[...]a position i don't hold. the technical requirement of clarity (and coherence--must learn how to do it). my storytelling is about how not to reach the end of sentence. (that Peter noted as suspension)

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

the iterative and fractal quality of sentences
partial connections (of distinct entities) ~= analogy
analogy allows one part contaminate systematically another part and vice versa

(Haraway on feminism)
feminist theory is especially good in getting at in particular ways doctrines of nature's work to enforce ways of life on women, on people of color, on the enslaved, on those who do not possess the qualities of mind and self-possession, on those who are on the marked categories to the unmarked. the feminist have been particularly good at getting how genre works. gender, in this regard. [...] --> that female by nature is committed to the species and the male by nature committed to transcendence.
[our inherited binaries -->] formulations of nature: executive/non-executive organs, immanence/transcendence, maintenance/novelty, catabolic(foru-sakht فرو ساخت, sukht سوخت)/anabolic(tarkib-saz ترکیب ساز) functions, ,,
-in Darwin's writing, non-theological account of diversity on earth, we find both interrupters and continuers of these particular notions of nature

the question of model, what is the model for what, what is similar to what?
****how do we do comparative thinking? comparative thinking depends on similarity  judgment and difference judgment, and depends on good-enough models, and depends on a certain kind of rhetorical work of *crafting tropes*
 --> figures of similarity/difference:
  by similarity, or
  by contiguity, or
  by part-whole, or
  ...
(this is ‘building’ *among* us)
(how do i decide to compare two things? Shirin and Ophelia, etc)

models are built rhetorics
history of models
the power of models is that they are not the ‘same as’

circuits of meaning and power that flow through (materials and bodies)

mondial ~? situated knowledge
the idiom ‘situated’ makes people think ‘local’ (instead of global)
by situated she means the ‘knot’ which always means some place and somewhere, but that someplace/somewhere could be in materiality a distributed digital network. the situated is always open. the point is that it is not nowhere and no place.


epidemic friendly

the flow of disease are major international research matter

eco-f[...]

[...]everywhere and always are acts of violation” is wrong

“post-”, the notion of ‘surpassing’ that is inevitability built into the “post-”, is in our way politically
the project of critique : finding that point of violation where you can say “got you!”, ‘I nailed you’ --> the practice of critique = to define what we are against }==> develop political movement that are fairly self-certain about what we are against ==> you will find yourself (perhaps) property addressing a particular issue but having no ability *to make political connection* (~= to think beyond the category) --> you find yourself crippled

posthumanist think of themselves as “better than”, more in possession of a “real” understanding of the nature of contemporary world, beyond the critique of technology

the politics of it all...

[we have never been -->] human : being on the side of the one who developed technology to realize intention of their mind in the matter [= The Iron Man]
=/= what it is to be people
we don't need fancy epistemological justification (such as posthumanism), people know the world in ordinary ways and we can learn from eachother, in all the (cultural, historical, power, wealth) differences among us [@Leo] --> ***partial translations happen all the time***
to take the risk of making a mistake --[the only way you can]--> affirm something positive : the positive knowledge pins on the possibility of mistake --(@Setareh; Goda wants to avoid mistakes?)

(learning from Foucault:) power = actual arrangement of the world (and not something ‘out there’)
(learning from Derrida:) responsibility is about the excess of it all (and not the irony of it all [*irony: incongruity of expectation and occurrence])
(learning from biology about:) differences organize themselves by ecologies (and not by binaries) --> ecologies have many scales (of temporality and physicality)***

scientific research + artistic research + contemporary philosophical critical inquiry ==> *topographies of difference* [--> important for Goda's use of the term “privilege” flattening differences]
(“+” are exchange zones, i am learning their differences of idioms)

[apass = partners locked into mimesis]

(my problem with the idea of) privilege: a special right, advantage, or immunity granted to a particular group or individual --assume--> the only way for a particular demographic to advance is at the expense of another
•communism which was a form of collectivism (defined itself against privileges) wiped out large populations
•it is easier to politicize gender and sexuality --to--> demand change


@Leo: the question of (should this be the way of) ‘how do we inhabit our situation and to make connection with each other’ --> (?can i suggest to Leo) to drop the stance of comprehensive theoretical political position [without giv[...]

[...]solete, mansukh, canceling, making reading to get rid of it, and this is not the same as destroying.]

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

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

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

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


pre-historic personhood

my work is concerned with connections, mediation and passages.


what you take for granted, is in another words, what that you can't not know.
<br />
(my proposal:)
the past is not absolute!

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


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

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

your institutional hacks


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

seeking to be at once inside and outside the topic

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

suggestive power of the figure

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

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

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

in research, contrast between method and subje[...]

[...]nd discourse, territories and sensing zones, you are an exchange between self and environment. this is pragmatism. like the variety of bed sheets, we are proposed with answers that vary, before posing any question.
to reformulate the question that was posed to you: how your proposal is capable of traversing from the bed to the wild?


pre-historic personhood

my work is concerned with connections, mediation and passages.


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


(my proposal:)
the past is not absolute!

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


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

>


your institutional hacks


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

seeking to be at once inside and outside the topic

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

suggestive power of the figure

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

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

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

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

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

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

Enlightenment as cultural European phenomenon versus a scientific British one

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

the function of natural philosopher in 18th century was to use experimental science machines to turn inert matter into active power, light/fire/heat/etc. to lecture an wealthy and polite fee-paying audience, in order to save them from irrationality, that inside all matter there is life and power, and that life was divine.

(however all this was all swept away in the industrial revelation)

William Herschel, an amateur natural philosopher discovering Uranus 1781
(Enlightenment was all about people changing their disciplines)
project of constructing a new theory of heavens

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

*i can't give you a direct grasp but i hope i can give slowly accuracy

*the ‘details’ of grasping
(zoom in the ‘grasp’)



from contingencies to certainties


i spend so much time with painting and computers, which were about co[...]

[...]
*to explain --to--> to explain in terms of...
*place/location --to--> neighborhood (ask ‘why this neighborhood?’ instead of place)


ajayeb helps me to work on:
-history
-poetics
-animality --> inhabiting material and semiotic positions --> how to find a descriptive act that is not in terms of the impressions it makes on our senses? / this is about the places things take and occupy in our phenomenal world. / it is difficult to discuss the night-sky without first breaking it up into constellations. (Matthew Carey)

i have been building my own islamology or islam-studies department, through a low-voice critical mildly blasphemic rant about imagination
(anthropology of non-experimental imagination in the islamicated worlds)
[there is a difference between **experimental imagination** and imagination]

we are at the edge of extinctions
many species and lives are migrating to “where” and nowheres, pushing to the oblivion.

my issue with the ‘timing of understanding’ --> i don't want to be understood by you, i want to be loved by you ==> messenger + message --> so how do i produce lovers? (=/= Don Juan's type of love) --> there is a genius in your everyday talks that transforms me and has nothing to do with understanding (with the information that i grasp)


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

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

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

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

from paf:
-lunching a counter-exotic movement toward the Book of Wonders: (1) postponing immediate information. (2) ...
•if everything is not exotic then nothing is.
•framing as ‘tool,’ every tool is and has power, and is built in a discourse of power. tools are not innocent, nor can we do without them. they make us. what would be an idea of the ‘worst tool’ you can work with? poetics for me? [to write-about =/= to write-with the Book of Wonders. to use a language-tool that produces the most ambiguities and most misunderstandings, but that is the only way, there is no tool that can prommis clarity. evey tool produces its own ‘clear'--for s[...]

[...]n as a site where one formulates concepts and narratives that reorient one within one's own research practices
-(how can we) participate in shaping our objects of knowledge (--> relational empiricism)
-learn through participating in different (though not fixed nor mutually exclusive) *microworlds* [microworld: a space where protocols and equipments are standardized to facilitate the emergence and stabilization of new objects. (Kenney)]
-“banal and ordinary sites of getting on in collective life” (Verran)
-bring your ‘found objects’ (objects, categories, stories, concepts, insights, writing under influence, etc.) and put them in ‘telling’ (telling stories about the lives of your found objects =/= insisting on the solidity of our found objects----[solidity = stability + authority] and in telling practices => (re)materializing your empirical objects =/= generating reliably-managed microworld)
-found objects are objects with which we inhabit worlds (or microworlds of our practices)
-(not claiming to occupy an) ontological no-man's-land outside of the microworlds --> my frame is no more free of metaphysics than any other
-towards an ongoing untidy recursive theory --> keeping our objects, concepts, and insights in a state of generative transformation
-which “affective economies” animate our own bodies as artist and as people?
-what feelings inform our works?

staying with linguistic differences (in each of our stories or praxiography) is a way of investigating the ontological commitments embedded in language.
ontological --> worlding --> how language participates in shaping our lived worlds in some ways and not others.*** “it is not common for speakers of a language to examine what type of material objects their language commits them to.” (Verran)

solidity of found objects, in my case, the graphs and images i am making about ajayeb --> the graphs now reiterate for me as rituals in my research microworld.
with these graphs i am trying different ways of arranging space, time and matter when speaking a *sentence*. ...each language figures space, time, and matter into different kinds of objects. in my writing tools with ajayeb, what type of material objects my language, or Hemedani or Qazwini's language, commits us to? my graphs are “spatiotemporal particulars” and “sortal particulars”. trying to talk about ontological assumptions embedded in the English (and any other) language. the diagrams are *rigs*. i am using rigging instead of framework. --> clever technological rigs, are provisional constructions, setup for a specific myth and dismantled after. sometimes old rigs are reused or repurposed for new rigs.
-resist peaceful naturalization
-uncomfortable software
-building/creating technologies as one way to do ontological politics (in postcolonial context)
-my experiments with ajayeb:
 -(the danger in using) computer[...]

