^1353087.7.54$s @ Sina Seifee

[...]are so genetically open, that the very concept of s cls s="trms">species>s falsjfies their character as a unique life form

ss="ppl">s s='trgt hghlght 1'href='?q=S'>Sagan
this s cls s="trms">zoos>logical “I” ss='lgc'>[is open to radical revision?span>ss='lgc'>]

model of s cls s="trms">zoos>centrismss='lgc'>: encased self

(?span>what are s cls s="nms">ajayebs>) s cls s="trms">bestiars>y's s cls s="trms">aesthets>ic model of a s cls s="trms">differens>ce (ss='lgc'>=/=?span> s cls s="trms">zoos>centric model)
ss='lgc'>--Burges sss='lgc'>ss='lgc'>--> s cls s="trms">inters>ference patterns generated by a series of s cls s="trms">syms>biotically living form ss='lgc'>ss='lgc'>==> artist

as an organism's connections to the external envimnment grow, that environment becomes its body ss='lgc'>[ss='lgc'>=/= s cls s="frds">s s='trgt hghlght 1'href='?q=S'>Sinas>ss='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 s cls s="trms">matters>sss='lgc'>--organically worked and reworked

ss="large lg2" stl="font-size:111%"> -subjective identities always als cls s="trms"nttrm="already,spread">reads>y und ergoing active (de)coms cls s="trms">posits>ion
span> -(s cls s="trms">relations>s of) physiological identity and psychological subjectivity link up
span>
ss="ppl">s s='trgt hghlght 1'href='?q=S'>Sagan trying to relativize that s cls s="trms">zoos>centric bedrock of “self”

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political s cls s="trms">chimers>as

chiefs’ talk
fluent in a s cls s="trms">verbs>al genre
formalized speeches directed either to leaders of other groups (s s='trgt hghlght 1'href='?q=S'>Southern Amazon in multiethnic and multis cls s="trms">lingus>al s cls s="trms">syss>tem of Upper Xingu) or to their own people, depending on the context in which they are delivered
ss='lgc'>--Guerreiross='lgc'>ss='lgc'>--> both the chief and his audience are s cls s="trms">syms>bolically constructed as “paradoxical” subjects characterized by contradictory predicates
sts cls s="lsts lst1">•<strcls cls s='strcls'>*strcls>how uncertainty can enact an exchange of perspectives<strcls cls s='strcls'>*strcls> (through which the identities of the group and the chief are produced)
sts>
(from a gift-theory perspective) chiefss='lgc'>: donator of goods and words, and a receiver of spouses ss='lgc'><ss='lgc'>-- unilateral direction ss='lgc'>ss='lgc'>==> “chieftaincy s>کدخدايىs>ss='lgc'>: a place of nonexchange” ss='lgc'>[ss='lgc'>~ signs are deprived of their circulation value ss='lgc'>+ reciprocity is denied under the s cls s="trms">demands> that s cls s="trms">socis>ety make visible the foundations of power, maintaining them under the control of the collective bodyss='lgc'>] ss='lgc'>ss='lgc'>--> ‘creditor s cls s="trms">posits>ion of chief’ would imprison power and as sume control of the place where it could emerge ss='lgc'>=/= s cls s="trms">socis>ety of the state

ritual polity
public rituals are the main motor of collective life / ss='at'>@s cls s="nms">apas ss>

chieftaincy ss='lgc'><ss='lgc'>ss='lgc'>--> ritual

ritual cons cls s="trms">denss>ationss='lgc'>: the s cls s="trms">simultans>eous enactment of nominally contrary modes of s cls s="trms">relations>shipss='lgc'>:
sts cls s="lsts lst1">•affirmations of identity are at the same time testimonies of s cls s="trms">differens>ce
sts> sts cls s="lsts lst1">•displays of s cls s="trms">authors>ity are also des cls s="trms">monsts>rations of subordination
sts> sts cls s="lsts lst1">•the s cls s="trms">presens>ce of persons or other beings is at once corroborated and denied
sts> sts cls s="lsts lst1">•secrets are s cls s="trms">simultans>eously dis simulated and revealed
sts> sts cls s="lsts lst1">•
sts> ss='lgc'>ss='lgc'>==> combination of contras cls s="trms">dictis>ons ss='lgc'>ss='lgc'>==> distinctive context of s cls s="trms">communs>ication

ritual efficacy of images and objects
ritual s cls s="trms">relations> to mnemonic s cls s="trms">techns>ologies
s cls s="trms">relations>s between images and words
ss='lgc'>--ss="ppl">ss="ppl">s s='trgt hghlght 1'href='?q=S'>Severiss='lgc'>ss='lgc'>--> concept of s cls s="trms">chimers>a helps (an indigenous mode?span>) in understanding power and dealing with it

(ss="ppl">ss="ppl">s s='trgt hghlght 1'href='?q=S'>Severi and Lagrou ss='lgc'>+ Guerreiro)
ss='lgc'>[<strcls cls s='strcls'>*strcls>ss='lgc'>]s cls s="trms">chimers>ass='lgc'>: every image that, by designating a ps cls s="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurs>al being by means of a single res cls s="trms">presens>tation, mobilizes its invisible parts, by purely optical means or by a set of inferences
-s cls s="trms">chimers>ical image ass cls s="trms">socis>ates, in a single visual form, indexes from s cls s="trms">differens>t beings (a s cls s="trms">birds> 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 s cls s="trms">presens>ce of these s cls s="trms">differens>t beings
span> -evokes something that is implicit or absent to the observer
span> -s cls s="trms">chimers>ical images s cls s="trms">presens>t a s cls s="trms">specifis>c link between iconic res cls s="trms">presens>tation (by imitation and convention) and indexical indication (visual, tactile or other) of a s cls s="trms">presens>ce whose mode of existence, especially mental, is not realized s cls s="trms">materis>ally
span> ss='lgc'>ss='lgc'>--> game betweenss='lgc'>:
sts cls s="lsts lst1">•perception &span> projection
sts> sts cls s="lsts lst1">•iconic res cls s="trms">presens>tation &span> indexical indication
sts> ss='lgc'>ss='lgc'>==> intensification (of the efficacy of s cls s="trms">chimers>ic images) ss='lgc'>: “capture the eyess='lgc'> = capture the s cls s="trms">imagis>nation” ss='lgc'>+ s cls s="trms">demands> that by projection ss='lgc'>[the observerss='lgc'>] mentally “complete” the image

indexical signs have a s cls s="trms">causas>l contiguity (spatiotemporal contiguity) with what they signify

ritual action and artistic creation ss='lgc'>--ss="ppl">ss="ppl">s s='trgt hghlght 1'href='?q=S'>Severiss='lgc'>ss='lgc'>--> synesthetic

(my s cls s="trms">lecturs>e-performances?span> ss='lgc'>~ s cls s="trms">chimers>ic image of chiefs’ talk ss='lgc'>[khotbe s>خطبهs> fluent at combining s cls s="trms">differens>t s cls s="trms">aesthets>ic resourcesss='lgc'>] ss='lgc'>ss='lgc'>-->) s cls s="trms">lingus>istic ss='lgc'>+ extras cls s="trms">lingus>istic media in ritual performance (working/producing visual ss='lgc'>+ mental images)
ss='lgc'>ss='lgc'>--> combining of indexical signs in s cls s="trms">communs>ication acts ss='lgc'>ss='lgc'>==> s cls s="trms">poes>try of identities-in-motion (capable of projecting complex images of a nonvisual kind)
ss='lgc'>[<strcls cls s='strcls'>*strcls>ss='lgc'>]imagess='lgc'>: an abstract portrait of identity s cls s="trms">fashions>ed out of cumulating patterns of congruence acros s all manner of indexical signsss='lgc'>--ins cls s="trms"nttrm="cluster,club">clus>ding visual onesss='lgc'>--that addres sees and audiences can s cls s="trms">imagis>natively experience, like a hologram
(s s='trgt hghlght 1'href='?q=S'>Silverstein > Guerreiro)
ss='lgc'>ss='lgc'>ss='lgc'>~ss='lgc'>~ss='lgc'>ss='lgc'>--> <strcls cls s='strcls'>***strcls>s cls s="trms">relations> between s cls s="trms">poes>tics and the production of identities<strcls cls s='strcls'>***strcls>

s cls s="trms">chimers>ical res cls s="trms">presens>tationss='lgc'>: an art of ambiguity

(ss="ppl">s s='trgt hghlght 1'href='?q=S'>Straus s's Amazonian ethnology ss='lgc'>ss='lgc'>-->) dualism in perpetual disequilibriumss='lgc'>: centripetal forces of centralization ss='lgc'>+ centrifugal forces of dispersion

ss='at'>@s cls s="nms">apas ss> ss='lgc'>ss='lgc'>==> “s cls s="trms">socis>eties against the state”
complex s cls s="trms">relations>s between hierarchy and counterhierarchy
(ss='lgc'>ss='lgc'>--> s cls s="frds scrmbld">Renans>'s notion of monologue)

ss='lgc'>[Clastres's model rooted in Western s cls s="trms">languages> ideology looking at Amerindian s cls s="trms">languages>:ss='lgc'>]
s cls s="trms"nttrm="metaph,metamorph,metabol,metal">metas>s cls s="trms">histos>rical bond between <strcls cls s='strcls'>*strcls>power &span> speech<strcls cls s='strcls'>*strcls> cannot be conceived of separately
sts cls s="lsts lst1">•state s cls s="trms">socis>eties ss='lgc'>ss='lgc'>--> the word is a ‘s cls s="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs>ht’ to power (that may be used to command)
sts> sts cls s="lsts lst1">•s cls s="trms">socis>eties against the state ss='lgc'>ss='lgc'>--> the word is a ‘duty’ of the chief (an indigenous leader must be capable of offering s cls s="trms">socis>ety the words that it ‘s cls s="trms">demands>s’)
sts> sts cls s="lsts lst3">◾Amerindian chiefss='lgc'>: a voice preaching in the s cls s="trms">wilds>ernes s (s cls s="trms">literas>lly says nothing, a repetition of “edifying discourse”) ss='lgc'><ss='lgc'>-- his speech is not spoken in order to be s cls s="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists>ened to (ss='lgc'>~ ritualized act ss='lgc'>[ss='lgc'>=/= act of s cls s="trms">communs>icationss='lgc'>]) ss='lgc'>ss='lgc'>==> chief's speech is transformed into pure value (ss='lgc'>ss='lgc'>~= s cls s="trms">poes>t's speech for whom words are values before they are signs) ss='lgc'>ss='lgc'>--> (for Clastres) s cls s="trms">languages> ss='lgc'>=/= violencess='lgc'>: a facet of coercive power
sts>
denotative s>قوه تفکيکs> ()
predicative (Dickensian aspect)
referential (the efficacy of its context and meaning depends on something else)
s cls s="trms">enuncs>iation (s cls s="trms">pragmas>tic) ss='lgc'>ss='lgc'>==> effects on the s cls s="trms">enuncs>iator ss='lgc'>+ audience ss='lgc'>ss='lgc'>~ss='lgc'>~s s='trgt hghlght 1'href='?q=S'>Silversteinss='lgc'>ss='lgc'>--> ss='lgc'>[<strcls cls s='strcls'>*strcls>ss='lgc'>]politicsss='lgc'>: the dynamic arrangement and rearrangement of people as subjects within structures of actual and potential action of all s cls s="trms">sorts> ss='lgc'>--comprisesss='lgc'>ss='lgc'>--> s cls s="trms">poes>tics ss='lgc'><ss='lgc'>== everything experienced as effective practice is formed s cls s="trms">semios>tically (ss='lgc'>~ through sign)
<strcls cls s='strcls'>*strcls>political oratory ss='lgc'>[ss='lgc'>=/= informing the content of a mes sagess='lgc'>] uses s cls s="trms">poes>tical resources that allow s cls s="trms">inters>locutors to have their identities s cls s="trms">mutuals>ly constructed by means of indexical signs<strcls cls s='strcls'>*strcls> (that connect the mes sage's form to extras cls s="trms">lingus>istic contextual facts) ss='lgc'>ss='lgc'>--> <strcls cls s='strcls'>*strcls>mes sage ascribes to me ss='lgc'>[ss='lgc'>=/= mes sage describes my realityss='lgc'>]<strcls cls s='strcls'>*strcls>

s cls s="frds scrmbld"nttrm="Alice,s s='trgt hghlght 1'href='?q=S'>Shariati">Alis>'s use of political oratory in the context of ordinary s cls s="trms">inters>actions with me ss='lgc'>ss='lgc'>--> i forgot that the s cls s="trms">syms>bolic procedures that separate ritual speech from ordinary s cls s="trms">inters>actions are not neces sarily intended to mean something
-what was the s cls s="trms">pragmas>tic conditions that define the kind of ‘s cls s="trms">languages> game’ s cls s="frds scrmbld"nttrm="Alice,s s='trgt hghlght 1'href='?q=S'>Shariati">Alis> was playing?span>
span>
ss='lgc'>[<strcls cls s='strcls'>*strcls>ss='lgc'>]formalizationss='lgc'>: reduction of combinatory and creative pos sibilities of s cls s="trms">languages> by the use of s cls s="trms">formus>las, archaic s cls s="trms">vocabulars>y, syntactic and stys cls s="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists>ic patterns ss='lgc'>{ss='lgc'>ss='lgc'>--> distancing the
discourse from its semantic content ss='lgc'>ss='lgc'>==> attention to its context and performance ss='lgc'>ss='lgc'>==> effectsss='lgc'>}

ss="large lg22" stl="font-size:114%"> ritual action ss='lgc'>--ss="ppl">ss="ppl">s s='trgt hghlght 1'href='?q=S'>Severiss='lgc'>ss='lgc'>--> reflexivityss='lgc'>: des cls s="trms">finits>ion of its own meaning and effectivenes s within the context of ritual s cls s="trms">communs>ication

