[...]ion's of life
="prgrph">-monolithic notion of the mind has been challanged by psychology and ="trms">phenomenology
biology has been previously essentially ="trms">zoocentric ='lgc'>='lgc'>--> monolithic notion of the body ='lgc'>='lgc'>--> medically proper ="trms">animal body ='lgc'>=/= if we ="trms">zoom in the living canvas, organisms blend into a pointil="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list landscape in which each dot of paint is also alive ='lgc'>='lgc'>--> ="trms">symbiosis, gaia, prokaryotic sex (omnisexuality)
gaia ='lgc'>='lgc'>--> biosphere und understood not as environmental home but as body (physiological process)
bacterial omnisexuality ='lgc'>='lgc'>--> fluid genetic transfers='lgc'> = sexual
='lgc'>=/= unitary self assumed in the ="trms">zoocentric model
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medieval microcosmic
cor="trms">respondences among prokaryotic, eukaryotic, ="trms">zoological and geophysiological (gaian) levels
='lgc'>='lgc'>--> holonomic continuum ='lgc'>='lgc'>--> ='strcls'>*a type of individuality that is spatially and temporally more in="trms">="trms"nttrm="cluster,club">clusive='strcls'>* ='lgc'>[-='mywrk'>my research on ="nms">ajayeb has been more tended on the temporal in="trms">="trms"nttrm="cluster,club">clusivity='lgc'>]
='lgc'>='lgc'>==> (in new biology) ="trms">chimerical body='lgc'>: hybrid of bacterial ="trms">species ='lgc'>--="ppl">Sagan='lgc'>='lgc'>--> like that many headed ="trms">beast, the micro="trms">beast of the ="trms">animal cell combines into one entity bacteria that were o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginally freely living, self-sufficient and ="trms"nttrm="metaph,metamorph,metabol,metal">metabolically distinct
="lsts lst1">•when respirers entered and did not kill but, rather, were incorporated by larger anaerobic archaebacteria
="lsts lst1">•mitochondria are the descendants of bacteria that had be come lodged within the cells of ="trms">animals and plants
bacteria ='lgc'>='lgc'>==> eukaryotic cell
(the ="trms">fable of) ='lgc'>[Spencer's='lgc'>] ="trms">animal ="trms">world as a “gladiator's show” ='lgc'>='lgc'>--> evidence for parasitism and competition (='lgc'>~ ="trms">social progress in 19th century)
the grass-green photosynthetic organelles of all plants may be the descendants of a single, ="trms">wildly successful bacterium, now shackled, albeit gently, in its cytoplasmic prison
="prgrph">-="ppl">Sagan
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='strcls'>*all cells with nuclei (a unicellular amoeba or amultibillion-cell anaconda) ='lgc'><='lgc'>== orgiastic encounters (eating, infecting, engulfing, feeding on, having sex with and so on) among quite ="trms">different types of bacteria='strcls'>*
(plant cell) ="trms">chimera='lgc'> = protective anaerobic host cell ='lgc'>+ ="trms">internally multiplying photosynthetic bacterium ='lgc'>+ respiring bacteria
="trms"nttrm="metaph,metamorph,metabol,metal">metabolic waste product of the mutation ='lgc'>='lgc'>==> atmospheric oxygen ='lgc'>='lgc'>--> catastrophic ='lgc'>='lgc'>--> energetic catalyst ='lgc'>='lgc'>--> ...
fermenting bacteria (like trolls or elves in a cosmic fairy tale) dwelling underground ='lgc'>='lgc'>--> stromatolite
army of mutants that evolved in the aftermath of the oxygen infusion (the greatest pollution crisis the earth) ='lgc'>='lgc'>==> human beings
="trms">chimerical eukaryotic ="trms">system='lgc'>:
='strcls'>*spirochete='strcls'>* ='lgc'>[...='lgc'>] at the ="trms"nttrm="knowledge,Knowledge">edge of larger cell, sites of leakage supplying a constant flow of food ='lgc'>[...='lgc'>] renounced their former freedom of movement in order to permanently attach ='lgc'>='lgc'>==> a means of locomotion and food acquisition
="lsts lst1">•spirochete and mad talent, lyrical drive, (tubercle patients were orators or grandios liars)
='lgc'>[='strcls'>*='lgc'>]human body='lgc'>: an architectonic compilation of millions of ="trms">agencies of ="trms">chimerical cells
eukaryotic cells leveling cytoplasmic calcium concentrations ='lgc'>='lgc'>==> ='lgc'>[our='lgc'>] calcium phosphate of bone (mineral infrastructure of our bodies)='lgc'>:
because seawater concentrations of calcium are often four orders of magnitude higher than ='lgc'>[one in ten million='lgc'>], ocean-dwelling cells must exude calcium to avoid poisoning. in the full-fathomed sea did the bones of our ="trms">ancestors and the shells of their eukaryote relatives evolve. skeletons dramatize an ancient waste, whispering a ghostly testimony to the useful ="trms">internalization of hazardous waste sites. this givesa good indication of how life within the general economy evolves to deactivate, sacrifice and eventually incorporate the d="trms"nttrm="danger,stranger">angerous ="trms">excesses that accrue from its solar growth. -="ppl">Sagan
='lgc'>='lgc'>--> the body is multiple (even if orchestrated by vicis="trms">situdes and the need for harmony over evolutionary time
='lgc'>='lgc'>--> ='strcls'>*="trms">nature is ="trms">chimerical through and through='strcls'>*
="trms">intraorganismic genetic transfers
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='strcls'>*health='lgc'> = ="trms">matter of maintaining an ="trms">ecology ='lgc'>=/= ="trms">matter of defending a unity='strcls'>*
='lgc'>[='strcls'>*='lgc'>]body='lgc'>: ornately elaborated mosaic of microbes in various states of ="trms">symbiosis
the ="trms">fiction of the self
='strcls'>**self is not only corporal but corporate='strcls'>**
="prgrph">-="ppl">Sagan
telescopic ="trms">technologies ='lgc'>='lgc'>==> Earth as a living entity ='lgc'>='lgc'>~= gaia='lgc'>: (a ="trms">species of noble lie) biosphere behaives as a body
="prgrph">-temperature, pH and the distribution of reactive gases have remained extraordinarily stable for hundreds of millions of years
="trms">animal body ='lgc'>='lgc'>--> exposed to ="trms">natural selection ='lgc'>=/= living Earth
="lsts lst1">•gaian ="trms">worldview
="lsts lst1">•animism
="lsts lst1">•native Americanism
="lsts lst1">•deep ="trms">ecologism
='lgc'>='lgc'>--> inhabits the ="trms">responsive tissues of a planet-sized complex organism
='lgc'>--threatening='lgc'>='lgc'>--> into the muck of planetary personification New Age joy ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to the latest godzilla film industrial apologetics and ="trms">ecological satanism ='lgc'>='lgc'>--> tales of human accountability='lgc'>]
='lgc'>='lgc'>--> ='strcls'>*biocentrism='strcls'>* ='lgc'>[of our time 2019='lgc'>] ='lgc'>='lgc'>='lgc'>~=> noble ="trms">fictions
cross-disciplinary ="trms">science
mytho="trms">poetic
atmospheric chemistry
earth='lgc'>: organized, self-contained look of a live creature, full of information, marvelously ="trms">skilled in handling the sun
="prgrph">-="trms">Lovelock
='lgc'>--depending='lgc'>='lgc'>--> on the forever unfinished and ="trms">eroticized ="trms">nature of human ="trms">symbolization
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gaia ='lgc'><='lgc'>== ="trms">narrative ="trms">integration of ="trms">cosmology and morality (='lgc'><='lgc'>-- can we do without it='qstn'>?)
