[...]ks 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

="large lg2" stl="font-size:111%"> 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.


Microlandscapes='lgc'>:

="large lg10" stl="font-size:118%">
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 lg1" stl="font-size:129%">
="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 an alienating identity, which will mark with its ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigid 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 Text='lgc'>: from Jacques ="ppl">Lacan, Ecrits, New York='lgc'>: W. W. Norton, 1977.
The Mirror ="trms">Stage as Formative of the Function of the I as Revealed in Psychoanalytic Experience

Delivered at the 16th ="trms">International Congress of Psychoanalysis, Zurich, July 17, 1949

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

="ppl">Flusser, ="trms">Gestures - beyond machines (="trms"nttrm="already,spread">reading)


the project investigates the way in which ="frds">Seifee as an artist engages tactics of fieldwork, ="trms">embodiment and ="trms">materiality (in a manner that reveals or instigates processes 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.)


...our ability to share the experience of the habits of the ="trms">world that we discover. (="ppl">Kohn)

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................
="large lg3" stl="font-size:110%">
="ppl">Campbell on Harman's philosophy
(problem of) object-oriented ="trms">ontology as ="trms">social theory ='lgc'>[insights of object-orientation mechanically applied to the ="trms">social by Harman, “im="trms">materialism"='lgc'>]
="lsts lst1">•innovative adaptation of ="trms">phenomenology
="lsts lst1">•critique of how objects have been failed by philosophy
="lsts lst1">•insistence upon an ="trms">aesthetic attitude of investigation
='lgc'>--but='lgc'>='lgc'>-->
="lsts lst1">•object-oriented ="trms">social theory lacks the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigor and ="trms">imaginative potential to envision the ="trms">ontology of the ="trms">social
="lsts lst1">•the way object-oriented ="trms">ontology is stuck in a no-man's-land of not-quite-nonhuman-not-quite-human
="lsts lst1">•as ooo enters ="trms">social theory it commits a performative fallacy ='lgc'>='lgc'>--> missing the fundamental starting point of ="trms">social theory='lgc'>: ='strcls'>***objects come into the ="trms">social ="trms">world as expressions of (negotiated, perceptual, political, ="trms">agentic) value='strcls'>*** ='lgc'>[="trms">social theory is fundamentally predicated on the ="trms">socius ='lgc'>='lgc'>--> ="trms">social theory is about the as="trms">sociation between things ='lgc'>=/= homogenous things='lgc'>]
='lgc'>}='lgc'>=/= ="ppl">Campbell's ='strcls'>*posthuman ="trms">relationism='strcls'>*='lgc'>: another form that better understands the ="trms">abyssal point between the non-human and the human


(2007 conference) speculative realism ='lgc'>{antipathy to “human-centred” intellectual traditions='lgc'>} ='lgc'>='lgc'>='lgc'>~=> object-oriented ="trms">ontology

="large lg4" stl="font-size:111%"> (objectivity ='lgc'>=/= obliqtivity)
Harman's im="trms">materialism='lgc'>: realism without ="trms">materialism ='lgc'>: objects can only ever be captured obliquely

