[...]
18th century
rise of increasingly more mathematical and symbolic logics
more literary types of discursive formations,


Wordsworth, Rilke, and Keats disavowing Paul de Man?!
Freud without Goethe or Schiller?!
Benjamin off Baudelaire?!
Derrida deprived of Mallarme, Ponge, or Celan?!
Heidegger abandoned by Trakl or Holderlin?!


increasing technicization of critical language


colloquy, soliloquy
they are called to witness distinct regions of being ==> assuming the destiny of difference
% denken und dichten is at stake in the *theory of mourning

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

[Stengers]

the storyteller : “some people love to divide and classify, while others are bridge-makers--weaving relations that **turn a divide into a living contrast**, one whose power is to affect, to produce thinking and feeling”

(regarding my footnote fetish) ... because writing such footnotes implies *feeling the text* as an *animating power*

philosophy =? a form of textual animation {--> approaching the work of ajayeb}

to turn the [ajayeb] (animist) modes of experience (existence), awareness, and knowledge into living contrasts (intensely powerful bridge-making tools)

can we reappropriate without reanimate? ----> i think if we deconstructively talk about the reappropriations of meaning we might allow animation to constitute itself.

-how to train yourself in spotting relevant questions and unilaterally [einseitig] imposed questions? (their differences) [~? mofti مفتی, fatva فتوا =/= khotbe خطبه]
(to put the ‘question’ at risk)

*milieu-thinking* (to think by the milieu) :
1. no reference to the ground
2. never separating from milieu

(Virgin Mary requires a milieu [of symbolic efficacy, categories of belief, etc.])

what is the milieu of ajayeb? (ghalamrov قلمرو, mohite ejtemayi محیط اجتمایی‌, its ecology)


“natural”: that which science will eventually explain ==> nature =/= “natural”

“nature”: that larger, older, and wiser configuration that gets credit for ingenuity (instead of the creature's bodily know-how) by the call of the scientist


عجایب ajayeb's relations to the world, rhizomatic connections to other practices that likewise explore a metamorphic (rather than representational) relation


Earth =/= cradle


Surrealists’ automatism to cultivate lucid trances is missing the techniques of imagination developed by Ibn Arabi, (or by Sohrevardi, and others)
(Breton's subjectivity is still hopelessly European)

=?=> to recuperate our physical force (old good Tasavof-?)


‘ideas’ --> to “animate” huma[...]

[...]and the autonomy of language


we never read just once

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

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

xxxxxxxx

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

[D+G]

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

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

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



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

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



(asking) is this practice good for the subjects involved?
--> we create (involuntary) differences, the question is, is the world enriched by these differences? (by Sina, Xiri, Aela, etc.)
-(also be careful with) “differences as raw material” in a “delocalized cultural capitalism (geopoliti[...]

[...]never done anything other than demand (since infancy!)] *{question =/= demand}*--> Nancy
[the use of ‘transference’ is a way to account for the relationship between readers and texts. the emphasis in Lacan is on the ‘supposed’ and not on the ‘know’. reader assume that the text ‘knows’. --> What Lacan's understanding of the transference points to is the fact that we must see the meaning of any given text not within the text itself but as a reconstruction between reader and text.] [in other words, transference is ‘a representation of the past’ (childhood and etc.) to the present ]
a pedagogical problem: rapid transferencial turn-over: going from one subject-supposed-to-know to the other (=/= reading)
#the kind of ‘reading’ [encountering a text, artwork, speech, ourselves, etc.] that i am talking about is not about this transferencial energy directed towards the sujet supposé savoir. this practice of reading is about to read together and to read ourselves reading, to an atentiveness to the way we are reading or not-reading or aberating from something and be attentive to that disjunctive movement. what is noncomprehension? what is the experience of nonunderstanding? and so on.
*so, the sujet supposé savoir is the one who is structurally is in a place of knowledge which doesn't mean that subject is filled with or capable of offering power and knowledge but that is projected onto that functional space* --> sujet supposé savoir is merely a spatial determination? (is this related to my interventive lectures in outdoor spaces in order to sabotage ‘what is meant to signify’ of the spatial subject-supposed-to-know?)
*sss is one of the effects of subjectivity -- a scenography of transferential intensity : we credit that being with having knowledge to transmit, and then we might also resist it.
---let's get out of this space!!?
--%--in the context of pedagogy, students regards their teachers as sujet supposé savoir, that they should know something. “it is the students’ supposition of an art teacher who knows, who have something more than they have in themselves, that initiates the teaching and learning process rather than the art knowledge actually possessed by the teacher” (Hetrick). (is it the architectural gesture--the center--that produces the recognition of the teacher situated as “teacher”?) *“the spell of transference.” / at some point some gesture is taken by the student as a sign of hidden knowledge and intention ==> transference establishing itself; (how education [and love?] without transference looks like? --> Julia Scher, ‘post-Lacanian’ means that you don't ‘transfer’ to the art-work nor artist?) #harem
parent --> teacher }==> what the student may desire to become (be recognized as)

according to Lacan there is no Pir (~ [often iconoclast] leader, guide, mentor, expert, knowing-hero, enlightener, rescuer knowing more, knowledgeable pedagogue/leader “helping students find thems[...]

[...]ms are not the same*: to open up to our extremes, to open up to what you are not sure of --> to find ways to be in productive alliance (=/= the notion that everybody has to do everything [tell Xiri])
•(educating oneself) actually know how to explain what somebody else said and not just what you said*** --> figuring out how to disagree with each other as well as agree, that no statement is going to be taken as evidence of being the enemy (--> we face this in apass)
•learning how to recognize authority (as a mentor and participant) (the problem of the inability to deal with authority, common in early feminist movement, traces in Xiri) --> being alert to how hierarchy shut people up that one don't acknowledge the hierarchies that emerge out of that *{alarm ==> hierarchy}*
•in apass i am trying to remember what my peers are doing, and when i see things i think of them, and they are in my citation network (they are all over ajayeb.net) and i am aware of what they have told me. words they are inventing are in my vocabulary too (that is why i am so energetic calling in Xiri's category change --> for example “generous suspicion”)
•collective research environment works by networks* (--> a problem with apass)


[*]epistemology = stories knowledges tell


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


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

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


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


Greek brainwomb


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


the talks i have been giving are done by someone with a kind of mind and soul that just makes connections fast. i work orally. the lectures are heavily prepared (and some important ways unprepared in the manner of its performance: all those connections happening during the talk not knowing them beforehand, they happen by the encounter*) and full of cue (سخن رهنما، ايماء، اشارت) and quirk (تزئينات، تناقض گويى، تغيير ناگهانى فکر). my notes and scripting are invisible to my audience, but they are there at work. and it gets people excited. and that's the point. i work with confusio[...]

[...]modes of attention** [--remember--> your mode of attention (= your mode of abstraction) is doing the foregrounding and the world is not actually built that way. so you make ‘your mode of attention = world’ to inhabit something for a certain time only to do a certain kind of work)] --(because)--> you are always jumping into the middle of something that is ongoing before you, into the middle of many conversations. you are learning how to get it in several ways at once. the hypertext that i have been building also characterizes these kinds of layering upon layering of textual work. teaching myself how to write and how to play with ideas.
working with (Haraway's) kind of good-enough approach to a body of scholarship --> inhabiting many things that i have only got half-digested (=/= through digestion, particular bodies of reading that people need to have mastered in order to argue)

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

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

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


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


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

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


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

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


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


(in political movement:) working to a kind of clarity of ideological posi[...]

[...]itivity, and sociality

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

Stewart

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

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

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

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

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

“affect gathers its force to make image touch matter” --> image's power is the power of synaesthesia =/= collection of named “feelings” (invented in discourses of morals, ideals, and known subjectivities)

(let's study how [in Iran] raw materials are formed and exceeded -- sudden and lingering intensity of things) (which darvaze/دروازه/gate we can't and which سوراخ سوزن / surakh-e suzan / hole of needle we pass through)
[i am having always multiple books open, at least two, is that how connection occur for me? #simultaneity]


(Stewart) “I remember childhood as a collection of arresting images”
that hinge on sensory details and open onto luminous scenes of affect [--> Feherlofia/Fehérlófia 1981, Son of the White Horse film. (we must resist calling this film “psychedelic”)

“[...]family as a visceralityrality through screen images of”

...sudden, repetitive eruption of images of alcoholism, accidents, violence, cancers

*technologies of family, church, law, and nation* (lay confident claim to affect as a capturable content of known and expected “feelings,” but affect itself--that which surges into view along the jumpy border of the actual and the virtual--is their raw material and their only renewable resource. Stewart)

(a sidestep? what) brings an uncanny, alien presence into the field of vision

*an object insists on being seen* (through the tricks of trauma, through the seductions of compulsive beauty,, , ) ~~--> aesthetic event of the senses [@Hoda]

spectacular graphics of disaster

watching: inhabiting the power of the tuned-in spectator; becoming an active participant in [TV's] logic of image (production and) recognition

--✕--> catharsis of mean-spirited
--✕--> festering [...]

[...]together (not our so-called cultural differences)

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

authentic imperialism has always been multicultural

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

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

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

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

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

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

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

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

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

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

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

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

countervailing forces of sense and story

to inspire a sense of critical urgency

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

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

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

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

the gaps between: theory, practice, cultural policy, audience reception
[...]

[...]creative methods to collect evidence of environments making and shaping bodies in ways more complex than and ontologically distinct from the poetics on hand to describe it*

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

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

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

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

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

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

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

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

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

countervailing forces of sense and story

to inspire a sense of critical urgency

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

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

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

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

the gaps between: theory, practice, cultural policy, audience reception

anarchic and eroticised happening-art

“participation = collectivism =/= capitalism”

@Eszter: (?the “ideological” in) participation in a welfare state social democracy

the ‘project’ as a privileged vehicle of utopian experimentation at a time when a leftist project seemed to have vanished from the political imaginary (in Europe)

*changing identity of the audience across the 20th century* (Bishop & Crary on this topic)

*artistic models of democracy* --tenuous?--> actual forms of democracy

to refute the commodity-object[...]

[...] biopolitics
-can art succeed in transforming such a ‘whole’ into free and autonomous individual beings?

references to panopticon society
(?which camera angles suggest) naturalization of surveillance culture



[title]
*observational aesthetic* <== convergences of contemporary art and anthropology

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

[ajayeb -->] concept or theory --> (a training in) absorption + attention + framing =/= truth effect

[title]
Whatever Professor

[why apass asked me to do their website's] indexing: (a shrewd and thoughtful creativity in) the first interpretation of a content's body =/= presuming a standard taxonomic form
==>
•surprises
•styles of critical thought generates power in twists of voice and craft
•
allows one please to demonstrate the wonder
“We ask our readers to perform the jamb when language overruns the mental breathing that reading entails.” (Lepselter)
•or, nothing disappears --> You breathe the air you're given. (“I felt ripples from a rape in the seventeenth century, behind a barn somewhere in Romania, where generations later my bitter grandmother disparaged her children without knowing why.”)
•or, words sediment next to something laid low
•or, (index as in) to point sideways --> shifter's only meaning is the object it happens to point to
•drawing figures, hooks, asterisks
•or, placing what's structural, technical, transferential, pulped, leaking, intense
{things: an integrated thin layer to epitomize and abstract in new ways how people are hooked up with their technologies; parsing and criss-crossing some of the built-in categories and new needs of the people who are using it;}


things that do the reading, editing, assembling

*every edit ==> (set off a cascade of:)
•word falls
•Rubik's Cubes
•tropes
•infrastructures
•genres
•rhymes
•off-rhymes
•tonal flips
•half-steps

[compositional listening]
one reads aloud + the others *listening compositionally*

#writing exercise:
following out the impact of things (words, thoughts, people, objects, ideas, worlds) in hundred-word units

theoretical reflections get folded into the analytic, observational, and transferential ways we move
(Stewart + Berlant)

aftershocks of a shock you can't point out

(we shouldn't always ask) “where does the misery come from?”

designers imagined a still life, not a lifeworld where we show up to build things out

evaluative critique =? (mental habit of) demagnetizing things (for the sake of clarity)

proliferation of little worlds...

story = relay, weiterleiten, رله

<[...]

[...]ety =/= ejtema اجتماع community = norm + place (+ identity)
◦ ejtemayi اجتماعی social =/= ejamyi اجماعی collective
•tars ترس fear =/= ezterab اضطراب anxiety
•sharm شرم shame =/= khejalat خجالت shyness



آتش آب خشک را پر میکرد از آتش تر
ab-e khosht = piale
atash-e tar = sharab


tar تر = allude آلوده = sabok سبک


khosro shirin
tarof ghabl az bad o bira goftan

shenidan (niushidan) ~= fahmidan فهمیدن

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

*negative bias = the negative is more ture*
negative bias: negative stimuli 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 captivity --> 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 h[...]

[...] nonmimetic sharing(?)

[we make ‘knowing’. knowing is always a practice of making, and always embodied. the idea that thinking involves disembodiment of the knowing organ is just insane.]