eukaryote made from prokaryotes and of the mesocosmic level of ="trms">animal and plant bod-ies made from reproducing eukaryotes
(three billion years ago, the oldest type of sex on the planet='lgc'>:)
bacterial omnisexuality ='lgc'>='lgc'>--> promiscuous='lgc'>: not delimiting sexual exchanges with ="trms">species barriers (='lgc'>+ it needs ="trms">intermediaries such as plasmids or viruses to do so)
='lgc'>='lgc'>--> lateral transfer
omnisexuality='lgc'>: a means of genetically “locking” together once-diverse groups (of prokaryotes)
bacterial crowding ='lgc'>='lgc'>==> life on earth
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endo="trms">symbiosis='lgc'>: one organism swallow another without di="trms">gesting it ='lgc'>='lgc'>==> o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of new ="trms">species ='lgc'>[<='lgc'>=/= gradual accumulation of mutations='lgc'>]
cancer ='lgc'><='lgc'>== rampant multiplication of the occasionally vampiric mitochondria
bacteria's bodies are so genetically open, that the very concept of ="trms">species falsjfies their character as a unique life form
="ppl">Sagan
this ="trms">zoological “I” ='lgc'>[is open to radical revision='qstn'>?='lgc'>]
model of ="trms">zoocentrism='lgc'>: encased self
(='qstn'>?what are ="nms">ajayeb) ="trms">bestiary's ="trms">aesthetic model of a ="trms">difference (='lgc'>=/=='qstn'>? ="trms">zoocentric model)
='lgc'>--Burgess='lgc'>='lgc'>--> ="trms">interference patterns generated by a series of ="trms">symbiotically living form ='lgc'>='lgc'>==> artist
as an organism's connections to the external envimnment grow, that environment becomes its body ='lgc'>[='lgc'>=/= ="frds">Sina='lgc'>]
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 ="trms">matters='lgc'>--organically worked and reworked
="prgrph">-subjective identities always al="trms"nttrm="already,spread">ready und ergoing active (de)com="trms">position
="prgrph">-(="trms">relations of) physiological identity and psychological subjectivity link up
="ppl">Sagan trying to relativize that ="trms">zoocentric bedrock of “self”
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political ="trms">chimeras
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chiefs’ talk
fluent in a ="trms">verbal genre
formalized speeches directed either to leaders of other groups (Southern Amazon in multiethnic and multi="trms">lingual ="trms">system of Upper Xingu) or to their own people, depending on the context in which they are delivered
='lgc'>--Guerreiro='lgc'>='lgc'>--> both the chief and his audience are ="trms">symbolically constructed as “paradoxical” subjects characterized by contradictory predicates
="lsts lst1">•='strcls'>*how uncertainty can enact an exchange of perspectives='strcls'>* (through which the identities of the group and the chief are produced)
(from a gift-theory perspective) chief='lgc'>: donator of goods and words, and a receiver of spouses ='lgc'><='lgc'>-- unilateral direction ='lgc'>='lgc'>==> “chieftaincy کدخدايى='lgc'>: a place of nonexchange” ='lgc'>[='lgc'>~ signs are deprived of their circulation value ='lgc'>+ reciprocity is denied under the ="trms">demand that ="trms">society make visible the foundations of power, maintaining them under the control of the collective body='lgc'>] ='lgc'>='lgc'>--> ‘creditor ="trms">position of chief’ would imprison power and assume control of the place where it could emerge ='lgc'>=/= ="trms">society of the state
ritual polity
public rituals are the main motor of collective life / ='at'>@="nms">apass
="large lg18" stl="font-size:132%">
chieftaincy ='lgc'><='lgc'>='lgc'>--> ritual
ritual con="trms">densation='lgc'>: the ="trms">simultaneous enactment of nominally contrary modes of ="trms">relationship='lgc'>:
="lsts lst1">•affirmations of identity are at the same time testimonies of ="trms">difference
="lsts lst1">•displays of ="trms">authority are also de="trms">monstrations of subordination
="lsts lst1">•the ="trms">presence of persons or other beings is at once corroborated and denied
="lsts lst1">•secrets are ="trms">simultaneously dissimulated and revealed
="lsts lst1">•
='lgc'>='lgc'>==> combination of contra="trms">dictions ='lgc'>='lgc'>==> distinctive context of ="trms">communication
ritual efficacy of images and objects
ritual ="trms">relation to mnemonic ="trms">technologies
="trms">relations between images and words
='lgc'>--="ppl">="ppl">Severi='lgc'>='lgc'>--> concept of ="trms">chimera helps (an indigenous mode='qstn'>?) in understanding power and dealing with it
(="ppl">="ppl">Severi and Lagrou ='lgc'>+ Guerreiro)
='lgc'>[='strcls'>*='lgc'>]="trms">chimera='lgc'>: every image that, by designating a p="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lural being by means of a single re="trms">presentation, mobilizes its invisible parts, by purely optical means or by a set of inferences
="prgrph">-="trms">chimerical image as="trms">sociates, in a single visual form, indexes from ="trms">different beings (a ="trms">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 ="trms">presence of these ="trms">different beings
="prgrph">-evokes something that is implicit or absent to the observer