(ss='at'>@s cls s="nms">apas ss>'s) performative and s cls s="trms">poes>tic structure
ss='lgc'>[Guerreiro ss='lgc'>ss='lgc'>-->ss='lgc'>] chiefss='lgc'> = consanguine kin s>ابىs> &span> potentially ds cls s="trms"nttrm="danger,stranger">angers>ous enemy ss='lgc'>[ss='lgc'>-ss='lgc'>ss='lgc'>--> go tospan> s cls s="trms">transferens>cess='lgc'>]
(chief's fellows's both as s cls s="trms">childs>ren &span> prey)

ritual speech ss='lgc'>ss='lgc'>==> <strcls cls s='strcls'>***strcls>complex s cls s="trms">enuncs>iator<strcls cls s='strcls'>***strcls> ss='lgc'>[ss='lgc'>ss='lgc'>~= ss='at'>#feedbackss='lgc'>]
ambiguity of duality of s cls s="trms">gests>ural and s cls s="trms">verbs>al ss='lgc'>[ss='lgc'>ss='lgc'>==> exchange of perspectives (ss='lgc'>=/= exchange of words)ss='lgc'>] ss='lgc'>--?span>ss='lgc'>ss='lgc'>--> paradoxical construction of identities
ss='lgc'>+
s cls s="trms">chimers>ical res cls s="trms">presens>tation ss='lgc'>ss='lgc'>--> s cls s="trms">presens>ce of counterparts (of percepted fragmentary signs) to its audience

beautiful and strong body
serene and generous behavior
s cls s="trms">lingus>istic abilities (“made to discourse”)
(we are living with) mythical, s cls s="trms">aesthets>ic, and ritual elaboration
guiding them with “good speech”
pleasing them by sponsoring rituals
welcome mes sengers (“made in order to s cls s="trms">greets> mes sengers”)

s cls s="trms">relations>al and pos ses sive

(pos ses sed form of) as cls s="trms">syms>metrical s cls s="trms">relations>ship between a denominated (individualized) person and an uns cls s="trms">differens>tiated collective

agglutinate
s cls s="trms">enuncs>iated in the same tone with no pauses to breath
ss='lgc'>+
expletive ah
ss='lgc'>+
set of particles
ss='lgc'>+
deictic ige (evidential ss='lgc'>[devaluating?span>ss='lgc'>] particle that indicates proximity, s cls s="trms">presens>ce, or existence, fixed to the copula ss='lgc'>ss='lgc'>--> piece of advice?span>)

ss="large lg46" stl="font-size:131%"> expletive and particles with no lexical element ss='lgc'>ss='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 ss='lgc'>ss='lgc'>==> to wake the whole village up with joy

s cls s="trms">presens>t is nothing more than an impoverished form of a previous age idealized as grandiose ss='lgc'><ss='lgc'>-- (chief) to “work on his s cls s="trms">childs>ren” like an s cls s="trms">ancests>or, he must state that he could never do so

<strcls cls s='strcls'>*strcls>parallelism<strcls cls s='strcls'>*strcls>
enchainment of repeated verses and themes ss='lgc'>ss='lgc'>==> the shaman is s cls s="trms">syms>bolically identified as a paradoxical character (human &span> nonhuman, here &span> there, in the s cls s="trms">presens>t time &span> in the mythic time)
ss='lgc'>ss='lgc'>--> transfer properties from one being to another

(formal ss='lgc'>=/=) ‘performative parallelism’ between the actual chief and those before him ss='lgc'>ss='lgc'>==> attenuate s cls s="trms">pasts> &span> s cls s="trms">presens>t
-he speaks about s cls s="trms">ancests>ors, as an s cls s="trms">ancests>or (using their s cls s="trms">languages>), and on s cls s="trms">ancests>ors’ behalf (since they are gone)
span>
(antonymic affirmation of) “s cls s="trms">pasts> ss='lgc'>=/= s cls s="trms">presens>t” ss='lgc'>ss='lgc'>ss='lgc'>~=> shame in the s cls s="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists>eners ss='lgc'>ss='lgc'>==> act as the ancient chiefs’ own s cls s="trms">childs>ren
ss='lgc'>--ss="ppl">Austinss='lgc'>ss='lgc'>--> illocutionary force ss='lgc'>==givesss='lgc'>ss='lgc'>==> capacity to perform an act in saying something
<strcls cls s='strcls'>*strcls>hyperbole (contrast) ss='lgc'>ss='lgc'>==> the audience could be s cls s="trms">aesthets>ically and morally compelled
to act in some way (perlocutionary acts)

ss="large lg18" stl="font-size:103%">
that which had once been human (ss='lgc'>ss='lgc'>--> mythical human os cls s="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs>in of the plant corn)

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

(s cls s="nms">Pirs> ss='lgc'>ss='lgc'>~= chief's) foundations of kinshipss='lgc'> = thinking about kin ss='lgc'>=/= forgetting kin ss='lgc'>:
sts cls s="lsts lst1">•generating and raising s cls s="trms">childs>ren
sts> sts cls s="lsts lst1">•producing food
sts> sts cls s="lsts lst1">•avoiding witchs cls s="trms">crafts>
sts> ss='lgc'>ss='lgc'>==> fabrication of a collective body of kin

imperfections of the s cls s="trms">presens>t ss='lgc'>+ ideal of s cls s="trms">socis>al life ss='lgc'>==encouragess='lgc'>ss='lgc'>==> people to behave like kin (ss='lgc'><ss='lgc'>-- needs to be actively produced)

ss='lgc'>[we have to be carefull in art with performances ofss='lgc'>] words hold within them the s cls s="trms">posits>ive moral and creative element of power; and contain meaningfulnes s, value, artistry and s cls s="trms">affects>ive mas s (ss='lgc'>ss='lgc'>--> carrying the weight of an order without appearing as such) ss='lgc'>=/= s cls s="trms">authors>itarian discourse
ss='at'>@s cls s="frds scrmbld"nttrm="s s='trgt hghlght 1'href='?q=S'>Singa">Ingas>

ss='lgc'>ss='lgc'>--> <strcls cls s='strcls'>***strcls>a brief moment, a s cls s="trms">worlds> where the s cls s="trms">differens>ce between chiefs (leader-like speaker, am i like that in my performance s cls s="trms">lecturs>es?span>) and nonchiefs (s cls s="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists>eners, his s cls s="trms">childs>ren) can be effective<strcls cls s='strcls'>***strcls>

xxxxxx

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ss="large lg38" stl="font-size:121%">
theory (is either)ss='lgc'>: <strcls cls s='strcls'>*strcls>powerful<strcls cls s='strcls'>*strcls> (accounting for a limited number of features valid for a great number of cases) ss='lgc'>{extensionally oriented, for example comparative or statistical analysisss='lgc'>} ss='lgc'>=/= <strcls cls s='strcls'>*strcls>expres sive<strcls cls s='strcls'>*strcls> (accounting for a great number of features belonging to a limited number of cases) ss='lgc'>{intentionally oriented, for example clinical case studiesss='lgc'>}

extensional ss='lgc'>ss='lgc'>--> s cls s="trms">generalizs>ing

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

counterintuitive ss='lgc'>==givess='lgc'>ss='lgc'>==> res cls s="trms">presens>tation its psychological salience

the experience of dreaming is full of counterintuitive res cls s="trms">presens>tations (rapidly forgotten)

counterintuitive context of ritual s cls s="trms">communs>ication ss='lgc'>ss='lgc'>--> succes sful propagation of a res cls s="trms">presens>tation (s cls s="trms">mems>orable)
for example res cls s="trms">citas>tion of shamanistic chants ss='lgc'>--constructss='lgc'>ss='lgc'>--> an acoustic mask ss='lgc'>=/= convey meaningful mes sage

for s cls s="trms">religs>ion (and s cls s="trms">markets>ing?span>) culturally succes sful res cls s="trms">presens>tation ss='lgc'>: <strcls cls s='strcls'>*strcls>a counterintuitive res cls s="trms">presens>tation s cls s="trms">formus>lated within counterintuitive conditions of s cls s="trms">communs>ication<strcls cls s='strcls'>*strcls>

ss='lgc'>}ss='lgc'>--ss="ppl">ss="ppl">s s='trgt hghlght 1'href='?q=S'>Severiss='lgc'>ss='lgc'>--> we need a more expres sive theory of cultural propagation (ss='lgc'><ss='lgc'>-- my try in telegram s cls s="trms">bestiars>y text)

doctrinal (semantic s cls s="trms">mems>ory) and s cls s="trms">imagis>stic (episodic s cls s="trms">mems>ory) s cls s="trms">religs>ious modes

(how to better be understand the contemporary art's drive to) <strcls cls s='strcls'>*strcls>ritual s cls s="trms">communs>ication<strcls cls s='strcls'>*strcls> ss='lgc'>ss='lgc'>--> performed through both action &span> speech
sts cls s="lsts lst1">•the contextss='lgc'>: establishment of a particular form of s cls s="trms">inters>action (from a series of contradictory connotations, being two things at the same time ss='lgc'>ss='lgc'>--> s cls s="trms">syms>bolic transformation) ss='lgc'>==constructss='lgc'>ss='lgc'>==> a special identity of the participants
sts> ss='lgc'>ss='lgc'>--> xxxx s>جمع گرایانهs> s cls s="trms">syncs>retistic movement ss='at'>@s cls s="nms">apas ss> (used as an s cls s="trms">instrus>ment of resistance?span>)

ss="large lg10" stl="font-size:104%"> mes sianismss='lgc'> = intense propagation ss='lgc'>+ paradoxical identification
ss='lgc'>ss='lgc'>--> convert entire populations in a short amount of time

s cls s="trms">pragmas>tics of s cls s="trms">communs>ication ss='lgc'>ss='lgc'>--> appearance of a paradoxical “I” personified by the prophet

(warrior shaman mes siah's) contradictory self-des cls s="trms">finits>ion ss='lgc'>==abless='lgc'>ss='lgc'>==> s cls s="trms">enuncs>iate paradoxical statements
ss='lgc'>--ss="ppl">ss="ppl">s s='trgt hghlght 1'href='?q=S'>Severiss='lgc'>ss='lgc'>--> to be faithful to the local tradition

Appache ss='lgc'>ss='lgc'>--> ops cls s="trms">posits>ion to s cls s="frds scrmbld"nttrm="Christianson">Christians>ity take the firm of conceptualizing s cls s="frds scrmbld"nttrm="Christianson">Christians>ity as a s cls s="trms">differens>t s cls s="trms">religs>ion
sts cls s="lsts lst1">•absorbing but not understanding the elements (of s cls s="frds scrmbld"nttrm="Christianson">Christians> s cls s="trms">religs>ion) ss='lgc'>ss='lgc'>~= being impres sed by s cls s="trms">storys> ss='lgc'>{ss='lgc'><ss='lgc'>-- i do this in my artistic work but i don't ask for devotion or trustss='lgc'>}
sts> ss='lgc'>ss='lgc'>--> using typical s cls s="trms">imagis>stic s cls s="trms">methods>s, ritual of dance

the old man Arnold

chant (ritual s cls s="trms">syms>bolism) ss='lgc'>ss='lgc'>-->
sts cls s="lsts lst1">•treat illnes s
sts> sts cls s="lsts lst1">•accompany rite of pas sage
sts> sts cls s="lsts lst1">•impart magical powers
sts> -
span>
(amerindian) shamanism ss='lgc'>ss='lgc'>--> establishes a s cls s="trms">s cls s="trms"nttrm="metaph,metamorph,metabol,metal">metas>phors>ical link, a set of analogies ss='lgc'>ss='lgc'>~= mystical s cls s="trms">relations>ships between ritual objects and living being ss='lgc'>[ss='lgc'>ss='lgc'>--> construct its own truthuniverse, supers cls s="trms">naturs>al dimension thought of a pos sible s cls s="trms">worlds>ss='lgc'>]

bleeding pearl

parallelism ss='lgc'>: (a s cls s="trms">techns>ique of) ths cls s="trms"nttrm="already,spread">reads>ing s cls s="trms">verbs>al images together

ss="large lg10" stl="font-size:115%"> ss='lgc'>[ss="ppl">ss="ppl">s s='trgt hghlght 1'href='?q=S'>Severi's early s cls s="trms">inters>pretation ofss='lgc'>] tradition (would need to) preserve the text ss='lgc'>+ s cls s="trms">instrus>ctions to use ss='lgc'>--byss='lgc'>ss='lgc'>--> s cls s="trms">verbs>alizing them (store them in the chant)

Kuna ss='lgc'>ss='lgc'>--> description of the s cls s="trms">posits>ion of the speaker (“shaman is now seated there and is saying...”) characterizes the special kind of s cls s="trms">communs>ication (appropriate for ritual changing)

shamanss='lgc'>: novel s cls s="trms">sorts> of s cls s="trms">enuncs>iator (lending his voice to other invisible beings ss='lgc'>ss='lgc'>--> ps cls s="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurs>al and contradictory identity)

acoustic maskss='lgc'>: a reflexive means to define the ritual identity of the speaker

reflexive application of parallelism

(ss='at'>@Isabel, how to make s cls s="trms">communs>ity without becoming a cult?span>)

use snake ss='lgc'>ss='lgc'>--> capture the s cls s="trms">imagis>nation of the followers ss='lgc'>ss='lgc'>==> s cls s="trms">authors>ity

s cls s="trms">imagis>stic (iconic mode, sequence of acid) ss='lgc'>+ doctrinal (discursive mode, text, prayer)ss='lgc'> = s cls s="trms">pragmas>tics context of s cls s="trms">enuncs>iation ss='lgc'>ss='lgc'>==> mes sianistic s cls s="trms">religs>ion

both paradoxical &span> paralles cls s="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists>ic

new ways to be faithful...

