[...]"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 giving up the labor-intensive work of theory]


(to talk about...) as an abstraction of seriousness
*if one is really serious about the kinds of interupted and entangled abstractions it is no longer good enough to do it from the Greeks-on*
(not scolding post-colonial but actually) not to let philosophy or science or any other rest of it any longer be that unmarked set of categories
*situated ground: that we know something*
(not to let:) ‘not to know something’ (about living and arriving at the time of human-induced mass-extermination and mass-genocide) as the only way of being a serious person ~ extinguish abstractions in order to act
[learning from Haraway + L[...]

[...]nding is reading. editorial compositional reformating and remodeling of the space of the text is reading.

(Stewartian) reading that happens in the writing: you can't do any kind of exegesis of the reading تفسير, rather: *you have to become related to the reading in what you are writing*


in research:
•skills of reading and writing
•(more abstract) skills of conceptualizing and analysing

@apass: begin with the generation of research question ==> importance of language
(you flag the importance of language whenever research is marked by question. “?” is a linguistic construct)

•the skill/craft is to select a research question that works better for certain descriptive purposes (than does previous tools)
•(realism:) research question <==outcome== different concerns and emphases

rigor of conceptualization : quality of an access to part of a world “out there”

research method:
•“mapping into knowledge” : co-fabrication between the researcher and the diverse others engaged in the process --> (problem of) ‘positionality ==> data’ (the idea that the researcher produces knowledge or “facts”)
◦positionality ==?==> politically correct jargon in artistic research environment [has positionality backfired into a language of trying to change a public opinion in your favour?]

‘fantasy of the unproblematic mode’

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

regarding biographical work according to Pierre, ok i am working even on the border of solipsism
what i am doing is not autopoiesis (self-making, making a poem out of yourself) rather sympoiesis (with-making, with people from different worlds and pasts)

trying to contain every available mode of interpretation in my work
(collecting all the modes of interpretation)

(for the psychoanalyst as writer,) the *unconscious functions as a *trope
unconscious ~=? trope

*my actual interest is in “the place of study”
which is embodied by its participants, is shared and full of stories that hold foster curiosity and learning. a place where hybrid agents of interpretation are alive and at work, partly technological partly human partly animal shared knowing processes.
-one of our strongest ethical obligations 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 ne[...]

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

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

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

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

[...]ption
•having a taste for iranian stuff perception
•
--> polyskilled web of friends



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

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

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

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


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

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

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

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

perhaps artistic research is all about playing cat's cradle (=/= autism) : (you have all sorts of limbs, even phantom limbs) you must learn sustaining the rhythm of accepting and giving, (collaborative) patterning (that requires passion and action) [this is one skill that matters a lot, what i have been trying to teach myself above anything else in the last years] [i am playing that game with Haraway, joining her (and others) in thick, collaborative patterning; generous knottings; thickening the knots, relaying a mutated and resituated pattern for the next play]
•getting the knot, proposing another
•you must learn how to hold still
◦(more and more) in different material and conceptual grains of detail and resolution
•the most important thing in research practices is this patterning, networks reenacted (Katie King)
(Lili's kiss project was about that, blocked intersubjectivity, a matter of “learning to be affected”; can i say that Lili's issue is with the lack of [psychological, or psychic] dialogue? a language that no longer carries metaphor displaces the metaphorical drive: acting out the soul's metaphor in direct [nonverbal] action. the breath in Lili's work, is the same in her suffocated kiss and scream performance, once hold in and one unleashed, lack of a “breather,” of a “converser,” of a partner in cat's cradle.)--[i like to propose a repatterning: in research environments we play a lot “catch me if you can”: to catching you in action, to capture your ‘knowing’ in action, to capture eros or logos in act, --> #beauty is interested in action]
•it is about “understanding living with contradiction” : making choices without necessarily tu[...]

[...]r /> deflection --> dodging: not giving meaningful answers : gradations of non-answers you are receiving
taking a keyword, repeating it, sounds like answering the question, introducing a nonsequitur to trip up the host
==> more confused & less informed

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

#project Puchberg landscape Austria
shifting baseline syndrome: reshaping the landscape and forgetting what was before ==>{ (new) reality = shaped and ruined landscapes
(Emirates was for me such reality of shaped ruin)
admiring one landscape and its biological entanglements (Puchberg Austrian meadows, with it cows and horses, place of beauty and leisure) ==entails==> forgetting many others --> ‘forgetting’ (~ privileging one assemblage over others) ==remakes==> landscapes
(yet) ghosts point to forgetting, show how living landscapes are imbued with earlier tracks and traces
( specters in grasslands...)


in apass (i can't pose problems until) we must address these question:
•European heritage of creating conviviality شادمانی قابل آمیزش (and very good at it)
•the idea of democracy as a political project اکثريت نجيب (soft ways of being together)
◦secularism of artistic research دين ناوابستگى (registers of logos)

[most of the times our collaborative research artistic practices explicate ‘soft ways of being together’ ==> a condition in which no one knows better than the other]

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

the accelerationist fable of “running before walking”
ask any scientist and it comes to this. any problem caused by progress is because it has been going too fast. but the direction of its movement remains intrinsic to the idea of human
...

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

@Hoda: to be very careful with the fetish of “refugee's suffering” --> turning a serious political problem (geopolitics of western intervention, europe's economic neocolonialism) into a (sentimental liberal) humanitarian concern ==> avoiding critical political analysis

?a different program: not to be yourself
to bring our struggles together (not our so-called cultural differences)

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

authentic imperialism has always been multicultural

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

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

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

[...]i elicit a larger brain response than positive ones
(can then negative bias explain racism? <-- we are shaped by negativity)
positive-negative asymmetry
(in trying to) make sense of the world --> focus more on the negative
bad ==> attention
negative news is more likely to be perceived as truthful
ambiguous stimuli rated as threatening --> survive


(gestalt) law of closure: we perceive pieces of objects as part of a whole when grouped together



to produce counter-knowledge [~= to contest a problem] =/= (we need more) to *seduce our evacuation from the terms that establish the problem*
(Shapiro)



•stressor ==> emotion (short, intense)
•emotion + meaning (cognitively processed repeatedly) = feeling (lasting, less intense, combined)
•emotions هیجانی + feelings احساسی = [*]affect ~= mood



(in apass)
> •concept: a medium of conversation
•narcissistic research
◦understanding narcissism is the key to understanding mental health --> *(the experience of) being in a cult = being in relation with a narcissist*
•mode of attention that is didactic and forensic
•(in artistic research environments) most of time we don't have questions
we have games of language --> illiteracy
◦exam: pose your questions =/= answer to my questions
answers don't show your level of knowledge, but the questions you have does
•generative nature of melancholia [*melancholia ==> teaching*]
•(artist's) writing with pearls of wisdom =/= referential writing


three problematic loci in artistic research:
•garden
•archive
•map

*is every garden zoological? --?--> training for future (imperialism)
good gardener ~= good (feeling, caring) imperialist
-enlightenment approach to captivitytivity --> new sense of civilization (what is proper)
-removing any visible explicit means of captivity (animals appear move freeling, as if they wish to be there) <-- affective engagement
animal ~= border figure allowing institution to move between human world and animal world

science for empire --> mobilization of wonder (human capacity for curiosity that makes us human are mobilized in the service of questionable political goals)

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

[*]democracy: ‘farmandahi (commanding) = farmanbari (obeying)’

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

...thoughts expire on contact with words as quickly as words expire on contact with thoughts
(Pavic's Khazars)



two examples of metamarketing
1. Pleasantville (1998)
2. The Devil Wears Prada (2006)



(my flourishing in the scholl was always highly) teacher-dependent --?--> being social [=/= genius]

[...]

[...]phores of self ~-> body image ~=? image of world
•list ~=? reason
•

I found myself oriented towards a kind of ‘multispecies ethnography’: a new way of writing and mode of research in which creatures previously appearing on the margins of interest--as part of the landscape, as food for humans, as symbols (for mystic projects)--have been pressed into the foreground of interest.
(what are my) symbolic + symbiotic attachments
what/who is coughing, counting, working, communicating sited between divine and bestial in ajayeb?
-is my ajayeb a (dead/alive) multispecies art project? studying Indo-Arab-Iranian illuminated manuscripts as to be reading a paper in ecology or molecular biology or art.

unlike Alex Arteaga's question of “inevitable altruism” {started from “conscious human subjects” and ended there} (in his talk 30.05.2017 apass,) I would insist on giving an account of the metaphors of ‘self’ in the history of body and mind (that matters to ‘you’) [my findings of self: maginc lantern, iceberg's tip (==> unconsciousness), wasteland/wilderness, greedy beast within, ... {--> these are all (classical) basis for “higher” cognitive capacities}] [also I am against Alex's notion of “destablizing stabilities as the task of artistic research.” I choose to refuse to put what is in flux against what is stable or attempting to stabilize. (I am in alignment with Katie King sharpening for me that) we constantly share our stage, settings, performances, sensoria, reenactments among agencies and species, creating varying stabilities, some fragile, some robust]
*account--synonymous with: description, information, list, reason, record, statement, story, sum, tale
-a contractual relationship
-giving an itemized account of recent transactions and resulting balance (of your metaphors = material-discursive apparatuses that are materializing your found empirical objects)
-accountability is always also about remaking those relations that produced your objects
-detailed explanation of money held in trust, to count, enumerate* -->{telling =? enumerating}
counting your senses
*accountability is about your ‘import’ functions (like in a programming language when you import a library of functions)
 --> count: an agent of sorting that separates units or groups of a collection --> list, listed --> to have importance and worth ~-> country ---{? unexpected countries}
 --0--> ‘count’ is also a word technologically tethered, origin of computing


(Kirksey ☞ Leigh Star) to begin with the question, ‘cui bono?’ (for whose benefit?) =/= to begin with a celebration of the fact of human/nonhuman mingling

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

my Rigs diagrams are ‘swarms’? -a multitude of different creative agents
ajayeb.net (how can it be:) not a website but a “para-site”
•am i creating an ego (for ajayeb) in my ajayeb.net? if yes, [...]

