[...]sophy] =/= ***accept a role as the point of articulation among sources of theories of matter, tangible evidence of alternative ontologies, communities past and present***

problems:
•*the elision of ontological claims by epistemological claims* : necessity of a singular ontology (as a guarantor in theories) even while a diversity of epistemologies are recognized and accepted (and when we pluralize “ontologies”)
•to use ethnographic accounts at the level of analogy (<-- i do this all the time)
•privileging of others (of their accounts of the world) --> for example in Ingold =/= attempting to *gain purchase on other people's world* --> for example Viveiros de Castro's concern is ontological (dialogical) =/= epistemological (monological)

*epistemologies masquerading as ontologies*(?)
•pluralizing the terms [ontologies, knowledges, epistemologies, etc.] --> (sending out the message that) we are good relativists --✕-->? actually allowing alternative theories of reality

([i have talked about this problem elsewhere -->] ontologies are relegated into) hierarchical epistemologies:
•anthropology --> they look at cultures --access--> ontology (nature of things) [==> “culture = ontology"]
•native ontology --> they look at matter: indifferent unchanging universal substance --produce--> epistemology [disguised as ontology] (worldview, perspectives)
}==> **our incommensurability is understood only at the level of epistemological difference**

-when i was iran, we were interested in the western ontologies, their universal theories of matter. people didn't recognize western philosophy as a cultural perspective or different epistemology, but as ontology. this is relation unfortunately is not reciprocal ---> go to Star Trek
-when you read other people's theories of matter, you don't do epistemological inquiry (~= anthropology)


***foreclosed =/= privileged***

tendencies in archeological theorizing:
1. *foreclosure: other peoples’ worlds are avoided, delegated to non-theory, to exotic finger-painting on the surface of matter (=/= what general theories are made of) --> appropriated through absent presence
2. *privileging: other people's worlds are privileged, given serious consideration (alterity is initially embraced) --> appropriated through assimilation
◦in a grand synthesizing theory of matter (~ an enframing mechanism that holds the other enframings within a space of intelligibility) the ethnographic material serves a buttressing tole: indigenous theories resurface as heuristics of analogies for specific cases

ethnographic information is crucial to recognizing the alterity of the past

(Alberti concerned with) how the indigene occupies textual space in Ingold: indigenous words appear in key moments in Ingold's text to seal an argument, or provoke an idea (at the level of analogy)
--Bakhtin--> monologism disguised as dialogism : a single voice playing many parts


analogical thinking:
--Thomas--> (interpretive) open ourselves to the difference of the past
--Alberti--> (appropriative) relies on representationalist logic; using analogies interpretively to the types of past we construct

(Viveires's) *controlled equivocation*
we compare mistaken assumptions on both sides

***interpretation =/= multivocality (polyphony)***
@apass: what other textual strategies can we develop other than polyphonic (multiculturalism at the level of text)?


[!we should say no to] general thing theory : tendency to produce overviews, universal accounts of the material world
•phenomenological world of essences that are revealed
•ecological world of affordances that are at hand
•some social world of false transcendence
-


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

mirror
ayene
pieces of metal that soldiers put on the back and legs
چارآینه

جفای فلک آینه گون ==> self (of the poet)
فلک falak --> ayene-gun --> jafa
دل del --> sang --> transforms stone to blood

آینه اسکندری ayene eskandari (was it a telescope? to inform/spy)
ارسطو به فسون و اعداد آن را از قعر دریا برآورد
•math اعداد, tricks فسون


mirror trap دام آینه

at any moment هرآینه

قبله مساز زآینه
mirror =/= qibla


آینه گردان
mirror-stepper = sun
•seven mirrors هفت آینه = planets


a short essay on matter mythology

[...]

Hayula---literally meaning ‘unformed monster’ tells the histories of nonhuman material and mythologies of matter-energy flow in the eye of different cultural convertors

[...]

Hayula (Persian: هیولا) (in classical islamic philosophy) mythologically refers to a pre-cosmological ‘form’ of energy---literally meaning ‘unformed monster'---from which eventually the ‘universe’ and ‘persons’ where created, and systematically provokes a meshwork of meanings that interrelate notions of energy, form, and selfhood in a premodern intercultural cosmology

[...]


parasitically seeking a host for Hayula nun-human histories

[...]


Memory is not the only and privileged way of connecting the past to the present. One of many crucial and important ways that past comes to effect the present is made over form. Form, with its strange logic and efficiency, has the capacity to freeze time. Life as we know it lies in the results of the processes that future forms come to effect the present. Any being's very survival depends on its ability to access the zones of continuity and possibility in these processes. How we can articulate these forms? What are the operations that connect the form-embedded self to the others?

4 billion years ago, the gravitational force of a mass of hydrogen atoms accumulated into a dense point of critical state. As a result of this formation new fusions released many sip-offs of different energies and materials which we perceive today in our bodies and in the light that reaches our eyeballs from the time immemorial of that hydrogen cloud. This fossil of materiality implies the existence of traces of an ancient reality before the existence of the familiar--the terrestrial life. While these traces are gauged in theoretical experiments in which radioactive ratios of nuclides inform us of such ancestral events, in Amerindian cosmogonies not so differently steered hypothesis are explored. Yawanawa, the origin myth of the people of Pano from the western Amazon, imagines the anterior of the world where nothing existed, yet there only people existed--everything was made of people. Before the diversification and classification of kinds there was a primordial human, as the only substance of which everything eventually fabricated.

Like Yawanawa, Hayula (Persian: هیولا) literally in today's usage with the meaning of unformed monster, is a technical term in Iranian-Islamic cosmology indicating the first principle of everything material of which all other constitutive layers of beings are molded--minerals, plants, animals, etc. Hayula in one hand locates the lowest of the lowest, the bottom of the scalar existence where God resides at the very top, and on the other hand possesses a great anatomical plasticity, a persistent pre-cosmological being that undermines the second law of thermodynamic. First were the object then came the subject--to give away to the results of the stabilization of the infinite potential for transformation contained in Hayula, as universal substance, a matter out of which the world could have come to be formed.

The narratives of the time before form, an era of pre-cosmological beings, primordial people with unlimited and unbound corporeality, is the story of the originality of Hayula's virtual potential for being. Hayula, not fully human, tasting beyond morality (destruction, anthropophagy, etc.), becomes the subjects of other interventions and morphs into spheres and features of the world--of biological aspects, celestial bodies, humanoid zones, etc.

The realm of Hayula comes to interpret, and thus permit and strain, who and how an I can be, at the same time that it provides the vessel for the continuity, the survival, of that I. Here the I is the continuity of an inhabitation of a point of view. It marks a relative position within a hierarchical logic that spans the cosmos, a hierarchy that ranges from the nonhuman to the human realm and from the demons to the realm of the formless. Following the classic joke, that one goes to a place in order to discover the directions of how to keep out of that place, this project proposal suggests to explore the Hayula's experience of self and how it incorporates destabilizing its, which might permit or prohibit seeing beyond its conditions.

In another level of description we will look at the concept of Hayula as a device in cross-catalytic relations in matter-energy flows, looking at it as a semi metaphorical and physical nonlinear model for structure-generating processes that populate our world. How attractors and transistors consolidated different energy flows of certain intensities to gain access to self-organization? The energy trapped in winds and currents, atmosphere and hydrosphere, solar energy that plants capture through photosynthesis, has clocked societies for centuries and gave them rhythm. A small fraction of a plant life that has powered most of civilization's past intensifications. Enormous reservoir of oceanic and atmospheric energy fuels a great variety of self-organized structures: tornadoes, cyclones, pressure blocks, and, more importantly for human history, wind circuits. These forms of spontaneous structural generation suggest that inorganic matter is much more variable and creative than we ever imagined.