“articulating bodies to other bodies” ----> disarticulating bodies to rearticulate other bodies

entangled assemblages of relatings knotted at many scales and times with other assemblages, organic and not

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

ajayeb is system imagination

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

[Naveeda Khan]

Perhaps the question could be posed as, how do we come to grips with the universal, the supra-historical, or even the cosmos within our global present, imagining a local that lays claims upon all three?

is there a Muslim environmental imaginary?

‘Islamic ecology and environmental ethics’ --> the need to center a vibrant materiality or the liveliness of things in the anthropology of Islam (that has been to date largely preoccupied with Muslim polities and subjectivities.)

It should come as no surprise that my own efforts at centering materiality comes through studying how these predominantly Muslim farmers interact with and come to acknowledge nonhuman forms of life (including the figure of Khidr خضر, dogs, river waters, silt, and lightning, to name a few). Finally, I remain concerned to explore how the singularities of these lives, both human and nonhuman, come to be hitched to the global. This research will culminate in a book tentatively titled Ensouling the Anthropocene: Riverine Life and Climate Change in Bangladesh, in which “ensouling” treats the problem of scaling up singularity to the global, intensifying efforts that began with “Of Children and Jinn.” [source: https://culanth.org/curated_collections/19-everyday-islam/discussions/20-interview-with-naveeda-khan-about-of-children-and-jinn]


r />
(what i am reading in ajayeb)_with Naveeda: “Muslim cosmology and eschatology hold promoise of ecological thought, providing an unexpectedly materialist perspective on our creaturely interconnectedness.”

[ajayeb (and telegram) is full of] gestures of incorporating repugnant [offensive to the mind] others---that one sees reflections on divine creation qua [als] creaturliness


thoroughly disabused
aufklären آگاهیدن آگاییدن

expound تفسیر

incentive مشوق, فتنه انگيز

litany مناجات وعبادت تهليل دار

showmanship (نمايشگرى?)
effektvolle Darstellung, Schauspielproduktion

queasy به طور تهوع آوری لطیف مزاج

(a gedture of) ludic [playfull, spielerisch] transcendence of [the] present

obdurate سرسخت
-showing unfeeling resistance to tender feel[...]

[...]> (sometimes that place is a fully-invested connection and weighted, like home)
***forms of belonging: tactile + full of force + tentative + risky /--{"+” : are, and, yet}
--> an ecology of paths that matter by means of the things that happen in a present in which we are *lost yet attuned*

--> all the ways that people and things venture out into reals [my mother, Sina, Janina, ...]


[*]town: currents of difference, affiliation, history, ordinary dullness and comforts, characters and their stories


psyching out ethnicity


(my old attunement:) the fear of cockroaches

the miracle mile of computer technology

the elitism of the historical societies

localness nests in:
•tastes
•bodies
•neigborhoods
•a valley
•a state
•a geographical region


“in each scene of the production of history there are events that are storied or otherwise pulled into play” (Stewart)

Stewart on salem witch trials
the accusations spiraled through families, catching people up like magnetic strips
“wicked little sorceries” -->{jumpy moments that suddenly lay the charge of a half-known intensity onto ordinary people and roads, regionality becomes a wicked little sorcery. a vortex that pulls possible forms into life into a moment's alignment}, {the adjective ‘wicked’ marking *excess* of all kinds}
astrology
fortune-telling
*an attunement to specters*
-a farmer admitted getting into ‘the snare of the devil’ because he had a large family and ‘the world went hard with him.’


robustness in cold weather


[title]
making of edges and scenes in ajayeb

character or texture of an edge

(ajayeb is made of elements that were) a thing sensed with certainty (yet made up of a shifting, edgy composite)
[a sentient shadow called jinn, God, darkness of a pit, a cycle, etc.]
--or--> made scenic *as a site of a world's potential* (= ajayeb)
--the scene of a thing's demise

an edgy irruptive event

rules and edges are OK when separate, but together, a bad combination

(Karin + Sina + Hanno) we were humans together

--we adjust ourselves to the done deal that things happen--

(we find ourselve being) “from here” in a world made intimate through forgiveness, denial, detachment flowing in after a surge of something bad--a close call [Stewart]


*what are ajayeb's turns (and turn backs) to the inarticulate real?


hallucinogenically down-to-earth (Aela)


what are ajayeb's state of emergent expressivity [today]? (that tries to guess and describe ‘what is happening’) **** things that happen are incitements to form ****[...]

[...]takes place in singularity? (because every worlding is singular and precise ==> the pleasure of its recognition)

#my project in apass has been a practice of writing that is an experiment in attuning to ajayeb's tune

ajayeb reports of:
•affect that has become native***, attaching to bodies and socialities, to an ethos***

with ajayeb (with Stewart) i am learning:
•to approach the tactile compositionality of things
•de-dramatization of academic thought
•to approach the thing that throws itself together *slowly and enigmatically*--> #andakhtan, andaze
•a descriptive detour (with Latour)
•a lyrical evocation (with Stewart)
•a method of awkwardly approaching an object by attuning to it as a thing of *promise and contact* (with Berlant)
•

concept: that which attunes itself to things coming into form; is both abstract & concrete; actual & unfolding

highly fractured stone of a collective intensity (--> Iran, and most other places)

______________


ajayeb was/is very much committed to the concrete: that means committed to speculation and curiosity (and not the demystification and uncovering truths that support a well-known picture of the world) (it was only to a certain degree in support of the middle age islamic picture)

*a something both animated and inhabitable

how to approach a weighted and reeling [walk as if unable to control one's movements] present?
(to name)

(Stewart ☞ Berlant:) objects and scenes of desire hold promise, keeping whole clusters of affects magnetized to them
-an individual's abstract yet contingent desire to feel like he or she is “in” something or can recognize something [@Lili, Aela]

***promise is always promise to be present to the scene


i am reading in ajayeb the actual lines of potential that a something coming together calls to mind an sets in motion

exert palpable pressures

(working with ajayen equip me with recognizing the) immanent نافذ, obtuse پخ, erratic ويلان (=/= “obvious meaning” of semantic message and symbolic signification;) to pick up density and texture
(in tasavof, in iranian poetry, in ajayeb, in my peer's works, )
-asking: what potential modes of knowing, relating, and attending to things are already somehow persent in them --> potentiality & resonance


(according to Stewart) ordinary affects are more directly compelling than ideologies, as well as more fractious, multiplicitous, and unpredictable than symbolic meaning*** (in short: canon of “Thinking”) --> “bigger” structures and underlying causes obscure the ways in which a reeling present is composed out of heterogeneous and noncoherent singularities
-Sven's ordinary affects and DJings --> his noncoherent singula[...]

[...]rding to Stewart) ordinary affects are more directly compelling than ideologies, as well as more fractious, multiplicitous, and unpredictable than symbolic meaning*** (in short: canon of “Thinking”) --> “bigger” structures and underlying causes obscure the ways in which a reeling present is composed out of heterogeneous and noncoherent singularities
-Sven's ordinary affects and DJings --> his noncoherent singularity ==> a nonrepresentational theory is needed to address them
asking Sven:
•what needs attending to (for you)?
•what/who are you in conversation with?



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



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


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

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

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

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

______________


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

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

[*]poem:
[...]

[...]e Castro)
==> perspective =/= a different “point of view” on (the same way of knowing or seeing) qualitatively different worlds }-->* situated knowledges, #elephant parable


no: no --> de-historicizing effects of imposing psycho-cognitive shamanic models of art
no --> purely cognitive significance (of...)


*miniature: a ritual activity, a grave offering, a sympathetic magic, a capture of the power of the original
--> common stories about how miniatures can be interpreted in archaeology


(ontological research approach)_
scale is utterly important because “careful attention to alternative ontologies of scale introduces new interoretive possibilities for...” (Alberti)

*ontology: the sense of a real, solid world
for example the question of “the substance of the world”, everyone has answered that already (reiterating that which makes sense) ==> concept of real --(invent)--> *cosmology (<-- this is not a relativizing gesture) ==(force)==> production of new concepts and materialities
@Eszter: importance of asking the right questions: unless we do, the answers make no difference (Grosz)


scopes and scales ()--> “dimensionally manifold weave of knowledge worlds” (Haraway + Katie) are at stake in:
•science display
•TV series
•ajayeb
•pet video
•emergent transdisciplinary scholarship
•transmedia commercial apparatuses
•
*with reading/enacting ajayeb what is at stake is the “effectivities in realizing knowledge stories” --> epistemological affects


[*]scale
•operates through intensity and not size
•emergent and performative (Jones), (juxtapositions of) scales ==> “interesting psychological and phenomenological effects”
•a flat approach to scale does not separate the social and material, or the micro from the macro ==> [*]size: (emerges as a possibility, as) one means of enacting the potential of another scale; accidental effect of intensity: materialization of intensity and excess ==> humanity***
•is about intensity and excess --> potential for visibility/invisibility and proximity to the original condition of undifferentiated, intensive difference (~=? hayula; perfect formless form)***; intensive different “h” of hayula هیولا...
◦ه
◦‍ه‍
◦‍ه
◦ه‍


Alberti argues for a form of ontological symmetry between the theory we bring to bear on our evidence and the way that material acts as evidence (@Seba)


*[mesopotamia] chronically unstable bodies
a corpus of zoo-anthropo-biomorphic artifacts and traps
anthropomorphism manifest in distorted corporeal forms and appendages ضميمه

all sorts of dualism are at work in the archaeological imaginary of the region from Amazon to the Andes
[...]

[...]/> ◦ه
◦‍ه‍
◦‍ه
◦ه‍


Alberti argues for a form of ontological symmetry between the theory we bring to bear on our evidence and the way that material acts as evidence (@Seba)


*[mesopotamia] chronically unstable bodies
a corpus of zoo-anthropo-biomorphic artifacts and traps
anthropomorphism manifest in distorted corporeal forms and appendages ضميمه

all sorts of dualism are at work in the archaeological imaginary of the region from Amazon to the Andes

marking a body =/= representation of that act

Alberti's arguments”
•the fantastic forms, bulges, protuberances برامدگى, and other modifications of bodies and pots express a general concern with “shoring up” or “fixing” a world conceived of as inherently volatile فرار --> bodies (pots and people) were considered “chronically unstable”* {pots --> intentional activation of affective capacities in the clay; pots and bodies are “grown” in he same way}
•chaotically scale-changing, their scale is one of intensity and excessiveness (--> figure-ground relationship between visible/invisible, body/soul)

*perspectivism: all species potentially share a way of knowing with humans. their “essence” or “soul” is human : they see themselves as human and others as animals
*to occupy a body = to have a perspective on the world*
•an intensive difference that carries the human/nonhuman difference to the inside of every existing thing --> there is no a priori reason for everything not being a subject [--> also Sadra]

[*]bodies:
•bundles of affect : collection of affects bundled into an unstable bodily form
•carrying out specific tasks
•sensing the world in particular way
•sharing capacities and habits with others in what keeps a body as it is and maintains its similarity to other bodies in a groupr /> •coincident with subjectivity* --> you need a body to know
--> (particular differentiation of a body:) body ornaments, clothing, sex, and other so-called cultural markings are no different in kind from the so-called natural markers of bodily difference and capacity: ***clothes ~= claws ~= affects*** --> “sign and substance of capacities and dispositions” (Alberti ☞ Hugh-Jones ☞ Viveiros de Castro)
*marking, molding, painting, adorning, clothing, piercing, and otherwise working on body ~=> to fix a body ==> to stabilize an otherwise wildly unpredictable perspective and world*
*body surfaces of spirits and humans are often brilliant and intensely marked* --> excessive corporeality --> potency of the embodied subject: their “scale” [in timespace tey-ol-arz] as efficacious beings, dense with affective capacities, (the body that is marked with tey-ol-arz incites embodied subjects)--> *trap* (operates along scale) [sufi's termporal “scale” (in tey-ol-arz طی‌ا[...]

[...]bodies and pots express a general concern with “shoring up” or “fixing” a world conceived of as inherently volatile فرار --> bodies (pots and people) were considered “chronically unstable”* {pots --> intentional activation of affective capacities in the clay; pots and bodies are “grown” in he same way}
•chaotically scale-changing, their scale is one of intensity and excessiveness (--> figure-ground relationship between visible/invisible, body/soul)

*perspectivism: all species potentially share a way of knowing with humans. their “essence” or “soul” is human : they see themselves as human and others as animals
*to occupy a body = to have a perspective on the world*
•an intensive difference that carries the human/nonhuman difference to the inside of every existing thing --> there is no a priori reason for everything not being a subject [--> also Sadra]

[*]bodies:
•bundles of affect : collection of affects bundled into an unstable bodily form
•carrying out specific tasks
•sensing the world in particular way
•sharing capacities and habits with others in what keeps a body as it is and maintains its similarity to other bodies in a group
•coincident with subjectivity* --> you need a body to know
--> (particular differentiation of a body:) body ornaments, clothing, sex, and other so-called cultural markings are no different in kind from the so-called natural markers of bodily difference and capacity: ***clothes ~= claws ~= affects*** --> “sign and substance of capacities and dispositions” (Alberti ☞ Hugh-Jones ☞ Viveiros de Castro)
*marking, molding, painting, adorning, clothing, piercing, and otherwise working on body ~=> to fix a body ==> to stabilize an otherwise wildly unpredictable perspective and world*
*body surfaces of spirits and humans are often brilliant and intensely marked* --> excessive corporeality --> potency of the embodied subject: their “scale” [in timespace tey-ol-arz] as efficacious beings, dense with affective capacities, (the body that is marked with tey-ol-arz incites embodied subjects)--> *trap* (operates along scale) [sufi's termporal “scale” (in tey-ol-arz طی‌الارض) as her/his efficacious being, dense with affective capacities for Attar in Tazkirat al-Awliya (--> also relevant for pit-story #measurement) --> the figure of the moving sufi across scales of spacetime on geo, works as a trap precisely along this scale --> materialization of intensity and excess ==> humanity]
* bodies ~= artefacts : sites of subjectivity *

*soul: the capacity to transform: a matter of chaning bodies

dead --> ancestor
(transformation is an ontological event: “-->”), @Hoda
for Wari to have a soul is a sign of danger, a sign that some transformation (of perspective) is imminent []

ajayeb is full of stories of instability: one's soul is always vulnerable to ontologica[...]

