[...] ='and'>& polemical ="trms">relationship='lgc'>}
first, sacred is located elsewhere, placed outside the ="trms">world, then ="trms">Nature is born objectively ='lgc'>='lgc'>--> in the new contract, the exact word can be spoken
...but a new crisis make it start over again
="prgrph">-the sacred is formed by (this) catastrophic and repetitive dynamic
ruse (kalak کلک, che kalake khubi چه کلک خوبی)='lgc'>: the “laws” of ="trms">nature a projection of a (usually political) constitution on the ="trms">world; to give a status of a ="trms">natural necessity to arbitrary power
ruse ='lgc'>~ reason='lgc'>='lgc'>---the dominance of the here and now
no one is better endowed by ="trms">nature for trickery than a ="trms">Greek. These masters invented dichotomy, separation, and partition. ... They invented the theory of the ="trms">specificity of various realms (='lgc'>~ ="trms">cosmology='qstn'>?)
="large lg2" stl="font-size:112%">
their divisions and clarifications ='lgc'>='lgc'>==> “we today have the weak and awkward fancy to ="trms"nttrm="already,spread">read the ="trms">world as polysemic and out of ="trms">sync”, polytomy ='lgc'>{from ="trms">Greek='lgc'>: πολυ-, poly-, “many” and σῆμα, sêma, “sign” ='lgc'>='lgc'>==> multiple semes or se="trms">memes and thus multiple senses. ='lgc'>='lgc'>---(soft/hard) polysemous ="trms">ontologies='lgc'>='lgc'>---(polytomy ='lgc'>=/= homonymy اشتراک لفظی ,یک لفظ ='lgc'>=/= synonymy یک معنی)='lgc'>} ='lgc'>='lgc'>~='lgc'>='lgc'>--> the awareness of any ="trms"nttrm="metaph,metamorph,metabol,metal">metabasis to another genre, “discrete” (='lgc'>='lgc'>--> 3D apps today)
(="trms">Greek) mathematic ='lgc'>=/= illusionist
“if there is a separate field in which no one can keep cards up their sleeves without being resoundingly defeated, it is de="trms">finitely mathematics.” (="ppl">Serres)
="trms">Greeks theory of segments in the re="trms">presentation of distinct ="trms">worlds ='strcls'>*** (when one uses ="trms">greek ="trms">technologies today, which ="trms">worlds are rendered distinct='qstn'>?)
mathematics, myth, medicine, theory of exchange, ...
="ppl">Serres's field trip
(="ppl">="ppl">Lucretius and our answer to the) what is a living thing='qstn'>?
="lsts lst1">•! a thing in equilibrium and disequilibrium, a flow, a vortex, heat, etc
="lsts lst1">•atomist physics
what ‘abundance’ means for ="frds scrmbld">Juan='qstn'>?
For me='qstn'>? for ="ppl">Sa'di in golestan...='qstn'>?
abundance is when it seems the artist hasn't put limitations on the flow of signs and meanings.
='at'>#my basic ="trms">methods(='qstn'>?)='lgc'>: abundancies, adjacencies,
='lgc'>='lgc'>~-/='qstn'>?='lgc'>='lgc'>--> simplest complex, simplex (concern of comparative topology) ='lgc'>='lgc'>~= the stable ="trms">network of com="trms">positions
my ="nms">ajayeb hypertext, what is there the ="trms">specific ‘law of putting together letters’ (='lgc'>[and atoms='qstn'>?='lgc'>] to produce a text)='qstn'>? That means the ="trms">question of ="trms">Greekness and syntax ="trms">technology, and my reworking ="trms">articulated
="lsts lst1">•alphabetical proto cloud (="ppl">Serres) ='lgc'>--='qstn'>?='lgc'>='lgc'>--> without law, random
="lsts lst1">•what are the laws of ‘good combination’ that i am reworking or resisting or acquiring or answering to, in my ="nms">ajayeb hypertext='qstn'>? (how com="trms">position is reproduced='qstn'>?)
