[...]igation during these times.

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

The structure of address is important for understanding how moral ="trms">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 ="trms">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 ="trms">seriously about the ="trms">relation between modes of address and moral ="trms">authority. (also one of the issues in today's performance art)

="large lg2" stl="font-size:110%">
="trms">narration is always judgment
="trms">affective ="trms">intervention


why should i ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listen to you='qstn'>?
because i have a voice!


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

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

="trms">transitive ="trms">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 ="trms">communicating with ="trms">transitive ="trms">verbs actors can perform the ="trms">language of the director.


="large lg1" stl="font-size:137%"> ='mywrk'>my work ="trms">embodies and ="trms">communicates a desire to ="trms"nttrm="already,spread">read (and ="trms">write) texts


="large lg10" stl="font-size:100%">
='lgc'>[steiner='lgc'>]
in ="trms">Greek mythology the ="trms">poet and the seer are blind so that they may, by the antennae of speech, see further.

One thing is clear='lgc'>: every ="trms">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 ="trms">history. A text is embedded in ="trms">specific ="trms">historical time; it has what ="trms">linguists call a diachronic structure. To ="trms"nttrm="already,spread">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 ="trms">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 ="trms">past as we experience it is a ="trms">verbal construct. ="trms">History is a speech-act, a selective use of the ="trms">past tense. Even substantive remains such as buildings and ="trms">historical sites must be ‘="trms"nttrm="already,spread">read,’ i.e. located in a context of ="trms">verbal recognition and placement, before they assume real ="trms">presence.

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

(notes - december 15, 2011)

="lsts lst1">•="frds scrmbld"nttrm="Robin,Robot,Robert,Robocop">Robots making ="frds scrmbld"nttrm="Robin,Robot,Robert,Robocop">Robots
="lsts lst1">•what a robot wants (and how it wants it)
="lsts lst1">•cataloging computer generated stones smoke
="lsts lst1">•digital to digital convertor
="lsts lst1">•physical ="trms">interaction (between a user and a media object, pressing a button, choosing a link, moving the body) versus psychological ="trms">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)
="lsts lst1">•Mechanical ="trms">Monsters
="lsts lst1">•blown away roof
="lsts lst1">•="trms">Technology='lgc'>: the new ="trms">nature
="lsts lst1">•-error and - ="trms">horror(-terror)
="lsts lst1">•="trms"nttrm="knowledge,Knowledge">edge of the earth
="lsts lst1">•gold and dream, gold price and power law
="lsts lst1">•the ="trms">story of the viewer
="lsts lst1">•fact and perspective (elucidation)
="lsts lst1">•="trms">love at first sight (digital)
="lsts lst1">•continual production of the new is what allows things to stay the same, (logic of the same)
="lsts lst1">•noise ="trms">story
="lsts lst1">•the ‘content’ of any medium is always another medium (McLuhan)
="lsts lst1">•The mediation of ="trms">religion through buildings
="lsts lst1">•start with ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor and end with algebra
="lsts lst1">•a “model” is a ="trms">system of objects (any kind of objects) that make all of the sentences in a theory true , where a “theory” is a ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list of sentences in a ="trms">language.
="lsts lst1">•="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphors somehow mobilize the ="trms">difference between the two domains
="lsts lst1">•arena of alienation
="lsts lst1">•Cut the Noise
="lsts lst1">•mirrors with (/without) ="trms">memories
="lsts lst1">•substitutability
="lsts lst1">•optical appearances (mind ='lgc'>~ eye)
="lsts lst1">•Dioptrics (="trms">science of refraction), catoptrics (reflection),
="lsts lst1">•that could not be spoken of or re="trms">presented, because it was empty of discourse and thus of meaning.
="lsts lst1">•innocence of the eye
="lsts lst1">•Poor Unfortunate Souls
="lsts lst1">•being useful, like a prison guard
="lsts lst1">•auto="trms">poetic (complex self-referential ="trms">systems)
="lsts lst1">•to take up the motives from the external ="trms">world
="lsts lst1">•will-less perception, “the pure eye of genius”
="lsts lst1">•bringing from the artificial ="trms">world to the art ="trms">world
="lsts lst1">•object oriented programming / subject oriented
="lsts lst1">•Observer, ="trms">system and environment
="lsts lst1">•a ="trms">system (designed) with a purpose of itself
="lsts lst1">•magnifying or light-collecting optical device
="lsts lst1">•="trms">social selfish
="lsts lst1">•un-computational
="lsts lst1">•gray area
="lsts lst1">•self-identity is bad visual ="trms">system
="lsts lst1">•Vision requires ="trms">instruments of vision; an optics is a politics of ="trms">positioning. ="trms">Instruments of vision mediate standpoints;
="lsts lst1">•Identity, in="trms"nttrm="cluster,club">cluding self-identity, does not produce ="trms">science; critical ="trms">positioning does, that is, objectivity
="lsts lst1">•docile body
="lsts lst1">•="trms">technological visioning (vector of secret texts, ="trms">books within ="trms">books, ancient curses, digital dreams, and medieval cyber-art)
="lsts lst1">•empty space left by theory and philosophy
="lsts lst1">•="trms">technical visioning
="lsts lst1">•="trms">Technology is never merely “used,” never merely ="trms">instrumental. It is always ” incorporated” and “lived.”
="lsts lst1">•In his last paintings, such as the Bride of 1912, Duchamp both elaborated an iconography that combined mechanical and ="trms">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, ma="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigold

="frds scrmbld">Saeed 0012063108222
="nms">Tehran Wi Fi='lgc'>: 88 57 27 92

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

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

The shock of new media is as old as the hills

Franz Reuleux described this cor="trms">relation='lgc'>: the more primitive the ="trms">technology, the less attuned the parts of the machine to each other, the greater the degree of play ='lgc'>-- the more perfected the ="trms">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 ="trms">world remain labile and fluid, (a state which is important not only for the development of the ="trms">child, but with significant ramifications for human life and culture in general.)

Re="trms">presentation is a distinctive manner of ="trms">imagining the real, and is a fundamental ="trms">phenomenon upon which all culture rests.

Henri Lefebvre distinguishes Re="trms">presentations of space and Re="trms">presentational spaces . ... Re="trms">presentational spaces are “directly lived” through as="trms">sociated images and ="trms">symbols which overlay physical space, making ="trms">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 ='lgc'>[Ouch is adequate to a field of knowl="trms"nttrm="knowledge,Knowledge">edge whose contents are organized as stable ="trms">positions within an extensive terrain.

="brkr">

="lsts lst1">•a ="trms">technological gaze
="lsts lst1">•way of seeing (="ppl">Derridean deconstructed)
="lsts lst1">•high-tech images
="lsts lst1">•artifact (cultural artifact, ="trms">social)
="lsts lst1">•image of the or a body and its environment
="lsts lst1">•impossible subject-="trms">positioning, the ="trms">codification of flesh, a visualization of ="trms">scientific ="trms">narratives and the ="trms">aestheticization of information, all of which tell us about a longer line of cultural fantasies about information, ="trms">code and ="trms">technology. (Norah ="ppl">Campbell)
="lsts lst1">•Everything said is said by an observe (Maturana and Varela)
="lsts lst1">•framing the ="trms">world
="lsts lst1">•virtual gaze (="ppl">Baudrillard)
="lsts lst1">•achieve absolute vision, while seeing nothing.
="lsts lst1">•very much as real; human and ="trms">technological, both
="lsts lst1">•i say this as someone who thinks that we are part of this digital ="trms">world, but we are not necessarily subject to its terms
="lsts lst1">•splicing of direct and tactile human perception of reality with another reality, one that is mediated and ="trms">technical
="lsts lst1">•the naration is not pure nor whole (why cyborg='qstn'>?)
="lsts lst1">•place of visibility (/ field of articulability)
="lsts lst1">•it is an ="trms">aesthetic dream, dream of is="trms">morphism between the discursive object and the visible object
="lsts lst1">•exteriorization of the body (="trms">relation between face / hand / tool )
="lsts lst1">•The “exact meeting place” of form, ="trms">matter, tool, and hand is the touch(Henri Focillon)
="lsts lst1">•

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

In this ="trms">interconnection of ="trms">embodied being and environing ="trms">world, what happens in the ="trms">interface is what is important.
='lgc'>--Don ="ppl">="ppl">Ihde, Bodies in ="trms">Technology

At first glance, s="trms">trapped 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 ="trms">technoculture the camera (the ="trms">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='lgc'>--that vault or ="trms"nttrm="search">arched chamber, that judge's chamber='lgc'>--moved from elite Latin to the vulgar, democratic idiom in the nineteenth century only as a consequence of a new ="trms">technology called photography, or “light-="trms">writing.” A camera became a black-box with which to register pictures of the outside ="trms">world in a re="trms">presentational, menta="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list, and sunny ="trms">semiotic economy, an analogy to the seeing eye in brainy, knowing man, for whom body and mind are suspicious str="trms"nttrm="danger,stranger">angers, if also near neighbors in the head. Nonetheless, no ="trms">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 ="trms">world='lgc'>--indeed, the critters of the ="trms">world='lgc'>--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 pre="trms">dictable ="trms">semiotic road blocks that try to limit us to a cartoonish ="trms">epistemology about visual self-evidence and the life="trms">worlds of human-="trms">animal-="trms">technology compounds.