[...]is not the negation of body in favor of soul --> the key is not size or time but intensity or excess ==> to think tey-ol-arz: to think in many kinds of times, flesh, vulnerability, etc.]
tey-ol-arz metaphysics is based on the idea of a radical and infinite superposition of states: insides and outsides ~= heres and theres : are figures and ground to each other (--> #beyond)
--> there is no interior space to the body (~ there is no there/beyond to the body,) just an invisible body


#work on an exposure of work with tey-ol-arz with other interested artists
in Tehran, maybe in my parents house, informal space for opening a discussion in Farsi-English
(involve Pierre? where to get money?)
*campus: (a place where) new kinds of conversations are being invented in stabilized and social forms (sometimes departments, sometimes just research clusters)
i need to make that kind of mini-scale of quasi-organization between Tehran and Brussels: workshops, episodic and travel-mediated knots of practice


**(Alberti 2013 argues that) anything in the immediate, intimate vicinity of people can be subjectivized or personified through exchange and shared affects** --> an argument for ajayeb


‘to know a thing' = 'to subjectivize it’ : to add the maximum amount of intentionality to them (--> #equip them to talk well)


pots made to:
•to communicate (to an audience)
•to establish (relationships)
•to persuade (others of their point of view)

de-subjectivization: sometimes (objects) left deliberately partially subjectivized, semi-potent in their potential to know and be known

the intensely subjectivized pots --> *impede activity and enable knowledge*

•convince
•avtivate
-
•persuade
•communicate
•establish

eyes wide open: inability to see the invisible

*to see is to be seen*

buried pots, relational bodies firmly in place, teaches the dead to see properly, to maintain a perspective (Albeti)


[title]
(with Alberti) trap-thinking for ajayeb storytelling --> to make capable of knowing different things, invoking, quoting, reciting, citing, exicing, inciting different kinds of knowledge [cit- : to call, start] --> mobilizing #citational apparatuses --> they enter into a ‘type’ of relation particular to each


[*]traps(/pots): bodies fully engage in perspectival communication and battles of will, variously constructed and provided with affects and capacities, capable of knowing different things and of inciting different kinds of knowledge through the types of relations they entered into


______________


archaeological material ~= myrtle (=/= marble)


[*]ontology: a theory and experience of what [...]

[...]nimal turn in archeology --> nonanthropocentric zoological studies
Willerselv
Viveiros de Castro

Amazona --> animism (more than any other anthropological material) has provided modes of relationality to archeologists to interpret material patterning in archeological records --> [*]animism: an ethnographic meta-analogy for past ontologies
•blurring between nature and culture
•relationship with other-than-human agencies (animal, spirit, artifact)
==✕==> ontological critique

Viveiros de Castro --> systemize amerindian thought into a metaphysics ==> to have an reciprocal effect on anthropological thought (western naturalist metaphysics)

reference to a “common world”

new animism ==> ontology becomes another name for culture

Alebrti outlining:
•anthropological project that considers ontology as a critical question productive of conceptual engagement
•work of archeologists who theorize and practice archeology on the basis of indigenous theories
}--> where new animists turn to animism for a source of analogies, critical ontology turns to animism for a source of theory

perspectivism: multiple natures (worlds) + singular culture (way of knowing those worlds) [~ working from *commonality* rather than *alterity*] --> a theoretical bomb =/= analogies based on ethnographic content

spirits experienced as diminutive yet brilliantly decorated or huge and grotesque

the more intense ==> the more body it is

(the promise of thinking through) [*]thing: a nonspecified ontological category that can be “filled” through ethnographic observation that is designed to allow ontological alterity to inform its content

recursive anthropology --> alterity: a function of the divergence between ethnographic materials and the assumptions the analyst brings to them

(if) ontology: what is ==> alterity: part of what others say ‘what is’ that does not make sense to us


(the danger of) a new metaontological orthodoxy becoming a immutable metaphysic

archeological alterity: things that do not make sense ontologically (escape traditional frameworks)

archeology's new kind of reflexivity
•openness
•wonder: an intentional naivete, naive empiricism (==> sustain altering + enabling meaning, to be besieged & committed to ---> go to Cinderella =/= moving beyond)
•emphasis on descriptive =/= theoretical
•attentiveness to our embodied responses

(a question of critical ontology in archeology -->) how are we to mobilize & manifest (describe & transform) the new past from things? [<-- my question in my research on ajayeb]
•how i am subjectively involved in the past we investigate
•how i am objectively part of those pasts


the all encom[...]

[...]gy: 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 to them)


•Haraway --> companion species = biologist + creatures
•Barad --> concepts are literally embodied by the differing physical apparatuses
•


(we need more) art: careful accumulation of skills


21st century historiographic trends in art

artists increasingly *deploy simulacra of archeological practices and motifs* in their work


art practiced as craft (but not all the time) ==allow==> knowledge grow from the insight of being in the folding of life [of infantile grandious fantasy, as well] ~=? anthropology

producing contemporary ruins to draw attention to *the work of the present in the production of the past*

*artists take archeology as muse*
(t[...]

[...]ht be registered in “interference”


*anachronism, anachronistic --> #sleep-walking
“slippages in time” within the past as well as between “us” and the past
desire for tales of progress, with some particular “us” on top ~ chronology as essential origin {what we see often in technology tales such as Lucy (2014) or X-Men opening scenes}=/= to mix up who counts as “us” {what i have been trying to do, mixing up with Iran, Germany, etc.} to offer different timescales
•local details that animate generalizations
•archival labors dramatized and experienced as immediacy
•transparency of the material limitations of selection


spectacle of production

critique of the living-history ethos

giving science war pep talks... [TED]
(don't!)


[*]witnessing: “root of the experimental life”

[*]science: important and witnessable

freestanding photo-figures of scientists that work to situate and create scales of importance

commenting and making alliances across space-time with other figures


_[audience and markets]_
audience polyphony
audience and markets shift and converge in [flexible knowledges] complex address of multiple audiences, in that contradictory nest of niche political and epistemological “markets”
(**the story of the ‘interactive’:) “rich contradictory nestings permit an require visitors to select among possible salient narratives by animating differently layers of locals and globals”


to call oneself in and out of allience and its classifications, that *momentary universalism* shades into other ranges of affiliation and disaffiliation (*)

[...] --> [ ? ] --> salience --> tangible --> literal --> experimental

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

conceptualize the intensities of form and force
affect studies has made me feel less alone because before it

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

There are [always] other epic and epochal forces in our midst.

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

evil eye --> دیو چشم زخم --> غش --> اغشی

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

باغ plethora of old and new humanities, selves - with Sardar: There are plants that provide various colors of foliage, or hedges and borders, or climb up fences, or play architectural roles (=/= presumption that we must have a identity & supposition that we discover our identity & the Socratic “know thyself” as a fundamental human urge) we exist with multiple identities invoked differently in different context. subscribed to an imagined “heritage” ready to kill and be killed to save some “essence” (=/= San'an)
sake of the difference, scum and finest of men
(for example “black”: to be confused: once excluded, now technically empowered, a dominant group in the rainb[...]

[...]language”

the absolute centrality of figurative speech

(Susan Morrow:) how the scuttle of crab claws on sand influenced the hieroglyph for “writing”

we breathe metaphor, swim in metaphor, traffic in metaphor

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

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


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


description is fueled by ***hunger for the world***, the need to taste, to name, to claim what is seen, to bring it --> the resurrection of the world within the perceiver
*it is very often true that what we are compelled to describe is terrible, or oppressive, or heartbreaking. language is hungry for that, too [...] to eat everyth[...]

[...]#entities that started to make decision deep in the ocean)
(--> ‘actor-network theory’ ANT; Callon, Law, Latour, Serres. #the key difference here lies in the historical uses and mediations of objects, for humans objects are employed to solidify social bond. ANT sees agency emerging as an effect generated
and performed in configurations of different materials. Latour's work to relocate qualities.)
(--> New Materialism; radical constructionism, all world is a poem)
(--> nonrepresentational theory; Anderson, Harrison, Stewart; critique become vitalist: to watch grass grow, or curious and experimental to face an overbundance of things to be described or imagined; concepts are lived; the subject is present as witness to the moment in which some worlding is about to disclose itself in some form or event. the result is a subject attached to worlds throwing together in a sensory refrain, a literally unbelievable image, or a muscle of sociality or belief. theory: drawn through writing into the ways that people and things venture out into reals. a world in the present tense is always other than its representation [<-- another argument for #excess]. nonrepresentational writing : *a phenomenal method of attending and composing* =/= epiphenomenal: an expression of knowledge already garnered انبار from scholarship. to spin out of critical thinking's bad habits: the prizing of prefabricated good objects over bad objects.)
(--> Singh, Anand; agency as a threshold of life with its own immanent forms of movement and flux, studying spirits and shifts in intensity)
(--> )
(--> )


(the dangerous and bizzar idea of) a pure ‘human’ society


‘anthropomorphism’ actually ‘underestimates our humanity,’ in that the ‘anthropos’ and the ‘morphos’ together mean both that which has human shape and that which gives shape to humans (Philo + Wilbert ☞ Latour)
technomorphism, zoomorphism, ...
<br /> anthropocentrism of the standard anthropomorphism critique --> human-referenced starting-point


trophies, stuffed parts, drawings
urine, faeces and other dirts

feral =/= wild =/= tame =/= feral

in-between animal-findings and animals finding

appropriate places of animals: in zoo or animations

(the 2016 film Fantastic Beasts and Where to Find Them is about proper zoology and not animal epistemology. here what comes after “Find Them” is crucial.)
(the developement moral identities and psychological interiorities for Pixar's human teller in anthropomorphist films such as Ratatouille.)
-we need to imagine a new animal geography

*territory: “...sites of a completed cycle of parentage and exchanges [...] spaces of insurmountable reciprocity.” (Baudrillard)
(is Baudrillard sentimentalizing animal territoriality? and giving them ‘psychic life’?)


[...]

[...]r /> ==> free the craftsman (Sennett)


in many social relations we do not know exactly what we need from others – or what they ought to want from us

cooperation as a craft --> skill of understanding and responding to one another

urban design is a craft in peril (dar khatar)
•too much urban design ==> homogeneous and rigid
•modern built forms ==> only a faint imprint of personal and shared experience

Sennett --> (better understanding of) ‘material craftsmanship + social cooperation’ ==> cities better made

‘homo faber project’: the ancient idea of Man as his or her own maker, man as a maker of life through concrete practices
•limits on desire and will
•the experience of other people's needs (which cannot be reconciled with our own)
+ to recognize and honour what lies beyond us (and before us)

social relations & physical environment

issues of practical skill, tool, meaning, value


***the rebellious child (in me)


United States has become an intensely tribal society
*tribalism* [= adverse to getting along with those who differ, solidarity with others like yourself, & “thinking you know what other people are like without knowing them"], in the form of nationalism, destroyed Europe during the first half of the 20th century
--✕--> complex societies:
•workers flowing across borders
•different ethnicities, races and religions
•diverging ways of sexual and family life

“The ‘self’ is a composite of sentiments, affiliations and behaviours which seldom fit neatly together; any call for tribal unity will reduce this personal complexity.”
-Sennett

(for Aristotle:) city = synoikismos(= coming together of people from diverse family tribes--each *oikos* having its own history, allegiances, property, family gods)
[some my german friends are making us all poor in not recognizing this, that similar people cannot bring a city into existence. city obliges people to think about and deal with others who have different
loyalties to (linguistic differences). Germany, lacking direct experience of others, because of lesser colonial encounters in its history, falls back on fearful fantasies with the new refugees coming. integration, a bad response to the problems of living with difference]


(Robert Putnam:) people who live in homogeneous local communities appear more sociably inclined towards and curious about others in the larger world : first- hand experience does not weaken stereotypes
-the case of Brussels: withdraw from neighbours who differ --> to hibernate

attitudes
actual behaviour

[*]cooperation: an exchange in which the participants benefit from the encounter
can be informal as well as formal: experience of mutual [...]