='lgc'>='lgc'>--> (the law ="trms">enunciates ='lgc'>[تلفظ کردن ,مژده دادن='lgc'>] the federated,) ='strcls'>* the law repeats the fact ='lgc'>=/= the ‘things’ of ="nms">ajayeb are (still) in the process of being formed (='lgc'>='lgc'>--> the morality of ="trms"nttrm="already,spread">reading that i am working on)
(in the facts of the law there is no space between things and ="trms">language is reduced to zero)
="prgrph">-="trms">language and things are born together with the very same process (="ppl">Serres - Hermes.) ='lgc'>='lgc'>--> stable gathering of elements
="lsts lst1">•="nms">ajayeb's version of the ="trms">network of primordial elements in ="trms">communication with each other
my ="trms">interest in the devil is in the details of my makings (and others)
='lgc'>='lgc'>--> to touch details that establishes a direct contact
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“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 ="trms">world, the being of ="trms">relation. Venus is identical to ="trms">relation.”
Aphrodite governs
guarantee of repetition
parallel paths
pseudo returns
“Time itself would be nothing without objects ="trms">situated in space ='lgc'>[...='lgc'>] the clock that ="ppl">="ppl">Lucretius placed ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right in the middle of ="trms">nature cannot mark ="ppl">Newtonian time; as the clock is the totality of things, between their birth and death, it marks a ="ppl">Bergsonian, that is, thermodynamic, time='lgc'>--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='lgc'>: they fall, seeking their peaceful rest. Fluid, they flow; hot, they cool off. Downfall, death, dispersal; breaks, dichotomies, atoms. Atomic flow is residual ='lgc'>: the background of being, white noise. This ="trms">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 ='lgc'>[='lgc'>=/= the universal absolute time standing outside ="trms">contingency of everything else='lgc'>], spiraling, shifting clocks which from their moment of birth begin to mark the time of death. The ="ppl">Lucretian ="trms">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 dis="trms">integrates minimally resists the irreversible flow, carrying little information. ="ppl">Newtonian time, which is reversible, marks resistance to the irrevocable. It is absent from these ="trms">sorts of physics, and ='thdf'>that is why our forefathers were unable to ="trms">imagine that ="ppl">Lucretian physics ever existed, with the possible exception of ="ppl">Bergson, who thrived on it. Irreversible time is the master here ='lgc'>: the physics of things resists it in spots, but in the flow of the drift; ="trms">history follows, barely a ripple in the flow. ="trms">History flows around physics.” (="ppl">Serres - Hermes p.116)
...events are all of the ="trms">socio-political order
(if ="trms">science or physics or ="trms">episteme classifies things, what classifies physics='qstn'>?)
what classifies what='qstn'>?
="trms">Question of epidemiology
="large lg14" stl="font-size:121%">
slave='lgc'>: ="trms">material object
master='lgc'>: spatial object
="ppl">Serres='lgc'>: ="ppl">="ppl">Lucretius='lgc'>: dichotomies are ="trms">symptoms of better-connected ="trms">material things
="lsts lst1">•="trms">history ="trms">symptom of ="trms">nature
="lsts lst1">•time ="trms">symptom of ="trms">symptoms
“Mars is only an accident of stable Venus, a temporary relief outside the assembled convention. Mars passes, badly connected.”
Mars is only in ="trms">transit
a penis captive
(like ="ppl">="ppl">Lucretius, do I need to distinguish, in ="nms">ajayeb) the conjunctional, contractual, stable links, (and projections of the constitution of political order='qstn'>?)