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exhibition-making and preventive conservation ss='lgc'>ss='lgc'>--> inspection and exs cls s="trms">posits>ion ss='lgc'><ss='lgc'>-- (s cls s="trms">differens>t understandings and use of) <strcls cls s='strcls'>*strcls>touchss='lgc'> = curatorial<strcls cls s='strcls'>*strcls>

profes sionalisation of curating
short-term education
cultural exchange

ss='at'>@s cls s="nms">apas ss> feedbackss='lgc'>: (terrain of) peer engagement ss='lgc'>ss='lgc'>--> understanding each other’s practices

education, research, s cls s="trms">literas>cy, management, s cls s="trms">networks>ing, custodianship, audience development

research (overdue) s cls s="trms">relations>ship with intelligence ss='lgc'>--✕span>ss='lgc'>ss='lgc'>--> <strcls cls s='strcls'>**strcls>researchss='lgc'>: adventure of charismas<strcls cls s='strcls'>**strcls>

ss="large lg1" stl="font-size:149%"> ...to be migratory (in thought, praxis, s cls s="trms">communs>ity)

...subjectivities without a s cls s="trms">herits>age in criticality and art

constraintss='lgc'>: a source of self-abundance ss='lgc'>--s cls s="frds scrmbld">Renans>ss='lgc'>ss='lgc'>--> suffering and riskss='lgc'> = opportunities to hybridize with life

curatingss='lgc'>:
sts cls s="lsts lst1">•nutrition and extension
sts> sts cls s="lsts lst1">•analysis and transplantation
sts> sts cls s="lsts lst1">•ss='lgc'>=/= content s cls s="trms">histos>ricization
sts> sts cls s="lsts lst1">•ss='lgc'>=/= s cls s="trms">datas>
sts>

extraterritoriality
being collocated in all the whispers of the s cls s="trms">worlds>

s cls s="trms">wilds> pollination
artificial breeding

s cls s="frds scrmbld">Renans>ss='lgc'>: Institutional work carried by a freelancer, a private individual or a civil servant can improve the publicnes s 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.
ss='at'>@s cls s="nms">apas ss>

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publication of the miracle
ss='lgc'>[the miraculous in exhibitions ss='lgc'>+ self-exhibiting miraclesss='lgc'>]
s cls s="frds scrmbld">Renans>'s <strcls cls s='strcls'>*strcls>exhibitionary s cls s="trms">herits>age<strcls cls s='strcls'>*strcls> of miracles

seeing (risk of sight) ss='lgc'>ss='lgc'>--> pas sionate misunderstanding, confusion, rejection

ss="large lg50" stl="font-size:129%"> cultural engineering of s cls s="trms">anthrops>ology of s cls s="trms">herits>age

exhibitionary s cls s="trms">herits>agess='lgc'>: a scafs cls s="trms">folds>ing that times, locates, and proliferates all that is exhibitionary (like a shower, or rainfall)

curatorial subjectivity

exhibitionary complex
sts cls s="lsts lst1">•describe the problems of an exhibitionary s cls s="trms">herits>age
sts> sts cls s="lsts lst1">•find solutions to artistic problems in the description of exhibitionary complexes
sts>
(the ss='thdf'>bad idea of s cls s="trms">inters>preting exhibitionary s cls s="trms">herits>age as an) exhibitionary solution to problems that are res cls s="trms">presens>ted by the works of art ss='lgc'>ss='lgc'>--> correlate artistic solutions with exhibitionary problems ss='lgc'>}ss='lgc'><ss='lgc'>--s cls s="frds scrmbld">Renans>ss='lgc'>-- s cls s="trms">consums>es the links between art, exhibits, and curation s cls s="trms">naturs>ally and atheoretically

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

...using the concepts and tools of exhibition s cls s="trms">histos>ry

the ss='thdf'>bad idea of the artistic is conceived in exhibitions &span> the exhibitionary in artworks

postulate s cls s="trms">matters> in terms of
sts cls s="lsts lst1">•errors
sts> sts cls s="lsts lst1">•s cls s="trms">questions>s
sts> (not neces sarily in terms of)
sts cls s="lsts lst1">•exhibition
sts> sts cls s="lsts lst1">•artwork
sts>

exhibitionary s cls s="trms">herits>age of
sts cls s="lsts lst1">•artistic practices ss='lgc'>ss='lgc'>--> the miracle in ideas/objects
sts> sts cls s="lsts lst1">•curatorial practices ss='lgc'>ss='lgc'>--> s cls s="trms">categs>ories of the miracle
sts> sts cls s="lsts lst1">•exhibitionary practices ss='lgc'>ss='lgc'>--> the miraculous as datum of the s cls s="trms">worlds>
sts>
miracle can be contained or can burst into the study of traditions and transs cls s="trms">mis sions>s

miracless='lgc'> = content ss='lgc'>+ form

miraculous ss='lgc'>ss='lgc'>--> surrogate medium of the artistic

(s cls s="frds scrmbld">Renans>ss='lgc'>:) how a miracle can turn the hopeful perplexity surrounding Virgin Mary into the relentles s exhibitionary ss='lgc'>-ss='lgc'>-ss='lgc'>ss='lgc'>--> <strcls cls s='strcls'>*strcls>the power of sugs cls s="trms">gests>ion is curatorial<strcls cls s='strcls'>*strcls> ss='lgc'>ss='lgc'>--> s cls s="trms">materis>als can be rearranged (or other contents can be shaken off from them s cls s="trms">accords>ing to the s cls s="trms">demands>s of art s cls s="trms">histos>ry)

flower showers

an auspicious beginning for a lasting devotion

s>گلبرگs> ss='lgc'>ss='lgc'>--> the petal applied to the body of the sick and invalid, a sacred relic that is progres sively distant yet proliferative

problem of the exhibitionary s cls s="trms">herits>age ss='lgc'>--s cls s="frds scrmbld">Renans>ss='lgc'>ss='lgc'>--> discursify that even miracles can be s cls s="trms">inters>preted art s cls s="trms">histos>rically, that they are worthy of belief

ss="brkr">
ss="ppl">Julia ss="ppl">s s='trgt hghlght 1'href='?q=S'>Scher (first two weeks of April (1-14.04) and last two weeks of June (14-30.06))
Marie-Luise s cls s="trms"nttrm="danger,stranger">Angers>er (last two weeks of June)

Luis Negrón van Grieken (free)
s cls s="frds scrmbld"nttrm="Christianson">Christians> s s='trgt hghlght 1'href='?q=S'>Sievers
Daniela Kinateder

David Hahlbrock
Zilvinas Lilas

Matthias Müller
Phil Collins
Heide Hagebölling

Mischa Kuball
Andreas Henrich
Ute Hörner
Peter Friedrich s s='trgt hghlght 1'href='?q=S'>Stephan

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i am using these spaces basically as their potential for being a host for something else, rather than pointing their pure site s cls s="trms">specifis>city.
my workspan> has worked (for me?span>) whenever it was an s cls s="trms">inters>vention to/for its objecthood as a being-in-art-form or for my own fantasies. the problem/s cls s="trms">matters> of exhibition.
the theoretical work would base on s cls s="trms"nttrm="already,spread">reads>ing shynes s as for a philosophical opening for the practical part of the diploma that comes afterward. By this way of s cls s="trms">writs>ing i operate myself, breaking free from the proces s of offering philosophical evidence.

sts cls s="lsts lst1">•Maulwurfe in the Moschee (shit on the head looks like Ts cls s="trms"nttrm="disturban">urbans>(!), about action and taking the action and getting the call, over doing of anything, revenge program, revelation to other's transs cls s="trms">mis sions>, talking about shit in a mosque, etc.)
sts> sts cls s="lsts lst1">•king lear in the Hochzeits salon (space for speech act, ritual, marriage of daughters, etc.)
sts> sts cls s="lsts lst1">•islam intro in the Biologie Zentrum Uni Köln (hygiene in islam, work on s cls s="trms">mems>ory s cls s="trms">relations> to research, reciting Koran brings the dead as witnes s, etc.)
sts>

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

shynes s is prescribed for woman, it exists in s cls s="trms">religs>ion as a female virtue

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

s cls s="trms">inters>vention is not always attacking the other-as-stupid, but rather how do you perform your s cls s="trms">inters>vention in that sense that is that YOU are stupid before the other

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

i am going to have a smooth s cls s="trms">transits>ion from my amazon project to my diplom, via s cls s="trms">animals> talk?span>

ss='lgc'>ss='lgc'>--> ‘face’ in performance. (s cls s="trms"nttrm="already,spread">reads> ss="ppl">ss="ppl">Haraway, ss="ppl">Levinas, ss="ppl">Derrida)
face is linked to sensibility and vision in an intimate way. something that resists s cls s="trms">categs>orization, containment or comprehension, ins cls s="trms">finits>ely foreign. it is not the biological face. it is ss='thdf'>the idea of ins cls s="trms">finits>y within oneself. this idea of ins cls s="trms">finits>y which the face encapsulates is for ss="ppl">Levinas the key means by which thought is brought into s cls s="trms">relations> with what goes beyond its capacity. and this is crucial in art and s cls s="trms">specifis>cally 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 pos ses sion or utilization. the face promotes a discourse when it invites me. (ranting against sober means of s cls s="trms">communs>ication). the face to face s cls s="trms">situs>ation founds s cls s="trms">languages>.
s cls s="trms">presens>ce of the face coming from beyond the s cls s="trms">worlds> , but committing me to human fraternity (Gemeinschaft) does not overwhelm me as a numinous es sence arousing fear and trembling. to be in s cls s="trms">relations>ship while absolving oneself from this s cls s="trms">relations> is ‘to speak’. the face always speaks directly and absolutely to me.

many late 20th century s cls s="trms">horrors> films feature a masked villain. the act of masking the face is not only s cls s="trms">s cls s="trms"nttrm="metaph,metamorph,metabol,metal">metas>phors>ical, 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 compas sion or other moral s cls s="trms">respons>ses. the faceles snes s of the alien, swarms of ants, or other villains of pop culture.

for face look at facade too.

ss='lgc'>ss='lgc'>--> ‘provocation’ in performance. (s cls s="trms"nttrm="already,spread">reads> ss="ppl">ss="ppl">Haraway, ss="ppl">Levinas)

ss='lgc'>ss='lgc'>--> ‘act’ in performance. (s cls s="trms"nttrm="already,spread">reads> grotowski)
what is to bess='lgc'>: ‘completely s cls s="trms">naturs>al and logical’. dealing with the discomfort of unreasonable s cls s="trms">presens>ce on the s cls s="trms">stags>e. nonres cls s="trms">presens>tational aspects of performance

ss='lgc'>ss='lgc'>--> ‘teaching’ that is not s cls s="trms">rhetors>ics where the revelation of the other can take place (ss="ppl">Avital, ss="ppl">Levinas). teaching is synthesizing for someone else. what kind of s cls s="trms">communs>ication is teaching involved?span>
the discourse inherent in the s cls s="trms">relations> with the other is like or as a sermon.

ss='lgc'>ss='lgc'>--> ‘eyes’ threatening or seducing eyes of the performer (ss="ppl">Rainer)

ss='lgc'>ss='lgc'>--> ‘ranting’ of the drunk in the face of the sober. dists cls s="trms"nttrm="disturban">urbans>ce of a continuity with attack with words.

ss='lgc'>ss='lgc'>--> ‘saying’, before it conjugates a s cls s="trms">verbs>al sign, is als cls s="trms"nttrm="already,spread">reads>y an ethical s cls s="trms">gests>ure. saying is therefore als cls s="trms"nttrm="already,spread">reads>y 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 expres sion, freedom from the cage of thematics. this s cls s="trms">mis sions> (s cls s="trms">respons>sibility for the other) can be adequately expres sed only through a certain impos sible undoing of s cls s="trms">languages>. s cls s="trms">presens>ting a philosophical other is only pos sible when we generate a saying saying saying itself.
my performance talkss='lgc'>: to s cls s="trms">situs>ate my subjectivity s cls s="trms">lingus>istically (in a nons cls s="trms">presens>ce and a nonplace). (?span>) (if the stakes are at s cls s="trms">situs>ating myself, then the s cls s="trms">questions> is why?span>)
saying becomes totally exposed in its approach to the other. in limited s cls s="trms">socis>al s cls s="trms">situs>ations it creates risks of embarras sment or rebuttal and perhaps sounding psychotic. something that will strip away all protective layers, whether cultural or s cls s="trms">literas>l, from the body (of knowls cls s="trms"nttrm="knowledge,Knowledge">edges>). it can also be masochistically painful for the subject. the absolute saying is a trauma, with vulnerability and pas sivity even is a bodily way, where the ethical being isss='lgc'>: one penetrated by the other. (saying is ethical while said is juridical.)

ss='lgc'>ss='lgc'>--> ‘psychology’ not only what we do but why we do. the s cls s="trms">scies>nce that should be studied so much in art, specially in performance art. the how of human behavior, feelings and emotions.
the psychological space, the s cls s="trms">inters>mediary space of the ethical s cls s="trms">relations>, shynes s and commitment to the other. “i am ins cls s="trms">finits>ely more s cls s="trms">demands>ing of myself than of others”. (is this the realm of shynes s being before god?span>)

ss='lgc'>ss='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)

ss='lgc'>ss='lgc'>--> ‘cornered’ someone that is cornered s cls s="trms">ontos>logically. can not shy out of the corner.

