of perception that is involved in the emergence of ecologies


like Rai's photos, the image assemblages that i am making are experiments in perception given the ecology of sensation that i am working through
--> attempts to produce an affect that resonants with a conceptual and bodily reasoning =/= philosophy

my telegram collection <== (Stengers) we do not know a priori the difference between what we must take into account and what we can ignore

(for you, X is deterministic, as are the questions that describe it)

[*]emergence: the appearance of the unanalyzable totality of a new entity that renders irrelevant the intelligibility of that which produced it

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

Ticineto Clough

media technological developements ==> (often and perhaps necessarily) put the transformation of being and the transformation of knowing out of sync with one another

why Hollywood concerns me:
•reconceptualization of labor from the cinematic mode of production to the affective mode
•the colossal projection of cinema as a guarantor of a culturally uniform memory

relevant for artists too (they cannot ignore this) --> to rethink the ontological grounds of knowing [and representation] (in the wake of) deprivileging or decentering human perception and cognition (and reconcider these artistic tools and episteme:) sensation, affect, matter, energy

*digital media technology is being redefined in terms of a subtraction of human perception as the presumed center of being and feeling* @apass

(media understood in terms of) *nonanthropocentric affect* --> affect = transition, gateway, passages between dimensions ==> ‘everything = media’ (~ entities can feel or whose vibrations can be felt by other entities)
affect --> [*]media: contractions of forces of the world into specific resonating milieus

**mediation = modulation = (vibration =) intensifying or deintensifying rhythmicities and forces, below and above human perception**

[*]human perception: assemblage of measuring that is irreducible to human agency or human agency alone ==> “non-conscious phenomena”
-this is Barad pointing the way to an epistemology put in terms of measuring that affects as it renders effects
(i need to work on such specific epistemology for ajayeb)

(ajayeb's speculative reals --> speculative grasp of what exists outside human knowing =/=) correlationism: impossibility of a world without human knowing

[...]

[...]ut public realm:
1- as a dialogical condition (of exchange, of political engagement) --> Arendt & Habermas; --->{a communicative immaterial space} : “more talk ==> more agreement, common understanding” ---[dialogic & immaterial]
2- as a space of spectacle --> (goes back to 19th century) Baudelaire's ‘individual passers-by’ watching something on the fold (--> [old Greek idea of spectacle:] “unfolding of narrative.” a bad idea of ‘how people should be physically in space’ for example, a landscape architect that creates a scenography in a park ==> a witness in a scene, watching as spectator from out of a situated identity in the world), (not so new) urban sensibility and urban subject matter; criticized by Guy Debord; --->{a theater with performers and spectators, a very physical understanding of public space, ---[dramatic & material]}

3- inclusive =/= integrative
many of the differences (culture, class, religion, etc) that cities contain can't be reconciled ---> how can I talk to you and not pressing a point of integration, rather inclusion? (where people feel provoked to integrate, integrieren, an inherently passive condition)
-always more parallel activities that don't form a spectacle only but are also productive
---[inclusive & synchronous]

***(in the public realm:) integration <~-> spectacle

public spaces must be much smaller =/= gigantism of dramatized power of the politics in large scale public places
small ==> intensity (--> this i learned from Julia as well, create small spaces to show our art-works to each other, the intensity of that moment generative of desire)


(most public spaces have been designed by powers that want to use the very size of the public space as way to *dramatizing their own power*)
•public space inspired by power
•public space inspired by wealth
•




the “stop” as an architectural project itself (@Selma)
we argue, in our project st.open, that there should be many activities going on at once in public space, that public space should be synchronous, productive as well as spectacular

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

*the way we concentrate has a deeply historical character*
Crary

looking at opera or television or driving,
we are in a dimension of contemporary experience that requires that we effectively cancel out or exclude from consciousness much of our immediate environment

Crary: how western modernity since the 19th century has demanded that individuals define and shape themselves in terms of a capacity for “paying attention”*** --> disengagement from a broader field of attraction for the sake of isolating or focusing on a reduced number of stimuli

{ our lives = disconnected patchwork of stats }<== dense and powerful remaking of human subject[...]