what are ="nms">ajayeb's unstable ="trms">historical contracts='qstn'>? ='lgc'>='lgc'>--> ="trms">historical ="trms">contingencies ='lgc'>--='qstn'>?='lgc'>-- “there would be nothing without the existence of the former, which quickly disappears around them”
that which disappears from de="trms">finition, reappears ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphorically
the small amount of linkage between events
="large lg6" stl="font-size:127%">
(with ="trms">translation we might ask='lgc'>: with/by what are you ="trms">translating='qstn'>? ='lgc'>='lgc'>--> input and output of the ="trms">translation cannot be known in advance)
ataraxia='lgc'>: the absence of trouble, peace of the garden (='lgc'>=/= soul made of atoms, unstable) a moral state ='lgc'>='lgc'>==> a physical state
(='lgc'>=/= aporia)
="lsts lst1">•not perturbed,
="lsts lst1">•the term was also used to describe the ideal mental state for soldiers entering battle. ='lgc'>[='lgc'>='lgc'>-->='qstn'>? the image of the ideal soldier='lgc'>: 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 ="trms">aesthetics (of in="trms">different and silent='lgc'>:) transcendence ='lgc'>+ perfect warrior='lgc'>], ='lgc'>[another theory is that the freedom from emotional attachment was developed since early middle ages for merchants in order to (in a meddieval sense) ='strcls'>*trade='strcls'>* ='lgc'>=/= melancholic introspective contemplative efforts of faith='lgc'>]
='lgc'>='lgc'>='lgc'>---='lgc'>='lgc'>---='lgc'>[apatheia='lgc'>: eradicating the tendency to react emotionally or egotistically to external events, ='lgc'>~ equanimity, ='lgc'>=/= in="trms">difference='strcls'>*='at'>@="frds scrmbld">Sven; (metriopatheia='lgc'>: men between the ="trms">excess and deficiency of emotions;) a form of ="trms">response to the ="trms">world='qstn'>? ='lgc'>]
='at'>@="frds scrmbld">Sven='lgc'>:
="lsts lst1">•="trms">inter="trms">difference ='lgc'>[open ="trms">systems between or among (in)="trms">differences='qstn'>?='lgc'>] ='lgc'>='lgc'>--> ="trms">interin="trms">difference ='lgc'>='lgc'>--> entering ="trms">differences, enter in diff
="lsts lst1">•="trms">intra="trms">difference ='lgc'>[closed ="trms">system inside or within (in)="trms">differences='qstn'>?='lgc'>]
="trms">Nature is rivers and whirl winds
streaming of mortality
="trms">Greek preference of ‘fall’ over ‘="trms">transition’='lgc'>:
things arrive and occur and only crumble and dis="trms">integrate for a unique ="trms">figurative case='strcls'>*
="trms">symptom, a ="trms">natural object, ="trms">materialism
='lgc'>{the ="trms">intersection of independent ="trms">causal chains ='lgc'>='lgc'>==> river rise of chance occurrence='lgc'>}
='at'>@="frds scrmbld">Seba's new planet ="trms">story workshop ='and'>& ='at'>@="frds scrmbld">Sana='lgc'>: what generate things, spinning the wheel, streaming flow, cascades (global fluidity of local solids,) ='strcls'>*principles of heat='strcls'>* (that make ="trms">worlds and bodies,) the ='strcls'>*state of disequilibrium='strcls'>* (of the ="trms">world ='lgc'>[for ="frds scrmbld">Seba='lgc'>] ='and'>& of the soul ='lgc'>[for ="frds scrmbld">Sana='lgc'>])
='strcls'>***what is the name of dist="trms"nttrm="disturban">urbance='qstn'>?
(i have been proposing ="frds scrmbld">Sana to mix physics and psychology)
what are moral mortals linked to='qstn'>?
anguish and ="trms">anxiety (in the absence of God, after the death of God)
='at'>#archive
thermodynamic time='lgc'>:
“...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. ='lgc'>[...='lgc'>] time of heat, weight and flow.” (="ppl">Serres)
(="trms">Greek idea of) ="trms">history is only the ="trms">translation or trans="trms">position of this ="trms">material principle.
='lgc'>='lgc'>--> (thermodynamic principle of) archive='lgc'>: hollow man up to the erosion of irreversible time
="prgrph">-vector of the progressive civilization going up stream (in the tropic river)
in archive invariability is global ='lgc'>=/= irreversibility ='and'>& chance
(='lgc'>[i am more ="trms">interested in the='lgc'>] obstacles in front of the) well-founded “conjoined ="trms">world”
="trms">system statue
that which can be touched and tested
constant general random invariabilities in primordial path of ="trms">matter
(='strcls'>**="ppl">Serres='lgc'>:) morality='lgc'> = physics
(='lgc'>='lgc'>--> the image of physical collision and ="trms">causality simulation ='lgc'>='lgc'>--> morality)
='lgc'>='lgc'>--> what is then the image of the ="trms">CG artist in the ="trms">world='qstn'>? The wise man in and of the ="trms">world, friend of the ="trms">world, extended to the global universe='lgc'>:
='strcls'>*this is an important moment in ="trms">Greek Wisdom, man is not an str="trms"nttrm="danger,stranger">anger but at home in ="trms">world, (a dist="trms"nttrm="disturban">urbance a vortex in turbulent ="trms">nature,) in contract with Venus ='lgc'>=/= (breaking the contract,) man is str="trms"nttrm="danger,stranger">anger, fallen from sky, he hates things and fight against them, environment is an enemy ='lgc'>='lgc'>--> martial ="trms">neurosis from ="ppl">Plato to ="ppl">Descartes to Bacon to us
='strcls'>***hatred of objects at the root of knowl="trms"nttrm="knowledge,Knowledge">edge='strcls'>***
messages exchanged='lgc'>:
="lsts lst1">•I, you, he, we, they,
="lsts lst1">•this, here, ecce,
="lsts lst1">•here is the thing itself
man='lgc'>: the one who subordinates every object to ="trms">relations among subjects.