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

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


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

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




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

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

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

**literature begins, Blanchot writes, “at the moment when literature becomes a question”** (this is completely different than asking or question-marking in literature) [...] this question “is posed to language by language that ha[...]

[...]s cognition and of being “critically” in the world (=/= animal, nonpeople, other people with other ways of being in/with the apperceptive world that don't use the technology of questioning, as it is crafted historically and naturalized in the west for the univerasal method of ‘knowing more’)

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

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

my practice of ‘rhetorical reading’ (=/= ‘close reading’; or more like close reading and letting go. “close” is itself a metaphor, a rhetoric of reading;) doesn't work with the idea that there is something ‘in’ the text per se (coded or encoded meaning or some sort of knowledge made and installed by an author), or that the writer wants to say something to the reader, or that the text is symptomatic with meaning and that its intentions needs to be listened to. rather, in a post-Lacanian critique, i work the text like a pattern of language, an organization of space, text as word-sequencer. it is like looking at an image, still starting from top-left to bottom-right of the page, a process of highlighting or embodied attention that produces non-zero clusters of salient words that come to glow different than others. but the way they become highlighted is not due to some idea of significance of the text but because of my--the reader's--interests, past readings and educated meaning-associations. this mode of reading is not at all suggested to newbies in literature, sorry but this requres some degree of advancement in one's abilities and skills of writingreading, that means the reader already enjoys an ongoing well-articulated interest before coming to a particular sitting with a piece of writing, and this [...]

[...]ns is curiosity

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

[Nietzsche]

(in writing) if i could choose i would promote something that comes close to the texture of the softening that opens and glides, allowing for sudden shocks and slippages.

the personality needs to be able to flow in order to move past anything that establishes itself firmly

Submitted to constant critique and revision

(Nietzsche) “We can destroy only as creators--But let us not forget this either: it is enough to create new names and estimations and probabilities in order to create in the long run new ‘things’”

invention's power over new things

work on aphorism and irony
radical critique of reason and truth
will to X ---- feeling of power, primitive form of the will  (=/=? play)
arguing that knowledge is contingent and conditional


Nietzsche's campaign against morality :

(contrast between good and evil -->) *master-morality : charity, submission to the other, selflessness, etc. --> you hate yourself

(denying the inherent inequality -->) *slave-morality --> weakness is a matter of choice ==> nihilism


*transvaluation
(Nietzsche hated christianity for its non-affirmation of life. for him sex was a fundamental affirmation of life, christianity's elevation of chastity (including, for example, the story of Mary's virginal pregnancy) is counter to the natural instincts of humanity, and therefore a contradiction of “natural values”.)
•promise of an illustrious afterlife
•desires would be the product of stimuli rather than the product of “will”


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

to *adjust (our/your) question


...to have no positive knowledge claim


appropriate ~= zabt o rabt ضبط و ربط



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

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

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


to sharpen my capacity for incapacitation


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


‘will to scientific knowledge’



[Latour]

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

it is not a “comm[...]

[...]ence of acts equally troubling to Aristotle and Aristophanes.

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


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

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

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

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

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

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

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


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

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

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

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



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

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

cosmogony (keyhan-zayi کیهان زایی‌)--how the universe became a moral system
[...]

[...]/>

•literature's (ir)responsibility to philosophy
•art's (ir)responsibility to journalism


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


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

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


(to open to the) alterity of an ungoverned figuration


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

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


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


fable of the eagle and the raven
the story of the raven that, having once watched with envy as an eagle snatched a lamb from the flock and carried it off, later attempts a similar feat. But a raven is not an eagle, and his claws get stuck in the fleece of a[...]

[...]ucidity (pursued by clear assured decisive aifrma­tiom =/= interrogatory mode)

xxxxxxxx

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

[D+G]

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

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

my engagement with other apass participants, a form of critique as part of an ‘ecology of practice’ (Stengers)
-what are the questions (i could ask) that make you the most articulate?
-to feel what questions, passions, modes of attention animate one another
-to find yourself moved by their concerns
-what we articulate with our bodies? --> what do our gestures mean?
-what do they activate? ----> they don't always enact a precise language --(rather)--> gestures as organs for feeding, feeling, and grasping***
-(sensing) the trajectories, moods, and intensities the other apass participants get caught up in, attached to, inhabit, to catch you in your acts,
(why knowing together?) **worlds come together through collective action and how they attract, repel, enroll, animate, and incite (tahrik تحریک, eghva اغوا) us. [...] worlds are “lived [compositions] with tempos, sensory knowledge, orientations, transmutations, habits, rogue force fields.” (Stewart)
-(engaging) in a form of critique that detour into descriptive eddies (گرداب کوچک مخالف) and attach to trajectories
-(through this i am making myself interested in) what (theoretical, philosophical, artistic,) storytelling, as one ***consequential practice*** among many, make possible in the collective task of building and sustaining livable worlds ----> taking texts as worlds, taking people as worlds
-(when talking about your project) you are teaching me what makes you move. --> that means i need to learn how to be affected differently (other than my own projects terms) in order to affect (others) differently [# my bow and arrow intervention] ---- to give intense attention to your gestures (expressing desires, expectations, affects) and to respond to them in remarkable way.



critical hedonism (Archer)
--> refusal of the “embodied anxiety”

affective economies (Ahmed)
--> which affective economies animate our own bodies as scholars/artist/... and as people



(asking) is this practice good for the subjects involved?
--> we create (involuntary) differences, the question is, is the world enriched by these differences? (by Sina, Xiri, Aela, etc.)
-(also be careful with) “differences as raw material” in a “delocalized cultural capitalism (geopolitics of knowledge)” --(Renan in conversation with Peran)--> “internal colonialism,” “local difference as an object of study and raw material,” and “cooptation of imagination in the networks of information-connection.”
-(looking for other metaphor[...]

[...] regimes from which they come from. Images no longer speak anywhere. In this situation, the political task is to return to the linguistic battlefield. It won't be possible to do things differently if we do not start talking differently. The most urgent imperative is a language inventiveness.”


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


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

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

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

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


(capital gains concentrated in the) self-production of identity
subject occupied full time in itself
the logic of “do it yourself”
obliged to make countless small decisions in all areas
subject mixed up with the incessant movement of its own alienation
*hyperactive life --> poverty of experience*
the banality of “i Like”
(maybe interesting for Laura:) *fatigue* is the instant of stopping and pausing [of exercise and beautification] (after which a diversity might be possible)
[*]fatigue: capable tiredness --> politicizes discomfort
[#we are in the domain of passivity, disappearance and inaction]
Peran suggests a position of fatigue where (some time ago) was occupied by melancholy
“is this not a mere “don't like” that re-enters the spiral of our mobilization?”
“we are left with just the option of making an index, a collection of trails and marks [...]”
sunday: “empty time that forces us to fill it through apparently free decisions that, if they are resolved properly, please us and re-constitute us” (Peran)
*freedom of action for self-realization* --> unstoppable egocentric machine
space of perpetual connection (@ERG's website)
(pseudo) communicative action by wa[...]

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



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



i want to *give connections*

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

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



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



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

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

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

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

--> “chance for life”

science: Global System, universal knowledge --> translation, convertibility, mobility
of meanings, and universality

money in capitalism ~= reductionism in science

...when we are talking about genes, social classes, elementary particles, genders, races, or texts

*vision: a sensory system that has been used leap out of the marked body ==> a gaze from nowhere
-“Vision is always a question of the power to see--and perhaps of the violence implicit in our visualizing practices”
-also, the visual metaphor allows one to go beyond fixed appearances, which are only the end products. The metaphor invites us to investigate the varied apparatuses of visual production (including: the prosthetic technologies interfaced with our biological eyes and brains.)

unmarked body: the power to see and not be seen
objectivity in scientific and technological, late-industrial, militarized, racist, and male-dominant societies

(she asks for:)
“So, I think my problem, and “our” problem, is how to have simultaneously an account of radical historical contingency for all knowledge claims and knowing subjects, a critical practice for recognizing our own “semiotic technologies” for making meanings, and a no-nonsense commitment to faithful accounts of a “real” world, one that can be partially shared and that is friendly to earthwide projects of finite freedom, adequate material abundance, modest meaning in suffering, and limited happiness.”

Haraway asks for an embodied objectivity that is able of accommodating *paradoxes* --> ‘situated knowledges’
-what does she mean when she says “All components of the desire are paradoxical and [...]

[...]rked body: the power to see and not be seen
objectivity in scientific and technological, late-industrial, militarized, racist, and male-dominant societies

(she asks for:)
“So, I think my problem, and “our” problem, is how to have simultaneously an account of radical historical contingency for all knowledge claims and knowing subjects, a critical practice for recognizing our own “semiotic technologies” for making meanings, and a no-nonsense commitment to faithful accounts of a “real” world, one that can be partially shared and that is friendly to earthwide projects of finite freedom, adequate material abundance, modest meaning in suffering, and limited happiness.”

Haraway asks for an embodied objectivity that is able of accommodating *paradoxes* --> ‘situated knowledges’
-what does she mean when she says “All components of the desire are paradoxical and dangerous, and their combination is both contradictory and necessary.”

(instruments of visualization in multinationalist, postmodernist culture:) disembodiment : to distance to know
the visualizing technologies (--> my amazon project)

a perverse vision that has produced ‘techno-monsters’ (what does she mean by that?)
--> second birthing? transcendence?
[the frankenstein's techno-monsters, is modeled after who? and who is modeled after it? wondrously, murderously walking around...]
(‘second-birthing’: one of the deadly stories of killing: in the first-birthing we have merely birth to the earthly soil from the woman, and then the achievement of the tragically self-realized purpose of tragic consiousness, concretized and distilled by Sartre) “dire myths of self-birthing”... --> we must resist the stories of guilt laden knowledge and consciousness

unrestricted vision
presented as utterly transparent

***particularity and embodiment (of all vision) [not necessarily organic]
usable and not innocent

“We need to learn in our bodies, endowed with primate color and stereoscopic vision, how to attach the objective to our theoretical and political scanners in order to name where we are and are not, in dimensions of mental and physical space we hardly know how to name.”