ss='lgc'>ss='lgc'>--> ‘s cls s="trms">presens>t’ of s cls s="trms">presens>ce signifies nownes s. The movement of time makes things s cls s="trms">presens>t by making them now. What is the s cls s="trms">relations> of this “making s cls s="trms">presens>t” to the s cls s="trms">worlds>?span> Is the movement of time ultimately to be traced to that of the s cls s="trms">worlds>?span> On such a view, we take the succes sive nows that constitute time’s movement as a function of the s cls s="trms">worlds>. Their os cls s="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs>in is the succes sive impres sions we receive from its objects. We, thus, come to affirm that nownes s is the s cls s="trms">worlds>’s s cls s="trms">presens>ce to us in the impres sions it leaves. ss="ppl">Augustine gives the clas sic expres sion of this s cls s="trms">posits>ion when he s cls s="trms">writs>esss='lgc'>: “It is in you, O my mind, that I s cls s="trms">meass>ure time. ... What I s cls s="trms">meass>ure is the impres s produced in you by the things as they pas s and ss='lgc'>[the impres sionsss='lgc'>] abiding in you when they have pas sed."2 The impres s is registered as the s cls s="trms">presens>t now. We register the abiding impres sion left in the mind as the res cls s="trms">mems>bered now. If, however, we break the tie between s cls s="trms">presens>ce and the s cls s="trms">worlds>, we have to say that the impres s is the result of our own activity. The impres sion that results in the now comes, in other words, not from the s cls s="trms">worlds>, but from ourselves. It is a result of our s cls s="trms">affects>ing ourselves. In ss="ppl">Derrida’s words, its os cls s="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs>in is “the auto-s cls s="trms">affects>ion” of consciousnes s.

ss='lgc'>ss='lgc'>--> ‘consciousnes s’ s s='trgt hghlght 1'href='?q=S'>Since it involves the self-awarenes s that s cls s="trms">demands>s self-s cls s="trms">presens>ce, the s cls s="trms">questions> of s cls s="trms">languages> expands once again. In answering it, we must inquire into the s cls s="trms">naturs>e of consciousnes s.  

ss='lgc'>ss='lgc'>--> ‘s cls s="trms">veils>’ uns cls s="trms">veils>ed. a sign of s cls s="trms">differens>ce, a kind of timidity?span> is shynes s same as s cls s="trms">veils>?span> is it a sheer projection?span> are we (am i) subdued?span>

ss='lgc'>ss='lgc'>--> ‘exhibitionist ambitions’ and idealized structures. the exhibitionist ambitions of these artists forswear all objective orientation. Their own uniquenes s and grandiosity is taken for granted. it is not open to debate and need not be founded in a structured manner that is acces sible and comprehensible to one's powers of appraisal and judgment. the res cls s="trms">presens>tatives of posts cls s="trms">moderns>ism adopt the stys cls s="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists>ic forms, themes and visual s cls s="trms">materis>al of their art from the boundles s treasure trove of art s cls s="trms">histos>ry so s cls s="trms"nttrm="already,spread">reads>ily acces sible today. dependence on what has als cls s="trms"nttrm="already,spread">reads>y been s cls s="trms">formus>lated. 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 uniquenes s find themselves faced with the s cls s="trms">questions>ss='lgc'>: “what is to be done?span>”. I too, choose to refuse to pander to the s cls s="trms">demands>s of innovation, style and s cls s="trms">integrs>ity, but at the same time not to work myself up to grandiose self-image of artistic omnipotence.

look at the theory of intelligence for s cls s="trms">languages> and other kind of ‘enjoying’ the s cls s="trms">naturs>e, art or other structures.

ss="large lg26" stl="font-size:106%"> how is the philosophy of the s cls s="trms">sublims>e (quality of greatnes s) related to the format of my talks?span> if my workspan> is not an endeavor on the philosophy of the s cls s="trms">sublims>e then what is it?span>

in this s cls s="trms">writs>ing i am not going to work in the forms of claims as s cls s="trms">stags>es in a logical argument. my approach would we unsubstantial to break free from the proces s of offering philosophical evidence...

mobilizing forces
scoring s cls s="trms">syss>tem

ops cls s="trms">posits>ion to shamanism in performance art, points in The Art of s cls s="trms">Moderns>ism - ss="ppl">s s='trgt hghlght 1'href='?q=S'>Sandro ss="ppl">Bocola, for critique on Beuys and ss="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 s cls s="trms">syss>tem and are left entirely to their own devices, i.e. to their own emotional s cls s="trms">respons>ses, for all the good that does them. They feel s cls s="trms">affects>ed, and have a vague and almost unwilling sense of being touched at a certain emotional depth, but are unable to s cls s="trms">inters>pret these feelings (isn't that the case with most art performances?span>). 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 s cls s="trms">socis>al 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 s cls s="trms">presens>ts a work (as form and expres sion of his own self), but as a s cls s="trms">materis>al 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. ss="ppl">Kohut stres ses that the effect of mes sianic and charismatic personalities is not neces sarily 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 mas ses turn to a mes sianic 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 s cls s="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs>ht, 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?span>)

when ideas fail, words come in very handy. (ss="ppl">Goethe?span>)

all s cls s="trms">serios>us thinking is s cls s="trms">inters>personal?span> it is the key to how we think by challenging each other with our ideas.

this is early, i should really give s cls s="trms">lecturs>es in 20 years.

intimacyss='lgc'>: first talking than thinking (maybe even taking it back), feeling an idiot afterward. When the saying is taken over by s cls s="trms">rhetors>ic or maneuvering or calculation then the problem is persuading or proving, not intimacy. (intimate thoughts in s s='trgt hghlght 1'href='?q=S'>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 s cls s="trms">anxis>eties. the art that i am talking about should not win the conversation. (but why intimacy in the art project at all?span>) by intimacy i find a route to my true consciousnes s. in intimacy only there is the pos sibility for s cls s="trms">lovs>e. not making the other/audience to think in a certain way, but exactly the ops cls s="trms">posits>e, the performer has to loose the game of convincement or wit (in her work/form/performance).

shynes sss='lgc'>: not the clinical term. i am talking about a shynes s that is deep in the character, a kind of trembling before the other.

the ethical s cls s="trms">relations> to the other, as always important, stakes are higher in performance?span> the proximity of the art object, the s cls s="trms">relations> of the face to face s cls s="trms">relations>ship between the speaker and the s cls s="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists>ener, is the later container of ethical stake?span>

not audience attention, but audience s cls s="trms">imagis>nation. not their reaction, but their s cls s="trms">respons>se. Usually a s cls s="trms">respons>se is a reply to a query not the result of a stimulus. s s='trgt hghlght 1'href='?q=S'>Stimulus is an urgent vital proces s 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?span> need for drama.

the event has happened off s cls s="trms">stags>e, now we talk about it. Macbeth, unlike tarantino!

violence is s cls s="trms">syms>bolized 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 s cls s="trms">histos>ry of islam. (s cls s="trms"nttrm="already,spread">reads> 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?span> someone doing something?span>
what is the cure for shynes s.
‘performing for the other’

silent coming and going of the feminine, (form of shynes s?span>)

when we send the shyest as an ambas sador to res cls s="trms">presens>t us.

It is a self-defining s cls s="trms">syss>tem of signs referring to signs.

a quiet s cls s="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists>ener. we have yet no idea what is speak. how taking transforms the mind that talks. conditions of thinking in s cls s="trms">relations> to talking, before or after the mouth that talks. thinking in other s cls s="trms">languages>s. if intimacy is saying before thinking, how fits the acts of maulwurfe?span>

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

“...Nudged on the ss cls s="trms">cenes> as a kind of shivering being, s cls s="trms">anxis>ous and shy,..” (kafka, test)

There is the sugs cls s="trms">gests>ion here, as in ss="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 distres s of proving one's most minimal merit.) (ss="ppl">Avital ss="ppl">Ronell, The s cls s="trms">Veils>s of s s='trgt hghlght 1'href='?q=S'>Servility)

s cls s="trms">Accords>ing to s s='trgt hghlght 1'href='?q=S'>Silvan Tomkins, “shame operates only after s cls s="trms">inters>est or enjoyment has been activated.”

as ss="ppl">s s='trgt hghlght 1'href='?q=S'>Sedgwick has argued, for some people, and most often queer subjects, “shame is simply the first, and remains a permanent, structuring fact of identityss='lgc'>: one that ... has its own, powerfully productive and powerfully s cls s="trms">socis>al s cls s="trms">s cls s="trms"nttrm="metaph,metamorph,metabol,metal">metas>phors>ic pos sibilities.

the idea is that the performance that avows its performans cls s="trms">cenes>s s acknowls cls s="trms"nttrm="knowledge,Knowledge">edges>s the difficulty of fitting into roles, finding identities, and managing a self, especially a self vulnerable to the effects of stigma.

is there a queernes s in me and my performance?span> is shynes s, they way i do it, queer?span>

turn the s cls s="trms">spectas>tor to the s cls s="trms"nttrm="already,spread">reads>er.

does shame s cls s="trms">inters>twines with queer?span>
this s cls s="trms">affects> and mode of performance (which normative euro American culture would rather eradicate) can be queered, twisted and turned into endles s artful enactments.
queer, as experimental s cls s="trms">lingus>istic res cls s="trms">presens>tational and political artistic performance.

shameles s in my shynes s. (at the level of s cls s="trms">affects> theory?span>)

shynes sss='lgc'>: looking otherwise and feeling s cls s="trms">differens>tly

to act shamed of exactly that which he is exs cls s="trms">cites>d. (is this a queer subject?span>)

queer is not isos cls s="trms">morphs>ic with gay or lesbian or any other fixed identity, rather, queernes s undoes all identities into an endles s 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 s cls s="trms">differens>tly; the subject can disidentify from such s cls s="trms">inters>polations 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. s s='trgt hghlght 1'href='?q=S'>Shame accompanies arrogance. s s='trgt hghlght 1'href='?q=S'>Shynes s accompanies s cls s="trms">Lovs>e. s s='trgt hghlght 1'href='?q=S'>See how s cls s="trms">childs>ren are endowed with shynes s, that is s cls s="trms">naturs>al. s s='trgt hghlght 1'href='?q=S'>Shynes s is inherent. s s='trgt hghlght 1'href='?q=S'>Shame is inflicted by s cls s="trms">socis>ety and is acquired. s s='trgt hghlght 1'href='?q=S'>Shame brings guilt and shynes s adds to one?span> beauty. Retain your shynes s and drop your shame. (?span>)

shame is simply the first and remains a permanent, structuring fact of identityss='lgc'>: one that has its own, powerfully productive and powerfully s cls s="trms">socis>al s cls s="trms">s cls s="trms"nttrm="metaph,metamorph,metabol,metal">metas>phors>ic pos sibilities.

deciding not to care how people thing (or feel?span>), 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?span> just having fun with my stuff. can i decide not to care what people think?span> shynes s...

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. (s s='trgt hghlght 1'href='?q=S'>Silvan Tomkins)

i am embarras sed to show the shy singing.

chronically embarras sing my self. (Aula s cls s="trms">presens>tation, shy singing, ...)

on pas sivity, note for the s cls s="trms"nttrm="already,spread">reads>erss='lgc'>: not to mistake it for endurance in this discourse. here we are talking about a philosophical term, in s cls s="trms">relations> 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 shynes s

what are the pitfalls and s cls s="trms">abyss>ses of philosophical reflection on and with shynes s?span>
what am i trying to shortcut?span>
was ss="ppl">s s='trgt hghlght 1'href='?q=S'>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, s cls s="trms">questions>ing.
the problem of his project?span>

i am not shy in the work that i am trying to s cls s="trms">presens>t publicly (?span>)
where am i shy?span>

posture of s cls s="trms">posits>ion or s cls s="trms">gests>ure

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

when we s cls s="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists>en to something very carefully and allow ourselves to be moved we can tune in ti=o the art work and absorb its s cls s="trms">methods>s. i have found myself moved when i allowed it, by the most s cls s="trms">childs>ish and stupid works of arts.

open minded and eager to make connections

(jane jacob,) (1) s cls s="trms">communs>ity is spontaneous, the tis sues of s cls s="trms">communs>ity 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 s cls s="trms">inters>action between people who are s cls s="trms">differens>t. but the design can also make something that has a s cls s="trms">socis>al character.

we perform an experiment to prove or disprove a hypothesis, we are working within a framework of a closed s cls s="trms">syss>tem, the os cls s="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs>inal pros cls s="trms">posits>ion governs our procedures and observations, at arriving at yes or no. but when performing the experiment we come acros s something unforeseen, or prompted by evidence to jump tracks and think about a s cls s="trms">differens>t is sue. then we are working within the framework of an open s cls s="trms">syss>tem. 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(?span>)

when one is s cls s="trms">respons>sive rather than as sertive one can't s cls s="trms">imagis>ne where one will end Upss='lgc'>: thinking. this s cls s="trms">respons>sivenes s is s cls s="trms">differens>t than the state of being active or pas sive. a pas sivity that motivates and mobilizes the subject into places that are yet unknown to her/him.
Thinking, as ss="ppl">Heidegger says, may be much the same as wandering. my s cls s="trms">lecturs>es are like wandering.
someone who studies paradoxes, s cls s="trms">poes>try and philosophy
(keeping what you know away from s cls s="trms">socis>ety, s cls s="trms">histos>ry and away from art, not to acknowls cls s="trms"nttrm="knowledge,Knowledge">edges> what you have learn)

incompatibility between a particular s cls s="trms">lovs>e and a particular s cls s="trms">socis>al arrangement for s cls s="trms">lovs>e.