="prgrph">-="trms">chimerical images ="trms">present a ="trms">specific link between iconic re="trms">presentation (by imitation and convention) and indexical indication (visual, tactile or other) of a ="trms">presence whose mode of existence, especially mental, is not realized ="trms">materially
='lgc'>='lgc'>--> game between='lgc'>:
="lsts lst1">•perception ='and'>& projection
="lsts lst1">•iconic re="trms">presentation ='and'>& indexical indication
='lgc'>='lgc'>==> intensification (of the efficacy of ="trms">chimeric images) ='lgc'>: “capture the eye='lgc'> = capture the ="trms">imagination” ='lgc'>+ ="trms">demand that by projection ='lgc'>[the observer='lgc'>] mentally “complete” the image
indexical signs have a ="trms">causal contiguity (spatiotemporal contiguity) with what they signify
ritual action and artistic creation ='lgc'>--="ppl">="ppl">Severi='lgc'>='lgc'>--> synesthetic
(my ="trms">lecture-performances='qstn'>? ='lgc'>~ ="trms">chimeric image of chiefs’ talk ='lgc'>[khotbe خطبه fluent at combining ="trms">different ="trms">aesthetic resources='lgc'>] ='lgc'>='lgc'>-->) ="trms">linguistic ='lgc'>+ extra="trms">linguistic media in ritual performance (working/producing visual ='lgc'>+ mental images)
='lgc'>='lgc'>--> combining of indexical signs in ="trms">communication acts ='lgc'>='lgc'>==> ="trms">poetry of identities-in-motion (capable of projecting complex images of a nonvisual kind)
='lgc'>[='strcls'>*='lgc'>]image='lgc'>: an abstract portrait of identity ="trms">fashioned out of cumulating patterns of congruence across all manner of indexical signs='lgc'>--in="trms"nttrm="cluster,club">cluding visual ones='lgc'>--that addressees and audiences can ="trms">imaginatively experience, like a hologram
(Silverstein > Guerreiro)
='lgc'>='lgc'>='lgc'>~='lgc'>~='lgc'>='lgc'>--> ='strcls'>***="trms">relation between ="trms">poetics and the production of identities='strcls'>***
="trms">chimerical re="trms">presentation='lgc'>: an art of ambiguity
(="ppl">Strauss's Amazonian ethnology ='lgc'>='lgc'>-->) dualism in perpetual disequilibrium='lgc'>: centripetal forces of centralization ='lgc'>+ centrifugal forces of dispersion
='at'>@="nms">apass ='lgc'>='lgc'>==> “="trms">societies against the state”
complex ="trms">relations between hierarchy and counterhierarchy
(='lgc'>='lgc'>--> ="frds scrmbld">Renan's notion of monologue)
='lgc'>[Clastres's model rooted in Western ="trms">language ideology looking at Amerindian ="trms">language:='lgc'>]
="trms"nttrm="metaph,metamorph,metabol,metal">meta="trms">historical bond between ='strcls'>*power ='and'>& speech='strcls'>* cannot be conceived of separately
="lsts lst1">•state ="trms">societies ='lgc'>='lgc'>--> the word is a ‘="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right’ to power (that may be used to command)
="lsts lst1">•="trms">societies against the state ='lgc'>='lgc'>--> the word is a ‘duty’ of the chief (an indigenous leader must be capable of offering ="trms">society the words that it ‘="trms">demands’)
="lsts lst3">◾Amerindian chief='lgc'>: a voice preaching in the ="trms">wilderness (="trms">literally says nothing, a repetition of “edifying discourse”) ='lgc'><='lgc'>-- his speech is not spoken in order to be ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listened to (='lgc'>~ ritualized act ='lgc'>[='lgc'>=/= act of ="trms">communication='lgc'>]) ='lgc'>='lgc'>==> chief's speech is transformed into pure value (='lgc'>='lgc'>~= ="trms">poet's speech for whom words are values before they are signs) ='lgc'>='lgc'>--> (for Clastres) ="trms">language ='lgc'>=/= violence='lgc'>: a facet of coercive power
denotative قوه تفکيک ()
predicative (Dickensian aspect)
referential (the efficacy of its context and meaning depends on something else)
="trms">enunciation (="trms">pragmatic) ='lgc'>='lgc'>==> effects on the ="trms">enunciator ='lgc'>+ audience ='lgc'>='lgc'>~='lgc'>~Silverstein='lgc'>='lgc'>--> ='lgc'>[='strcls'>*='lgc'>]politics='lgc'>: the dynamic arrangement and rearrangement of people as subjects within structures of actual and potential action of all ="trms">sort ='lgc'>--comprises='lgc'>='lgc'>--> ="trms">poetics ='lgc'><='lgc'>== everything experienced as effective practice is formed ="trms">semiotically (='lgc'>~ through sign)
='strcls'>*political oratory ='lgc'>[='lgc'>=/= informing the content of a message='lgc'>] uses ="trms">poetical resources that allow ="trms">interlocutors to have their identities ="trms">mutually constructed by means of indexical signs='strcls'>* (that connect the message's form to extra="trms">linguistic contextual facts) ='lgc'>='lgc'>--> ='strcls'>*message ascribes to me ='lgc'>[='lgc'>=/= message describes my reality='lgc'>]='strcls'>*
="frds scrmbld"nttrm="Alice,Shariati">Ali's use of political oratory in the context of ordinary ="trms">interactions with me ='lgc'>='lgc'>--> i forgot that the ="trms">symbolic procedures that separate ritual speech from ordinary ="trms">interactions are not necessarily intended to mean something
="prgrph">-what was the ="trms">pragmatic conditions that define the kind of ‘="trms">language game’ ="frds scrmbld"nttrm="Alice,Shariati">Ali was playing='qstn'>?
