[...]o much looking for relevant novelty [and not in search for meaning] (not so of past but also) not quite so enamored of the new and of the creative
-extinctions are happening at extraordinary rate that are difficult to deal with the perceptual apparatuses of the bipedal hominid [for example sayinig ‘everything is collapsing’ is one of those categories, collapsology takes world's doom as a priori]
•knowledge =? production of novelty, product of novelty [that you need is not at all novelty for someone else]
•knowledge =? reduction of memory, production of memory
•knowledge =? cat's cradling each other
*what constitute flourishing?* [@collapsology =/= one is seduced, curious, interested, and intrigued ‘to what is going on there?']
[species are often] risks for your ongoingness
(work of) [*]hope: care not being possible out of the place of sheer joy

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

my issues with the commons
i have a problem with the conceptual and material apparatus called ‘resource’ that the commons takes uninterrogated. (and there is no way out of it because commons must take ‘a’ definition of resource for granted--and that makes it too easy to deconstruct). and it is too embedded within a political framework and vocabulary. and political is the most difficult syntax to start with, which won't allow it to access other literacies.
in this way the commons alone cannot properly address issues such as pollution, extinction, human-animal problems, rhetoric, inheritance, logic, alienation, and so on, that need multidisciplinary thinking.

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

•what is ‘feeling’ for Lili
•the issue of ‘similarity’ for Luiza
•zones of connectivity and presubjective singularities for Xiri. (what is even better than justice? kindness?)
(Xiri's use of the implicit element of ‘surprise,’ she is trying to communicate the ‘importance’ of her contents.) (trauma-story almost always silences other stories. -- she is compelled by her own storytelling --> baring witness to the injustice therefore resisting it.) --when the victimized personal veils the larger context of evil, the illusion of the true perpetrators - which is around you. (she stated the danger which is all around us.)
-the issue of immediacy for Xiri
-‘you can only heal what you have wounded’ (Wagner's Parsifal “only the weapon that made it will ever cure the wound.”)--what does this mean for our caring activities? @Sina: is this what you mean by western modern rationalization, and that is why you are thinking within the western/eastern philosophies, is the modern tools the antidote to themselves? (this is too soon for me to say and understand this question.)

what is my ‘will to’?
Xiri wants to abolish injustice?
Thiago, abolish selfishness?
Maarten, abolish weakness?
Aela, abolish entropy?
Sana,
Seba, abolish [...]

[...]laint 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 of unknown in one's practice? rather than being a news agency




[negativity?]--> your bad feelings --> غر ghor complaint --(turn it into)--> critique --(start doing)--> research --(get)--> diploma --(turn it into)--> phd --(make your)--> department of studies --(into)--> craft tradition
[...]

[...]action]
•it is about “understanding living with contradiction” : making choices without necessarily turning the other choices into something an enemy does --> important for collective research life; “[we] need each other's extremes”; *our activisms are not the same*: to open up to our extremes, to open up to what you are not sure of --> to find ways to be in productive alliance (=/= the notion that everybody has to do everything [tell Xiri])
•(educating oneself) actually know how to explain what somebody else said and not just what you said*** --> figuring out how to disagree with each other as well as agree, that no statement is going to be taken as evidence of being the enemy (--> we face this in apass)
•learning how to recognize authority (as a mentor and participant) (the problem of the inability to deal with authority, common in early feminist movement, traces in Xiri) --> being alert to how hierarchy shut people up that one don't acknowledge the hierarchies that emerge out of that *{alarm ==> hierarchy}*
•in apass i am trying to remember what my peers are doing, and when i see things i think of them, and they are in my citation network (they are all over ajayeb.net) and i am aware of what they have told me. words they are inventing are in my vocabulary too (that is why i am so energetic calling in Xiri's category change for example “generous suspicion”)
•collective research environment works by networks* (--> a problem with apass)


[*]epistemology = stories knowledges tell


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


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

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


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


Greek brainwomb


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


the talks i have been giving are done by someone with a kind of mind and soul that just makes connections fast. i work orally. the lectures are heavily prepared (and some important ways unprepared in the manner of its performance: all those connections happening during the talk not knowing them beforehand, they happen by the encounter*) and full of cue (سخن رهنما، ايماء،[...]

[...]ou think about tools and genomics


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


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


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


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

*“demonstration” coined by science

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

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

[...]wledging other hierarchies that precisely emerge out of that (--> preserve the ‘health’ of the idea of anarchive. [<-- maybe we need to let concepts rot? --> decompose])
Manning's elusiveness: (i have become hyper-conscious about qualities that endow infinite freedom of thought to human subjects...)
•elusive thought طفره (=/= volatile فرار) --> Spiderman's mode of freedom (-you can never catch him + infinite flexibility + ) (the effect of Spiderman on himself is that his moves are “amazing”)
•elusive thought ~->? mystical
•elusive thought =/= modest thought limited by curiosity
•
“hierarchy as the bad object” ==>
•to escape thinking about your own agency (for example what your name and reputation does? what are the precise responsible consequences of your particular position? your position involves not only the book you write or the argument you make, it involves also your name and reputation, the currency of your gender, your mode of charisma and authority, your affective techniques, your network enacted, and so on.)
•to escape naming the engineering talents and skills that are necessary to assemble (for example the senseLab website)
•to escape epistemological commitment (the question of: **how is my vocabulary crafted for whom?**)
•
it is not clear (but i can maybe guess about it, Manning's commitments are):
•(learning from Haraway:) what they have witnessed [hierarchies? ==commit==> anti-archive]
•(learning from Despret:) which bodies they care for [the autists? ==commit==> elusive creativity]
•(learning from Kenney:) where are their alliances پیوستگیها [with multiculturalism? ==commit==> democracy's logos of difference]
•(learning from Verran:) how their equipments are crafted [by processual metaphysics? ==commit==> infinity]
•(learning from Stewart:) how their rigor is built [by conceptual description? ==commit==> non-habituality]

(because of her immense intelligence she cannot be normal, but that doesn't mean she can prescribe normativity, and issue a command [in terms of the “de-” or “anti-“] or order a claim of reality [in terms of “an-” or “ab-“])

-Manning's “philosophy of event” (=/= multispecies ethnography, i prefer working with the animal idea, because there is no way you can make philosophy out of animal, they always relentlessly contingent and historically materially specific)

-Manning's notion of impersonality ==> ‘people are exchangble’ + ‘the work is what is important and not “you”’ [--> *techniques of impersonality* has being used in sufism and iranian mysticism. i have seen how the special effects of impersonality is used in political projects, making of soldiers, master-disciple relationship, and so on
-look at the cool impersonality of the scientific language (depriving them of their own ideological status)
-early 19th century modern p[...]