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

[...]ojects of finite freedom, adequate material abundance, modest meaning in suffering, and limited happiness.”

Haraway asks for an embodied objectivity that is able of accommodating *paradoxes* --> ‘situated knowledges’
-what does she mean when she says “All components of the desire are paradoxical and dangerous, and their combination is both contradictory and necessary.”

(instruments of visualization in multinationalist, postmodernist culture:) disembodiment : to distance to know
the visualizing technologies (--> my amazon project)

a perverse vision that has produced ‘techno-monsters’ (what does she mean by that?)
--> second birthing? transcendence?
[the frankenstein's techno-monsters, is modeled after who? and who is modeled after it? wondrously, murderously walking around...]
(‘second-birthing’: one of the deadly stories of killing: in the first-birthing we have merely birth to the earthly soil from the woman, and then the achievement of the tragically self-realized purpose of tragic consiousness, concretized and distilled by Sartre) “dire myths of self-birthing”... --> we must resist the stories of guilt laden knowledge and consciousness

unrestricted vision
presented as utterly transparent

***particularity and embodiment (of all vision) [not necessarily organic]
usable and not innocent

“We need to learn in our bodies, endowed with primate color and stereoscopic vision, how to attach the objective to our theoretical and political scanners in order to name where we are and are not, in dimensions of mental and physical space we hardly know how to name.”

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

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

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

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

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

“But how to see from below is a problem requiring at least as much skil[...]

[...]y transparent

***particularity and embodiment (of all vision) [not necessarily organic]
usable and not innocent

“We need to learn in our bodies, endowed with primate color and stereoscopic vision, how to attach the objective to our theoretical and political scanners in order to name where we are and are not, in dimensions of mental and physical space we hardly know how to name.”

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

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

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

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

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

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

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

“Passionate detachment” requires more than ‘acknowledged and self-critical’ partiality. (being acknowledged and self-critical is not enough!!! how deos she mean?)
-‘perspective’ can never be known in advance --> knowledge potent for constructing worlds less organized by axes/axis of domination
-One cannot “be” either a cell or molecule--or a woman, colonized person, laborer, and so on. ‘passionate detachment’ is about the impossibility of entertaining innocent “identity” politics : seeing from their perspective in order to see well.
-problem with “positionality”: {testimony from the position of ‘oneself'} We are not immediately present to ourselves and the self is assumed finished and whole simply there and original and its (grounding) knowledge is organized around the imagery of vision --✕--> Self-knowledge requires a semiotic-material technology to link meanings and bodies. ***Self-identity is a bad visual system*** --> ‘positionality’ (meaning:[...]

[...]e to see from? and so on.)

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

The biological female peo[...]

[...] space, and consciousness. systems are dimensions of world history.


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

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

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

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

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

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

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

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

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

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

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

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

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


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

[...]exist as such --> Their boundaries materialize in social interaction. Boundaries are drawn by mapping practices.


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

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


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


she wants to re-figure, not disavow, objectivity

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

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

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

[Haraway on Ihde]

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

infolding =/= interface
•“What happens in[...]

[...] what is important.”
•Interfaces are made out of interacting grappling devices.
•the infolding of others to each other is what makes up the knots we call beings or, perhaps better, following Bruno Latour, things.

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

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

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

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

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

refuse all loyalty to my homeland and its values

*heuristic: mental shortcuts that ease the cognitive load of making a problem solvable
-trading optimality, completeness, accuracy, or precision for speed
it may *approximate* the exact solution for the problem
-enabling discover or learn something for themselves. (a ‘hands-on’ or interactive heuristic approach to learning)
[(in computing:) proceeding to a solution by trial and error or by rules that are only loosely defined.]
-from Greek heuriskein ‘find’

*contingent: using it with ‘historical’ always produces interesting ways --> contingency relates to a nonteleological [a doctrine explaining phenomena by their ends or purpose] and nonhierarchical multiplicity [when i say ‘dud’ and ‘cauphing’ and interupting ‘tracing’ i am asking for contingent modes of relating and thinking. conceptualizing in terms of the origin of the dud is about hierarchical relations between past and present and teleological reasoning: where is the dud coming from. when i asked ‘who told the first joke?’ i am trying to break and joke with teleological mode of thinking about the category of ‘origin’.]
contingent =/=? analytical (--> Contingent propositions depend on some kind of epistemoloy, whereas analytic propositions are true without regard to any facts about which they speak.) {telos, ghasd قصد --> ghaside قصیده =/= ghazal غزل}
-We call a truth contingent when it *depends on something else* for its truth.
-has to do a lot with our material world
contingent ~= containing-agent*
--Tautological proposi[...]

[...]ee it as ‘nonlaughter’(?)
(*proposal: there is a number when we dial we can listen to her scream on the phone.) (--> stream, technology, tele-, telephone, called,)
(for her) thinking =? knowing (sending =/= receiving)
(an SF scenario:) imagine and describe an alien world where its populace don't practice ‘knowing.’
**scream ==makes==> witnesses**
(fighting ==makes==> coordination)

از طلبکار به طلبه (az talabkar be talabe)
///the (symbolic?) structuration of ‘demand’ in Lili's presentation:
the ‘sujet supposé savoir’ #sss [~= Pir, (پیر always a paternal metaphor?) that Other whom you ‘call’ who holds (your) deepest truth ---> go to the metaphorology of “depth” =/= “skimming the surface"] (installed by Lacan) is a subject who is in a functional position and one presumes that this subject knows or retains or holds the knowledge (even vital and secret knowledge [this is knowledge-talabkar طلبکار]) that you want. this subject is functionally established. one of the laws of our encounter is that puts the speaker/writer/analyst/text/etc in the (even architectural) center: the subject-supposed-to-know in Lacan the analyst who sits there as a tower of knowledge that mostly withholds what s/he knows --> transferencial energy directed towards him/her --> drama of identification (--> break-out of narcissism for Freud)
-it is one of the (negative?) binding transferential contracts in relation to “the one who speaks”
[*anthropology of exchange* --> Transference: (for Lacan) Each time a man speaks to another in an authentic and full manner, there is, in the true sense, transference, symbolic transference--something which takes place which changes the nature of the two beings present. Later Lacan articulates the transference in sujet supposé savoir: transference is the attribution of knowledge to the Other, the supposition that the Other is a subject who knows. “As soon as the subject who is supposed to know exists *somewhere* ... there is transference.” (Seminar II, p. 232)] [keep in mind that the (post?-)Lacanian theory is about the *constitutive function of the signifier in relation to the subject.* ... for Lacan, What constitutes the person and its identity can now be read as a text, and the author is not the subject, but the trajectory of the signifiers that represent the desire of those who occupy the place of the Other for the subject.]
[about demand: Lacan argues that “demand constitutes the Other as already possessing the ‘privilege’ of satisfying needs,” and that indeed the child's biological needs are themselves altered by “the condition that is imposed on him by the existence of the discourse, to make his need pass through the defiles of the signifier.” ... The subject has never done anything other than demand (since infancy!)] *{question =/= demand}*--> Nancy
[the use of ‘transference’ is a way to account for the relationship between reade[...]

[...]and full manner, there is, in the true sense, transference, symbolic transference--something which takes place which changes the nature of the two beings present. Later Lacan articulates the transference in sujet supposé savoir: transference is the attribution of knowledge to the Other, the supposition that the Other is a subject who knows. “As soon as the subject who is supposed to know exists *somewhere* ... there is transference.” (Seminar II, p. 232)] [keep in mind that the (post?-)Lacanian theory is about the *constitutive function of the signifier in relation to the subject.* ... for Lacan, What constitutes the person and its identity can now be read as a text, and the author is not the subject, but the trajectory of the signifiers that represent the desire of those who occupy the place of the Other for the subject.]
[about demand: Lacan argues that “demand constitutes the Other as already possessing the ‘privilege’ of satisfying needs,” and that indeed the child's biological needs are themselves altered by “the condition that is imposed on him by the existence of the discourse, to make his need pass through the defiles of the signifier.” ... The subject has never done anything other than demand (since infancy!)] *{question =/= demand}*--> Nancy
[the use of ‘transference’ is a way to account for the relationship between readers and texts. the emphasis in Lacan is on the ‘supposed’ and not on the ‘know’. reader assume that the text ‘knows’. --> What Lacan's understanding of the transference points to is the fact that we must see the meaning of any given text not within the text itself but as a reconstruction between reader and text.] [in other words, transference is ‘a representation of the past’ (childhood and etc.) to the present ]
a pedagogical problem: rapid transferencial turn-over: going from one subject-supposed-to-know to the other (=/= reading)
#the kind of ‘reading’ [encountering a text, artwork, speech, ourselves, etc.] that i am talking about is not about this transferencial energy directed towards the sujet supposé savoir. this practice of reading is about to read together and to read ourselves reading, to an atentiveness to the way we are reading or not-reading or aberating from something and be attentive to that disjunctive movement. what is noncomprehension? what is the experience of nonunderstanding? and so on.
*so, the sujet supposé savoir is the one who is structurally is in a place of knowledge which doesn't mean that subject is filled with or capable of offering power and knowledge but that is projected onto that functional space* --> sujet supposé savoir is merely a spatial determination? (is this related to my interventive lectures in outdoor spaces in order to sabotage ‘what is meant to signify’ of the spatial subject-supposed-to-know?)
*sss is one of the effects of subjectivity -- a scenography of transferential intensity : we credit that being with having knowledge to transmi[...]