[...]

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

(Wietske Maas)

materiality that is specific to the eye

similar to a plant, the eye is not a simple aperture to absorb light, but a filter to mitigate external stimuli.

unveil vision as a process of chemical contamination and digestion stemming from plants. vision is rooted in the materiality of digestion.

the human eye is an organ complicit with plant photosynthesis.

in fact, seeing is a process of photosynthesis. as much as plant photosynthesis absorbs excessive light and turns it into the carbon structures of sugar molecules, the human eye has to mitigate light and turn it into the neural structure of vision, cognition, and memory. in this process the eye protects itself from the corruptive metabolism of light, tapping into some ancestral mechanism shared with plants.

if human eye protects itself like a plant, we can think of photosynthesis itself as a sort of primeval organ of vision spread out across the skin of the vegetable kingdom.

material commonality (worth exploring)

incarnate an external organ of vision

our tie with the general metabolism of light

correlations between human vision and the organic world

using a technique to record the surface of reality or using to reveal the internal chemical composition of matter

in the chromatogram, a light reaction reveals the inner chemistry and transforms matter composition into visual patterns

different regime of visibility
light is not just a stream of waves to be passively refracted and recorded but an active and autonomous medium of image-making

mineral kingdom -- forces that drive the becoming of both organic and inorganic matter

drive to formation (Bildungstrieb)

“Runge's willingness to attribute a life force to chemicals is a continuation of Romantic natural philosophy but meshed with Geothean morphology and experiment.” (Leslie)

chromatogram is an image, which discloses it's own bodily formation

here our focus should shift from the eye as a globular organ in the head of a vertebrate animal to the eye as an epidermic lens, a light-mitigating organ that attenuates the visceral contamination of radiation.

our inseparable alliance with plants

our eyes are immersed within a vegetative metabolism of a kind. we look at plants, but plants have already cannibalized our gaze as they become part of us looking back at them.


complex architecture of light:
plant photosynthesis is probably the most abused metaphor and analogy of life, widely quoted across a diverse spectrum of schools of thought to justify naturalist ideologies. it is believed that photosynthesis is behind a process of energy accumulation central to natural equilibrium and the food chain. however, there are various ways the process of light metabolism could be understood. it could also be understood as a process towards cosmic corruption and fermentation, or as a process towards more “complex architecture of light”.

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

[...]



(Ilana Halperin)

corporeal mineralogy

we are autobiographical trace fossils

what constitutes life in the world of geology?

microbes feasting on the mineral bodies of stones

more animal than mineral

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

big bang, first second of existence, second second, what is going on with the materiality

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

the dark matter, in Caecilian Kircher, we don't know what it is

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

[...]


[Gholam Hossein Rahimi + Abd Al-Rasul Emadi, 79113902605.pdf]

it is “proven” that location is not hayula (nor apparition)
hayula is anything that can have many faces [this is greek]

according to Aristotle: matter cannot separate itself from hayula (bzw. its apparition) but it can from its location.

in another sense, location is sometimes close to the notion of ‘face’ (surat صورت) of the matter, because it constitutes where the matter ends and where does it begins.

Avicenna: location is separate from located
‘location is the limitation of matter’
location and causality? ‘there’ (hamanja همانجا) is not ‘the reason’ (elat علت)
for him: ‘makan chizi joz nahayat-e jesm-e havi nist’ (مکان چیزی جز نهایت جسم حاوی نیست)
(location/place is nothing but the limits/ends/finalities of the holder or the comprising thing)

two locations meeting each other

Avicenna disagrees that hayula could be location, because he argues that hayula only accepts the significant apparition and not any.
some has believed that the location is the face of matter, because the matter is at its face/apparition the same way it is at its place/location.
the matter/jesm/ جسم doesn't move out of its face rather it moves within its face.
water -to-> air [this is apparition]
location -to-> located [this cannot be!]

هیولای ثانی hayulaye sani (secondary hayula) : it has act/ also is able to its “next level”

[they haven't thought about the notion of gravity.]

جسم jesm: body, object, substance, matter, corpus, flesh

when the matter/jesm/جسم leaves the space it takes orientations/coordinations/ab'ad/ ابعاد with itself away from that locality/place/makan/مکان

location/makan/ مکان : when matter is in location, the location is.
void/khala’/ خلاء: when location is emptied of matter, it is void.

for Avicenna, matter/jesm/جسم (can) have mental (zehni ذهنی) and hallucinative (vahmi وهمی) derivatives that are accessible in all its axis/directions (ab'ad ابعاد).
[we have to consider that here hallucination/vahm/وهم is a strong category of thought, it opposes reason/aghl/عقل, it is a device that Avicenna regularly uses in his research.]

for Pythagoras, void/khala’/خلاء is hole through which the universe breathes.
for them void was that which is between the natural numbers; 1, 2, 3, etc.
(they didn't distinguish between numbers and matters)

گسست/Gosast/rupture can only happen in corporal matter

[porosity, has social and material meanings: a measure of the void, the “accessible void”. and a sorting algorithm, ability to absorb fluids, and volume of bodies] [relates to Aristotle's notion of matter that which resists---the resistance of matters]
for Avicenna, the extension of admixtures is as follows:
•two matter from two different corporalities mix
•two dimensions mix
•one dimension and one matter mix

ذات zat: being, essence, substance, nature, the very core self of, same, identity of, spontaneousness, material object,
-the Zat/essence...

what is when apparition enters void?\

زمان سمتی zaman-e samti : directional time (?) [#archive]

for Avicenna location and located are inseparable, location is holder or an exterior or outer surface of the located.
for him, void has two problems: (1) the void's dimensions will mix with the matter's dimension. (2) void is infinite, therefore movement is impossible, since there is part of the universe that is not void therefore there can't be void in the universe since it has to be infinite.



Hayula has no resistance to different apparitions/surat/صورت

surathaye jesmani صورتهای جسمانی

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

[...]



pandora’s complexity

purely (?) material objective agent (evolving?)

Hayula--the first principle of everything material

bi-surat بی صورت

اشکال تن ashkal-e tan***
virtual proto-humanity (to different corporalities) --> pre-organic / anthropo*morphic* --> inter-corporal predation --> (sets post-mythic relations between species) --> trans-ontological intentionalities

hayula is a state of latency or potentiality --> possibility of metamorphosis in interpersonal relations...

every apparition demands a recipient

(مولوی‌) Rumi wants to be able to read the return-state to the hayula:
تبدیل شدن به tabdil shodan:
...be arkan (ارکان instrument)
...be heyvan (حیوان animal)
...be jan (جان aliveness? liveliness of artifacts? --?--> agency)
...be hilat (حيله, tech---means & ways) [tech? #ruse]

(in Rumi:) ruse ==> قید صید gheid-e seyd
Hafez is all about farib (فریب ruse)

material agents: {//complex forms of movement //affiliation into space}

stones, a substance indigenous to every place. (those who give up or try to stop or turn back become stones.)



the meta-fall of the material (in hayula هیولا)


apparition/surat/صورت (essence/mahiyat/ماهیت)?
matter/madeh/ماده (hast/هست/being/is-there)?

