[...]> photographs did not carry a transparent meaning


once so policed, and presumably only then, could the photographic process be elevated to a special epistemic status, putting it in a category of its own

in contrast to drawings, photograms were tarnished by the crudeness imposed by the limited palette of the color raster. Given the choice, the author clearly favored the crude but mechanical photographic process. <a class='trgt hghlght 1'href='?q=A'>Aa>ccuracy had to be sacrificed on the altar of objectivity. (is Kinect pure mechanicalan class='qstn'>?an> why i have been insisting to remove my handsan class='qstn'>?an>! why i was craving for objectivityan class='qstn'>?an>)

=> to leave imperfections in the photograph as a literal mark of objectivity

testimony to objectivity

rejection of subjective temptation

sophistication could corrupt an individualan class='qstn'>?an> (you can be accurate but not sophisticated) (not cleaning up the image of plates)


The moral narrative surrounding this mechanical construction of pictorial objectivity took many forms. <a class='trgt hghlght 1'href='?q=A'>Aa>s we have argued, pictures (properly constructed) served as talismanic guards against frauds and system builders, aesthetes and idealizers.

extending the mystique of the visual to the dense symbolic presentation of functions and graphs

inscription instruments

(Marey, method grafique) “the graphical method translates all these changes in the activity of forces into an arresting form that one could call the language of the phenomena themselves, as it is superior to all other modes of expression.”

graphical representation could cut across the artificial boundaries of natural language to reveal nature to all people,

they were the words of nature itself

the search for this rendition of objective representation was a moral as much as technical, quest.


morality of self-restraint


(for the scientific atlas makers of the later nineteenth century,) the machine aided where the will failed. (at once a powerful and polyvalent symbol,) the machine was fundamental to the very idea of mechanical objectivity.

the machine, in the form of new scientific instruments, embodied a positive ideal of the observer: patient, indefatigable, ever alert, probing beyond the limits of the human senses. (what other relationships exist with the machinean class='qstn'>?an> other than this self-disciplined observer)

(rhetoric of) wonder-working machine


the machine, (now in the form of techniques of mechanical reproduction,) held out the promise of images uncontaminated by interpretation.

...the scientists’ continuing claim to such judgment-free representation is testimony to the intensity of their longing for the perfect ‘pure’ image. in this context the machine stood for authenticity: it was at once an observer and an artist, miraculously free from the inner temptation to theorize, anthropomorphize, beautify, or otherwise interpret nature.

one type of mechanical image, the photograph, became the emblem for all aspects of noninterventionist objectivity ... not because the photograph was necessarily truer to nature than hand-made images--but rather because the camera apparently eliminated human agency
(what is the difference between systematic image and mechanical imagean class='qstn'>?an> samean class='qstn'>?an> -glitch..)

(mechanical) images that could be touted as nature's self-portrait

aura of stoic nobility
painstaking, humble, laborious (work)

moral virtuosity never exists without an appreciative audience

by ringing the changes on the resonant cultural themes of self-purification through self-abnegation, scientists persuaded themselves and others of their worthiness to assume priestly functions in an ever more secularized society.

humanity and self-restraint, the one imposed from without and the other from within, thus define the pride-breaking morality of the scientists.

objectivity is a morality of prohibitions rather than exhortations

subspecies of interpretation: projection, anthropomorphism, insertion of hope/fear into images/facts of nature,


varieties of objectivity:
<a class='trgt hghlght 1'href='?q=A'>Aa>. mechanical objectivity
B. the metaphysical element that makes objectivity synonymous with truth
C. aperspectival element that identifies objectivity with the escape from and all perspectives

it is tempting to collapse all of objectivity into the view from nowhere. this temptation to simplify by conflation should be resisted, for the highest expressions of objectivity in one mode may seem worthless when judged by the standards of another mode.
(as humans we must deal with our personal, idiosyncratic, perspectival perception)

photo: accurate rendering of sensory appearances

objectivity is a multifarious, mutable thing, capable of new meanings and new symbols: in both a literal and figurative sense, scientists of the late-nineteenth-century created a new image of objectivity

...................................

we must consider the paths people and trees have taken

entangled networks of matter and meaning

“i don't mind being ‘close to nature.’ but i know what they mean when they say that, and it's not what i mean.”
--Linda Noel, Koyungkawi poet and acorn mush maker

oaks were travelers and mixers

...................................

(Tomaz Mastnak)
Botanical decolonization

planting and displanting of humans and plants are elements of the same multispecies colonial endeavor

native plants as a discursive field

complex and unmarked ways that plants have been  sorted out as ‘native’ or ‘nonnative’

(as a measure of perfection and ‘civility’) gardening was also the key to the survival of colonies

(for Bacon) ‘plantation’ meant in the first place to ‘Plant in’ people
‘plantation in a pure soile’ (founding a colony)

once we see colonialism as the literal planting and displanting of peoples, animals, and plants--as inscribing a domination into blood and soil founded in the fantasy of molding ecosystems with godlike arrogance--it becomes clear how colonialism ushered in the anthropocene

native plants, by implication, were uncultivated. in the imperial imaginary this distinction between cultivated and native plants was isomorphic with people as well.

‘nature’, like the uncultivated native, was to be dominated by ‘culture’. such ‘government of nature’ found its metropolitan manifestation in botanic gardens. (species collected for scientific reasons, for aesthetic and ideological benefit)

government of nature

invasive animals

the real issue is that we still live in a colonial environment. we live with the legacy of botanical colonization without even knowing it. this legacy is not mere background to social and political life.


Nazis’ attempted eradication of Impatiens parviflora from their own native forests (Gröning and Wolschke-Bulmahn, 1992)


the idea of “borrowing freely from all the world's styles and floras” erases the violent colonial encounter of displacing by replacing it with the figure of the undocumented immigrant

..charging native plant enthusiasts and invasion biologists and managers with xenophobia...


(Davis et al, 2011 article published in journal Nature, title:) “Don't judge species on their origins”, is a misleading phrase; at issue is judging species not on their origins, but on their emplacement.

(Yanagisako and Delaney, 1995) “people think and act in the intersections of discourses”
but not every domain intersects in every instance, and the character of an ‘intersection’ is historically specific. it is a truism to claim that ‘like humans, plants and animal travel’ (Raffles, 2011, page 12). What Raffles fails to address is crucial: how, exactly, do those plants travelan class='qstn'>?an> to treat the ‘remaking’ of surroundings as a neutral, benign category, served from the colonial history of globalization, is problematic at best.


treating plants metaphorically only as immigrants, but never as settlers, paradoxically divides human from nature. it elides the forms of displanting--of botanical colonization--that were part and parcel of the colonial encounter.

Myths of the ‘noble eco-savage’ and the ‘ecological Indian’ have been shown to be inaccurate (Krech, 1999; Whelan, 1999)

(the notion of the <a class='trgt hghlght 1'href='?q=A'>Aa>nthropocene implies) an ecology in which humans are immanent to the natural world

...................................

(eyes are) visual possibilities
“eyes” (are always) made available [...] with a wonderfully detailed, active, partial way of organizing worlds... [Haraway, SK]

...................................

lecture khm Luis
trans or cross ecological movement, from amazon to shahname, because i like it and i care for thoses ecologies.
and because we can't keep clean. i love to talk about clean and dirt. maybe some other time. if we can say anything about the world is that it is dirty and excessive and lunetic. literally lunar. the moon. if you think your bio and biology is not scheduled by moon or lunar forces think again.
do i need a bit of ego to sustain this skin-encapsulated organism (pointing to myself. this is another pointi dance)
tech interface amaz div device literature

...................................

[<a class='trgt hghlght 1'href='?q=A'>Aa>vital]

in the conflict of rhetorics, the victory never goes to any but the third language. The task of this language is to release the prisoners: to scatter the signifieds, the catechisms

to enter areas of conflict [...] fragile zone where non-knowledge dominates knowledge

Self-dissolving and regathering, the subject became linked to the possibility of a new autonomy, and opium illuminated in this case (Baudelaire, though under De Quincey’s influence, was to use it differently) an individual who finally could not identify with his ownmost autonomy but found himself instead subjected to heroic humiliation in the regions of the sublime. Opium became the transparency upon which one could review the internal conflict of freedom, the cleave of subjectivity where it encounters the abyss of destructive jouissance.

mapping the body as an intensive conflictual site

scenography and rhetoric of armed conflict

(<a class='trgt hghlght 1'href='?q=A'>Aa>vital on) the maternal trace in the technological revealing from Heidegger to the Bushies


the readers and nonreader

the scene of the proto-pedagogy (involves only two persons): The master and pupil together produce an allegory of being struck, enlightened


(for Levinas:) expérience =/= épreuve
•experience --> a knowing of which the self is master is always said
•épreuve (text, trial, proof) --> the idea of life and of a critical ‘verification’ which overflows the self of which it is only the ‘scene’ ~~> a test site in which the self is placed at absolute risk, life submitted to incessant probes, find themselves subjected to the rigors of the épreuve


conflict's another logic of rigor in certain types of non-Western practices (such as Zen and yogic teachings)

the pupil is led to an inner experience without interiority, to understanding without cognition, without a history ==> subjectivity

the Zen pupil, often a wanderer, listens differently, stilling herself to consider the sonic eventfulness of growing grass

...understanding no longer crowns the end of a labored process of appropriation =/= Western narratives of testing



going after the grail or attempting to reach a metaphysically-laden Castle

...cannot be properly located or possessed

the inaction hero


(an class='qstn'>?an>are we accustomed) to viewing the test as a way of mobilizing courage

The Sphinx marks the porous boundary between Western and Eastern domains of questioning and tells of bodies menaced by pulverization: should the riddle not be solved, either the questioner or the questioned must go. Passing the test is a matter of survival of the species for Oedipus, as it is for the interspecial dominatrix of the riddle: la Sphinx dissolves when the young man offers the correct answer.
=/= koan

...................................

My performance here is maybe a form of prayer or invocation[8] not simply to be read as a mere theoretical and discursive statement, and is intended to be a table of digital curses. To reopen the agency of curse in a cultural style that I have come to encounter, it might produce a different but not necessarily better speculative difficulty in discussing about the virtual. <a class='trgt hghlght 1'href='?q=A'>Aa> curse[9] (according to Iranian-Islamic mixture of traditions in the milieus of promising and swearing,) is basically a networking function with both mechanical and interventionist properties that translate desire into performance—an intersubjective textual momentum that run virtually into the real world and it may (or may not) run down its target. Much like rumor, curse is contagious and reproductive but unlike the publicity of rumorous velocities, curse insists on secrecy at the same time harvesting its powers for revealing. The reality of the ‘curse’ is ‘assumed’ mostly and that is the virtual nature of this relation (with the materialities of the world that curse inscribes on) that I am interested in.


Curse systematically works with names, to be more accurate, with the notion of the “proper name”[10] invested in the idea of an automatic function that shifts ‘name’ to ‘agency’, virtual to concrete. That is if one knows the proper name, one could raise all actual agencies that act with real consequences—slogans in politics may rely on this typical power of cursing. In the <a class='trgt hghlght 1'href='?q=A'>Aa>mazon I was not looking for the proper name of nature, neither theological nor analytical nor the supposed accidental. That means (looking for ways) critically not to be real.


<a class='trgt hghlght 1'href='?q=A'>Aa>n extended concept of cursing enters visuality in the gaze of the evil eye.[11] The malevolent glare who stamps upon by staring at an accidental moment of encounter in the evil eye, brings together the narrative of the random traveler who casts a gaze in another world of virtual and visual agency, and emphasises the randomness and hideousness of looking. The transaction between the eyes in the evil eye goes both ways to posses both the beholders. The target of the evil eye is always missed[ar] due to the internal conflict of perception and will. The intersection of visions is feared and programmed in the modalities of material talisman and culturally protective performances for the subject from meeting the other’s gaze. But the evil eye is precisely so powerful and real because of its ability to name the uncanny event of encounter. “Nothing is wholly obvious without becoming enigmatic.”[12]


[Serres]

does experimentation, in art science, excludes subjectivityan class='qstn'>?an> More the importance of experiment on self. Returning the aim back to knowledge, instead of the division of knowledge. Our subjectivity is not an illusion to be overcomed, but that is another part of reality.

Displacement on the space of myth. Myth informs science.

To know is to navigate between local fragments of space , to reject techniques of classification and separation, to implement a philosophy of transport to counter the dogmatism of united and systematic knowledge.

...the itinerary traces the transmission, transformation, and multiplication of messages through diverse spaces of communication.

The spatial language of the writing of the world, geography, language of paths, movements, marks the moment of passage towards a new epistemology.

World is the space of your inscription, scientists. To read and to journey are the one and same act.

Fantastic flow of myth. The sacred and the religious words are spoken at the same time and in the same breath as those of science and of journeys.

Two speakers, united against the phenomenon of interference and confusion. Who's stake is in interrupting communicationan class='qstn'>?an> The above interlocutors are on the same side, far from the dialogical game.

Demin includes himself in the circuit, blurs the message, renders it unintelligible, and exactly by that assures transmission. Parasite produces by the way of disorder a more complex order.

..penetrative grasp of a text, discovery and recreative apprehension of it life-forms, is impossible to paraphrase or systematize.

..temporal and local settings of one's text. (to master itan class='qstn'>?an>)

to read X, is literally, to ‘prepare’ to read X

in certain civilizations there comes epochs in which syntax stiffens...
Changing landscape of fact
unexamined smiles
worn tropes
words, the guardians of meanings, are not immortal.
Metaphysical scandal
note on history: past is a language construct, that the past tense of the verb is the sole guarantor of history.
Dialectics as a method of intellectual chase.
Who first told a jokean class='qstn'>?an>
Certain languages are inhospitable to new metaphors.
Language-act
to read: is to restore all that one can of the immediacies of value and intent in which speech actually occurs.

my original repetition
we re-enact in our educated consciousness

in what sense does unperformed music existan class='qstn'>?an>

The same ground, when using the ‘speculative instruments’, the critic, editor, actor, and reader stand on.