(the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of) theater is submerged in ="trms">animality ='lgc'>: “politics and theater are merely mammalian”
="prgrph">-in comedy and tragedy there is only a ="trms">question of human ="trms">relations and there is never an object as such
(="ppl">Hobbes='lgc'>:) “man is wolf to other men"='lgc'> = man is a subject to objects
='strcls'>*the discovery of the object='strcls'>*
(that there is such a thing as) object is an old o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal political ="trms">relation tale
="prgrph">-a ="trms">scientific invention='qstn'>? ='lgc'>='lgc'>-->='lgc'>{always ask, what are the objects and subjects of ='lgc'>[(pre)="trms">historic='lgc'>] ="trms">science='qstn'>?='lgc'>}
='strcls'>*** “Aphrodite-pleasure is born of the ="trms">world and the waters. Mars is in the forum and in the armed crowd. Reduce your ="trms">relations to a minimum and bring your objects to the fore. Reduce the ="trms">intersubjective to a minimum and the objective to the maximum. With your back turned on politics, study physics. ='lgc'>[...='lgc'>] Forget the sacred, that means='lgc'>: forget the violence that founds it and forget the ="trms">religious which links men to each other. Consider the object, objects, ="trms">nature.”
="ppl">Serres='strcls'>*
...nevertheless the plague returns and there is violence
sacred ='lgc'>='lgc'>--> division of space ='lgc'>='lgc'>--> temple ='lgc'>='lgc'>--> inside ='and'>& outside ='lgc'>='lgc'>--> a dichotomized space ='lgc'>='lgc'>--> a boolean ="trms">geometry, a two-valued ="trms">ontology ='lgc'>='lgc'>--> inside ='lgc'>: ="trms">religious , outside ='lgc'>: profane ='lgc'>='lgc'>--> inside ='lgc'>: ="trms">matter , outside ='lgc'>: void ='lgc'>='lgc'>-->='qstn'>? Atom
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O="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of ="trms">geometry, construction of ="trms">geometric idealities, establishment of the first proofs, a ="trms">Greek (or Egyptian priest) miracle
='lgc'>--="ppl">Serres='lgc'>='lgc'>--> this is the same as asking='lgc'>: how one passed from one ="trms">language to another, from one type of ="trms">writing to another='qstn'>?
='strcls'>**we are always dealing with many ="trms">languages='strcls'>**
one of my contracts='lgc'>: agreement on what is noise.
I never truly made an agreement with my audience on what we might collectively agree about noise and ="trms">interference.
="lsts lst1">•mode of ="trms">communication, meaning-making, ="trms">language, ="trms">transference, transformation,
="lsts lst1">•what is the ="trms">intersection of our repertoire='qstn'>? (in ="nms">apass, particularly; each of our ="trms">mimetic preoccupations, dynamics of our violences, our mathematical sites, drawings on sand, modifiers, etc.)
='lgc'>='lgc'>==> dialogue
mathematics='lgc'>: (="trms">presents itself as) a ="trms">communication maximally purged of noise
HRN='lgc'>: human ="trms">relation-noise
='lgc'>=/= ="trms">geometry
die agonal
="large lg26" stl="font-size:131%">
to which degrees ='mywrk'>my work on ="nms">ajayeb aligns or depends on the “new ="trms">language” of the inexhaustible discourse of mathematics as inherented from the ="trms">Greek ="trms">geometry into the ="trms">modern culture='qstn'>?
What are the inaugural ="trms">relation of the ="trms">geometric (metrological) ideogram to the ="trms">CG='qstn'>? And to the Egyptian priest='qstn'>?