[...]ss:) the object of study + analytical scaffolding + method + analyst

the degree to which an approach is willing to do ontology to itself (investigate its own ontological assumptions)

metaphysical archeology + ontological anthropology --> perspective on reality


(assign things to preexisting conceptual structures =/=) looking for ways things can have an impact on your thinking, concepts, ontology ==> unlocking what is most “of the past” about things

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

Alberti
Ingold

correspondence: (a pre-conceptual practice -->) epistemological intimacy in the practices of art, science, and anthropology
•a way to understand one's own research process

(archeology: a science of correspondence)

Alberti suggesting to separate arts and crafts (for analytical purposes)

artwork: non-conceptual outcomes of practice

artwork & archeological things --share--> ontological problem of how to make something new [~ *sensations/past never before experienced/thought*] out of (circumscribed body of) materials

archeological things carry both sensation & *residue of concepts* with them (~~> artistic research =/= artworks)
==> resurrect the conceptual potential immanent to the specific arrangement of materials (and their temporary forms)

(ontological dilemma [of both art and archeology]:) *how to anticipate the coming into being of something sensed but as yet not thought?*
(---> go to metaphor)

scientific interpretation and explanation of the past <-~ archeology
{my work: speculative interpretation and explanation of the past [--> prefigure new becomings + intensification and unleashing of ‘i am part of what i seek to understand’ (= my subjectivity)] =/= lock the past into predictability}
•my ‘things’ in ajayeb are to an extent ‘archeological things’

contemporary science --gives--> ontologically relational world (<-- to be acknowledged by art and archeology)

archeology --Alberti--> fostering **a particular sensibility to what is of the past in things**

anthropology: the art of inquiry
(something you can learn from)

[*]archeological sensibility: a pervasive set of attitudes towards traces and remains, towards memory, time and temporality, the fabric of history
-Shanks

craft --Ingold--> knowledge grow from the crucible of our practical and observational engagement with being and things
(Aristotlean poiesis ~~-->) [*]craft: slow and intimate knowledgeable work (of how we get along with the world; that cultivates in oneself the skill for discerning the *meanings that are already there*) --> ontological paring of conceptual language & physical condition
==> meaning and concepts are drawn out of objects (not given[...]

[...]y on us?

both affective and historical force (of ajayeb)


art engenders material becomings (classical definition)
art engenders imaginative becomings

learning from archeology: to be pre-conceptual : the process of craft, to grasp how concepts make their way into things


undisciplinary space (instead of transdisciplinary)

disarticulation: repurposing and disruption of archeological artworks with a political intent in mind
--> cannot escape the anecdotal when it comes to interpretation --> artifacts (for example a neolithic Balkon clay figurine) become symbols for social position ~= allegorizing (=/= speculation)

historical energy (force) of things = something of the past that endures in them


(old and unhelpful definition of) art: impacting nervous system without conceptual mediation (directly impact living bodies) --engender--> material becomings ["art = giving birth"]

--Alberti--> art (and anthropology) need the pre-conceptual: the process of craft (to grasp how concepts make their way into things)


[*]concept: fragment of past world

maker + material ==emerge==> concept

-in artistic research @apass are we dealing with the simulacra of knowledge?


understanding the potters (and artists) who made the ceramics as crafters = understanding them as *intimately connected with a particular world* <-- knowledge of which came through skilled material practice
#feedback
-how does it apply to digital relations?

•practiced caressing of hand over clay forms (~ handling, nurturance) ==> zoomorphic, anthropomorphic bodies (Ingold call it anthropogenic)
•digital interface CG ==> ?
•


-how to read or confront ajayeb bestiary artifacts and think of them as *taking on something of the pre-conceptual labour that went into them*? --> (?how can it) provoke an art-like response [<=~ sleepwalking: no ontological difference between then and now ==> you are confronted with a raw material of affect and concept =/= past artifacts as vehicle for complex belief systems] }==drive==>
•new sensorial experience
•new conceptual work
---> go to description, Stewart


coalescing of language & concept & ...


[*]drawing: (the effect of being) harassed by reality

to be harassed by ajayeb past people animals (struggling in their reality)
---> go to haunted, possession

[*]art: risk of something new

archeology --> intimate knowledge of materials (--> appealing to art, crafter attune to their material)

my lecture-performances = exploring how to make my knowledge present (to myself so it has a chance to be reconsidered) and how things (ajayeb past bestiary telegram animal) affe[...]

[...] forces at work in the natural world (=/= indifference to the truth, retreat into superstition) ~=> rendering of such procedures in expressive works of *art* (indispensable to nascent protoscience --today--> an essential element of science's ability to express truth)


_+***'`~~/!=-~>

***the logic of gathering evidence***
(fundamental assumption of anthropology:)
[asserted by Levy-Bruhl:] ontological difference between the nonsensical world of “primitives” and the science of Western research ==> *“natives” could not (or would not) produce a “proper” explanation of the forces around them or their own beliefs and motivations in relation to these forces* (==> testimony + experience became essential tools for ethnographers)
--> ***encounter between researcher and subject*** [was never that of good faith intercultural sharing] ==constituted==> a series of severe tests (by which the researcher could gather necessary empirical evidence in order to make a felicitous truth statement regarding what was “really” at play)
}--> the nonsense to be mastered shifted from the demonic (~ incredible forces at play for the inquisitor ديوى) --to--> ديوانه the misguided tall tales fo the native
---->{this is relevant for artistic research environment, encounter/friction between different styles of knowing
#feedback: mastering the nonsense of the other artist-researcher
@apass, research presentation: misguided tall tales artists tell themselves}

[#feedback as passion]
Avital --> a passion or experience without mastery, without subjectivity, testimony, as passion, always renders itself vulnerable to doubt
([?can we think of] artistic feedback as a) *scene of ethnographic encounter* --> a kind of *antagonistic trial* (whereby the ghosts and gods of the natives are forced out of the shadows and made concretely apparent to the senses of the ethnographer)
--> (in this context) fieldwork ==> knowledge of hauntings + other nonsense that is itself haunted ~-> what gives testimony its power of fact {--Derrida--> if testimony truly resolves as certainty or mere information, it would lose its function as testimony --> testimony must allow itself to be haunted}--> [*]testimony: visualization of what cannot normally be seen

[my misunderstanding of ethnography ==> my approach to giving and receiving feedback --> the workshop i gave ‘little fables of practice'] *(your) ‘fact’ must allow itself to be parasitized by precisely what it excludes from its inner depths, of being a fable*

the picture of researcher's humanity (@Sana):
•researcher = detective, examining magistrate دادرس
•crime = fact
•guilty = interlocutor (in reality they guide you into [often organized] labyrinths)
•inquest = strategic operation

**the imaginative results of “I witnessing”**
@apass [what we do mainly [...]

[...]temological senses of the word) to respond, to acknowledge, to look back, and *to greet*

****politeness ==> transforms you --> in the way of those you are being polite to**** (<--?-- Cinderella's politeness)


companion story --> wich who we share food {=/= with who we cook together <-- generated protocols ==> host, guest, house, power}



[(Annemarie's) praxiographic enquiry into the] (Despret's) embodied practices of knowing [of (Sina's) Cinderella]

**bodies enact =/= perform**
@Chloe, Mette --> (ironic) performing a protocol =/= embodied choreography
(contemporary choreography =/= embodiment)

(scientists and animals are fleshy creatures which are) enacted and enacting through their *embodied choreography* (<-- epistemological, political, ontological)

scientist work [observing, collecting events, meeting them, writing about, inscribing them into theories --> explain why they do what they do] ==> *makes their animals more real*
--Despret--> a praxiographic account [~= feedback] (paying attention to the way scientists embody their work) ==> *make scientists more real*


(for apass) we need praxiography =/= philosophy or theory [of artistic research]
Sina's note taking in apass --> how *practices at some point become words*
#feedback in apass ==make==> artists and their work more real
feedback ==> interpretive version --> coexistence of the various versions of a multiple object (<-- this is localized or *situated* : it happens “there” and nowhere else)
work of observation in apass:
•conceptualizations of short-term social exchanges
•conceptualizations of agency-structure dynamics
•getting closer to the everyday activities of those speaking
•(context driven?) forms of analysis
•methodological repertoire
•note: composites of linguistic repertoires that are embedded in meanings (is part of what happens in apass, not after what happens.) --> a form of digestion***
*praxiography: forms of analysis produced by practice researchers, a type of ethnographic method that converses with multiplicity (--> following a trail, walking a path =/= map out a field ~= philosophy of artistic research), doctors [analyst] and patients [analysand, artist] ascribe meaning in different ways --Annemarie--> yet they perform or enact reality together --> they *do the reality of a disease [problem, artwork]*
++{Annemarie uses the term “enact” to show that objects (such as body and disease) exist as articulations of the practices that produce them (~= Butler's performance), enacting (not explained by what went before, present remains unstable, patterns and routines and surprises) =/= making (‘causes’ lie when ‘making’ happened)}
[*]theory: conversations about the realities our words help to explore (=/= seeking to fix concepts)
in kno[...]