[...]itself but as a reconstruction between reader and text.] [in other words, transference is ‘a representation of the past’ (childhood and etc.) to the present ]
a pedagogical problem: rapid transferencial turn-over: going from one subject-supposed-to-know to the other (=/= reading)
#the kind of ‘reading’ [encountering a text, artwork, speech, ourselves, etc.] that i am talking about is not about this transferencial energy directed towards the sujet supposé savoir. this practice of reading is about to read together and to read ourselves reading, to an atentiveness to the way we are reading or not-reading or aberating from something and be attentive to that disjunctive movement. what is noncomprehension? what is the experience of nonunderstanding? and so on.
*so, the sujet supposé savoir is the one who is structurally is in a place of knowledge which doesn't mean that subject is filled with or capable of offering power and knowledge but that is projected onto that functional space* --> sujet supposé savoir is merely a spatial determination? (is this related to my interventive lectures in outdoor spaces in order to sabotage ‘what is meant to signify’ of the spatial subject-supposed-to-know?)
*sss is one of the effects of subjectivity -- a scenography of transferential intensity : we credit that being with having knowledge to transmit, and then we might also resist it.
---let's get out of this space!!?
--%--in the context of pedagogy, students regards their teachers as sujet supposé savoir, that they should know something. “it is the students’ supposition of an art teacher who knows, who have something more than they have in themselves, that initiates the teaching and learning process rather than the art knowledge actually possessed by the teacher” (Hetrick). (is it the architectural gesture--the center--that produces the recognition of the teacher situated as “teacher”?) *“the spell of transference.” / at some point some gesture is taken by the student as a sign of hidden knowledge and intention ==> transference establishing itself; (how education [and love?] without transference looks like? --> Julia Scher, ‘post-Lacanian’ means that you don't ‘transfer’ to the art-work nor artist?) #harem
parent --> teacher }==> what the student may desire to become (be recognized as)

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

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

[...]ttentive to that disjunctive movement. what is noncomprehension? what is the experience of nonunderstanding? and so on.
*so, the sujet supposé savoir is the one who is structurally is in a place of knowledge which doesn't mean that subject is filled with or capable of offering power and knowledge but that is projected onto that functional space* --> sujet supposé savoir is merely a spatial determination? (is this related to my interventive lectures in outdoor spaces in order to sabotage ‘what is meant to signify’ of the spatial subject-supposed-to-know?)
*sss is one of the effects of subjectivity -- a scenography of transferential intensity : we credit that being with having knowledge to transmit, and then we might also resist it.
---let's get out of this space!!?
--%--in the context of pedagogy, students regards their teachers as sujet supposé savoir, that they should know something. “it is the students’ supposition of an art teacher who knows, who have something more than they have in themselves, that initiates the teaching and learning process rather than the art knowledge actually possessed by the teacher” (Hetrick). (is it the architectural gesture--the center--that produces the recognition of the teacher situated as “teacher”?) *“the spell of transference.” / at some point some gesture is taken by the student as a sign of hidden knowledge and intention ==> transference establishing itself; (how education [and love?] without transference looks like? --> Julia Scher, ‘post-Lacanian’ means that you don't ‘transfer’ to the art-work nor artist?) #harem
parent --> teacher }==> what the student may desire to become (be recognized as)

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

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

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

[...]oing from proof to proof, from necessity to necessity --> displacement (=/= detour)

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

@Ekaterina; some other characters:
the jealous, the impassioned, the persecutive, the erotomaniacal,
complainer,
noble trader,

Ekaterina, asking for a fabulation? her totem making
Deleuzian fabulation: a fiction made up by people in their process of becoming
making up stories
=/= fiction (on its own; it doesn't have that relation with becoming)

in which conditions the paranoid mother occupies the failiour of the good-enough mother?
what constitutes the ‘site’ for her mother?

(how her) characters keep running into eachother in a universe of recursive connection (?)



**stories that collect stories** [~= archive? my hypertext? a mouth full? --this specific type of stories are dangerously worlders, usually handed to the unquestioned mechanics of universalized taxonomy and 17th century rigs: encyclopedic homogeneous tables. they are the stuff of ajayeb]
(mispronounced by Ekaterina > captured by Hoda > found object by Sina)

stories that collect other stories:
1- archive ~--> sortability
2- translation ~-->  linearity
==> universality (that both these stories claim)
(my work on hypertext apass ajayeb graph rigs, is to deal within these conditions of storying. my shift of interest)

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

(“dealing” @Luiza:)
(or in Lili's term “..a way to tackle issues”)

[with Avital]
*modalities of dealing-with:
-parasitism
-(under the spell) drugs =/= struggle (according to Marxian protocol: one is drugged and disabled [Date-rape-drug as an incapacitating agent] and neutralized by state apparatus, drugs are administrated and spend in all sorts of insidious ways.)
on the discourse of stupidity: Marx (in writing to Engels says that he) believed that proletariat are stupid. Marx's insight to replace the other drugs that have put so many into a stupor. people with Religion are not around, they are praying somewhere to some hallucination [this is Marx, Freud, Nietzsche, and others in 20th century] --> ideological stuporous drugs, ‘everyone is stoned on something’ =/= alert and lucid. [highly problematic!]
-this is about a body recognizing its ‘enemy’ (the figure of enemy for every and each of us and the way we “recognize” it, as historical bodies and minds inheriting the boys of 20th century.) ---- the state of the struggle depends on certain metaphorologies on ‘clean’ that are problematic and phantasmatic and on the loose. --> [the issue is that there is no “clean body”.] how to do dirty work? (--> for ‘morality’ and ‘clean’ go to Freud on the origin on morality: morality began as we stopped sniffing our asses and stood erect, nose in the air, away from the dirt [th[...]

[...]certain metaphorologies on ‘clean’ that are problematic and phantasmatic and on the loose. --> [the issue is that there is no “clean body”.] how to do dirty work? (--> for ‘morality’ and ‘clean’ go to Freud on the origin on morality: morality began as we stopped sniffing our asses and stood erect, nose in the air, away from the dirt [that we are] --> morality's phobic appropriations and designations, [Lacan: from the genital order to the sublime; az kun be fayakon از کون به فیکون %--> #ouroboros #serpent], [so when we stood up, stood erect, our genitals became center, exposing ourselves to the other, sexually centered exposure], [], [],)
-Marxian: language/tool/art as a virus that infiltrates ideological structures
-Lacoue-Labarthe: in 20th century there are three fundamental modalities of “dealing-with,” three modes of relatedness to our concerns, our anxieties, our worries, our work, our projects [three major motifs for the thinkers that continue to provoke our thoughts]: (1) *struggle* that would be the Marxian motor, the modality in terms of concern for social justice. [Delanda on Marx --> a model of synthesis: a conflict of opposites] (2) *mission* as introduced and lunched by Heidegger, who was on a mission: we have a mission, we have a mission of transmission, we have a mission to inscribe things--not from God but from what has happened to us and been left to us after the death of God (as Nietzsche has announced.) {yes, without a proper address, a state of epistemic alert, and so on} and (3) *task* associated with Benjamin. the Aufgabe is that which inscribes in itself ‘giving up,’ the Aufgabe, it means it is impossible, we take it on as a kind of ethical, political obligation, but in the word Aufgabe is also ‘Gabe’ meaning ‘gift’ in German, it is gift and giving-up. [Derrida beautifully asks to negotiate endlessly with the ‘given,’ even if the Gift that is given is poisonous.] -->{ we can see how operate but also how they contaminate (and leak into each other.) we might have a sense of three of them}
-ontology of “struggling” a way out of Aporia [denotes, in philosophy, a philosophical puzzle or state of puzzlement] --> we can't! --> we must try to work to locate modalities of stagnancy (rokud) without necessarily seeing the Exit. how do we live with these catastrophic markers that mark us?
-Paleonymics: a certain operation according to which one continues to put old words to work. The use of a pre-existing word in a new context. -- we are stuck with old pomping meanings.
--(Stengers) connecting materialism with struggle --> (in apass) we are descendants of this trope

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



Lacoue-Labarthe made Heidegger possible to read for Avital
(and that is what Avital does, make [...]

[...]ties are associated with bitching and moaning? (naleh va shekayat ناله و شکایت, ghor غرولند, غر) (a feminine accent?!)
 -it is often said that “children should stop complaining”
“stop complaining” ?!! [~~> pointed to or relevant for Lili also]
***complaint : the disenfranchised (az hagh mahrum shodeh از حق محروم شده) language of muted rage***
what is (let's) bitching together?
is religion one long complaint? (--'reformation’ as a cover-up)
the “i prefer,” non-need, non-preference
*forms of relatedness--in certain societies the opening self of sociality consists in complaining. (starter-utterances; social encounter involves nagging about your friends, parents, lovers, etc.) --making friends is via complaining. (this is about the conditions of Mitsein, being-with) {non-affirmation ~/=? complaint; we mistake so easily non-affirmation with complaining. (is this Lili's take? her complaints about the insufficiencies of being.)} --> is complaint parasitized by calls for retribution?
Klage (complaint) --to--> Anklage (accusation)
*complaint remains a repetitive fixation that feeds rather than exhausting its course (/Avital, aw9Cv_wQ4CQ) -- it does not finish itself off, or move up the ladder of transformation [important for Sana], actually increases pain --> so, (according to the analyst:) complain is jacking up one's suffering (the Analytiker can't take it anymore)
Avital > Kittler: the Ach of Sprache, (in our historical language usage:) literature or language as complaint. sigh in literature (also pointed out by Lili)
--the modern techo-monster Faust opens with the complain
**what is then a proper address?
...the wish for more

-do machines complaint or lament?

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

[complaint,] is it issued from a place of impotence or does it have the potential to move mountains? (Avital--Sina's emergenc[...]