[...]ildboyz, Cinderella under a mouse regimen
-using his body as an experimental tool --> eating a wolf's diet (=/= empathy, romantic dream of being a wolf)
submit his own body to mouse diet
one uses one's own body to meet the needs of another
Mowat used his own body as a means of generating scientific proof, and turned it into an apparatus for validity [--> how do we apply or misapply our body in artistic environment for generating truth and validity? to be careful with the context of generalization]
([artist's and] scientist's) body: a technical device, the witness
(companion story -->) ***to embody the way other beings solve their survival problems***

“the business of curling up to start with, and spinning around after each nap” (was vital to success with a dozing wolf) --> Cinderella's choreography of the morning greeting ceremony

limits of endurance


i feld that i, because of my specific superiority as a member of Homo sapiens, together with my intensive technical training, was entitled to *pride of place* =/= being under observation

Mowat's humour =/= Derrida not laughing at his own worries (concerned with: what distinguish animals from man is their “being naked without knowing it”)
•naked body is a pretext, a pre-text for more philosophy
•Derrida is talking to his colleagues (the very people who are **seeking grandiose difference** <-- also artists) =/= a difference that happens to him
•(my problem with the old tiring trend in philosophy [after encounter with Manning]:) looking for locus of things [a generality] : talk about ‘the figure of the cat' = the allegory for all the cats on the earth (~ the felines that traverses our myths and religions, literature and fables)

***what the cat might actually be doing***
(this is my relation to description, what is the world, that cat, the demon, the mice up to? and use my best imaginative crafts and precise descriptive acts, the answers are many. that is not about definition or defining ‘what is’ the cat that visits me or the spider in my room. i only try to well define concepts and not subjects. my style of presenting my research on ajayeb bestiary: narrating the contingency of the differences that happened and mattered to me in particular =/= philosophy)


wolves (=/= nomadic roamer) have strong feelings of property rights and they ritually and regularly mark their boundaries


what am i allowed to do with my body when i am with animals?

(Despret + Strum + Mowat) using one's body to make the animal respond (--> does this make sense with humans? in apass for example --?--> use your body to make them respond =/= react)
--Haraway--> a “good” (actually bad) scientist = learning to be invisible, like a rock to be unavailable, as if data-collecting humankind were not present, seeing the scene of[...]

[...]rotogenic intensities, psychical cartographies


{ porosity = poiesis }--> collapse the boundary between the embodied self + its world + others ==> consitute a specific place


•puberty = the fantasy that this disfiguration will make me more myself
•teenager = you spend hours before the refracting reflection of your transmutating *body = your most intimate other* --> enact boundaries, sometimes lovingly, but also brutally


(senses are) reactive to the sensual abundance of the world but limited by affected perceptual milieus


[*]texture: residue of unmetabolized and metabolized sensations of animate forces --> emergence of bodiliness (<-- Hayward's rhetoric)

transitional body = textural body

architecture: the most binding part of the communal rhythm

appearance ~= metonymic
appearance allows her to emerge situationally as a woman, a gendered neighbor, a historical subject


(being under the influence of the moon:) enfleshing elements of your (celestial) environment within yourself and expressing parts of yourself back into the (terrestrial social) environment


identification: “i am like you = i know you” ==> resolve the divide of difference

(let's not make that kind of garden again -->) inclusion in Adam's nameable Eden of belonging (=/= Cinderella's transbestiary)

cross-species rejoiners
mended spiderwebs


error is (still a kind of) expression


human: composites of zoo-intensities, animated movements, bio-differentials


(i always felt like this) my perceptions are refracted through psychic forces
anxious
uncertain
paranoid
“is everyone staring at the morphing ‘it’ that is me”


(understanding of art in contemporary european performance -->) art = intensifying bodily substance, to resonate otherwise, to feel different corpo(realities) through zones of transition and intervention, provocation = responses to our *capacities to resonate*


...medicalization, recognition, subjectification, instrumentalization, and responsiveness being with animals

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

what does the maze mean for the rat?
what a maze can mean?

experimental psychology --> subjects conform most often to the expectations of their experimenters [--Despret--> they are *artifactual*]
-*the scientists think that the subject respond to the question that is posed to them, but the subject in fact respond to another question* -->{question that is addressed to them = protocol to which they are submitted}--> they can take a position in relation to what is proposed to them in scientific research [=/= Cinderella's mice subject]

the idea that (the a[...]

[...]limbing mountain peaks and summits figures as a journey similar to a struggle with disease --- wilderness therapy creates what she calls a **slow wilderness,** in which risk is made manageable and contained, and fast and risky aesthetics, coded as masculine, are traded for ecofeminist tropes of mutuality, nurturing, and femininity. -- it is about making permeable bodies (+and landscapes through their interactions.) --- climb: embodied practices of resilience and interrelation ==> a different ecological model: working with the limits and obstacles that illness brings =/= repudiating illness in favor of ***survivorship narratives***} --> there is a moment in Shahnameh highlighting this narative---can we look at the story of Siyavash, his fire-trial, against Sudabeh? Siyavash raised by masculine figure Rostam cannot love the feminine processes of Sudabeh, (she wants him, in an experimental [sex] erotic participation, her attempt at melting his moral ice, which we later find out fire cannot melt***) to break the fabric of obligation (his intense commitment to the father-king combination) =/= tribalism, betraying the patriarchal arrest (the myth of a single god/father and patriarchal faithfulness - *the myth of the strong personality*) ==> Siyavash--patriarcal type of guy who doesn't know how to greet her snaky figure politly--excuses himself of a vital encounter and sustains an ascetic subtraction, and lets Ferdosi--alwayes on God-Fire's side--execute Sudabeh through the bad boy Rostam hyper-masculinity itself. Siyavash/Rostam is utterly non-queer, Siyavash: Rostam's pet project, domesticated, passes the exam. Sudabeh is shocked and screwed-over by the narrative and spectacularisation of the fire's truth-event in an “enactment” plotted by Ferdosi--she is done, she doens't have a deal with fire. She is accused of being Eros, of being garrulous, of wasting words with lunatic prodigality, the chattering, ranting, gossiping female, the tattle, the scold, the toothless crone her mouth wind-full of speech.
smell of Sudabeh: moshk, golab, sharab, infinite odors--she is ‘full of it.’ drugs, toxins, rumorous texts, etc. smell of Siyavosh: nothing. neutral. sober. his silence-treatment appeals to the big father. (king's nose. smelling as justuce method? objective observation, provisional logic of nose, smell of smoke, and fire)
Rostam takes no delight in Sudabeh's voice since its register is nothing sweet nor low.
Siyavash corresponds to a set of idioms and is enraptured in the movement of certain silences in which he can grasp only certain falsehoods or menaces.
so Siyavash is ready to go to-the-fire but not to-the-woman.
(never hesitant, even kills his own son by ignoring his signals) Rostam never daird to look the devil in the eyes (---Sudabeh had?)

the Sudabeh's case is a non-agonistic agon, not to be fooled by its decieving differences from Rostam's combats--both are competition as a form of exclusion. in her[...]

[...]ool
•properties (or potentials [ajayeb style?]) cannot be listed

X as agent presents us, as shadow shows...

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

winds
روح ruh, spirit =/= wind: thermal expansion of air ~ air’s tendency to rarefy and expand under the influence of heat
(recognition of) thermal expansion of air ==> motor of global atmospheric circulation

explaining winds --Borrelli-->
•how rational thought could grasp
•how divine power descended to earth

pneumatic machines
gears, weights, levers, pulleys

****premodern natural phenomena
--more--> exploring and classifying *varieties* of things =/=
--less--> common *causes* of things

varieties =/= causes


cause ==>? highly complex phenomena
  |           |  
[-O-] ==> {t|/?#$^%V!~)&^} <-- premodern science and art today stays here (--> go to Stewart’s attunement to phenomena)


[*]navigation: negotiation between the direction one ‘witches’ to travel & the direction that is ‘possible’ to travel --> wind sense:
temperature
humidity
intensity
regularity
smell
knowledge of astronomy + geography


wind rose --> (connection between:) celestial + astronomical order + terrestrial variety (of land + living creature)

estimate the speed of the ship
throw a log with a rope attached to it overboard, and measure how much rope went overboard within a given period of time

Pliny the Elder --> historia naturalis

Seneca --> naturales quaestiones
air has a natural power of moving itself [==> agency باد]
}<== Seneca’s stoic worldview: conceived the cosmic principle of all life and movement (pneuma) as a subtle substance pervading everything and giving rise, among other things, to all weather phenomena
air = expression of pneuma (alive & live-giving)
all weather = manifestations as transmutations of air
(late medieval encyclopedia -->) *weather = a kind of alchemy of air*
(late medieval wind diagrams -->) wind: cosmic divine powers blowing from the celestial sphere onto earth

Aristotle + Albertus Magnus ==> explanation of the nature and origin of winds in Renaissance meteorological works
air and were then dragged along by the circular movement of the celestial spheres so that they ended up moving horizontally

hot and dry exhalations

aeolipila: a hollow metal sphere (shaped like the face of Aeolus) with a single tiny hole in it

air possessed a force (“vis”) that heat could awaken

16th century --increase--> interest in systematic explanation of meteorological phenomena

#workshop on wind poetry
epic battle, systems moving air, agen[...]

[...]ye and the sphere of the planet Mars.)

apparition is essential or part of the essence or itself the essence

Hayula: mojude mobham o bi-ta'ayon, joz ghove-e mahz va este'dad-e serf nist. (jesme basit)
هیولا: موجود مبهم و بی تعین, جز قوه محض و استعداد صرف نیست
(جسم بسط)



[...]

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

(Delanda)

we are taking “real history” as starting-point

-to capture the dynamics of human historical processes, we must allow the nonhuman physics to infiltrate the human society---complex materials that form human culture. --> (for example) water in its several distinct states (solid, liquid, gas) in phase transition (intensity of temperature)---that which human society “see” as material-change

example of spontaneous structural generations are coherent waves:
*solitons* - forming in many different types of materials, from tsunamis (ocean waves) to lasers. --> *attractors* {stable states, which can sustain coherent cycles activity {periodic / chaotic}}
*monsoon* - a wind circuit that has powered all sail ships in Asian waters for centuries---in those urban centers in contact with monsoon, knowledge of its dynamical behavior and skills in tapping its energy accumulated.


“materials” are {-energetic -genetic -linguistic} --> the flow of human and the animal gene we have domesticated

the specific dynamic pattern of turbulent urban evolution in (European) towns should not be view as the result of “progress” but as the result of certain dynamics that intensify the accumulation of knowledge and technologies, and of certain institutional norms and organization. for instance, the 11th century industrial revolution can be viewed in terms of reciprocal stimulation between technologies and institutions, fueled by: -solar energy (agricultural) -gravitational energy (water) --> to power grain wills --> intensified by the flow of money.

*story of the bone*
(organism never forgot its mineral origins)
in organic world, soft tissue (gels and aerosols, muscle and nerve) reigned supreme until 500 million years ago. at that point, some of the conglomerations of fleshy matter-energy that made up life underwent a sudden mineralization, a new material for constructing living creatures emerged: bone. it is almost as if the mineral world that had served as a substratum for the emergence of biological creatures was reasserting itself...



genes as sorting algorithms, are themselves sorted out by selection pressures such as: -climates -predators -parasites


structure-generating processes sort things (1) take heterogeneity [collection of materials---pebbles, genes, roles, etc.] (2) homogenize them [through sorting operations] (2) consolidate them (into more permanent state[...]

[...]om cause to effect [we can see this modality in the creation of institutions]


coal is the product of one of several types of mineralization that organic matter can undergo, and submitted by “civilizations” to deposit intensive exploitation --> flow of nonhuman energy ==> fuel its industrial revolution

industrial age = the crossing of a bifurcation where previous autocatalytic dynamics come to form a self-sustaining autocatalytic loop.

(both) industrial revolution and biological evolution, they lack [rpgressive direction nor consistent drive toward complexification---some species complexity while others simplify


cities as real transformers of matter and energy
cities are open or dissipative (esraf اسراف) systems, with matter-energy flowing in and out continuously



(in autocatalytic loops) the trigger-flow interactions: interlocks a series of separately reproductive systems into a single interactive reproductive system

antimarket ---money--> mining regions ==> intensified coa extraction ==> iron production ---> [steam] mechanical energy ---> cotton textiles ---> flow of profits ===money==> experimentation with coal, iron, steam

skill / know-how = catalytic info
(info capable of bringing together and amplifying flow of energy and materials)

economies of agglomeration (anbashtegi انباشتگی)

the law of diminishing returns (bazdeh nozuli بازده نزولی)
a point at which the level of profits or benefits gained is less than the amount of money or energy invested. (image)


illumination --> coal gas
motorization --> steam


knowledge is an input of production which exacts high transaction costs. only where patents are perfectly enforceable will information be allowed to flow through markets, else antimarkets will prefer to internalize it into their hierarchies. one way a corporate hierarchy may internalize knowledge is by funding a research laboratory.


at some point urban societies would have reached a point of saturation, and the intensification would have ceased. but electricity simultaneously increased the flow of energy and the potential uses of that energy.


automated formal systems ==> victory of analytical over embodied knowledge (the self-taught inventor of the 19th century)
--> unbalance of power between informal and formal knowledge


(factory = planned autocatalytic loop)


the science of centralization
-powerful computers allow the centralized control of geographically dispersed activities---coordinate and monitor compliance with central plans ==> internalization of antimarket institutions


the fully coexistence of the autocatalytic loops:
the digital / the energetic / [...]