[...] *makes their animals more real*
--Despret--> a praxiographic account [~= feedback] (paying attention to the way scientists embody their work) ==> *make scientists more real*


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

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


‘empathy’ is a word that is often recruited when bodies are involved --> resonances with troublesome romantic meanings (magic, fold knowledge)
[...]

[...]path =/= map out a field ~= philosophy of artistic research), doctors [analyst] and patients [analysand, artist] ascribe meaning in different ways --Annemarie--> yet they perform or enact reality together --> they *do the reality of a disease [problem, artwork]*
++{Annemarie uses the term “enact” to show that objects (such as body and disease) exist as articulations of the practices that produce them (~= Butler's performance), enacting (not explained by what went before, present remains unstable, patterns and routines and surprises) =/= making (‘causes’ lie when ‘making’ happened)}
[*]theory: conversations about the realities our words help to explore (=/= seeking to fix concepts)
in knowledge practice realities are various brought into being (+ limits of that adaptability) --> *ontology:
--anthropology--> people order “reality” seriously differently
--biomedical--> why, when, where is this truth realized? what does it depend on? what are its alternatives? --> *ontology does not precede knowledge practices* (various practices are closely linked ==> ontologies are linked [for example a patient who talks to a doctor in a consulting room may receive a clinical diagnosis, while laboratory measurements ‘do’ her disease in a different way. or in artistic research environments such as apass.])

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


‘empathy’ is a word that is often recruited when bodies are involved --> resonances with troublesome romantic meanings (magic, fold knowledge)
embodied empathy shifts its meaning from one situation to another --> different meanings ==> different outcomes
[*]empathy: the process by which one delegates to one's body a question, or a problem, that matters and that involves other beings’ bodies --> bodies are articulating and become articulated in the asking and in its responses
= making the body available for the response of another being (=/= feeling what the other feels)
==create==> possibility of an embodied communication (=/= experiencing with one's body what the other experiences)
---> go to Cinderella's empathy: make one think with & with the body
--Despret--> *empathy becomes a scientific tool* that need to be shaped, forged, refined, embodied, a tool that attunes bodies

[*]care: it matters for them that it matters for their animals (***what matters for the other person becomes your matters***)

how to act in a polite manner in a baboon's world? (or in an artist's world, when we give feedbacks)
{seeing like a baboon =/= acting like a baboon = corresponding with a baboon}--> *they transform themselves in order to create partial connections* (James’ “acting as if”) =/= performative
•to act with th[...]

[...] theory of sociobiology {raven = an umpteenth example of the “all purpose” model of the theory of the “selfish gene” --> altruistic behaviors ==> transmit the greatest possible number of its genes to the population --> ravens who are altruistic recruiters (sharing rare resources), costly from the individual point of view, can reap benefits in regard to evolution ~= *the animal simply obeys a relatively inflexible rule: help your relatives, ignore others, and you will multiply the copies of yourself* --> *your animal will be similar to others and all the variations be nothing but details of the same motive* [=/= Cinderella]}

how does the motive make the “crime” an achievement for the raven?
how (to accord) this achievement (with that which) translate to (the raven's everyday) survival?

(register of) negotiations of interest and stakes ~/= (politeness of) “getting to know” by posing the question, in terms of achievement, what it is that interests the raven
--> to elucidate (not just what and how, but) why the raven does what it does
•the ravens will not show you straightforwardly what counts for them --> you have to create situations that permit the ravens to help you decide (among all the contesting fictions) the right fiction [#artistic feedback as fictioning]

dance of hesitation


(a cadaver لاشه, once a preditor, waiting for an imprudent raven) to reverse the situation: to convert the bird into a little more of itself
==> salutary egoism: it would be better to be with many others in the case of this type of error

organization
cooperation
i find, you open

*work of the researcher = leading the ravens to take a position in relation to his fictions and hypothesis* (resisting those that don't explain, clarifying those that do) --Despret--> **the researcher must create a dispositive that confers on the ravens “the power not to submit to his interpretations”** <-- politeness of “getting to know” {"getting to know you” does not necessarily turn on an attentive benevolence but on the art of finding the forces, and exchanging them, in an exercise of [*]rivalry: (constituted by) a clever mixture of complicity & opposition}

test of the intelligence and cunning (of each other)

(in the case of ravens [and #feedback in art])
theoretically --> we understand nothing
practically --> we have to learn their tricks to be able to approach them

**a matter of finding the procedures that attest to the pertinence of explanations** (=/= a matter of explaining/understanding them)


enigma --{(like good detective stories) inscribes the protagonists in a relation of}--> rivalry هم اورى : if you want to understand them you must try to be as smart and cunning than they are (not letting oneself be duped by appearances)

politeness --> suspicion [...]

[...]tc.)



exclusionary politics <-- homogeneous community (=/= alien intrusion, outside forces, immigrants, minorities, etc.)

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

Kundera
is humor modern?
*humor is not ancient* (?!)
“whatever humor touches it ambiguites”
humor = ambiguitor

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

globalization =/= cold war
globalization =/= enlightenment (“universal humanism + rationalized tech ==> freedom for all”)

cold war = a meaningfull relation between ideology & power [==give==> orientation + identity --> normative approach to global phenomena]
geopolitc + ideologic borders
=/=
globalization --> completly different political behaivor (definitions of national goals, friend and enemy, etc.) --> pluralist democracy (differences + contrasts) =/= social democracy (erasing differences)

globalization = attitude حالت =/= meaning
[cold war: “world ~= (a sort of) problem” --> behaviors had] meaning ==> (base for) power

cold war: war ==> identities
globalization: conflits =/=> identities

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

two points
•artistic research: a form of art that uses knowledge as its main medium
•artistic research has no relation to the unknown (=/= an idea of research im in which one faces something unknown or new therefore needs to research)
•my work (in general) has been about the critique of engineering (the talent of engineering)


the fossil of fire goes back before the wild-life

the history of fire related to the history of forest

In the 1950s, government officials in Sierra Juarez of Oaxaca--in southern Mexico--blamed forest destruction upon the local indigenous communities. Fire, as a symbol of disorder, became the target of state control and the subject of a state-sponsored discourse of environmental degradation. [...] Fire suppression frequently has been part of state policies of social control. [...] The vision of fire as destructive, part of the state narrative [...] How has the memory of the traditional use of fire by indigenous communities been suppressed? [...]State political myth has obscured community memories of fire as a force in the forest, and as a tool for human use. [...] Why the indigenous communities of the Sierra Juarez no longer talk about the long-term history of their forests. Clearly, the communities internalized parts of the state-sponsored degradation discourse. (However, discourse analysis is not enough; it is all too easy to treat discourse as a monolithic structure of ideas[...] ) [...] These discourses require a threat, a source of chaos and disorder to which the moral regeneration of the progressive discourse can provide a solution. In the case of the Sierra juarez, fore[...]

[...]al, agentic) value*** [social theory is fundamentally predicated on the socius --> social theory is about the association between things =/= homogenous things]
}=/= Campbell's *posthuman relationism*: another form that better understands the abyssal point between the non-human and the human


(2007 conference) speculative realism {antipathy to “human-centred” intellectual traditions} ~=> object-oriented ontology

(objectivity =/= obliqtivity)
Harman's immaterialism: realism without materialism : objects can only ever be captured obliquely

object-oriented ontology's development:
•characterised by a consistent lament for how post-Kantian philosophy in general (Continental philosophy in particular) has abandoned hope of describing objects as objects
•the real: absolute autonomy of objects (withdraw from subjects)
◦objects: sleeping giants holding their forces in reserve
•prefer the excess of the aesthetic over the reduction by the scientific (materialism's tendency to reduce objects to a primary substratum ==> rendering them susceptible to mathematical capture) --Campbell--> *aesthetic foundationalism* [==engender==> an attitudinal response to objects] (@apass, this is also a problem in artistic research):
◦aesthetic appreciation above the reduction of the phenomenon achieved by science --> “art (art criticism) is a style that gets us closer to the nature of objects” (+ bad example of Clement Greenberg)
◦(to make the invisible deep conditions of objects perceivable) prioritize *allusive style* above *literal description*
•claims to post-phenomenological sovereignty
•over-mining approach to knowledge production =/= objects's surplus of reality
◦methodological approach which encounters objects as objects (=/= actor network theory's manner of focusing upon an object's effects) [+ bad example of Dutch East India Company]--Campbell--> object-oriented social theory produces a rudimentary narrative with no discernible innovation on the level of:
◾objects --> the actors are recognisable companies, personalities, infrastructures
◾relations --> the major symbiotic moments are legal contracts, infrastructure and formative moments in a human's life
◾time --> there is standard chronology from birth to death, with emphasis on human-centric causes and effects
•“social theory = a mode of knowledge production” (=/= a decontextualised reflection of the world) ==> withdrawal: a psychological alibi, an aesthetic (=/= cognitive concept) ==stimulate==> an attitudinal response: humility [+ passivity?] in the face of overwhelming non-human existence [~ appeal ==produce==> a paternalistic-arrogant-instrumentalist attitude to the nonhuman =/= *appeal ==foster==> responsibility* (a norrnativity that withdrawal cannot) ---> go to Haraway + Campbell]

}=/= posthuman relationism: realists who draw o[...]

[...]