when you play with others, not try to shine and not try to shy. (shynes s is ds cls s="trms"nttrm="danger,stranger">angers>ous to s cls s="trms">socis>ety)
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 s cls s="trms">syms>pathetic, saying “i know how you feel” is privileging solidarityss='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 s cls s="trms">relations>ship with each other you might get something s cls s="trms">socis>al. 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 s cls s="trms">inters>est but to think most diss cls s="trms">inters>estedly.

my talks/works is about how we make sense of our environment, the s cls s="trms">networks> that we live in and the texts and discourses that we are s cls s="trms"nttrm="already,spread">reads>ing and s cls s="trms">writs>ing.

how shynes s (even) look like?span> can we recognize it when we see it?span>
what is feeling comfortable in the s cls s="trms">presens>ce of strs cls s="trms"nttrm="danger,stranger">angers>s?span> not s cls s="trms">verbs>ally i mean, physically.
ss='thdf'>the notion of being comfortable in the s cls s="trms">presens>ce of s cls s="trms">differens>ce. being physically comfortable in s cls s="trms">presens>ce of the people who are not like yourself.

the subjunctive is the s cls s="trms">languages> that the shy uses s cls s="trms">naturs>ally, which is one of the neces sary elements of cooperation. in contrast to subjunctive speech, there is declarative speech is a form of declaration invites subs cls s="trms">mis sions>, and it invites subs cls s="trms">mis sions> because somebody else defines for you clearly what something is about. there is almost an s cls s="trms">erots>ic of that, they really now what they are on about, they really know who they are, and you become a s cls s="trms">spectas>tor to their des cls s="trms">finits>enes s. 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 ens cls s="trms">cods>ed 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 s cls s="trms">respons>ding 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 s cls s="trms">respons>d with a delay and a lot of playfulnes s and black holes that come in to be of the part of this, by this s cls s="trms">relations>ship to the Other, that is manifesting itself through the s cls s="trms">languages> 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 s cls s="trms">respons>ding to that othernes s, 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 ss="ppl">s s='trgt hghlght 1'href='?q=S'>Shakespeare or kleinen Maulwurf, der wis sen wollte, wer ihm auf den Kopf gemacht hat.

i am not just s cls s="trms">inters>ested in my own foundational s cls s="trms">s cls s="trms"nttrm="metaph,metamorph,metabol,metal">metas>phors>s.
is there an amateurishnes s at the s cls s="trms">inters>section of art and philosophy that i am drawing?span>
what is amateur?span>

the fact that i am giving talks is very much related to the s cls s="trms">socis>al culture around me, in Germany the culture has a taste to s cls s="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists>en and there is an s cls s="trms">inters>est 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 s cls s="trms">relations>ship with the arts, my is sues and s cls s="trms">inters>ests are s cls s="trms">differens>t than warhol for that s cls s="trms">matters>. i am enthusiastic and extremely s cls s="trms">inters>ested in the s cls s="trms">materis>al 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 busines s.

the nightmare after performance

ss='thdf'>the notion of s cls s="trms">skils>l in art, performance, life, work

trauma, in the experience of the trauma, the source mixes, and s cls s="trms">articulats>e in s cls s="trms">s cls s="trms"nttrm="metaph,metamorph,metabol,metal">metas>phors>s and hubric signifiers.

s cls s="trms">relations>ship between older works and performances, the is sue of s cls s="trms">skils>l and s cls s="trms">techns>ology.
it took 60 years after the developments in tempering s cls s="trms"nttrm="metaph,metamorph,metabol,metal">metas>l, for barnors to learn new nigf s cls s="trms">techns>iques. this is common in the s cls s="trms">histos>ry of s cls s="trms">techns>ology, that a tool appears before people know how to use it. do we know how we can use computers?span> when we master a s cls s="trms">techns>ique, its uses are not immediatly clear.

getting s cls s="trms">inters>ested in the wrong answer in the four answer s cls s="trms">questions>.
no s cls s="trms">skils>l develops without a good dose of curiosity. which enables us to think about what might be, rather than what is.

There is a half-res cls s="trms">mems>bered discus sion of s s='trgt hghlght 1'href='?q=S'>Sigmund ss="ppl">Freud I s cls s="trms"nttrm="already,spread">reads> once in a s cls s="trms">books> and which I have been paraphrasing regularly ever since. It said that for ss="ppl">Freud dreams were a way of thinking by doing. You run, you cry, you kis s, you s cls s="trms">lovs>e, you cheat, you argue, you fall, you kill, you eat, you sing, you get lost, you s cls s="trms">traves>l 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 s cls s="trms">composs>ing thoughts in the way an artist s cls s="trms">composs>es a painting or a witch a potion – an as semblage made of bodies and places and actions. An s cls s="trms">embods>ied thinking, that is no les s eloquent or extraordinary or transformative for being so.

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...One can chat and gos sip but it is forbidden to preach, s cls s="trms">lecturs>e or s cls s="trms">instrus>ct.”
Claudio Magris’ Micronismi

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(butler)

the structure of addres s 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 addres sed.

To s cls s="trms">respons>d to this addres s seems an important s cls s="trms">obligs>ation during these times.

It is about a mode of s cls s="trms">respons>se that follows upon having been addres sed, a comportment toward the Other only after the Other has made a s cls s="trms">demands> upon me, accused me of a failing, or asked me to as sume a s cls s="trms">respons>sibility.

The structure of addres s is important for understanding how moral s cls s="trms">authors>ity is introduced and sustained if we accept not just that we addres s others when we speak, but that in some way we come to exist, as it were, in the moment of being addres sed, and something about our existence proves precarious when that addres s fails.

...the s cls s="trms">demands> that comes from elsewhere, sometimes a nameles s elsewhere,...

We think of presidents as wielding speech acts in willful ways, so when the director of a university pres s, or the president of a university speaks, we expect to know what they are saying, and to whom they are speaking, and with what intent.

...perhaps we should think more s cls s="trms">serios>usly about the s cls s="trms">relations> between modes of addres s and moral s cls s="trms">authors>ity. (also one of the is sues in today's performance art)

s cls s="trms">narrats>ion is always judgment
s cls s="trms">affects>ive s cls s="trms">inters>vention

why should i s cls s="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists>en to you?span>
because i have a voice!

visual culture has s cls s="trms">differens>t strand from s cls s="trms">lecturs>e culture. people are able to expres s themselves with s cls s="trms">verbs>al signs long before they can draw anything, using visual sign (picturess='lgc'>: a drawing by s cls s="frds scrmbld">Hannos>). s cls s="trms">verbs>al s cls s="trms">languages> because of its easy everyday usage has become mundane and s cls s="trms">instrus>mental to s cls s="trms">communs>ication, visual sign due to its learning curve and s cls s="trms">skils>lfulnes s belonged to the art domain.

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s cls s="trms">transits>ive s cls s="trms">verbs> constructions are the ones that require a direct object in order to complete the meaning and to be grammatical. Used in theater, between director and actor, by s cls s="trms">communs>icating with s cls s="trms">transits>ive s cls s="trms">verbs>s actors can perform the s cls s="trms">languages> of the director.

my workspan> s cls s="trms">embods>ies and s cls s="trms">communs>icates a desire to s cls s="trms"nttrm="already,spread">reads> (and s cls s="trms">writs>e) texts

ss="large lg58" stl="font-size:128%"> ss='lgc'>[steinerss='lgc'>]
in s cls s="trms">Greeks> mythology the s cls s="trms">poes>t and the seer are blind so that they may, by the antennae of speech, see further.

One thing is clearss='lgc'>: every s cls s="trms">languages>-act has a temporal determinant. No semantic form is timeles s. When using a word we wake into resonance, as it were, its entire previous s cls s="trms">histos>ry. A text is embedded in s cls s="trms">specifis>c s cls s="trms">histos>rical time; it has what s cls s="trms">lingus>ists call a diachronic structure. To s cls s="trms"nttrm="already,spread">reads> fully is to restore all that one can of the immediacies of value and intent in which speech actually occurs.

The proces s of diachronic s cls s="trms">translats>ion inside one’s own native tongue is so constant, we perform it so unawares, that we rarely pause either to note its formal intricacy or the decisive part it plays in the very existence of civilization. By far the greatest mas s of the s cls s="trms">pasts> as we experience it is a s cls s="trms">verbs>al construct. s cls s="trms">Histos>ry is a speech-act, a selective use of the s cls s="trms">pasts> tense. Even substantive remains such as buildings and s cls s="trms">histos>rical sites must be ‘s cls s="trms"nttrm="already,spread">reads>,’ i.e. located in a context of s cls s="trms">verbs>al recognition and placement, before they as sume real s cls s="trms">presens>ce.

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(notes - december 15, 2011)

sts cls s="lsts lst1">•s cls s="frds scrmbld"nttrm="Robin,Robot,Robert,Robocop">Robs>ots making s cls s="frds scrmbld"nttrm="Robin,Robot,Robert,Robocop">Robs>ots
sts> sts cls s="lsts lst1">•what a robot wants (and how it wants it)
sts> sts cls s="lsts lst1">•cataloging computer generated stones smoke
sts> sts cls s="lsts lst1">•digital to digital convertor
sts> sts cls s="lsts lst1">•physical s cls s="trms">inters>action (between a user and a media object, pres sing a button, choosing a link, moving the body) versus psychological s cls s="trms">inters>action (the psychological proces ses of filling-in, hypothesis forming, recall and identification, which are required for us to comprehend any text or image at all)
sts> sts cls s="lsts lst1">•Mechanical s cls s="trms">Monsts>ers
sts> sts cls s="lsts lst1">•blown away roof
sts> sts cls s="lsts lst1">•s cls s="trms">Techns>ologyss='lgc'>: the new s cls s="trms">naturs>e
sts> sts cls s="lsts lst1">•-error and - s cls s="trms">horrors>(-terror)
sts> sts cls s="lsts lst1">•s cls s="trms"nttrm="knowledge,Knowledge">edges> of the earth
sts> sts cls s="lsts lst1">•gold and dream, gold price and power law
sts> sts cls s="lsts lst1">•the s cls s="trms">storys> of the viewer
sts> sts cls s="lsts lst1">•fact and perspective (elucidation)
sts> sts cls s="lsts lst1">•s cls s="trms">lovs>e at first sight (digital)
sts> sts cls s="lsts lst1">•continual production of the new is what allows things to stay the same, (logic of the same)
sts> sts cls s="lsts lst1">•noise s cls s="trms">storys>
sts> sts cls s="lsts lst1">•the ‘content’ of any medium is always another medium (McLuhan)
sts> sts cls s="lsts lst1">•The mediation of s cls s="trms">religs>ion through buildings
sts> sts cls s="lsts lst1">•start with s cls s="trms">s cls s="trms"nttrm="metaph,metamorph,metabol,metal">metas>phors> and end with algebra
sts> sts cls s="lsts lst1">•a “model” is a s cls s="trms">syss>tem of objects (any kind of objects) that make all of the sentences in a theory true , where a “theory” is a s cls s="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists> of sentences in a s cls s="trms">languages>.
sts> sts cls s="lsts lst1">•s cls s="trms">s cls s="trms"nttrm="metaph,metamorph,metabol,metal">metas>phors>s somehow mobilize the s cls s="trms">differens>ce between the two domains
sts> sts cls s="lsts lst1">•arena of alienation
sts> sts cls s="lsts lst1">•Cut the Noise
sts> sts cls s="lsts lst1">•mirrors with (/without) s cls s="trms">mems>ories
sts> sts cls s="lsts lst1">•substitutability
sts> sts cls s="lsts lst1">•optical appearances (mind ss='lgc'>~ eye)
sts> sts cls s="lsts lst1">•Dioptrics (s cls s="trms">scies>nce of refraction), catoptrics (reflection),
sts> sts cls s="lsts lst1">•that could not be spoken of or res cls s="trms">presens>ted, because it was empty of discourse and thus of meaning.
sts> sts cls s="lsts lst1">•innocence of the eye
sts> sts cls s="lsts lst1">•Poor Unfortunate s s='trgt hghlght 1'href='?q=S'>Souls
sts> sts cls s="lsts lst1">•being useful, like a prison guard
sts> sts cls s="lsts lst1">•autos cls s="trms">poes>tic (complex self-referential s cls s="trms">syss>tems)
sts> sts cls s="lsts lst1">•to take up the motives from the external s cls s="trms">worlds>
sts> sts cls s="lsts lst1">•will-les s perception, “the pure eye of genius”
sts> sts cls s="lsts lst1">•bringing from the artificial s cls s="trms">worlds> to the art s cls s="trms">worlds>
sts> sts cls s="lsts lst1">•object oriented programming / subject oriented
sts> sts cls s="lsts lst1">•Observer, s cls s="trms">syss>tem and environment
sts> sts cls s="lsts lst1">•a s cls s="trms">syss>tem (designed) with a purpose of itself
sts> sts cls s="lsts lst1">•magnifying or light-collecting optical device
sts> sts cls s="lsts lst1">•s cls s="trms">socis>al selfish
sts> sts cls s="lsts lst1">•un-computational
sts> sts cls s="lsts lst1">•gray area
sts> sts cls s="lsts lst1">•self-identity is bad visual s cls s="trms">syss>tem
sts> sts cls s="lsts lst1">•Vision requires s cls s="trms">instrus>ments of vision; an optics is a politics of s cls s="trms">posits>ioning. s cls s="trms">Instrus>ments of vision mediate standpoints;
sts> sts cls s="lsts lst1">•Identity, ins cls s="trms"nttrm="cluster,club">clus>ding self-identity, does not produce s cls s="trms">scies>nce; critical s cls s="trms">posits>ioning does, that is, objectivity
sts> sts cls s="lsts lst1">•docile body
sts> sts cls s="lsts lst1">•s cls s="trms">techns>ological visioning (vector of secret texts, s cls s="trms">books>s within s cls s="trms">books>s, ancient curses, digital dreams, and medieval cyber-art)
sts> sts cls s="lsts lst1">•empty space left by theory and philosophy
sts> sts cls s="lsts lst1">•s cls s="trms">techns>ical visioning
sts> sts cls s="lsts lst1">•s cls s="trms">Techns>ology is never merely “used,” never merely s cls s="trms">instrus>mental. It is always ” incorporated” and “lived.”
sts> sts cls s="lsts lst1">•In his last paintings, such as the Bride of 1912, Duchamp both elaborated an iconography that combined mechanical and s cls s="trms">viscs>eral forms and began to move away from any procedures that revealed the artist's hand to create “retinal” or “anecdotal” art.
sts>

lemon gras s plant, mas cls s="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs>old

s cls s="frds scrmbld">s s='trgt hghlght 1'href='?q=S'>Saeeds> 0012063108222
s cls s="nms">Tehrans> Wi Fiss='lgc'>: 88 57 27 92

newer medium may be ‘nested’ inside of an older medium (or vice versa)

ss="large lg18" stl="font-size:123%"> mental life (s cls s="trms">mems>ory, s cls s="trms">imagis>nation, fantasy, dreaming, perception, cognition) is mediated and is s cls s="trms">embods>ied in the whole range of s cls s="trms">materis>al media… we not only think about media, we think in them (ss="ppl">Mitchell)