[...]3- inclusive =/= integrative
many of the differences (culture, class, religion, etc) that cities contain can't be reconciled ---> how can I talk to you and not pressing a point of integration, rather inclusion? (where people feel provoked to integrate, integrieren, an inherently passive condition)
-always more parallel activities that don't form a spectacle only but are also productive
---[inclusive & synchronous]

***(in the public realm:) integration <~-> spectacle

public spaces must be much smaller =/= gigantism of dramatized power of the politics in large scale public places
small ==> intensity (--> this i learned from Julia as well, create small spaces to show our art-works to each other, the intensity of that moment generative of desire)


(most public spaces have been designed by powers that want to use the very size of the public space as way to *dramatizing their own power*)
•public space inspired by power
•public space inspired by wealth
•




the “stop” as an architectural project itself (@Selma)
we argue, in our project st.open, that there should be many activities going on at once in public space, that public space should be synchronous, productive as well as spectacular

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

*the way we concentrate has a deeply historical character*
Crary

looking at opera or television or driving,
we are in a dimension of contemporary experience that requires that we effectively cancel out or exclude from consciousness much of our immediate environment

Crary: how western modernity since the 19th century has demanded that individuals define and shape themselves in terms of a capacity for “paying attention”*** --> disengagement from a broader field of attraction for the sake of isolating or focusing on a reduced number of stimuli

{ our lives = disconnected patchwork of stats }<== dense and powerful remaking of human subjectivity in the West over the last 150 years

the so-called crisis of subject disintegration is diagnosed as a deficiency of “attention”

attentive norms and practices ==> modern distraction


imperative of concentrated attentiveness within the disciplinary organization of labor, education, and mass consumption
+
ideal of sustained attentiveness as a constitutive element of a creative and free subjectivity

a cultivated individual gazing (~ Jassem) on a great work of art or nature
+
a factory worker concentrating on the performance of some repetitive task

--> institutional constructions of a productive and manageable subjectivity + purified aesthetic perception
["+” : inseparability]

==> experience of subjective autonomy (for exampl[...]

[...]on with traditional theatre that had allowed or encouraged audiences to look at each other at the diverse social texture of the theatre

an attentive, absorbed public (unthinkable in the 18th century ---> go to Sennett)

(still we are suffering -->) [to have] *control over the attentiveness of an audience* to subordinate it to the will of the artist ==> generate a *collective state of reception* (worthy of an art with such social aspiration @Hoda, Ali , Sina, --to which extent my mysticism in art was about my ideas about spectators incapacity for attention in contemporary Tehran?)

19th century theatre --(transform into)--> ***construction of visibility*** (structure the spectators perceptual experience)

“collective act of seeing ==> semblance of a community”

(phantasmagoric character of his work) Wagner:
•eliminating lateral views ==> frontal engagement
•near-complete darkness ==> preventing peripheral distraction
•lowering the orchestra out of sight
--> systematic concealing and mystification of the process of production
--> (Wagner stands for) will to mastery over all aspects of the spectacle ==allow==> calculated production of states of regression, fascination, dream (synchronized sound --> cinema's attentiveness half a century later)
-control over emotional response
-remaking of spectator experience
-production of dreamlike clairvoyant

(-can theater stage be a place of distraction? again)

intelligible relation of distance between viewer and illusory scene
--> the way diorama commanded visual attention

in my stage design drawings from 2009:
•standardized perspectival expectations
•metric relations
•position of spectator
•luminous detached rectangle
- 

Wagner's Ring cycle: the last expression of a 19th century fantasy of the recuperation of tragedy and myth ~ the dream that culture could make whole what capitalism has broken --Crary+Lacoue-Labarthe--> [disturbing conviction/dream:] in an age where transcendence is undone, (the vacations of) art can recover an ancient destination and establish the type of mythological figure (in which humanity or a people could recognize itself)


-verisimilitude: the quality of seeming to be true, gloss, semblance


composite imaginary of the 19th century

______________


crowd
theater
phantasmagoria

Crary --> Seurat's Parade de Cirque = disclosure of *the absence at the heart of modern spectacle and perception*

vivid opening into a light-filled action-filled arena

@apass, a common way of criticism:
•*evoke, then withhold*
(fir example: evoke ‘entertainment commodity’ but withhold it. Laura, Ale ,)
•*invest, and dismantle* ([...]