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

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

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

his mental hygiene, through strange theological appartouses, is not standing intrusions and pollutants of the middle ages trans-religiousity and cross-boundry encounters between the dislikes and those who differ in sexuality.
his hygiene is polluted
but in a peotic reappropriative act of Attar this will operate in another iteration to produce a more radical transcendence; still again a vital encounter with religious pollution is avoided



[my teacher and prosecutor --> malamat, San'an students]

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

[title]
main title:
“Four Eastern Cartographies of Entrapment”

video:
“Writing on Chaos - A Terminal Intimacy”

performance:
“The Reward of The Victim - Towards Poetic Extremism”

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



delve
delvi
delphi

dilated

dionysian ecotone for performance
defp

dionysian epitom studies for performing ecotone
desfpe

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

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

dionysian epitom for material and performance studies
demaps

eccentric center of/for epitomized material studies
ecfem

cologne center for social research
ccsr

ecotone
epitom

parc
performance and research center

cream
center for research in epistemology and matter

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

***sharjah project***

[general approach of the project:]

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

by traversing the domains of revolutionary ideology, avant-garde literature, new-wave cinema, extremist thought, and protests from the limitless imaginative reservoir of their political, poetic, spiritual, and aesthetic predecessors--this projects examines a Middle Eastern navigation of identity (via the concept of the ‘mask’) and its particular modest/hostile modes of resistance (via the concept of the ‘text’). visiting sit[...]

[...]> نوچه
زاهد


[performative methodology]
for the collaborative part of sharjah project, i like to propose four “masks” (or “rotational avatars”) of subjective anarchy, that are few among many existential prototypes and subjectivity constellations of eastern postmodernism, as collaborative sites of encounter with four (or less and not necessarily individual) artists/participants.

•collaborators’ masks: chaos, violence, illusion, silence / (yaghi یاغی, sha'er شاعر, noche نوچه, zahed زاهد)--each endeavoring to discern the ontological possibilities and aesthetic imaginations of four theoretically-worked dispositions that Jason Bahbak Mohaghegh puts forward: insurgent, poetic, mystical, sectarian modes of consciousness, operating within multiple terrains of human and inhuman experiences of the middle east.
--> masks (the above mentioned four masks are accompanied by four “performative epitomes”): the exile, the animal, the shadow, the machine, (the monster, the thing, the contagion, the mirror image)

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

installation:
speculative objects (~/= anthropological objects) --to--> quasi objects
between research, social critique, speculative theory, and artistic production --> politics of representation

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

[*]insurgent:
resistance to modernism, and revolutionary agency
<== exhaustive disintegration of belief-structures in modernity
otherless individuation
eternal war
killer's freedom
(affective) overreaction


[*]poet:
will to chaos (--a type of consciousness that perceive the catastrophic-apocalyptic hint at each turn)
<== cataclysmic time of modernism (<-- great social disorder: prison, exile, censorship, etc. [==> Hedayat, Shamlu, Forough, Nima's tone of aggression --> a proto-sectarian space: secret societies, iconoclastic trajectories, *the compartmentalized and esoteric iranian avant-garde with aesthetic devices of: unity, isolation, subversion])
fugitive postmodern map of escape from the grasp of the experience of the modernist phenomenon
|
responses to historical events of atrocity and transition
mystical, criminal, mercenary, revolutionary edifice
amorphous, obscure, versatile (thinker/writers)
conceptual axes/archetypes of: power, hostility, banishment, solitude, desire, sacrifice


[*]mystic:
sunken tranquility, relaxed self-annihilation, ascetic renunciation of material (=/= postmodernism's obsession with speed, with narcissistic technologies, hyper-materialism)
neomystial trajectories of new-wave iranian cinema filmic style --> hypnotic effect =/= audition, dialogue, narrative
& exile space


[*]sectarian:
will to extremity
(apocalyptic writing)
breakaway modality[...]

[...]r />
the so-called [*]cultural difference: an old game of declaring the world's disjointment
==> many people (including myself) ***to perceive their intellectual and poetic exercises as in partial alignment with the creative possibilities of their culture***
*partial cultural alignment* --> german discourse on integration


[chaos] manifesting and fading within countless spheres of speculation:
•Benjamin's temporal arabesque
•schizoid desire-production of Deleuzian nomadology
•Artaud's hysterical demand (-demand is always hysteric)
•fable of “chaos outside the system” (Schlegel's concept)
•active presence of an inhuman turn in Camus
•Serres's ‘genesis’ a quasi-mystical force of an immemorial nature
•Mohaghegh's ‘chaotic’ marks (no resurrection of a primitive world but rather) an extravagant departure from the history of being, an expressive wire being shaped as we speak

[*topologies of imagination / mode of consciousness / their specific poetic-philosophical mind:]
Europe/West --> possessive (when it is colonialist)
Europe/West --> schizophrenic
Sout East --> nomadic
Middle East --> chaotic


*chaotic writing*
(artistic research writing as it is practiced in apass [--> *closure of a whole system*] =/=) a *writing-toward-chaos* (--> Hoda =/= closure ~? catharsis تزکیه غیر روحانی)
the protocols of understanding are challenged and not left standing
no dynamics of meaning-formation solidified
no acculturation (~ integration) of the reader is embarked upon
no (de)codification successful
all techniques of truth-telling must fail
--> refusing the closure (of a whole [subject/person])
its own raw self-refracting (textual event) --> *forever refracting itself* (--> is refractive writing/thinking really useful for iranians today?)
-transparently nebulous vision of darkened vantages

[Reza, Setareh, Ehsan, Foad, Hoda's conceptual register and incorporating themes:]
annihilation, rage, ecstasy, madness, deception, apocalypse, desertion, contagion, eternity, the shadow

imperative to restlessness

writing-act as inherently antagonistic


borders of subjectivity:
•dominant ideologies of history
•conspiracies of identity


Foad's poem “farar”
textual experience as a prism of subversion, innovation, and becoming
•hardened instinct for ruin kharabat خرابات
•fusion of:
◦appearance & disappearance
◦tragedy & delirium
◦creation & destruction
•(unsteady condition of the writing-act [unpacks itself without origin] where) *nothingness & excess* tangle
bluring of possibility and impossibility
to compose an affective universe without recourse to the myth of ori[...]

[...] other) ==> **reaction formation** (which is one of the major defense mechanisms of the obsessive-compulsive) ~= long-repressed desires **to dismember the personality-structure of other persons**
[obsessive-compulsive personality type is very common in expertise societies: tavahosh-e takhasos, clean (+ “contaminated” things), one is deeply immersed in research, mental control, not wasting time, adherence to routines/rituals, washers, checkers, impairment in formulating an organizational strategy, etc. ==> cognitive inhibition, or violent disinhibition]

wishes to foster personality-disintegration in other persons + genuine and powerful interests in helping them <-- how is this possible?!
-Searles suggests that the desires to drive the other person crazy are a part of (the limitlessly varied personality-constellation of) emotionally healthy human beings


feelings of infantile satisfaction & omnipotent-mother fantasies

recrudescence of symbiotic techniques

the [same] sensation of being driven utterly mad by the impossible object [patient, economy, system, self, world, love object, etc.] --> symbiotic relatedness (development of symbiotic reciprocal dependency)

(@apass, the tale we say in artistic research environment:) critical feedback = 'making ill’ of one another, is an effective forms of opening up anxieties which can be interpreted and worked through ==> to become independent (integration) and to leave
}=/={ to acknowlede our highly immature and ‘sick’ but deeply gratifying symbiotic mode of relatedness with the other (disintegration) (in Searles's terms: our efforts in keeping the other person crazy)

*how can we develop *untherapeutic techniques* of critical relatedness?
*how can we face our own conflict between desires to help (the student to become better integrated, that is more mature and healthy) and desires to destroy (the student in the state of poor integration)? --> schizophrenic conditions of artistic feedback

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

مماس
schizophrenia: (a general understanding of all) content-thought disorder (=/= form of thought)
*the disease of cognitive abnormality : abnormal sequential thinking*
*tangential thinking*
•disorganised thinking ==> disorganised speech
•mood disorders
•dementia
•mania
•clanging (situationally inappropriate association of words based upon sound rather than concepts)
•echolalia (unsolicited repetition of vocalizations made by another person)
•[*]tangentiality: deviation from relevancy; wandering train of thought, lack of focus, never returning to the initial topic --> *topic maintenance*
◦self-centered social responses
◦attention to one's own speech is overcome during the occurrence of cognition ==> evasive vocalized content


(language use”)
refere[...]

[...]> tree
scared face

book Skala:
royal fairy tales
baba jaga kostliva noha / bony legs


the first worm

death skeleton afraid of itself, of its own image
self-reflective

you are following, while being followed, and the one who follows you is being followed...

pop-up book
•endless doors (on top of each other)
•rotation: https://vm.tiktok.com/ZMR4VTo8s/
•rotation: https://vm.tiktok.com/ZMR4Vp8Yb/
•https://vm.tiktok.com/ZMR4Vw7qk/
•https://vm.tiktok.com/ZMR4VttgH/
•moon https://vm.tiktok.com/ZMR4VV2CC/


•Philippines --> aesthetics of poverty [culture of material poverty --> poverty as scenic design and working philosophy] (==> the imperative to eliminate nonessentials =/= my philosophy)
•Iran --> aesthetics of ?
•(?what is) Instagram or TikTok people's appreciation of beauty =/= aesthetics of poverty's coupling expression with survival and change

the idea that becoming sensitive to the aesthetic qualities of local materials ==> increasing one's power of expression

theater director = aesthetic coordinator = sensitivity + selectivity

scenography in artistic research
my early interest in stage design {~ use of backdrops in capturing the essence of a play or story --> a way to *establish setting* [=/= scene] --> sense of (not necessarily authentic) history, calling for the patina of history} ==> my recent scenic paintings --present--> *visual stream of consciousness* ~= diorama ~= to capture the essence of a practice interest optic episteme (--> establish a setting to get caught lured)

(in my work: assumption of)
symbolic use of visual elements --> collective consciousness + revitalized forms ==> vision of a larger culture : capturing a gestalt = everyone can understand



Shake, Rattle and Roll
romance, light sex, and comedy segments---laced in horror
(Tolentino)

horror genre
==> big young stars performing non-iconic roles
~= (analogue of [collective]) anxiety (of nation?) : making-do processes and mechanisms of ordinary people + imperative of profit and state formation
--> how (mis)governance get to be represented + how citizenry is enforced and embodied (at the ground level)

Philippines: from Marcos dictatorship --to--> neoliberalism: privatized, deregulated, commercialized, marketized public services

•Crane using psychoanalytical tropes --> horror = everyday terror
[*]horror: excessive communication
•Creed using trope of monstrous-feminine --> horror = gestalten deeds in adjection and castration
•Lim --> *horror = temporal critique* {fantastic local horror =/= historical time, supernaturalism, occult modes of thinking encoded in fantastic narratives}
[Bergs[...]