When we read or hear any language statement from the past, we translate.

Encode and decode “message”, misleading operative models of translation between different languages and even within a single language.

One treason in translation: words rarely show any outward mark of altered meaning, they body forth their history only in a fully established context.

What material reality has history out of languagean class='qstn'>?an> --the tasavof verbal linguistic tradition

silence knows no history...an class='qstn'>?an>

...to remind you that everything is the condition of madness.

“Tense Past”

..the landscape composed by the past tense, the semantic organization of remembrance... is styled and coded differently by cultures. --miniature illustrating San'anan class='qstn'>?an>

The verbal icon made up of all successive translations of Greek literature and philosophy has oriented fundamental movements in Islamic feelings --Farabi, Mirdamad, etc.

My translation of classics is not out of a vital compulsion for immediacy or precise echo. I am not trying to build my own resonant past. Myth of the ‘true past’...  different perspectives can co-exist and blur

the metaphysics of the insult, in San'an story

i am interested in the conventions in which texts can be read, in which a semantic statement can be carried over into someone's own idiom. I am teaching how to reread texts of <a class='trgt hghlght 1'href='?q=A'>Aa>ttar and so forth.

We have civilization because (we have learned) ‘to translate out of time’

übertragen,
handing down thought narrative,
something that also depends on transfer of meaning in space.

Languages conceal and internalize more, perhaps, than they convey outwardly.

Speech-act is most expressive of status and power--when a peer is in earshot. (something that i have been trying to undermine in my lectures)

...calculated to guard some coherence of inner life (while wounding outward)

(motions of) menace and non-information (in top down dialogues)
monosyllables of the oppressed and polysemy of the upper class (the capacity of the same word to mean different things, such differences characterises the language of ideology.)

fracture of words and the maltreatment of grammatical norms, by children, they are a exploited and rebellious class, the child seeks to keep the world open to his own, by refusing to accept the rules of grown-up speech.

Lear note: surrounded by incomprehensible or hostile reality, the child breaks off verbal contact. He seems to choose silence to destroy his imagined enemy. Like murderous Cordelia, children know that silence can destroy another human being.

The multitudinous existence of child has left comparatively few archives.

...the uniquely vulnerable and creative condition of the childhood

privileged inferiority (of both child and woman)

intercourse and discourse

feminine use of subjunctive, in European languages, give a characteristic vibrato to material facts and relations. ... They multiply the facets of reality, they strengthen the adjective to allow it an alternative nominal status.

...obtuse resistant fabric of the world

in every known culture, men have accused women of being garrulous, of wasting words with lunatic prodigality.
The chattering, ranting, gossiping female, the tattle, the scold, the toothless crone her mouth wind-full of speech, is older than fairy-tales.

...men's delight in women's voice when their register is sweet and low.

the change in men's voice, the crowding of cadence, the heightened fluency triggered by sexual excitement. <a class='trgt hghlght 1'href='?q=A'>Aa>nd how men's speech flattens, how it's intonations dull after orgasm.

The motif of the woman or maiden who says very little, in whom silence is a counterpart to chasteness and sacrificial grace, lends a unique pathos to <a class='trgt hghlght 1'href='?q=A'>Aa>ntigone or Oerepidus..

fabric of obligation, different for men and women within the same community

linguistically programmed conceptualizations vs. biologically determined apprehensions of sense data

...lady Macbeth negates the fierce reality of Macbeth vision

...communication like breathing is subject to obstruction and homicidal breakdowns, under stress of hatred, of boredom, or of sudden panic, great gaps open ...that their previous understanding had been based on a trivial pidgin which had left the heart of meaning untouched.

What is the female speech in San'anan class='qstn'>?an>

By far the greater proportion of art and historical record has been left by men. The process of ‘sexual translation’ or of the breakdown of linguistic exchange (is seen, almost invariably, from a male focus.)

an class="prgrph">-the breakdowns and translations in San'an story.
an> an class="prgrph">-The sexual translation and breakdown of linguistic exchange in San'an story.
an>
How, when, and who can see or render the genius of women's speech and see the crisis of imperfect or abandoned translations (from both sides)an class='qstn'>?an>

...having an ‘ear’ for contrasting pressures of sexual discourse or identity

in San'an, man and woman, each respective experience of eros and language had set them desperately apart.

In whose idiom, male or female, one can grasp (only) falsehood or menacean class='qstn'>?an>

...as declaimer of my own stifled, tongue

any model if communication is a model of translation, of transfer of significance. No two localities use words and syntax to signify exactly the same things, to send identical signals (of valuation and inference).
[the matrix space tries to create that assurance of identical signals, the electronic, digital space, grid, systematic, node based-- but linguistic storytelling is not]

In performance, corresponding to my level of literacy, and a private thesaurus, part of my subconscious and personal memories, and using the singular and irreducibly specific ensemble of somatic and psychological identity.

Getting out of one's own dictionary of private remembrance, in old age.

<a class='trgt hghlght 1'href='?q=A'>Aa> study of translation is a study of language

the ideal of a totally personal voice, of a unique ‘fit’ between an individual's expressive means and his world-image, perused by the poets.

Only when we reflect on it, when we lift the facts from the misleading context of the obvious, that the possible strangeness, the possible ‘unnaturalness’ of the human linguistic order strikes us.

I am interested in this pluralist framework we are living in since the inception of recorded history.
...
It is not a formal hard-edged linguistic relegation, rather a metaphysical speculation

(making a ‘language atlas’an class='qstn'>?an>)
constructs of universals / transformational grammars: that have nothing of substance to say about the prodigality of language atlas

my interest in the ajayeb is due to the traces it provides into verbal literacy, a living vulgar language, rather than a dead structure such as mantegh al teir <a class='trgt hghlght 1'href='?q=A'>Aa>ttar (Mantiq-ut-Tayr).

..vanishing languages and people, their history and morphological structures uncharted, dim into the oblivion, each takes with it a storehouse of consciousness.

<a class='trgt hghlght 1'href='?q=A'>Aa>n image of man as a language animal of implausible variety and waste.

Cultures (during <a class='trgt hghlght 1'href='?q=A'>Aa>ttar'san class='qstn'>?an>) seem to expend on their vocabulary and syntax acquisitive energies and ostentations entirely lacking in their material lives.
[very interesting point regarding the language of mysticism, <a class='trgt hghlght 1'href='?q=A'>Aa>ttar and others.]

language riches seem to act as compensatory mechanisms. (having 60 different words in Shahnameh for signifying ‘horse’, doesn't necessitates the material variety of horse in the ancient Iranian culturean class='qstn'>?an>)
--starving bands of <a class='trgt hghlght 1'href='?q=A'>Aa>mazonian Indians may lavish on their condition more verb tenses than could Plato.

Is my language, or lack of speaking certain languages, a powerful obstacle to the material and social progress of mean class='qstn'>?an>
--withering inward by language barriers. Linguistically atomized

interaction of physical and spiritual agencies...
The nominalist mechanism of creation: each time man spoke he re-enacted, he mimed.

(...the early forms and feelings of consciousness in human ancestral pasts)

my reading or performance includes scrutinising configuration of letters and inverting words.

Bad translations communicate too much, limited to what is non-essential in the fabric of the original, missing the bond of meaning.

If translation is a form, then the condition of translatability must be ontologically necessary to certain works.

Metaphysics of translation

translation is profoundly philosophic, ethical, and magical. It imports source of life. <a class='trgt hghlght 1'href='?q=A'>Aa>lchemy, must retain a vital strangeness and ‘otherness’.

My translation, an interlinear version of the script, a virtual archetype of translation

obsessive awareness of the opaqueness of language, Kafka's continuous parable on the impossibility of genuine human communication. The impossibility of not writing, the impossibility of writing in German, of writing differently.

Presence of interpreters in the building site, Kafka, literature house

in Kafka, great wall = mosaic law an class='qstn'>?an>

Only if men could use language without perusing meaning to the forbidden edge of the absolute.

<a class='trgt hghlght 1'href='?q=A'>Aa>lpha an class='and'>&an> <a class='trgt hghlght 1'href='?q=A'>Aa>leph

...is certain to encompass ‘some terrible meaning’ in one of its secret languages

‘a poetic vocabulary of concepts’
‘connections or affinities’
pursuit of an inter-lingua for philosophic discourse

not to contemplate a mechanical transcription of the original

history, the mother of truth.
To define history not as an inquiry into reality, but as it's origin.
Menard, William James

translator's ‘mysterious duty’

if needed, i am anyone

language mysticism studies

...primitive seek expression through ‘imaginative universals’, this rapidly acquired a ‘infinite particularity’

it is only by means of essentially poetic recreation or translation of a given language-world that the new science of myth and history can hope to retrace the growths of consciousness

in apass, inventing a science of myth and history, towards a general theory of significant sign.

Corruption of language and decline of body politicsan class='qstn'>?an>

Can we correlate the Persian syntax with the metaphysical ambience, internal divisions, and lyric bias of Persian peoplean class='qstn'>?an>

<a class='trgt hghlght 1'href='?q=A'>Aa> pivot point must inform and relate

...the shaping agencies of intellect.
Speech is poiesis and human linguistic articulation is centrally creative.

The language-matrix

language, informed by energies proper to itself, more comprehensive and timeless than any who makes use of it...

There is a phenomenon of linguistic Entfremdung inseparable from the creative genius of the word. (Humboldt)

...conjectures with prophetic brilliance

discourse (Rede) would not be muffled by the ground---we walk erect

jede Sprache ist ein Versuch---trial
(Humboldt)
different languages penetrate to different depths

Literaturehaus, hause has always been a metaphor for consciousness

cryptotypr : categories of semantic organization
which translates the underlying metaphysics of a language into its overt or surface grammar.

...understanding of those deep-seated dynamics of meaning, of chosen and significant form, (that make up a culture)

it is exceedingly difficult for an outsider to, operating inevitably within the world-frame of his own tongue, to penetrate to the active symbolic depths of a foreign tongue.
---we reach for the bottom and stir up further darkness.

..a careful philosophically and poetically disciplined observation

beautifully logical (discrimination) about: causation, action, result
dynamic or energetic quality, directness of experience.
(these words for Shabnaman class='qstn'>?an>)
...all matters of the function of thinking
(why do i want to bring to her, to Shabnam, the quintessence of the rationalan class='qstn'>?an>)

‘the inner music of meaning’

the german tenderness
german tender---zart

(in Shabnam's poetry : the clash between ‘mental’ and ‘psychic’ codes of recognition)

the villain is outside the law (of exchange)

...the court of words---in ikhvano safa animals demonstration
...when the market of life has closed down

faith and substitution of meaning

how can i tear you from your vows, and not myself use vowsan class='qstn'>?an>
The faiths that are sworn (before every exchange or change)

a word for a woman bound by another sacred word --> breaking your oaths---in the age of ... (message to the tribalist, the son)

Don Juan: yesterday you gave me your word to come to dine with me.
<a class='trgt hghlght 1'href='?q=A'>Aa> beautiful woman: yes where must i goan class='qstn'>?an>
Don Juan: give me your hand.

                         a madman /
outside the law of reason, a dog  /
outside the law of man, a devil /
outside the law of god, a...

The hypocrite pays in appearance

devil dubing/subtitling the society of reasonable men
..mad dogs

law directs the circulation of goods. What does it mean for an object oriented thoughtan class='qstn'>?an>
Law directs the circulation of goods, women, promise; of representations, insults, jests

i, as the text of sina, will show you that...

<a class='trgt hghlght 1'href='?q=A'>Aa>n ordering relation is irreflexive, antisymmetric, and transitive

sequential to consequential
(the concern of narrative)
order of reason (one order among many other sequences)
reason has immense consequences, so does aesthetics

betterable better : finding a stronger one---Kelileh Demneh
the case is of a maximum
the tree of the “better”
a whole forest hidden by a single tree
‘possibility’ is always the higher point on the tree

if you kill me now, my time freezes and its order disappears.
(said sheep to the wolf)
relative relations and absolute limit; he is the master of future

where do you come froman class='qstn'>?an> : this is of your clan : irreversible genealogical tree : complete model of kinship (for the ordered structure)

the idea of non-destruction is strange in nature, as if there is a notion of construction in nature, establishes a responsibility.
Care, claims to have suffer

at the end; you are the cause, i am the effect.

Perfect, is free of the psychologism of hypocrisy
•hypocrisy comes from the word to judge

stable structures and dialectical processes are inseparable
(each choice associated with a location on the tree)

(best) reason always permits a winning game (an class='qstn'>?an>)

might into right and obedience into duty, that is transforming force into factual necessity, by the stronger. Obedience into law. This is Rousseau

means to have access to the inaccessible

the exact sciences the optimal relationship from subject to object, conceived since the classical ages

<a class='trgt hghlght 1'href='?q=A'>Aa> slave who, while sleeping, dreams that he is free
(put to the order of slave, a slave presenting a project to his master)

leipniz and Descartes, posit a maximum and minimum strategy in an ordered space.

The universal quantifactor : constant repetition of all, always, never, absolutely, etc. --> “i shall always follow this path.”

“perfect” signifies “optimal”

quantification of a relationship followed to its limits.
The process quantified, the tactics maximised

(“result:” instead of “-->” (“arrows”) in my writingan class='qstn'>?an> )

‘to know nature is a game’
experiment is also a gamean class='qstn'>?an>
With win or lose possibilities, in which there exists a guaranteed winning strategy.
Game is the model of all exact knowledges.

...................................