The shock of new media is as old as the hills

Franz Reuleux described this cors cls s="trms">relations>ss='lgc'>: the more primitive the s cls s="trms">techns>ology, the les s attuned the parts of the machine to each other, the greater the degree of play ss='lgc'>-- the more perfected the s cls s="trms">techns>ology, the closer the fit, the les s play between the individual parts.

(For Winnicott,) play is a psychological state where the boundaries between self and the s cls s="trms">worlds> remain labile and fluid, (a state which is important not only for the development of the s cls s="trms">childs>, but with significant ramifications for human life and culture in general.)

Res cls s="trms">presens>tation is a distinctive manner of s cls s="trms">imagis>ning the real, and is a fundamental s cls s="trms">phenomens>on upon which all culture rests.

Henri Lefebvre distinguishes Res cls s="trms">presens>tations of space and Res cls s="trms">presens>tational spaces . ... Res cls s="trms">presens>tational spaces are “directly lived” through ass cls s="trms">socis>ated images and s cls s="trms">syms>bols which overlay physical space, making s cls s="trms">syms>bolic use of its objects.

the conceiving mind over the perceiving body (vision/touch)
touching was considered “a cruder scanning at close range,” and seeing “a more subtle touching at a distance.”

for Berkeley there is no such thing as visual perception of depth, and Condillac's statue effectively masters space with the help of movement and touch. The notion of vision as ss='lgc'>[Ouch is adequate to a field of knowls cls s="trms"nttrm="knowledge,Knowledge">edges> whose contents are organized as stable s cls s="trms">posits>ions within an extensive terrain.

ss="brkr">

sts cls s="lsts lst1">•a s cls s="trms">techns>ological gaze
sts> sts cls s="lsts lst1">•way of seeing (ss="ppl">Derridean deconstructed)
sts> sts cls s="lsts lst1">•high-tech images
sts> sts cls s="lsts lst1">•artifact (cultural artifact, s cls s="trms">socis>al)
sts> sts cls s="lsts lst1">•image of the or a body and its environment
sts> sts cls s="lsts lst1">•impos sible subject-s cls s="trms">posits>ioning, the s cls s="trms">cods>ification of flesh, a visualization of s cls s="trms">scies>ntific s cls s="trms">narrats>ives and the s cls s="trms">aesthets>icization of information, all of which tell us about a longer line of cultural fantasies about information, s cls s="trms">cods>e and s cls s="trms">techns>ology. (Norah ss="ppl">Campbell)
sts> sts cls s="lsts lst1">•Everything said is said by an observe (Maturana and Varela)
sts> sts cls s="lsts lst1">•framing the s cls s="trms">worlds>
sts> sts cls s="lsts lst1">•virtual gaze (ss="ppl">Baudrillard)
sts> sts cls s="lsts lst1">•achieve absolute vision, while seeing nothing.
sts> sts cls s="lsts lst1">•very much as real; human and s cls s="trms">techns>ological, both
sts> sts cls s="lsts lst1">•i say this as someone who thinks that we are part of this digital s cls s="trms">worlds>, but we are not neces sarily subject to its terms
sts> sts cls s="lsts lst1">•splicing of direct and tactile human perception of reality with another reality, one that is mediated and s cls s="trms">techns>ical
sts> sts cls s="lsts lst1">•the naration is not pure nor whole (why cyborg?span>)
sts> sts cls s="lsts lst1">•place of visibility (/ field of articulability)
sts> sts cls s="lsts lst1">•it is an s cls s="trms">aesthets>ic dream, dream of iss cls s="trms">morphs>ism between the discursive object and the visible object
sts> sts cls s="lsts lst1">•exteriorization of the body (s cls s="trms">relations> between face / hand / tool )
sts> sts cls s="lsts lst1">•The “exact meeting place” of form, s cls s="trms">matters>, tool, and hand is the touch(Henri Focillon)
sts> sts cls s="lsts lst1">•
sts>
////////////////////////

In this s cls s="trms">inters>connection of s cls s="trms">embods>ied being and environing s cls s="trms">worlds>, what happens in the s cls s="trms">inters>face is what is important.
ss='lgc'>--Don ss="ppl">ss="ppl">Ihde, Bodies in s cls s="trms">Techns>ology

At first glance, ss cls s="trms">traps>ped to the body of critters such as green turtles in s s='trgt hghlght 1'href='?q=S'>Shark Bay, off Western Australia, humpback whales in the waters off southeast Alaska, and emperor penguins in Antarctica, a nifty miniature video camera is the central protagonist. s s='trgt hghlght 1'href='?q=S'>Since the first overwrought seventeenth-century European discus sions about the camera lucida and camera obscura, within s cls s="trms">techns>oculture the camera (the s cls s="trms">techns>ological eye)seems to be the central object of both philosophical pretension and selfcertainty, on the one hand, and cultural skepticism and the authenticitydestroying powers of the artificial, on the other hand. The camerass='lgc'>--that vault or s cls s="trms"nttrm="search">arches>d chamber, that judge's chamberss='lgc'>--moved from elite Latin to the vulgar, democratic idiom in the nineteenth century only as a consequence of a new s cls s="trms">techns>ology called photography, or “light-s cls s="trms">writs>ing.” A camera became a black-box with which to register pictures of the outside s cls s="trms">worlds> in a res cls s="trms">presens>tational, mentas cls s="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists>, and sunny s cls s="trms">semios>tic economy, an analogy to the seeing eye in brainy, knowing man, for whom body and mind are suspicious strs cls s="trms"nttrm="danger,stranger">angers>s, if also near neighbors in the head. Nonetheles s, no s cls s="trms">matters> how gus sied up with digitalized optical powers, the camera has never lost its job to function as a judge's chamber, in camera, within which the facts of the s cls s="trms">worlds>ss='lgc'>--indeed, the critters of the s cls s="trms">worlds>ss='lgc'>--are as sayed by the standard of the visually convincing and, at least as important, the visually new and exciting.
... first we have to plough through some very pres cls s="trms">dictas>ble s cls s="trms">semios>tic road blocks that try to limit us to a cartoonish s cls s="trms">epistems>ology about visual self-evidence and the lifes cls s="trms">worlds>s of human-s cls s="trms">animals>-s cls s="trms">techns>ology compounds.

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ss="ppl">ss="ppl">Gilbert stres ses that nothing makes itself in the biological s cls s="trms">worlds>, but rather reciprocal induction within and between always-in-proces s critters ramifies through space and time on both large and small scales in cascades of s cls s="trms">inters>- and s cls s="trms">intras>-action. In embryology, ss="ppl">ss="ppl">Gilbert calls this “s cls s="trms">inters>s cls s="trms">species>s epigenesis."43 ss="ppl">ss="ppl">Gilbert s cls s="trms">writs>esss='lgc'>: “I think that the ideas that Lynn ss='lgc'>[ss="ppl">ss="ppl">Margulisss='lgc'>] and I have are very similar; it's just that she was focusing on adults and I want to extend the concept (as I think the s cls s="trms">scies>nce allows it to be fully extended) to embryos. I believe that the embryonic co-construction of the physical bodies has many more implications because it means that we were ‘never’ individuals”

caringss='lgc'>: becoming subject to the unsettling s cls s="trms">obligs>ation of curiosity, which requires knowing more at the end of the day than at the beginning

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

ss="ppl">Nietzsche also said, at the very beginning of the second treatise of The Genealogy of Morals, that man is a promising s cls s="trms">animals>, by which he meant, underlining those words, an s cls s="trms">animals> that is permitted to make promises (das versprechen darf). s cls s="trms">Naturs>e is said to have given itself the task of raising, bringing up, domesticating and “disciplining” (heranziichten) this s cls s="trms">animals> that promises.

Microlandscapesss='lgc'>:

the talk, also works ss='thdf'>the notion of mirror s cls s="trms">stags>e and what does it mean for us and for the companien s cls s="trms">species>s that are entangled. what ths cls s="trms"nttrm="already,spread">reads>s of meaning are taken apart by pulling on the ths cls s="trms"nttrm="already,spread">reads> of self reflection and self vision, what will gets account as s cls s="trms">naturs>e for whom and when. the s cls s="trms">animals> that is in charge of her own image is the res cls s="trms">presens>tation of the universala man.

Appearance of eukaryotic cells around 2 billion years ago is probably the most significant event in the s cls s="trms">histos>ry of life on earth. It gave the creatures with DNA two important thingsss='lgc'>: a nucleus that contained all the genetic s cls s="trms">materis>als and an s cls s="trms">inters>face to s cls s="trms">communs>icate with the s cls s="trms">worlds> outside of the cellss='lgc'>--a complex s cls s="trms">mems>braness='lgc'>--to talk with the s cls s="trms">materis>als alien to itself. s cls s="trms">Inters>face is a critical point of s cls s="trms">inters>section between s cls s="trms">differens>t life s cls s="trms">worlds>s, fields, or levels of organization. They are the areas in which s cls s="trms">socis>al friction can be experienced and where diffusion of new s cls s="trms">techns>ology is leading to structural discontinuities (which can be either s cls s="trms">posits>ive or negative), the s cls s="trms">inters>face is where they will occur. The argent is sue of s cls s="trms">inters>faces in s cls s="trms">socis>al s cls s="trms">inters>action and flow between human s cls s="trms">animals>, nonhumans, and computers is today becoming a zone of s cls s="trms">transits>ion of ephemeral s cls s="trms">techns>ologies, physical contact, s cls s="trms">socis>o-political boundaries, and s cls s="trms">s cls s="trms"nttrm="metaph,metamorph,metabol,metal">metas>phors>-res cls s="trms">presens>tation.
s s='trgt hghlght 1'href='?q=S'>Since antiquity, res cls s="trms">presens>tation has been the foundational concept of s cls s="trms">aesthets>ics and s cls s="trms">semios>tics. In the s cls s="trms">moderns> era, it has also become a crucial concept in political theory. In a discus sion of law and ethnography, ss="ppl">Clifford ss="ppl">s cls s="frds scrmbld">Geerts>z calls into s cls s="trms">questions> the Western distinction between s cls s="trms">matters>s of fact and s cls s="trms">matters>s of value. “Facts and law we have perhaps everywhere; their polarization we perhaps have not.” ss="ppl">s cls s="frds scrmbld">Geerts>z's hermeneutic approach leads him to focus on the s cls s="trms">relations> between the grounding of norms and the res cls s="trms">presens>tation of fact. Therefore, he cons cls s="trms"nttrm="cluster,club">clus>des, res cls s="trms">presens>tation is a distinctive manner of s cls s="trms">imagis>ning the real, and is a fundamental s cls s="trms">phenomens>on upon which all culture rests.
The performance-talk is divided into three tangled s cls s="trms">narrats>ives, one the s cls s="trms">socis>al mode of s cls s="trms">traves>ling that ins cls s="trms"nttrm="cluster,club">clus>des the s cls s="trms">childs>ss='lgc'>--the ops cls s="trms">posits>e of the lonely masculine s cls s="trms">traves>lerss='lgc'>--based on the real experience and a personal s cls s="trms">storys> in a trip to Amazon in Colombia with s cls s="frds scrmbld">Karins> Demuth and her three years old boyss='lgc'>--s cls s="frds scrmbld">Hannos>ss='lgc'>--, second a multi-headed s cls s="trms"nttrm="already,spread">reads>ing of s cls s="trms">techns>ologies of s cls s="trms">inters>facing within computer culture and the s cls s="trms">worlds>s of other s cls s="trms">species>s, the meaning of s cls s="trms">inters>-facing with the other, and third a visual res cls s="trms">presens>tation of the highly s cls s="trms">techns>ical images recorded by Kinect infrared 3D-scanner/motion-detector. The result of the visualization is a heavily glitchy image, which aims in the performance to link the spatial practice to the perceived and the res cls s="trms">presens>tational spaces to the lived. Affirming the “uns cls s="trms">naturs>alnes s” of the image makes it a transs cls s="trms">posits>ion of universal means of s cls s="trms">communs>icationss='lgc'>--the s cls s="trms">languages>ss='lgc'>--that would like to provide a direct, unmediated, and accurate res cls s="trms">presens>tation of the jungle.
The performance is an engagement with ss='thdf'>the notion of companion s cls s="trms">species>s elaborated by ss="ppl">Donna ss="ppl">ss="ppl">Haraway, in an experience of walking in a tropical jungle with a computer in one hand and in the other hand the hand of the human s cls s="trms">childs>. The work deals with s cls s="trms">questions>s of the other-space that is mentally filled with projections and projects. The recording of the walking in the rain forest ss='lgc'>--as spatial and s cls s="trms">sensus>al experiencess='lgc'>-- is thus des cls s="trms">materis>alized and has acquired a digital character. The s cls s="trms">denss>e and hot environment of the Amazon is replaced by an abstract graphic structure, thus bringing a new understanding of the locality of the walk. The noise and the randomnes s of the s cls s="trms">techns>ical coloring the surface of the jungle provoke an s cls s="trms">aesthets>ic fascination, and an appropriation of the imposible image of the forest.

s cls s="trms">Traves>ling to the Amazon to experience its radical Othernes s is a European tradition. It unintentional affirms the ideology of a “state of s cls s="trms">naturs>e” that is s cls s="trms">priors> to culture.

ss="ppl">Lacanss='lgc'>: i am led to regard the function of the mirror s cls s="trms">stags>e as a particular case of the function of the imago, which is to establish a s cls s="trms">relations> between the organism and its reality - or, as they say, between the Innenwelt and the Umwelt.