[...]hich memory is structured in the organization named Iran, or Middle East, or Germany, or Europe,
needed for development of potential memory:
•(forms of) erasure of local context --> to some degree this is always done
•(forms of) classification system --> computerized, affectual, or materially textured categories

* construction is always reconstruction *

artificial memory (characteristic of the 16th century:) “a search for the perfectly proportioned image containing the ‘soul’ of the knowledge to be remembered” --to--> discovery of the right logical category ==> classifying the memorization the world scientifically

classification system ==> filter --> encoding (of information about the environment) ==> coherent framework = memory (Schachter, 1996)

Bowker ☞ Matsuda ☞ Edouard Claparede's experiment (1907) of having a stranger rush into the classroom, do something outrageous, and then have students describe what happened --> “that the past--even of a simple event--was less a record than a sort of taxonomy. Not perceptions, but categorization of familiar types was the major function of memory”
#bambi

pigeonholing of facts

how apass as an organizations is coding for artistic research within the framework of their memory systems?

“There is no room on the [filling] form to write an essay on race identity politics.”

do we need to develop and standardize my discipline-specific nomenclature (in our research microworld) in order to name without ambiguity? --> redefinition of disciplinary boundaries --> shaping of your work so that its future practice converges on potential memory

we murder, they note
they draw from their secret[s]

infrastructure-thinking: Ajayeb Network-Making Minimum Data Set
in ajayeb's literature the very information infrastructure itself (should let be or) is in flux ==> discourses make strange connections between themselves
-in ajayeb the infrastructure assumes the position of every node --> reworked in my #Rigs

“...we are afloat in a sea of multiple, fractured causalities each demanding their own classification systems--and their own apparatus of record collection.” (Bowker)

classification (systems): a warrant and a tool for forgetting, and operating the distribution of this forgetting (in space of scientific memory.)
it tells you what to forget (for example the religious and metaphysical,) and how to forget it

[the formation (training) of artists covers up the formation (production) of artistic knowledge]
-the social story of science is excluded from the organization of the sciences, and held outside of it =/= situated knowledge
-a natural hierarchy of sciences is offered: every discipline needs to remember only a given set of facts --> each type of memory which has been distribu[...]

[...] flame file type/format

the psychoanalyst of Tintin

active archiving is about the framing of the present, and not about the future record

*commemoration is behind a lot of the ways in which we create memories and histories (on the web): that there will be someone who has the time to go back and recognize the values we have created --> recognize ourselves as monuments in the world

(thinking with Bowker fL94LVYjhQQ) as new entities will come to being in the world, instead of creating access to what is reconfiguring of the past we lock ourselves into single unitary visions of the past totally unnecessary --> that is exactly what i am trying to do, providing and creating a kind of approach to what would be an access to a reconfiguring of the past, ajayeb as the case in a Farsi speaking world


on way or another, databases are structured objects, they constraint the forms of narrative you can take ==> a restrict set of stories --> when we are dealing with database we don't have an infinite sets of narrative space

i am taking a theological alterity discourse from pre-enlightenment (islamicated cosmology) and puting it in [...?]*** (Latour is putting it in scientific style of faith)
•artistic research practices/discourses
•modern Iran
•modern culture
•

non-contemplative intelligence basing the database in our time (=/= older traditions of sequencing)

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

*deterioration of the immanent (eco-, politico-,) ==> corruption of social relations ==> corruption of memory*** (of a shared existence, of coexistence with [Div, jinn, shadow, birds, Hindus, Arabs, ]) !!!--✕--> issues of historical injustice
-or-
corruption of a river : the entropy and deterioration immanent to it ==> conditions of possibility for corruption of intimate relations and of memory }--([this] experience of corruption)--> takes the nature of being defrauded (روزگار فريبکار) of one's own form of life, one's family or one's inheritance***


(Naveeda Khan talking about river's point of view in Bangladesh, but her keywords are all relevant for Iran's landscape as well)

***the muslim responses to entropy*** ==?==> eschatology
}--> muslim majority regions are more embeded in the world that what we know from islam

سازش
limits of “adaptation”

a rapport ~ ربط تقریباً همگام
or orientation جهتگيرى

a looming future


“[how] politics and policies of climate change stand to shortchange the present and the past”


Naveeda Khan exploring the perception of climate change within everyday life


those who live on such formations --[powerful river waters, eroding, accreting, village politics, dynam[...]

[...]le]
(Bowker ☞ Babbage:) until the invention of printing, “the mass of mankind were in many respects almost the creatures of instict” --> “flood of light over the darkened intellects of their thankless countrymen”
(the spirit of 19th century embodied in Babbage) making the ***act of making information*** such a key variable:
(print rational/archival memory ==>) new space and time ==> (need for) regular working of the machines of nature and the world : *regularization of time and the distribution of tasks* [--> a mythological operation]<== infrastructural work:
•developement of computing (+ machineries)
•division of labor

Buckland + Babbage ==> complete knowability of the Book of Nature


information and database theory (in genomics --> a core science of our time)
archive ==(is central to ‘thinking about’ & ‘writing down’ of)==> objects being studied


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


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

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


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


indifinite space as filled with worlds...


colossi

earthquakes
floods
storms

tranquil variations


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


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

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

the metronomic story
the mnemonic story


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


new memory practices
•***lie at the h[...]

[...]ster

(?what is lost at) linking the symbolic space of data-model to the qualities of the researches of participants [which are relational, procedural, and emotional]

s.s.s. (scroller, slider, still-life)

discourse =/= valorizing information

Pierre's fables:
•“nonviolent way”
•“not by chance ...”

*Apologue*

research --> data flow
sieve --> nodes in/of residual


internal categories:
•stickiness
•zoom
•cheat
•persistence
•repetition
•(vulgar)
•
}==> topology:
1. ramp
2. nest
3. skew

ramp: sequential, one dimensional, ‘sliders’
nest: fractal quality, JSON, hierarchical tree, ‘comments’
skew: verb act, streching, ‘2D field picker’

(slider: marking everything)

semantic in flux + persistence
object repository + identifiers


feedback --> quasi object --> structured knower --> data


#workshop in apass 2018 Summer
...a series of data models that was produced during a three days work session in a.pass May 2018.
The aim was to create a “filter" for the artistic research projects of each participants, in order to train in making meta-linguistic abstractions (on a given computer hardware) to construct a “thing” that enables describing the problem of Building Abstractions with Data, to increase/enhance the expressive/descriptive power of the languages we use. It addresses the question of machine/human readability in the digital imperative of computational world we are inhabiting, with the particular case of a.pass artistic research environments for advanced performance studies.
•interested in computational literacy (including data-collection, librarianship) as part of our *diversity-work* and our *articulation-work*
•interested in different languages (english, computer, non-sign languages, etc.) refers to different value systems and to different lived experience
•interested in the *labor of knowledge-work* (in collective digital flesh life)
•interested in shifts in topology (the ongoing reworking of bodily boundaries of each of our research practices)
•


TERMINOLOGY:

*articulation-work: the labor necessary to make technologies fit together seamlessly

*diversity-work: a kind of work in which we learn about the damage we cause, and of how “causes” are understood as “damage”

*librarianship: a work that hooks up people with their technologies

*data abstraction: a *technique of isolating* (the parts of your mini-language that deal with) how data/info objects are ‘represented’ from (the parts of your mini-language that deal with) how data/info objects are ‘used’ (---> i addressed this in my fable workshop in a totall[...]

[...]ly identifying and producing invigorating political and cultural planetary geographies

ethically augmented and affected cognitive sensorium

variable and sensitized tactics and ethics of “democratics” --Sandoval--> meta-ideologizing: functions both within and against ideology
@Leo?


(my work on ajayeb is aimed at:) old and new media collide ==Jenkins==> *convergence culture* --inhabited-by--> those who learn how to play with media, information, visualization, and who live among and produce hypertexted or relational and relative materialities

preemptive
proleptic
prophetic

(the way i am using the term) queer: to learn to be affected by the political economies of knowledge worlds


(my art in lecture and performances:) *to play with our own consciousness* --Katie--> to curiosly work at the edge of “this is not it”, [bits that are] some activated and activating across the tacit and the explicit

(no to) idealization
(no to) disillusionment

(Katie asks) *****which “we” gathers, locating inside of worlding processes, as elements in reorganizations that “we” matter in, but do not control?*****

(the game we play in artistic research:) *transcontextual movement witout falling apart*
[in apass people do] sensitized transmedia knowledge practices

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

origin of computing goes back to 19th century insurance industry: modern elimination of risks
social theory of data science
1820s (Babbage’s) difference engine
right at the industrial revolution: division of labor (for Babbage was the highest human achievement)
==> welfare state
the state protects and promotes the economic and social well-being of the citizens
we are living by the rationality of insurance industry (==> operating our lives by technologies of information and computing)
[we can live with it differently]
logic of progress is not the issue, logic of acceleration is the problem
(idea of) frictionless economy ==> must go faster and faster
discourse of stasis =/= how to explore change?
not preserving endangered species, but preserving the possibility of change

desks are information technologies

Bowker ☞ Sina: every critical work (today) must include the centrality of data (and calculation) in our lives

(from premodern) *describe the world* [bestiaries] --to--> (modern necessity to) *calculate the world* [recognizing a calculated world --> my interest in Olearius]

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

(Cameron's image of) Terminator: relentless unidirectional progress [that you can't negotiate with] (~= modernity) ==> destruction of cultures and communities --> destroy ourselves

how to live with Terminator = how to live [...]

