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

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

cooperation is a rehearsal not a performance.

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

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

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

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

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

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

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

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

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

the nightmare after performance

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

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

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

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

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

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

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(butler)

the structure of address itself

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

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

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

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

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

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

...perhaps we should think more seriously about the relation between modes of address and moral authority. (also one of the issues in today's performance art)


narration is always judgment
affective intervention


why should i listen to you?
because i have a voice!


visual culture has different strand from lecture culture. people are able to express themselves with verbal signs long before they can draw anything, using visual sign (picture: a drawing by Hanno). verbal language because of its easy everyday usage has become mundane and instrumental to communication, visual sign due to its learning curve and skillfulness belonged to the art domain.

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transitive verb 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 communicating with transitive verbs actors can perform the language of the director.


my work embodies and communicates a desire to read (and write) texts



[steiner]
in Greek mythology the poet and the seer are blind so that they may, by the antennae of speech, see further.

One thing is clear: every language-act has a temporal determinant. No semantic form is timeless. When using a word we wake into resonance, as it were, its entire previous history. A text is embedded in specific historical time; it has what linguists call a diachronic structure. To read fully is to restore all that one can of the immediacies of value and intent in which speech actually occurs.

The process of diachronic translation 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 mass of the past as we experience it is a verbal construct. History is a speech-act, a selective use of the past tense. Even substantive remains such as buildings and historical sites must be ‘read,’ i.e. located in a context of verbal recognition and placement, before they assume real presence.

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(notes - december 15, 2011)

•Robots making Robots
•what a robot wants (and how it wants it)
•cataloging computer generated stones smoke
•digital to digital convertor
•physical interaction (between a user and a media object, pressing a button, choosing a link, moving the body) versus psychological interaction (the psychological processes of filling-in, hypothesis forming, recall and identification, which are required for us to comprehend any text or image at all)
•Mechanical Monsters
•blown away roof
•Technology: the new nature
•-error and - horror(-terror)
•edge of the earth
•gold and dream, gold price and power law
•the story of the viewer
•fact and perspective (elucidation)
•love at first sight (digital)
•continual production of the new is what allows things to stay the same, (logic of the same)
•noise story
•the ‘content’ of any medium is always another medium (McLuhan)
•The mediation of religion through buildings
•start with metaphor and end with algebra
•a “model” is a system of objects (any kind of objects) that make all of the sentences in a theory true , where a “theory” is a list of sentences in a language.
•metaphors somehow mobilize the difference between the two domains
•arena of alienation
•Cut the Noise
•mirrors with (/without) memories
•substitutability
•optical appearances (mind ~ eye)
•Dioptrics (science of refraction), catoptrics (reflection),
•that could not be spoken of or represented, because it was empty of discourse and thus of meaning.
•innocence of the eye
•Poor Unfortunate Souls
•being useful, like a prison guard
•autopoetic (complex self-referential systems)
•to take up the motives from the external world
•will-less perception, “the pure eye of genius”
•bringing from the artificial world to the art world
•object oriented programming / subject oriented
•Observer, system and environment
•a system (designed) with a purpose of itself
•magnifying or light-collecting optical device
•social selfish
•un-computational
•gray area
•self-identity is bad visual system
•Vision requires instruments of vision; an optics is a politics of positioning. Instruments of vision mediate standpoints;
•Identity, including self-identity, does not produce science; critical positioning does, that is, objectivity
•docile body
•technological visioning (vector of secret texts, books within books, ancient curses, digital dreams, and medieval cyber-art)
•empty space left by theory and philosophy
•technical visioning
•Technology is never merely “used,” never merely instrumental. It is always ” incorporated” and “lived.”
•In his last paintings, such as the Bride of 1912, Duchamp both elaborated an iconography that combined mechanical and visceral forms and began to move away from any procedures that revealed the artist's hand to create “retinal” or “anecdotal” art.


lemon grass plant, marigold

Saeed 0012063108222
Tehran Wi Fi: 88 57 27 92

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

mental life (memory, imagination, fantasy, dreaming, perception, cognition) is mediated and is embodied in the whole range of material media… we not only think about media, we think in them (Mitchell)

The shock of new media is as old as the hills

Franz Reuleux described this correlation: the more primitive the technology, the less attuned the parts of the machine to each other, the greater the degree of play -- the more perfected the technology, the closer the fit, the less play between the individual parts.

(For Winnicott,) play is a psychological state where the boundaries between self and the world remain labile and fluid, (a state which is important not only for the development of the child, but with significant ramifications for human life and culture in general.)

Representation is a distinctive manner of imagining the real, and is a fundamental phenomenon upon which all culture rests.

Henri Lefebvre distinguishes Representations of space and Representational spaces . ... Representational spaces are “directly lived” through associated images and symbols which overlay physical space, making symbolic 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 [Ouch is adequate to a field of knowledge whose contents are organized as stable positions within an extensive terrain.



•a technological gaze
•way of seeing (Derridean deconstructed)
•high-tech images
•artifact (cultural artifact, social)
•image of the or a body and its environment
•impossible subject-positioning, the codification of flesh, a visualization of scientific narratives and the aestheticization of information, all of which tell us about a longer line of cultural fantasies about information, code and technology. (Norah Campbell)
•Everything said is said by an observe (Maturana and Varela)
•framing the world
•virtual gaze (Baudrillard)
•achieve absolute vision, while seeing nothing.
•very much as real; human and technological, both
•i say this as someone who thinks that we are part of this digital world, but we are not necessarily subject to its terms
•splicing of direct and tactile human perception of reality with another reality, one that is mediated and technical
•the naration is not pure nor whole (why cyborg?)
•place of visibility (/ field of articulability)
•it is an aesthetic dream, dream of ismorphism between the discursive object and the visible object
•exteriorization of the body (relation between face / hand / tool )
•The “exact meeting place” of form, matter, tool, and hand is the touch(Henri Focillon)
•

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In this interconnection of embodied being and environing world, what happens in the interface is what is important.
--Don Ihde, Bodies in Technology

At first glance, strapped to the body of critters such as green turtles in 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. Since the first overwrought seventeenth-century European discussions about the camera lucida and camera obscura, within technoculture the camera (the technological 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 camera--that vault or arched chamber, that judge's chamber--moved from elite Latin to the vulgar, democratic idiom in the nineteenth century only as a consequence of a new technology called photography, or “light-writing.” A camera became a black-box with which to register pictures of the outside world in a representational, mentalist, and sunny semiotic economy, an analogy to the seeing eye in brainy, knowing man, for whom body and mind are suspicious strangers, if also near neighbors in the head. Nonetheless, no matter how gussied 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 world--indeed, the critters of the world--are assayed 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 predictable semiotic road blocks that try to limit us to a cartoonish epistemology about visual self-evidence and the lifeworlds of human-animal-technology compounds.


Gilbert stresses that nothing makes itself in the biological world, but rather reciprocal induction within and between always-in-process critters ramifies through space and time on both large and small scal[...]