What is compared, modeled, simulated='lgc'>:
="lsts lst1">•flood
="lsts lst1">•fires
="lsts lst1">•celestial fire
="lsts lst1">•catastrophes
="lsts lst1">•violence of the elements
="lsts lst1">•
="nms">ajayeb='lgc'>: doxographies (, legends and allegories) ="trms">composed in ="trms">natural ="trms">language (='qstn'>?)
='lgc'>=/= (the problem of) how to duplicate the cube ='lgc'>='lgc'>---,='lgc'>{thematized object of the complete ="trms">intersubjective ="trms">relation='lgc'>}
='lgc'>='lgc'>~=='qstn'>? alogon ='lgc'>=/= logos='lgc'>: proportion, ="trms">measured ="trms">relation, discourse;
alogon prohibits speaking
crisis and recast, ="trms">questions of archive
="frds scrmbld">Luisa, ="frds scrmbld">Foad
(the space of the ="trms">relation between) experience ='and'>& abstract ='lgc'>='lgc'>--> between sense ='and'>& purity
(an inquiry line for ="frds scrmbld">Luisa='lgc'>: try to figure out the status of pure ='lgc'>[which is impure='qstn'>? when ="trms">history changes='lgc'>])
my allegorical covers
meaning of='lgc'>:
="lsts lst1">•non-disproportion
="lsts lst1">•nonviolence
="ppl">Socrates='lgc'>: you are in crisis because you are ignorant of ="trms">geometry
even='lgc'>: same
odd='lgc'>: other
برهان خلف borhane kholf, irrationality of the absurd
the irrational is ="trms">mimetic
='lgc'>='lgc'>==='lgc'>==='lgc'>==='lgc'>==='lgc'>==='lgc'>==='lgc'>==='lgc'>==='lgc'>==='lgc'>==='lgc'>===
="large lg30" stl="font-size:110%">
“before-after” temporality ="trms">narrative
="ppl">Serres's ="trms">fabulous work on the effects of the style in ="trms">science
='lgc'>='lgc'>--> styles profile from (a ="trms">sort of) stability ='strcls'>*** -they inspire disciplines and furtilize fields of research, they seizes what is at stake in ="trms">sciences
who believes that the passage from local to global is always possible='qstn'>?!
="ppl">="ppl">Lucretius answer is immediately “no”
in ="nms">apass each of us is somehow busy with the critique of unidimensional platitude characteristics of our milieus. / Is that the global notion in our rese="trms"nttrm="search">arches='qstn'>?
I want to take it up, maybe fulfill, and modify the project sketched out in ="nms">="nms">ajayeb al makhlughat 10 centuries ago.
='at'>#my ="trms"nttrm="already,spread">reading act with ="nms">ajayeb is like the practice of pencil monoprint on paper on a relief surface. The patterns of ="trms"nttrm="already,spread">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, ="trms">interactive ="trms">interfacial patterns of ="trms"nttrm="already,spread">reading="trms">writing with ="nms">ajayeb's textual corpus='strcls'>*
” ='lgc'>[...='lgc'>] the industrialized ="trms">world is frequently condemned to considering the concrete universe as its re="trms">presentation.”
="ppl">="ppl">Stengers ='lgc'>+ P="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigogine
(='qstn'>?what do we have that helps us give up ='thdf'>the idea of a) rational ="trms">nature of the real
observation ='lgc'>='lgc'>==> ="trms">generalization
="trms">measurement ='lgc'>='lgc'>==> precision
which precisions can be achieved by other than ="trms">measurement='qstn'>?
How not to ="trms">travel through the universe like free and self-determined gods='qstn'>? (='at'>#magicians)
="ppl">="ppl">Stengers > ="ppl">Leibniz ='at'>@="frds scrmbld">Luisa='lgc'>: “movement is produced within a full ="trms">world, an ="trms">interdependent ="trms">world in which nothing can happen that has not been made possible by the state of the set of bodies ="trms">according to a harmony that determines and checks at every moment the un="trms">folding of the ="trms">different movements.”