='lgc'>[='strcls'>*='lgc'>]formalization='lgc'>: reduction of combinatory and creative possibilities of ="trms">language by the use of ="trms">formulas, archaic ="trms">vocabulary, syntactic and sty="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic patterns ='lgc'>{='lgc'>='lgc'>--> distancing the
discourse from its semantic content ='lgc'>='lgc'>==> attention to its context and performance ='lgc'>='lgc'>==> effects='lgc'>}
ritual action ='lgc'>--="ppl">="ppl">Severi='lgc'>='lgc'>--> reflexivity='lgc'>: de="trms">finition of its own meaning and effectiveness within the context of ritual ="trms">communication
(='at'>@="nms">apass's) performative and ="trms">poetic structure
='lgc'>[Guerreiro ='lgc'>='lgc'>-->='lgc'>] chief='lgc'> = consanguine kin ابى ='and'>& potentially d="trms"nttrm="danger,stranger">angerous enemy ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="trms">transference='lgc'>]
(chief's fellows's both as ="trms">children ='and'>& prey)
ritual speech ='lgc'>='lgc'>==> ='strcls'>***complex ="trms">enunciator='strcls'>*** ='lgc'>[='lgc'>='lgc'>~= ='at'>#feedback='lgc'>]
ambiguity of duality of ="trms">gestural and ="trms">verbal ='lgc'>[='lgc'>='lgc'>==> exchange of perspectives (='lgc'>=/= exchange of words)='lgc'>] ='lgc'>--='qstn'>?='lgc'>='lgc'>--> paradoxical construction of identities
='lgc'>+
="trms">chimerical re="trms">presentation ='lgc'>='lgc'>--> ="trms">presence of counterparts (of percepted fragmentary signs) to its audience
beautiful and strong body
serene and generous behavior
="trms">linguistic abilities (“made to discourse”)
(we are living with) mythical, ="trms">aesthetic, and ritual elaboration
guiding them with “good speech”
pleasing them by sponsoring rituals
welcome messengers (“made in order to ="trms">greet messengers”)
="trms">relational and possessive
(possessed form of) a="trms">symmetrical ="trms">relationship between a denominated (individualized) person and an un="trms">differentiated collective
agglutinate
="trms">enunciated in the same tone with no pauses to breath
='lgc'>+
expletive ah
='lgc'>+
set of particles
='lgc'>+
deictic ige (evidential ='lgc'>[devaluating='qstn'>?='lgc'>] particle that indicates proximity, ="trms">presence, or existence, fixed to the copula ='lgc'>='lgc'>--> piece of advice='qstn'>?)
expletive and particles with no lexical element ='lgc'>='lgc'>--> 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 ='lgc'>='lgc'>==> to wake the whole village up with joy
="trms">present is nothing more than an impoverished form of a previous age idealized as grandiose ='lgc'><='lgc'>-- (chief) to “work on his ="trms">children” like an ="trms">ancestor, he must state that he could never do so
='strcls'>*parallelism='strcls'>*
enchainment of repeated verses and themes ='lgc'>='lgc'>==> the shaman is ="trms">symbolically identified as a paradoxical character (human ='and'>& nonhuman, here ='and'>& there, in the ="trms">present time ='and'>& in the mythic time)
='lgc'>='lgc'>--> transfer properties from one being to another
(formal ='lgc'>=/=) ‘performative parallelism’ between the actual chief and those before him ='lgc'>='lgc'>==> attenuate ="trms">past ='and'>& ="trms">present
="prgrph">-he speaks about ="trms">ancestors, as an ="trms">ancestor (using their ="trms">language), and on ="trms">ancestors’ behalf (since they are gone)
(antonymic affirmation of) “="trms">past ='lgc'>=/= ="trms">present” ='lgc'>='lgc'>='lgc'>~=> shame in the ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listeners ='lgc'>='lgc'>==> act as the ancient chiefs’ own ="trms">children
='lgc'>--="ppl">Austin='lgc'>='lgc'>--> illocutionary force ='lgc'>==gives='lgc'>='lgc'>==> capacity to perform an act in saying something
='strcls'>*hyperbole (contrast) ='lgc'>='lgc'>==> the audience could be ="trms">aesthetically and morally compelled
to act in some way (perlocutionary acts)
that which had once been human (='lgc'>='lgc'>--> mythical human o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of the plant corn)
chief is weakened ='lgc'>='lgc'>==> people tend to be more egoistic ='lgc'>='lgc'>--> “go crazy” ='lgc'>+ forget about their relatives='lgc'> = (the first step in) producing a witch
(="nms">Pir ='lgc'>='lgc'>~= chief's) foundations of kinship='lgc'> = thinking about kin ='lgc'>=/= forgetting kin ='lgc'>:
="lsts lst1">•generating and raising ="trms">children
="lsts lst1">•producing food
="lsts lst1">•avoiding witch="trms">craft
='lgc'>='lgc'>==> fabrication of a collective body of kin
imperfections of the ="trms">present ='lgc'>+ ideal of ="trms">social life ='lgc'>==encourage='lgc'>='lgc'>==> people to behave like kin (='lgc'><='lgc'>-- needs to be actively produced)
='lgc'>[we have to be carefull in art with performances of='lgc'>] words hold within them the ="trms">positive moral and creative element of power; and contain meaningfulness, value, artistry and ="trms">affective mass (='lgc'>='lgc'>--> carrying the weight of an order without appearing as such) ='lgc'>=/= ="trms">authoritarian discourse
='at'>@="frds scrmbld"nttrm="Singa">Inga
='lgc'>='lgc'>--> ='strcls'>***a brief moment, a ="trms">world where the ="trms">difference between chiefs (leader-like speaker, am i like that in my performance ="trms">lectures='qstn'>?) and nonchiefs (="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listeners, his ="trms">children) can be effective='strcls'>***
xxxxxx
="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................
theory (is either)='lgc'>: ='strcls'>*powerful='strcls'>* (accounting for a limited number of features valid for a great number of cases) ='lgc'>{extensionally oriented, for example comparative or statistical analysis='lgc'>} ='lgc'>=/= ='strcls'>*expressive='strcls'>* (accounting for a great number of features belonging to a limited number of cases) ='lgc'>{intentionally oriented, for example clinical case studies='lgc'>}
extensional ='lgc'>='lgc'>--> ="trms">generalizing
‘ethnography ='lgc'>='lgc'>==> reduction of complexity’ ='lgc'>=/= complexity is precisely what characterizes ethnography
counterintuitive ='lgc'>==give='lgc'>='lgc'>==> re="trms">presentation its psychological salience
the experience of dreaming is full of counterintuitive re="trms">presentations (rapidly forgotten)
counterintuitive context of ritual ="trms">communication ='lgc'>='lgc'>--> successful propagation of a re="trms">presentation (="trms">memorable)
for example re="trms">citation of shamanistic chants ='lgc'>--construct='lgc'>='lgc'>--> an acoustic mask ='lgc'>=/= convey meaningful message
for ="trms">religion (and ="trms">marketing='qstn'>?) culturally successful re="trms">presentation ='lgc'>: ='strcls'>*a counterintuitive re="trms">presentation ="trms">formulated within counterintuitive conditions of ="trms">communication='strcls'>*
='lgc'>}='lgc'>--="ppl">="ppl">Severi='lgc'>='lgc'>--> we need a more expressive theory of cultural propagation (='lgc'><='lgc'>-- my try in telegram ="trms">bestiary text)
doctrinal (semantic ="trms">memory) and ="trms">imagistic (episodic ="trms">memory) ="trms">religious modes
(how to better be understand the contemporary art's drive to) ='strcls'>*ritual ="trms">communication='strcls'>* ='lgc'>='lgc'>--> performed through both action ='and'>& speech
="lsts lst1">•the context='lgc'>: establishment of a particular form of ="trms">interaction (from a series of contradictory connotations, being two things at the same time ='lgc'>='lgc'>--> ="trms">symbolic transformation) ='lgc'>==construct='lgc'>='lgc'>==> a special identity of the participants
='lgc'>='lgc'>--> xxxx جمع گرایانه ="trms">syncretistic movement ='at'>@="nms">apass (used as an ="trms">instrument of resistance='qstn'>?)