This developement is experienced as temporal dialectic that decisively projects the function of the individual into s cls s="trms">histos>ry. the mirror s cls s="trms">stags>e is a drama whose s cls s="trms">inters>nal thrust is precipitated from insufficiency to anticipation - and which manufactures for the subject, caught up in the s cls s="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurs>e of spatial identification, the succes sion of phantasies that extends from a fragmented s cls s="nms">body images> to a form of its totality that i shall call orthhopaedic - and, lastly, to ss='thdf'>the ss='thdf'>as sumption of the armour of an alienating identity, which will mark with its s cls s="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs>id structure the subject's entire mental development. thus, to break out of the circle of the Innenwelt into the Umwelt generates the inexhaustible quadrature of the ego's verifications.

Electronic Reserve Textss='lgc'>: from Jacques ss="ppl">Lacan, Ecrits, New Yorkss='lgc'>: W. W. Norton, 1977.
The Mirror s cls s="trms">s s='trgt hghlght 1'href='?q=S'>Stags>e as Formative of the Function of the I as Revealed in Psychoanalytic Experience

Delivered at the 16th s cls s="trms">Inters>national Congres s of Psychoanalysis, Zurich, July 17, 1949

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ss="large lg14" stl="font-size:124%"> ss="ppl">Flus ser, s cls s="trms">Gests>ures - beyond machines (s cls s="trms"nttrm="already,spread">reads>ing)

the project investigates the way in which s cls s="frds">s s='trgt hghlght 1'href='?q=S'>Seifees> as an artist engages tactics of fieldwork, s cls s="trms">embods>iment and s cls s="trms">materis>ality (in a manner that reveals or instigates proces ses of knowing).
(In this moment of increasing standardization and specialization regarding how people learn, art is a space for innovative thinking and experimentation outside given frameworks.)

ss="large lg50" stl="font-size:113%"> ...our ability to share the experience of the habits of the s cls s="trms">worlds> that we discover. (ss="ppl">Kohn)

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ss="ppl">Campbell on Harman's philosophy
(problem of) object-oriented s cls s="trms">ontos>logy as s cls s="trms">socis>al theory ss='lgc'>[insights of object-orientation mechanically applied to the s cls s="trms">socis>al by Harman, “ims cls s="trms">materis>alism"ss='lgc'>]
sts cls s="lsts lst1">•innovative adaptation of s cls s="trms">phenomens>ology
sts> sts cls s="lsts lst1">•critique of how objects have been failed by philosophy
sts> sts cls s="lsts lst1">•insistence upon an s cls s="trms">aesthets>ic attitude of investigation
sts> ss='lgc'>--butss='lgc'>ss='lgc'>-->
sts cls s="lsts lst1">•object-oriented s cls s="trms">socis>al theory lacks the s cls s="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs>or and s cls s="trms">imagis>native potential to envision the s cls s="trms">ontos>logy of the s cls s="trms">socis>al
sts> sts cls s="lsts lst1">•the way object-oriented s cls s="trms">ontos>logy is stuck in a no-man's-land of not-quite-nonhuman-not-quite-human
sts> sts cls s="lsts lst1">•as ooo enters s cls s="trms">socis>al theory it commits a performative fallacy ss='lgc'>ss='lgc'>--> mis sing the fundamental starting point of s cls s="trms">socis>al theoryss='lgc'>: <strcls cls s='strcls'>***strcls>objects come into the s cls s="trms">socis>al s cls s="trms">worlds> as expres sions of (negotiated, perceptual, political, s cls s="trms">agens>tic) value<strcls cls s='strcls'>***strcls> ss='lgc'>[s cls s="trms">socis>al theory is fundamentally predicated on the s cls s="trms">socis>us ss='lgc'>ss='lgc'>--> s cls s="trms">socis>al theory is about the ass cls s="trms">socis>ation between things ss='lgc'>=/= homogenous thingsss='lgc'>]
sts> ss='lgc'>}ss='lgc'>=/= ss="ppl">Campbell's <strcls cls s='strcls'>*strcls>posthuman s cls s="trms">relations>ism<strcls cls s='strcls'>*strcls>ss='lgc'>: another form that better understands the s cls s="trms">abyss>sal point between the non-human and the human

(2007 conference) speculative realism ss='lgc'>{antipathy to “human-centred” intellectual traditionsss='lgc'>} ss='lgc'>ss='lgc'>ss='lgc'>~=> object-oriented s cls s="trms">ontos>logy

(objectivity ss='lgc'>=/= obliqtivity)
Harman's ims cls s="trms">materis>alismss='lgc'>: realism without s cls s="trms">materis>alism ss='lgc'>: objects can only ever be captured obliquely

object-oriented s cls s="trms">ontos>logy's developmentss='lgc'>:
sts cls s="lsts lst1">•characterised by a consistent lament for how post-ss="ppl">Kantian philosophy in general (Continental philosophy in particular) has abandoned hope of describing objects as objects
sts> sts cls s="lsts lst1">•the realss='lgc'>: absolute autonomy of objects (withdraw from subjects)
sts> sts cls s="lsts lst2">◦objectsss='lgc'>: sleeping giants holding their forces in reserve
sts> sts cls s="lsts lst1">•prefer the s cls s="trms">exces ss> of the s cls s="trms">aesthets>ic over the reduction by the s cls s="trms">scies>ntific (s cls s="trms">materis>alism's tendency to reduce objects to a primary substratum ss='lgc'>ss='lgc'>==> rendering them susceptible to mathematical capture) ss='lgc'>--ss="ppl">Campbellss='lgc'>ss='lgc'>--> <strcls cls s='strcls'>*strcls>s cls s="trms">aesthets>ic foundationalism<strcls cls s='strcls'>*strcls> ss='lgc'>[ss='lgc'>==engenderss='lgc'>ss='lgc'>==> an attitudinal s cls s="trms">respons>se to objectsss='lgc'>] (ss='at'>@s cls s="nms">apas ss>, this is also a problem in artistic research)ss='lgc'>:
sts> sts cls s="lsts lst2">◦s cls s="trms">aesthets>ic appreciation above the reduction of the s cls s="trms">phenomens>on achieved by s cls s="trms">scies>nce ss='lgc'>ss='lgc'>--> “art (art criticism) is a style that gets us closer to the s cls s="trms">naturs>e of objects” (ss='lgc'>+ bad ss='thdf'>example of Clement Greenberg)
sts> sts cls s="lsts lst2">◦(to make the invisible deep conditions of objects perceivable) s cls s="trms">priors>itize <strcls cls s='strcls'>*strcls>allusive style<strcls cls s='strcls'>*strcls> above <strcls cls s='strcls'>*strcls>s cls s="trms">literas>l description<strcls cls s='strcls'>*strcls>
sts> sts cls s="lsts lst1">•claims to post-s cls s="trms">phenomens>ological sovereignty
sts> sts cls s="lsts lst1">•over-mining approach to knowls cls s="trms"nttrm="knowledge,Knowledge">edges> production ss='lgc'>=/= objects's surplus of reality
sts> sts cls s="lsts lst2">◦s cls s="trms">methods>ological approach which encounters objects as objects (ss='lgc'>=/= actor s cls s="trms">networks> theory's manner of focusing upon an object's effects) ss='lgc'>[ss='lgc'>+ bad ss='thdf'>example of Dutch East India Companyss='lgc'>]ss='lgc'>--ss="ppl">Campbellss='lgc'>ss='lgc'>--> object-oriented s cls s="trms">socis>al theory produces a rudimentary s cls s="trms">narrats>ive with no discernible innovation on the level ofss='lgc'>:
sts> sts cls s="lsts lst3">◾objects ss='lgc'>ss='lgc'>--> the actors are recognisable companies, personalities, infrastructures
sts> sts cls s="lsts lst3">◾s cls s="trms">relations>s ss='lgc'>ss='lgc'>--> the major s cls s="trms">syms>biotic moments are legal contracts, infrastructure and formative moments in a human's life
sts> sts cls s="lsts lst3">◾time ss='lgc'>ss='lgc'>--> there is standard chronology from birth to death, with emphasis on human-centric causes and effects
sts> sts cls s="lsts lst1">•“s cls s="trms">socis>al theoryss='lgc'> = a mode of knowls cls s="trms"nttrm="knowledge,Knowledge">edges> production” (ss='lgc'>=/= a decontextualised reflection of the s cls s="trms">worlds>) ss='lgc'>ss='lgc'>==> withdrawalss='lgc'>: a psychological alibi, an s cls s="trms">aesthets>ic (ss='lgc'>=/= cognitive concept) ss='lgc'>==stimulatess='lgc'>ss='lgc'>==> an attitudinal s cls s="trms">respons>sess='lgc'>: humility ss='lgc'>[ss='lgc'>+ pas sivity?span>ss='lgc'>] in the face of overwhelming non-human existence ss='lgc'>[ss='lgc'>~ appeal ss='lgc'>==producess='lgc'>ss='lgc'>==> a paternas cls s="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists>ic-arrogant-s cls s="trms">instrus>mentas cls s="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists> attitude to the nonhuman ss='lgc'>=/= <strcls cls s='strcls'>*strcls>appeal ss='lgc'>==fosterss='lgc'>ss='lgc'>==> s cls s="trms">respons>sibility<strcls cls s='strcls'>*strcls> (a norrnativity that withdrawal cannot) ss='lgc'>-ss='lgc'>ss='lgc'>--> go tospan> ss="ppl">ss="ppl">Haraway ss='lgc'>+ ss="ppl">Campbellss='lgc'>]
sts>
ss="large lg34" stl="font-size:134%"> ss='lgc'>}ss='lgc'>=/= posthuman s cls s="trms">relations>ismss='lgc'>: reas cls s="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists>s who draw on contemporary advances in disciplines like geology, biology, mathematics and s cls s="trms">neuros>logy to make the case that non-human reality is not a sub-set of human reality ss='lgc'>ss='lgc'>-->
sts cls s="lsts lst1">•commitment to an object-oriented realism (ss='lgc'>ss='lgc'>~= Harman)
sts> sts cls s="lsts lst1">•occupy an <strcls cls s='strcls'>*strcls>s cls s="trms">anthrops>ic<strcls cls s='strcls'>*strcls> event horizonss='lgc'>: their s cls s="trms">socis>al analyses occur in the shifting, impos sible ground hetween the human and the nonhuman (ss='lgc'>=/= Harman)
sts> sts cls s="lsts lst1">•dialectic of object <strcls cls s='strcls'>**strcls>withdrawal ss='lgc'>+ appeal<strcls cls s='strcls'>**strcls> (ss='lgc'>=/= Harman's object withdrawal) ss='lgc'>~ <strcls cls s='strcls'>***strcls>s cls s="trms">inters>action between objective withdrawal &span> subjective appeal<strcls cls s='strcls'>***strcls>
sts>
(Mos s) earth as making an appeal ss='lgc'>--ss="ppl">Freudss='lgc'>ss='lgc'>--> a s cls s="trms">demands> for work
“when the attention of an experienced person is drawn to the s cls s="trms">childs>'s state by this path of discharge, ss='lgc'>[the path of dischargess='lgc'>] ... acquires a secondary function of the highest importance, that of cornmunicalion
ss='lgc'>ss='lgc'>--> initial helples snes s of human beings is the primal source of all moral motives
(s cls s="trms">childs>'s) creaming and kicking ss='lgc'>ss='lgc'>--> appeal (made by the earth) is a combination of s cls s="trms">demands> ss='lgc'>+ accusation