 --(surat)-->--(surat)-->
animal---flora---inanimate---hayula
 <--(madeh)--<--(madeh)--

in Sohrevardi, he removes the light as projection and ray-tracing, and proposes a theory of light (of theory of being) as “Filter” (veril?, hejab حجاب). (there is no filter between the sphere of the eye 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)

catalyst: a chemical substance capable of “recognizing” specific material and altering that material's molecular state --> now it reacts with certain substances with which it would not normally react.

catalyst provokes a meeting of two substances

autocatalytic loops

superposition (interconnection of diverse overlapping elements),
catalysts,
stable patterns,
spatial intervals,
sedimentation,
cooling magma,
threshold of crystallization,
vicious fluid,
molten materials,
bifurcation,
densification,
intensification,
reinforcements,
injection,
nucleation events,
dislocations,
endogenous,
endogenous stable states,
chemical clocks,
aggregate,
consistency,
elementary atoms,
stratified structures,
interlocking (matching temporally),


species --> (gene pool of a ...) = an organic stratified structure

stratifies structures involve simple form of causal relations---one arrow from 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 / the material
==> accumulation of hierarchical structures


are computers evolving in the direction of routinization?
-eroding the combinatorial richness of knowledge and making flows of information ever more sterile?


future turns out to belong to hierarchies?
-human history is a narrative of contingencies, not necessities, of missed opportunities to follow different routes of development, not of a nonlinear succession of ways to convert energy, matter, and information into cultural products.



[...]

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

the gene tells the flesh: “you are a human” or “you are a...”
**the flesh does not know any organs, continues pulsing to its own rhythms

(how to understand) activities of processes in other spheres of reality

living creatures and their inorganic counterparts


(G. Simmons:) “the flow of energy and mineral nutrients through an ecosystem manifest themselves as actual animals and plants of a particular species.”


biomass = circulation of flesh

plants biting into the system of solar radiation---capturing its sugars

in a sense “higher” animals are just fancy decorations in an ecosystem
(decorative large predators)

ecosystem = succession of plant assemblages ==> stable states ==> climax

ecosystem = a blind groping from stable state to stable state in which each plant assemblage creates the conditions that stabilize the next one.


continental forest <--- stability {the capacity to maintain a state with relatively minor internal fluctuations}
islands <--- resilience {the capacity to absorb major external and internal fluctuations by switching between several alternative stable states}


cities interaction with microorganisms

medieval cities ---islands--> {-concentration of energies -low degree of species heterogeneity (mainly humans)}

medieval European towns ----> isolated islands {/heat /food-web /cultural}

cattle as storage devices
process of shortening and redirecting food chains


biomass ["natural” state] ---> cooked biomass ---> processed through the “civilizing” power of fire*
{raw =/= cooked} ==> legend/myth
--> the cultural materials that accumulated unconsciously, sorted out by the pressure of the parasites themselves---germs and humans formed a meshwork

food ~ flow of flesh

culture is not a completely separate sphere of reality, but instead mixes and blends with flows of organic (and even mineral) materials.

flow of genetic materials

gene / ecosystem
|              \
homogeneous =/= heterogeneous

*genes tease out a form out of an active flesh

(genes ~) replicators began not only merely to exist, but to construct for themselves containers, vehicles for their continues existence.
-how these “replicators” created constructs out of flesh and bone ---> then how did ‘self’ emerged in this?


                (layers)
genotype  .../.../.../.../...  phenotype
   |             |                 |
info coded | self organizing   |  adaptive traits
into genes | processes (stable) |  of a plant / animal


human gene is variable du to: {1-ecosystem 2-taboos}


(ancient) migrations : vehicle for the mechanism of evolution that today is producing the greatest evolutionary effect, allowing the incorporation of new genes into established gene pools, enhancing intrapopulation and reducing interpopulation variability.



[leas normative and binding] to other cultures <-- culture --> to the same culture [central to society]


strata = reproductive niche
(niche : adjusted timing and quality)

hierarchy building = {-homogenization (by a sorting process) -consolidation (through coding into legal, religious, and other formal regulations)}


limits of bounded rationality (عقل معاش aghle ma'ash?)
(Bounded rationality is the idea that in decision-making, rationality of individuals is limited by the information they have, the cognitive limitations of their minds, and the finite amount of time they have to make a decision.)
--> for example soil loss, due to careless exploitation of the forests’ resources has been a constant threat to urban centers throughout history. most urban civilization were able to pass their genes for only seventy generations before they ran out of soil ---> although some material and energy flows can be “socialized” (submitted to cultural control), in practice many are not.



(my interest and work on hayula is about:) the creative morphologies that have always resided outside the (west versus east) homoestatic text of the self and other

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

contemporary US film bestiary <==
•EC comics --> popular weird fantasy, horror science fiction
•creepy magazine
•the twilight zone --> horror, science fiction, suspense, comedy
•film noir --> flawed character hero <== german expressinonist cinematography
•cryptozoology (adventure)


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

division's of life

-monolithic notion of the mind has been challanged by psychology and phenomenology

biology has been previously essentially zoocentric --> monolithic notion of the body --> medically proper animal body =/= if we zoom in the living canvas, organisms blend into a pointillist landscape in which each dot of paint is also alive --> symbiosis, gaia, prokaryotic sex (omnisexuality)

gaia --> biosphere und understood not as environmental home but as body (physiological process)
bacterial omnisexuality --> fluid genetic transfers = sexual
=/= unitary self assumed in the zoocentric model

medieval microcosmic
correspondences among prokaryotic, eukaryotic, zoological and geophysiological (gaian) levels
--> holonomic continuum --> *a type of individuality that is spatially and temporally more inclusive* [-my research on ajayeb has been more tended on the temporal inclusivity]
==> (in new biology) chimerical body: hybrid of bacterial species --Sagan--> like that many headed beast, the microbeast of the animal cell combines into one entity bacteria that were originally freely living, self-sufficient and metabolically distinct

•when respirers entered and did not kill but, rather, were incorporated by larger anaerobic archaebacteria
•mitochondria are the descendants of bacteria that had be come lodged within the cells of animals and plants

bacteria ==> eukaryotic cell

(the fable of) [Spencer's] animal world as a “gladiator's show” --> evidence for parasitism and competition (~ social progress in 19th century)

the grass-green photosynthetic organelles of all plants may be the descendants of a single, wildly successful bacterium, now shackled, albeit gently, in its cytoplasmic prison
-Sagan

*all cells with nuclei (a unicellular amoeba or amultibillion-cell anaconda) <== orgiastic encounters (eating, infecting, engulfing, feeding on, having sex with and so on) among quite different types of bacteria*

(plant cell) chimera = protective anaerobic host cell + internally multiplying photosynthetic bacterium + respiring bacteria

metabolic waste product of the mutation ==> atmospheric oxygen --> catastrophic --> energetic catalyst --> ...

fermenting bacteria (like trolls or elves in a cosmic fairy tale) dwelling underground --> stromatolite

army of mutants that evolved in the aftermath of the oxygen infusion (the greatest pollution crisis the earth) ==> human beings

chimerical eukaryotic system:
*spirochete* [...] at the edge of larger cell, sites of leakage supplying a constant flow of food [...] renounced their former freedom of movement in order to permanently attach ==> a means of locomotion and food acquisition
•spirochete and mad talent, lyrical drive, (tubercle patients were orators or grandios liars)

