[...]cessant 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


(?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 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 Amazon 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.


An 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 subjectivity? 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 communication? 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 it?)

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 joke?
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 exist?

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 language? --the tasavof verbal linguistic tradition

silence knows no history...?

...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'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 Attar 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)

[...]