contemporary s cls s="trms">socis>al theorists are turning towards objects
ss='lgc'><ss='lgc'>==Bennettss='lgc'>== object produce a ‘s cls s="trms">gests>alt shift’ in perception
ss='lgc'>}ss='lgc'>==ss="ppl">Tsingss='lgc'>ss='lgc'>==> (amounts to) a political act ss='lgc'><ss='lgc'>== (turning towards objects) requires usss='lgc'>:
sts cls s="lsts lst1">•to re-divide the s cls s="trms">worlds>
sts> sts cls s="lsts lst1">•to re-s cls s="trms">priors>itise matler(s)
sts> sts cls s="lsts lst1">•to create s cls s="trms">differens>t s cls s="trms">causas>lities
sts> sts cls s="lsts lst1">•to follow new s cls s="trms">agens>cies
sts> sts cls s="lsts lst1">•to produce new spacetimes
sts> sts cls s="lsts lst1">•to s cls s="trms">inters>rupt the ‘mind-lulling s cls s="trms">presens>ce of common sense’
sts> ss='lgc'>}ss='lgc'>-ss='lgc'>-ss='lgc'>ss='lgc'>--> acknowls cls s="trms"nttrm="knowledge,Knowledge">edges> the importance of traditional <strcls cls s='strcls'>*strcls>s cls s="trms">socis>al theory<strcls cls s='strcls'>*strcls> in identifying gros s inequalities ss='lgc'>+ advocate a posthuman s cls s="trms">relations>ism that moves <strcls cls s='strcls'>*strcls>from critique to production<strcls cls s='strcls'>*strcls> ss='lgc'>ss='lgc'>==> <strcls cls s='strcls'>*strcls>new and surprising connections between modes of existence<strcls cls s='strcls'>*strcls> (ss='thdf'>for example)
sts cls s="lsts lst1">•did the typical American diet play any role in engendering the widesps cls s="trms"nttrm="already,spread">reads> susceptibility to the propaganda leading up to the invasion of Iraq?span>
sts> sts cls s="lsts lst1">•do sand storms make a s cls s="trms">differens>ce to the sps cls s="trms"nttrm="already,spread">reads> of socalled sectarian violence?span>
sts> sts cls s="lsts lst1">•does mercury help enact autism?span>
sts> sts cls s="lsts lst1">•what if s cls s="trms">serios>us adoption practices for and by the elderly became common?span>
sts> sts cls s="lsts lst1">•what if nations that are worried about low birth rates (Denmark, Germany, Japan, Rus sia, white America, more) acknowls cls s="trms"nttrm="knowledge,Knowledge">edges>d that fear of immigrants is a big problem, and that racial purity projects and fantasies drive resurgent pronatalism?span>
sts>

posthumanss='lgc'>: a mode of s cls s="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists>ening for the nonhuman ss='lgc'>+ s cls s="trms">simultans>eously acknowledging the impos sibility of fully hearing it ss='lgc'>ss='lgc'>--> impos sible s cls s="trms">posits>ion ss='lgc'>==expandss='lgc'>ss='lgc'>==> our range of s cls s="trms">socis>alities, s cls s="trms">causas>lities, temporalities and ethics because it contains the <strcls cls s='strcls'>**strcls>stubborn s cls s="trms">anthrops>os cls s="trms">morphs>ic residual<strcls cls s='strcls'>**strcls> within any ‘new’ theory of s cls s="trms">socis>ety
ss='lgc'>ss='lgc'>--> (not ins cls s="trms">finits>e) co-constitution of the s cls s="trms">socis>al ss='lgc'>+ the extra-s cls s="trms">socis>al (vaccines &span> s cls s="trms">markets>s, planetary s cls s="trms">syss>tems &span> telescopes, catastrophes &span> laws, etc.)

feminist s cls s="trms">scies>nce studies <strcls cls s='strcls'>*strcls>s cls s="trms">demands> a normative s cls s="trms">respons>sibility<strcls cls s='strcls'>*strcls> towards s cls s="trms">ontos>logical ins cls s="trms">s cls s="trms"nttrm="cluster,club">clus>sis>vity and humility

ss="large lg14" stl="font-size:127%"> (now that there is no objective ss='lgc'>ss='lgc'>-->) s cls s="trms">inters>rogatives are object-makers

<strcls cls s='strcls'>*strcls>strangenes s (of nonhuman life) ss='lgc'>[acts as a guidess='lgc'>] ss='lgc'>ss='lgc'>--> mobilising new pres cls s="trms">posits>ions of connection ss='lgc'>ss='lgc'>==> to think s cls s="trms">differens>tly about the s cls s="trms">socis>al ss='lgc'>ss='lgc'>==> new conceptions of s cls s="trms">socis>ety (as planetmate, mes smate, s cls s="trms">naturs>eculture, mindbody, thing-power, odd kin, etc.)

parallels drawn between theories of evolution &span> theories of s cls s="trms">socis>al changess='lgc'>:
sts cls s="lsts lst1">•Gould ss='lgc'>ss='lgc'>--> concept of punctuated equilibrium
sts> sts cls s="lsts lst1">•ss="ppl">s s='trgt hghlght 1'href='?q=S'>Serres ss='lgc'>ss='lgc'>--> s cls s="trms">ontos>logy of the s cls s="trms">socis>al as parasitism
sts> sts cls s="lsts lst1">•Hayles ss='lgc'>ss='lgc'>--> s cls s="trms">translats>ion of epigenesis and s cls s="trms">techns>ogenesis
sts> sts cls s="lsts lst1">•
sts>
ss='lgc'>{s cls s="trms">phenomens>on of serial endos cls s="trms">syms>biosis theory ss='lgc'><ss='lgc'>-- s cls s="trms">socis>al theorists deploy this in the search for accounts of how change and creativity os cls s="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigs>inatess='lgc'>}ss='lgc'>ss='lgc'>--> (bio-econornic context) <strcls cls s='strcls'>*strcls>s cls s="trms">syms>biosis<strcls cls s='strcls'>*strcls> has long been recognised as a theory which des cls s="trms">monsts>rates the co-constitution of the s cls s="trms">socis>al and the biological
ss='lgc'>=/= ss="ppl">Darwinian s cls s="trms">storys> ofss='lgc'>: small variations, random mutation, long time scales, s cls s="trms">naturs>al selection, fitnes s and incremental developmentss='lgc'>:
sts cls s="lsts lst1">•complexity derived by brute mechanical climbing from the base als cls s="trms"nttrm="already,spread">reads>y built by the efforts of earlier climbing
sts> sts cls s="lsts lst1">•unit of changess='lgc'>: the gene, or individual organism, the s cls s="trms">zoos>centric, ‘big like us’ s cls s="trms">epistems>ic culture of both s cls s="trms">scies>nce and s cls s="trms">socis>al s cls s="trms">scies>nce (ss='lgc'>=/= weird s cls s="trms">worlds>ings of protists, s cls s="trms"nttrm="search">arches>a, eukaryotes ss='lgc'>[Wertheimss='lgc'>])
sts>
bacteriology ss='lgc'>ss='lgc'>==> new organisms were often stemmed from profound and prolonged s cls s="trms">syms>biotic s cls s="trms">relations>ships that have proven difficult to analyse ss='lgc'>=/= discrete
sts cls s="lsts lst1">•traits are ins cls s="trms">herits>ed outside of sexual dis semination (dis cls s="trms">gests>ion, infection, donation, other complex forms of partnerning) ss='lgc'>ss='lgc'>--> cons cls s="trms">sorts>iass='lgc'>: as cls s="trms">morphs>ous s cls s="trms">syms>biotic complexes (s cls s="trms"nttrm="metaph,metamorph,metabol,metal">metas>bolic energetic s cls s="trms">networks>s) ss='lgc'>=/= organismss='lgc'>: anatomically bounded objects (s cls s="trms">syss>tems of information and exchange)
sts> ss='lgc'>}ss='lgc'>==ss="ppl">ss="ppl">Margulisss='lgc'>ss='lgc'>==> focus on how perceptual, political, s cls s="trms">socis>al and s cls s="trms">scies>ntific conditions precede objectsss='lgc'>: <strcls cls s='strcls'>*strcls>objectsss='lgc'> = boundary-work<strcls cls s='strcls'>*strcls>
ss='lgc'>ss='lgc'>--> s cls s="trms">differens>tial speeds of change (sudden and unlikely mixes ss='lgc'>+ slow and s cls s="trms">causas>l)
ss='lgc'>ss='lgc'>--> deconstruction of individuality

(co-constitutive bio-econornic-political-s cls s="trms">socis>al contextss='lgc'>:)
<strcls cls s='strcls'>**strcls>ideological contest between individualism and collectivism in political economy ss='lgc'><ss='lgc'>ss='lgc'>==> intellectual development of s cls s="trms">syms>biosis theory<strcls cls s='strcls'>**strcls>
sts cls s="lsts lst1">•s cls s="trms">socis>as cls s="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists> and anarchist concept of mutuellisme in the mid 1800
sts> sts cls s="lsts lst1">•ss="ppl">Hobbesian-Malthusian-ss="ppl">Darwinian bio-economic concept of struggle for existence in zero-sum games of all-against-all
sts> sts cls s="lsts lst1">•Kropotkin's s cls s="trms">syms>biosis as evidence for the benefit of global cooperation towards the common good, the division of labour, protection of elements and s cls s="trms">inters>dependent organisation
sts> sts cls s="lsts lst1">•evolutionary theory used to champion individualism and the s cls s="trms">socis>al policies of lais sez faire
sts>
ss="ppl">Campbell ss='lgc'>ss='lgc'>--> what Harman mis ses is the elementary starting point for s cls s="trms">socis>ologies of s cls s="trms">scies>ncess='lgc'>: <strcls cls s='strcls'>*strcls>that s cls s="trms">socis>al s cls s="trms">scies>nce s cls s="trms">translats>es s cls s="trms">scies>nce<strcls cls s='strcls'>*strcls> just as s cls s="trms">scies>nce s cls s="trms">translats>es “reality”

serial endos cls s="trms">syms>biosis theory ss='lgc'>ss='lgc'>==>
stsrd cls s="lstsrd">1. no theory of s cls s="trms">socis>al change is going to be value-free (endos cls s="trms">syms>biosis is a proces s that is always als cls s="trms"nttrm="already,spread">reads>y highly charged with rich s cls s="trms">s cls s="trms"nttrm="metaph,metamorph,metabol,metal">metas>phors>, entailing a ‘host’ that is in an ‘exchange,’ ‘s cls s="trms">relations>’ or ‘merger’ with a ‘guest’ ss='lgc'>ss='lgc'>--> a form of ‘living together’ that becomes ‘close’ over time)
stsrd> stsrd cls s="lstsrd">2. extraordinary range and s cls s="trms">naturs>e of these s cls s="trms">relations>s can act as strategies for other s cls s="trms">worlds>ings (other ways of being with each other) ss='lgc'>ss='lgc'>--> important normative function ss='lgc'>[at the cataclysmic endings ss='lgc'>=/= catastrophic endingss='lgc'>]
stsrd> stsrd cls s="lstsrd">3. a way to think about temporalities (when a bacterium nestled into a simple cell, creating an intimacy that has lasted four billion years)
stsrd> stsrd cls s="lstsrd">4. a template for unlikely intimacies
stsrd>
Harman's philosophical monologue on s cls s="trms">socis>al theoretical practice (which might yet be remedied by actual dialogue with s cls s="trms">socis>al theorists) ss='lgc'>ss='lgc'>==> performative fallacy (ss='lgc'><ss='lgc'>-- common in artist s cls s="trms">writs>ing)

ss='at'>@s cls s="nms">apas ss><strcls cls s='strcls'>****strcls>
(ss="ppl">Campbell asking) why has object-oriented s cls s="trms">ontos>logy become such a popular force in other disciplines?span>
ss='lgc'><ss='lgc'>== complex s cls s="trms">inters>play between s cls s="trms">socis>ological ss='lgc'>+ logical factors
ss='lgc'>+ rise of <strcls cls s='strcls'>*strcls>para-academia<strcls cls s='strcls'>*strcls>

wonder story assemblage composition affect tale report whirlpool animal media techne tail [source: reed-cpa.com] ss='at'>@artist (in proliferation of artist s cls s="trms">writs>ing)
<strcls cls s='strcls'>****strcls>speculationss='lgc'> = the alibi for a doctrine that wishes to spare itself the trouble of justification<strcls cls s='strcls'>****strcls>
ss='lgc'>ss='lgc'>--> we need closer attention to rationality as the basis of judgement when we talk about speculation
ss='lgc'>ss='lgc'>--> we need to be more informed by (s cls s="trms">scies>nces) when we stretch s cls s="trms">relations>s to our rational outposts, without ignoring their appeals

<smlbrkr stl="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................smlbrkr>

posthumanism ss='lgc'>ss='lgc'>--> any discursive or bodily cons cls s="trms">figurats>ion that displaces the human, humanism, humanities ss='lgc'>ss='lgc'>--> (21st century) s cls s="trms">techns>ology is the center of critical thought about culture and about s cls s="trms">naturs>e

ss='lgc'>[<strcls cls s='strcls'>*strcls>ss='lgc'>]posthumanismss='lgc'>: a structure of feeling (sense of an era starts to be experienced in the s cls s="trms">socis>al s cls s="trms">imagis>nation ss='lgc'>ss='lgc'>--> s cls s="trms">socis>al forms become more recognisable when we had some time to clas sify them, s cls s="trms">articulats>e them, theorize them)

(Williams > ss="ppl">Campbell) structure of feeling
we can point to times in the s cls s="trms">pasts> and say that as an X sensibility (they were romantics, enlightenment, posts cls s="trms">moderns>ism) ss='lgc'>=/= sensing here and now ss='lgc'>ss='lgc'>--> practical consciousnes s, a period at an embryonic s cls s="trms">stags>e, at the very s cls s="trms"nttrm="knowledge,Knowledge">edges> of <strcls cls s='strcls'>*strcls>semantic availability<strcls cls s='strcls'>*strcls>

what structure of feeling is forming in the contemporary western s cls s="trms">worlds>?span> ss='lgc'>ss='lgc'>--> posthumanism
(postbiol[...]