messianism='lgc'> = intense propagation ='lgc'>+ paradoxical identification
='lgc'>='lgc'>--> convert entire populations in a short amount of time
="trms">pragmatics of ="trms">communication ='lgc'>='lgc'>--> appearance of a paradoxical “I” personified by the prophet
(warrior shaman messiah's) contradictory self-de="trms">finition ='lgc'>==able='lgc'>='lgc'>==> ="trms">enunciate paradoxical statements
='lgc'>--="ppl">="ppl">Severi='lgc'>='lgc'>--> to be faithful to the local tradition
Appache ='lgc'>='lgc'>--> op="trms">position to ="frds scrmbld"nttrm="Christianson">Christianity take the firm of conceptualizing ="frds scrmbld"nttrm="Christianson">Christianity as a ="trms">different ="trms">religion
="lsts lst1">•absorbing but not understanding the elements (of ="frds scrmbld"nttrm="Christianson">Christian ="trms">religion) ='lgc'>='lgc'>~= being impressed by ="trms">story ='lgc'>{='lgc'><='lgc'>-- i do this in my artistic work but i don't ask for devotion or trust='lgc'>}
='lgc'>='lgc'>--> using typical ="trms">imagistic ="trms">methods, ritual of dance
the old man Arnold
chant (ritual ="trms">symbolism) ='lgc'>='lgc'>-->
="lsts lst1">•treat illness
="lsts lst1">•accompany rite of passage
="lsts lst1">•impart magical powers
="prgrph">-
(amerindian) shamanism ='lgc'>='lgc'>--> establishes a ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphorical link, a set of analogies ='lgc'>='lgc'>~= mystical ="trms">relationships between ritual objects and living being ='lgc'>[='lgc'>='lgc'>--> construct its own truthuniverse, super="trms">natural dimension thought of a possible ="trms">world='lgc'>]
bleeding pearl
parallelism ='lgc'>: (a ="trms">technique of) th="trms"nttrm="already,spread">reading ="trms">verbal images together
='lgc'>[="ppl">="ppl">Severi's early ="trms">interpretation of='lgc'>] tradition (would need to) preserve the text ='lgc'>+ ="trms">instructions to use ='lgc'>--by='lgc'>='lgc'>--> ="trms">verbalizing them (store them in the chant)
Kuna ='lgc'>='lgc'>--> description of the ="trms">position of the speaker (“shaman is now seated there and is saying...”) characterizes the special kind of ="trms">communication (appropriate for ritual changing)
shaman='lgc'>: novel ="trms">sort of ="trms">enunciator (lending his voice to other invisible beings ='lgc'>='lgc'>--> p="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lural and contradictory identity)
acoustic mask='lgc'>: a reflexive means to define the ritual identity of the speaker
reflexive application of parallelism
(='at'>@Isabel, how to make ="trms">community without becoming a cult='qstn'>?)
use snake ='lgc'>='lgc'>--> capture the ="trms">imagination of the followers ='lgc'>='lgc'>==> ="trms">authority
="trms">imagistic (iconic mode, sequence of acid) ='lgc'>+ doctrinal (discursive mode, text, prayer)='lgc'> = ="trms">pragmatics context of ="trms">enunciation ='lgc'>='lgc'>==> messianistic ="trms">religion
both paradoxical ='and'>& paralle="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic
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new ways to be faithful...
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exhibition-making and preventive conservation ='lgc'>='lgc'>--> inspection and ex="trms">position ='lgc'><='lgc'>-- (="trms">different understandings and use of) ='strcls'>*touch='lgc'> = curatorial='strcls'>*
professionalisation of curating
short-term education
cultural exchange
='at'>@="nms">apass feedback='lgc'>: (terrain of) peer engagement ='lgc'>='lgc'>--> understanding each other’s practices
education, research, ="trms">literacy, management, ="trms">networking, custodianship, audience development
research (overdue) ="trms">relationship with intelligence ='lgc'>--='not'>✕='lgc'>='lgc'>--> ='strcls'>**research='lgc'>: adventure of charismas='strcls'>**
...to be migratory (in thought, praxis, ="trms">community)
...subjectivities without a ="trms">heritage in criticality and art
constraint='lgc'>: a source of self-abundance ='lgc'>--="frds scrmbld">Renan='lgc'>='lgc'>--> suffering and risk='lgc'> = opportunities to hybridize with life
curating='lgc'>:
="lsts lst1">•nutrition and extension
="lsts lst1">•analysis and transplantation
="lsts lst1">•='lgc'>=/= content ="trms">historicization
="lsts lst1">•='lgc'>=/= ="trms">data
extraterritoriality
being collocated in all the whispers of the ="trms">world
="trms">wild pollination
artificial breeding
="frds scrmbld">Renan='lgc'>: 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.