[...]f physical being) --> *time of the body* [<-- this is typical of today art in european] = indefinite scalar time + intensity is experienced outside representation
•river stands for his engagement with a more primal flux
•sustained condition of vibrating instability
•apprehension of multiplicity
•world = turn of a kaleidoscope (prismatic)
•(when you look at a) landscape has its own weird anima, it changes like a living animal under our gaze (---> go to machine dreaming image learning 2020)
•to make yourself into a responsible productive organ
--> **incarnation of a contradictory enterprise of self-transformation, self-renewal** <-- (Cezanne's retrospective fulfilment of a tradition from which he could not fully acknowledge his own decisive departure)

...your intuition on the edge of the river


Cezanne = reformulation of natural world + broken hope of community (~= intimacy --> Rousseau's mode of attention contemplation: “thought =/= reverie” : the more sensitive the soul of the observer, the greater the ecstasy aroused in him. deep and delightful reverie : a state of blissful self-abandonment)
--> novelty of a smooth unorganized perceptual space
--Crary--> example of the nonsynchronous character of modernism (~ coexistence of realities from radically different moments of history) [<-- is my bestiary research on the same plural historical positioning?]
•termination of a romantic visionary tradition

(in the West) [*]image: decentered chrono-iconography, automatic self-movement

rise of cinema: body-machine assemblage --Deleuze--> new paradigm of *psycho-mechanics* ~ cinema is capable of touching the cerebral system directly ==>
•experimental forms of life = freedom (affirmative model of automatic behavior --> thought functions at a higher level with an arsenal of syntactic perceptual conceptual tools)
•management of attention (model of passive automatism)

(from) dreamer --to--> somnambulist --to--> hypnosis --to--> suggestion --to--> hallucination --to--> obsession

Deleuze + Benjamin + Virilio
the idea of *art of automatic movement coincide with fascism*
@Pierre, pass, Foad

scopophilia: a forced ecstatic abjection before the image
=/= mastery

[*]spectacle: (spectacular culture) attention would be made attentive to everything but itself

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

“my experience is what i aggree to attend to” (James) ~= affirmation of an autonomous self-choosing world-creating subject liberated from the receptive status of a subject for whom experience was “the mere presence to the senses of an outward order”) --Crary--> historical crisis in the nature of experience: *attention = simulation of + compensation for a chimerical real experience*

(in my text rigging demons --> reconciliatio[...]

[...]ubject for whom experience was “the mere presence to the senses of an outward order”) --Crary--> historical crisis in the nature of experience: *attention = simulation of + compensation for a chimerical real experience*

(in my text rigging demons --> reconciliation of:)
•individual attentiveness to the fringes, transitions, pulses of one's own particular “pure experience”
•“experience” as immersion in the tangled density of a shared mutually inhabited world

James's conception of selfhood: private property (--in--> Tasavof: the most radical of all possible alienation and disconnection) --Lentricchia--> deployed to preserve a human space of freedom interiorized from the vicissitudes and coercions of the marketplace

**modern attention** + individual evasion of memory (and history) --> habitual & commodified : an imaginary deletion of all that is unbearable in collective and individual experience

in Corridor Crew the perceptual selectivity of the CG hackers sustains efficiency of animation tools + tangled social and psychic machinery of sublimation


(?do i have) agoraphobia --> Simmel


(destructive transformation of) *modernization always preserve and carry over nonsynchronous components of past moments*
Crary, Lefebvre

Piranesi's etching of Rone = foctive and atmospheric prison
Freud's description of piazza: patchwork texture of screens and flashing signs (formless field of attraction @Foad, Sina; multidimensional field of stimuli, urban space: “a theater of memory and a theater of prophecy”) =/= Piranesian dissolution of the axial city (organized views around a coherent even if mobile subjective orientation)

Freud's technique of attention: gleichschwebende Aufmerksamkeit
‘evenly suspended attention’ (giving equal notice to everything, everything in low-level focus without the risk of schizophrenic overload) --define--> **a state of receptivity in the analyst that eill be commensurate with the spoken free association of the patient** --> dealing with a stream of information that has no evident structure or coherence + extracting from that disjunct texture (artwork, chaotic syntax of dreams, indecipherable present,) some interpretive clarity (feedback)

Freud + Cezzaine --> design a countermodel of attentiveness that surmounts an ***inhibition of the peripheral*** (=/= notion of selection ~=> finding out what one already knows)

****diffuse attention =/= critical attention**** (a faculty in which the observer is led to reject some of the ideas that occur to him after perceiving them)


(at the turn of the century) experience: compulsory consumption of information


(from) the experience of deindividualtion (in piazza) --to--> a more controllable form of loneliness (bedroom)


[this] plural hybrid [...]