[...]ading:)
•stating the obvious with a sense of grand discovery is an essential postmodern disease
•what modern science and technology, free market economy and multinational corporations are doing in the name of freedom, justice and fairness

--> despite wonderful sentiments, and all the arguments for justice and equify, we end up with more of the same

(problem of the East with) modernity: a European cultural construct based on specific historical legacy and condition, and its basic goal has always been to shape science, politics, arts, morality and the world according to its own image and inner logic
+
much of postmodernist thought is a sitnilar European construct and continues the old programme in a renewed attempt to justify neomarxism or new brands of liberal humanism

-what is a a genuine, radical departure from postmodernism?

religiosity: that which transcends the world (can be expressed in Fascism, Communism, Nationalism, Scientism, Aestheticism, Nuclearism, or in several other secular religions)

[*]secularism: a dishonest kind of religiosity***

(mark of out time:) *necessity of recovering our sense of oneness with nature* <-- our total alienation
[?my artistic research is the very expression of] (Griffin's) postmodernism : a new relationship with the past (and the future) <-- postmodernism acknowledges, appreciates and wants to learn from the wisdom of traditional societies ~= neoconservative religious fundamentalism =/= constructive nihilism

[the strive for a new ‘enchanted science’ (=/= sacred science) that] overcomes the separation between truth and virtue, value and fact, ethics and practical necessity

(Falk's) Disneyland postmodernism:
•abstract affirmation of a holistic harmonious future
•homogenized uniformity (based on a colonizing logic and westernization of the globe)
•reinterpret science and natural reality as confirmatory of a spiritual grounding for human
•holistic possibilities of encompassing conflict
•***postmodernism as an expression of the privileged status of the West***


*greek gnosis is the Terminator in its guise of mystic* (which provided the Enlightenment with its springboard and modernity with its mission to subjugate non-western cultures)

arrogance and authoritarianism are intrinsic in both Greek rationalist and mystical thoughts:
•Socrates --> worshipped reason and was an arrogant and obnoxious man who enjoyed ridiculing ordinary folks
•Buddah --> worshipped nature and produced a totally authoritarian system of thought (as have most philosophers in western history who have appealed to nature for ethics)

new postmodernism's value:
•ecological wisdom
•grassroots democracy
•personal and social responsibility
•non-violence
•dece[...]

[...]animal in zoo    yes


Briet's rules for determining when an object has become a document:
1. there is materiality
2. there is intentionality
3. the objects have to be processed (they have to be made into documents)
4. there is a phenomenological position (the object is perceived to be a document)

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


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

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

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

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

artistic research = aesthetic object + signifying object

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


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


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

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

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


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

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

Calvert
technobibliocapital

librarians cannot hope to really change how people seek knowledge in libraries (they are not *informa[...]

[...]eating the brand but economic value that accrues as a result belongs entirely to the brand's shareholders* [--> issue with fandom]
for example *affective value*: when vlaue lies in the general sentiment of a networked group of actors

(in marketing's theory of value creation) the *role of the consumer* in the value creation process is now explicitly recognized and articulated (incorporated) through compelling concepts such as cocreation, coproduction, *prosumerism* [an individual who both consumes & produces]
@apass collaborative environments

[consumer research]
recognizing the ways in which consumers and consumption are both productive and value-adding

Holbrook's topology of consumer value
value is active = when it entails physical or mental manipulation of an object
value is reactive = when things are done by a product to the consumer (objects act on consumers to create value)


xxxxxx

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

Hayles

(to take) a problem-based approach --> taking a problem and looking for solutions =/= investigating problematics (<-- humanities [and art])

what are the reward structures in artistic research? (the way a work is recognized and validated by the field)

postliteracy
the future of human & the future of writing are entwined
meaning = resistance
to be human = to resist techno-language

an informed scientific-literate and humanistically educated public ==> democracy

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

(mass media) cultural standing (and standard) of live performance
paradigm of televisual <--✕--> digital

(Auslander historicizing) liveness --> historical (=/= ontological)

ideology of authenticity (in live music)

at the level of cultural economy --> theatre (live performance) =/= mass media

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

[why is contemporary art so reluctant to describe our experience of digitized life? --Bishop-->] digital ~= code (inherently alien to human perception) --> a linguistic model

Guy Debord --> (*physical and the social were pitched against the virtual and the representational* ~ “subjective =/= technological” -->) social relations today are not mediated by monodirectional media imagery ==>
•favor intersubjective exchange and homespun activities (cooking, gardening, conversation) with the aim of reinforcing a social bond fragmented by spectacle
•desire for face-to-face relations against the disembodiment of the Internet
•retro-craftiness
•fiddly collages
•tapestries
--assert--> subjectivity (+ tactility) =/= impregnable surface of the screen

reformatting
transcoding
modulation of preexisting files -[...]

[...]ional and quasilogical order of signs


(Helmholtz +) Bergson's attention:
1. condition of relative motor arrest (Ribot)
2. gives up the useful effect of present perception
3. backward movement of the mind

Bergson's attention: a binding together of reality to ward off both perceptual and psychic disintegration


endosmosis: process of remaking an object of perception

Deleuze's attention: gives back to duration its true characteristic... a very special coexistence (=/= succession), a simultaneity of fluxes, in which the body was always implicated --> “freedom = awareness of that coexistence”,


“reality function”
(psychic+) sensorimotor grounding in the reality

in early 20th century --> clinic designation of a condition called “the feeling of unreality” : failure of an apperceptive attention : when present impressions do not link up with memory association ==> sense of unfamiliarity of the present objects


*(inconsistent and anxious treatment of) Bergson sketching out the marvels of a multidimensional perception* (capable of apprehending and creativity engaging the immanence of the past and present) <-- fantast of artistic research
---Crary--> for Bergson attention is one that does not waver, oscillate, or drift in and out of focus [---> go to Avital drug] --> his privileging of fusion, interpenetration, and continuity does not apply to borderline states: insanity, dreaming, etc. piercing forms of nonspatialized experiences: dreamwork, trance, forms of hypnagogic visions (==> powerful penetration of the present by memory)

Bergson's indetermination: a human attentive concentration, an abortion that would never lose its conscious connection to the willed activity of the body (<-- fantasy of wakeful critical subject) =/= (Crary's well argued) indetermination encompassing fluctuations in and out of trancelike states in which disassociated phenomenal might occur


Bergson's work is typical of his period --> ***great fear of perceptual behavior that is either passive or automatic***
}--historically--> construction of various forms of automatic perception in cinema, recorded sound, and other technological attachments ==> the idea of **premade images consumed passively** (...depreciation of experience when individual memory images are stiffened into ready-made things)

(for Bergson, Janet, Foad, and many others:) automatic behavior ==> dissolution of ego boundaries (in which the individual will cease to exert itself), contraction of personality, scattering of the self

drift
reverie
trance
dream

**Bergson's work = refashioning of the Rousseauian conviction of the truth and authenticity of (inner) subjective experience, without grasping how that experience is determined by forces e[...]

[...]tinct both from the circle and things that are round (a vase, a wheel, a sun)}--> State is perpetually producing and reproducing ideal circles =/= war machine makes something round

Agnes drawings --> protogeometry
Agnes = drwaing and linking up smooth space

(is Finn in Adventure Time a man of State ot nomadic scientist? -->) journey-men's associations

nomadic <==form== masons, carpenters, smiths
labor <== regulating the movement of the flow of labor, assigning it channels and conduits, forming corporations, relying on forced manpower recruit

(plane of) consistency ~= composition =/= (place of) organization ~= formation

***everything is about the division of labor*** (--> this is the most critical about apass)

State:
•repress the nomad
•repress the minor science
•oppose vague essences (--> visa and integration)
•operative geometry of the trait
=/= nomad imply a division of labor opposed to the norms of State


Steven: a dynamic connection between support and ornament =/= Alex's hylomorphic schema (the search for laws in extracting constants --> an invariable form for variables [for Alex: the invariable definition of artistic research for variable artists])

compars =/= dispars

(let's go) from matter-form --to--> material-force(= placing the variables themselves in a state of continous variation)
[Sina: let's go instead of thinking about ‘flow’ --to--> ‘force']
force (is full of):
•equations “=”
•adequations (change in the meaning of a term depending upon context)
•inequations “=/=”
•differential equations (functions + derivatives --> useful for modeling and simulating physical phenomena) --> solution of a differential equation is a function =/= algebraic equations (solution of an algebraic equation is a value)
•

>
(distribution of matter in:)
space of pillars
striated by the fall of bodies
verticals of gravity
parallel layers

quantitative and scientific oppsositions (such as: speed/slowness, quick/weighty, celeritas/gravitas)
=/= qualitative oppsositions
=/= mythological structures


(i am basically interested in the law of falling bodies)

(my lectures: an art of) following =/= flowing
-one never follows in order to reproduce
-in following, one is in search of singularities of a matter
(my whole work has been about the art of being carried away by the vortical flow of texts)--> [*]ajayeb ~= a vertical field across which singularities are scattered like so many accidents (i see them as ‘problems,’ and my job is to follow them)


global theory of waves


(Deleuze and Guattari romanticizing the royal science:) “reproducing implies the[...]