[*]human body: an architectonic compilation of millions of agencies of chimerical cells

eukaryotic cells leveling cytoplasmic calcium concentrations ==> [our] calcium phosphate of bone (mineral infrastructure of our bodies):
because seawater concentrations of calcium are often four orders of magnitude higher than [one in ten million], ocean-dwelling cells must exude calcium to avoid poisoning. in the full-fathomed sea did the bones of our ancestors and the shells of their eukaryote relatives evolve. skeletons dramatize an ancient waste, whispering a ghostly testimony to the useful internalization of hazardous waste sites. this givesa good indication of how life within the general economy evolves to deactivate, sacrifice and eventually incorporate the dangerous excesses that accrue from its solar growth. -Sagan
--> the body is multiple (even if orchestrated by vicissitudes and the need for harmony over evolutionary time
--> *nature is chimerical through and through*

intraorganismic genetic transfers

*health = matter of maintaining an ecology =/= matter of defending a unity*

[*]body: ornately elaborated mosaic of microbes in various states of symbiosis

the fiction of the self
**self is not only corporal but corporate**
-Sagan


telescopic technologies ==> Earth as a living entity ~= gaia: (a species of noble lie) biosphere behaives as a body
-temperature, pH and the distribution of reactive gases have remained extraordinarily stable for hundreds of millions of years

animal body --> exposed to natural selection =/= living Earth

•gaian worldview
•animism
•native Americanism
•deep ecologism
--> inhabits the responsive tissues of a planet-sized complex organism
--threatening--> into the muck of planetary personification New Age joy [---> go to the latest godzilla film industrial apologetics and ecological satanism --> tales of human accountability]
--> *biocentrism* [of our time 2019] ~=> noble fictions

cross-disciplinary science
mythopoetic
atmospheric chemistry

earth: organized, self-contained look of a live creature, full of information, marvelously skilled in handling the sun
-Lovelock
--depending--> on the forever unfinished and eroticized nature of human symbolization

gaia <== narrative integration of cosmology and morality (<-- can we do without it?)

eukaryote made from prokaryotes and of the mesocosmic level of animal and plant bod-ies made from reproducing eukaryotes


(three billion years ago, the oldest type of sex on the planet:)
bacterial omnisexuality --> promiscuous: not delimiting sexual exchanges with species barriers (+ it needs intermediaries such as plasmids or viruses to do so)
--> lateral transfer

omnisexuality: a means of genetically “locking” together once-diverse groups (of prokaryotes)

bacterial crowding ==> life on earth

endosymbiosis: one organism swallow another without digesting it ==> origin of new species [<=/= gradual accumulation of mutations]

cancer <== rampant multiplication of the occasionally vampiric mitochondria

bacteria's bodies are so genetically open, that the very concept of species falsjfies their character as a unique life form

Sagan
this zoological “I” [is open to radical revision?]

model of zoocentrism: encased self

(?what are ajayeb) bestiary's aesthetic model of a difference (=/=? zoocentric model)
--Burgess--> interference patterns generated by a series of symbiotically living form ==> artist

as an organism's connections to the external envimnment grow, that environment becomes its body [=/= Sina]

snail
snail whose house is carried on his back, the “case” of the “self” has been moved, through an incorporation of what once would have been called inanimate matters--organically worked and reworked

-subjective identities always already und ergoing active (de)composition
-(relations of) physiological identity and psychological subjectivity link up

Sagan trying to relativize that zoocentric bedrock of “self”

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

political chimeras

chiefs’ talk
fluent in a verbal genre
formalized speeches directed either to leaders of other groups (Southern Amazon in multiethnic and multilingual system of Upper Xingu) or to their own people, depending on the context in which they are delivered
--Guerreiro--> both the chief and his audience are symbolically constructed as “paradoxical” subjects characterized by contradictory predicates
•*how uncertainty can enact an exchange of perspectives* (through which the identities of the group and the chief are produced)

(from a gift-theory perspective) chief: donator of goods and words, and a receiver of spouses <-- unilateral direction ==> “chieftaincy کدخدايى: a place of nonexchange” [~ signs are deprived of their circulation value + reciprocity is denied under the demand that society make visible the foundations of power, maintaining them under the control of the collective body] --> ‘creditor position of chief’ would imprison power and assume control of the place where it could emerge =/= society of the state

ritual polity
public rituals are the main motor of collective life / @apass

chieftaincy <--> ritual

ritual condensation: the simultaneous enactment of nominally contrary modes of relationship:
•affirmations of identity are at the same time testimonies of difference
•displays of authority are also demonstrations of subordination
•the presence of persons or other beings is at once corroborated and denied
•secrets are simultaneously dissimulated and revealed
•
==> combination of contradictions ==> distinctive context of communication

ritual efficacy of images and objects
ritual relation to mnemonic technologies
relations between images and words
--Severi--> concept of chimera helps (an indigenous mode?) in understanding power and dealing with it

(Severi and Lagrou + Guerreiro)
[*]chimera: every image that, by designating a plural being by means of a single representation, mobilizes its invisible parts, by purely optical means or by a set of inferences
-chimerical image associates, in a single visual form, indexes from different beings (a bird and a human being, a serpent and a jaguar, a wolf and a sea lion etc.), provoking a projection by the eye, which gives rise to an image implying at the same time the presence of these different beings
-evokes something that is implicit or absent to the observer
-chimerical images present a specific link between iconic representation (by imitation and convention) and indexical indication (visual, tactile or other) of a presence whose mode of existence, especially mental, is not realized materially
--> game between:
•perception & projection
•iconic representation & indexical indication
==> intensification (of the efficacy of chimeric images) : “capture the eye = capture the imagination” + demand that by projection [the observer] mentally “complete” the image

indexical signs have a causal contiguity (spatiotemporal contiguity) with what they signify

ritual action and artistic creation --Severi--> synesthetic

(my lecture-performances? ~ chimeric image of chiefs’ talk [khotbe خطبه fluent at combining different aesthetic resources] -->) linguistic + extralinguistic media in ritual performance (working/producing visual + mental images)
--> combining of indexical signs in communication acts ==> poetry of identities-in-motion (capable of projecting complex images of a nonvisual kind)
[*]image: an abstract portrait of identity fashioned out of cumulating patterns of congruence across all manner of indexical signs--including visual ones--that addressees and audiences can imaginatively experience, like a hologram
(Silverstein > Guerreiro)
~~--> ***relation between poetics and the production of identities***

chimerical representation: an art of ambiguity

(Strauss's Amazonian ethnology -->) dualism in perpetual disequilibrium: centripetal forces of centralization + centrifugal forces of dispersion

@apass ==> “societies against the state”
complex relations between hierarchy and counterhierarchy
(--> Renan's notion of monologue)


[Clastres's model rooted in Western language ideology looking at Amerindian language:]
metahistorical bond between *power & speech* cannot be conceived of separately
•state societies --> the word is a ‘right’ to power (that may be used to command)
•societies against the state --> the word is a ‘duty’ of the chief (an indigenous leader must be capable of offering society the words that it ‘demands’)
◾Amerindian chief: a voice preaching in the wilderness (literally says nothing, a repetition of “edifying discourse”) <-- his speech is not spoken in order to be listened to (~ ritualized act [=/= act of communication]) ==> chief's speech is transformed into pure value (~= poet's speech for whom words are values before they are signs) --> (for Clastres) language =/= violence: a facet of coercive power