the full and compact ="trms">nature, version of ="nms">ajayeb
='mywrk'>my work in ="nms">apass is on a theory of transformation among ="trms">languages (not about the best point of view ='lgc'>='lgc'>=/=> ="trms">system ="trms">integrated ='lgc'>='lgc'>=/=> ="trms">trajectories calculated)='lgc'>:
="lsts lst1">•="nms">ajayeb's ="trms">natural ="trms">language
="lsts lst1">•="trms">system ="trms">language of ="trms">differential logic
="lsts lst1">•english grammar and syntax
="lsts lst1">•organic and ="trms">intersubjective space of my peers
="lsts lst1">•old ="trms">farsi
="lsts lst1">•="trms">animal
="lsts lst1">•
“speak of” ="trms">science
“speak about” ="trms">science
“speak” ="trms">science
“speak” ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics
speaking the ="trms">language of dynamics
what is still at stake in ="trms">science='lgc'>: the description of a ="trms">world of processes
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="ppl">Lezra
In the European ="trms">imaginary, the public struggle over the “better” word makes the city (the polis) ='at'>@="nms">apass
="brkr">
="ppl">Derrida calls for patience, take care ="trms"nttrm="already,spread">read on slowly. ="ppl">Kafka='lgc'>: all human errors are impatience. Radical patience, is the necessity to differ, but also to rush in precipitately, one has to make decisions='lgc'>: absolute urgency.
="trms">Literature for derrida, ="trms"nttrm="already,spread">reading in ='mywrk'>my works, is indis="trms">sociably bound up with ="trms">questions of politics, democracy and ="trms">responsibility, ="trms">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 un="trms">folding 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 this='qstn'>?
="ppl">Derrida proceeds with patience and pleasure, to describe what is going on in a particular text or ="trms">situation.
Every ="trms"nttrm="already,spread">reading is difficult, ="ppl">Shakespeare, maulwürfe, mathematics. The difficulty of ="trms"nttrm="already,spread">reading is in transforming the ways we are ="trms">obliged to think about those texts.
The transformation is crucially always al="trms"nttrm="already,spread">ready in the texts he ="trms"nttrm="already,spread">reads. Describing what happens when ="trms"nttrm="already,spread">reading a passage of anything. Everything is in ="ppl">Shakespeare, in ="ppl">Plato, in ="ppl">Kafka. The ="trms">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 ="trms">language and no more than a ="trms">language.
There are always ="trms">differences, tensions, paradoxes in the text, between what a text says and what a text does.
="ppl">Derrida always begins (wherever he happens to find himself) in a ="trms">specific context, which is to say in trying to engage with a ="trms">specific text or s="trms">cene of ="trms"nttrm="already,spread">reading.
(="trms">Writing is) is winking at someone (you like) while ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listening to my favorite music.
A ="trms">writing that is not structurally ="trms"nttrm="already,spread">readable ='lgc'>-- iterable ='lgc'>-- beyond the death of the addressee, would not be ="trms">writing.
The supplementarity of digression, a ="trms">fictional supplementarity. ="ppl">Freud is compelled to tell a ="trms">story but in the act of doing so, he betrays the annulment or effective impossibility of this ="trms">story. Sons murder of primordial father. O="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of morality='lgc'>: earliest moral restrictions in primitive ="trms">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 ="trms">written ‘for’ derrida... As if waiting for him to come along and point it out.
="ppl">Freud's ="trms">story is less the ="trms">narration of an ="trms">imaginary event than the simulacrum of ="trms">narration. ="ppl">Freud's quasi event, is at once of ="trms">fictional ="trms">narrative and as ="trms">narrative as ="trms">fictive. It is the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of ="trms">literature at the same time as the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of law, derrida sug="trms">gests.
="ppl">Kant, ="ppl">Freud, ="ppl">Kafka, what makes important all these thinkers for ="ppl">Derrida has to do with how each in their ="trms">different way brings out a ghostly or virtual ‘="trms">narrativity and ="trms">fiction’ at the very core of legal thought.
Law is always an idiom. An idiom is an expression with a meaning that cannot be guessed from the meanings of the individual words='lgc'>: its door concerns only you. One's ="trms">relation to the law is singular.
The drama of naming (='at'>@Sonja naming the dance, dancing the name, is she dancing the name of the dance)
john ="ppl">Keats, prospective; Williams ="ppl">Wordsworth, retrospective. Prospective work consists of hopeful preparation, anticipation of future power rather than meditative reflections on ="trms">past moments of insight and harmony. Oriented towards the future.