[...]problem” is related to the war machine*

introjective: preparing a matter from a distance, in order to bring it to a state of equilibrium or to appropriate it for a form of interiority
(projection: appropriate it for a form of exteriority)


#bow and arrow --> hunt (when speed is associated primarily with the hunted animal) =/= war (speed is an independent variable)
prey =/= enemy
prey =/= motor
(#bow and arrow does --> *abstracts the idea of motor and applying it to itself* =/= generalize the idea of prey by applying it to the enemy)

the economy of hunted animal


ecosystem situated at the origin --> garden of eden / heaven
ecosystem situated at the end --> apocalypse / end-time

discovery of a projecting and projectile system ==> war machine

war machine
breeding + training
insitutes an entire economy of violence
--> *a way of making violence durable*



two ideal models motor:
work =/= free action
•(let's) work: tool meets resistance
•free action: operates only upon the mobile body itself, is not consumed in its effect(?), continues from one moment to the next [--> style of artistic research]. the way in which the elements of the body escape gravitation to occupy absolutely a nonpunctuated space

weapon is moving
tool is moved
tool presupposes work, tool does not define work

***the principle behind all technology is to demonstrate that a technical element remains abstract***, remains entirely undetermined --> as long as one does not relate it to an assemblage it presupposes

tool
-one cannot speak of weapons or tools before defining the constituent assemblages they presuppose and enter into @OSP
the tool is essentially tied to a gensis, a displacement, and an expenditure of force (whose laws reside in work) =/= weapon concerns only the exercise or manifestation of force in space and time (in conformity with free action)

when speed added to displacement ==> ?

tools & weapons = consequences ~/=? causes


the morning star and the battle-axes

variable assemblages of human, animal, and thing

*assemblage*: (passional) compositions of desire[=/= natural determination, spontaneous determination] --D+G--> there is no desire, but assembling/assembled desire
assemblage ==(bring into play)==> [*]passion: effectuations of desire that differ according to the assemblage [=/= Germany]
man-animal-weapon
man-horse-bow
assemblage of speed
...

(what Game of Thrones TV series missed:) military of men --> homosexual eros replaces the zoosexual eros of horesman [--> اسب امام حسین]

State ==>{(training of) worker --to--> (apprenticeship of) soldier}<[...]

[...]> in old Farsi:
پرچم = دم گاو بزرگ
خانه = اتاق
هیجان = مستی جنسی (حیوان نر)، جنبش دریا
دانستن to know = توانستن to be able to
خسته شدن getting tired = مجروح شدن getting injured
سرشتن to create = مخلوط کردن to mix, compose
راه بردن = شناختن، بلد بودن
raftan = eshal gerftan
dashtan = motevaghef kardan
afzudan = toghyan kardan



TRAVEL*

-Adam Olearius (ambassador, translator, Russian+Persian)
-Sa'di (poet, traveler, theorist of love and friendship, )
-Sana+Sina (artist, researcher, translator, )

world? what is late today? trans-late: beyond being late --> travel and arriving late
travel, trans, transportation, poetry, disruption in travel, traumatic travel, log,

traumatic travel:
poetic source/act
related to refuging
voyage
exploration

investigate poetry and travel in the 12th century and 16th century and 21st century encounter
translational worlding between German Iranian cross-cultural speculative narratives that we fabulate with artistic and research methodologies

trajectory, destined beings, translations, transportation, routs, paths, maps,
transportation system
translation system
error in destination(?) [ontology of ‘error’ in 12th, 16th, 21st]
mutation in the garden(?)
technological system of destiny -?-> Sa'di
the flow of energy and material : dejle-biaban continuity

which agential force or travel agency Sa'di or Olearius or Sana or Sina is enrolled or registered in, that it sends them off to far distances?

pure political plays?
the question of ambassadorship
ambassadorial activities of Sana and Sina
the question of diplomacy
ambassador: storytelling, acting,
comparative thinking, comparative research, comparative translational methodology : *self in world* tech., lit., dis.,
which technologies (of composing, of writing, of figuring) are installed for Sa'di in the 12th century and for Adam Olearius in the 16th century that allows them to imagine and engage in/with what we call today *mondial*?


(Sa'di + Olearius:)
chance encounter, failures, writing, making figures, loving, making friends, their acts of worlding (?), composing worlds, (de-compose?)
technicity: armillary sphere, Globe of Gottorf, Golestan, drawings, star constellations with astrological and mythological symbols, inside-outside model of the cosmos,
--> they both have concerns of *global consciousness* --> and their differences: two (or more) different world knowledges
GPS: global system position, concern of both Sa'di and Olearius

an excuse to[...]

[...]or ‘simply subjective’ (of anything that cannot be reduced to the canon of the ‘simple’ model)
[Stengers]


(Verran on) the capacities of numbers to interpellate (رسما سوال کردن، استيضاح کردن) their users


diptych قاب دو لوحى


model of meaning-making that diagrams initiate (spatially + linguistically)

articulated sets of relations

a particularly efficacious form of certainty-generating rhetoric by ancient Greek mathematicians (appropriated by thier politicians), according to Netz: meaning-making in geometry proceeds in a particular way, a way that generates deductive proof --> (Netz's notion of) oral performance origins of meaning-making with diagrammatic device =/= (Verran's) graphics embedded within flows of words --> relations graphically plotted frame the relations plotted in flows of words (and reversed): diagrams labile ناپايدار in their forms of participation in collectives***

{my research on premodern systematic investigation of strange singularities of the labile phenomena [lability: liable to err and fall, slip, glide, flow] in the middle ages --helps--> how in the absence of authoritative *source of knowledge* in artistic research environments such as apass, *styles of knowing* mime and intertwine in poetics, practice, and politics}

speaking from diagram (offering possibilities of pilotage of the emergent relations) =/= speaking to diagram (a form of presentation, a proposed ‘found’ past in an idealized future, proposing as a realistic map of a given)

@Eszter: the question of recognizing the complexity of manipulating sets of relations expressed graphically --> developing (in my self) a contrast which offers possibilities for rhetorically distinguishing between ‘speaking from’ and ‘speaking to’ ==> shifts that can effect moves in collective meaning-making

wordy texts

(Star Trek's) displaying “our” modern commonplaces out of the place they are coming from --> makes me vomit
-in US sci-fi TV series we face that we are still Aristotlian, in our regulation of speech, we live under the regime of non-contradiction and of non-equivocation (tie up our public life in it) (--> when i say this is not my story, i am talking about another tradition of speech regulation)


proto-Baroque theater


*ambiguous monarchy*

absolutism has never been a feature of Iran monarchies

(who?) put an end to the complex, emergent baroque polity

a baroque sensibility was no longer salient in the Danish monarchical context and the baldachin became war booty --> that is how Adventure Time's sensibility is now

[Verran & Winthereik briliant thinking and literature:] “baldachin was designed to perform within the tense shifting landscape of partnerships associ[...]

[...]->{ Ardrey --to--> Kubrick's african genesis : “weapon fathered man”
technology + prehistory (in postwar period)
“tool ==> man"}

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

knowing images
epistemic image : knowledge-based pictorial gestures (in my work without) --> organization + collecting + demonstrating theories + scientific tools + direct references to natural objects
--> searchable interfaces (+ desire for condensed information)
(**list ==> searchable**)

(Apianus's early modern cognitive horizon -->) eye: another organ used to calibrate settings
activated eye --> new empirical pursuits

my epistemic images : work of an image fetishist

bestiary: animal character diagnosis

[horses]
(from) genre of taking care of the animal: veterinary --to--> chiromancy: profiling of the animal conditioned through the serial nature of list (==> control)





Brancaforte
readings of the apparatuses framing Olearius's books
tradition of representing Persia in the West (Xenophon and Herodotus)
narrative elements of Olearius’ works remain largely unexamined


Brentjes

elm naghli (artistic research knowledge) =/= elm aghli (rationality)

(science) elm in Iran <== (10th century written in Persian:) limits of the world [hodud al-alam] + pharmacological medicine + (translated ~= adaptations of) astrology

10th century --> gradual decline in literacy in Arabic ==> Persian treaties on sciences

rag-shenasi (knowledge of the pulse) --> Avicenna

روضة المنجمین

rowzat (روضة to look) [~/=? nozhat نزهت] ~= garden ~= astrological site
-(iran) university garden =/= (greek) university gymnasium


book: expository discourse (رساله توضیحی، تفسیری، نمایشی)
•poems on the subject
•تحسین و تمجید lengthy laudatory adjectives to describe the dedicatee:
◦patronage of the courts
◦the teaching circles
◦the family lineages of professions
◦the existence of “amateurs de sciences” (the private individuals interested in science)
•anecdotes (historical or legendary)
•questions and answers
•observation on the usefulness and the excellence of knowledge in general


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

ethnography:
•set of methods for knowing about social relations [--> storytelling] (=/=?)
•cultural-analytical scholarship [--> analysis]

ethnography: [*]ethnographic stories = generalizations that intervene (~= instruments that make intervention possible <-- a knowledge product in contemporary sci & tech studies STS)

ethnography: stories that have in them a capacity r[...]