[...]ot mourn. [complaint as a form of mourning-disorder]
(is mourning busy with ‘continuity in life’? a world that is not made of connections: zendegi bi/ba tadavom زندگی‌ بی/با تداوم, jahani ke be ham mortabet nist جهانی‌ که به هم مرتبط نیست)

is any critique not a complaint? not throwing something in the field of complaint? (--> Luiza, Lili; certain forms of protest dominates their utterances)
--different morphs of civic grief--
(why am i concerned with complaint of my friends? this is about checking my own infrastructural concerns about zones of encounter and redirecting oversized libidinal aggressions, [and pain-relief? {is my work all about (philosophical/artistic) pain-relief?}])

complaint =/= staying within the boundaries of coded gracefulness
(...credit reserved for non-complainers) ,,, ((minor scales of)) protest and breaking rhymes (of master discourse?) (@Sana, perturbed by manners of injustice; her libido [zist-maye زیست مایه, shur-e hayat شور حیات] is at stake)
--when complaint takes over and you don't even know if there is an injury anymore at the root of it.
(we are traveling behind its possible meaning-fields)

de-shamanization and translation /(non-transparency should rule?!)


are we trapped in a grid of grievance?

different forms of ‘maybe’ (i am trying to install?)

how complaint is then situated in ‘becoming’?

[...] complaint haunts our era of desperate justice (Xiri, Sana, Varinia)
. a calling-system? a GPS that has lost its signal?

maternal super-ego
political passion emerging as a defensive strategy
(@Xiri, is she trying to add-on the super-ego for her concern of social justice?)

so, does complaint prevent the arrival of change or make way for new forms of sociality?

“I can't complain." --> (a blockbuster;) those in stubborn destitution ----that there is no address in the era of the becoming anonymous of God. ‘Who would pick up your call?’
however, “the friend, whether ghostly, futural, or closely bound in time, receives the brunt of the complaint” --friends structurally listens to disappointed expectation, disappointed worldliness

what-should-have-been

On what approved contingencies, contractual loopholes, or transferential coordinates could I possibly befriend another?

metaphysical heritage of friendship (... reconfigured personhood)

(how can I do things without being a psycho about it?)
(How do I know by which politics of friendship, grid or writing practice I am being called up?)
a vocabulary existed to designate, approximate certain routines


R_dzvJYDZXM

CrGJIS3quYY


(30.03.2017) Rabih Mroue and Hito Steyerl duo: concern for[...]

[...] anymore at the root of it.
(we are traveling behind its possible meaning-fields)

de-shamanization and translation /(non-transparency should rule?!)


are we trapped in a grid of grievance?

different forms of ‘maybe’ (i am trying to install?)

how complaint is then situated in ‘becoming’?

[...] complaint haunts our era of desperate justice (Xiri, Sana, Varinia)
. a calling-system? a GPS that has lost its signal?

maternal super-ego
political passion emerging as a defensive strategy
(@Xiri, is she trying to add-on the super-ego for her concern of social justice?)

so, does complaint prevent the arrival of change or make way for new forms of sociality?

“I can't complain.” --> (a blockbuster;) those in stubborn destitution ----that there is no address in the era of the becoming anonymous of God. ‘Who would pick up your call?’
however, “the friend, whether ghostly, futural, or closely bound in time, receives the brunt of the complaint” --friends structurally listens to disappointed expectation, disappointed worldliness

what-should-have-been

On what approved contingencies, contractual loopholes, or transferential coordinates could I possibly befriend another?

metaphysical heritage of friendship (... reconfigured personhood)

(how can I do things without being a psycho about it?)
(How do I know by which politics of friendship, grid or writing practice I am being called up?)
a vocabulary existed to designate, approximate certain routines


R_dzvJYDZXM

CrGJIS3quYY


(30.03.2017) Rabih Mroue and Hito Steyerl duo: concern for injustice and conservative justice call disguised under an elaborated and augmented complaint (in the aesthetic terms of contemporary art market), non-researchers of their subjects and topics, they have no ‘topic’ only ‘resource’ (in the making of their own myth of the figure of artist,) [=/= when something becomes a topic for you, it bounds you to the unsettling commitments of curiosity and research and hard work.]
-in their notion of “Artist in the Reign of Terror” they ask disturbingly “but many individuals have died and it means nothing?!” with a sneer (artwork as puzkhand پوزخند --> @Ali )
[**“sneer” is a contemptuous or mocking smile, remark, or tone, coming from a family of sarcastic tropes of complaint and ironizated complaining]
-their art-work finds and flourishes in a terrain of terror. in their nonspeculative work there is no “but, what if” or “but, not yet” and therefore no ‘becomings’
-for Hito and Rabih: zeitgenössisch (contemporary) = grausam (atrocious)
-they dichotomize (fact/fiction, real/unreal, etc.), rather than allowing a novel and interesting question to be raised
-what is the state o[...]

[...], knowledge, interface, and perceptable?
for her what is the relationship between ‘information’ and ‘infinite’? (infinite as the universe of all possible images)

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

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


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

(complexity is the name of our game. Haraway)

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

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

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

the myth of Poros, Penia, and Eros for Aela:
(in Plato's Symposium;) Penia, the “child of poverty,” decides to forcefully impregnate herself with the inebriated Poros, “the personification of plenty,” who is always in opposition with aporia, (~ snafu before aporia,) “puzzlement, which breaks with the logic of identity,” and thus defining aporia. The result of this union is Eros...
poverty + {plenitude × aporia} ==> eros : {agency of passivity + resourcefulness}
1-metaphysical inquiry begins from ‘aporia’
2-rationalist inquiry begins from ‘a priori’
3-empiricist inquiry begins from ‘tabula rasa’ (hakim's beginning)
/
/
4-mystical inquiry begins from ‘affective a posteriori’ (effect, wonder, heyrat, tahayor)


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

sci-fi is imagining the elsewhere inside mortality. (==> feminism stakes in SF)

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

*make a series of studio photos with white clear backs, two different genders iranians having a physical/verbal fight or some sort of aggressive encounter

*the idea is to write a script for a movie or short series, combining the historical 14th century Iran with the 14th century imaginal beast fables from the ajayeb. the camera creats a non-exotic continuation between the two

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

[with Kenney]

-how to let emerge a seriousness as collective matters of care?
-how to stimulate pragmatic questions about how to craft relevant knowledge?
[...]

[...]is completely instrumentalized. the capitalist ideology of ‘tool’ and ‘usefulness’ are insinuated heavily in the hipster figures of ‘The Magicians’ in the way that they interupt history and knowledge-burdened living. “stop the history lessen! tell me how do we kill the beast with it?” (the stupidity of the hipster hero moving through the matrix of merely teleological phenomena, stripping pleasure off thinking...)
(utopian?)

what a magic spell is good for if it is not a leverage?

[title]
The Magicians and The Absolute Freedom and Terror

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

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

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

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

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

(how to make The Magician's bounded utilitarian individualism unthinkab[...]

[...]ver, arrests, or enframes what it desires to manipulate or contain. (Christian Hubert's notes)
=/= poiesis, a bringing-forth (in Heidegger: blooming of the blossom) (also Greek)

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

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

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

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

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

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

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

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

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


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

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

[as much as Matt Damon is schizo-constructing a social environment (on “dead” Mars trying to contact “home”), Cinderella's schizo-affective relation with the talking animals is doing the same: talking back to a world that talks to her, where Matt is only able to talk to home station. I think we have better chances with Cinderella's kind of split personality.]


Modernity --> “Project of Enlightenment” : religion =/= metaphysics --> science + morality + art -->  objective science + universal morality + law  ----{each with its own “inner logic"}
(Luhmann; transition to modern:) stratified and hierarchical organization --to--> “functionally differentiated” organization
(project of modernity requires) a universally assumed but nowhere concretely localizable lifeworld*** (=/=? situated knowledges)
modern person : the self-fulfilling and self-justifying observing subject

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

(Freud's) ego: the record of abandoned object cathexes
(cathexes ~= electrical charge; the libidinal energy invested in some idea or person or object)

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

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



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

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

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

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

[...] into a bright corporate tomorrow <== faces smiling at screens (-->? a bitter joke)
-in her criticism of “eurocentrism” how are afrofuturism and arabfuturism located? (curatorial) let's invite them as her allies in Hansaring Studio.

countermemorial mediated practices

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

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

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

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


sublimation is passion transformed
or, object displacement, transformation of instincts,
a desuxualization (from primary to secondary narcissism) (--> what is Aela's “thirst for knowledge”?)~~--> unfolding into (differentiated elements of a oneness of) instinctual-spiritual experience. (Aela's) ‘oneness’ [an original unity + one hidden and defended against] stays alive as connection? --> the question of desire for Aela is about this hidden linkage.
[transitional objects, play, modifications of the pleasure principle, genital function,]
,
(noted by Christian Hubert: for Loewald:) *eroticism is genuine sublimation* : a reconciliation in the area of ego development and of internalization. (@Aela)
-desublimation (of reason?)
objective of sexuality conceptual transformation into Eros --> (asking Aela with Marcuse:) what is the non-repressive sublimation of the resexualized body? (=/= neurotic reactivation of narcissistic libido)
why Eros is so powerful? what kind of sublimation is the culture-building power of Eros?

in Derrida, narcissism is the passage to the Other, and not necessarily merely a collapse into oneself.

auto-erotic solipsism

باطل کردن طلسم ضمیر the ego appears [displaced elsewhere in the world as an effect] as the result of primary narcissism?
(batel kardan-e telesm-e zamir) dispulsion of ego
*ego forms in the world* (Lippit)

auto-erotic economy

the ego in the island, finding footprints of the others
(Freudian protocols of existence:) there is no world, there is only islands. --> multiplicity of isolations ~-> individuation<[...]

[...]> {the erotic attachment to outside objects}<--pervert =/= narcissist-->{withdraw, calls it “instinct for self preservation"} (a shortcut: my way of undering my own narcissistic tendencies has been through perversity.)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

(?what are new structures of) artistic narcissism
*an occasion to erotisize your own body*
to[...]