[...]egulating and modifying the behavior of individuals.
•it was through these disciplines that the subject in a sense became visible
•passage from the geometrical optics of the seventeenth and eighteenth centuries to physiological optics
•to expose the idiosyncrasies of the “normal” eye
•Retinal afterimages, peripheral vision, binocular vision, and thresholds of attention
•outcome of a complex remaking of the individual as observer into something calculable-and regularizable and of human vision into something measurable and thus, exchangeable.
•standardization of visual imagery
•in the amphitheatre / on the stage / in the Panoptic machine
•dissociation of touch from sight ==> “separation of the senses” and industrial remapping of the body in the nineteenth century
•unloosening of the eye from the network of referentiality incarnated in tactility ==> fitted for the tasks of “spectacular” consumption
•Perception for Benjamin was acutely temporal and kinetic;
•a mobile consumer of a ceaseless succession of illusory commodity-like Images.
•Machines are social before being technical
•desiring machines
•The paintings of J-B. Chardin are lodged within these same questions of knowledge and perception His still lifes, especially, are a last great presentation of the classical object in all its plenitude, before it is sundered irrevocably into exchangeable and ungrounded signifiers or into the painterly traces of an autonomous vision.
•that the very process of becoming tired was in fact perception. “When the eye fixes itself on a single color...
•the clear eye of the world
•The more Schopenhauer involved himself in the new collective knowledge of a fragmented body composed of separate organic systems, subject to the opacity of the sensory organs and dominated by involuntary reflex activity, the more intensely he sought to establish a visuality that escaped the demands of that body.
•the physiological makeup of the subject as the site on which the formation of representations occurs.
•Of these only the cerebrum, together with the sensory nerves attached to it, and the posterior spinal nerve fascicles are intended to take up the motives from the external world. All the other parts, on the other hand, are intended only to transmit the motives to the muscles in which the will directly manifests itself. (Schopenhauer)
•It is knowledge that Simultaneously provided techniques for the external control and domination of the human subject and was the emancipating ground for notions of subjective vision within modernist art theory and experimentation.


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

bad visual systems

narcissism as a cultural practice (that also motivates and steers technological inventions)

accelerationism
(Accelerationism may also refer more [...]

[...]ies) an ecology in which humans are immanent to the natural world

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

(eyes are) visual possibilities
“eyes” (are always) made available [...] with a wonderfully detailed, active, partial way of organizing worlds... [Haraway, SK]

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

lecture khm Luis
trans or cross ecological movement, from amazon to shahname, because i like it and i care for thoses ecologies.
and because we can't keep clean. i love to talk about clean and dirt. maybe some other time. if we can say anything about the world is that it is dirty and excessive and lunetic. literally lunar. the moon. if you think your bio and biology is not scheduled by moon or lunar forces think again.
do i need a bit of ego to sustain this skin-encapsulated organism (pointing to myself. this is another pointi dance)
tech interface amaz div device literature

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




[Avital]

in the conflict of rhetorics, the victory never goes to any but the third language. The task of this language is to release the prisoners: to scatter the signifieds, the catechisms

to enter areas of conflict [...] fragile zone where non-knowledge dominates knowledge

Self-dissolving and regathering, the subject became linked to the possibility of a new autonomy, and opium illuminated in this case (Baudelaire, though under De Quincey’s influence, was to use it differently) an individual who finally could not identify with his ownmost autonomy but found himself instead subjected to heroic humiliation in the regions of the sublime. Opium became the transparency upon which one could review the internal conflict of freedom, the cleave of subjectivity where it encounters the abyss of destructive jouissance.

mapping the body as an intensive conflictual site

scenography and rhetoric of armed conflict

(Avital on) the maternal trace in the technological revealing from Heidegger to the Bushies


the readers and nonreader

the scene of the proto-pedagogy (involves only two persons): The master and pupil together produce an allegory of being struck, enlightened


(for Levinas:) expérience =/= épreuve
•experience --> a knowing of which the self is master is always said
•épreuve (text, trial, proof) --> the idea of life and of a critical ‘verification’ which overflows the self of which it is only the ‘scene’ ~~> a test site in which the self is placed at absolute risk, life submitted to incessant probes, find themselves subjected to the rigors of the épreuve


conflict's another logic of rigor in certain types of non-Western practices (such as Zen and yogic teachings)

the pupil is led to an inner experience without interiority, to understanding without [...]

[...]ate methodologies of blurring and fragmentation:
1- shadow
2- mirror image

Hedayat's shadow (his palpable aesthetic-existential operation--in The Blind Owl) [=/= Kafka's metamorphoses]: skeletal transfiguration of a conceivably human form into a *shadow collectivity* [=/= camouflage]


anticipation of oblivion
Hoda, Foad,

(maybe interesting for Hoda:) bitching ~= concerted methodology of confrontation and provocation


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


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



deserter

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

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

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



*exhaustion
damaged allegory of man


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

wrenched
shadow-scapes

enterence <--> ejection

•misadventurism of the wanderer
•rogue thought

influx
disintegration
fever
velocity

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

spatiality of the the nowhere

intentionally sets out to become lost

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

self-eclipsing vagrant that becomes the outside itself



arc of necessity


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

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

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

Glissant

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

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

world meant as raw material for a book

Glissant's thoroughgoing exploration of models of disorder/chaos --> (his subversive epitome of) *opacite/opacity* --> realm of the intuitive and indeterminate as a corrective response to the systematizing pressures of assimilation and deculturation
==> to create a more[...]

[...] /> to reside under the mark of ambiguity
[to be careful with the figure of trickster -->] trickster represents an archetype of transformation (rebirth?) and a symbol of life, [with] humor, irony (and self-irony), as well as the confrontation between the comic and the tragic --> situates the trickster between the *world's balance and unbalance*

(migration or) migrant: (~= fugitive:) individuals who are reborn existentially precisely through the act of the escape, in order to trick their persecutors ==> survive
[=/= the juggler: Nicolas]

Mohaghegh's proposal: *to lie our way into the lie*

-how and where is my unreal located in my work on bestiaries?
past --> forsaken ancients
outside --> time of disappearance

seduction: immersion in style


our guardian: the thief

(learning from Mohaghegh and Cinderella to be/operate for each other) between:
orchestrator (influence, innovation, experimentation --> laboratory)
partner (equivalence, benefit, reciprocity --> alliance)
slave (captivity, labor, devotion, service, worship --> bondage)
--or--> l.a.b. stands for: laboratory, alliance, bondage {bondage should be part of every (artistic or knowledge-intensive) practice}

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

object of event or journey (expedition, venture,)

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

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

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

intelligence: diabolical perception






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

(Sina + Mohaghegh's) *existential radicalism*

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

[...]/>
buraq: a chimera of: animality + humanoid + gemological (multiplicies) + machinic + vegetal + spectral (virtues) =/= taxonomical purity of creation
•stretch the barometers of hybridity, androgeny, disproportionality
•zig-zagging, levitation, elliptical arcing
•like a horse, smaller than a mule and bigger than a donkey. Its face was like a human's face, and its ears were like the ears of an elephant...Its head was of ruby, its wings of pearl, its rump of coral, its ears of emerald, and its belly of red coral. Its eyes were like glittering stars, and its tail of pearl, and its reins of light
--> vehicle to traverse from geographical to cosmological space

journey-to-the-center or exile-to-the-edge

[title]
*the old-hag world*
being-in-the-world = old hag with an ugly face, practice of seduction, artifice, cosmetic embellishment, optical tricks, enhancements

the designer, the seamstress, the architect, the sculptor, the illusionist, the surgeon, the perfumer --> surat صورت =/=? facade

[infernal-geological finale]
I heard a voice, whose intensity caused me to tremble with fear…I said, “O Gabriel, what is this terrible sound?” He answered, “O Muhammad, know that on that day God created hell, a rock slipped from the edge of hell. Until tonight it's been falling down. It has reached the bottom of hell just now.
#darkness, zolmat, rock
•pit's conceptual trinity
•hearing/listening is closely linked to ominous experience (the bell's toll, the wolf's howl, the thunder's rumble)


some passive surrender to vague faith
any suggestion of intuitive-experiential awareness (gnosis)

subject caught-between

sitophobia --> the fear of eating anything
aquaphobia --> the fear of drowning everywhere

between lamenter and euphoriac

islamic insistence on the concealed (unseen face of God) ==> profuse dissension, variance, discord, agitation (infinite faces)

lohe mahfuz
the guarded tablet
quantification
institutionalized record
universal finitude

1. artifacts of hell
◦camphor --> link between the demonic and the aromachological (mastery of the psychological effects of fragrance)
◦chain --> experience of ligatures, cords, shackles
◦nail --> impalement potential
◦stones --> crushing effect
◦drink boiling water (hamim) and filth (ghislin)
◦devils force-feeding them Zaqqum
◦demons were placing fiery bits of corpses into their mouths
◦ichor was dripping from their tongues --Mohaghegh--> ichor interestingly refers both to the mythic substance that runs in the veins of pagan gods and the putrid discharge that oozes from fresh wounds
◦hell-dweller: scorpion, ideal killing-machine, back-biter, poisoned [...]

[...]no access to her thoughts or her inner life --but--> that does not mean her life is without meaning or value to history
*we must listen for the african voice in iran even when it cannot be heard*

siah siyah سیاه: afro-iranian children (descendants of african woman slaves served as domestic servants and concubines) who remained in iran, married local people, and could live normal lives as iranians (although they might be identified as black)
==> *some percentage of the iranian population is of african descent (especially among the wealthy clases who could afford slaves) <-- this heritage has never hardened into a clear ratial category within the society*

we must regard them as actors *even when we cannot see their choices*


(Naveeda Khan)

Jinns and children

a place for a child to build conviviality / continuity with a creature made of smokeless fire

> (the girl) she charts through a modality of “hearing”

..that which defines the normative, the duties, and responsibilities that accompany observance of a religious tradition.

different intensities by which the normative is reiterated

Jinns are also known to eavesdrop (esteragh-e sam’) on the angels in the lower reaches of heaven to acquire limited knowledge of the future

the little mischievous spirits (nafs) that make up a self



**wonders of children

children are born free of sin and have the ability to communicate without reason (aghl) and therefore carry the threat of being easily led astray


8 year-old Maryam, channeling communication between the jinn and her family
a time that she would look into the palms of her hand (to see what the jinn would have her see)
she instructed the jinn that he could enter her father's body, with his permission, jinn jinn wanted to taste human food

her father and brothers would listen carefully to her descriptions
(authoritative figure of the father becomes the pupil of his little daughter hearing her words of advice)--alterity



“in the middle east, the child is seen as the crucial generational link in the family unit, the key to its continuation, the living person that ties the present to the past and to the future” (Ferena 1005)

“in the indian case ...the child is seen as already being full person in domains to which the mother does not have access” (Veena Das 1989)


...healer or magician may utilize a child to bring into presence or communicate with the spiritual being
(***the presence of child in Ma'rekeh-Giri معرکه گیری?***)

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

ecstatic identifications with...


one could legitimately dream of the prophet, but one could never[...]

[...]tions between potentially hostile neighboring groups? (Singh 2011)


[agonistics & intimacies] --how--> they may traverse different intensities ~~~~> ***differences internal to a life***

agon (contest) --Singh--> agonistic intimacy: a way to understand the co-presence of modes of conflict and cohabitation, (*co-presence of violence and wellness*,) to leave open the possibility of a shared and contested future


jinn: a category of spirit shared by popular hinduism and islam
who, usually turns out, is a lifelong conpanion
*a relation that can be life-giving may also become life-denying
jinn and other minor spirits may also harbor the possibility of madness


[varying thresholds of life]
thinking of the dead, the unborn, spirits, and those participants among living --> what kind of conception of life this requires? --> (Deleuze ☞ Singh's) ***varying thresholds of life*** (=/= Agamben's “bare life” [--✕--> Singh's starting point: how one thinks about life or vitality not just as bare life]) --> as a way of engaging ancestors (such as Ehsan's little girl ghost [#Ehsan's brilliant storytelling gives the “unbeliever” goosebumps from the intensities, the “incredible feeling of an unknown Nature-affect” that he embodies]), spirits, the undead, and the unborn who subsist alongside the living
*threshold:
•to denote points of passage accross phases of life
•refering to varying degrees of intensity (that may continue after death)--> as a spirit/jinn is preserved or recedes, through possession or in visions or memories, enduring in potentially multiple dimensions
*a memory, a dream, even a hallucination is also a threshold of life*
agency of spirits [jinn, abstract spirit of modernity, secular education, Thakur Baba, , ,] = *a threshold of life* (with its own immanent forms of movement and flux)
[-]lets not call it “disenchantment” or mere nostalgia, but *a shift in the quality of life* --> ethnographic investigation can be a form of heightened attentiveness (to varying thresholds of life [to the intensities of Ehsan's ghost-girl, to the cannibal mice, Tehran's earthquake synthesis of affect, , ,]--(these [Tehran's range of moods and intensities] are)--> waxing and waning گام‌های ماه *intensities immanent to a milieu; affecting our ideas of ethics and politics)


the social =? “our” version of the transcendent/immanent metaphysical
how many dimensions is “our” metaphysical composed of (in Tehran)?