[...]•تحسین و تمجید lengthy laudatory adjectives to describe the dedicatee:
◦patronage of the courts
◦the teaching circles
◦the family lineages of professions
◦the existence of “amateurs de sciences” (the private individuals interested in science)
•anecdotes (historical or legendary)
•questions and answers
•observation on the usefulness and the excellence of knowledge in general


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

ethnography:
•set of methods for knowing about social relations [--> storytelling] (=/=?)
•cultural-analytical scholarship [--> analysis]

ethnography: [*]ethnographic stories = generalizations that intervene (~= instruments that make intervention possible <-- a knowledge product in contemporary sci & tech studies STS)

ethnography: stories that have in them a capacity represent the world in ways that are generative for the people and practices that the stories are about + authors (+ their peers + readers)

****(from) postmodern concern about the authority of the author --to--> a concern about partiality and generative critique****
@apass #feedback
(Verran giving voice to what my concern and interest is in artistic research environment)


the question of how to re-present others (their diverse practices) on good faith? <-- moral
~~> the bad idea of “good faith =/= bad faith” ==> assume a moral high ground that we have no reason to argue in favor of

altering oneself to good faith = altering oneself to the possibility of double vision

(in ethnography) good faith: writing generalizing stories that intervene, because of the partiality of research and analysis (not despite of it)
•good faith analysis: having faith in it being possible to write stories that are generative for *some of* the practices we study + for *some of* our peers
<br /> (stories --Verran-->) two moments of generalizing:
1. *onemany* form ==enable==> abstracting
2. *whole-parts* form ==bring==> a situating moment
~={ Star Wars apocalyptic stories (single vision) + lived social bodily realities = (Harawayian) many-headed monster }--> #Tehran index

ethnographic research is always embedded in multi-stakeholder situations

the Verran is proposing
=/= writing stories that narrate what collaborators hope to hear
=/= hardening the categories of the everyday

[*]generalization: (performative) ways of making and negotiating different realities

(Hinde -->) adequate story: objects that *find* audiences ~= *pointing to* (<-- performative) ~/= *pointing for* (<--Verran-- invite them to do work to see their own ontological commitments)
@apasa, research on performativity entailles when not to be performative

ethnographic story: re-performance / re[...]

[...]
[*]climate change: the absolute context that determines what is possible + what has replaced a previous world
(i find Meillassoux + Campbell argumentation more convincing than Morton's hyperobject)


climate change as “problem” (that can be framed), “thing”, “within the world” [=/= the world: generative context from where problems emerge ==> forms of organization without precedent] ==problem==>
1. epistemological assumptions (+ expectations + responses)
2. unable to encompass (the qualities of climate change)
3. misrecognition of climate change


speculative realist idea of world

[*]speculative realism: a strategy for thinking, organizing, solving at the *widest rational angle: a form of thinking and acting that is concerned with the fundamental structure of reality in its absolute and unconditioned form (=/= manifestations of phenomena) ==> to deliver metaphysical truths unto the world without deforming 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 besto[...]

[...]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 --> backfires, moomerang effects, causing audiences to disbelieve the entire message
•*frame-bridging* --> when two issues ostensibly different are linked in complementariness in the same sphere as the concept in question (for example emphasizing the religious and moral dimensions of climate change ==> environment central to faith
•*emotional framing* --> we are suffering from a deficiency of *emotional knowledge* about climate change (=/= deficit of information) ==> locus of problem moves to the psychological affective realm ==> elevation of the problem to an existential threat or trauma --> (climate change becomes a factor in *identity formation*) we become more ecological in our cognition behaviour, affect
◦managers in organizations perform complex ‘affect-based’ work to translate the broader social emotions of climate change into the *local emotional landscape* ==establish==> new norms ==> alter the emotional salience of climate change (in the workplace) [<-- 26/06/2021 this has become the dominant framing in artistic research environments @apass, Pierre, Chloe2]

*(successful) frames: work through the integration of the phenomenon into a reality that is manageable* (=/= Campbell)
focus on the sustainability of discourses that are imaginable and thinkable and connectable with people's existing world =/= focus on the reality of the moving target


‘climate change’ politically more palatable مطبوع به ذائقه than ‘global warming’ in conservative circles

discursive evolution of climate change:
•1932 --> externality --> economics
•1960 --> wicked problem --> policy studies, public management
•1980 --> threat --> public media
•1988 --> global warming --> physical chemistry
•2000 --> contested debate --> science
•1968 --> tragedy of the commons --> ecological philosophy
◦collective action dilemma, common property dilemma, non-commitment =/= responsibility, transnational commons dilemma, historical versus new emitters, fossil fuel lobby and corporate power }--response-->{ develop techniques for more thorough understanding of ecological interdependencies, manage multi-stakeholder interests, unite common goals in public bad game, transnational issue-spanning, pragmatic incremental gains, address value-action gaps in individual consumption regimes
•1990 --> risk --> mathematics
•1990 --> war --> political economy
•1990 --> crisis --> science
•1990 --> catastrophe --> mathematics (used differently in public imaginary)
◦“dnd of days”, worst-case scenario, complete system collapse, extreme events, irreversible, non-calculative, non-gra[...]

[...]a--> #fable of imperialism)
•(romantic notion of) nature: idyllic =/= (Crusoe) nature: unforgiving + sparse }<-- utopian =/= dystopian nature --> Lord of the Flies


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(with Annemarie's help @apass)

*sources of knowledge =/= styles of knowing* ==> tensions

judgment: an occasion to apply one's own standards =/= observation: a mean to get to know somebody else's standards

difference
which differences exactly?
what are their interferences and their diffractions?
--> the surprises that come with finding “variations”

(stories about)
vessels & fluids
pain & technicians
patients & doctors
techniques & technologies

(bracketing the practices =/=) foregrounding the practices --> objects come into being and disappear with the practices in which they are manipulated ==> reality multiplies
=/= single passive object in the middle waiting to be seen from the point of view of seemingly endless series of perspectives (SK the elephant parable)

philosophy used to approach knowledge in an epistemological way (~ preconditions for acquiring true knowledge = Alex's question “what is artistic research”) =/= (Annemarie's) *knowledge = a matter of manipulation (=/= reference)* ==> ethnographic interest in knowledge practices (--to--> “what are artist researchers doing?”)


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#project: to create a multidisciplinary knowledge program around the relationship between art, marketing and [?], highlighting the imbricated فلس فلس nature of [?] as tangible resources and knowledge

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#project index Tehran theory: to think ethnographically about non-unilateral and non-static picture of aspiration in the context of contemporary Tehran eco-techno-culture
- archive question
•contemporary media technology
•data/knowledge organization
•infrastructure
•epistemology
•Tehran techno-culture multispecies ethnography
•mini worlds
•*how people imagine a better life?* --> (to think non-unilateral and non-static) *picture of aspiration* (in the context of contemporary Tehran)
•imitations of forms
•http://ajayeb.net/?q=sensibilities+hitting+people
•start as collaborative online platform for writings/projects about Tehran emerging ecologies:
◦mice موش
◦mobile phones موبایل
◦monsters هیولا
◦heavens مثل
◦
•on Tehran trees:
◦on anthropogenic landscapes of Tehran
◦descriptive methods for the study of social relation and histories
◦learning (directly) about worldly objects of Tehran ==> take part in the kinds of creative play that are the hallmark of the research --> draws readers [...]

[...]so ancient --Haraway--> bacterial protist Mixotricha paradoxa (“the paradoxical being with mixed-up hairs”)
•so minute جزئی --> new materials engineered through nanotechnology
•so boundless --Sagan--> metametazoa: human as a multiple afloat in the omnisexuality or bacterial exchange
•so relational --thacker--> swarm, pack, flock, epidemic [go to --> ERG website's epidemic nodes --> *the image of the relational*]
•so
}<==motivation==
1. considering the strangeness of life forms act as a template ==to==> think differently about life by mobilizing new ***prepositions of connection*** (with, alongside, between, sym-, etc.) ==provoke==> different theoretical insights into how society might work
2. ethical political drive to promote radical inclusivity and to challenge mindsets that fixate on identity and difference (<-- Harawayian) [--> Isabel, Sara]
3. work of decentering the human as the premier valance of the universe (may in turn) ==cultivate==> an ethics that is ecological, in the sense of global and interspecies (<-- Mortonian)  [--> Sina]
4. conceiving of the ‘other’ as planetmate, messmate, natureculture, mind-body, etc. (maybe) ==lead==> new conceptions of camaraderie, community, society, friendship [--> artistic research, apass, Viveiros de Castro]


bacteria [also: mushroom, swamp] --> poster-creatures of the flat ontology movement --> challenging classification
replacing Tree of Life with DNA-based model of life (homo sapiens: a micro-ingredient of an astonishing bacterial soup of prokaryotes, archaea, eukaryotes)

*bacteria: the ground zero life forms* -->! ***nearest we can get imagining the Lacanian Real***

we are more bacteria than human

(global) bacterial biome: para-collective (=/= “merely” biological)
*our ways of reacting to bacteria are as political as they are scientific*

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purity & pollution + their deep-seated link with social order and its transgression --Douglas--> {from the idea of poisonous vapours (miasma [unrelated to cleanliness]) --to-->} discovery of pathogenic organisms بيمارى زا ==> modern concept of bacteria

cleansing rituals before the bacteriological age functioned to ward off spirits and restore social order and control (@Elke, @Isabel, the artist as medium)

discovery of germs ==> radical re-conceptualization of dirt (--> it is difficult to think of dirt except in the context of pathogenicity)

if we can abstract pathogenicity and hygiene from our notion of dirt --Douglas--> we are left with the very old definition of [*]dirt: matter out of place

**when we see dirt --> we see a system**
--Campbell--> when we see bacterial images we are seeing something else

***contamination = a violation of some mythical, symbolic, or political system =/= just a phy[...]