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

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

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

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

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

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

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

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

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

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

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

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

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

hupersexuality
...those who are undersexed

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

%note on Alice's workshop:
how the idea of mimesis came when we were not sure what she meant by “make note.” the signifier of “note” defined itself in a collective mimetic semi-conscious way.
(=/=? my work on how signifiers transmit and transform --> parasitism, rumorology, etc. ... weaker neighborhoods of[...]

[...]r />
wound: disconnected event
not adding up to a comprehensive narrative of the ethnic self

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

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

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

hupersexuality
...those who are undersexed

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

%note on Alice's workshop:
how the idea of mimesis came when we were not sure what she meant by “make note.” the signifier of “note” defined itself in a collective mimetic semi-conscious way.
(=/=? my work on how signifiers transmit and transform --> parasitism, rumorology, etc. ... weaker neighborhoods of thought)

Alice's notions:
•explosion <--> dance
•the “generative” notion in her discourse (--> notion of “active,” and “conscious intentionality” [--> a property of human agency and agential exceptionality. (the metric of) her work/workshop distinguishes the self-aware active entity from non-communicative receptive entity, ***intransitive =/= transitive-->{her privileged object}, and that distinction is not useful for me right now])
•the authority of the trope “practice” for Alice
(what would be a nonmimetic understanding of eachother? @Juan)
•the workshop was not her ‘thinking’ or ‘making’ in process or an open question or a not-knowing, rather the workshop was based on her (finished) ‘notions,’ with her ‘indisputables,’ her ‘literal’ objects; (dance, active, body, imagination, practice, generative, creative, etc.)
•production of the “I” in her work; (a nasty side-effect: collateral individuation) (when were the moments in the workshop that an interesting “we” was created and for whom?)
•the problematic difference between ‘literal’ and ‘metaphorical’ at the footing of her thinking (--> my whole apass research is about this)
•(artist's) imagination as a magic wand that can transform things

*what helped me was the idea of thinking with a ‘dormant metaphor’ (in my own work) and ‘activate’ it, in a way that the problems and pleasures of thinking with that metaphor is felt. by ‘dormant metaphor’ what i mean is an operative word that one is using often and is left uninterrogated. for example the problems of[...]

[...]. ... weaker neighborhoods of thought)

Alice's notions:
•explosion <--> dance
•the “generative” notion in her discourse (--> notion of “active,” and “conscious intentionality” [--> a property of human agency and agential exceptionality. (the metric of) her work/workshop distinguishes the self-aware active entity from non-communicative receptive entity, ***intransitive =/= transitive-->{her privileged object}, and that distinction is not useful for me right now])
•the authority of the trope “practice” for Alice
(what would be a nonmimetic understanding of eachother? @Juan)
•the workshop was not her ‘thinking’ or ‘making’ in process or an open question or a not-knowing, rather the workshop was based on her (finished) ‘notions,’ with her ‘indisputables,’ her ‘literal’ objects; (dance, active, body, imagination, practice, generative, creative, etc.)
•production of the “I” in her work; (a nasty side-effect: collateral individuation) (when were the moments in the workshop that an interesting “we” was created and for whom?)
•the problematic difference between ‘literal’ and ‘metaphorical’ at the footing of her thinking (--> my whole apass research is about this)
•(artist's) imagination as a magic wand that can transform things

*what helped me was the idea of thinking with a ‘dormant metaphor’ (in my own work) and ‘activate’ it, in a way that the problems and pleasures of thinking with that metaphor is felt. by ‘dormant metaphor’ what i mean is an operative word that one is using often and is left uninterrogated. for example the problems of “landscape” as a particular ontological tool for me became apparent only after i committed myself to that metaphor in the course of the interview with Pierre and Alice. to stay with a story, to live its contradictions. (and the position of it in a sentence)
•“it was ‘landscape’ talking; not me!”
•why i was seeing Tehran as the ‘ghostly landscape’? (matter of a confrontation with Tehran? exteriority of my subjecthood is at stake? ~->!? the arbitrary position of “genius loci” : that from a genius position one can see for good. -how to make myself nonarbitrary--not subject to individual determination--in relation to Tehran? --> towards ‘situated knowledge’)
•what kind of material-discursive practices thinking with “landscape” committed me to? [to explore and feel this commitment (and its consequences) is ‘staying with the trouble’ for me]

it felt like Alice believes that people, we, have control over our metaphors, but in the course of the workshop there were many occasions that was not the case:
Sina, landscape --> optics
Esta, building/house --> geometry --> security
Agnes, supermarket --> exchange
Juan, crime --> arrest
Zoumana, garden (~-> fecundity) --> immunity
Eszter, electronic device --> closed
Ekaterina, zoo --> objects of care (~-> anima[...]

[...]to be possible.
-which parties are set on the same level of reality (in ajayeb)?

(what are the human and nonhuman) proliferation of forms in ajayeb (?)
who are the “mothers of games” there? snake, Div, etc. (spirits that protect the game)

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

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

whose dialects are mutually intelligible?

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

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

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

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

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

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

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





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




on Aberu, I became interested due to my lack of Aberu in presentationl quality and its abundance in other area's of my psychosomatic becoming.
Aberu traverses, calls itself in, animates, and exists for later visits.
-when you are devalued by the marked of bi-abe[...]

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

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

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

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

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

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

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




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

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

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

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

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

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

[...]t to live.” (not in the “future”)

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

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

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

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

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


what i respond to = what i inherit


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

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

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

trans-species affair then and now

(in our) multi-dimensional inhabiting of space with critters (you can't only talk about [...]

[...]me of the flesh]

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

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


what i respond to = what i inherit


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

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

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

trans-species affair then and now

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


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


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

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



#create identity research center for/with my work
1. harem (حرم)
2. ajayeb (عجایب)
3. wortsalad
4. erklammern (with Foad)
5. san'at-e mojarad-sazi (صنعت مجردسازی with Foad)
6. garden (باغ)
7.


#what am i learning from Hiwa's Chicago Boys project?
history, recent region departures, study group, music, jam, more and more people together with their voices and stories, faces, sing, play, discomfort in instrument, tour, collectivity, sojourn in stage, conviviality, cover song,
-when i look at the videos of the proj[...]

[...] in my current research, do they help build a better Iran? and how?
interms of:
•an ongoingness
•a commitment to a recent future thinking

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

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

[title]
critical bestiaries
critique-bestiary

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

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

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


#[nodes and notes]

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

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

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

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

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

*craft is more important than art(?) (Sennett)
...the notion that the work art breaks the conventions of practice, that it is something that makes an epistemic break. --> emphasis on innovation (something new)--that is a reflection of sort of 19th century bourgeois ideas of about making art.
•privileging the creative act over the craftsman act
•in innovation th[...]

[...]s in advance?

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


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

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

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

i am following the movement of certain words here

spam =/= internet

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

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

[title]
“it's your turn now to play”





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

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

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

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

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

sublimated gratification of instincts, ambitions and ideals, (homogeneous) gestalt and expression of the self, narcissistic equilibrium, test its viability, haptic art,

“invisible reality and the aesthetics of universality” or a mean by which universal is recognized*
timelessness, wholesomeness, indivisibility, aesthetic standards
-pictorial thinking, movement thinking, affectual th[...]

[...]xternal reality as parts of an interconnected and comprehensive whole
[idealistic/symbolist:] to connect the (inner) particular to the general
[romantic:] to make (inner) invisible visible

sublimated gratification of instincts, ambitions and ideals, (homogeneous) gestalt and expression of the self, narcissistic equilibrium, test its viability, haptic art,

“invisible reality and the aesthetics of universality” or a mean by which universal is recognized*
timelessness, wholesomeness, indivisibility, aesthetic standards
-pictorial thinking, movement thinking, affectual thinking, {--> all issued by the notion of “pure” and “purity”? tendency toward idealization? utopian?}

movement (the act) =/= mobility (the possibility)

(is Luisa interested in?) the immanent laws and essential unity of all being

...step to complete nonobjectivity
...objects with their expression of plasticity
> -what is the symbolic term in her work?
she said: “space is literal.” --> the wholesome is proclaimed in the artistic act itself (and not as metaphor) --> experienced directly =/= imagined


--> احشايى the viscera (ahsha), visceral theory: affect and embodiment, transmissible physical charges, porous bodies,
@Luisa
kP_AfO7Ms4I

how to create a condition in which she can herself later give access to her thinking and making?
1- propose a curatorial gesture of an assembly: Luisa, Mondrian, Zen master, Malevich; with Bocola and Ahmed;
2- to open an investigation of affective economies for her: abstraction, constructivism, idealism, figurative empathy, symbolism, longing,
3-
4-

(psychoanalysis [@Luisa] allows us to see that) *emotionality involves movement*
associations whereby “feeling” take us across different levels of signification, not all of which can be admitted in the present. (+Ahmed)
-emotions move back and forth (past associations, repression traces on present) and sideways (sticky associations between figures and signs) --> something as the cause of a feeling in someone --> “involving relationships of *difference and displacement*{as the form or language of the unconscious} without positive value” --> affective economies -->{social, material, psychic}

{ psychoanalysis = "absent presence” of historicity-->(sideways movement of feelings) }==offers==> a theory of emotion as economy***
-by economy, Ahmed means, like capital (is about the movement of commodities and money*), an effect of its circulation (--> Luisa)
-the subject is one nodal point in the economy =/= subject as its origin and destination

**the movement between signs converts into affect
feeling <--> fetish commodity

in Freudian model, the movement between objects is intrapsychic --> trace of how histories remain ali[...]