[...]rds-of... عجایبِ (ajayeb-e)
describing unheard-of prodigy (of green children born from the earth)


👉
William of Newburgh
what he cannot grasp (attingere or rimari) [there must be a “reason"] ==> forced to marvel at (mirari) --means--> a significance or moral use (utilitas)
•mysterious dog discovered in a stone
•a crucifix in the sky
•
}--> rarity + (they have a) secret reason
}--Bynum--> *wonder-reaction = significance-reaction* ~= ****things are signs or portents (not because of their natures or their causes but [from their ontology]) because they indicate or point [from their utility]****
#telegram bestiary
#index finger

monster <-- monstrare: to know

(for theologians, chroniclers, preachers) wonderful = strange + rare + inexplicable (never merely strange or simply inexplicable)
--> it was ***a strange that mattered, that pointed beyond itself to meaning*** (--> #wonders of pits)


(my work for WIELS, Wonders of the Moon – A Thousand Years of Sleepwalking 2020)
•*not* all medieval statements about wonder were synonymous or compatible
•how people acted and reacted necessarily were *not* in very close synchrony with the definition they gave or the ابتذال platitudes they propounded


wonder in medieval texts
=/= increasingly rare exception to an enlightenment sense of unbreachable laws of nature
=/= startle reflex of early modern psychology
=/= appropriation practiced by early modern rulers, explores, conquistadors (adventurer)


(Bynum making the point that) although by late 15th century medieval artists had begun to paint wondering faces with the startle reflex --✕--> it is more difficult to be sure whether a figure confronted with stupendous, bizarre, or dread-filled news is amzed or not
--> ***the amazement had a strong cognitive component*** : you could wonder only were you knew that you failed to understand --entailed--> a passionate desire for the scientia it lacked, it was a stimulus and incentive to investigation

significance-reaction: a flooding with awe, pleasure, dread owing to something deeper *lurking in the phenomenon*

wonder was situated
wonder was perspectival (even if miracles were not)


(medieval theories of) wonder: nonappropriative (empathically not to consume and incorporate), yet based in facticity + singularity
*wonder: to give back the goblet after draining the potion ♥ [--> my mood on telegram animals, to receive their concreteness and specificity]
(Bernard of Clairvaux:) if you do not believe the event, you will not marvel at it {you can marvel only at something that is (at least to some sense) [*]there: concreteness + specificity} [--> wonder at the object of doom, cat videos, popular media]
[...]

[...]rity)

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


sexist science


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

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


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

biologizing


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

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


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

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


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

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

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


(Olearius does the same with iran and his european audience,) [Haraway on] Barash “reveal to the popular audience the inner voice of biology, the cake of nature under the icing of culture, the biogrammer of genes structu[...]

[...]al universal signs
--> transnational: a highly symbolic communication system that is timeless, contextless, diffused in space, located anonymously, with no known history


marketing is the first institution that adapt to postmodernism

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

consumer (--impulse--> “i want”) =/= citizen (“we need”)

Sunstein
consumer sovereignty (matters of personal taste, “are they getting what they want?”, ‘freedom: satisfaction of private preferences’, ) =/= political sovereignty (*government by discussion* + reason-giving in the public domain <-- many/most citizens should have a range of common experiences =/= filtering of information, customizing information to fit)

**unplanned unanticipated encounters <-- central to democracy**

(pseudo-democratic) participation interactivity : invitation to participate in one's own manipulation by providing increasingly detailed information about personal preferences (Andrejevic, noted by Hubert)

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

*misattunement:
--Stern--> a parental technique for modifying the behaviour (+ affective experience) of the child
--Ahmed--> being out of synch with a world (“of whiteness” that aims to be in harmony)

*attunement: a technique for occupying space
---> go to #integration {for Ahmed: becoming a citizen (= nationalism) ~= the work of attunement =/= stranger: the body we are not with}

clumsiness: being in the way of yourself (to lack the coordination to coordinate yourself with yourself)
--registers--> as the loss of a possibility

(in art, performed clumsiness as strategically antagonistic?)

(Ahmed's) emotional work: closing the gap between ‘how one does feel’ and ‘how one should feel’ <-- a labour (when) is successful, it disappears as labour

how flight attendants (and teachers?) become responsible for collective moods --Hochschild--> ability to preserve the mood of a situation requires working not only on feelings, but drawing on tactic knowledge about how moods are shaped

(bad mood of a shopkeeper in Brussels...)

*histories that linger as mood*

diversity work --involves-->
•the effort to minimize differences so that those who arrive can appear more ‘in tune’ with those who are already here
•
•
--✕--> bodies do not arrive at the same time [---> go to Sina's trans-lateness lecture performance series for Akademie der Künste der Welt 2014: being late is precisely the condition for which translation is needed + critique of universal translator]


...atmospheric qualities of the market

Ahmed's criticism of hopeful performativity [<-- in her text “not in the mood” Ahmed privileges ‘bad mood’ as the emblem of marginality -->[...]