[...]self. this is another pointi dance)
tech ="trms">interface amaz div device ="trms">literature

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='lgc'>[="ppl">Avital='lgc'>]

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

="large lg2" stl="font-size:110%"> to enter areas of conflict ='lgc'>[...='lgc'>] fragile zone where non-knowl="trms"nttrm="knowledge,Knowledge">edge dominates knowl="trms"nttrm="knowledge,Knowledge">edge

Self-dissolving and regathering, the subject became linked to the possibility of a new autonomy, and opium illuminated in this case (="ppl">Baudelaire, though under De Quincey’s influence, was to use it ="trms">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 ="trms">sublime. Opium became the transparency upon which one could review the ="trms">internal conflict of freedom, the cleave of subjectivity where it encounters the ="trms">abyss of destructive jouissance.

mapping the body as an intensive conflictual site

scenography and ="trms">rhetoric of armed conflict

(="ppl">Avital on) the maternal trace in the ="trms">technological revealing from ="ppl">Heidegger to the Bushies


the ="trms"nttrm="already,spread">readers and non="trms"nttrm="already,spread">reader

the s="trms">cene of the proto-pedagogy (involves only two persons)='lgc'>: The master and pupil together produce an allegory of being struck, enlightened


(for ="ppl">Levinas='lgc'>:) expérience ='lgc'>=/= épreuve
="lsts lst1">•experience ='lgc'>--> a knowing of which the self is master is always said
="lsts lst1">•épreuve (text, trial, proof) ='lgc'>--> ='thdf'>the idea of life and of a critical ‘verification’ which overflows the self of which it is only the ‘s="trms">cene’ ='lgc'>~~> a test site in which the self is placed at absolute risk, life submitted to incessant probes, find themselves subjected to the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigors of the épreuve


conflict's another logic of ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigor in certain types of non-Western practices (such as Zen and yogic teachings)

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

the Zen pupil, often a wanderer, ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listens ="trms">differently, stilling herself to consider the sonic eventfulness of growing grass

="large lg1" stl="font-size:138%"> ...understanding no longer crowns the end of a labored process of appropriation ='lgc'>=/= Western ="trms">narratives of testing



going after the grail or attempting to reach a ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysically-laden Castle

...cannot be properly located or possessed

the inaction hero


(='qstn'>?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 ="trms">questioning and tells of bodies menaced by pulverization='lgc'>: should the riddle not be solved, either the ="trms">questioner or the ="trms">questioned must go. Passing the test is a ="trms">matter of survival of the ="trms">species for Oedipus, as it is for the ="trms">interspecial dominatrix of the riddle='lgc'>: la Sphinx dissolves when the young man offers the correct answer.
='lgc'>=/= koan

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My performance here is maybe a form of prayer or invocation='lgc'>[8='lgc'>] not simply to be ="trms"nttrm="already,spread">read as a mere theoretical and discursive statement, and is intended to be a table of digital curses. To reopen the ="trms">agency of curse in a cultural style that I have come to encounter, it might produce a ="trms">different but not necessarily better speculative difficulty in discussing about the virtual. A curse='lgc'>[9='lgc'>] (="trms">according to ="nms">Iranian-Islamic mixture of traditions in the milieus of promising and swearing,) is basically a ="trms">networking function with both mechanical and ="trms">interventionist properties that ="trms">translate desire into performance—an ="trms">intersubjective textual momentum that run virtually into the real ="trms">world and it may (or may not) run down its target. Much like ="trms">rumor, curse is contagious and reproductive but unlike the publicity of ="trms">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 ="trms">nature of this ="trms">relation (with the ="trms">materialities of the ="trms">world that curse inscribes on) that I am ="trms">interested in.


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


An extended concept of cursing enters visuality in the gaze of the evil eye.='lgc'>[11='lgc'>] The malevolent glare who stamps upon by staring at an accidental moment of encounter in the evil eye, brings together the ="trms">narrative of the random ="trms">traveler who casts a gaze in another ="trms">world of virtual and visual ="trms">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='lgc'>[ar='lgc'>] due to the ="trms">internal conflict of perception and will. The ="trms">intersection of visions is feared and programmed in the modalities of ="trms">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.”='lgc'>[12='lgc'>]

="brkr">
='lgc'>[="ppl">Serres='lgc'>]

does experimentation, in art ="trms">science, ex="trms"nttrm="cluster,club">cludes subjectivity='qstn'>? More the importance of experiment on self. Returning the aim back to knowl="trms"nttrm="knowledge,Knowledge">edge, instead of the division of knowl="trms"nttrm="knowledge,Knowledge">edge. Our subjectivity is not an illusion to be overcomed, but that is another part of reality.

Displacement on the space of myth. Myth informs ="trms">science.

To know is to navigate between local fragments of space , to reject ="trms">techniques of classification and separation, to implement a philosophy of transport to counter the dogmatism of united and ="trms">systematic knowl="trms"nttrm="knowledge,Knowledge">edge.

...the itinerary traces the trans="trms">mission, transformation, and multiplication of messages through diverse spaces of ="trms">communication.

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

="trms">World is the space of your inscription, ="trms">scientists. To ="trms"nttrm="already,spread">read and to journey are the one and same act.

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

="large lg3" stl="font-size:111%"> Two speakers, united against the ="trms">phenomenon of ="trms">interference and confusion. Who's stake is in ="trms">interrupting ="trms">communication='qstn'>? The above ="trms">interlocutors are on the same side, far from the dialogical game.

Demin in="trms"nttrm="cluster,club">cludes himself in the circuit, b="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurs the message, renders it unintelligible, and exactly by that assures trans="trms">mission. 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 ="trms">systematize.

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

="large lg4" stl="font-size:112%"> to ="trms"nttrm="already,spread">read X, is ="trms">literally, to ‘prepare’ to ="trms"nttrm="already,spread">read X

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

my o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal repetition
we re-enact in our educated consciousness

in what sense does unperformed music exist='qstn'>?

The same ground, when using the ‘speculative ="trms">instruments’, the critic, editor, actor, and ="trms"nttrm="already,spread">reader stand on.

="large lg5" stl="font-size:152%"> When we ="trms"nttrm="already,spread">read or hear any ="trms">language statement from the ="trms">past, we ="trms">translate.

En="trms">code and de="trms">code “message”, misleading operative models of ="trms">translation between ="trms">different ="trms">languages and even within a single ="trms">language.

One treason in ="trms">translation='lgc'>: [...]