[...]ties and money*), an effect of its circulation (--> Luisa)
-the subject is one nodal point in the economy =/= subject as its origin and destination

**the movement between signs converts into affect
feeling <--> fetish commodity

in Freudian model, the movement between objects is intrapsychic --> trace of how histories remain alive in the present*** [regarding ajayeb's histories, histories that “stick” and which does not need to be declared, #fohshe heyuan/heyvan فحش حیوان/حیوون sideways movements...]
-(ajayeb's) past histories of naming

objects, the author of emotions



(how) emotions align subjects

_“surfacing” of individual_

(Ahmed suggests that) emotions are not simply “within” nor “without” but that they create the very effect of the surfaces or boundaries of bodies and worlds.

narrative = production of the ordinary


/> •(which crimes against persons become crimes against place? -‘us’-)
•“body of the nation”
•scene of “our injury” (--> also in Iran: “our” historical injury)
•(the fucking) right to defense --> ‘home’ itself becomes to be mobilized as a defense against terror, becomes transformed into the symbolic space of the nation #[example of when the approach (to/by objects) itself becomes a fetish object*] --> “staying at home”: a form of mobilization [---> go to three little pigs] ---- “the constitution of open cultures involves the projection of what is closed onto others, and hence the concealment of what is closed and contained ‘at home’” (Ahmed ♥) {ouvrir le fermé, fermé le ouvert}
•alert citizens, amre be ma'ruf va nahye az monkar امر به معروف و نهی از منک --> meta-ontology of tosiye توصیه
•suspicious others
•saving women from religious fundamentalism
•negativity of latent (could-be-ness ==> opens up the power to er to detain, police pishgiri پلیس پیشگیری)


origins of bad feeling
threat to violate the pure bodies [vulnerable and damaged bodies of the white woman and child]

*affect is economic* --> it circulates between signifiers in relationships of difference and displacement --> they align subjects --> effect of collective --> (in Ahemd's economical model of emotions) they work to bind subjects together : the nonresidence of emotions is what makes them “binding” --> her notion of economy =/= {inside/outside model --> positive residence of emotions: “I have an emotion” or “something makes me feel a certain way"}--> “fear does not come from within the subject, nor does it reside in its object”
-([@Hoda's take on witness] alignment of the individual with the collective:) the accumulation of affective value shapes the surfaces of bodies and worlds; affect generates the surfaces of collective bodies (<==allows== not to locate affect in [...]

[...]f bodies

(emotions construct) bodies as ‘enveloped’

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

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

in Freud: self is made by the fear of father


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

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


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

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

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

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


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

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

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


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

[...]white colonialism) anxiety ==> safty
(in Ahmed) anxiety --> approach to objects
(in Ahmed) fear/anxiety ==> effect of “that which I am not”

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

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

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


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

the death score

Leo correcti[...]

[...]e measured in economical terms? [but, what kind of consequential work is gesture doing?]
(Nicolas's order of inquiry and discovery)
(--> what is at stake is how do you locate the effects of your work. for Nicolas it is locate at the “sides” [which is already problematically prepositioned outside of him] --Ahmed--> ab object can be affective by virtue of its own *location* [...] and the *timing* of its appearence)
[the ‘image of the rigid’ in his presentation]

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

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

Vladimir's tether on disambiguity

Elen, adding her own wheels to the flow(s)
and putting a stick/spoke in a rolling wheel (of others?) [her saboteur trends, چوب لای چرخ (=/=? kharab-kari خراب کاری), what is chub lay-e charkh for her? vandalizing the discourse of others]
-the famous vandal of wikipedia with the recursive name “-on wheels” (Willy on Wheels, adding “on wheels” to the title of every single page, using the move function of Wikipedia: renaming the existing title ==> moved to another namespace, without changing the base title)
-like myself, her saboteurs are critically not symbolic nor ontic, rather sometimes epistemic, or better, ontologic: they don't vandalize the “thing” itself, but the “nature of the properties” that constructs that thing for us
-rocket sculture (what does it mean for her?)


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

[the question of inevitability of anthropical view]
there is no final answer to a kind of question but a lot of answers
through inhabiting a figure you are crafting you find yourself addressing a set of problems
agency: liveliness of artifacts (?). there is some kind of liveliness that is both human and nonhuman
the kind of sociality that joins two categorically separate mode of agencies, is a sociality that constitutes both --> the interaction of humans and machines produced both =/= unilateral action
(my whole point or joke, with the bow and arrow was that the arrow of index finger does not move in one way.)
[=/= another mode that comes to mind is when your intimacy making leads always to yourself[...]

[...]a form of mock, instead of provocations for more conversation, I was stupefied. --how can we go on together and not render each other commitments nonsense?]


“point of view” is an important metaphor


#in my work in apass i am working on descriptive practices [poetics of animal description, histories of nonhuman inscription, etc.] to learn to name latent (and therefore emergent) ontologies, to name ‘what we are doing in new ways,’ which are hard to name. (also refusing not to name the violences of others and yourself. to reckon the nature and scope of the erasures we do in our works.) % why do you think that is important?
#and my shift of attention to peer's works is about that: our domain of practices must make claim on each other <== we inhabit differences together (--> attention and work on:) ‘local category abstractions’ (how do we talk and make each other feel our subjects of interest in apass for example) --> (the cumulative, associated and sensed) routines, gestures, and (inter)surfaces of our everyday life in apass, as a group of researchers, that don't necessarily align ==> worlding comes from these things.
[attunement =/= argument]


the name of the world is “detail”


***translation (essentailly imperfect) is the very condition of signification --> trope is the very condition of language

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

don't be docile bodies or innocent bystander, do what you have to do to constitute your courage
all i am saying is that: it is not clear what the destiny of art (or of anything) is

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

perhaps what i am trying to learn--with apass, ajayeb, writing, harem, etc--is to ask what do i need--which skills, abilities, or literacies--to become equipped to share the experience of the habits of the world (of ajayeb) that i am discovering

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

Luisa: “the visual (side)effects of a ‘not being supported’”
effect --> object --> suport --> object2 --> suport3 --> suport4 --> ...
(at one point Marialena pulling away a support box ==> Luisa's cry sound side-effect of a ‘not being supported’)
•?how is it done for her: construction of indifferent objects
•which import function is materializing her ‘objects’? [public import]



I want my friends to become marvelous thinkers makers, I want them to ask interesting questions



Esta: “when we enter the presentation we are researchers, we are not friends” [--> “neutrality” of encounter]
(but i want to explore new places in my work with the people who care for you)
(is this at all possible? to enter with friends a non-friend zone?)

inclusion =/= involvement
(inclusion usually mistaken as literally for physical inclusion)



How Kobe's work can move from a “case-finder[...]

[...]a pulling away a support box ==> Luisa's cry sound side-effect of a ‘not being supported’)
•?how is it done for her: construction of indifferent objects
•which import function is materializing her ‘objects’? [public import]



I want my friends to become marvelous thinkers makers, I want them to ask interesting questions



Esta: “when we enter the presentation we are researchers, we are not friends” [--> “neutrality” of encounter]
(but i want to explore new places in my work with the people who care for you)
(is this at all possible? to enter with friends a non-friend zone?)

inclusion =/= involvement
(inclusion usually mistaken as literally for physical inclusion)



How Kobe's work can move from a “case-finder agency” to a consequential work? [--> storytellings for making consequential meanings*] that means: what does it mean to live in the consequences of the relations one is enacting?
(when I look at my friends and peers in apass, I can see and feel the knowledges they inhabit in their bodies and the living effects of their languages. I re-figurally feel the figures they embody and their objects whether they assist or resist states of transformation.)


ephemeral things become food

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

Esta, risking one's life


@Hoda, Xiri,
the idea of “express its inner experience”
simulation of

Xiri's sense of entitlement to accusation


@Leo, fiction of sharing
‘something tangible, like a meal’
something phantasmatically hooked up to libidinal openness, like a drug


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

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


instead of (the “how” of) “how do i show my interested texts?” (which was propose[...]

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

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

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

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

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

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

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

question at Hoda

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

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

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

what (else[...]

[...]ed by someone else)
--> “distributed biographies,” thinking about sociality of perception

her poem is her textual body (<--> sexual body)

ecstasy
is subjectivity (permanently for Hoda) ecstatic?
this is the question of ‘where is the subject’? according to different practices with ecstasy we are outside ourselves. (in religion that is precisely where the ‘inside’ is located)
-permanent or structural ecstasy is clearly political
-ecstasy is disruptive

how much should I be invested or interested as a friend for your happiness and wellbeing?
•fellow-feeling
•sympathy (is expressed by:) returning feeling with like feeling

Sina: if a thinking makes you sad, that thinking is probably wrong?

within the rhetoric of integration a usual terrifying point is in which the duty of the migrant is to attach to a different, happier object
the future of reattachment --> Hoda
-in this integrative narrative, I have to be careful with assumptions that good feelings are open and bad feelings are closed

bad feelings are seen as orientated toward the past =/= my work on past


she said “here is the English-one” meaning the English translation of her poem
--> in the last five years i have been rifting between the difficult space between “here the Farsi-one” and “here the English-one”

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

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

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

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

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

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

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


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

#worksh[...]