All 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 ="trms">story of maulwürfe like the shit on his head.
Recalling and reinventing ="ppl">Shakespeare, the idea is not to bring it from ="trms">past to ="trms">present, something that is al="trms"nttrm="already,spread">ready disjointed in time towards the future. I push the characters of ="ppl">King ="trms"nttrm="learn,clear,Clearl,Olearius">Lear to a future. The deconstructive ="trms"nttrm="already,spread">reading of the play has to do with the opening of the future itself. It is utterly important that you do something unpre="trms">dictable for yourself. If you are in the business of hate, ="trms">love suddenly, changing tracks brings the unexplainable to the ="trms">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 ="trms">interdisciplinary run.
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="ppl">Derrida shows, reminds, that we can never do anything ="trms">systematically.
="trms">Monstrosity in the ="trms">story Yal-o Ejdeha by ="ppl">Shamlu. ="trms">Monsters of the deep..
my aim was to show the ="trms">monstrosity of all the characters in ="ppl">King ="trms"nttrm="learn,clear,Clearl,Olearius">Lear not just Edmond. Edmond is the artist of the self. ="ppl">Shakespeare makes unacceptable characters. ="ppl">King ="trms"nttrm="learn,clear,Clearl,Olearius">Lear play is intolerable itself, an encounter with the opening of the future itself. Instead of giving in to the normalizing and legitimating re="trms">presentations which identity, recognize, and reduce everything too quickly, why not rather be ="trms">interested in theoretical ="trms">monsters, in ="trms">monstrosities which announce themselves in theoretical ="trms"nttrm="already,spread">reading.
The proper significance is simply and ="trms">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 ir="trms">responsibility
any phantasmatic organization, whether collective or individual, is the invention of a ="trms">drug, or of a ="trms">rhetoric of ="trms">drugs, be it aphrodisiac or not.
In talk, i ="trms">respond to the how of a ="trms">poem or text ="trms">dictating a kind of ad="trms">dictive ="trms"nttrm="already,spread">reading or desire in the ="trms"nttrm="already,spread">reader.
The project of a text, the project of a theory
="trms">according to ="ppl">Freud, when the work of mourning is completed the ego becomes free and uninhabited again. Funeral speeches and related ="trms">writings, are possibilities that structures the movement of identification. Mourning is the ="trms">interiorization of the dead other, also its contrary. Politics is figured as first and foremost an organization of the time and space of mourning.
After him, it is all war and crumbling.
We know better than ever today that the dead must be able to work. And to cause to work, perhaps more than ever.
The meaning of meaning ='lgc'>[...='lgc'>]
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='lgc'>[='strcls'>*='lgc'>]deconstruction='lgc'>: a ="trms">sort of strategic device ='lgc'>+ opening ="trms">onto its own ="trms">abyss (one of the most influential approaches to texts) ='lgc'>=/= ="trms">method
="ppl">Campbell ='lgc'>='lgc'>--> ="ppl">Derridean deconstruction is visual
="ppl">Derrida's thinking helps us take images ="trms">seriously (as philosophical artefacts)
="lsts lst1">•organizational image='lgc'>: the ="trms">aesthetic ambassador for the organization (it visualizes ='lgc'>+ gives ="trms">aesthetic value to it)
="lsts lst1">•advertisement='lgc'>: preeminent image of production and ="trms">consumption of the global economy
image='lgc'> = logocentric vision ='lgc'>--need='lgc'>='lgc'>--> problematizing ='lgc'>=/= solutionizing
="prgrph">-is there a spirit of critique that is not liberatory in purpose='qstn'>?