(Durkheim starts:) religion = an engagement with a vital animating principle, “a kind of anonymous and impersonal force [...] none possesses it entirely and all share in it”
-spirits, demons, jinns, gods of every rank are the *concrete forms* that capture this energy, this *potentiality*
(later Durkheim reduces this remarkable promising formulation[...]

[...]pology and philosophy, then, are two distinct but related ways in which life may be examined

to think affirmativelt ==> our negations become sharper


my recent knee-jerk reaction (for example to Olearius) would be to invoke Eurocentrism
(resist: “west” and “non-west”, built on entirely negative images of Europe, from which perspective postcolonial settings appear with double negativity from which they can never recover)


thoughtful moments among friends but scholastic and conversational traditions (--> Greek) =/= “sage”, part of a larger conversational contest culture (not always between “friends” but is an agon -->? Kelile-o Demne)
-other conceptual-conversational traditions (in Iran,,,?) [for example “taking an author from behind and giving him a child that would be his own offspring, yet monstrous”, producing an anthropologically oriented Deleuze, a reading of ___ that produces a ___ically oriented ___]
*** it is not a question of negating dialectices but of setting out a different style of thought and examining the ethnographic and political consequences that follow ***


“when you asked him the question about deities, you began a type of conversation called gyan-charcha --> knowledge-talk technique (<-- my favorite mode of reading of literature, and basically everything, is like that)


?which concept(s) you use to think through these things:
•bonded and legitimate labor
•power relations
•marriage
•sacrifice
•kinship
•intimacy
•buying
•selling
•
}--> the fabric of human relatedness depends on it


*[lunar enlightenment]*
(Singh's beautiful lunar reterritorialization of “enlighting”:) what kind of light do we assume as our image of plenitude?
عجایب ماه #moon's inflow-ence, waxing and waning intensities, fluctuating thresholds, the rise and fall of gods, tutelage of moon, a lunar rather than a solar sense of enlightenment, blemished and inconstant, the moon is nondialectical, *neighbors lunacy*


Derridean moment of negative transcendence

waxing and waning plenitude of that flux

Singh:
•varying thresholds and intensities
•logics of a/not-a
•ethics and energetics @Sana
•
•

*** a shift of even a degree (say, a different mode of contract or force) could be the difference between social life and death, happiness and despair, or exploitation and freedom ***
(Singh teaching me to think about Tehranians)

دروغ بد را با دروغ بهتر جایگزین کنیم نه با حقیقت

Nietzsche's double affirmation, yes yes
Deleuze, “the ass does not know how to say no because he says yes to everything with is no” --> to affirm is “to release, to set free what l[...]

[...]ife by removing it from the circulation of words gone wild... (--Hoda's lullabies songs of private injuries?)
-silence is never simply a silence
-to be able to affirm certain kinds of silence (is key to a political anthropology)

different rhythms of conflict and cohabitation

questions
-life-giving and life-denying rhythms of ordinary life
-how (a revolutionary) event is grown from the everyday, and must return to it

Singh: progress of ethnographic knowledge --> a sort of movement that include the ***emergence of new answers to earlier questions*** ~= new routes of inquiry
[=/= progress in the sense of a telos of increasing self-awareness]

intellectual vita (can't be all heroic and saintly, tales of adventures and achievements, as in the way Manning presented herself,) rather it can gather up it share of victories and wounds

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

everyday life: a life lived on the level of:
•surging affects
•impacts suffered or barely avoided
spawns a series of little somethings dreamed up in the course of things
(Stewart:) “ideologies happen. power snaps into place. structures grow entrenched. identities take place. ways of knowing become habitual at the drop of a hat. but it's ordinary affects that give things the quality of a something to inhabit and animate”


*ordinary registers intensity* (regularly, intermittently, urgently, as a slight shudder)

(one can be) ***confused but attuned***

“we dream of getting by, getting on track, getting away from it all, getting real, having an edge, beating the system, being ourselves, checking out” -Stewart

(socialities, identities, dream worlds, bodily states, public feelings are not simply “good” pr “bad” but always) both powerful and mixed

the talk, once set in motion, expands into a بیشه thicket of stories and social maneuverings
(a scene in a restaurant becomes) maze of inspirations and experiments ♥
-“her brother's stories are shell-shocked and they have no endings. they leave you hanging”

singularity of the event ==> a “we” of all sorts opens in the room

chance event ==>
•a layer of conflict
•a daydream to things


...tuned in to some little something somewhere


“in a video that blankly records an arresting image, young embodiments of a mainstream in the making come face to face with an otherness that compels a closer look. the order of representation gives way to a more violently affective contact”
Stewart

force of things --> what counts as an event

a politics of being/feeling conected
a politics of ways of watching
a politics of waiting for something to happen
a politics of difference (of habit and dull r[...]

[...]d 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}
[Bergson ☞ Lim ☞ Tolentino:] horror --> heterogeneous temporality, heteroglossia: multiple tongues, to disengage in certain (nation) formations

horrific real
translation of historical terror in filmic horror

historical real + filmic mobilization --render--> real as porous & artificial

horror --Tolentino--> transhistorical (transgressional) continuity of the project of desire & pleasure
--> masochistic viewing experience + trajectory of critique

(during Marcos order in Philippines -->) horror genre talks about the popular dialectics of the known & unknown, moral & immoral, inclusion & exclusion, defeat & triumph, struggle & redemption, normal & abnormal, reality & alternative realities, religious & secular
•horror provides a cultural trope for the imagination of the nation

anxious state in horror films --represent--> anxious state in ... (nation-formation, citizenship, etc.) --> irony: (the anxious state) it is not what it is
----> [*]viewing: a sadomasochistic act [you know it is frightful (or garbage) yet enjoy viewing (in KHM we called it hate-watching)] --> pervers pleasure ==> individual and social categories to remain constantly in a flux

intensification of anxiety ~=> carnavalesque moment of drawing pleasure

(in the film) history of a chosen local
logic of absence --> prohibitive history of violence + excess
ritual of horrific foregrounding

scene + coherence of meaning
*horror is performative : it needs to be restaged in order to be evocative of meaning*

sexualization of women integral to the genre of horror [aimed at its male audience, similar to Charmed]:
•sexy female leading role (in love triangle)
•man --> representing evil and underworld
•man --> representing true love (engaged in a battle for love + choice of the young woman, sexualized in the male contest)
•female viacera sucker --> female creatures need to show hidden skin [popular sex-oriented star --to--> female monstrous figure --allow--> display of prohibited body parts + heteronormative desire]

(female star rendered both strong and weak)
1. exposing and defying the horror figure [...]

[...]uch a claimant as a prophet or a religious reformer


something akin to copyright (trademark law) --> disable non-Muslims from encroaching upon Muslim rights over their tradition (undertaking muslim modes of worship: use of honorific titles and modes of address specific to the prophetic community, building mosques, calling azan, citing from Quran or hadis, etc.)

khatam anbia --> khatm: seal --> aspects of Islam as sealed off and exclusive to muslims

(Pakistan supprim court's affective legal feedback loop) copyrighting islam = affirmation of Muslim nature <--Naveeda-- *a horizon of striving*
}<-- an example of (Iqbalian) reason + revelation


institutionalizing blindness


Iqbal on ahmadies:
•Tipu sultan collapse by the British 1799 = mark of political and psychological subjugation of Muslims --Iqbal--> Ahmadiyya messianic movement = subjugated people explaining to themselves their state of decline (negative enlightenment)
•tolerance = indifference

striving =/= progress

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

Naveeda chapter 4 jinn


strident --> engaging speech with vivid imagery
differential --> differing knowledge to proper authority

lack of consensus on what X is (among its varient constituents) ==> (problem of) loss of tolerance
(for example Pakistan:)
contradictions between commitments to:
•existing hierarchies
•tribal ties
•universalistic religion (whose version of community transcends those ties)


(Naveeda) thinking of the potential lines of movement among entrenched differences, cited texts, and possible positions generated by selves encountering others in the world

intensities that burn within you + openness to conversation

attention to time --Naveeda--> draw a consistent picture of an Islam with open future

disputation = a form of experimentation: doing and undoing of known forms (in the spirit of striving) [=/= experimentation: innovation in self-making, or social arrangements]
@apass

disputation: a form of interaction (with risks and ill effects [risk of alienation, estrangement of others])
--> [*]becoming: coming to terms with the trajectories and crystalization of tendencies within the transcriptions of the state and in public culture --> **excavating the resources (that this way of being Muslim) give to itself to reflect upon and evaluate (--> renew its inheritance of Islam)

•approaching history from the perspective of plenitude
•approaching history from the perspective of lack


(upsurge of excitement accompanying the creation of Pakistan --Smith--> a tendency [=/= social movement for example reform or piety with identifiable advocacies and trajectories] called) [*]aspira[...]

[...]/> •Tipu sultan collapse by the British 1799 = mark of political and psychological subjugation of Muslims --Iqbal--> Ahmadiyya messianic movement = subjugated people explaining to themselves their state of decline (negative enlightenment)
•tolerance = indifference

striving =/= progress

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

Naveeda chapter 4 jinn


strident --> engaging speech with vivid imagery
differential --> differing knowledge to proper authority

lack of consensus on what X is (among its varient constituents) ==> (problem of) loss of tolerance
(for example Pakistan:)
contradictions between commitments to:
•existing hierarchies
•tribal ties
•universalistic religion (whose version of community transcends those ties)


(Naveeda) thinking of the potential lines of movement among entrenched differences, cited texts, and possible positions generated by selves encountering others in the world

intensities that burn within you + openness to conversation

attention to time --Naveeda--> draw a consistent picture of an Islam with open future

disputation = a form of experimentation: doing and undoing of known forms (in the spirit of striving) [=/= experimentation: innovation in self-making, or social arrangements]
@apass

disputation: a form of interaction (with risks and ill effects [risk of alienation, estrangement of others])
--> [*]becoming: coming to terms with the trajectories and crystalization of tendencies within the transcriptions of the state and in public culture --> **excavating the resources (that this way of being Muslim) give to itself to reflect upon and evaluate (--> renew its inheritance of Islam)

•approaching history from the perspective of plenitude
•approaching history from the perspective of lack


(upsurge of excitement accompanying the creation of Pakistan --Smith--> a tendency [=/= social movement for example reform or piety with identifiable advocacies and trajectories] called) [*]aspiration: sustaining the striving towards an ideal final form (a state, society, self, etc.) =/= achieving

the aspiration of making Pakistan --> to aspire an islamic state ~~Smith--> muslim way of saying that Pakistan should build for itself a good society
--Naveeda--> demand for a state = demand for a society ~= demand for a self

how to read Pakistan's historical records shaped by the *aspiration to strive as Muslims*?


to effect experimentation <==
•disputation (jadal)
•argument (bahs)
•disputation (monazereh)
•debate + polemic
•building mosques
•

tradition and ethics of debate and disputation


Carl Schmitt --> political theology
*politics discover[...]

[...]cs --as--> filtering mechanism --as--> proactive forgetting
•forgetting ==> change of identity ['clean slate’ is very well known state to mysticism, --> clearance(=? is to take away useless theory) and origins in geometry - #Serres]

organizational forgetting --producing/maintaining--> classification systems ==> move from heterogeneous forms of memory operating within multiple frameworks [like ajayeb bestiaries] to the privileging of a form of memory (potential memory) operating within a well-defined information infrastructure subtended by classification systems. (Bowker)

if your work is an intermediary profession invisible and removed at the earliest opportunity from the official record, create a “[name of your practice]-ing interventions classification” (?!) --> a fascinating system that creates a standardized language for describing what is it that your practice does in different or difficult ways
other systems (to organize and critique your accumulation of experience):
•sensitive outcomes classification scheme
•diagnosis scheme
*sometimes what you do does not need to leave a trace, like nursing (in which your duty is to remember for others) [a professions without form ~~> nothing can be preserved, coding past knowledge and linking it to current practice---in the context of the hospital's sociotechnical system], or cleaning [doing everything that nobody else does], or storytelling [you have to go to a new country every day, going to a foreign zones], or certain kinds of performances [@Arianna --> the intensity, focus, and complexity of care], [going from being expert to novice], and many times not codable into discrete units of work practice to be carried out on specific occasions

in my hypertext writing, am i trying to enable myself to talk about my work in a language that computers could understand?