[...] in working with ajayeb) sometimes you are required (at the same time!):
•to be dead literal
•to be precise
•to be analytically good
•to be unforgivingly technically right
•to be flaming imaginative
•


*breakdown*: where the normalizing fails ==> something else emerges


*every collective needs people who feel:
•(a grace given to you by the structure of your cells, you don't know where it comes from:) “root sense that the world is not dead” --> a sense that things are moving and alive and future-full
•its people who feel despair (...emphasize the futurelessness of it all)

*!!!--> we (also) need sensibilities that are angrey at each other

(aligned with Haraway) my position has been that: we don't choose our sensibilities, we wake up and figure out what they are


(Haraway take on the ways we) may enginner as a species now (tech, syntax, etc.)


to refuse the story of the apocalypse + (still) recognizing the depth of the trouble
--> Freud's thanatos غريزه مرگ, a death instinct, (it is a deep, instinctual lure:) *a perverse pleasure in believing in inevitable failure*


*transference is descriptively very apt for what goes on in artistic moves [<-- to be careful of]


**to risk a feeling of (despair, of...)

the ways some of us risk things intellectually and emotionally different than each other


prima donna: doing whatever one does without any particular effort to nuance anything


*multiple impossibilities
learning from religion, the ways of which the name of God has become an impossible category. both catholics and muslim shia (#islam) are wellprepared for feeling this way, some kind of recognition of impossible thing. let's take that “being good at recognizing and affirming impossible things” and bring it to the name of women. that means as soon as you name what you mean by ‘women,’ you have told some kind of really impossible lie.
(how my muslim trained sensibilities are working and mattering in my ajayeb research? ways to respond to *the deadliness and the irreplaceable liveliness of religion* [کشندگی و سرزندگی یکتای مذهب], a semiotics with implosion of sign and flesh)--> (i am so happy that) i cannot not know what it is like to be in a believing community (a faith-based community)***


...out of your own particular little historical traditions


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


you can't do feminist theory without paying attention to the details of women lives
your mode of attention to women in the world ==(shapes)==> your mode of attention to:
•the way databases get set up
•the ways interdisciplina[...]

[...]uring out how to inherit a history that you don't want to inherit)
(Islam, shyness, kindness, ajayeb, Iran, stuttering, being all too ready to find complexities, )
•to become relaxed about predigested version of ‘this is what ajayeb is about’ (or Tasavof, etc.) --> ‘what is going on there’ (in ajayeb) is so built-in to ideologies of many kinds (of progress, deep ecology, of history, and so on)
•to build a little taxonomy (in apass)
•working to give up the series of self-certainties around secularism ==> giving ways to talk to the religious ones : getting to grasp what the world looks like in faith-based communities (=/= check-list of dogma)
•category thinking: get into differential liveliness (with all sorts of inequalities:) *who gets parsed how* [#archive, #articulation, #storytelling] (and thinking about what it means to take up these relationships in cultures saturated with science and technology)


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


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


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

*“demonstration” coined by science

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

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

[...] believe in a list of dogma?”
totally wrong question: do you believe in God?


[should i go to Berlin after apass?] a parochial person دهاتی (in the pressure of the seriously elite places): you could be here, you could succeed here, but never belong here


Haraway's ‘literal’ makings:
•“companion” is about whom you are at table literally*
•to be homo sapiens is to be in multispecies interdependencies literally*


my issue with the image of the free floating meaning network popular in artists’ thinking: yes meanings foreground and background. they swirl, but they don't swirl at random

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

MOU (memorandum of understanding)-->{@Esta + Zoumana + Hoda
*memorandum: memo, reminder, note, تذکره --?--> passport : آنچه موجب یادآوری شود --> آنچه موجب دخول شود
a legal document describing an agreement between parties less formal than a contract
[1994 U.S.-North Korea nuclear pact, the MOU between Bush and Kerry for 2004 debates,]

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

batlagh باتلاق



it is (perhaps the most) important to help transform (your or my) ‘wounded-child’ to ‘wonder-child’ (--> @Hoda)
[the image of the wonder-child in all my workings]***

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

•accumulative: gradual increase as a whole, someone/something doing the accumulating, emphasis on the process of accumulating
•cumulative: nongradual successive additives, associated with that which is accumulated, emphasis on the result
ad- (“in addition”) plus cumulare, “heap up”, from cumulus, “heap”

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

[we need] ability to move from ‘close attention’ to ‘gestures’ and actions on the material world, all the way to an assortment of ‘artifacts’ able to enhance cognition, sensitivity, and sociality

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

Stewart

surge of signs + capital + sensoriums of public culture --> matter & image

images, when circulating things, suddenly enter the senses --> literally make sense ==> look and smell of an incipient vitality --> immanent intensity or force ~ affect

#my coin: two-sidedness of things, virtual meeting actual, seeping edge of potentiality

common sensate affect --> shock --> “continuous trembling that haunts the stable gaze” --> images and sensibilities that constantly exceed (reason, order, and common sense) #telegram

Affect, is about something is happening, something capable of impact
•sometging half noted out of the corner of the eye
•something in the commonsense world
•
(that which escapes/exceeds enclosure) --> it can be put into words[?] --> to become a figure of vitality and even freedom[?]*** @Iranians[...]

[...]subjects and objects, forms of attention, the possibility of thinking through description?
•How do you describe a scene, a character, an event, a situation, a collective sensibility, a difference, a world?
•What does it mean to add density and texture to description?


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

armies of metaphors and metonymies that are to justify war

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

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

hyperobjects Morton
-an object that is “hyper” in relation to some other entity
-they are viscous: they “stick” to beings that are involved with them
-they are “nonlocal” : local manifestation of hyperobject =/= hyperobject
-they exhibit their effects interobjectively : they can be detected in a space that consists of interrelationships between aesthetic properties of objects\
=/= apocalyptic environmentalism
=/= the possibility of transcendental leaps “outside” physical reality
=/= that we are “embedded” in a “lifeworld”


high-dimrnsional phase space
invisible to humans for stretches of time

[*]hypocrisy <== the conditions of the impossibility of a [*]metalanguage= account for things while remaining uncontaminated by them, (~= an “outside”)
--> (Lacanian truth:) “there is no metalanguage” =/= postmodernism's “everything is a metaphor” =/= some metaphors are better than others ~= *there is nowhere to stand outside of things*
the time of hyperobjects is a time of hypocrisy =/= cynicism

[*]weakness <== the gap between phenomenon and thing
<br /> [*]lameness <== the fact that all entities are fragile

imagination as:
•Hume: a bundling of associations
•Kant: the possibility for synthetic judgments a priori
•object-oriented ontology: immanence of thinking to the physical, radically displacing the human by insisting that my being is not everything it is cracked up to be--the being of a paper cup is as profound as mine


which hyperobject you are caught in?

image of writing --> shy, retiring octopuses that squirt out a dissembling (mask, cloak, vortäuschen) ink as they withdraw into the ontological shadow


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

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

situate[...]

[...]appropriate levels of concern
tomas توماس --> terrain of media and the sociopolitical realm
cohhatg کوهاج --> coincidence of human history and terrestrial geology
hhatg حج --> human history and terrestrial geology
pb پی بی --> philosophy's bandwidth
sdwa صدوا --> substances decorated with accidents -->
ldwa لدوا --> lumps decorated with accidents --> featureless lumps, and those things have accidental properties, like cupcakes decorated with colored sprinkles (arayesh آرایش) }--> this thinking still continues, despite the fact that ‘thought has already made it irrelevant’ --> thamii تامی, (for example birds for Attar are merely decorative features of Attar's social, psychic, and philosophical space)
soth صوث --> speculating outside of the human
sim سیم --> small island of meaning
etimom اتیموم --> everything is made of mind
h.h.b.n. هبن --> hand-holding benevolent narrator (-which is vanished)
(auto) cad کد --> (automatic) comforting aesthetic distances
iockat --> intentional objects commonly known as thoughts
atot آتو --> (you only ever perceive your particular) anthropomorphic translations of things
ejich جیش --> exhilarating jump into cognitive hyperspace --> displacement that Copernicus or Derrida does
foe --> fantasies of embeddedness [<-- phenomenology <== grounding of Kant (begining in 1900)]
avaa اوا --> a vertiginous antiliteral abyss
iwen --> intimacy with existing nonhumans
mok --> mathematization of knowing (--> Descartes, Newton) ==> hiding philosophical and ideological decisions made in acts of knowing =/= ontology (as a vital and contested political terrain)
icad --> ideology of “the consumer” and its “demands” (that capital then “meets”) --> adventure of modernity
fvod --> from the viewpoint of “objective” description (a bad way of explicating the objects that are already here)
toc --> troops of critique
towwk توک --> ‘technology of what we know’ (techniques that decide the differences between ‘what we know’ and ‘what is’. Morton's hyperobject is a towwk)
usoc --> uncanny strangeness of existence (work of Heidegger)
lawot --> (something is) ‘laying around in the workshop of thinking’ (let's reuse what appears to be broken lawot)

visist = visit + resist


correlationism: the notion that philosophy can only talk within a narrow bandwidth, restricted to the human-world correlate : meaning is only possible between a human mind and ‘what it thinks' = its “objects” (flimsy شل و ول and tenuous رفيق as they are) ~-> the light on in the fridge when you close the door
-Heidegger (towering through) is a correlationist who asserts that without Dasein, it makes[...]

[...]st be vicarious (نيابتى) and hence aesthetic in nature


(no) realism that only bases its findings on “ontic” data

scientific discoveries are necessarily based on a decision about what real things are

*disaster [ontologic] taking place against a stable background [ontic]*

causality after Hume and Kant : causality as a feature of phenomena, rather than things in themselves ==> humans are not totally in charge of assigning significance and value to events that can be statistically measured
entities that become visible through post-Humean and post-Kantian statistical causality --> anthropogenic global warming

causal factoid


humiliators [there is no center and we don't inhabit it]:
•Copernicus
•Darwin
•Freud (displacing the human from the very center of psychic activity)
•Marx (displacing human social life with economic organization)
•Heidegger
•Derrida (displacing the human from the center of meaning-making)
•Nietzsche
•Deleuze and Guattari
•
~= there is no edge =/= (film Lucy or Neil Tyson series suggesting that) there is an edge (of time to see everything perfectly), in some (privilaged) transcendental sphere of pure freedom, Lucy's chair literally sitting a VIP box beyond the edge --> anthropocentrism: the idea of a privilaged transcendental sphere
Kant --> (although we are limited in finitude) our transcendental faculties are at least metaphorically floating in space beyond the edge of the universe --> #milieu #tasavof #sufism


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


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


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

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


speculative realism, a rogue machinery

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

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


*distance*:[...]