[...]

what is the sociocultural world we construct?


dream images, vivid mythical scenes,


form travels/passes through us

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

[Latour modes of existence]

(to distinguish types of)
incompatible truths

“truth"--is the expression of an encounter with forms of existence

to understand the others in the absence of a description of ourselves
(what is realistic?)

to direct attention towards the beings about which humans are interrogating themselves



عجایب‌ ajayeb is a ‘network’ more than anything else, in it “God” has no special privilege, is not located in addition to or beyond other beings

we are seeking to redefine the paths of beings that are unique to ajayeb without giving them substance and without jumping immediately into transcendence. (using Latour words) [transcendence is never gradual, in the places i come from, it is always a shock, happening, a truth-event]
-each word (God, Angle, Jinn جن, fog, etc.) brought into its own network,
-what are contrasts and of category mistakes particular to each
-and their crossings----and what is the vocabulary specific to each crossing

the network of associations necessary for the exercise of religion without bracketing off its ontological requirements.

explanatory rage (tavahoshe roshangari توحش روشنگری) --✕--> networks necessary for religious meaning

(the aim is) deploying the network (of ajayeb)
it is about grasping ajayeb's beings not as substances but as *trajectories*--and give them a more precise *direction.*

what is important in working these modes what kinds of possibilities are “afforded” to the investigator, myself. what kind of actor am i?

(specifications of the type of beings that the mode leaves in its wake)

**other beings necessary for its existence**
(my personal/public question, what other beings are necessary for my existence? and therefore for your existence as well.) ----> the heterogeneity of the actors needed for the pursuit of any course of action


*metamorphosis (a mode of existence first detected in psychogenesis?) what we encounter whenever we address the manner in which existents are transformed or transform in order to subsist (zist زیست)
-defined by a certain kind of continuity and obtained by a certain type of discontinuity
-metamorphosis is about crisis, possession, alienation,
-metamorphosis sharply contrasts *cure* (~= ritual)
-allowing for installing unconscious (states,) crush, posses, bewitch, kill,
-beings with specific properties that are invisible, changeable, powerful, favorable, unfavorable
-exploration of transformations
-cosmological specialties[...]

[...]lution of the animal kingdom was the same as individual development not only because the laws behind each were the same but also because the entire animal kingdom was an individual. Here, he was harking back to the views of the Naturphilosophen of the previous century. In other words, the development of advanced species was seen to pass through stages represented by adult organisms of more primitive species.’ (The morphogenesis of evolutionary developmental biology)

inter-cellular digestion
•the evolution of new features was based on changes in developmental stages, not in adult astages (--> that's why the developmental stage is so important, because mutations happen --> work with children)

Ontogeny or morphogenesis: organism's developmental lifespan
Phylogeny: evolutionary historical heritable traits

ontogeny ==> phylogeny
“ontogeny does not recapitulate phylogeny: it creates it” (Garstang, 1922; p. 724)


evolution was not so much a branched chain as a ladder

molecular systematics

evo-devo (evolutionary developmental biology)

each discipline has:
-its own rules of evidence
-its own professors
-its own journals
-its own vocabulary


small genetic changes was not sufficient to generate evolutionary novel structures such as teeth, feathers, cnidocysts or mollusk shells (Goldschmidt, 1940) (--> lizards had birdness in it --> potentiality)

(new species originate as) ***hopeful monsters***
that result from mutations in developmentally important loci (-macromutations)

Goldschmidt: the gene wasn't a locus or an allele. Rather, it was a unit of development

“to convince evolutionists that evolution is not only a statistical genetical problem but also one of the developmental potentialities of organism”

(Waddington 1953 claimed:) ...in conventional studies of evolution, the animal is considered either as genotype (and studied by geneticists) or as phenotype [Erscheingungsbild ] (and is studied by taxonomists)
(Waddington then kaunched into a) critique of the notion of “random mutation,” noting that there are developmental constraints placed on what changes are possible.
•“we think of development as a cybernetic process, involving stablization through feed-back and other mechanisms.”


(Francois Jacob) “Evolution by tinkering” (sare-ham-bandi سرهم بندی)

(Leigh van Valen 1973) “evolution is the control of development by ecology”

phenotypic plasticity
developmental plasticity


organism: an epigenetic materialism****** (Hertwig 1894)
(Hertwig concludes: it has been shown [...] that much of what Weismann would explain by) determinants within the egg must have cause outside the egg.
[***egg and its outside]
[...]

[...]r /> we breathe metaphor, swim in metaphor, traffic in metaphor

(becoming poet = becoming the) handler of the figurative speech : employing language's tendency to connect like and disparate things to the richest possible effects
(in talk:) figurative is at its most sophisticated: condensed, alive with meaning, pointing in multiple directions at once
(Hollywood's ways) to make meaning seem more attractive =/= figurative speech itself means, and *means intensely*

baznegari-e sanaye adabi (بازنگری صنایع ادبی‌):
1. to say *what we see* = to speak figuratively (first project of simile tashbih تشبیه and metaphor esteare استعاره is to describe, to say what something's like ~~?--> measurement, we can't do so without comparison[?])
2. figures work together ==(to form)==> *networks of sense* (enjoying a metaphoric game, modes of appreciation)
3. figuration = a form of *self-portraiture* (intense involvement in rich, descriptive speech ==> perceptual signature : a destillation/condensation of the way one person knows herself/himself in time and in place)
4. metaphor ==introduces==> *tension* and *polarity* to language (figurative ==> enexpected language into text, shifting the elements of vocabulary)
5. metaphor's distancing aspect ==(allows)==> (us) to speak more freely (to explore a heated, charged experience, “I need more veil” ♥, a delight in a thin disuise; the way a good veil works [according to Doty]: you can see the veil itself, if you choose to. but if you want to, or you know how, you can read what lies beneath)
6. ***metaphor = an act of inquiry*** =/= an expression of what we already know (“i can't prove this [...] but i can feel the power of the result.” unmistakable quality of discovery [of metaphoric figures]: the sort of energy generated when an idea [and a concomitant set of emotions] unfolds before the write [<-- Sven is missing this?]. in this way: metaphor = (a kind of) *argument*= a “thinking through” of what is implied, [oh i have made something] complicated = full of feeling and tension, #excess; investigation of erotic energy, thrilling sonic structures you build,,,)


to become a rhetorical reader of our *gesture drawing*
moments of rebelion, when you have just enough of the strictures of the composed still life the teacher had assigned, you whip out...


description is fueled by ***hunger for the world***, the need to taste, to name, to claim what is seen, to bring it --> the resurrection of the world within the perceiver
*it is very often true that what we are compelled to describe is terrible, or oppressive, or heartbreaking. language is hungry for that, too [...] to eat everything. even the falling and fading world, even misery* (Doty)
-they speak to our hunger for a vocabulary for the whole range of feeling, even the awful parts (--> destruction of speech is [...]