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

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

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

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

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

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


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

relational and possessive

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

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

expletive and particles with no lexical element --> self-derogatory forms of speech (the “humbling effect”)


it's common for men to emit long high-pitched and melodic screams as soon as they wake up ==> to wake the whole village up with joy

present is nothing more than an impoverished form of a previous age idealized as grandiose <-- (chief) to “work on his children” like an ancestor, he must state that he could never do so


*parallelism*
enchainment of repeated verses and themes ==> the shaman is symbolically identified as a paradoxical character (human & nonhuman, here & there, in the present time & in the mythic time)
--> transfer properties from one being to another

(formal =/=) ‘performative parallelism’ between the actual chief and those before him ==> attenuate past & present
-he speaks about ancestors, as an ancestor (using their language), and on ancestors’ behalf (since they are gone)

(antonymic affirmation of) “past =/= present” ~=> shame in the listeners ==> act as the ancient chiefs’ own children
--Austin--> illocutionary force ==gives==> capacity to perform an act in saying something
*hyperbole (contrast) ==> the audience could be aesthetically and morally compelled
to act in some way (perlocutionary acts)


that which had once been human (--> mythical human origin of the plant corn)

chief is weakened ==> people tend to be more egoistic --> “go crazy” + forget about their relatives = (the first step in) producing a witch

(Pir ~= chief's) foundations of kinship = thinking about kin =/= forgetting kin :
•generating and raising children
•producing food
•avoiding witchcraft
==> fabrication of a collective body of kin

imperfections of the present + ideal of social life ==encourage==> people to behave like kin (<-- needs to be actively produced)

[we have to be carefull in art with performances of] words hold within them the positive moral and creative element of power; and contain meaningfulness, value, artistry and affective mass (--> carrying the weight of an order without appearing as such) =/= authoritarian discourse
@Inga

--> ***a brief moment, a world where the difference between chiefs (leader-like speaker, am i like that in my performance lectures?) and nonchiefs (listeners, his children) can be effective***



xxxxxx

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

theory (is either): *powerful* (accounting for a limited number of features valid for a great number of cases) {extensionally oriented, for example comparative or statistical analysis} =/= *expressive* (accounting for a great number of features belonging to a limited number of cases) {intentionally oriented, for example clinical case studies}

extensional --> generalizing

‘ethnography ==> reduction of complexity’ =/= complexity is precisely what characterizes ethnography


counterintuitive ==give==> representation its psychological salience

the experience of dreaming is full of counterintuitive representations (rapidly forgotten)

counterintuitive context of ritual communication --> successful propagation of a representation (memorable)
for example recitation of shamanistic chants --construct--> an acoustic mask =/= convey meaningful message

for religion (and marketing?) culturally successful representation : *a counterintuitive representation formulated within counterintuitive conditions of communication*

}--Severi--> we need a more expressive theory of cultural propagation (<-- my try in telegram bestiary text)


doctrinal (semantic memory) and imagistic (episodic memory) religious modes

(how to better be understand the contemporary art's drive to) *ritual communication* --> performed through both action & speech
•the context: establishment of a particular form of interaction (from a series of contradictory connotations, being two things at the same time --> symbolic transformation) ==construct==> a special identity of the participants
--> xxxx جمع گرایانه syncretistic movement @apass (used as an instrument of resistance?)


messianism = intense propagation + paradoxical identification
--> convert entire populations in a short amount of time

pragmatics of communication --> appearance of a paradoxical “I” personified by the prophet

(warrior shaman messiah's) contradictory self-definition ==able==> enunciate paradoxical statements
--Severi--> to be faithful to the local tradition

Appache --> opposition to Christianity take the firm of conceptualizing Christianity as a different religion
•absorbing but not understanding the elements (of Christian religion) ~= being impressed by story {<-- i do this in my artistic work but i don't ask for devotion or trust}
--> using typical imagistic methods, ritual of dance

the old man Arnold

chant (ritual symbolism) -->
•treat illness
•accompany rite of passage
•impart magical powers
-

(amerindian) shamanism --> establishes a metaphorical link, a set of analogies ~= mystical relationships between ritual objects and living being [--> construct its own truthuniverse, supernatural dimension thought of a possible world]

bleeding pearl

parallelism : (a technique of) threading verbal images together

[Severi's early interpretation of] tradition (would need to) preserve the text + instructions to use --by--> verbalizing them (store them in the chant)

Kuna --> description of the position of the speaker (“shaman is now seated there and is saying...”) characterizes the special kind of communication (appropriate for ritual changing)

shaman: novel sort of enunciator (lending his voice to other invisible beings --> plural and contradictory identity)

acoustic mask: a reflexive means to define the ritual identity of the speaker

reflexive application of parallelism

(@Isabel, how to make community without becoming a cult?)

use snake --> capture the imagination of the followers ==> authority

imagistic (iconic mode, sequence of acid) + doctrinal (discursive mode, text, prayer) = pragmatics context of enunciation ==> messianistic religion

both paradoxical & parallelistic

new ways to be faithful...

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

exhibition-making and preventive conservation --> inspection and exposition <-- (different understandings and use of) *touch = curatorial*

professionalisation of curating
short-term education
cultural exchange

@apass feedback: (terrain of) peer engagement --> understanding each other’s practices

education, research, literacy, management, networking, custodianship, audience development

research (overdue) relationship with intelligence --✕--> **research: adventure of charismas**

...to be migratory (in thought, praxis, community)

...subjectivities without a heritage in criticality and art

constraint: a source of self-abundance --Renan--> suffering and risk = opportunities to hybridize with life

curating:
•nutrition and extension
•analysis and transplantation
•=/= content historicization
•=/= data


extraterritoriality
being collocated in all the whispers of the world


wild pollination
artificial breeding

Renan: Institutional work carried by a freelancer, a private individual or a civil servant can improve the publicness of art. It gives confidence to the work of art in public service. This institutionality creates new tasks in art that can be sustained by other practitioners.
@apass

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

publication of the miracle
[the miraculous in exhibitions + self-exhibiting miracles]
Renan's *exhibitionary heritage* of miracles

seeing (risk of sight) --> passionate misunderstanding, confusion, rejection

cultural engineering of anthropology of heritage

exhibitionary heritage: a scaffolding that times, locates, and proliferates all that is exhibitionary (like a shower, or rainfall)

curatorial subjectivity

exhibitionary complex
•describe the problems of an exhibitionary heritage
•find solutions to artistic problems in the description of exhibitionary complexes

(the bad idea of interpreting exhibitionary heritage as an) exhibitionary solution to problems that are represented by the works of art --> correlate artistic solutions with exhibitionary problems }<--Renan-- consumes the links between art, exhibits, and curation naturally and atheoretically

creation of art <--✕--> birth of exhibition
(artistic problem ~/= exhibitionary problem)

...using the concepts and tools of exhibition history

the bad idea of the artistic is conceived in exhibitions & the exhibitionary in artworks

postulate matter in terms of
•errors
•questions
(not necessarily in terms of)
•exhibition
•artwork


exhibitionary heritage of
•artistic practices --> the miracle in ideas/objects
•curatorial practices --> categories of the miracle
•exhibitionary practices --> the miraculous as datum of the world

miracle can be contained or can burst into the study of traditions and transmissions

miracle = content + form

miraculous --> surrogate medium of the artistic

(Renan:) how a miracle can turn the hopeful perplexity surrounding Virgin Mary into the relentless exhibitionary ----> *the power of suggestion is curatorial* --> materials can be rearranged (or other contents can be shaken off from them according to the demands of art history)


flower showers

an auspicious beginning for a lasting devotion

گلبرگ --> the petal applied to the body of the sick and invalid, a sacred relic that is progressively distant yet proliferative


problem of the exhibitionary heritage --Renan--> discursify that even miracles can be interpreted art historically, that they are worthy of belief