The Ur-Supe, the original state of life, the marine mixture, the primal liquid state, prebiotic soup, the physiochemical condition for the origin of living beings

a mother emerges from a mother

the earth is in labor, a labor of metamorphosis, transformation, production, generation

beneath the anecdotes and pathos, the text mobilizes with great precision certain findings of rational mechanics

(ice and fire) is only relatively cold

vocabulary =an class='qstn'>?an> Model of precision

centers are breasts
periodic breasts

last science transcends the first

reservoir exists for the circulation

two notions structurally stable in encyclopedia: circulation an class='and'>&an> reservoir

elements + operation =/= structure

analysing a text in terms of encyclopedia, i need to answer two questions: what is reservoiran class='qstn'>?an> What is circulationan class='qstn'>?an>

question regarding iranian literature reservoir: what is the reservoiran class='qstn'>?an> Where is the reservoiran class='qstn'>?an> What are its configurationsan class='qstn'>?an>
(the last question syntactically proposes also the possibility of reconfiguration)
Is it metaphoricalan class='qstn'>?an> Is it closedan class='qstn'>?an>
What is its planan class='qstn'>?an> How it transports according to this planan class='qstn'>?an> What are the circulating elementsan class='qstn'>?an> What is stable therean class='qstn'>?an> What are the transformations when it transportsan class='qstn'>?an>

Reservoir is libidinal*
capital, quantity of energy, constancy of force,

what can be applied to the pattern of circulationsan class='qstn'>?an>
(of vocabulary, value, money, desire, etc.)
what blocks circulationan class='qstn'>?an> Who or what governs itan class='qstn'>?an>

In answering, you reconstruct (the entire set of what you consider interpretive)

application: strategy of conformity
explication: archaic and vague approximation

it is not necessary to introduce methods to read a text: the method is in the text. The text is its own criticism, its own explication, its own application.

Texts that operate = texts that are operated on ==> there are just texts
(there is no dichotomy in the operation)

technologies concerning heat, thermodynamics, shocked the traditional world and shaped the one we are now working in.
...theories concerning processes of transformation.
...stages of alchemical initiations, archaic figure of fire,

How to make the history of science as effective as science itselfan class='qstn'>?an>

...................................

suddenly science falls silent and mythology speaks

transsubstantiation

the astronomer falls in ==> the truth comes out
(ask maryam's astronomer: what disconnects the connectedan class='qstn'>?an>)

throw the key to the text

for classification, connection is at stake, space is at stake

the formal invariant is something like a transport

what is worse for classificationan class='qstn'>?an>

non-connections that are at stake

we shall never be free of space

fire, and transcendental subject

accidents of space (at work upon the multiplicity of spatial varieties

what is the program of topologyan class='qstn'>?an>

My body lives in as many spaces as the group (the society) has formed.
The euclidian house, the street and its networks, open/closed garden, closed space of the sacred, school and its fix points and social varieties, complex ensemble of flow charts, those of language, of factory of family, of political party, and so forth.

..my body is plunged in the intersection of this multiplicity

culture : constructing precise and particular connections between such spatial varieties --> “original intersection”

topology; culture connects and joints, art delinks and disconnects
(the law of incest prohibition connects the disconnected)

pure --> untainted --> separated, enclosed

the discourse of rationality replacing the mythical text --> art becomes science --- the realization of a project is left to reason

siyavosh/sohrab is one of the descendants of disseminated spaces, of catastrophic separation of the continuous

when Rostam recognises the mark of his son, Ferdosi giving a version of recognition scene, connects --> Oedipus
the son, the mother
an class="prgrph">-we can recognise a typological space: the same and the other: the separated
an> an class="prgrph">-the space of the world is described requiring connection
an> an class="prgrph">-family tree
an> an class="prgrph">-parts are to be joined
an> an class="prgrph">-rostam and sohrab, siyavosh and sudabeh, cannot be composed to form a single homogeneous space. (rostam and siyavosh do that)
an>
the presuppose that before discourse there existed a mutual policy of unrelated spaces ~ chaos
an class="prgrph">-the object or the target of (cultural) discourse is to connect
an> an class="prgrph">-to transform a chaos of separate spatial varieties into a space of communication
an> an class="prgrph">-scatered members, re-membered
an> an class="prgrph">-incoherent chaos, reformulated in the common space of transport when it is reconstructed
an>
Kelileh
...she is the signatory of the discourse
...she mimes the progress and delays of Demneh

ajayeb, a time when transport and itinerary were only myth


transport ~/=an class='qstn'>?an> transfer
an class="prgrph">-transport is a unitary space where transfer is *always possible (like money)
an> an class="prgrph">-transfer is only a possibility
an>
so, we must find the word or construct a conditional logos that *already works to connect the crevices which run across the spatial chaos of disconnect varieties, the *proto-worker of space*, the weaver in the topology of nodes

separations by sudden stoppage
•is this a mythan class='qstn'>?an>

a worker of the single space
(we are not)

euclidian space of every possible displace
(what are the displaces and displacements in <a class='trgt hghlght 1'href='?q=A'>Aa>jayeban class='qstn'>?an> Be specific)

(proliferating multiplicities of) unlinked morphologies

(fire text)
to practice dichotomy (and its connected paths) one must know that its clefts follow and overlap the ancient mythical narrative (in which worlds are torn ...)


when geometry is born myth falls silent

(the ancient journey) from islands to catastrophes, from passage to fault, from bridge to well, from relay to labyrinth

the original function

the “new space” is always universal

the space of reason is universal, within it there are no more encounters

one can walk on two or four or three legs ----> how the earth is measured
(before entering the <a class='trgt hghlght 1'href='?q=A'>Aa>jayeb website asking that questionan class='qstn'>?an>)

(a dangerous) flock of chaotic morphologies
(is this subdued or maintained in <a class='trgt hghlght 1'href='?q=A'>Aa>jayeban class='qstn'>?an>)

(i am also more interested in) the aged Europe asleep beneath the mantle of reason and measure

(Leibniz said that one should listen to) old wives’ tales***

The Old Wives’ Tales

...................................

recapitulation
appropriation
=/= fabrication
creation

what are the ‘forces in motion’ in <a class='trgt hghlght 1'href='?q=A'>Aa>jayeban class='qstn'>?an> What are:
Instruments of leverage,
machines,
producers of forces,
for packing,
for transporting,
as source,
as origine,


the applied geometry of our relation to the world

tools are dominated by form

virtual velocities
objective world
geometric reasoning

industrial revolution, a revolution operating on matter
one takes force or produces it

matter transformed by fire
Turner saw  the introduction of fiery matter into culture

an axis of (roaring) fire

matter is no longer left in the prison of diagram, fire desolves it, makes it vibrant, tremble, oscillate, makes it explode into clouds.

New matter ==> new world

fire delivers one from the ice***

steam engine triumphs over forced immobility, inertia

the cut of the reference

product of furnace, the cold product of fusion

old-style riddle

navigate between two pronouns

...................................

properly formed cluster (of letters) = standardization

standard compromises the non-essential, or inessential, those without meaning

what is a logician interested inan class='qstn'>?an>
Form --> pathology

misguided sciences

if static is accidental, background noise is essential to communication

pathology
spocken: stammering, mispronounciation, regiomil accents, dysphonia, cacophony
technical: background noise, jamming, static, cut-off, hyteresis, various interruptions

to communicate oraly (in performance work with <a class='trgt hghlght 1'href='?q=A'>Aa>li ) is to risk losing meaning in noise.

<a class='trgt hghlght 1'href='?q=A'>Aa> successful communication is the exclusion of the third man, the demon, the interference.

Mathematics has triumphed so well over noise

the (un)logical beginning of logic

to render a form independent of its empirical realization --> universal
drawing a square on sand, i evoke an idea, i eliminate the empirical, dematerialise reasoning
(what is rematerialised reasoningan class='qstn'>?an> aesthetic form..an class='qstn'>?an>)

the inevitable fact of the historical existence of mathematics
(math's historicity)

(a different word for every yesterday)

...................................

... one had a discourse which often concluded either with the cosmos in general or with the organic life in particular.
19th century

negentropic islands in entropic sea, pockets of order in rising entropy, crystal depositions sunk in ashes, diamond in the rough

organism = meaning + direction

organism combines memory, invariance, plan, message, loss, redundancy, etc
it is old, mortal, and transmiter of new cycle

تو نیکی میکن و در دجله انداز
to niki mikono dar dejle andaz...
(organisman class='qstn'>?an>) is a quasi stable turbulence that a flow produces, the eddy closed upon itself for an instance, which finds its balance in the middle of the current and appears to move upstream, but is in fact undone by the flow and re-formed else where.

Man is one at high temperatures

from the information point of view there is a tremendous background noise

the noise of a complex to which a receptor is linked

this unconsciousness

(no one can call that) information is fortunate

there must be noise in pleasure and information in pain (an class='qstn'>?an>!)
---hmmm we can't know this properlyan class='qstn'>?an>

Find in ajayeb, operating functions:
transformations,
fixations,
energy displacements,
movements of observer,
ambiguity functions,
freudian slip,
exploits of signs,
exploits of energy,

(ajayeb is defined by its resistance to metaphors in a system of language)

یک کلاغ چهل کلاغ yek kalagh chel kalagh is precisely noise in a transmission system along a given circuit from one element to another. From a point of view outside the system ambiguity must be added to increase the system's complexity

theory of change (in sign)

what are the unconsciousnesses of integrationan class='qstn'>?an>

(many) interlocking (black) boxes

obstacles do organise, noise becomes dialect
they come crashing at our feet
in the forms of eros and death
like surf at the edge of the beach

unconscious is the last black observer of chance

aging, is a process we understand as the drifting of information into background noise

عجایب المخلوقات ajayeb al makhlughat, anamnesis, memory, and everything imaginable

body creates language from information and noise

one who utters language, is the receiver at the end chain, the final observer. But the initial dispatcher is (always) unknown.

<a class='trgt hghlght 1'href='?q=A'>Aa>jayeb, makean class='qstn'>?an> a chance-program couple
to perform both:
•i am submerged in (its) signal exchanges
•i observe its global set of exchanges

introspection veers off into experience

as Freud, who started from energy models of thermodynamics, has intuited, everything occurs by a dynamic of language, the subsequent development of thermodynamics into information theory.

Knowledge is always linked to an observer

we are drifting towards noise and black depths of the universe...
knowledge is at most the reversal of drifting, that strange conversion of times, always paid for by additional drift; but this is complexity itself, which was once called being

...................................

<a class='trgt hghlght 1'href='?q=A'>Aa>uguste Comte says: in light of previous experience we must acknowledge that impossibility determining, by direct measurement, most of the heights and distances we like to know.

Thales, geometry as ruse
construction of summary

operation of application
use of metrics
in applied sciences

(often) measurement is the essential element of application,
but primary in the touch (sensory)

practice <--> ruse <--> theory
we need a ‘ruse’ to go from practice to theory
(mathematicsan class='qstn'>?an> Is this why young philosophers are lured into mathan class='qstn'>?an>)

the length my body cannot reach, sun, horizon, the far side of the river

greek idea of theorize: see
sight: by “placing” measurement, measurement by sighting
greek:
vision is tactile without contact
Descartes knew this better than anyone

inaccessible (is at times) accessible to vision

the ruler (the mode notion of module) has been placed accurately on the thing

the eye is a witness of covering-over

to measure is to relate
but, the ‘relation’ implies a transporting, of the ruler

(we are with this) at the realm of the accessible (=/= metaphysicsan class='qstn'>?an>)

in the realm of inaccessible, vision must take care of displacement

The goal is either civil or astronomical
civil =/=an class='qstn'>?an> astronomical

to ask the object in motion to provide a constant flow of information about the object at rest.

Thales stops time to measure space
time freeze in order to perceive
eternity of mathematical figure

how geometry came to the Greeksan class='qstn'>?an>
•a practical genesis: build a reduced model, have a notion of module, bring the distant to the immediate.
•a senatorial genesis: organize a visual representation of that which defies physical contact.
•a civil or epistemological genesis: take astronomy as a starting point, reverse the question of the gnomon.
•a genesis that is either conceptual or esthetic: erase time in order to measure and master space.

exchange of the stable and the variant

in a culture with oral tradition, story takes the place of schema, and theater equates intuition.

In Thales story, the schema is the invariant of the tale instead of the tale being the origin of the schema. To teach the theorem is to tell the pseudo-myth of the origin =/= mythical tales being the dramatization of content
Thales theorem is itself anecdotal in relation to the invariable concept that it expresses its own genre: that of similarity***

from a practice he gets another practice


which messages, and how, answers and questions was covered over the centuries by the scenography of shadow-light oppositionan class='qstn'>?an>
Descartes story: perspectival geometry, theory of shadows.
Plato's story: the sun of the same, the other and empirical object, cast shadow on shaded surface, similarity, the cave of representation.
The tales of originan class='qstn'>?an> --> origin of a technologyan class='qstn'>?an> Of an opticsan class='qstn'>?an> Of a geometryan class='qstn'>?an>

The ruse of applied mathematics

cultural settings of an architect and an expert builder...