[...] you can read what lies beneath)
6. ***metaphor = an act of inquiry*** =/= an expression of what we already know (“i can't prove this [...] but i can feel the power of the result.” unmistakable quality of discovery [of metaphoric figures]: the sort of energy generated when an idea [and a concomitant set of emotions] unfolds before the write [<-- Sven is missing this?]. in this way: metaphor = (a kind of) *argument*= a “thinking through” of what is implied, [oh i have made something] complicated = full of feeling and tension, #excess; investigation of erotic energy, thrilling sonic structures you build,,,)


to become a rhetorical reader of our *gesture drawing*
moments of rebelion, when you have just enough of the strictures of the composed still life the teacher had assigned, you whip out...


description is fueled by ***hunger for the world***, the need to taste, to name, to claim what is seen, to bring it --> the resurrection of the world within the perceiver
*it is very often true that what we are compelled to describe is terrible, or oppressive, or heartbreaking. language is hungry for that, too [...] to eat everything. even the falling and fading world, even misery* (Doty)
-they speak to our hunger for a vocabulary for the whole range of feeling, even the awful parts (--> destruction of speech is dangerous, having no language for what we do good or bad)

desctiption is made both more moving and more exact when it is acknowledged that is is inevitably incomplete


(in the strictest sense) one could say that nothing unintelligible is a meaning =/= *there is always meaning*
-the perception of meaning [such as goose sound] that cannot be translated into any other form of speech --> chasm barzakh between the incomprehensible and the making of meaning --> (how?) to build a construct of language that acknowledges the “meanings” that live outside of words (a ‘description’ that builds an argument about the nature of real) [--> ajayeb's concern; part of a function of the humility of the speaker]
([ajayeb is full of?] similes that produce) juxtaposition of the natural and the artificial, [the vegetal and the made, the tiny and the immense] : (unexpected) collision of elements (in the framing field of thinking) ==means==> to bring energy into language [--> #adjacencies: bringing things, objects, stories, arguments next to each other --> interrupting stories with stories]


ritual of flirtation


sky's deep machinery


“poor girls make themselves fabulous”
“white girl make herself black, at least while she is pretending to be a supreme”


reprofessor

(my work and interest since 2012:) attention and allegiance to a *process of knowing*

(ajayeb.net has interest in reworking the conventions of syntax and of the sentence)
[...]

[...] in terms of consuming or participation in sports, or mobile phones, or whatever --> they create different kinds of relations (#telegram iran?)
(how among my freinds we impress one another?)
younger people, invest value in different things from what older people do


money does not have anything else but number

things that shine, things that glisten, things that sparkle --> a sense in which these objects *give off a presence* [@Janina] and people are affected by this

*quality of shininess* indicates the successful intervention of ancestral spirits --> a spiritual condition (acquainted with health)

they must display to be regarded as worthwhile

with mobile phones: what is going on here, what is their value, how are they circulating, how do people regard them?


(ibn ebn ابن) people belong because their fathers belonged and so forth + what they give away, the (gift) shells, can be regarded as female : items that have come into men's possessions (=/= Karin's gifts)
-so the shells are passive objects, women are/were (traditionally), classically regarded as objects in a similar way and were given the names of shells


***how to think about vocabulary:***
-i cannot start using economics of the market to describe what i am talking about
-in the vocabulary of gift exchange (Strathern) may be able to find the vocabulary of analysis (like an artist choosing the color)
-Strathern choice: the vocabulary of gift exchange might give her the vocabulary by which to start describing, is an *artificial choice*. the vocabulary of the gift economy gives her a lot of terms in which to understand. but those terms are only useful for the purposes of understanding that particular set of data, and if i then leave that data, and if i follow these objects as they move out of the highlands, and if they became, if they came into an art market, then absolutely what we would be dealing with is commodities[...] --> situated knowledges [#SK], #import function

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

*literature = the question of reading* (=/= matter of novels and poems)

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

what is the language of war?
(Keenan > Weizman:) we need to understand war as discourse --> *war = a threatened discourse*
-The language component of war exists in the gap between the level of destruction which is “possible” and the level of destruction which is “actually applied” in every given situation.

when war is no longer a means but an end in itself(?) -->? Hezbollah

deterrence: a means of controlling a person's behavior through negative motivational influences

“We are law-abiding, and we go wild.”


violence stripped of semiotics

The logic, the reason, of [...]

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

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

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

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

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

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


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

relational and possessive

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

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

[...]br />
the ideal of a totally personal voice, of a unique ‘fit’ between an individual's expressive means and his world-image, perused by the poets.

Only when we reflect on it, when we lift the facts from the misleading context of the obvious, that the possible strangeness, the possible ‘unnaturalness’ of the human linguistic order strikes us.

I am interested in this pluralist framework we are living in since the inception of recorded history.
...
It is not a formal hard-edged linguistic relegation, rather a metaphysical speculation

(making a ‘language atlas’?)
constructs of universals / transformational grammars: that have nothing of substance to say about the prodigality of language atlas

my interest in the ajayeb is due to the traces it provides into verbal literacy, a living vulgar language, rather than a dead structure such as mantegh al teir Attar (Mantiq-ut-Tayr).

..vanishing languages and people, their history and morphological structures uncharted, dim into the oblivion, each takes with it a storehouse of consciousness.

An image of man as a language animal of implausible variety and waste.

Cultures (during Attar's?) seem to expend on their vocabulary and syntax acquisitive energies and ostentations entirely lacking in their material lives.
[very interesting point regarding the language of mysticism, Attar and others.]

language riches seem to act as compensatory mechanisms. (having 60 different words in Shahnameh for signifying ‘horse’, doesn't necessitates the material variety of horse in the ancient Iranian culture?)
--starving bands of Amazonian Indians may lavish on their condition more verb tenses than could Plato.

Is my language, or lack of speaking certain languages, a powerful obstacle to the material and social progress of me?
--withering inward by language barriers. Linguistically atomized

interaction of physical and spiritual agencies...
The nominalist mechanism of creation: each time man spoke he re-enacted, he mimed.