Julia Scher (first two weeks of April (1-14.04) and last two weeks of June (14-30.06))
Marie-Luise Angerer (last two weeks of June)

Luis Negrón van Grieken (free)
Christian Sievers
Daniela Kinateder

David Hahlbrock
Zilvinas Lilas

Matthias Müller
Phil Collins
Heide Hagebölling

Mischa Kuball
Andreas Henrich
Ute Hörner
Peter Friedrich Stephan


////////////////////

i am using these spaces basically as their potential for being a host for something else, rather than pointing their pure site specificity.
my work has worked (for me?) whenever it was an intervention to/for its objecthood as a being-in-art-form or for my own fantasies. the problem/matter of exhibition.
the theoretical work would base on reading shyness as for a philosophical opening for the practical part of the diploma that comes afterward. By this way of writing i operate myself, breaking free from the process of offering philosophical evidence.

•Maulwurfe in the Moschee (shit on the head looks like Turban(!), about action and taking the action and getting the call, over doing of anything, revenge program, revelation to other's transmission, talking about shit in a mosque, etc.)
•king lear in the Hochzeitssalon (space for speech act, ritual, marriage of daughters, etc.)
•islam intro in the Biologie Zentrum Uni Köln (hygiene in islam, work on memory relation to research, reciting Koran brings the dead as witness, etc.)


////////////////////

shyness is prescribed for woman, it exists in religion as a female virtue

thinking in yoga posing (thinking, thanking), the thanking pose and the always thinking pose in yoga.

intervention is not always attacking the other-as-stupid, but rather how do you perform your intervention in that sense that is that YOU are stupid before the other

the moment of madness in encountering art, understanding has to go through that madness

i am going to have a smooth transition from my amazon project to my diplom, via animal talk?

--> ‘face’ in performance. (read Haraway, Levinas, Derrida)
face is linked to sensibility and vision in an intimate way. something that resists categorization, containment or comprehension, infinitely foreign. it is not the biological face. it is the idea of infinity within oneself. this idea of infinity which the face encapsulates is for Levinas the key means by which thought is brought into relation with what goes beyond its capacity. and this is crucial in art and specifically in performance art for encountering something such as face, face of the performer or the face of the work. the face is perceived as something that resists possession or utilization. the face promotes a discourse when it invites me. (ranting against sober means of communication). the face to face situation founds language.
presence of the face coming from beyond the world , but committing me to human fraternity (Gemeinschaft) does not overwhelm me as a numinous essence arousing fear and trembling. to be in relationship while absolving oneself from this relation is ‘to speak’. the face always speaks directly and absolutely to me.

many late 20th century horror films feature a masked villain. the act of masking the face is not only metaphorical, but also has the terrifying effect of dehumanizing the villain. in herbert kelman's work on dehumanization, when the perception of a person “as an individual, independent and distinguishable from others, capable of making choices is denied, they no longer elicit compassion or other moral responses. the facelessness of the alien, swarms of ants, or other villains of pop culture.

for face look at facade too.

--> ‘provocation’ in performance. (read Haraway, Levinas)

--> ‘act’ in performance. (read grotowski)
what is to be: ‘completely natural and logical’. dealing with the discomfort of unreasonable presence on the stage. nonrepresentational aspects of performance

--> ‘teaching’ that is not rhetorics where the revelation of the other can take place (Avital, Levinas). teaching is synthesizing for someone else. what kind of communication is teaching involved?
the discourse inherent in the relation with the other is like or as a sermon.

--> ‘eyes’ threatening or seducing eyes of the performer (Rainer)

--> ‘ranting’ of the drunk in the face of the sober. disturbance of a continuity with attack with words.

--> ‘saying’, before it conjugates a verbal sign, is already an ethical gesture. saying is therefore already the proximity of one to the other, the commitment of an approach, the one for the other.
one saying enters into the service of the said, that is the thematization of being, purity of its intentions will be inevitably compromised. a saying that must be unsaid. a movement of thought that continues to resist collapsing into a settled expression, freedom from the cage of thematics. this mission (responsibility for the other) can be adequately expressed only through a certain impossible undoing of language. presenting a philosophical other is only possible when we generate a saying saying saying itself.
my performance talk: to situate my subjectivity linguistically (in a nonpresence and a nonplace). (?) (if the stakes are at situating myself, then the question is why?)
saying becomes totally exposed in its approach to the other. in limited social situations it creates risks of embarrassment or rebuttal and perhaps sounding psychotic. something that will strip away all protective layers, whether cultural or literal, from the body (of knowledge). it can also be masochistically painful for the subject. the absolute saying is a trauma, with vulnerability and passivity even is a bodily way, where the ethical being is: one penetrated by the other. (saying is ethical while said is juridical.)

--> ‘psychology’ not only what we do but why we do. the science that should be studied so much in art, specially in performance art. the how of human behavior, feelings and emotions.
the psychological space, the intermediary space of the ethical relation, shyness and commitment to the other. “i am infinitely more demanding of myself than of others”. (is this the realm of shyness being before god?)

--> ‘intelligence’ in the sense that what do i pay attention to and why, and what do i ignore and why, and how do i put it together. (synthesizing)

--> ‘cornered’ someone that is cornered ontologically. can not shy out of the corner.

--> ‘present’ of presence signifies nowness. The movement of time makes things present by making them now. What is the relation of this “making present” to the world? Is the movement of time ultimately to be traced to that of the world? On such a view, we take the successive nows that constitute time’s movement as a function of the world. Their origin is the successive impressions we receive from its objects. We, thus, come to affirm that nowness is the world’s presence to us in the impressions it leaves. Augustine gives the classic expression of this position when he writes: “It is in you, O my mind, that I measure time. ... What I measure is the impress produced in you by the things as they pass and [the impressions] abiding in you when they have passed."2 The impress is registered as the present now. We register the abiding impression left in the mind as the remembered now. If, however, we break the tie between presence and the world, we have to say that the impress is the result of our own activity. The impression that results in the now comes, in other words, not from the world, but from ourselves. It is a result of our affecting ourselves. In Derrida’s words, its origin is “the auto-affection” of consciousness.

--> ‘consciousness’ Since it involves the self-awareness that demands self-presence, the question of language expands once again. In answering it, we must inquire into the nature of consciousness.  

--> ‘veil’ unveiled. a sign of difference, a kind of timidity? is shyness same as veil? is it a sheer projection? are we (am i) subdued?