Descartes followed by Descartes

archaic forms of pre-mathematics that run through history

(thinking with geometry must be careful because of its roots in engineering and ruse)

Plato's cave: even flat wall bright, light creates a shaded area; my knowledge is limited to these two shadows. <a class='trgt hghlght 1'href='?q=A'>Aa>nd it is only a shadow of knowledge.
Conclusion of the story of confrontation with solid objects, compact volumes, objective indefinite unknowns.

recognizing the object by its shadow => geometry* (-- transparency and emptiness. the world they constitute is thoroughly knowable)
or
i allow a kernel of shadow within the object --> history of science: the solid always envelopes something that can be rendered explicit***

radical negation of interior shadows

pyramid is itself fire, sun passes through it


Plato kills the hen that laid the golden eggs
“the future of the square and the diagonal is decided as much on the sand where we describe them through the language that names them as it is decided in the sky of ideas.”
the realism of transparent idealities is still immersed in a philosophy of representation.
Iconography is replaced by scenography

the shadowless theatre
the inevitable realism is (still) an idealism

without shadow ~= without secret

kernel of an implicit science: what are the relationships of a technique, (with) of a myth, (with) of a communication.. an class='qstn'>?an>

The idealities implicit in technology --> mobilized in representation
(--> dramatized by myth) : obscure articulation of rigorous knowledge (--> totality of human activity)

the birth of beauty never stops
.
.the eternal geometer

(mathematical science's) sudden fits

...................................

on defeat:
the original power: ‘victorious’ [--> mastery is (so far presented as) victorious]
=/= a song to the pleasures of life, a guilt-free knowledge
an class="prgrph">-choosing between springtime or plague
an> [--> “phenomenology of defeat"]


an class="prgrph">-(can we) be and think (, stay, come from, or arrive) on the side of the *retreat* (whether strategic or historically mandated) an class='qstn'>?an> (<at class='at'>@at>Leo)
an> retreat --> (re)trace ...{is about the traces of things that are left that need to be read, condition of research practice, but never coming with a full-on truth-telling logos, rather stay in the twilight(ment) and not the blinding sun of an enlightenment}--> learning from Derrida and <a class='trgt hghlght 1'href='?q=A'>Aa>vital
an class="prgrph">-when things start getting internalized --> ‘depressive position’ --> you can manage your relations to the ‘good object’ --> integration [=/~-> the twin-other: melancholia] [=/= when everyone is out to get you --> schizophrenic paranoid position]
an> ...dealing with what we are left with, the reminiscence, die Reste, and so on
(Rousseauian, Heidegger also,) there is too much action, let's back off, let's retreat, let's listen to what the retreat is...
an class="prgrph">-retreat not as a military tactic, which means you are doing it in order to win something
an>
---->[the story of writing]
within the artist world [artist as a creative being who inscribe on the world and in the world] (including apass) “writing” is internalized as the ‘bad object’
always considered secondary, excremental مدفوعى, the sign of something lacking: if you were in the real space of action, of being, you wouldn't need to write
an class="prgrph">-(for artists) writing distressed as an activity
an> an class="prgrph">-[the question remains] who holds the phallusan class='qstn'>?an> (in a converstaion and elsewhere) (=/= being open to being)
an> an class="prgrph">-taking dictations, an abjected position
an> writing is always linked to modalities of <at class='at'>#at>retreat, evacuation, nonpresence
(am i associated with ecriturean class='qstn'>?an>) ==> being persecuted (on some level), there is something unbearable about the retreat ----> panic of the political
an class="prgrph">-let's inhabit an understander of retreat and what it involves, and, taking the responsibility of leaving your post. [we learn from what Kafka(‘s architecture of decision) surveils and marks for us > <a class='trgt hghlght 1'href='?q=A'>Aa>vital --> where we are speaking/speeding froman class='qstn'>?an> and what is the architecture from which language emergesan class='qstn'>?an> is it a textual ventilatoran class='qstn'>?an> or things are threatening to fixatean class='qstn'>?an>]
an>
how Iran named its Iran-Iraq waran class='qstn'>?an> Défense sacrée, the Holy Defense, دفاع مقدس, (and many other names)
how did we “have” an experience---after the waran class='qstn'>?an> (much less an adventure or an adventurous encounter with history pumped up with meaning and sense-making and productive futurity)

to tabulate

ok, i am refering to things that don't come up as part of the master discourse, things that don't come up as something we can assimilate (جذب) or appropriate



towards the gaze --> a theatrical gesture : to see everything serenely (in quiet contemplation) --> to be (at last) free from the Gods

(those who believe that) there is only transcendence, (that transcendence is all there is)
(this is also the common mistake in reading Iranian old mystic literature)

cruel hallucinations

laws criss-cross the world

...for i am a slave of science

the chain of orders : the new is born of the old =/= angle (interrupts the stoic chain, the chain of cause and effect)

extermination and determination
laws of identity, repetition, and information-free
death at the end of entropy --> sequence of events (from the point of view of plague narrative --> the law is the plague + the reason is the fall [--> everything falls to zero])
the same ~=an class='qstn'>?an>! non-being

drops of knowledge

physics of the military*
•sheets of atoms
•well-ordered arranges
•in columns
•the learned science of the teachers
•the structure of division
•Heraclitean physics of war
•chain of reason
•the knowledge of ranks
an class="prgrph">-
an>
(in naturean class='qstn'>?an>) animals are born from flows
animals born from fluid mechanics

the infinite cylinder of parallel consequences, trains of reason rain down in torrent:
•contact space travel, doctor strange kick trip, lucy time travel, matrix clock scene
what is the analogy with the concrete modelan class='qstn'>?an> In each case
what is the order of the world that is explained by visible phenomenon in each of these cinematic scenesan class='qstn'>?an>
The beginning of vortex
causality
perspective
body

(what arean class='qstn'>?an>) models in ajayeb:
concretes, quasi-concretes, laws, equations,
vortices, turbulent clouds,
random dispersions,
flows, disequilibrias,
packs, alliances, conventions,
struggles with nature, alliances,
downhills, slopes,
content, norms, results,

the model and theory are both necessitarians
(how can this be explained materiallyan class='qstn'>?an>)

(what is the opposite of ‘people’an class='qstn'>?an>)

“physics”: the global contract (=/= global conflict; promise of physics), the general scheme of things (that scientists agree on)

flow did not follow (the general theorem of mechanics)

[<at class='at'>@at>Sana] (why is it important) to describe flow in all its concrete complexity (--> Freud describes psychological flow in his work on libido)
----> formation of living systems

<at class='at'>#at>the mindful stochastic knowledge of phenomenas<at class='at'>#at>

Sohrevardi's work on the soul out of the tangible realm
(if your house or town is on an ocean the chosen model is a fluid one =/= polyhedron crystal) --> how would Sohrevardi choose a modelan class='qstn'>?an> What would he think of fluid systemsan class='qstn'>?an> [--> The Solids of...]
what are his rigorous bodiesan class='qstn'>?an>

in Sohrevardi the *order* is of the ...[an class='qstn'>?an>] {of the worldan class='qstn'>?an> Of the streetan class='qstn'>?an> Of the codean class='qstn'>?an> Laboratoryan class='qstn'>?an> Of the operativean class='qstn'>?an> Civilan class='qstn'>?an> Logicalan class='qstn'>?an> Socialan class='qstn'>?an> Scholastican class='qstn'>?an>

more phenomenological ~=an class='qstn'>?an>(&an class='qstn'>?an>) less measured
(the river of phenomena is physics)

they put (ajayeb's) nature outside nature, (placing it in the subject, and so on)
which facts “are” the foundation of materialisman class='qstn'>?an>
an class="prgrph">-(the idea they says) classical knowledge deserves classical philosophy
an>
(<at class='at'>#at>an class='qstn'>?an>an class='prcnt'>%an>$<at class='at'>@at>x*!!!---->) if there are monsters here, go elsewhere(!)

whatan class='qstn'>?an> / howan class='qstn'>?an> --> by contract or by strategyan class='qstn'>?an>

the ‘question’ is always consequential, never naive or frivolous

we needan class='qstn'>?an> workers (=/= generals)
we needan class='qstn'>?an> contracts (=/= strategy)
(how can i understand my “strategies” and my “contracts” an class='qstn'>?an>! contractual agreements that i use or depend on or produce in an class='mywrk'>my researchan> and work with ajayeb, and in relation to the others in my performances--{my vocabulary, thinking with me, (un)learning with me, etc}--and even prior to the event of our encouter, the binding transferential contract in relation to the one who speaks) ~~--> (and issuing its) betrayal
strategy --(alwaysan class='qstn'>?an> [shouldan class='qstn'>?an>] ends with)-->an class='qstn'>?an> contract; (for example, making peace treaty after war)
[]

{*strategy, “art of generals,” from French stratégie, from Greek strategia “office or command of a general,” from strategos “general,” from stratos “multitude, army, expedition,” literally “that which is spread out” (--> “structure”) + agos “leader,” from agein “to lead” (--> “act”).}

(strategy/contract/...)

***science is conditioned but unconditional***
(Serres:) science is conditioned by postulates or by decisions that are generally social, cultural, or historical in nature, which form it and orient it
--(nevertheless)--> sci is universal and free from contract <at class='at'>#at>science-story
“I can't think of a mountain, a border, or a date which makes the agreement of scientists and everyone else relative on these points.”
an class="prgrph">-they say sci is conditioned but not determined
an>

conditions that do not determine the contents of what they condition
(mathematicsan class='qstn'>?an>)
but they determine the map of what they condition : the schema of its relations --> the topology of science; the clay remains the same but the shape changes

Fluid Mechanics can be a basis for biology (--> constitution of living being) or for a technology of the inert (--> theory of ship building).
...crazy!

Education is conducted by duce

method ~=an class='qstn'>?an> path

strategy is not only a form of dynamics or energetics but first of all a topology*

the master pays no attention to the content

murder (increases) along the chain


...if one is the master of justice
freed from violence, he goes forward unnamed
an class="prgrph">-against the mechanisms of Mars (or moon) , we now let things to come to being as objects, outside the mechanisms that regulate our unregulated violence
an> an class="prgrph">-sacred forms a field of knowledge --of-->{intersubjective an class='and'>&an> polemical relationship}
an>
first, sacred is located elsewhere, placed outside the world, then Nature is born objectively --> in the new contract, the exact word can be spoken
...but a new crisis make it start over again
an class="prgrph">-the sacred is formed by (this) catastrophic and repetitive dynamic
an>
ruse (kalak کلک, che kalake khubi چه کلک خوبی): the “laws” of nature a projection of a (usually political) constitution on the world; to give a status of a natural necessity to arbitrary power
ruse ~ reason---the dominance of the here and now

no one is better endowed by nature for trickery than a Greek. These masters invented dichotomy, separation, and partition. ... They invented the theory of the specificity of various realms (~ cosmologyan class='qstn'>?an>)

their divisions and clarifications ==> “we today have the weak and awkward fancy to read the world as polysemic and out of sync”, polytomy {from Greek: πολυ-, poly-, “many” and σῆμα, sêma, “sign” ==> multiple semes or sememes and thus multiple senses. ---(soft/hard) polysemous ontologies---(polytomy =/= homonymy اشتراک لفظی ,یک لفظ =/= synonymy یک معنی‌)}  ~--> the awareness of any metabasis to another genre, “discrete” (--> 3D apps today)

(Greek) mathematic =/= illusionist
“if there is a separate field in which no one can keep cards up their sleeves without being resoundingly defeated, it is definitely mathematics.” (Serres)

Greeks theory of segments in the representation of distinct worlds *** (when one uses greek technologies today, which worlds are rendered distinctan class='qstn'>?an>)
mathematics, myth, medicine, theory of exchange, ...

Serres's field trip

(Lucretius and our answer to the) what is a living thingan class='qstn'>?an>
•! a thing in equilibrium and disequilibrium, a flow, a vortex, heat, etc
•atomist physics




what ‘abundance’ means for Juanan class='qstn'>?an>
For mean class='qstn'>?an> for Sa'di in golestan...an class='qstn'>?an>
abundance is when it seems the artist hasn't put limitations on the flow of signs and meanings.
<at class='at'>#at>my basic methods(an class='qstn'>?an>): abundancies, adjacencies,
~-/an class='qstn'>?an>--> simplest complex, simplex (concern of comparative topology) ~= the stable network of compositions

my ajayeb hypertext, what is there the specific ‘law of putting together letters’ ([and atomsan class='qstn'>?an>] to produce a text)an class='qstn'>?an> That means the question of Greekness and syntax technology, and my reworking articulated
•alphabetical proto cloud (Serres) --an class='qstn'>?an>--> without law, random
•what are the laws of ‘good combination’ that i am reworking or resisting or acquiring or answering to, in my ajayeb hypertextan class='qstn'>?an> (how composition is reproducedan class='qstn'>?an>)
--> (the law enunciates [تلفظ کردن ,مژده دادن] the federated,) * the law repeats the fact =/= the ‘things’ of ajayeb are (still) in the process of being formed (--> the morality of reading that i am working on)
(in the facts of the law there is no space between things and language is reduced to zero)
an class="prgrph">-language and things are born together with the very same process (Serres - Hermes.) --> stable gathering of elements
an> •ajayeb's version of the network of primordial elements in communication with each other

my interest in the devil is in the details of my makings (and others)
--> to touch details that establishes a direct contact

...................................

“Venus states the foedus, the contract, as an ego contiugo vos, Venus assembles the atoms, like the compounds. She is not transcendental like the other gods, but immanent in this world, the being of relation. Venus is identical to relation.”