(...the early forms and feelings of consciousness in human ancestral pasts)

my reading or performance includes scrutinising configuration of letters and inverting words.

Bad translations communicate too much, limited to what is non-essential in the fabric of the original, missing the bond of meaning.

If translation is a form, then the condition of translatability must be ontologically necessary to certain works.

Metaphysics of translation

translation is profoundly philosophic, ethical, and magical. It imports source of life. Alchemy, must retain a vital strangeness and ‘otherness’.

My translation, an interlinear version of the script, a virtual archetype of translation

obsessive awareness of the opaque[...]

[...]rmance includes scrutinising configuration of letters and inverting words.

Bad translations communicate too much, limited to what is non-essential in the fabric of the original, missing the bond of meaning.

If translation is a form, then the condition of translatability must be ontologically necessary to certain works.

Metaphysics of translation

translation is profoundly philosophic, ethical, and magical. It imports source of life. Alchemy, must retain a vital strangeness and ‘otherness’.

My translation, an interlinear version of the script, a virtual archetype of translation

obsessive awareness of the opaqueness of language, Kafka's continuous parable on the impossibility of genuine human communication. The impossibility of not writing, the impossibility of writing in German, of writing differently.

Presence of interpreters in the building site, Kafka, literature house

> in Kafka, great wall = mosaic law ?

Only if men could use language without perusing meaning to the forbidden edge of the absolute.

Alpha & Aleph

...is certain to encompass ‘some terrible meaning’ in one of its secret languages

‘a poetic vocabulary of concepts’
‘connections or affinities’
pursuit of an inter-lingua for philosophic discourse

not to contemplate a mechanical transcription of the original

history, the mother of truth.
To define history not as an inquiry into reality, but as it's origin.
Menard, William James

translator's ‘mysterious duty’

if needed, i am anyone

language mysticism studies

...primitive seek expression through ‘imaginative universals’, this rapidly acquired a ‘infinite particularity’

it is only by means of essentially poetic recreation or translation of a given language-world that the new science of myth and history can hope to retrace the growths of consciousness

in apass, inventing a science of myth and history, towards a general theory of significant sign.

Corruption of language and decline of body politics?

Can we correlate the Persian syntax with the metaphysical ambience, internal divisions, and lyric bias of Persian people?

A pivot point must inform and relate

...the shaping agencies of intellect.
Speech is poiesis and human linguistic articulation is centrally creative.

The language-matrix

language, informed by energies proper to itself, more comprehensive and timeless than any who makes use of it...

There is a phenomenon of linguistic Entfremdung inseparable from the creative genius of the word. (Humboldt)

...conjectures with prophetic brilliance

discourse (Rede) would not be muffled by the gro[...]

[...]roject to his master)

leipniz and Descartes, posit a maximum and minimum strategy in an ordered space.

The universal quantifactor : constant repetition of all, always, never, absolutely, etc. --> “i shall always follow this path.”

“perfect” signifies “optimal”

quantification of a relationship followed to its limits.
The process quantified, the tactics maximised

(“result:” instead of “-->” (“arrows”) in my writing? )

‘to know nature is a game’
experiment is also a game?
With win or lose possibilities, in which there exists a guaranteed winning strategy.
Game is the model of all exact knowledges.

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

The Ur-Supe, the original state of life, the marine mixture, the primal liquid state, prebiotic soup, the physiochemical condition for the origin of living beings

a mother emerges from a mother
/>
the earth is in labor, a labor of metamorphosis, transformation, production, generation

beneath the anecdotes and pathos, the text mobilizes with great precision certain findings of rational mechanics

(ice and fire) is only relatively cold

vocabulary =? Model of precision

centers are breasts
periodic breasts

last science transcends the first

reservoir exists for the circulation

two notions structurally stable in encyclopedia: circulation & reservoir

elements + operation =/= structure

analysing a text in terms of encyclopedia, i need to answer two questions: what is reservoir? What is circulation?

question regarding iranian literature reservoir: what is the reservoir? Where is the reservoir? What are its configurations?
(the last question syntactically proposes also the possibility of reconfiguration)
Is it metaphoricahorical? Is it closed?
What is its plan? How it transports according to this plan? What are the circulating elements? What is stable there? What are the transformations when it transports?

Reservoir is libidinal*
capital, quantity of energy, constancy of force,

what can be applied to the pattern of circulations?
(of vocabulary, value, money, desire, etc.)
what blocks circulation? Who or what governs it?

In answering, you reconstruct (the entire set of what you consider interpretive)

application: strategy of conformity
explication: archaic and vague approximation

it is not necessary to introduce methods to read a text: the method is in the text. The text is its own criticism, its own explication, its own application.

Texts that operate = texts that are operated on ==> there are just texts
(there is no dichotomy in the operation)

technologies [...]

[...], production, generation

beneath the anecdotes and pathos, the text mobilizes with great precision certain findings of rational mechanics

(ice and fire) is only relatively cold

vocabulary =? Model of precision

centers are breasts
periodic breasts

last science transcends the first

reservoir exists for the circulation

two notions structurally stable in encyclopedia: circulation & reservoir

elements + operation =/= structure

analysing a text in terms of encyclopedia, i need to answer two questions: what is reservoir? What is circulation?

question regarding iranian literature reservoir: what is the reservoir? Where is the reservoir? What are its configurations?
(the last question syntactically proposes also the possibility of reconfiguration)
Is it metaphorical? Is it closed?
What is its plan? How it transports according to this plan? What are the circulating elements? What is stable there? What are the transformations when it transports?

Reservoir is libidinal*
capital, quantity of energy, constancy of force,

what can be applied to the pattern of circulations?
(of vocabulary, value, money, desire, etc.)
what blocks circulation? Who or what governs it?

In answering, you reconstruct (the entire set of what you consider interpretive)

application: strategy of conformity
explication: archaic and vague approximation

it is not necessary to introduce methods to read a text: the method is in the text. The text is its own criticism, its own explication, its own application.

Texts that operate = texts that are operated on ==> there are just texts
(there is no dichotomy in the operation)

technologies concerning heat, thermodynamics, shocked the traditional world and shaped the one we are now working in.
...theories concerning processes of transformation.
...stages of alchemical initiations, archaic figure of fire,

How to make the history of science as effective as science itself?