--> ‘exhibitionist ambitions’ and idealized structures. the exhibitionist ambitions of these artists forswear all objective orientation. Their own uniqueness and grandiosity is taken for granted. it is not open to debate and need not be founded in a structured manner that is accessible and comprehensible to one's powers of appraisal and judgment. the representatives of postmodernism adopt the stylistic forms, themes and visual material of their art from the boundless treasure trove of art history so readily accessible today. dependence on what has already been formulated. the underlying tone of this art serves to flaunt an unparalleled sense of superiority and grandiose self-confidence. seen in many performance in this time too. (in my painting i have a rational point of view.) i don't want to orient myself towards ambitions, injected by libidinal energy, of my grandiose self-artist. of those, whose prime concern is to show their uniqueness find themselves faced with the question: “what is to be done?”. I too, choose to refuse to pander to the demands of innovation, style and integrity, but at the same time not to work myself up to grandiose self-image of artistic omnipotence.

look at the theory of intelligence for language and other kind of ‘enjoying’ the nature, art or other structures.

how is the philosophy of the sublime (quality of greatness) related to the format of my talks? if my work is not an endeavor on the philosophy of the sublime then what is it?

in this writing i am not going to work in the forms of claims as stages in a logical argument. my approach would we unsubstantial to break free from the process of offering philosophical evidence...

mobilizing forces
scoring system

opposition to shamanism in performance art, points in The Art of Modernism - Sandro Bocola, for critique on Beuys and Abramovich.
Faced with objects and performances by Joseph Beuys, viewers are as baffled as they are by Marcel Duchamp's Bottle Rack. They do not know what is going on, are unable to relate what they see to any known system and are left entirely to their own devices, i.e. to their own emotional responses, for all the good that does them. They feel affected, and have a vague and almost unwilling sense of being touched at a certain emotional depth, but are unable to interpret these feelings (isn't that the case with most art performances?). Beuys celebrates complex and incomprehensible rituals before an astonished audience. He subjects his person to difficult tasks and appears to be making some kind of sacrifice in doing so. Beuys, after all, wishes to heal. To judge by his statements, he wishes to redeem the German people and indeed all of humankind from their social evils, their petrifaction and impotence. In this sense, he transcends the role of the artist. He sees his audience not, in the traditional sense, as a free counterpart to whom he presents a work (as form and expression of his own self), but as a material to be formed. He appears as the people's tribune, as teacher, seer, healer and prophet, transforming the role of the artist into that of the shaman. Kohut stresses that the effect of messianic and charismatic personalities is not necessarily detrimental under all circumstances. At times of severe crisis, it is not the modestly self-doubting type of personality that is needed (who generally makes up the leading stratum in calmer times). In times of fear, the masses turn to a messianic or charismatic personality, not because above all they have recognized his abilities and competence, but because they feel that this leader will satisfy their need to be imperturbably convinced of being right, or because they want to identify with his strength and security.
(caution criticizing beuys and abramovic, you don't know all about them. your criticism is certain aspect of their persona and performance face, in order to make your own point and argument. it is not to understand their works. is this ok?)

when ideas fail, words come in very handy. (Goethe?)

all serious thinking is interpersonal? it is the key to how we think by challenging each other with our ideas.

this is early, i should really give lectures in 20 years.

intimacy: first talking than thinking (maybe even taking it back), feeling an idiot afterward. When the saying is taken over by rhetoric or maneuvering or calculation then the problem is persuading or proving, not intimacy. (intimate thoughts in Shakespear). running with strategy in conversing and conversation (winning a round or winning an argument) is traceable back to power and coercion and its discomforts and anxieties. the art that i am talking about should not win the conversation. (but why intimacy in the art project at all?) by intimacy i find a route to my true consciousness. in intimacy only there is the possibility for love. not making the other/audience to think in a certain way, but exactly the opposite, the performer has to loose the game of convincement or wit (in her work/form/performance).

shyness: not the clinical term. i am talking about a shyness that is deep in the character, a kind of trembling before the other.

the ethical relation to the other, as always important, stakes are higher in performance? the proximity of the art object, the relation of the face to face relationship between the speaker and the listener, is the later container of ethical stake?

not audience attention, but audience imagination. not their reaction, but their response. Usually a response is a reply to a query not the result of a stimulus. Stimulus is an urgent vital process that acts to arouse action in shortest time. that time that is the price for thinking.

shakespear, the Everest of acting. Why performance/theater is not related to thinking and is always setup for acting and action? need for drama.

the event has happened off stage, now we talk about it. Macbeth, unlike tarantino!

violence is symbolized in many good old art. karaoke, etc.
violence is art-performance is exhibited...

the power of voice in islam, taboo of body.
no one is beheaded in the history of islam. (read tarikhe sakhtkoshi) contrast to French revolution.
i am not going to critique islam, i don't know what it is, just let me perform it.

who performs? someone doing something?
what is the cure for shyness.
‘performing for the other’

silent coming and going of the feminine, (form of shyness?)

when we send the shyest as an ambassador to represent us.

It is a self-defining system of signs referring to signs.

a quiet listener. we have yet no idea what is speak. how taking transforms the mind that talks. conditions of thinking in relation to talking, before or after the mouth that talks. thinking in other languages. if intimacy is saying before thinking, how fits the acts of maulwurfe?

work on shyness, I have to start (slowly) with what i (kind of) know.

“...Nudged on the scene as a kind of shivering being, anxious and shy,..” (kafka, test)

There is the suggestion here, as in Holderlin, that timidity might be a dialect of stupidity. (Finding no way of testing out of these subtle complicities, one falls asleep, exhausted by the distress of proving one's most minimal merit.) (Avital Ronell, The Veils of Servility)

According to Silvan Tomkins, “shame operates only after interest or enjoyment has been activated.”

as Sedgwick has argued, for some people, and most often queer subjects, “shame is simply the first, and remains a permanent, structuring fact of identity: one that ... has its own, powerfully productive and powerfully social metaphoric possibilities.

the idea is that the performance that avows its performanceness acknowledges the difficulty of fitting into roles, finding identities, and managing a self, especially a self vulnerable to the effects of stigma.

is there a queerness in me and my performance? is shyness, they way i do it, queer?

turn the spectator to the reader.

does shame intertwines with queer?
this affect and mode of performance (which normative euro American culture would rather eradicate) can be queered, twisted and turned into endless artful enactments.
queer, as experimental linguistic representational and political artistic performance.

shameless in my shyness. (at the level of affect theory?)

shyness: looking otherwise and feeling differently

to act shamed of exactly that which he is excited. (is this a queer subject?)

queer is not isomorphic with gay or lesbian or any other fixed identity, rather, queerness undoes all identities into an endless multiplicity and unbecoming. (liquefaction of any solidification)
queer seems to hinge much more radically and explicitly on a person’s undertaking particular, performative acts of experimental self-perception on a filiations.
Indeed, the performativity of both queer and shame can be reiterated differently; the subject can disidentify from such interpolations and re-deploy the abjecting and/or disciplining of the terms in unforeseen ways, which Warhol did.