<a class='trgt hghlght 1'href='?q=A'>Aa>phrodite governs

guarantee of repetition

parallel paths

pseudo returns

“Time itself would be nothing without objects situated in space [...] the clock that Lucretius placed right in the middle of nature cannot mark Newtonian time; as the clock is the totality of things, between their birth and death, it marks a Bergsonian, that is, thermodynamic, time--an irreversible and irrevocable time, marked like the endless flow of atoms, flowing, running, crumbling, (coulant, courant, croulant) toward their downfall and death. Things have weight: they fall, seeking their peaceful rest. Fluid, they flow; hot, they cool off. Downfall, death, dispersal; breaks, dichotomies, atoms. <a class='trgt hghlght 1'href='?q=A'>Aa>tomic flow is residual : the background of being, white noise. This world set adrift never to return is bestrewn, here and there, at indefinet times and in indefinet places, with pockets, where vortices are born in pseudo returns. Clocks appear with these objects [=/= the universal absolute time standing outside contingency of everything else], spiraling, shifting clocks which from their moment of birth begin to mark the time of death. The Lucretian world is globally entropic, but negatively entropic in certain swirling pockets. Conjunction is negative entropy; the complex thus formed counts the quantity of information set adrift. The event which barely occurs and almost immediately disintegrates minimally resists the irreversible flow, carrying little information. Newtonian time, which is reversible, marks resistance to the irrevocable. It is absent from these sorts of physics, and that is why our forefathers were unable to imagine that Lucretian physics ever existed, with the possible exception of Bergson, who thrived on it. Irreversible time is the master here : the physics of things resists it in spots, but in the flow of the drift; history follows, barely a ripple in the flow. History flows around physics.” (Serres - Hermes p.116)

...events are all of the socio-political order

(if science or physics or episteme classifies things, what classifies physicsan class='qstn'>?an>)
what classifies whatan class='qstn'>?an>
Question of epidemiology

slave: material object
master: spatial object

Serres: Lucretius: dichotomies are symptoms of better-connected material things
•history symptom of nature
•time symptom of symptoms

“Mars is only an accident of stable Venus, a temporary relief outside the assembled convention. Mars passes, badly connected.”
Mars is only in transit

a penis captive

(like Lucretius, do I need to distinguish, in ajayeb) the conjunctional, contractual, stable links, (and projections of the constitution of political orderan class='qstn'>?an>)
what are ajayeb's unstable historical contractsan class='qstn'>?an> --> historical contingencies --an class='qstn'>?an>-- “there would be nothing without the existence of the former, which quickly disappears around them”

that which disappears from definition, reappears metaphorically

the small amount of linkage between events

(with translation we might ask: with/by what are you translatingan class='qstn'>?an> --> input and output of the translation cannot be known in advance)

ataraxia: the absence of trouble, peace of the garden (=/= soul made of atoms, unstable) a moral state ==> a physical state
(=/= aporia)
•not perturbed,
•the term was also used to describe the ideal mental state for soldiers entering battle. [-->an class='qstn'>?an> the image of the ideal soldier: Keanu Reeves kind of coolness in The Matrix film, (the machines are made in the image of the emotional ones.) at the end of the first film, we have an aesthetics (of indifferent and silent:) transcendence + perfect warrior], [another theory is that the freedom from emotional attachment was developed since early middle ages for merchants in order to (in a meddieval sense) *trade* =/= melancholic introspective contemplative efforts of faith]
------[apatheia: eradicating the tendency to react emotionally or egotistically to external events, ~ equanimity, =/= indifference*<at class='at'>@at>Sven; (metriopatheia: men between the excess and deficiency of emotions;) a form of response to the worldan class='qstn'>?an> ]
<at class='at'>@at>Sven:
•interdifference [open systems between or among (in)differencesan class='qstn'>?an>] --> interindifference --> entering differences, enter in diff
•intradifference [closed system inside or within (in)differencesan class='qstn'>?an>]


Nature is rivers and whirl winds

streaming of mortality

Greek preference of ‘fall’ over ‘transition’:
things arrive and occur and only crumble and disintegrate for a unique figurative case*

symptom, a natural object, materialism

{the intersection of independent causal chains ==> river rise of chance occurrence}

<at class='at'>@at>Seba's new planet story workshop an class='and'>&an> <at class='at'>@at>Sana: what generate things, spinning the wheel, streaming flow, cascades (global fluidity of local solids,) *principles of heat* (that make worlds and bodies,) the *state of disequilibrium* (of the world [for Seba] an class='and'>&an> of the soul [for Sana])
***what is the name of disturbancean class='qstn'>?an>
(i have been proposing Sana to mix physics and psychology)

what are moral mortals linked toan class='qstn'>?an>

anguish and anxiety (in the absence of God, after the death of God)

<at class='at'>#at>archive
thermodynamic time:
“...we have to mark irreversible time on the clock. It ticks away. Irreversibly, marking degradation. The things that were formed in the hollows of the vortices lose their atoms little by little in the downstream flow. [...] time of heat, weight and flow.” (Serres)
(Greek idea of) history is only the translation or transposition of this material principle.
--> (thermodynamic principle of) archive: hollow man up to the erosion of irreversible time
an class="prgrph">-vector of the progressive civilization going up stream (in the tropic river)
an> in archive invariability is global =/= irreversibility an class='and'>&an> chance
([i am more interested in the] obstacles in front of the) well-founded “conjoined world”

system statue

that which can be touched and tested

constant general random invariabilities in primordial path of matter

(**Serres:) morality = physics
(--> the image of physical collision and causality simulation --> morality)
--> what is then the image of the CG artist in the worldan class='qstn'>?an> The wise man in and of the world, friend of the world, extended to the global universe:
*this is an important moment in Greek Wisdom, man is not an stranger but at home in world, (a disturbance a vortex in turbulent nature,) in contract with Venus =/= (breaking the contract,) man is stranger, fallen from sky, he hates things and fight against them, environment is an enemy --> martial neurosis from Plato to Descartes to Bacon to us

***hatred of objects at the root of knowledge***


messages exchanged:
•I, you, he, we, they,
•this, here, ecce,
•here is the thing itself


man: the one who subordinates every object to relations among subjects.

(the origin of) theater is submerged in animality : “politics and theater are merely mammalian”
an class="prgrph">-in comedy and tragedy there is only a question of human relations and there is never an object as such
an>
(Hobbes:) “man is wolf to other men" = man is a subject to objects

*the discovery of the object*
(that there is such a thing as) object is an old original political relation tale
an class="prgrph">-a scientific inventionan class='qstn'>?an> -->{always ask, what are the objects and subjects of [(pre)historic] sciencean class='qstn'>?an>}
an>
*** “<a class='trgt hghlght 1'href='?q=A'>Aa>phrodite-pleasure is born of the world and the waters. Mars is in the forum and in the armed crowd. Reduce your relations to a minimum and bring your objects to the fore. Reduce the intersubjective to a minimum and the objective to the maximum. With your back turned on politics, study physics.  [...]  Forget the sacred, that means: forget the violence that founds it and forget the religious which links men to each other. Consider the object, objects, nature.”
Serres*

...nevertheless the plague returns and there is violence

sacred --> division of space --> temple --> inside an class='and'>&an> outside --> a dichotomized space --> a boolean geometry, a two-valued ontology --> inside : religious , outside : profane --> inside : matter , outside : void -->an class='qstn'>?an> <a class='trgt hghlght 1'href='?q=A'>Aa>tom

...................................

Origin of geometry, construction of geometric idealities, establishment of the first proofs, a Greek (or Egyptian priest) miracle
--Serres--> this is the same as asking: how one passed from one language to another, from one type of writing to anotheran class='qstn'>?an>

**we are always dealing with many languages**

one of my contracts: agreement on what is noise.
I never truly made an agreement with my audience on what we might collectively agree about noise and interference.
•mode of communication, meaning-making, language, transference, transformation,
•what is the intersection of our repertoirean class='qstn'>?an> (in apass, particularly; each of our mimetic preoccupations, dynamics of our violences, our mathematical sites, drawings on sand, modifiers, etc.)
==> dialogue

mathematics: (presents itself as) a communication maximally purged of noise

HRN: human relation-noise
=/= geometry


die agonal


to which degrees an class='mywrk'>my workan> on ajayeb aligns or depends on the “new language” of the inexhaustible discourse of mathematics as inherented from the Greek geometry into the modern culturean class='qstn'>?an>

What are the inaugural relation of the geometric (metrological) ideogram to the CGan class='qstn'>?an> <a class='trgt hghlght 1'href='?q=A'>Aa>nd to the Egyptian priestan class='qstn'>?an>
What is compared, modeled, simulated:
•flood
•fires
•celestial fire
•catastrophes
•violence of the elements
•


ajayeb: doxographies (, legends and allegories) composed in natural language (an class='qstn'>?an>)
=/= (the problem of) how to duplicate the cube ---,{thematized object of the complete intersubjective relation}
~=an class='qstn'>?an> alogon =/= logos: proportion, measured relation, discourse;
alogon prohibits speaking

crisis and recast, questions of archive


Luisa, Foad
(the space of the relation between) experience an class='and'>&an> abstract --> between sense an class='and'>&an> purity
(an inquiry line for Luisa: try to figure out the status of pure [which is impurean class='qstn'>?an> when history changes])

my allegorical covers

meaning of:
•non-disproportion
•nonviolence

Socrates: you are in crisis because you are ignorant of geometry

even: same
odd: other

برهان خلف borhane kholf, irrationality of the absurd

the irrational is mimetic


=======================


“before-after” temporality narrative

Serres's fabulous work on the effects of the style in science
--> styles profile from (a sort of) stability *** -they inspire disciplines and furtilize fields of research, they seizes what is at stake in sciences

who believes that the passage from local to global is always possiblean class='qstn'>?an>!
Lucretius answer is immediately “no”

in apass each of us is somehow busy with the critique of unidimensional platitude characteristics of our milieus. / Is that the global notion in our researchesan class='qstn'>?an>

I want to take it up, maybe fulfill, and modify the project sketched out in ajayeb al makhlughat 10 centuries ago.

<at class='at'>#at>my reading act with ajayeb is like the practice of pencil monoprint on paper on a relief surface. The patterns of reading emerge as the pencil moves gently across the paper, pressing down or not. The paper, pencil, pressure, movement, the object behind, the touch of three elements, interactive interfacial patterns of readingwriting with ajayeb's textual corpus*


” [...] the industrialized world is frequently condemned to considering the concrete universe as its representation.”
Stengers + Prigogine

(an class='qstn'>?an>what do we have that helps us give up the idea of a) rational nature of the real
observation ==> generalization
measurement ==> precision

which precisions can be achieved by other than measurementan class='qstn'>?an>

How not to travel through the universe like free and self-determined godsan class='qstn'>?an> (<at class='at'>#at>magicians)

Stengers > Leibniz <at class='at'>@at>Luisa: “movement is produced within a full world, an interdependent world in which nothing can happen that has not been made possible by the state of the set of bodies according to a harmony that determines and checks at every moment the unfolding of the different movements.”


the full and compact nature, version of ajayeb

an class='mywrk'>my workan> in apass is on a theory of transformation among languages (not about the best point of view =/=> system integrated =/=> trajectories calculated):
•ajayeb's natural language
•system language of differential logic
•english grammar and syntax
•organic and intersubjective space of my peers
•old farsi
•animal
•


“speak of” science
“speak about” science
“speak” science
“speak” metaphysics

speaking the language of dynamics


what is still at stake in science: the description of a world of processes

...................................

Lezra
In the European imaginary, the public struggle over the “better” word makes the city (the polis) <at class='at'>@at>apass


Derrida calls for patience, take care read on slowly. Kafka: all human errors are impatience. Radical patience, is the necessity to differ, but also to rush in precipitately, one has to make decisions: absolute urgency.

Literature for derrida, reading in an class='mywrk'>my workan>s, is indissociably bound up with questions of politics, democracy and responsibility, religion, nationality and nationalism, identity and law.

E m foster, how can i tell what i think, till i see what i say.

What one finds repeatedly in derrida's work is the uncanny effect by which one is invited to sense the unfolding of all his thinking starting out from anywhere, from any idea, any word, any thought that happen to be at issue. Deconstruction is the name for thisan class='qstn'>?an>

Derrida proceeds with patience and pleasure, to describe what is going on in a particular text or situation.

Every reading is difficult, Shakespeare, maulwürfe, mathematics. The difficulty of reading is in transforming the ways we are obliged to think about those texts.

The transformation is crucially always already in the texts he reads. Describing what happens when reading a passage of anything. Everything is in Shakespeare, in Plato, in Kafka. The relation between description and transformation is uncanny.

To talk about the logics of supplement is another way of attending the deconstructive effects of the and. To put into effect new discourses, new acts. This description and transformation is deconstruction, is more than a language and no more than a language.

There are always differences, tensions, paradoxes in the text, between what a text says and what a text does.

Derrida always begins (wherever he happens to find himself) in a specific context, which is to say in trying to engage with a specific text or scene of reading.

(Writing is) is winking at someone (you like)  while listening to my favorite music.

<a class='trgt hghlght 1'href='?q=A'>Aa> writing that is not structurally readable -- iterable -- beyond the death of the addressee, would not be writing.

The supplementarity of digression, a fictional supplementarity. Freud is compelled to tell a story but in the act of doing so, he betrays the annulment or effective impossibility of this story. Sons murder of primordial father. Origin of morality: earliest moral restrictions in primitive society have been explained by us as reactions to a dead which gave those who performed it the concept of crime.

The feeling that a text is especially written ‘for’ derrida... <a class='trgt hghlght 1'href='?q=A'>Aa>s if waiting for him to come along and point it out.

Freud's story is less the narration of an imaginary event than the simulacrum of narration. Freud's quasi event, is at once of fictional narrative and as narrative as fictive. It is the origin of literature at the same time as the origin of law, derrida suggests.

Kant, Freud, Kafka, what makes important all these thinkers for Derrida has to do with how each in their different way brings out a ghostly or virtual ‘narrativity and fiction’ at the very core of legal thought.

Law is always an idiom. <a class='trgt hghlght 1'href='?q=A'>Aa>n idiom is an expression with a meaning that cannot be guessed from the meanings of the individual words: its door concerns only you. One's relation to the law is singular.

The drama of naming (<at class='at'>@at>Sonja naming the dance, dancing the name, is she dancing the name of the dance)

john Keats, prospective; Williams Wordsworth, retrospective. Prospective work consists of hopeful preparation, anticipation of future power rather than meditative reflections on past moments of insight and harmony. Oriented towards the future.

<a class='trgt hghlght 1'href='?q=A'>Aa>ll i am doing today, like derrida, can be seen as a grafting (ghalameh zadan) or extension, supplement or prosthesis, an outgrowth from somewhere else, earlier on.

I will attach to the story of maulwürfe like the shit on his head.