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

suddenly science falls silent and mythology speaks

transsubstantiation

the astronomer falls in ==> the truth comes out
(ask maryam's astronomer: what disconnects the connected?)

throw the key to the text

for classification, connection is at stake, space is at stake

the formal invariant is something like a transport

what is worse for classification?

non-connections that are at stake

we shall never be free of space

fire, and transcendental subject

accidents of space (at work upon the multiplicity of spatial varieties

[...]

[...]on the soul out of the tangible realm
(if your house or town is on an ocean the chosen model is a fluid one =/= polyhedron crystal) --> how would Sohrevardi choose a model? What would he think of fluid systems? [--> The Solids of...]
what are his rigorous bodies?

in Sohrevardi the *order* is of the ...[?] {of the world? Of the street? Of the code? Laboratory? Of the operative? Civil? Logical? Social? Scholastic?

more phenomenological ~=?(&?) less measured
(the river of phenomena is physics)

they put (ajayeb's) nature outside nature, (placing it in the subject, and so on)
which facts “are” the foundation of materialism?
-(the idea they says) classical knowledge deserves classical philosophy

(#?%$@x*!!!---->) if there are monsters here, go elsewhere(!)

what? / how? --> by contract or by strategy?

the ‘question’ is always consequential, never naive or frivolous
>
we need? workers (=/= generals)
we need? contracts (=/= strategy)
(how can i understand my “strategies” and my “contracts” ?! contractual agreements that i use or depend on or produce in my research and work with ajayeb, and in relation to the others in my performances--{my vocabulary, thinking with me, (un)learning with me, etc}--and even prior to the event of our encouter, the binding transferential contract in relation to the one who speaks) ~~--> (and issuing its) betrayal
strategy --(always? [should?] ends with)-->? contract; (for example, making peace treaty after war)
[]

{*strategy, “art of generals,” from French stratégie, from Greek strategia “office or command of a general,” from strategos “general,” from stratos “multitude, army, expedition,” literally “that which is spread out” (--> “structure”) + agos “leader,” from agein “to lead” (--> “act”).}

(strategy/contract/...)

***science is conditioned but unconditional***
(Serres:) science is conditioned by postulates or by decisions that are generally social, cultural, or historical in nature, which form it and orient it
--(nevertheless)--> sci is universal and free from contract #science-story
“I can't think of a mountain, a border, or a date which makes the agreement of scientists and everyone else relative on these points.”
-they say sci is conditioned but not determined


conditions that do not determine the contents of what they condition
(mathematics?)
but they determine the map of what they condition : the schema of its relations --> the topology of science; the clay remains the same but the shape changes

Fluid Mechanics can be a basis for biology (--> constitution of living being) or for a technology of the inert (--> theory of ship building).
...crazy!

Education is conducted by duce

method ~=? path
[...]

[...] counterparts, rather as its play-mate.

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

the structure of space in San'an poetry

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

the Arborescent model of relationships in San'an story?

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

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

about my performances:

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

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

“...a mapping rather than a tracing”

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

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


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

not to overlook the working of matters, and the exteriority of their relations.

(in a book, a lecture, etc.) there are lines of articulation or segmentarity, strata and territories; but also lines of flight, movements of deterritorialization and destratification.



(what are Attar's Sheikh's actual authority as a teacher?)
(George Makdisi: “Madrasa and University in the Middle Ages”)
[...] “Perhaps the most fundamental difference between the two systems is embodied in their systems of certification; namely, in medieval Europe, the licentia docendi, or license to teach; in medieval Islam, the ijazah, or authorization. In Europe, the license to teach was a license to teach a certain field of knowledge. It was conferred by the licensed masters acting as a corporation, with the consent of a Church authority, in Paris, by the Chancellor of the Cathedral Chapter... Certification in the Muslim East remained a personal matter between the master and the student. The master conferred it [...]

[...]r />
...having an ‘ear’ for contrasting pressures of sexual discourse or identity


in San'an, man and woman, each respective experience of Eros and language had set them desperately apart.


In whose idiom, male or female, one can grasp (only) falsehood or menace?


...as declaimer of my own stifled, tongue



my performance, corresponding to my level of literacy, and a private thesaurus, part of my subconscious and personal memories, and using the singular and irreducibly specific ensemble of somatic and psychological identity.


the ideal of a totally personal voice, of a unique ‘fit’ between an individual's expressive means and his world-image, perused by the poets.


this is not a formal hard-edged linguistic relegation, rather a metaphysical speculation

*note to self: my interest in the ʿAjā'ib al-makhlūqāt (جائب المخلوقات وغرائب الموجودات) is due to the traces it provides into verbal literacy, a living vulgar language of mix, rather than a dead structure such as Manṭiq-uṭ-Ṭayr (منطق الطیر) of Attar.


Cultures (during Attar's?) seem to expend on their vocabulary and syntax acquisitive energies and ostentations entirely lacking in their material lives.
[very interesting point by Serres regarding the language of mysticism, Attar and others.]



my translation of Attar, an interlinear version of the script, a virtual archetype of translation

think about the presence of interpreters in the building site -- Kafka's literature house


Only if men could use language without perusing meaning to the forbidden edge of the absolute.


‘a poetic vocabulary of concepts’
‘connections or affinities’
pursuit of an inter-lingua for philosophic discourse


as you can see in this writing, I am practicing loosening the tight axiom of relation of A<-->B, something other than the predecessor-successor or cause-effect pair (--> this order of structure is coming from Greek geometric,) I am trying an unordered order-of-reason that is more reflexive, symmetric, and intransitive. (the construction of the text represents each chain incomplete and displaced--Attar knows)
towards a general theory of significant sign

Can we correlate the Persian syntax with the metaphysical ambience, internal divisions, and lyric bias of Persian people?


the language-matrix


language, informed by energies proper to itself, more comprehensive and timeless than any who makes use of it...


discourse (die Rede) would not be muffled by the ground---we walk erect [Serres]



jede Sprache ist ein Versuch---*trial
(Humboldt)
diffe[...]

[...]fic ensemble of somatic and psychological identity.


the ideal of a totally personal voice, of a unique ‘fit’ between an individual's expressive means and his world-image, perused by the poets.


this is not a formal hard-edged linguistic relegation, rather a metaphysical speculation

*note to self: my interest in the ʿAjā'ib al-makhlūqāt (جائب المخلوقات وغرائب الموجودات) is due to the traces it provides into verbal literacy, a living vulgar language of mix, rather than a dead structure such as Manṭiq-uṭ-Ṭayr (منطق الطیر) of Attar.