="ppl">="ppl">Gilbert stresses that nothing makes itself in the biological ="trms">world, but rather reciprocal induction within and between always-in-process critters ramifies through space and time on both large and small scales in cascades of ="trms">inter- and ="trms">intra-action. In embryology, ="ppl">="ppl">Gilbert calls this “="trms">inter="trms">species epigenesis."43 ="ppl">="ppl">Gilbert ="trms">writes='lgc'>: “I think that the ideas that Lynn ='lgc'>[="ppl">="ppl">Margulis='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 ="trms">science 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”

caring='lgc'>: becoming subject to the unsettling ="trms">obligation of curiosity, which requires knowing more at the end of the day than at the beginning


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


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


="large lg3" stl="font-size:112%"> Microlandscapes='lgc'>:


="large lg10" stl="font-size:130%"> the talk, also works ='thdf'>the notion of mirror ="trms">stage and what does it mean for us and for the companien ="trms">species that are entangled. what th="trms"nttrm="already,spread">reads of meaning are taken apart by pulling on the th="trms"nttrm="already,spread">read of self reflection and self vision, what will gets account as ="trms">nature for whom and when. the ="trms">animal that is in charge of her own image is the re="trms">presentation of the universala man.


Appearance of eukaryotic cells around 2 billion years ago is probably the most significant event in the ="trms">history of life on earth. It gave the creatures with DNA two important things='lgc'>: a nucleus that contained all the genetic ="trms">materials and an ="trms">interface to ="trms">communicate with the ="trms">world outside of the cell='lgc'>--a complex ="trms">membrane='lgc'>--to talk with the ="trms">materials alien to itself. ="trms">Interface is a critical point of ="trms">intersection between ="trms">different life ="trms">worlds, fields, or levels of organization. They are the areas in which ="trms">social friction can be experienced and where diffusion of new ="trms">technology is leading to structural discontinuities (which can be either ="trms">positive or negative), the ="trms">interface is where they will occur. The argent issue of ="trms">interfaces in ="trms">social ="trms">interaction and flow between human ="trms">animal, nonhumans, and computers is today becoming a zone of ="trms">transition of ephemeral ="trms">technologies, physical contact, ="trms">socio-political boundaries, and ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor-re="trms">presentation.
Since antiquity, re="trms">presentation has been the foundational concept of ="trms">aesthetics and ="trms">semiotics. In the ="trms">modern era, it has also become a crucial concept in political theory. In a discussion of law and ethnography, ="ppl">Clifford ="ppl">="frds scrmbld">Geertz calls into ="trms">question the Western distinction between ="trms">matters of fact and ="trms">matters of value. “Facts and law we have perhaps everywhere; their polarization we perhaps have not.” ="ppl">="frds scrmbld">Geertz's hermeneutic approach leads him to focus on the ="trms">relation between the grounding of norms and the re="trms">presentation of fact. Therefore, he con="trms"nttrm="cluster,club">cludes, re="trms">presentation is a distinctive manner of ="trms">imagining the real, and is a fundamental ="trms">phenomenon upon which all culture rests.
The performance-talk is divided into three tangled ="trms">narratives, one the ="trms">social mode of ="trms">traveling that in="trms"nttrm="cluster,club">cludes the ="trms">child='lgc'>--the op="trms">posite of the lonely masculine ="trms">traveler='lgc'>--based on the real experience and a personal ="trms">story in a trip to Amazon in Colombia with ="frds scrmbld">Karin Demuth and her three years old boy='lgc'>--="frds scrmbld">Hanno='lgc'>--, second a multi-headed ="trms"nttrm="already,spread">reading of ="trms">technologies of ="trms">interfacing within computer culture and the ="trms">worlds of other ="trms">species, the meaning of ="trms">inter-facing with the other, and third a visual re="trms">presentation of the highly ="trms">technical 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 re="trms">presentational spaces to the lived. Affirming the “un="trms">naturalness” of the image makes it a trans="trms">position of universal means of ="trms">communication='lgc'>--the ="trms">language='lgc'>--that would like to provide a direct, unmediated, and accurate re="trms">presentation of the jungle.
The performance is an engagement with ='thdf'>the notion of companion ="trms">species elaborated by ="ppl">Donna ="ppl">="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 ="trms">child. The work deals with ="trms">questions of the other-space that is mentally filled with projections and projects. The recording of the walking in the rain forest ='lgc'>--as spatial and ="trms">sensual experience='lgc'>-- is thus de="trms">materialized and has acquired a digital character. The ="trms">dense 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 randomness of the ="trms">technical coloring the surface of the jungle provoke an ="trms">aesthetic fascination, and an appropriation of the imposible image of the forest.


="large lg4" stl="font-size:111%">
="trms">Traveling to the Amazon to experience its radical Otherness is a European tradition. It unintentional affirms the ideology of a “state of ="trms">nature” that is ="trms">prior to culture.


="ppl">Lacan='lgc'>: i am led to regard the function of the mirror ="trms">stage as a particular case of the function of the imago, which is to establish a ="trms">relation 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 ="trms">history. the mirror ="trms">stage is a drama whose ="trms">internal thrust is precipitated from insufficiency to anticipation - and which manufactures for the subject, caught up in the ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure of spatial identification, the succession of phantasies that extends from a fragmented ="nms">body image to a form of its totality that i shall call orthhopaedic - and, lastly, to ='thdf'>the ='thdf'>assumption of the armour of[...]