Recalling and reinventing Shakespeare, the idea is not to bring it from past to present, something that is already disjointed in time towards the future. I push the characters of King Lear to a future. The deconstructive reading of the play has to do with the opening of the future itself. It is utterly important that you do something unpredictable for yourself. If you are in the business of hate, love suddenly, changing tracks brings the unexplainable to the trajectory. Going in discipline is like riding a train on rails, i am not saying to go off the track and crash or stop, but to change track experimentally and to change gear. The tracks are built for us to move in the field of thought, they don't cover the whole surface, by moving along them we can witness the new to emerge from our interdisciplinary run.

Derrida shows, reminds, that we can never do anything systematically.

Monstrosity in the story Yal-o Ejdeha by Shamlu. Monsters of the deep..

my aim was to show the monstrosity of all the characters in King Lear not just Edmond. Edmond is the artist of the self. Shakespeare makes unacceptable characters. King Lear play is intolerable itself, an encounter with the opening of the future itself. Instead of giving in to the normalizing and legitimating representations which identity, recognize, and reduce everything too quickly, why not rather be interested in theoretical monsters, in monstrosities which announce themselves in theoretical reading.

The proper significance is simply and categorically deferred forever, insistent strangeness of the force of deferral, (effecting what derrida has called) the singularity of the here and now.

“explained” is “explained away.”

unreasonable is not concealed necessarily.

Duty to irresponsibility

any phantasmatic organization, whether collective or individual, is the invention of a drug, or of a rhetoric of drugs, be it aphrodisiac or not.
In talk, i respond to the how of a poem or text dictating a kind of addictive reading or desire in the reader.

The project of a text, the project of a theory

according to Freud, when the work of mourning is completed the ego becomes free and uninhabited again. Funeral speeches and related writings, are possibilities that structures the movement of identification. Mourning is the interiorization of the dead other, also its contrary. Politics is figured as first and foremost an organization of the time and space of mourning.

<a class='trgt hghlght 1'href='?q=A'>Aa>fter him, it is all war and crumbling.

We know better than ever today that the dead must be able to work. <a class='trgt hghlght 1'href='?q=A'>Aa>nd to cause to work, perhaps more than ever.


The meaning of meaning [...]

...................................

[*]deconstruction: a sort of strategic device + opening onto its own abyss (one of the most influential approaches to texts) =/= method

Campbell --> Derridean deconstruction is visual
Derrida's thinking helps us take images seriously (as philosophical artefacts)
•organizational image: the aesthetic ambassador for the organization (it visualizes + gives aesthetic value to it)
•advertisement: preeminent image of production and consumption of the global economy

image = logocentric vision --need--> problematizing =/= solutionizing


an class="prgrph">-is there a spirit of critique that is not liberatory in purposean class='qstn'>?an>
an>
Derridean deconstruction: a critical approach --draw--> attention to the operations of method itself (=/= method):
[~an class='qstn'>?an> feedback types:]
1. interventionist --advocate--> different/contradictory readings (of images)
2. radical --interest--> roots of meaning-making activity
3. liberatory --seek--> evoke justice (forcing an image to account for itself)
4. ethical --concern--> what is overlooked
5. innovative (productive) --promote--> non-traditional ways of reading (of interpretting, of finding meaning)


intellectual climate in 1960s ==>
•Derrida's deconstruction --> bringing Saussure's own work to its own radical paradoxical conclusion
•Foucault's archeological approach [question the idea that human is an a priori --> how humans have been diagnosed in psychiatry and (ab)normalized in criminal and sexual *discourses* ==produce==> reality effects at the level of body]
•Barthes's semiology =/= the idea that the author is the single and authoritative source of meaning


Derrida's list of concepts:
differance
retrait
revenant
dissemination
deconstruction
hymen
invagination
archiécriture
supplement
khora
pharmakon
scrypt
parergon
subjectile
}--> levers applying torque گشتاور and displacement in the textual machinery


deconstruction
==> counter-intuitive analyses
--> presupposes a detailed knowledge of construction (one must become intimate with the ways something is assembled) [=/= cart blanche for meaning]
--> (Jassem's style of) reading otherwise: passing the classical discipline (=/= abandon, jettison it) to explore what it omits, forgets, excludes, expels, marginalizes, dismisses, ignores, scorns, slights, takes too lightly, waves off, not serious enough

•anthropcentric truth: a truth that appears to human beings
•instrumental truth: a truth aimed at getting things done (making things work)
•teleological truth: a truth which closes debate and fastens meaning


[*]visual = a form of control (<--Campbell-- this aspect makes it central to organizational analyses) <==
1. *visual organizes reality by claiming status as the preeminent form of representation* (vision is the dominant tyrannical phenomenology of the contemporary world ==> all forms of knowledge can be presented visually)
2. *conflation of the ‘seen = known’* : “vision = ways of knowing = experiencing the world” (<-- imagined inseparable) ==> the idea that depiction/picturing/seeing are ubiquitous features of the process by which most human beings come to know the world as it really is for them
3. *visual organizes the worldview of the seer* --> visual is at its most powerful when it is most invisble (for example scientific diagrams, mapping <at class='at'>@at>apass)

***instances of visual control:
•uniforms
•packaging
•computer software packages
•brand logos
•buildings
•websites <at class='at'>@at>apass
•management reports
•staff
•servicescapes [an environment where the first/primary perceived aspect is service]
•


harmful, deficient, deformed, secondary =/= superman, supergirl

logocentrism: letting the logic lead the letter --Campbell--> images are logocentric in that they create meaning by appealing to a central apparently undeconstructible system of authoritative truth (appealing to sources of transcendence outside of the image) [--> for example forensic architecture images =/= Derrida's *there is nothing outside of the text*]
•in investigating an image we often posses a logocentric vision, drawing it into convergence, making it coherent and giving it a non-contradictory and singularly authoritative meaning


[title]
ruined coherent heritage


there is no escaping the enclosure of (logocentrism of western tradition of) metaphysics <-- we can critically engage it from within

bricolage
bricoleur --> one is participating in the intellectual heritage one is critiqing

death of man
•Barthes --> death of author
•Strauss --> structuralist approach to human nature
•Foucault --> history of the historical arbitrariness (of the human sciences)
•
}--> antihumanism (of Barthes and Foucault) suggests it might be possible to stand outside the humanist legacy (and analyse from a position outside) ==Derrida==> (escaping from human constitutes) a very human tendency that has been at work in the cultural and social imaginary since antiquity --> for example Foucault's archaeology: (to understand) *how reason determined madness in different eras by looking at how reason evolved historically* ==> puts the analyst outside the humanist legacy of reason ==restore==> the metaphysical illusion of mastery and control
=/= Derrida

(my problem with making alternative *archives, gardens, and maps* in art:)
•metaphysical complicity (with archive and garden) + critique we direct against complicity (with archive and garden) --> we cannot give up the “+" = slip into the form, logic, implicit postulations of precisely what it seeks to contest


logocentrism operates in images by appealing to sources of transcendence outside of the image --> for example
[*]map: visual organization of the world --> quickly erase or black box the circumstances and history of their own construction ==> marshal vision into logocentric coherence --> act as reflection (=/= representation) of the world

radical cartography is now an established sub-discipline of geography (*maps are deconstructed to identify their logos*) <at class='at'>@at>Sina's mimesis of Olearius's cartography

deconstruction is most needed at precisely those images where our immediate reaction is to say “there's nothing to be deconstructed here” (“that's just the way it is”)

software design (website interfaces) --> images of technology


critical practice: producing a new knowledge of the text (==> explain the ideological necessity of its silence) =/= make a whisper audible, complete what the text leaves unsaid

other: other meanings of a text, other ways of seeing things

self/other --Derrida--> it only has meaning insofar as it differs from something else
•every concept has its opposite or its other (somehow marked within it)
•the good one can be designated only through the metaphor of the bad one <at class='at'>#at>fable


deconstructing an image:
•looking at what the image includes and excludes
•detecting the social roles it creates
•examining the hierarchies that appear natural in the image
}<== **visual representation works as much through what is not shown as what is shown** (Hall), through feints and deceptions (Mitchel), through gaps and silences (Joy + Venkatesh), through stated and unstated (Stern), through the not seen or said (Rose)


reading: detailed and specific examination (of a piece of text) = لاروب dredging machine --> disturb the text (dissecting patiently and minutely the narrative, structure, syntax, figuration, images, metaphors, metonyms استعمال لفظ در معنای غیرحقیقی majaz) ==(draw out)==> complexities, ambiguities, aporias, ironies, taken-for-grantedness, just-is-ness
--imply--> a critique of objectivity
{revelation = disturbance}-->{alternative meaning = site of simultaneous deconstruction}

dynamics of reading (close reading)
1. working of a text hides itselg (images of soap powder, children's science homework, computer chips, etc.)
2. rigorous inspection of the text
3. text is not immune to interpretation (~ text reconfigures itself according to the touch of history, personality, method, intention, politics, culture of any given interpretation =/= closed space)

*reading = producing meaning* =/= reflecting


•Toyota's advertisement --> an image of gay family life --> the image converges on a notion of multicultural pansexual divergence --> market conditions under which homosexuality is accepted
•Joe Camel campaign --> Joe (from Joseph Old Testament) shortened in colloquial american usages to “Joe”, which by the 1930s began to designate anyone whose real name is unknown or connoted the “most typical” of any category of person [=/= dinosaurs] + camel: beast of burden and of humility (<a class='trgt hghlght 1'href='?q=A'>Aa>esop's fables) and as creatures of uncontrollable lust (from depiction by monks in medieval times to teach moral fables to the public)

performance of a textual sex change operation

(monotonality) monovisuality of the dominant visual message

logocentric: a transcendental signified to which the text refers


Plato's powerful attack on writing as “dead speech”: Socrates and Phaedrus walk in the countryside. Socrates recounts to him a myth about the origin of writing: the king Thamus is presented with a present from his son Theus; the gift of writing. Theus tells his father that the gift will make his people wise as it will improve their memory --an class='not'>✕an>--> Derrida shows that in the same argument Socrates goes on to describe speech as another sort of writing; he actually uses a writing metaphor to describe the “true nature” of speech “not merely as a knowing, living, animate discourse, but as an inscription of truth in the soul”


deconstruction =/= re-interpretation
     |                    |
impossible +          providing a
plausible story       different story


deconstructive reading (idiosyncratic to the text) ==offer==> multiple an class='and'>&an> contradictory potential meanings to the text


Derridean approach to meaning making:
•cricular
•paradoxical
~= it requires us to *deconstruct the deconstruction* --> *work against meaning and interpretation*


name of man: (the name of that being who throughout the entire history has dreamed of full presence = the reassuring foundation, the origin =/= play)

[my fable workshop was about this -->] Derridean deconstruction of images -->
•drawing attention to the way image constructs itself in order to implicitly represent a single history (=/= seeking to tell the truth about what X means)
•keeping alive the contradictions within it (=/= solutionizing)


(an class='qstn'>?an>how to deconstruct [iamges of]) nanotechnology: practice of manipulating all types of living and non-living matter at its atomic level
•corporations portraying nanotechnology as a positive and legitimate force (+ visually close down the possible meanings of its products) = Iron Man
•nanospace: planetary bodies afloat in the darkenss of intergalactic space
•fantastical unserious endeavour


([what isan class='qstn'>?an>] my problem with) message شعاری


**advertisement ==> confuse agency an class='and'>&an> ownership**

the fantastic is rescued by the human (face)

(in advertisement -->) **the ways in which knowledge an class='and'>&an> reality are marshalled into collective visual consensus**


visual deconstruction --> rigor towards the idiosyncrasy and singularity of any text


restricted economy of the text ==> particular meaning =/= Derrida: moveing from a restricted --to--> general economy of the text

...................................

metaphysics: enterprise of returning (strategically, ideally) to an origin (a priority) thought to be simple, intact, normal, pure, standard, self-identical [=/= to think in terms of derivation, complication, deterioration, accident]
<--Derrida-- (the most constant profound potent metaphysical gesture in Western philosophy:) conceiving simple before the complex, essential before the accidental
}--> logocentric thought: thought which does not adequately attend to the contradictions inherent in its own medium ==> [logocentrism:] (fable) faith in the status of language as a lucid carrier of meaning (=/= attentiveness to the materiality of communication and the implications of such a project)

pecific languages make communication material, and exploring the interplay of terms within a linguistic system (-->an class='qstn'>?an> baroque) =/= Enlightenment = <a class='trgt hghlght 1'href='?q=A'>Aa>ge of Reason (logos)




...................................