In surrender the head bends and meets the heart. The head that does not bend has no value, and the head that is stiff will have to bend sometime, either in surrender or in shame. The head that bends in surrender will never have to bend in shame. Shame accompanies arrogance. Shyness accompanies Love. See how children are endowed with shyness, that is natural. Shyness is inherent. Shame is inflicted by society and is acquired. Shame brings guilt and shyness adds to one? beauty. Retain your shyness and drop your shame. (?)

shame is simply the first and remains a permanent, structuring fact of identity: one that has its own, powerfully productive and powerfully social metaphoric possibilities.

deciding not to care how people thing (or feel?), because those are the things i don't want to change! (or i don't think i should want to change) (warhol)
what do i want to change? just having fun with my stuff. can i decide not to care what people think? shyness...

in shame i wish to continue to look (or talk, or make or perform) and be looked at (or spoken to or seen in my performing of myself), but i also do not wish to do so. (Silvan Tomkins)

i am embarrassed to show the shy singing.

chronically embarrassing my self. (Aula presentation, shy singing, ...)

on passivity, note for the reader: not to mistake it for endurance in this discourse. here we are talking about a philosophical term, in relation to the “being” and the “other”...

an architecture that tries to be modest, a performance that tries to be intimidating as much
as it can.

just in time shyness

what are the pitfalls and abysses of philosophical reflection on and with shyness?
what am i trying to shortcut?
was Socrates intruding in his punk philosopher, stopping people at back allies and perform philosophy. he doesn't hold back, he intrudes, tattooing the body of the other, questioning.
the problem of his project?

i am not shy in the work that i am trying to present publicly (?)
where am i shy?

posture of position or gesture

the moment you stand in front of the audience you stop being authentic.

when we listen to something very carefully and allow ourselves to be moved we can tune in ti=o the art work and absorb its methods. i have found myself moved when i allowed it, by the most childish and stupid works of arts.

open minded and eager to make connections

(jane jacob,) (1) community is spontaneous, the tissues of community are not something that can be planed, that they happen spontaneously. (2) and this only happens when you are at the local scale. so in this sense, design is suspect, because design is set to be post spontaneity.
find a way to think locally, and thinking about the city as a product of spontaneous interaction between people who are different. but the design can also make something that has a social character.

we perform an experiment to prove or disprove a hypothesis, we are working within a framework of a closed system, the original proposition governs our procedures and observations, at arriving at yes or no. but when performing the experiment we come across something unforeseen, or prompted by evidence to jump tracks and think about a different issue. then we are working within the framework of an open system. we move beyond yes or no to exploring something emergent, something whose elements was there but whose form was unknown to us. a fancy and careful way of saying “something new”, because it is new to our understanding.

William Empson
art results from overcrowding(?)

when one is responsive rather than assertive one can't imagine where one will end Up: thinking. this responsiveness is different than the state of being active or passive. a passivity that motivates and mobilizes the subject into places that are yet unknown to her/him.
Thinking, as Heidegger says, may be much the same as wandering. my lectures are like wandering.
someone who studies paradoxes, poetry and philosophy
(keeping what you know away from society, history and away from art, not to acknowledge what you have learn)

incompatibility between a particular love and a particular social arrangement for love.

when you play with others, not try to shine and not try to shy. (shyness is dangerous to society)
it is like being lynched by kukluksklan.
curios about somebody else rather than identifying with them.
i really learned how to work with people by learning how to keep people from killing each other in street.

if we are very sympathetic, saying “i know how you feel” is privileging solidarity: “we are all in this together”. but well we can't all be in this together in the same way, so what is it that we do together, despite this fact.

instead of the declaring voice “i believe this or that”, we can say “i would have though” or “perhaps” introducing a zone of ambiguity in people's relationship with each other you might get something social. subjunctive mood (konjuktiv) not only is to zusammenbinden the elements of semantic also to zusammenbinden the the people who are speaking in these terms.

cooperation is a rehearsal not a performance.

public real made of people who don't argue in behalf of their own interest but to think most disinterestedly.

my talks/works is about how we make sense of our environment, the network that we live in and the texts and discourses that we are reading and writing.

how shyness (even) look like? can we recognize it when we see it?
what is feeling comfortable in the presence of strangers? not verbally i mean, physically.
the notion of being comfortable in the presence of difference. being physically comfortable in presence of the people who are not like yourself.

the subjunctive is the language that the shy uses naturally, which is one of the necessary elements of cooperation. in contrast to subjunctive speech, there is declarative speech is a form of declaration invites submission, and it invites submission because somebody else defines for you clearly what something is about. there is almost an erotic of that, they really now what they are on about, they really know who they are, and you become a spectator to their definiteness. giving yourself up to somebody who seems more defined and more purposive.

cooperation in islam is not a personal experience, it is something that is encoded in very strict ritual. it is not an act of choice. cooperation is not a duty but a desire.

my talk is a fancy and careful way of responding to the voices of other. the ones that are sounding in my ear. (inslam, shakespear, math, that girl in enghelab square, etc.). i am not good at immediate reaction, so i respond with a delay and a lot of playfulness and black holes that come in to be of the part of this, by this relationship to the Other, that is manifesting itself through the language of the Other (islam)

In my performative practice, I seek a way to approach thinking about things that arrests my curiosity. It is a form of commitment to what comes forward and calls for thinking, an attention before what I do not know. My Talks are fancy and careful responding to that otherness, to the voice or face that speaks to you from somewhere that you cannot yet locate. This call could be from a sadistic super-ego inside or Shakespeare or kleinen Maulwurf, der wissen wollte, wer ihm auf den Kopf gemacht hat.

i am not just interested in my own foundational metaphors.
is there an amateurishness at the intersection of art and philosophy that i am drawing?
what is amateur?

the fact that i am giving talks is very much related to the social culture around me, in Germany the culture has a taste to listen and there is an interest for speech. now i get it like in the case of warhol he is rethinking his surrounding culture which is dominated at that time by pop, media and celebrity. i am rethinking the academia and philosophy that is in relationship with the arts, my issues and interests are different than warhol for that matter. i am enthusiastic and extremely interested in the material that i am working with, and at the same time overthrown by it and i believe in it, in the same way that maybe warhol believed in pop culture and business.

the nightmare after performance

the notion of skill in art, performance, life, work

trauma, in the experience of the trauma, the source mixes, and articulate in metaphors and hubric signifiers.

relationship between older works and performances, the issue of skill and technology.
it took 60 years after the developments in tempering metal, for barnors to learn new nigf techniques. this is common in the history of technology, that a tool appears before people know how to use it. do we know how we can use computers? when we master a technique, its uses are not immediatly clear.

getting interested in the wrong answer in the four answer question.
no skill develops without a good dose of curiosity. which enables us to think about what might be, rather than what is.

There is a half-remembered discussion of Sigmund Freud I read once in a book and which I have been paraphrasing regularly ever since. It said that for Freud dreams were a way of thinking by doing. You run, you cry, you kiss, you love, you cheat, you argue, you fall, you kill, you eat, you sing, you get lost, you travel back in time, you become somebody else – but you do it all in your head. You do it in your head and so it is thinking, just not a thinking we recognize as thinking. When I am dreaming I am composing thoughts in the way an artist composes a painting or a witch a potion – an assemblage made of bodies and places and actions. An embodied thinking, that is no less eloquent or extraordinary or transformative for being so.

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...One can chat and gossip but it is forbidden to preach, lecture or instruct.”
Claudio Magris’ Micronismi

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(butler)

the structure of address itself

although I did not know in whose voice this person was speaking, whether the voice was his own or not, I did feel that I was being addressed.

To respond to this address seems an important obligation during these times.

It is about a mode of response that follows upon having been addressed, a comportment toward the Other only after the Other has made a demand upon me, accused me of a failing, or asked me to assume a responsibility.

The structure of address is important for understanding how moral authority is introduced and sustained if we accept not just that we address others when we speak, but that in some way we come to exist, as it were, in the moment of being addressed, and something about our existence proves precarious when that address fails.

...the demand that comes from elsewhere, sometimes a nameless elsewhere,...

We think of presidents as wielding speech acts in willful ways, so when the director of a university press, or the president of a university speaks, we[...]