='at'>@="nms">apass
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publication of the miracle
='lgc'>[the miraculous in exhibitions ='lgc'>+ self-exhibiting miracles='lgc'>]
="frds scrmbld">Renan's ='strcls'>*exhibitionary ="trms">heritage='strcls'>* of miracles
seeing (risk of sight) ='lgc'>='lgc'>--> passionate misunderstanding, confusion, rejection
cultural engineering of ="trms">anthropology of ="trms">heritage
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exhibitionary ="trms">heritage='lgc'>: a scaf="trms">folding that times, locates, and proliferates all that is exhibitionary (like a shower, or rainfall)
curatorial subjectivity
exhibitionary complex
="lsts lst1">•describe the problems of an exhibitionary ="trms">heritage
="lsts lst1">•find solutions to artistic problems in the description of exhibitionary complexes
(the ='thdf'>bad idea of ="trms">interpreting exhibitionary ="trms">heritage as an) exhibitionary solution to problems that are re="trms">presented by the works of art ='lgc'>='lgc'>--> correlate artistic solutions with exhibitionary problems ='lgc'>}='lgc'><='lgc'>--="frds scrmbld">Renan='lgc'>-- ="trms">consumes the links between art, exhibits, and curation ="trms">naturally and atheoretically
creation of art ='lgc'><='lgc'>--='not'>✕='lgc'>='lgc'>--> birth of exhibition
(artistic problem ='lgc'>='lgc'>~/= exhibitionary problem)
...using the concepts and tools of exhibition ="trms">history
the ='thdf'>bad idea of the artistic is conceived in exhibitions ='and'>& the exhibitionary in artworks
postulate ="trms">matter in terms of
="lsts lst1">•errors
="lsts lst1">•="trms">questions
(not necessarily in terms of)
="lsts lst1">•exhibition
="lsts lst1">•artwork
exhibitionary ="trms">heritage of
="lsts lst1">•artistic practices ='lgc'>='lgc'>--> the miracle in ideas/objects
="lsts lst1">•curatorial practices ='lgc'>='lgc'>--> ="trms">categories of the miracle
="lsts lst1">•exhibitionary practices ='lgc'>='lgc'>--> the miraculous as datum of the ="trms">world
miracle can be contained or can burst into the study of traditions and trans="trms">missions
miracle='lgc'> = content ='lgc'>+ form
miraculous ='lgc'>='lgc'>--> surrogate medium of the artistic
(="frds scrmbld">Renan='lgc'>:) how a miracle can turn the hopeful perplexity surrounding Virgin Mary into the relentless exhibitionary ='lgc'>-='lgc'>-='lgc'>='lgc'>--> ='strcls'>*the power of sug="trms">gestion is curatorial='strcls'>* ='lgc'>='lgc'>--> ="trms">materials can be rearranged (or other contents can be shaken off from them ="trms">according to the ="trms">demands of art ="trms">history)
flower showers
an auspicious beginning for a lasting devotion
گلبرگ ='lgc'>='lgc'>--> the petal applied to the body of the sick and invalid, a sacred relic that is progressively distant yet proliferative
problem of the exhibitionary ="trms">heritage ='lgc'>--="frds scrmbld">Renan='lgc'>='lgc'>--> discursify that even miracles can be ="trms">interpreted art ="trms">historically, that they are worthy of belief
="brkr">
="ppl">Julia ="ppl">Scher (first two weeks of April (1-14.04) and last two weeks of June (14-30.06))
Marie-Luise ="trms"nttrm="danger,stranger">Angerer (last two weeks of June)
Luis Negrón van Grieken (free)
="frds scrmbld"nttrm="Christianson">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 ="trms">specificity.
='mywrk'>my work has worked (for me='qstn'>?) whenever it was an ="trms">intervention to/for its objecthood as a being-in-art-form or for my own fantasies. the problem/="trms">matter of exhibition.
the theoretical work would base on ="trms"nttrm="already,spread">reading shyness as for a philosophical opening for the practical part of the diploma that comes afterward. By this way of ="trms">writing i operate myself, breaking free from the process of offering philosophical evidence.
="lsts lst1">•Maulwurfe in the Moschee (shit on the head looks like T="trms"nttrm="disturban">urban(!), about action and taking the action and getting the call, over doing of anything, revenge program, revelation to other's trans="trms">mission, talking about shit in a mosque, etc.)
="lsts lst1">•king lear in the Hochzeitssalon (space for speech act, ritual, marriage of daughters, etc.)
="lsts lst1">•islam intro in the Biologie Zentrum Uni Köln (hygiene in islam, work on ="trms">memory ="trms">relation to research, reciting Koran brings the dead as witness, etc.)
////////////////////
shyness is prescribed for woman, it exists in ="trms">religion as a female virtue
thinking in yoga posing (thinking, thanking), the thanking pose and the always thinking pose in yoga.
="trms">intervention is not always attacking the other-as-stupid, but rather how do you perform your ="trms">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 ="trms">transition from my amazon project to my diplom, via ="trms">animal talk='qstn'>?
='lgc'>='lgc'>--> ‘face’ in performance. (="trms"nttrm="already,spread">read ="ppl">="ppl">Haraway, ="ppl">Levinas, ="ppl">Derrida)
face is linked to sensibility and vision in an intimate way. something that resists ="trms">categorization, containment or comprehension, in="trms">finitely foreign. it is not the biological face. it is ='thdf'>the idea of in="trms">finity within oneself. this idea of in="trms">finity which the face encapsulates is for ="ppl">Levinas the key means by which thought is brought into ="trms">relation with what goes beyond its capacity. and this is crucial in art and ="trms">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 ="trms">communication). the face to face ="trms">situation founds ="trms">language.
="trms">presence of the face coming from beyond the ="trms">world , but committing me to human fraternity (Gemeinschaft) does not overwhelm me as a numinous essence arousing fear and trembling. to be in ="trms">relationship while absolving oneself from this ="trms">relation is ‘to speak’. the face always speaks directly and absolutely to me.
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many late 20th century ="trms">horror films feature a masked villain. the act of masking the face is not only ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">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 ="trms">responses. the facelessness of the alien, swarms of ants, or other villains of pop culture.
for face look at facade too.
='lgc'>='lgc'>--> ‘provocation’ in performance. (="trms"nttrm="already,spread">read ="ppl">="ppl">Haraway, ="ppl">Levinas)
='lgc'>='lgc'>--> ‘act’ in performance. (="trms"nttrm="already,spread">read grotowski)
what is to be='lgc'>: ‘completely ="trms">natural and logical’. dealing with the discomfort of unreasonable ="trms">presence on the ="trms">stage. nonre="trms">presentational aspects of performance
='lgc'>='lgc'>--> ‘teaching’ that is not ="trms">rhetorics where the revelation of the other can take place (="ppl">Avital, ="ppl">Levinas). teaching is synthesizing for someone else. what kind of ="trms">communication is teaching involved='qstn'>?
the discourse inherent in the ="trms">relation with the other is like or as a sermon.
='lgc'>='lgc'>--> ‘eyes’ threatening or seducing eyes of the performer (="ppl">Rainer)
='lgc'>='lgc'>--> ‘ranting’ of the drunk in the face of the sober. dist="trms"nttrm="disturban">urbance of a continuity with attack with words.