(do we need?) to get at (and maintain?) the deep structure of the one's situation
--> transformational grammar
--> bring intuitive decision-making to a conscious level

# the issue of the validity or not of ajayeb's knowledge is entirely orthogonal to my purpose. I am producing an anatomy of what it has meant in the case of bestiary writing to create such a science

(my issue with) [*]strategy: a way of managing a past that threatens to grow out of control

(in working with bestiaries my research question:) what could provide for a good ordering of memory?

-(which professions act as) distributed memory system (for who?)
-(what blocks between) internal memory and external memory --> the time needed to work complex representations

(we are trying to) situate our activity visibly within an informational[?*] world ==> to be factored
*in an informational world: accountability = measurable, finite, packaged, <--✕--> (other modes of) invisible and articulation work[...]

[...]lse for *hording* & *sharing*

categorizing, naming, describing --> power-laden practices we cannot do without

each *schema* reveals its priorities, legitimizes/delegitimizes, renders visible/invisible the knowledge it contains/excludes

(Foucault:) library: (places that preserve) discourses that one wishes to remember and keep in circulation [--✕--> Anand's jinn temporality and genealogy of human memory]

mestiza --> hybrid way of knowing/acting/living, as “none of the above”
what is hybrid and impure may be monstrous (in the epistemologies of power) and may experience *hightened visibility* (~= scrutiny, study, problematization, pity)

“orphans of infrastructure” (Leigh Star)

locked in a duel with the oppressor
lived experiences of marked classes
(in each duality pair, one is called “the consitutive outside” [subject/object, male/female, etc.]) --?--> switching polarity ==> valorizing feminine over masculine, black over white, nurture over nature, emotion over reason

crossing of cultures

*which collectivity does the daughter of the darkskinned mother listen to?*

(while i was in apass i had a shift of attention to) the *labor of knowledge work* (in collective digital flesh life)

media ~= knwoledge form

in media arts studies i learn to ask which cruicual material limitations have been radically eased in a digital era --> impulse to hoard/share + constant tension with the epistemological work of categorization and classification (--> database) + (ongoing) feminization of the field

the library and information science knowledge --> intense expertise required to enact it =/=!? art expertise (a category of works that are expertise-free)

(gift of Marx, Foucault, Lorde, Haraway, Leigh Star in) *understanding subjugated epistemologies*

(Lorde) master's tool dismantle the master's house? = can the technologies and epistemologies that have been used to organize thinking about the world in one way succesfully uproot that way?

“recovering multivocality”

رسوب
*enact residuality
*residual (of transformations [--> sometimes wiping away previous techniques for dividing and describing, and substituting another set of categories that don't easily map to the first ==> eliminating the residuum of the old order --> case of ajayeb? --> can we make overlaps and hybridities of old/new categories? ~ *residual categories*: affective-epistemic content that often go unclassified. Calvert: *affect* is too thin, too subjective to calcify into a category. it abundantly uses its categories in a way that offers a kaleidoscopic shuffling and reshuffling of the items***)])
*residuum

categories overlapping, non-hierarchical (“animal” + “livestock”, etc.)

truthiness
melting[...]

[...]-how we will take what each other says
companion gatherings (do not exactly cohere or consort well) ==sometimes==> violation of standardization (that some believe is more equal)
(companions need to) [*]learn: emergently sensitize and attune among new cognitive and political circumstances (in and as their very moments of unknowing, when ethical and moral sortings are properly in flux)
(with) Bateson's negative sensitivities to systems, and with Katies King, I keep discovering just how literal is our many being-ness in multiply embedded sorts of biomic sympoiesis

{[*]lecture: feeling-in-the-mouth system, (the word-as-world inhabited by) alternate and overlapping peoples, memories, attunements, citation pools, histories, communities of practice, knowledges, ocean and freshwater “edges"}
{?can i propose (Katie King and Sandoval's) “oppositional consciousness” instead of (Mouffe's) “agonistic pluralism"}

responses, abilities, infrastructures, distributed embodiments,

[*]traumas: intensities crowded with affiliations, loyalties, essential truths

(Bateson ☞ Leigh Star ☞ Katie King) *transcontextual* (transcontextual circumstances: moving from one context to another, one world to another, one set of knowledges to another) ==> [*]boundary objects: workaround things, concepts, processes, even routines that permit coordination, sometimes collaboration, without consensus (non-conscious and conscious)--local, supralocaling, and global in material topologies in which spacetimenatureculture may be mixed, developmental yet transtemporal, (they don't create boundaries) *they work to keep boundaries from getting in the way of collaboration* [~=? sleep-walking: ignore or even miss that there are boundaries about, or honor boundaries = differences that should be honored without being stuck there]
---[can i suggest ‘enfolding’ instead of ‘sympoiesis’ for artists?]

****ajayeb: my transcontextual habitat**** [--(Katie King)--> sites where people, objects, animals, ecological processes, academic restructurings, and scales of injustice unfold, enfold]

‘to feel family and parent memories as our own’ --> a skill that intertwines historical and personal biography (sometimes trauma) as a feature of *memory encoding*

[*]autopoiesis: a notion, a theory of cellular organization, that makes a fold in history --> reformulating an orientation into an ‘experimental epistemology’

*memoir animated word-worlds worm-holed* (~= my lecture-performances, Katie King's talksites --> speculations gathering with stigmergy, recursive paradox, and a sympoiesis of boundary objects)

#my project: redesigning ajayeb's “writings” among dispersed, diffracted, and emergent methods of attention
-to redesign “aboutness” (as nonrepresentational : recursive relational agency of/about reciprocities in worldly processes)
-to rede[...]

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

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

(one of our obligation today is) [nonapocalyptic] ***recognizing a world without us*** (<-- this is what we must imagine and not “our future” @Pierre)
[by] making use of poetic, affective, rhythmic processes of resonance (--> Sarah's fermentation concert, Sina's popup book)

}==rethink==> *media technologies = technologies of measure*


sensual mathematics
rethink the digital in terms of the “numerical dimension of the virtual”
the potential for mutation immanent to the numerical code itself
(indeterminacies understood in terms of) new processes of quantification that recognize the “full densely packed zones of information that are the intensive surrounds of zero and ones
Clough - Goodman - Parisi


*question of knowing = a politics of capacities* (that crosses every scale of matter/energy)
=/= interpellation and determination of the subject
=/= identity politics (politics of difference)

control society = collection of dynamic quasi-subjects (constituted by a grear number of variables) =/= collection of subjects of right (constituted by the partial alienation of their natural rights to the sovereign)

[*]population only reveals probabilistic regularities once considered at the mass level (=/= collection of controlable subjects)
(in both terms of capital and governance) *modulation and mutation are operative in relations of power* (---> go to Campbell)

[*]publics: addresses of communicated affective states (=/= subjects of discourse about and argumentation over narrative knowledge with truth claims)****
--> matters of vitalizing information
*digital technologies have been fundamental to the deterritorialization of the relationship between individual and collectivity* --Terranova--> (digital technologies through provisional capture and dissemination of affect ==>) constitution of publics

[*]biopolitics: a matter of distributing affective capacities unevenly across population (--> is volatile)
***distribution of affect reshapes society*** --requires--> to restore discursive argumentation (over narrative and its truth claims --> *narrative = a form of truth claim*)

(#telegram with Rai, we need more analysis of... in terms) *ecologies of sensation*: media assemblages with emergent properties that impel new tendencies, new forms of attention, new forms of intention, new f[...]

[...]in explanation & of essentialism in critique
-strategic openings and closings of “black-boxes” (full of memory)

wir
(Katie --> one must wonder) who is being evoked by this ‘we’
to what extent this ‘we’ functions to interpellate the reader into a community that shares a common horizon? (@Sven and Chloe bookshop)
which side, which knowledge world, in what spacetime are ‘we’ on, inside and outside of, bonding and othering?

*tacit forgetting* =/= resolution
**what sorts of boundary objects value irritation?** @Leo
(my irritation in apass with tacit knowledge, spiritualism, Vivero, Manning, process philosophy,,,)

Katie accounts for Ahmed worries that Barad's mattering and some othe black-boxing speech acts are only caricatures of whole arguments, of whole (disciplinizing?) archives, and that they are not conducted at the proper grain of detail, “not attributed to somebody”


attention (in time) -->
•narrow the range of possibility of -ism(s)
•alter the grain of detail ==> *differential focus*


ajayeb.net: an intellectual infrastructure assemblaged and stacked (extensively scaled, intensely scoped) =/= disciplinized archives of references (a knowing that linkages exist and can be assumed and must be consciously made explicit as “new”)
•my “=/=” set the focus of lens unsed in examining --> alter the grain of detail (deliberately and dismissingly) --> a “we” is needed --to--> pull back --to--> include alternate knowledge worlds
ajayeb.net/bibli: bird's-eye view of the bibliographic growth

mobility and detachability of “nots” provoking frission

@ERG's new website: what if the worlding here needs to scope and scale along ranges of detail, indications of shifts from one knowledge world to another assemblaged through boundary objects?
-who gets to say in which knowledge world?

routinized rhetoric about feminism

apparatus: open-ended practices

****(ok yes) “we honestly believe that there are no positions that are epistemologically superior to any other” --but--> at the same time [Katie and i totally] argue with and try to overthrow those i don't agree with****

neutrality (<-- moral commitment) =/= relativism: forswearing claims to absolute epistemological authority

(learning from Katie) my technique in ajayeb study --> i brazenly detach words from their original context and mobilize then all together for my own irritating purposes [...] i both reduce and add to the complexity (of globals and locals)
**(my play:) double or multiple consciousness ==> [*]ajayeb: growing boundary objects
**(my project in apass:) to be curious and value how claims to epistemological authority operate and how comparative relativism can be accountable + can i irritatingly passionately disagree with[...]

[...]> [emerging understanding of the role of literacy in worker self improvement ==>] public library <==> a project of nation, citizenship, democracy, self-betterment, universal education + concurrent with a serious reconstitution of hierarchies of access to books
•late 19th century --> paternalist financial auspices of Andrew Carnegie (who funded 1689 library buildings) for the explicit objective of the self-education of
workers and immigrants --purpose--> acculturation and assimilation
•Paul Otlet --> universal decimal classification 1899
•late 20th century --> dreams of intelligent computers and objectivized information science : (from) library school --to--> school of information management systems
•
}--> *schematization efforts* --> (20th century) library science (continue producing itself) as a cooperative venture of flourishing information [triumphant rationalism]
•standardization
•automation
•propagate
•expand

(in the name of) democratization & civil rights

library ==contribute==> to the civic sphere:
•providing the information
•providing *behaviors* necessary for appropriate citizenship

library ==> classification system (DDC) --> general knowledge organization tool

late 20th century neo-liberal rationality ==intensify==>
•moral directive for self-betterment (as workers)
•reorienting the relation of subjects (toward the state and the social) as one of consumership
+ shift in the definition of knowledge

technobibliocapital --> (new era of) ordering texts & subjects

[*appreciative =/= affirmative* <-- learning from Calvert, we can be appreciative but not affirmative]
[to be critical =] ****not to:
•dismiss X (by thinking of it as) composed entirely of domination [<-- @apass, Pierre] ~= to laud something as a timeless ideal
•evoke a sense of relief that we have X that are free (of power relations, freely available to all, and filled with free-flowing information)
}--> historical + present + future-looking formulations of X

•reverence for libraries of long gone days...
•accolades مراسم اعطای منصب شوالیه for librarians as heroes...
•libraries as the saviors of the people...
•as just another manifestation of government intrusion (paternalism, library: robust civilizing apparatuses, an ideal philanthropic gift)...
--Calvert--> **libraries are potent resources with vast possibilities for creating the worlds we inhabit** -->[*]library: (collectively produced ~ both collectively funded and collected from many sources) vibrant sites of knowledge generation + of power (for those who generate knowledge through libraries in turn diffuse this knowledge through other places and other people)

without a robust definition of power ==Calvert==> libraria[...]

[...]on --> (ethics of) overlapping common choices (made of autonomous subjects [--> you can see James seeking to lessen the shock of recent works in science and psychology for an American middle-class readership])
(William James:) irreducible plurality of experience ==> (think in terms of) fluidity and immobilization



my work is usually unformed and informal: a speaking properly in terms of irradiated strata, an aggregate


emergence of increasingly powerful technologies and institutions that would determine and enforce *externally* the objects of attention for mass population --> history of cinema
•disciplinary framework: it is the aim of the teacher to fix the attention of the pupils --> habit of attention becomes amenable to the will of the teacher



attention was an indispensable component of the “normal” and “rational” subject of the late 19th century industrial society, yet had a disturbing proximity to “pathological” and “irrational” effects.
-Crary

Simondon, mold & modulation
Deleuze, on fold

by the end of 19th century attention became an inadequate simulation of (an Archimedean) point of stability from which consciousness could know the world [rather] it opened to flux and absence (=/= perceptual fixity, certainty of presence) ==> subject-object scattered provisional existence


(extreme model of a) *technology of attention* @Zoumana [spiritism, *action at a distance* --> curse, ,]
hypnosis --> unsettling outlines of of a subject whose makeup could evade both intellectual and institutional mastery + precariousness and malleability of (what had been thought of as) consciousness

hypnosis adjacent to attention?! intense refocusing and narrowing of attention + inhibition of motor responses

focalization: concentrating one's attention on some specific object

sustained looking at a single point (i used to do as a child) ==> dramatic reorganization of consciousness


Crary in his book, Suspension of Perception, shows how high science and peripheral pseudoscience never had clear-cut distinctions in the 19th century. that there were a complex and shifting relation of mutual exchange between the “luminous” physics with a huge range of other “darker” ideas about ‘action in a distance’ enacted in spiritism
@Zoumana


hypnosis & suggestion --> automatic processes (inferior, more instinctual, continuous with animality), “mental decapitation” =/= ration elicit patient with conscious participating will power [--> Star Wars will of the weaker and less independent, powerful natures exercise over weaker ones, jedi --> strance states (of the weaker ones): being instrument of undisguised power --Stengers--> deviant types of behavioural control]
(hypnosis still being researched on but) [...]