object-oriented ="trms">ontology's development='lgc'>:
="lsts lst1">•characterised by a consistent lament for how post-="ppl">Kantian philosophy in general (Continental philosophy in particular) has abandoned hope of describing objects as objects
="lsts lst1">•the real='lgc'>: absolute autonomy of objects (withdraw from subjects)
="lsts lst2">◦objects='lgc'>: sleeping giants holding their forces in reserve
="lsts lst1">•prefer the ="trms">excess of the ="trms">aesthetic over the reduction by the ="trms">scientific (="trms">materialism's tendency to reduce objects to a primary substratum ='lgc'>='lgc'>==> rendering them susceptible to mathematical capture) ='lgc'>--="ppl">Campbell='lgc'>='lgc'>--> ='strcls'>*="trms">aesthetic foundationalism='strcls'>* ='lgc'>[='lgc'>==engender='lgc'>='lgc'>==> an attitudinal ="trms">response to objects='lgc'>] (='at'>@="nms">apass, this is also a problem in artistic research)='lgc'>:
="lsts lst2">◦="trms">aesthetic appreciation above the reduction of the ="trms">phenomenon achieved by ="trms">science ='lgc'>='lgc'>--> “art (art criticism) is a style that gets us closer to the ="trms">nature of objects” (='lgc'>+ bad ='thdf'>example of Clement Greenberg)
="lsts lst2">◦(to make the invisible deep conditions of objects perceivable) ="trms">prioritize ='strcls'>*allusive style='strcls'>* above ='strcls'>*="trms">literal description='strcls'>*
="lsts lst1">•claims to post-="trms">phenomenological sovereignty
="lsts lst1">•over-mining approach to knowl="trms"nttrm="knowledge,Knowledge">edge production ='lgc'>=/= objects's surplus of reality
="lsts lst2">◦="trms">methodological approach which encounters objects as objects (='lgc'>=/= actor ="trms">network theory's manner of focusing upon an object's effects) ='lgc'>[='lgc'>+ bad ='thdf'>example of Dutch East India Company='lgc'>]='lgc'>--="ppl">Campbell='lgc'>='lgc'>--> object-oriented ="trms">social theory produces a rudimentary ="trms">narrative with no discernible innovation on the level of='lgc'>:
="lsts lst3">◾objects ='lgc'>='lgc'>--> the actors are recognisable companies, personalities, infrastructures
="lsts lst3">◾="trms">relations ='lgc'>='lgc'>--> the major ="trms">symbiotic moments are legal contracts, infrastructure and formative moments in a human's life
="lsts lst3">◾time ='lgc'>='lgc'>--> there is standard chronology from birth to death, with emphasis on human-centric causes and effects
="lsts lst1">•“="trms">social theory='lgc'> = a mode of knowl="trms"nttrm="knowledge,Knowledge">edge production” (='lgc'>=/= a decontextualised reflection of the ="trms">world) ='lgc'>='lgc'>==> withdrawal='lgc'>: a psychological alibi, an ="trms">aesthetic (='lgc'>=/= cognitive concept) ='lgc'>==stimulate='lgc'>='lgc'>==> an attitudinal ="trms">response='lgc'>: humility ='lgc'>[='lgc'>+ passivity='qstn'>?='lgc'>] in the face of overwhelming non-human existence ='lgc'>[='lgc'>~ appeal ='lgc'>==produce='lgc'>='lgc'>==> a paterna="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic-arrogant-="trms">instrumenta="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list attitude to the nonhuman ='lgc'>=/= ='strcls'>*appeal ='lgc'>==foster='lgc'>='lgc'>==> ="trms">responsibility='strcls'>* (a norrnativity that withdrawal cannot) ='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="ppl">="ppl">Haraway ='lgc'>+ ="ppl">Campbell='lgc'>]

='lgc'>}='lgc'>=/= posthuman ="trms">relationism='lgc'>: rea="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists who draw on contemporary advances in disciplines like geology, biology, mathematics and ="trms">neurology to make the case that non-human reality is not a sub-set of human reality ='lgc'>='lgc'>-->
="lsts lst1">•commitment to an object-oriented realism (='lgc'>='lgc'>~= Harman)
="lsts lst1">•occupy an ='strcls'>*="trms">anthropic='strcls'>* event horizon='lgc'>: their ="trms">social analyses occur in the shifting, impossible ground hetween the human and the nonhuman (='lgc'>=/= Harman)
="lsts lst1">•dialectic of object ='strcls'>**withdrawal ='lgc'>+ appeal='strcls'>** (='lgc'>=/= Harman's object withdrawal) ='lgc'>~ ='strcls'>***="trms">interaction between objective withdrawal ='and'>& subjective appeal='strcls'>***

(Moss) earth as making an appeal ='lgc'>--="ppl">Freud='lgc'>='lgc'>--> a ="trms">demand for work
“when the attention of an experienced person is drawn to the ="trms">child's state by this path of discharge, ='lgc'>[the path of discharge='lgc'>] ... acquires a secondary function of the highest importance, that of cornmunicalion
='lgc'>='lgc'>--> initial helplessness of human beings is the primal source of all moral motives
(="trms">child's) creaming and kicking ='lgc'>='lgc'>--> ap[...]