='lgc'>='lgc'>--> ‘saying’, before it conjugates a ="trms">verbal sign, is al="trms"nttrm="already,spread">ready an ethical ="trms">gesture. saying is therefore al="trms"nttrm="already,spread">ready 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 ="trms">mission (="trms">responsibility for the other) can be adequately expressed only through a certain impossible undoing of ="trms">language. ="trms">presenting a philosophical other is only possible when we generate a saying saying saying itself.
my performance talk='lgc'>: to ="trms">situate my subjectivity ="trms">linguistically (in a non="trms">presence and a nonplace). (='qstn'>?) (if the stakes are at ="trms">situating myself, then the ="trms">question is why='qstn'>?)
saying becomes totally exposed in its approach to the other. in limited ="trms">social ="trms">situations it creates risks of embarrassment or rebuttal and perhaps sounding psychotic. something that will strip away all protective layers, whether cultural or ="trms">literal, from the body (of knowl="trms"nttrm="knowledge,Knowledge">edge). 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='lgc'>: one penetrated by the other. (saying is ethical while said is juridical.)
='lgc'>='lgc'>--> ‘psychology’ not only what we do but why we do. the ="trms">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 ="trms">intermediary space of the ethical ="trms">relation, shyness and commitment to the other. “i am in="trms">finitely more ="trms">demanding of myself than of others”. (is this the realm of shyness being before god='qstn'>?)
='lgc'>='lgc'>--> ‘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)
='lgc'>='lgc'>--> ‘cornered’ someone that is cornered ="trms">ontologically. can not shy out of the corner.
='lgc'>='lgc'>--> ‘="trms">present’ of ="trms">presence signifies nowness. The movement of time makes things ="trms">present by making them now. What is the ="trms">relation of this “making ="trms">present” to the ="trms">world='qstn'>? Is the movement of time ultimately to be traced to that of the ="trms">world='qstn'>? On such a view, we take the successive nows that constitute time’s movement as a function of the ="trms">world. Their o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin is the successive impressions we receive from its objects. We, thus, come to affirm that nowness is the ="trms">world’s ="trms">presence to us in the impressions it leaves. ="ppl">Augustine gives the classic expression of this ="trms">position when he ="trms">writes='lgc'>: “It is in you, O my mind, that I ="trms">measure time. ... What I ="trms">measure is the impress produced in you by the things as they pass and ='lgc'>[the impressions='lgc'>] abiding in you when they have passed."2 The impress is registered as the ="trms">present now. We register the abiding impression left in the mind as the re="trms">membered now. If, however, we break the tie between ="trms">presence and the ="trms">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 ="trms">world, but from ourselves. It is a result of our ="trms">affecting ourselves. In ="ppl">Derrida’s words, its o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin is “the auto-="trms">affection” of consciousness.
='lgc'>='lgc'>--> ‘consciousness’ Since it involves the self-awareness that ="trms">demands self-="trms">presence, the ="trms">question of ="trms">language expands once again. In answering it, we must inquire into the ="trms">nature of consciousness.
='lgc'>='lgc'>--> ‘="trms">veil’ un="trms">veiled. a sign of ="trms">difference, a kind of timidity='qstn'>? is shyness same as ="trms">veil='qstn'>? is it a sheer projection='qstn'>? are we (am i) subdued='qstn'>?
='lgc'>='lgc'>--> ‘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 re="trms">presentatives of post="trms">modernism adopt the sty="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic forms, themes and visual ="trms">material of their art from the boundless treasure trove of art ="trms">history so ="trms"nttrm="already,spread">readily accessible today. dependence on what has al="trms"nttrm="already,spread">ready been ="trms">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 ="trms">question='lgc'>: “what is to be done='qstn'>?”. I too, choose to refuse to pander to the ="trms">demands of innovation, style and ="trms">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 ="trms">language and other kind of ‘enjoying’ the ="trms">nature, art or other structures.
how is the philosophy of the ="trms">sublime (quality of greatness) related to the format of my talks='qstn'>? if ='mywrk'>my work is not an endeavor on the philosophy of the ="trms">sublime then what is it='qstn'>?
in this ="trms">writing i am not going to work in the forms of claims as ="trms">stages in a logical argument. my approach would we unsubstantial to break free from the process of offering philosophical evidence...
mobilizing forces
scoring ="trms">system
op="trms">position to shamanism in performance art, points in The Art of ="trms">Modernism - ="ppl">Sandro ="ppl">Bocola, for critique on Beuys and ="ppl">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 ="trms">system and are left entirely to their own devices, i.e. to their own emotional ="trms">responses, for all the good that does them. They feel ="trms">affected, and have a vague and almost unwilling sense of being touched at a certain emotional depth, but are unable to ="trms">interpret these feelings (isn't that the case with most art performances='qstn'>?). 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 ="trms">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 ="trms">presents a work (as form and expression of his own self), but as a ="trms">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. ="ppl">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 ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">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='qstn'>?)
when ideas fail, words come in very handy. (="ppl">Goethe='qstn'>?)
all ="trms">serious thinking is ="trms">interpersonal='qstn'>? it is the key to how we think by challenging each other with our ideas.
this is early, i should really give ="trms">lectures in 20 years.
intimacy='lgc'>: first talking than thinking (maybe even taking it back), feeling an idiot afterward. When the saying is taken over by ="trms">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 ="trms">anxieties. the art that i am talking about should not win the conversation. (but why intimacy in the art project at all='qstn'>?) by intimacy i find a route to my true consciousness. in intimacy only there is the possibility for ="trms">love. not making the other/audience to think in a certain way, but exactly the op="trms">posite, the performer has to loose the game of convincement or wit (in her work/form/performance).
shyness='lgc'>: 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 ="trms">relation to the other, as always important, stakes are higher in performance='qstn'>? the proximity of the art object, the ="trms">relation of the face to face ="trms">relationship between the speaker and the ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listener, is the later container of ethical stake='qstn'>?
not audience attention, but audience ="trms">imagination. not their reaction, but their ="trms">response. Usually a ="trms">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='qstn'>? need for drama.
the event has happened off ="trms">stage, now we talk about it. Macbeth, unlike tarantino!
violence is ="trms">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 ="trms">history of islam. (="trms"nttrm="already,spread">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='qstn'>? someone doing something='qstn'>?
what is the cure for shyness.
‘performing for the other’
silent coming and going of the feminine, (form of shyness='qstn'>?)
when we send the shyest as an ambassador to re="trms">present us.