Beauty and the Beast
or, blast of the clean slate



(goddamn it)

The picture of a relatively undifferentiated and continuous topological space undergoing discontinuous transitions and progressively acquiring detail until it condenses into the measurable and divisible metric space which we inhabit, is a powerful metaphor for the cosmic genesis of spatial structure. (Intensive Science an class='and'>&an> Virtual Philosophy)

baroque Trauerspiel, classical synthesis, ...
synthesis: synthetic thinking (the combination of ideas into a complex whole)
this is not a reasoning exercise (deducing particularity, etc.)

imagine you find a head. how do you search for the bodyan class='qstn'>?an> (research project)

graduating from ... and approaching ...
(from fairy tale ---> approach myth)


--> http://www.sinaseifee.com/DifficultForests.html
becoming <a class='trgt hghlght 1'href='?q=A'>Aa>mazon as the fear of the male.
(<a class='trgt hghlght 1'href='?q=A'>Aa>mazon as male hunter symbol)

(symbol for) masculine gender principle
(to disavow sexual difference)

I am not bringing the text to you, or you to the text.
as you have already guessed we have to destroy both the notion of text and you, to some extent, in order to permit a reading to constitutes itself.

is San'an a prince charmingan class='qstn'>?an>
(let's examine)

the spiritually established death-birth (death of birth and birth of death) at the end of story

Miyazaki's faceless monster (in Spirited <a class='trgt hghlght 1'href='?q=A'>Aa>way 千と千尋の神隠し), with his flexible plasticity, has an issue with appearance. he goes from loneliness, to love, to greed, and finally becomes a student body. he has great agency in the beginning and docile in the end, [اسیر صورت --an class='qstn'>?an>--> اسیر معنی]


San'an is determined to see it through, the whole process

the German super-ego
the German ego
to carefully inject some of German super-ego to the Iranian ego

(for <a class='trgt hghlght 1'href='?q=A'>Aa>nastasia) what is the next waran class='qstn'>?an>
ترسا

(to the audience:) you should feel free to make notes, because I am making notes while you are talking, and these kind of lectures I am doing are the process of those note-makings.
I like to interrupt you. the performance is itself an interruption of you, like when we say in a conversation “may I interrupt you” your pace, your velocity, your speech-acts, etc.


what is being ‘interested’ in the history of illusionan class='qstn'>?an>


in your process in becoming woman, you might end up becoming a female robot.
(Tarsaa's part)
whose testicles are smashed herean class='qstn'>?an>
to the less molested .... (body of the pupil)
psycho-history


human preparedness for inter-relations with technology and technologization



***test some failures


a different brand of anxiety (an class='qstn'>?an>)


walking on groundlessness, literature, house of literaturean class='qstn'>?an>

protest against “was”

give literature in its totality

initiate a program

we don't love our selves nor our neighbors

San'an, when he thinks he is getting close, he has abysses he has to clear

which language the house speaksan class='qstn'>?an> or which language German speaksan class='qstn'>?an>

house of literature, house is the site of kinship too.
if literature is like a house at all



unreadable algorithm of encounter

...................................

I hope we can get along famously



an class='mywrk'>my workan> has been really about old forms in the city, how should we build,
tyranny,
packaging (packaging existing knowledge, the way for example the IT industry does it.)
am I against packagingan class='qstn'>?an>


rationalizing and separating functions in the city



place, space, face,



in the history, the leg-less-stone and the lying-visage have been together. a study of apparition must include the physical material as well, not as counterparts, rather as its play-mate.

...................................

the structure of space in San'an poetry

distinction between subject and object, between signifier and signified, encompassing the whole of dualistic logic through its branching patterns, through its definitions of set pathways between root and branch.

the <a class='trgt hghlght 1'href='?q=A'>Aa>rborescent model of relationships in San'an storyan class='qstn'>?an>

The rhizome likewise resists structures of domination, such as the notion of “the mother tongue” in linguistics, though it does admit to ongoing cycles of what Deleuze refers to as “deterritorializing” and “reterritorializing” moments.

...................................

about my performances:

“There is no longer a tripartite division between a field of reality (the world) and a field of representation (the book) and a field of subjectivity (the author). Rather, an assemblage establishes connections between certain multiplicities drawn from each of these orders, so that a book has no sequel nor the world as its object nor one or several authors as its subject.”
(Deleuze - Rhizome)

...consists not in an argument, but in the ecstatic elaboration of a metaphor, a web of interconnected concepts, the development of a new vocabulary without a pause for explanation or so much as a simple definition.

“...a mapping rather than a tracing”

“What distinguishes the map from the tracing is that it is entirely oriented toward an experimentation in contact with the real. The map does not reproduce an unconscious closed in upon itself; it constructs the unconscious”

“It fosters connections between fields, the removal of blockages... “
(removing some blockages of meaning-lock in San'an)


my lecture, emphasizes the rhizomatic to foster imaginative work that challenges typical critical forms.

not to overlook the working of matters, and the exteriority of their relations.

(in a book, a lecture, etc.) there are lines of articulation or segmentarity, strata and territories; but also lines of flight, movements of deterritorialization and destratification.



(what are <a class='trgt hghlght 1'href='?q=A'>Aa>ttar's Sheikh's actual authority as a teacheran class='qstn'>?an>)
(George Makdisi: “Madrasa and University in the Middle <a class='trgt hghlght 1'href='?q=A'>Aa>ges”)
[...] “Perhaps the most fundamental difference between the two systems is embodied in their systems of certification; namely, in medieval Europe, the licentia docendi, or license to teach; in medieval Islam, the ijazah, or authorization. In Europe, the license to teach was a license to teach a certain field of knowledge. It was conferred by the licensed masters acting as a corporation, with the consent of a Church authority, in Paris, by the Chancellor of the Cathedral Chapter... Certification in the Muslim East remained a personal matter between the master and the student. The master conferred it on an individual for a particular work, or works.” [...]

feeling cool and correct
(in) a parasitical golden age

what is “education” in a mystical world (or actually a mystical world-view)
how can be undermined or rewired, (“teaching” without education)


magical idealism

from Delphi-magiscism to the San'an

(does San'an actually wants to go to Greecean class='qstn'>?an>! but went to Italyan class='qstn'>?an>)
اقصای روم


the space we are founding ourselves in is not neutral, not innocent, not un-signed
it is paid for, has a certain architecture, (phallic work)

the intellectual mask...



semiotic of learning and thinking


(Maulwurf,) shit on your head, shit is the origin of all gifts, when a child offers his first donation, “look what I have produced!” I honor you with this Kacke.
--> http://www.sinaseifee.com/VomkleinenMaulwurf.html
how can we bring the variety of animals into the singular butterfly metaphoran class='qstn'>?an> (<a class='trgt hghlght 1'href='?q=A'>Aa>ttar's bird's butterfly effect)

Schmetterling! (parvaneh - پروانه)
(‘schmettern’ in German: v. smash, shatter, slam; blare, fanfare, bellow, roar) --- in schmettern you already have the ‘smashing,’ the butterfly smashing in the windshield, by that we are in the land of technology.

Schmetterlinghausan class='qstn'>?an> (The Imperial Butterfly House in Vienna)
خرمن پروانه

Schmetterling is also a German (Reich <a class='trgt hghlght 1'href='?q=A'>Aa>ir Ministry) air-to-air missile project developed during the WWII, which is detonated by acoustic and photoelectric proximity fuses (<a class='trgt hghlght 1'href='?q=A'>Aa>bstandszünder)



(Jason Bahbak Mohaghegh)


time, space, being, death, subversion, pain, transcendence, victory, blood, Nietzsche, Heidegger, <a class='trgt hghlght 1'href='?q=A'>Aa>dorno, Benjamin, Baudrillard,

•poetic violence, obscure elsewhere,
•imaginative reservoir.
•political, poetic, spiritual, or aesthetic sources of inspiration.
•the rebel factor

resistance-fight / ideological dictator
artist-forerunner / experimental thinker
constellation of desire

ambush of destruction =>
...internalization of toxicity
to assimilate the poisonous
mithridatic (“mehr-dad” معجون مهرداد)



what is the dominant information in San'an worldan class='qstn'>?an>
(ideological and) literary apparatus
issues of belonging and desertion

to endure the direct
epistemic fear

I suggest we go through the rhetorical treatises of Middle East political past century


(mystic war:)
the decadent view of the obliterated


(swallowing partial glances of the)
“extinction of society”
drinking it
these signals of vanishing are forms of trainingan class='qstn'>?an>
a formula of continuationan class='qstn'>?an>

ancient models of defense****

مکانیزم دفاعی
other mature forms of defenses:
•sublimation
•projection: a characteristic that one perceives in oneself but seems unacceptable is instead attributed to another person, denial in attribution [still popular Feuerbach's idea of “religion = projection”, “God = outward projection of a human's inward nature” informing secular anthropological explanation] نسبت دادن احساس خود به دیگری
◦it changes the reality (for the person who projects)
◦it operates unconsciously (the person won't accept that they project)
•rationalization: irrationalities are explained in a seemingly rational or logical manner and are made consciously tolerable, ad hoc hypothesis: to save it from being falsified [<== introspection illusion: cognitive bias of the origins of one's own state]
•fantasy
•denial
•reaction formation: responses to internal threats and anxieties, anxiety is mastered by exaggeration of the directly opposing tendency. phobia is always reaction formation: the person wants what he fears. [solicitude (may be a reaction formation) against cruelty, pacifism against sadism, etc.] when *instincts (and their derivatives) are arranged as pairs of opposites* (life/death, construction/destruction, action/passivity, dominance/submission); techniques: exaggeration, compulsiveness, inflexibility: “reactive love protests too much.” “the lady doth protest too much, methinks.” (it cannot adapt itself to changing circumstances as genuine emotions do)
◦intellectualization {memory of event --> intellectualization ==> conscious analysis of non-anxiety provoking information about an event}
◦dissociation
◦displacement: means of dream-distortion, ego relocates anxiety somewhere else, transference of emotions/wishes
◾sublimation والایش [a form of displacement]: long-term conversion of the initial (negative) impulse, (alchymical in Jung) transformation of shit into gold. [in Freud: ‘sublimation = plasticity of the sexual instincts’ ~/= in Lacan: ‘sublimation = (usually cosmican class='qstn'>?an>) process of creation in ex nihilo style’ : an object (manufactured or not) defined in relation to the emptiness of Das Ding (empty canvas) --> sublimation ~ dismissal/Verwerfung: obsessional relational behaviour attributed to the avoidance of the primordial emptiness (of Das Ding) ==>an class='qstn'>?an> religion/art...
**penis sublimates into seriousness**, adolescence into poetry, emotions into mystical art into dominance,,,]
◦repression/suppression: subduing in the unconscious (under the influence of the superegoan class='qstn'>?an>)
•withdrawal
•regression: a way of relating to the world that was formerly effective (to recapture some childhood satisfaction)
•

•pathological defense mechanism: delusional projection, denial, distortion, extreme projection, splitting
•immature defense mechanism: acting out, fantasy, idealization, passive-aggression, projection, projective identification, somatization
•neurotic defense mechanism: displacement, dissociation, hypochondriasis, isolation, rationalization, reaction formation, regression, repression, undoing
•mature defense mechanism: altruism, anticipation, humour, identification, intellectualization, introjection, sublimation, suppression
•other defensive mechanisms: compartmentalization, defensive pessimism, exaggeration, minimisation, postponement of affect

*it is job of defense mechanism to distort, transform, or falsify the perceived reality* --> to help deal with the id or superego, reducing anxiety


ego: part of our psyche that is reality based



[title]
methinks

...the absence of mercy

complain =~ elegy =~ prayer (---> desire to future)
(elegy assumes that there is something in the information that makes a difference and not in the receiver of info.)

(question to an Iranian friend:) “why must we fasten our gaze to the objects of damage and derangementan class='qstn'>?an>” “why light lanterns to behold the corpsean class='qstn'>?an>” “or extend our focus on theman class='qstn'>?an>” (I am using Mohaghegh's words,) the extremist (or other aesthetic-philosophical strands of extremisms) would tell us not to look away, for the thought and expression have taken the shape of a ‘meteorological device,’ forecasting seasons (of storm)...

(you take the mithridatic venom to) cross into the next level of temporal experience

he makes “engravings of the atrocity”
(حکاکی از) سبعیت

a fanatical response to the storm


a charismatic authority undertakes a poetic articulation
or a poetic articulation becomes committed to an ideological program
[Iran Iraq war]


mysticism, a protocol of extremity, geared towards the immensification of narrow vision
gigantic singularity
itself the house of many paradoxes: that of wisdom and rage, that of boundlessness and confinement, that of precision and enormity, nature and technology (apprentices to a lesser artisan-metallurgist god interested only in functional architecture and instrumentalized objects), betrayal and devotion,
mysticism is one of postmodern ‘mask,’ there are many others (the chaos-mask / facean class='qstn'>?an>, etc.)
one of many existential prototypes, subjectivity constellations, etc.

sliding between hostile and relaxed patterns of ...

with a sixth sense for disappearance
gained attunement to nothing
what are the athleticism of this stillnessan class='qstn'>?an>

the turn in the thought of the mystic to externalize that same meditative daze!
what if an enthusiasm took hold to transfer this personal, self-contained oblivion onto a universal planean class='qstn'>?an>
a single mood-shift: interiority feels the need to stretch out into exteriority.
without the logic of judgment


(in the aftermath of the 2th century) many visionaries of western thought (--postmoderns--) have emphasized a (desperate) need to inject ambiguity and doubt into our collective imagination



where is absolutism in San'anan class='qstn'>?an>

own descent (<a class='trgt hghlght 1'href='?q=A'>Aa>bstieg) into paranoia

when in master-disciple relationship one is asked/taught not only read the works of past visionaries: rather to entertain the same mania, drunkenness, cruelty, or absorb temperament that engendered the very materialization of that text.
[<a class='trgt hghlght 1'href='?q=A'>Aa>ttar asking us to entertain the same mania when reading Tazkirat al-<a class='trgt hghlght 1'href='?q=A'>Aa>wliyaan class='qstn'>?an>]

...lending cryptic terminologies and cosmic ideas

to become an echo of a profound legacy


we ask again: which phantom-sphere is more interestingan class='qstn'>?an> more aesthetically and philosophically attractive in its contours, appearances, and orchestrationsan class='qstn'>?an>

which archive remains in fire throughoutan class='qstn'>?an>

an class="prgrph">-which (archivalan class='qstn'>?an>) constructs promise to survive usan class='qstn'>?an>
an> an class="prgrph">-things that run on hollow spectacles of meanings and simulations of depth
an> an class="prgrph">-adapting old tales to new territories of experience
an>

an apocalyptic significance in the master-disciple relationship
(topology of communication/education)


(mysticism) an excursion into the otherworldly (or the eternal)
lending cryptic terminologies and cosmic ideas a palpable and resurgent quality.