Cultures (during Attar's?) seem to expend on their vocabulary and syntax acquisitive energies and ostentations entirely lacking in their material lives.
[very interesting point by Serres regarding the language of mysticism, Attar and others.]



my translation of Attar, an interlinear version of the script, a virtual archetype of translation

think about the presence of interpreters in the building site -- Kafka's literature house


Only if men could use language without perusing meaning to the forbidden edge of the absolute.


‘a poetic vocabulary of concepts’
‘connections or affinities’
pursuit of an inter-lingua for philosophic discourse


as you can see in this writing, I am practicing loosening the tight axiom of relation of A<-->B, something other than the predecessor-successor or cause-effect pair (--> this order of structure is coming from Greek geometric,) I am trying an unordered order-of-reason that is more reflexive, symmetric, and intransitive. (the construction of the text represents each chain incomplete and displaced--Attar knows)
towards a general theory of significant sign

Can we correlate the Persian syntax with the metaphysical ambience, internal divisions, and lyric bias of Persian people?


the language-matrix


language, informed by energies proper to itself, more comprehensive and timeless than any who makes use of it...


discourse (die Rede) would not be muffled by the ground---we walk erect [Serres]



jede Sprache ist ein Versuch---*trial
(Humboldt)
different languages penetrate to different depths
--> (every try is a) starting over with *accuracy
ok, we are starting with language from scratch, here


Literaturhaus, house has always been a metaphor for consciousness


how Attar can become interested in other lives other that San'an's that are worth living?

although we see again and again in Islamic social order the hierarchical structured relationships, I like to show the otherwise in mystic stances, and argue that the model doesn't remain static normative f[...]

[...] and instruments of the guards and royal executioners? for Baraheni, the answer seems to rest within a literary turn toward the arsenal of vulgarity, where language is forced to howl and curse again, to match the shock treatment and flagellation (شلاق shalagh) ==>
1. to unveil the degradation and depravity of power, to show it as unbeautiful and disgusting in its most bude form
2. to wage some reciprocal hate against power, to maximize the rawness of what is happening

[-]Shamlu's (dead-end) sightings of public execution and secret police night-raids of 1979-81
(Mohaghegh describing islamic state of iran through Shamlu:) a new iteration of revolutionary terror, millenarian clerical establishment that foresees self-congrave a feverish certainty across every corridor of urban reality (=/= conservative disposition of an ordained Shah seeking to keep his domination,) the vengefull return of a long-suppressed counterabsolutism that has been waiting anxiously for its chance to unleash and envelop a national identity in its now-seething ideology
-bringing the celestial abstractions of a faith crashing down into tangible existence --> they must ***sew, lash, and brand their righteous-ecstatic modalities into awesome materiality***
the vocabulary of: the prophetic, the messianic, the inspired, the sacred
}--> *Shamlu's avant-gardism had always led him to experiment with rotating styles of folkloric ballads, rebel anthems, existential meditations, doomsday rants, elegiac oration, children's lullabies --into--> (a singular blast of an) account of a devastated urban space that moves somewhere between legend, omen, song, myth, fairy tale, and war cry [--> Shamlu responding to an islamic revolutionary ideology that had enlisted its own alchemy of proclamation, lethal consortiums of drives that fuse the most savage, the most medieval, the most modern, and the most postmodern]
•being coming completely seized beneath the density of revelatory vision
•the ultra-alertness and insomnia of pure anticipation : a calculus of assurance that ‘they are coming’ --> omen


Pasdaran: the unpredictable and insatiate arc of extremity of a paramilitart coalition
=/=
SAVAK: formulaic technocracy of a scientific approach to persecution, extraction, and confession

Pahlavi monarchy: the administrator of urban violence was part amateur, part pseudo-scholar, part civil servant, part serial killer
=/=
Ayatollah theodracy: the administrator of urban violence was part vigilante, part crusader, part cult member, part thug

--> poet must epitomize the last unequivocal administrator of urban violence


does writing have a redemptive (=/=? reparative) function?

the author would necessarily venture to rescue something profound (from the state of dejection)

poet's keyword: *conflagration* حريق, f[...]

[...] thought: the idea that the signature moment of thinking is a determinate negation (of State, Islam, Europe, etc.) Singh asks: how did this particular mode of reflexivity come to stand in for “true” anthropological thought?



would it have been better to leave things more “fluid” and “complex and contradictory”? @Eszter


ethnographic labor:
1- a form of hunting and gathering impressions
2- sifting الک کردن and cultivating expressions

(my work in apass:) our relation to concepts becomes more explicit, as we turn impressions into considered thoughts

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

thinking postcolonial urbanism with Anand Taneja

(this is the question of the limitations of imagination:)
how (for a generation of scholars [or artists]) rural (india) [or syria, Iran, or South Korea] has become simply a space of disasters, statistics, and deaths --✕--> Anand's work is a counter-example [i am learning from him to be attentive to my own imagination's stopping-points. to resist stories that render life in those milieus unthinkable] --> that those spaces are not only of abjection but also of imagination and curiosity --> to think about alternative (conceptual) vocabularies to think about those abjected places, religion, and ajayeb [that does not only negate those milieus]
-to think about religion is super usefull and relevant, because it is also about what secularism is

how people (in rural areas) conceive of vitality and advancement?
*how people imagine a better life?* --> (to think non-unilateral and non-static) *picture of aspiration* (in a world like Tehran; #proposal to research on ‘the image of growth’ رشد roshd, slow growth, [roshd-e bi-raviye رشد بی رویه of toxins and species, and so on] in the context of contemporary Tehran)
-imitations of forms

(i am activating a rhizomatic mode of perception [learning from Anand learning from Deleuze and Guattari])--> how one aspect of life leads to another =/= paritioning of the milieu


anthropology of the state : how one engages the state in an every day level


*historically one crucial exit point from the system of ruler-relation was to become ascetic (زهد): disregard for sovereign authority (حاکم hakem, hakemiat) --> a different form of power that one let's to lead to self-rule

[bare life =? life without a way of life --✕--> there is no life without a way of life]
(Singh:) someone's life cut off from their source of vitality
a local body of thought (jinn, etc.)

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

(Anand asking) what does it means to live in a city of jinns?
the jinn:
•serves as witnesses of times long gone
•figures of authority whose shrine blesses remembered forms of urban religious life
•forgotten[...]

