{"id":11,"date":"2017-07-11T15:30:12","date_gmt":"2017-07-11T12:30:12","guid":{"rendered":"http:\/\/nivel.teak.fi\/poetics-of-form\/?p=11"},"modified":"2026-01-26T16:23:44","modified_gmt":"2026-01-26T14:23:44","slug":"joa-hug-to-call-that-writing","status":"publish","type":"post","link":"https:\/\/nivel.teak.fi\/poetics-of-form\/joa-hug-to-call-that-writing\/","title":{"rendered":"To call that \u2018writing\u2019?"},"content":{"rendered":"

Diffracting the notion of ‘writing’ with the research score<\/em><\/h2>\n\n\n\n
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Diffraction troubles dichotomies, including some of the most sedimented and stabilized\/stabilizing binaries, such as organic\/inorganic and animate\/inanimate. Indeed, the quantum understanding of diffraction troubles the very notion of dichotomy—cutting into two—as a singular act of absolute differentiation, fracturing this from that, now from then.<\/p>\n(Barad 2014<\/span>, 168)<\/cite><\/blockquote>\n\n\n\n

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Diffraction denotes the phenomenon of interference generated by the encounter of waves, be it light, sound or water and, within quantum physics, of matter itself. Such a superposition of waves produces a diffraction or interference pattern that records, i.e. incorporates the trajectory of waves. Donna Haraway draws on the optical phenomenon of diffraction as a metaphor and a method for knowledge production, because diffractions crucially differ from reflections. Whereas reflection is bound to ‘repeating the Sacred Image of the Same’, ‘diffraction patterns record the history of interaction, interference, reinforcement, difference’, as she points out.<\/p>\n(Sehgal 2014<\/span>, 188)<\/cite><\/blockquote>\n\n\n\n

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The model of inscription<\/p>\n

The dominant idea of the body as<\/p>\n

Diffusion of confusion<\/p>\n

A passive surface of inscription<\/p>\n

Who is doing the writing?<\/p>\n

What is the power of this?<\/p>\n\n

<\/p>\n\n

Timelines of thoughts<\/p>\n

How would we think together?<\/p>\n

How is that thought coming into being?<\/p>\n

How do we coalesce?<\/p>\n\n

<\/p>\n\n

Coming together not quite in the right order<\/p>\n

What kind of thinking is enacted here?<\/p>\n

Hand-written<\/p>\n

What kind of ideology?<\/p>\n

Thinking together<\/p><\/div>\n <\/div>\n

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<\/p>\n

Not in your own voice, but in the voice with someone else<\/p>\n

<\/p>\n

Writing with hands<\/p><\/div>\n <\/div>\n

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Ventrilocating<\/p>\n

With similar points of contact<\/p><\/div>\n<\/div>\n

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Is it a co-articulation across gender?<\/p>\n

Who is included?<\/p>\n

Who is excluded?<\/p><\/div>\n <\/div>\n

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<\/p>\n \n

Together and apart<\/p>\n

And at the same time full-body writing<\/p>\n

Breathing through the winds of ghostly voices<\/p>\n

Sensations pouring like ink<\/p><\/div>\n<\/div>\n

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<\/p>\n

Does it speak with authority?<\/p>\n

Is it open to critique and to<\/p><\/div>\n <\/div>\n

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Finding together<\/p>\n

Its deconstruction?<\/p>\n

Breathing into and through the bones<\/p>\n

What is it bracketing?<\/p>\n

Is it joyful?<\/p>\n

No hesitation<\/p><\/div> \n<\/div>\n

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What kind of emotional tone does it have?<\/p>\n

It seems to be so serious<\/p><\/div>\n<\/div>\n

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Cracks<\/p>\n

Does it allow for play?<\/p>\n

Fissures<\/p>\n

Through textures<\/p>\n

Neighbours<\/p>\n

Weaving in through the touch, the weight<\/p>\n

Hosts and ghosts<\/p>\n

Giving the weight<\/p>\n

The direction<\/p>\n

Only what it needs, and exactly only that<\/p>\n

Would it be in any another situation?<\/p>\n

If sensations can pass through so can thoughts<\/p> \n

How different is it really?<\/p>\n

Always to the point, finishing the line<\/p>\n

Does my touch change it?<\/p>\n

Does it affect your thinking?<\/p>\n

Clarity<\/p><\/div>\n<\/div>\n

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To call that ‘writing’?<\/p><\/div>\n <\/div>\n

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<\/p>\n\n

I can’t quite get through you<\/p>\n

Words not always come together<\/p>\n

How it could be<\/p>\n

The quality of its touch<\/p><\/div>\n\n<\/div>\n

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<\/p>\n

Sometimes they seem to surface, but then<\/p>\n

Searching for yet another mode of entering<\/p>\n

It is a bit dense, there—maybe you can loosen up a little<\/p><\/div>\n <\/div>\n

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<\/p>\n\n

Composing<\/p>\n

Words<\/p>\n

They retreat again<\/p>\n

Shared authorship<\/p>\n\n

<\/p>\n\n

Creating the space for appearance<\/p>\n

They reach towards<\/p>\n

But then decide<\/p>\n

Co-absence<\/p>\n

Creating a different ecology of mind<\/p>\n

To depart, to take another route<\/p>\n

Becoming susceptible for his humour, his wit, his<\/p><\/div>\n\n<\/div>\n

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<\/p>\n

A technique<\/p>\n

Enjoy that place!<\/p>\n

Knowing how to do<\/p><\/div>\n <\/div>\n

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To decompose again<\/p>\n

Without pushing<\/p>\n

Compost<\/p>\n

Give it the final touch<\/p>\n

Composed<\/em><\/p>\n

Without forcing<\/p>\n

Be composed<\/em><\/p>\n<\/div>\n<\/div>\n

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Is that mind extended<\/p>\n

But with some<\/p>\n

In the sense of being expanded?<\/p><\/div>\n <\/div>\n

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Determination<\/p>\n

Spatially and temporally and whatever?<\/p>\n

Writing from the place of touch<\/p>\n

Where sensing and thinking are touching<\/p>\n

Or is that mind a condensation, a crystallization of coagulated minds?<\/p><\/div>\n\n<\/div>\n

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<\/p>\n

Collectives<\/p>\n

Streams of consciousness<\/p>\n

Emanating<\/p><\/div>\n<\/div>\n

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With care for the other<\/p>\n

Begins with a care for the self<\/p>\n

Selfless selves<\/p>\n

Co-existence<\/p><\/div><\/div>\n

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