It is a self-defining ="trms">system of signs referring to signs.
a quiet ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listener. we have yet no idea what is speak. how taking transforms the mind that talks. conditions of thinking in ="trms">relation to talking, before or after the mouth that talks. thinking in other ="trms">languages. if intimacy is saying before thinking, how fits the acts of maulwurfe='qstn'>?
work on shyness, I have to start (slowly) with what i (kind of) know.
“...Nudged on the s="trms">cene as a kind of shivering being, ="trms">anxious and shy,..” (kafka, test)
There is the sug="trms">gestion here, as in ="ppl">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.) (="ppl">Avital ="ppl">Ronell, The ="trms">Veils of Servility)
="trms">According to Silvan Tomkins, “shame operates only after ="trms">interest or enjoyment has been activated.”
as ="ppl">Sedgwick has argued, for some people, and most often queer subjects, “shame is simply the first, and remains a permanent, structuring fact of identity='lgc'>: one that ... has its own, powerfully productive and powerfully ="trms">social ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphoric possibilities.
the idea is that the performance that avows its performan="trms">ceness acknowl="trms"nttrm="knowledge,Knowledge">edges 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='qstn'>? is shyness, they way i do it, queer='qstn'>?
turn the ="trms">spectator to the ="trms"nttrm="already,spread">reader.
does shame ="trms">intertwines with queer='qstn'>?
this ="trms">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 ="trms">linguistic re="trms">presentational and political artistic performance.
shameless in my shyness. (at the level of ="trms">affect theory='qstn'>?)
shyness='lgc'>: looking otherwise and feeling ="trms">differently
to act shamed of exactly that which he is ex="trms">cited. (is this a queer subject='qstn'>?)
queer is not iso="trms">morphic 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 ="trms">differently; the subject can disidentify from such ="trms">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 ="trms">Love. See how ="trms">children are endowed with shyness, that is ="trms">natural. Shyness is inherent. Shame is inflicted by ="trms">society and is acquired. Shame brings guilt and shyness adds to one='qstn'>? beauty. Retain your shyness and drop your shame. (='qstn'>?)
shame is simply the first and remains a permanent, structuring fact of identity='lgc'>: one that has its own, powerfully productive and powerfully ="trms">social ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphoric possibilities.
deciding not to care how people thing (or feel='qstn'>?), 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='qstn'>? just having fun with my stuff. can i decide not to care what people think='qstn'>? 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 ="trms">presentation, shy singing, ...)
on passivity, note for the ="trms"nttrm="already,spread">reader='lgc'>: not to mistake it for endurance in this discourse. here we are talking about a philosophical term, in ="trms">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 ="trms">abysses of philosophical reflection on and with shyness='qstn'>?
what am i trying to shortcut='qstn'>?
was ="ppl">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, ="trms">questioning.
the problem of his project='qstn'>?
i am not shy in the work that i am trying to ="trms">present publicly (='qstn'>?)
where am i shy='qstn'>?
posture of ="trms">position or ="trms">gesture
the moment you stand in front of the audience you stop being authentic.
when we ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listen to something very carefully and allow ourselves to be moved we can tune in ti=o the art work and absorb its ="trms">methods. i have found myself moved when i allowed it, by the most ="trms">childish and stupid works of arts.
open minded and eager to make connections
(jane jacob,) (1) ="trms">community is spontaneous, the tissues of ="trms">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 ="trms">interaction between people who are ="trms">different. but the design can also make something that has a ="trms">social character.
we perform an experiment to prove or disprove a hypothesis, we are working within a framework of a closed ="trms">system, the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal pro="trms">position 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 ="trms">different issue. then we are working within the framework of an open ="trms">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(='qstn'>?)
when one is ="trms">responsive rather than assertive one can't ="trms">imagine where one will end Up='lgc'>: thinking. this ="trms">responsiveness is ="trms">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 ="ppl">Heidegger says, may be much the same as wandering. my ="trms">lectures are like wandering.
someone who studies paradoxes, ="trms">poetry and philosophy
(keeping what you know away from ="trms">society, ="trms">history and away from art, not to acknowl="trms"nttrm="knowledge,Knowledge">edge what you have learn)
incompatibility between a particular ="trms">love and a particular ="trms">social arrangement for ="trms">love.
when you play with others, not try to shine and not try to shy. (shyness is d="trms"nttrm="danger,stranger">angerous to ="trms">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 ="trms">sympathetic, saying “i know how you feel” is privileging solidarity='lgc'>: “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 ="trms">relationship with each other you might get something ="trms">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 ="trms">interest but to think most dis="trms">interestedly.
my talks/works is about how we make sense of our environment, the ="trms">network that we live in and the texts and discourses that we are ="trms"nttrm="already,spread">reading and ="trms">writing.
how shyness (even) look like='qstn'>? can we recognize it when we see it='qstn'>?
what is feeling comfortable in the ="trms">presence of str="trms"nttrm="danger,stranger">angers='qstn'>? not ="trms">verbally i mean, physically.
='thdf'>the notion of being comfortable in the ="trms">presence of ="trms">difference. being physically comfortable in ="trms">presence of the people who are not like yourself.
the subjunctive is the ="trms">language that the shy uses ="trms">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 sub="trms">mission, and it invites sub="trms">mission because somebody else defines for you clearly what something is about. there is almost an ="trms">erotic of that, they really now what they are on about, they really know who they are, and you become a ="trms">spectator to their de="trms">finiteness. 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 en="trms">coded 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 ="trms">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 ="trms">respond with a delay and a lot of playfulness and black holes that come in to be of the part of this, by this ="trms">relationship to the Other, that is manifesting itself through the ="trms">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 ="trms">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 ="ppl">Shakespeare or kleinen Maulwurf, der wissen wollte, wer ihm auf den Kopf gemacht hat.
i am not just ="trms">interested in my own foundational ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphors.
is there an amateurishness at the ="trms">intersection of art and philosophy that i am drawing='qstn'>?
what is amateur='qstn'>?
the fact that i am giving talks is very much related to the ="trms">social culture around me, in Germany the culture has a taste to ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listen and there is an ="trms">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 ="trms">relationship with the arts, my issues and ="trms">interests are ="trms">different than warhol for that ="trms">matter. i am enthusiastic and extremely ="trms">interested in the ="trms">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
='thdf'>the notion of ="trms">skill in art, performance, life, work
trauma, in the experience of the trauma, the source mixes, and ="trms">articulate in ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphors and h[...]