[...]mulacra (1990)

at stake: day to day work of building classification system

things to learnd from actor-network approach: (Latour, Callon > Bowker)
•regimes of delegation
•centrality of mediation
•the position that nature and society are not causes but consequences of human scientific and tachnical work
--> “technoscientific societies are powerful precisely because they are so good at delegating and distributing; and that actor-network theory is well position to track and describe the work of delegation and distribution.”

fact is a consequence
(Dewey)

(in a way, my work and interest in ajayeb is about histories of standards in knowledge production, which, i argue, is key to all sorts of other productions) (& the politics of remembrance : the politics and philosophy of classifying certain textual/material activities such that they have a chance of being part of the cultural *potential* memory)-->{Olga, Hoda, Sana}
artists are using a lot of standards (of representations or materials)
(out of) control standards
-there is a huge amount of standards i am depending on in my hypertext
-international diplomacy depends on manufacturing and enforcement of standard vocabulary --> how much are we really in diplomatic businesses?

Google: “To organize the world's information and make it universally accessible and useful”

standards are often:
•making things work together
•enforced by legal bodies
•have their own (significant) inertia --> hard to change, and is not about the technically superior standards winning [DOS, VHS, A4, etc.]
standards --> *aspect of acting in the world* ==> classifications

what are (or have been) the behind the scenes, boring, background processes of the “real” work of ajayeb (and any past and practical politics of knowledge production)? (==> becoming interested in a wider scope of reading: rhetorics, semiotics, objectivity, analysis, architecture,)
•historically creation of the infrastructure
•ubiquity and webbed saturation of classifying and standardizing
•materially textured (layered, tangled)
•their negotiated nature

*distribution of memory (and distribution of representation):
X --> historical contingencies --> a narrative --> practical politics --> standard narrative --> universal category --> erases its own narratological past, (employed internally+externally) deletion of modalities in the development of (scientific) texts; [a modality can be deleted in a number of different ways: [*] it might be distributed (held in another part of the organization than in that which produces the text), [*] built into the infrastructure (the work environment is changed such that the modality is never encountered), etc. =/= #accountability] ==> fact (+ single articulation, only one plot of data) --> mob[...]

[...]he incompleteness of knowing and representing
indeterminacy at ‘the same time’

(?in which locations you can get a good) human response to:
•slow processes (soil, geology, plant form)
•fast processes (plant seasonal behavior, weather, human responses to all of these things)

*drawing as structured wondering/wandering*

use of the *dramatic* as method --> to entertain multiple worldviews
to maintain irreducible complexity and to recenter historical processes as central to understanding contemporary politics
(history and drama)
-facts as enacted and performed before audiences (--> tradition in science and technology)

**knowledge is always performed, staged, and enacted** <== my work on ajayeb

how to tell the dramatic stories

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

notes from Sofia's seminar on documentation

the questions i brought home with Kobe:

the ontological relationships between law and art, who protects who? what protects protection? --> which material discursive practices make the ontological boundaries of “protection”? (specially today investigating this term is more urgent in a world saturated with toxic vocabularies of security.) the figure of protection transforms the subjects of knowledge and knowability --> look at how the judge was talking about art

(question of) the production of subjectivity (of the judge himself as an active knowing agent and the dead-master as the phantasmatic place-holder of meaning)
this is related to: (question of) responsibility and individuality --> influences and efforts of the work. two interesting moments of genesis occurred:
1- in the court “his work” (Beuys) was mysteriously created
2- also when Olga got a phone call from the ministry of culture, “her work” was mysteriously created
--> both the court and the phone call are mystic producers of the subjectivity of the artist dead or alive [#this needs more investigation]

(question of) the production of significance and difference
look at the speech-acts of the judge in the case of Beuys. which nuances of difference are generated, estated, established, and propagated? we can study every syllable of the judge's speech-act. the judge goes from one fable to another: fables of significance, fables of influence, fables of impression, etc.

boundary-making practices in our shared struggling world
the idea that art “starts” and “stops” somewhere
zeroing the artworks ecosystem

when is the moment (or how the moment can be marked) that the judge becomes able to say “OK, I don't know.” or “I am opinionated about this art. Let's bring an expert.”
and beyond that, I am wondering, like that judge, when myself standing in front of an artwork (or any work) how i am able to say “I have an opinion, or, [...]

[...]etic historiography

pivotal reading of ancient Greece --- out of day-dream fantasy


[Rickels]
*beauty is interested in action
(pure) beauty re-lingering on primary narcissism, that's why beauty must be administrated, in proper doses.

(my) animal-findings and fairy-tale associations

if dogs communicate through their trainability cats redirect lines of communication through play. the dog waits and watches, the cat looks and looks, which when is your turn to be looked at, can be therapeutic or unnerving.

meeting the cat half-way



[Ingraham]
the house, passed over in history, brings with it a great many dangers
architecture (never touches the object) is enchanted with object discourse
...all of us have been asked to “instrumentalize” architectural [or art] theory according to a particular building
material given a structure




Q & A ?, interactivity, swarovski party, servants and robots interacting with foreign bodies --> feeling at home? excited... --> disco without bouncers and borders without border check, spaces you can seamlessly in and out, labyrinthine

i am generating some vocabularies
parsite and parasitical, not all of them are predatory like the wolf



(Karen Barad)
With all mirroring practices, biomimcry has built-in optics on the geometry of distance from what which is other.


(Irigaray)
surprise (to be new): not yet assimilated or disassimilated as known
our attention to that which is not yet (en)coded

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

(something to consider, regarding the pigs and wolf story, also an interest for performances that happen in closed space;) there is a standard account that says ‘interiors’ and ‘interiority’ are linked, that the articulation of interior physical space enabled the development of certain kind of (initially bourgeois European) sense of subjective life--as something sheltered and enclosed.
=/= interiority (subjectivity) is linked to the exterior [Sennett]

O-- still in the 15th century (when sex and sleeping was not veiled under curtains) there was no correlation between the notion of privacy and the interior
O-- in the mid 18th century (among European bourgeoisie) a new ideal of domesticity appeared which dictates a new interior space --> separate room separate functions, segregation of domestic activities
O-- Rousseau: in the shelter of private domestic space subjectivity is set free (--> a different kind of subjectivity (one which guards the self, something to be protected from the outside) is enabled by the development of the division of labor in interior space) [this is not merely architectural, it is also something about the clothing people wore: wearing diffe[...]