[...] (=/= Sinbad)
◦use of inquisitors and questionnaires by government to assemble information for juridical *processings & taxation*
◦Columbus's “desire to know the secrets of the world” (glossed with) Jode de Acosta's praise of proselytizing curiosity
2- Aristotle's Metaphysics: “wonder = ignorance and doubt” { desire to seek causes (it did not understand) ==arose==> wonder (admiratio) ==> replacement by knowledge (scientia or philosophia) }--> miracula (marvel: natural effects we fail to understand) =/= mirabilia (unusual and difficult events [produced by God])
3- Descartes’ wonder: (first of all passions) a sudden surprise of the soul ==> tend to consider attentively those objects (which seem to it rare and extraordinary)
◦*begining of the tendency to reduce emotion to physiology*
◦Charles Le Brun's drawings of the passions
◦Darwin's wonder: a reaction ==> making the animal see and breathe better in crisis ==> increased its chances of survival (...raised eyebrows, opened and protruding lips, a hand held up, palm out with fingers open)
◦early modern physiology --> wonder: (~ startled response,) paradigmatic emotion
4- (the horrible) philosophical understanding of wonder: ignorance rationalized or erased by knowledge
a wondering desire that collects and appropriates what it endeavors to know or project its self onto an imagined other --> a passion that reduces to a startle response at the unfamiliar

}=/= historian (and teacher [and performance-lecturer]) vacation (or responsibility) --> (we must aspire to) imagine the kind of nonappropriative perspectival *intensely cognitive* response

middle ages (how they characterize their difference:)
1. theological-philosophical understanding of wonder <== university intellectuals {
◦admiratio =/= scientia ==> knowledge
◦admiratio ~= diversitas (diversity) =/= solitum (the usual, the general)
2. religious discourse about wonder <-- sermons, hagiography, devotional writing, enormously popular genre of *saint's lives* (tazkirat تذکره نویسی) {
◦admiratio =/= imitatio (imitation جعلى) [the readers were urged to wonder at and not immitate the power and extravagant asceticism of holy men and women (in Attar?)]
◾admiratio ~= paradox (coincidence of opposites) [one finds mira (wondrous) again and again in the texts alongside mixta (mixed, composite things, chimera)]
◦admiratio ~/= curiositas (curiosity کنجکاوی)
◦admiratio ~/= disputatio (disputatiousness ستيزه جويى)
3. literature of entertainment: travel accounts, history writing, collection of odd stories called by one author
◦admirari (to wonder at) =/= rimari (to pay into)
◦(collected stories ==> amuse, instruct, move their aristocratic listeners -->) wonder =/= inductio exemplorum (generalizing)


12th 14th centurie[...]

[...]cartes’ wonder: (first of all passions) a sudden surprise of the soul ==> tend to consider attentively those objects (which seem to it rare and extraordinary)
◦*begining of the tendency to reduce emotion to physiology*
◦Charles Le Brun's drawings of the passions
◦Darwin's wonder: a reaction ==> making the animal see and breathe better in crisis ==> increased its chances of survival (...raised eyebrows, opened and protruding lips, a hand held up, palm out with fingers open)
◦early modern physiology --> wonder: (~ startled response,) paradigmatic emotion
4- (the horrible) philosophical understanding of wonder: ignorance rationalized or erased by knowledge
a wondering desire that collects and appropriates what it endeavors to know or project its self onto an imagined other --> a passion that reduces to a startle response at the unfamiliar

}=/= historian (and teacher [and performance-lecturer]) vacation (or responsibility) --> (we must aspire to) imagine the kind of nonappropriative perspectival *intensely cognitive* response

middle ages (how they characterize their difference:)
1. theological-philosophical understanding of wonder <== university intellectuals {
◦admiratio =/= scientia ==> knowledge
◦admiratio ~= diversitas (diversity) =/= solitum (the usual, the general)
2. religious discourse about wonder <-- sermons, hagiography, devotional writing, enormously popular genre of *saint's lives* (tazkirat تذکره نویسی) {
◦admiratio =/= imitatio (imitation جعلى) [the readers were urged to wonder at and not immitate the power and extravagant asceticism of holy men and women (in Attar?)]
◾admiratio ~= paradox (coincidence of opposites) [one finds mira (wondrous) again and again in the texts alongside mixta (mixed, composite things, chimera)]
◦admiratio ~/= curiositas (curiosity کنجکاوی)
◦admiratio ~/= disputatio (disputatiousness ستيزه جويى)
3. literature of entertainment: travel accounts, history writing, collection of odd stories called by one author
◦admirari (to wonder at) =/= rimari (to pay into)
◦(collected stories ==> amuse, instruct, move their aristocratic listeners -->) wonder =/= inductio exemplorum (generalizing)


12th 14th centuries
(twin authorities for middle ages) Aristotle + Augustine ==> tradition of understanding wonder as perspectival & psychological ==> theological-philosophical discourse
•Augustine: marvel =/= what we know of nature (=/= nature) --> *lodge the wonderful-ness of things (not in our reaction to them but) in their ontological status*
•Anselm of Canterbury: marvelous =/= natural =/= artificial (voluntary, made by humans)
}--> miracles are objectively wonderful (because produced by God's power alone)


[1]
early middle ages latin texts --> mirabili[...]

[...]lterity (of an quasi outside--not quite inside) that inspires the imagination to create (--> imagination is always creative)
ajayeb: alterity of a world that inspired (and inspires) storytelling and imagination (to create beings)


since Sohrevardi the islamic philosophy has abandoned substantialism for process

Sadra's approach:
•process ontology
•critique of abstraction
•celebration of singularity

God = neccessary being واجب الوجود

(tashkhis-e vojud تشخیص وجود) modulation of being <--> individuation (تشخص tashakhos)
ذات مخصوص, فرد مشخص معین, وجود جزئی اشیاء --> موجودی است که از نظر قانونی می تواند موضوع حق قرار بگیرد
=/= شخص ناپیدا =/= hayula
[tashkhis (everyday gesture of recognition of something gheir-shakhsi) ==>? tashakhos]

(Simondon:) individuation is prior to individuals, and individuals are simply symptoms or effects of individuation --> very processual

harkat-e johari حرکت جوهریtranssubstantiation, trans-substantial movement
*harkat-e johari respects the potential for intensification [= the capacity to know, act, and fully participate in the flow of being --and--> continual intensification;] in all things (including hayula)--> Miyazaki's faceless monster's ‘act of beiong’ (is efficaciously real in a Sadrian way)--> *Sadra's great refiguration is that he formulates the ‘act of being’ itself as the most real
-Miyazaki's monster (and Attar's San'an) is moved by love, it is the energy that traverses and transforms them; it is the best thing to be moved by. before, they are, in themselves, illusory and perishing
-Miyazaki's monster episode animation expresses how substance yields to process --> خونابه اى plasmaticness of the animated line: freedom from ossification استخوانى شدن (#Rigs), the ability to dynamically assume any form (Gunning) --> change occurring واقع from within + propelled سوق from without

Sadra's matter: place of nonexistence and absence (=? hayula)
hayula: form of the natural, elemental body

in Sadra:
•the plant(‘s form) (= vegetal soul) is animal
•the animal(‘s form =? surat صورت) (= sensate substance) is human
•the human...


physical acts of perception

(a typical account:) the stronger the imaginal soul, the less distracted it is by the body, the more manifestly imaginal images will appear

fotuhat فتوحات  or tazkirat تذکره is the stories of the intensity of their being, actualization, and certainty of effect
(Attar's stuff, articulate Sadra)

saryan-e vojud سریان وجود, *flow of being* (across the perceptible entities we encounter:) [the imagin[...]

[...]awareness can shift....The supposedly separate realms of the subjective and objective are actually only poles of attention.” (The Ecological Approach to Visual Perception)


sensuality is co-making


rituals and technologies are links between bodies and societies
(social) techniques for the inscription of locality into bodies
technology as an exteriorization of the functions of the body?

CG stands for:
•computer graphics
•computer games
•creature generator
•categorial grammar --> “==>”, “=/=”, etc
•conceptual graphs --> graph-based knowledge representation and reasoning model
•computational geometry --> geo-info-sys design
•*computational gesture* --> extracorporeal material culture
•
•(complete governance, chaotic God, commanding general, common ground, center of gravity,)
•

the well-equipped invalid (--> embodiment, Virilio)

(Foucault's radical exploration of:) body = (subject to the effects of) rhetoric of technical reason
techniques of punishment (, a “political technology”) : “an art of unbearable sensations” --to--> “an economy of suspended rights”

Deleuze and Guattari: “We know nothing about a body until we know what it can do, in other words, what its affects are, how they can or cannot enter into composition with other affects, with the affects of another body...” (what are the affects of the CG bodies?)
-for them the “body” is a discontinuous and non-totalized series of processes, organs, flows, energies, corporeal substances and incorporeal events, intensities and durations, a surface of intensities: *pure simulacra without originals*


erotogenic zones, sexuality, Freud, auto-erotic internalization, clinamen

(the formally female cyborg / techno-monster of the Ghost in the Shell:) the (masculinist) fantasy of leaving the body behind and reconstituting it as a a technical object under human control as both a desire for perfect knowledge and total power and at the same time as a way of escape... [Christian Hubert] #Haraway
•the question of the “soul” is read as the question of (certain technology of) power over bodiess

(traits of) cyborg:
1. boundary transgression
2. the recognition and re-scripting of myth
3. simulations of identity
4. coalitions of affinity


reembodiment of intelligence


Hubert ☞ Serres: “My body (I cannot help it) is not plunged into a single, specified space. It works in Euclidean space, but it only works there. It sees in a projective space; it touches, caresses, and feels in a topological space; it suffers in another; hears and communicates in a third; and so forth, as far as one wishes to go. Euclidean space was chosen in our work-oriented cultures because it is the space of work--of[...]

[...]sing rhetorical analysis

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

[Brancaforte]

word + image
art + science
visual + discursive

the reality that he [Olearius] has experienced

Conley: “the mass of textual material that accompanies single-sheet or atlas maps tends to reveal its ideological perspective in the gaps between a silent, spatial, schematic rendering of an area (in visual form) and a voluble [por harf پر‌حرف], copious, emphatic, printed discourse that strives to tell of the invisible history that the image cannot put into words”

questions of
•authorship
•political power
•intellectual influence


Meerwunder, exotic curiosities from the sea


“we were about a gun-shot's distance”

in the age of incipient European colonialist expansion

a truly Baroque (bestseller) work, Vermehrte Newe Beschreibung der Muscowitischen and Persischen Reyse
(in terms of Oriental drama)
erudition (fazl فضل) + adventure }-> in narrative
•it is Adventure Time




proto-ethnography
acquire eyewitness information about a relatively unknown part of the world
-(with Olearius's style we can hear) ethnography's mantra: “writing from the ground” --> attention to the shakenness of difference (encountered or imagined) [Stewart bringing my attention to the writing affect:] “ground” sends people bouncing, takes place as a threshold, hits the senses as a set of provocations. “Writing matters if objects of analysis are to be understood as emergent forms with qualities, intensities, and trajectories that can be described or evoked. Writing is not epiphenomenal to thought but its medium. As it sidles up to worlds, disparate and incommensurate things throw themselves together.” (Stewart 2012)
(the ground of Iran on which Olearius stands cannot be summarized in a literalized description, under the spell of a kind of cartographic shorthand [tond-nevisi تند نويسى، مختصر نويسى], into a strangely idealist paradigm that imagines the things of the world)
*writing can be:
•the practice of writing ourselves into our worlds as emergent and disparate ensembles --> speculative concept of ‘worlding.’ [to consider our] writing as an inscription that configures the spaces of form and event in daily living
•Stewart slowed ethnographic practice: Why does writing matter in ethnography? How do forms of writing change cultural theory? What questions do forms of writing raise about subjects and objects, forms of attention, the possibility of thinking through description? How do you describe a scene, a character, an event, a situation, a collective sensibility, a difference, a world? What does it mean to add density and texture to ethnographic description? What can ethnography do?
[...]