THE pursuit: to become the echo of a profound legacy

the question is not the legitimate/authentic knowledges versus superstitious/mythic doctrines, rather: which phantom-sphere is more arrestingan class='qstn'>?an> which archive remains in fire throughoutan class='qstn'>?an>

modern-individuality versus the magnetic power of the sectarian voice..

counter-veiling definitions of freedom: the freedom of infinite mediocritized choices versus the freedom to choose the all-engulfing one thing.

these preferences: on some remote place of calculation or in terms of immediate forcean class='qstn'>?an>


(this talk might be) a critical rant

(eastern thirds:)
the voice of a strange immunity

sacred crimes

one is hard pressed to find a truth that does not have a dead body


never-ending allegory of loss and primal innocence

irrational desire of a no-man's land of an eternal immaturity


(an existential evacuation)
committing oneself to erratic wanderings in the desert => translation of a familiar topology into an ontological modalityan class='qstn'>?an>

the extravagant paradox of proximity and distance
(interiority and exteriority, presence and absence)

civilizational taxonomies (--> versus animist taxonomies, in <a class='trgt hghlght 1'href='?q=A'>Aa>ttar's animal-birds)



the (sacred boundaries of mysticism) and mystic boundaries of the civilized city
the peripheries of the city became mystic/sacred


mystical channels*


they present worlds immersed in a kind of constructed a priori

two irrational analytical strands:
(1) to isolate the rare technical and conceptual arsenal behind an ethnographically imagined space (San'an's biography missing in <a class='trgt hghlght 1'href='?q=A'>Aa>ttar's Tazkirat al-<a class='trgt hghlght 1'href='?q=A'>Aa>wliya--<a class='trgt hghlght 1'href='?q=A'>Aa>ttar's obsession with biographies, he is drugged by bios, totally high---he can't let go of them, he cannot detach from the absents, the paternalsan class='qstn'>?an> his master-complexan class='qstn'>?an> has he forgotten to mention his teacher, San'an, in Tazkirat al-<a class='trgt hghlght 1'href='?q=A'>Aa>wliyaan class='qstn'>?an> --<a class='trgt hghlght 1'href='?q=A'>Aa>ttar is himself San'anan class='qstn'>?an> drugged and doped by tastes and spices of his shop, his establishment. OR San'an is Ibn-Sagha (ابن ساقا)an class='qstn'>?an> (Ibn-Sagha was a Islamist jurist who lived in Baghdad 11th century, lived Muslim and died christian.) <a class='trgt hghlght 1'href='?q=A'>Aa>ttar's engagement with remembrance and bios --> is the San'an's narrative also about forgettingan class='qstn'>?an> Tazkirat (تذکره) --> Tazakor (تذکر) --> remember! --we are now on how <a class='trgt hghlght 1'href='?q=A'>Aa>ttar's San'an influences Hafez--(حافظ) The Memorizer. Hafez loves the story of San'an the non-memorizer, San'an loses his ‘hafeze’ (حافظه). (according to Hafez and San'an, the best student is the one who doesn't remember. precisely because they are trying so hard to remind San'an of what they thing ‘he’ is) --> [Indian M<a class='trgt hghlght 1'href='?q=A'>Aa>TSYENDR<a class='trgt hghlght 1'href='?q=A'>Aa>N<a class='trgt hghlght 1'href='?q=A'>Aa>TH amnesia tale, tells the story of a yogi who falls in love with the woman kind--one of his students puts makeup and dances his memory back to him. he must become the woman. there is a queer moment in the origin story of the San'an, which <a class='trgt hghlght 1'href='?q=A'>Aa>ttar censures(an class='qstn'>?an>). he erased his name from the black-list of death-‘the forgottens’, then danced for him as a woman-story-teller. (muse is the mother of memory.) the class struggle has obviously a Bollywood touch to it]--><a class='trgt hghlght 1'href='?q=A'>Aa>ttar's source and storagean class='qstn'>?an>)
regarding Hafez and San'an, the poet must leave the home, the poet must travel foreign zones, and stay in the foreign. (this is, by the way, Heidegger's reading of the poet.) and that is also one Heideggerian poetic demand that Hafez is failing to reconcile with, when he is turned back, not having the balls to cross the Indian ocean.
(2) importance of an elite rhetorical plane

initiatives towards the horizons of a mystical inquest


(cinematic) mystical landscapes
(what kind of mystical landscapes I am exploring in San'an's storyan class='qstn'>?an>)


the dominion of the partially unseen


guarding its inner workings and trajectories
(the cinematic openness also is) guarantor of its constant mutability(an class='qstn'>?an>)



the exoteric logic of interiority (reigning since centuries in Iran)


for only the buried dimension is sovereign

secrecy =/= lie
(I am a fan of lie and against secrecy)
talk about a theory of lie
(a talk about a theory of violence)



[the issue of: opposite, omen, and alarm (in art)]
omen =/=an class='qstn'>?an> artwork
(omen is a phenomenon that is buried to foretell the future, isn't that an attractive trap for artist's self grandiosityan class='qstn'>?an>!)
omen has a binary answer
omen =~ ‘audire’ (Latin root, to listen)
omens come in the artistic and poetic production--in the poiesis--when the artist is young: the fabulous age of self-assertion, and he or she starts way to big and later is abandoned or abused by it.


(enforcement of an elusive stance from within) the self-enveloped site of the event----the artworks become closer to omens


at once episodic and veiled, protecting their right to invisibility above all else


(perceive themselves as) the merchants of the unreasoned experience.
(as opposed to the mechanisms of instrumental reason) ---- omens


Literatur(ware)haus
warehouse vs. Haus
(at the house of being)

warehouse of the irrational, a cellar-arena of provocation and unrest

I don't have an eloquent language--I am not in the house of language, but <a class='trgt hghlght 1'href='?q=A'>Aa>ttar is

transmutative
depthforming


sudden exposure to exile space

a postcultural interaction (an class='qstn'>?an>) --with no proximity to the past or known present
(am I trying to create proximity to history in my lectures versus my non-proximity in earlier visual works such as “vagabond” 2011 Tehran)
is that to adopt an ******existence without context******an class='qstn'>?an>
(in lectures, am I un-separating myself from my own historyan class='qstn'>?an>)


*reverie (=the mind flees across secluded planes)

exile space =~ refuge, solitude, immobility =an class='qstn'>?an> nondialectics


[on Vagabond] --> http://www.sinaseifee.com/Vagabond.html
an class="prgrph">-domination of the partially unseen in my own film, ‘vagabond’
an> an class="prgrph">-did I believe that only the buried dimension is sovereignan class='qstn'>?an>
an> an class="prgrph">-continuously interlacing experiences of solitude and immobility
an> an class="prgrph">-minimalist side of mysticism --> stillness is a catalyst for accelerationan class='qstn'>?an>
an> an class="prgrph">-nomadic dispositions
an> an class="prgrph">-suspended (=the chasm of self-consciousness)
an> an class="prgrph">-
an>

aesthetic tactility over aesthetic fantasy
where is the cinematic-mystical ritual happeningan class='qstn'>?an>

profound separation from the networks of social reality
the subjects betrays its own history

interrupting the transmission of the episteme


the result of mystic disjointment => a renovated perception of all activity as self-forsaking (Tark-e Nafsan class='qstn'>?an> ترک نفس), (such that all locations appear scorched in turn)

stab-through and un-brace one once was

San'an's mechanistic commitments, he need to first book out of a place in order to write text, or to book himself in again
the San'an's poem's ‘Will' = instinct for abandonment and anonymity
is this instinct predicting what <a class='trgt hghlght 1'href='?q=A'>Aa>ttar will writean class='qstn'>?an> or explains *why he writesan class='qstn'>?an>
[writing as an act of memory and performan class='qstn'>?an>]

the mystic event is predicted by an instinct for abandonment and anonymity,
at the same time it mutates the urban environment in which it stage its runaways line.
the cityscape is cast into the frenetic rush of this disavowal, to the extent that it becomes the equivalent of the desert

what are the indentitarian qualifiers that San'an wants or needs to chain-breakan class='qstn'>?an>

to be honest, <a class='trgt hghlght 1'href='?q=A'>Aa>ttar's San'an's poetry, is living by a roaming assemblage of assertions. [he wrote his poem in a time when the highly religious Sheikhs would go to monasteries and get drunk with the non-Muslims, getting high with the nonhuman. it is Seljuq (سلجوق) time, medieval Turko-Persian. The Seljuqs were educated in the service of Muslim courts as slaves or mercenaries. The dynasty brought with itself a sense of revival. Under the Seljuqs, New-Persian became the language for historical recording. <a class='trgt hghlght 1'href='?q=A'>Aa>ttar (عطار) means herbalist, druggist, perfumist or alchemist, and during his lifetime in Persia, much of medicine and drugs were based on herbs. Therefore, by profession he was similar to a modern-day town doctor and pharmacist. Rose oil means ‘attar’. <a class='trgt hghlght 1'href='?q=A'>Aa>ttar died a violent death in the massacre which the Mongols inflicted on Nishapur in <a class='trgt hghlght 1'href='?q=A'>Aa>pril 1221.]
an class="prgrph">-in his Birds epic, he is bringing an instinct coalition that translates all movement into a devouring collectivity --> the logic of their fading (--of the birds) is the same explosively that that fuels their inception, (why the birds must gather in the first placean class='qstn'>?an>!)
an>
once-mystical and now-postmodern tribalism (an class='qstn'>?an>)

(“I” threatens the nomadic workings of the pack event)
[there is a pack-event in the San'an's students]
self = migratory sensibility of a subjectivity adrift

the exile does not need to exist / the community is desperate to exist (which is why it degenerates into totalitarian declarations--do the San'an's students have thatan class='qstn'>?an>)
is <a class='trgt hghlght 1'href='?q=A'>Aa>ttar, in his poetry, obsessed with constructing mythologies of presence (and being represented)an class='qstn'>?an> (when he repeatedly tries to synthesize an “authentic” discipleship, ﻣﺮﯾﺪى, <a class='trgt hghlght 1'href='?q=A'>Aa>nhängerschaftan class='qstn'>?an>, for the San'an's “teachings”) --whereas the exile, the animal, the shadow, the monster, the machine, the thing, the contagion --> carries none of the anxiety of ontological authenticity



رسوایی - using treachery for the sake of vitality
(‘Verrat'--betraying the student, in order to produce truth-event)

going into vicious levels of self-consciousness

between all the lines of statement that <a class='trgt hghlght 1'href='?q=A'>Aa>ttar constructs, what is being suggested in his music or wordsan class='qstn'>?an>


San'an, taken by otherworldly crafts that signal him to become (gracefully) transfixed

‘naaareh’ - نعره
far cry from the mystic's encounter with divinity

disavowal of (an explicit) narrative (trajectory)


[sunken tranquility, relaxed self-annihilation, ascetic renunciation of material] *mystic* =/= oran class='qstn'>?an> =~ *postmodern* [obsession with speed, with narcissistic technologies, hyper-materialistic]
is there in postmodernism then an alternative version of mystical experiencean class='qstn'>?an>
...


feeling like a foreign body, until you find a joban class='qstn'>?an>! (<a class='trgt hghlght 1'href='?q=A'>Aa>ttari as a job)


let's jam on this


this story is prior to psychoanalysis (an class='qstn'>?an>)
positionality, placements, displacements

a system that doesn't have access to its own knowledge



historical struggle for the definition of the real


I can't keep clean boundaries


rituals (of promise and contract), (things that) must address anxiety --an class='qstn'>?an>--> a religious stamp


what is the San'an text promising the Otheran class='qstn'>?an> (like every text does, every utterance)
what it cannot *not doan class='qstn'>?an>


my childish playful inventiveness and its relationship to weakness.
so I come up week, saying ‘let us do this or that,’ but that is a will to power (an class='qstn'>?an>)


we are here to understand the appropriation of meaning.
what does or does not belong to the protocols of reading, etc.

(think in terms of de-appropriation, which entails a form of rigorous hesitation when assuming responsibility for the work or thought of another) is that what I am practicing encountering the work of <a class='trgt hghlght 1'href='?q=A'>Aa>ttaran class='qstn'>?an> as an ally or ancestor or an unknown sidetrack of writing


different modalities of love and loving

I guess what I wanted to ask you is your love

I have been teaching Islam to youan class='qstn'>?an>! in a shattered and transgressive way
of course this not teach-according-to-definition

of course every demand is the demand for love


the SM-inserts in San'an story
he is asked to perform some serious Sado-Masochist interactions with nonhuman animals, his favorite book, and Tarsaa as stage-manager
we are left with the task of reading the enigma of something that no longer is. if things ‘were’ we wouldn't need to be thinking, reading, running after them.
(I am reading the enigma of something that no longer is)
precisely Bayazid defines Tasawwuf/Tasavof as something that ‘was’ and had no name and today ‘is not’ and has name.


I am taking in terms of constructions and phantasms

everything that comes at you, which is persecutory, is absorbed. that being able to crucified by the other.
doesn't have an experience to fire aggression

is it possible to be kind in a non-manipulative non-cognitive or non-calculative wayan class='qstn'>?an>

San'an was booked “elsewhere,” he had a transcendental hearing, he had to take a call
[we should here study a ‘hauntology'---the science of morning-disorder. all prophets have it also]. haunt---the figure is neither present nor absent --> (and “real” presence has always been the religion's obsession)


از شبح به شیخ

از صنع به صنعان


صنع = fake, صانع fabricated, made-up, technological, dead, etc.
صنم = idol
صنع = eidolon
an class="prgrph">-(eídōlon, “figure, representation”), from εἶδοςan class='qstn'>?an> (eîdos, “sight”), from εἴδωan class='qstn'>?an> (eídō, “I see”)
an> an class="prgrph">-a phantom, a ghost or elusive entity (=/=an class='qstn'>?an> haecceity)
an> an class="prgrph">-‘you still see them'---is this an origin of metaphysican class='qstn'>?an>
an> an class="prgrph">-eidolon is the image in water, apparition, ‘surat,’ a double / technical. idea comes from the word “to seean>[...]