[...]> supernatural status of the form, reaffirmed by gold (<-- an archaic and discounseled technique) ==> *put ‘form’ beyond the reach of pictorial illusion and beyond the realm of nature*
*pictorial truth sometimes lies in the painter's choice in working on the surface* (acknowledging the powerful claims of the axis of the field and the determining control of its shape, recognizing the dialectic of circle and square, the signifying tension between picture plane and orthogonal recession, etc.) --> in the case of Raphael: theology becomes a commentary on painting : pictorial structure (directly semiotic and not mimetic) = meaning

(always?) *faithfuls need their originals*


in Helmholtz's 1856 comprehensive account of human vision, the eye emerges *empathically embedded in the thinness and opacity of the body*
eye (=/= a marvelous apparatus) : an apparatus with built-in aberrations, proneness to error, and inconsistencies in is processing of visual information --> entoptical phenomenon --James--> subjective optical sensation: example of selective attention excludes from consciousness sensations that are *nonreferential* (= irrelevant to the knowledge about the world)
(~= Ernst Mach's sight phantasms)

arborescent vocabulary of the scientific literature on the eye in the 1880s

*new diagram of the eye: photoreceptors in the human eye are placed at the back of retina, behind the blood vessels (that literally intervene seeing) --Seurat--> inseparable mix of an abstract mathematically constructed & a physiological perception more subjectivity determined, “domain of vision has been integrated Iin the field of desire” (Lacan), “phantasmatic events that occur on the surface of the bodies” (Crary)
=/= older diagram of the eye: the ideal unobstructed functioning of camera obscura --> ‘scene of representation’

‘dream of immediacy’ --to--> (Seurat's refusal of scenography ==> nondisclosure ~) fantasy of a theatre without representation

Rousseau's affirmation of *political self-sovereignty* in the ‘festival’: a stage which presents nothing to the sight --Derrida--> a place where the spectator, presenting himself as spectacle, will no longer be seer or voyeur *** (<-- what i learned from Phill) ==> presence will be full as the intimacy of a self-presence, as the sentiment of self-proximity, of self-sameness


Lyotard: theatrically fold --> a box closed upon itself --> only those to appear on the stage which come from what will be known as the ‘exterior’

*zero: the sign of the empty center, the place where everything is supposed to be visible and intelligible : the place of knowledge --> god, organized body, society, capital, the ego, platonic forms, etc.

Grosz: construction of embodied subjectivity --> mobius strip (a 19th century invention), inflection of mind and body to one another through a kind of[...]

[...]comes intelligible for a european audience, when it is represented as a symbol of royalty

the lionskin, in Olearius's title, Persianischer Rosenthal
the animal's interior surface contains the writing, which provides the information about Persian society

Finn and Jake (given to wanderlust and creative risk) in Adventure Time --> “more powerful through spoils”
(this tradition goes back to Hercules, trophy, skin of the beast,)

“slain and flayed, exposed to the European audience, the lion/skin serves as a background on which the German author inscribes the story[/history]” (Brancaforte)



[Brancaforte studying] the early modern European frontispieces that were associated with the Orient


...superfluity of details mannered and cluttered with unread decorative motifs set in an unreadable space
[16th century frontispiece; my work is sometimes like that]
=/= (Rubin's title pages:) portrayed in an intelligible space, imbued with dramatic light effects, with a sense of movement, monumental architecture with three-dimensional figures moving in a readable illusionistic space

‘stretched-out animal skin with the head in the top center’ --> Rubin's artistic vocabulary [--> followed in today way of layout]
lion = saint's attribute --transformed--> medium for writing
--> (underscoring the) significance of **trophy**: subjugating a wild dangerous animal and then displaying it proudly for all to admire
Olearius's choice of lionskin:
1- dramatic visual introduction (to Golestan)
2- piques the reader's interest in the work
3- stands for dangerous exotic land (Persia) that has been symbolically tamed and displayed for the Western viewer
4- material of writing + material being written about


deictic

the rigor mortis of the body


the dramatic pose of the Persian husband
the curtain-like skin
the “emblematic corpse” on a “stage”
to serve as ‘exemplum’ tamsil تمثيل
+ martyr-like European hero who suffers the slings and arrows of outrageous Tatars
}--> theater of cruelty


bellicosity (amade be jang آماده به جنگ)

reader/viewer is horrified & fascinated --provide--> a tale of *oriental atrocities* --set-for--> stage adventure stories that follow...

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

less obviously, from standard geographical texts of the Islamic world. yet with its emphasis on direct observation and critical objectivity, the map also points the way toward the more exacting “scientific” standards of the Enlightenment.

maps are cultural artifacts
Persia: exotic + faraway

map ==> analysis
a map--like a frontispiece--is comprised of both visual and textual elements, combining word and image; it represents[...]

[...] them with the forceps انبر جراحى of one's own epistemic apparatus
(as) ontological threat ==Campbell==> escalation and absolutization of ethics (*that is necessary to aithentically occupy it*)
@apass: constant investigation of one's epistemology (=/= ontology) in artistic research
--Sina--> the danger of ontologization...

**massively expansive vista of rationality** =/= disavowing rationality

(the old philosophical idea of) the absolute =/= equivocal status

bleak optimism: organizing without hope <== climate change has already happened
--> how to die : a creative form of foreclosure that unlocks a justice that cannot exist without realizing the ontological dimensions of climate change


frame: general organizing device ==>
•define problems
•diagnose causes
•suggest solutions
(their) argumentative strength ==influence==> organization

frame --> define climate change ==> produce climate change --through--> (the work of:)
•problem-identification
•claim-making
•attribution-laying
•boundary delineation
•counter-framing
•bridging
•amplification
•constructing identity-forming vocabularies and discourses
==> *alter an audience's ideological beliefs*

climate change literature has been dominated by economics, (geo)engineering, legal theory/policy studies ==> solutions (to climate change) --invoke--> markets, technologies, policies (with differing criteria about what constitutes legitimacy, authority, efficacy) }<--Campbell-- *before they get a solution, the phenomenon has already been scientized, politicized, mediatized, organized*

indigenous framing of climate change
drawing from indigenous cultures in the hope that a deeper emotional maturity might lead to a deep engagement with the environment which ultimately bestows life }--> framed as an existential threat ==> (question what it means to be) an ecologically interdependent species with moral agency @Chloe2

eschatological cliche --> “existentially significant activities are no longer possible ==> the loss of meaning” (=/= Cinderella)

[*]frame, framing: enfold audiences into an enclosure that is conceptually accessible

for example
•*ecological modernization* : a frame for climate change that seems to enclose the grreatest number of diverse stakeholders --- uses carbon as a way to engage diverse stakeholders, a centrifugal locus that is calculable, non-political, scientific ==> presents opportunities for innovation }--Campbell--> short-term strategy: a reification process that transforms climate change into “the carbon problem” ==> production of carbon markets that ironically serve as creative new modes of accumulation <-- reifies ecological maladaptation
•*catastrophic framing* of climate change -->[...]