="ppl">Derridean deconstruction='lgc'>: a critical approach ='lgc'>--draw='lgc'>='lgc'>--> attention to the operations of ="trms">method itself (='lgc'>=/= ="trms">method)='lgc'>:
='lgc'>[='lgc'>~='qstn'>? feedback types:='lgc'>]
="lstsrd">1. ="trms">interventionist ='lgc'>--advocate='lgc'>='lgc'>--> ="trms">different/contradictory ="trms"nttrm="already,spread">readings (of images)
="lstsrd">2. radical ='lgc'>--="trms">interest='lgc'>='lgc'>--> roots of meaning-making activity
="lstsrd">3. liberatory ='lgc'>--seek='lgc'>='lgc'>--> evoke justice (forcing an image to account for itself)
="lstsrd">4. ethical ='lgc'>--concern='lgc'>='lgc'>--> what is overlooked
="lstsrd">5. innovative (productive) ='lgc'>--promote='lgc'>='lgc'>--> non-traditional ways of ="trms"nttrm="already,spread">reading (of ="trms">interpretting, of finding meaning)
intellectual climate in 1960s ='lgc'>='lgc'>==>
="lsts lst1">•="ppl">Derrida's deconstruction ='lgc'>='lgc'>--> bringing Saussure's own work to its own radical paradoxical con="trms">="trms"nttrm="cluster,club">clusion
="lsts lst1">•="ppl">="ppl">Foucault's ="trms"nttrm="search">archeological approach ='lgc'>[="trms">question ='thdf'>the idea that human is an a ="trms">priori ='lgc'>='lgc'>--> how humans have been diagnosed in psychiatry and (ab)normalized in criminal and sexual ='strcls'>*discourses='strcls'>* ='lgc'>==produce='lgc'>='lgc'>==> reality effects at the level of body='lgc'>]
="lsts lst1">•="ppl">Barthes's ="trms">semiology ='lgc'>=/= ='thdf'>the idea that the ="trms">author is the single and ="trms">authoritative source of meaning
="ppl">Derrida's ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list of concepts='lgc'>:
differance
retrait
revenant
dissemination
deconstruction
hymen
invagination
archiécriture
supplement
khora
pharmakon
scrypt
parergon
subjectile
='lgc'>}='lgc'>='lgc'>--> levers applying torque گشتاور and displacement in the textual machinery
deconstruction
='lgc'>='lgc'>==> counter-intuitive analyses
='lgc'>='lgc'>--> pre="trms">supposes a detailed knowl="trms"nttrm="knowledge,Knowledge">edge of construction (one must become intimate with the ways something is assembled) ='lgc'>[='lgc'>=/= cart blanche for meaning='lgc'>]
='lgc'>='lgc'>--> (="frds scrmbld">Jassem's style of) ="trms"nttrm="already,spread">reading otherwise='lgc'>: passing the classical discipline (='lgc'>=/= abandon, jettison it) to explore what it omits, forgets, ex="trms"nttrm="cluster,club">cludes, expels, marginalizes, dismisses, ignores, scorns, slights, takes too lightly, waves off, not ="trms">serious enough
="lsts lst1">•="trms">anthropcentric truth='lgc'>: a truth that appears to human beings
="lsts lst1">•="trms">instrumental truth='lgc'>: a truth aimed at getting things done (making things work)
="lsts lst1">•teleological truth='lgc'>: a truth which closes debate and fastens meaning
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='lgc'>[='strcls'>*='lgc'>]visual='lgc'> = a form of control (='lgc'><='lgc'>--="ppl">Campbell='lgc'>-- this aspect makes it central to organizational analyses) ='lgc'><='lgc'>==
="lstsrd">1. ='strcls'>*visual organizes reality by claiming status as the preeminent form of re="trms">presentation='strcls'>* (vision is the dominant tyrannical ="trms">phenomenology of the contemporary ="trms">world ='lgc'>='lgc'>==> all forms of knowl="trms"nttrm="knowledge,Knowledge">edge can be ="trms">presented visually)
="lstsrd">2. ='strcls'>*conflation of the ‘seen='lgc'> = known’='strcls'>* ='lgc'>: “vision='lgc'> = ways of knowing='lgc'> = experiencing the ="trms">world” (='lgc'><='lgc'>-- ="trms">imagined inseparable) ='lgc'>='lgc'>==> ='thdf'>the idea that depiction/picturing/seeing are ubiquitous features of the process by which most human beings come to know the ="trms">world as it really is for them
="lstsrd">3. ='strcls'>*visual organizes the ="trms">worldview of the seer='strcls'>* ='lgc'>='lgc'>--> visual is at its most powerful when it is most invisble (='thdf'>for example ="trms">scientific diagrams, mapping ='at'>@="nms">apass)
='strcls'>***instances of visual control='lgc'>:
="lsts lst1">•uniforms
="lsts lst1">•packaging
="lsts lst1">•computer software packages
="lsts lst1">•brand logos
="lsts lst1">•buildings
="lsts lst1">•websites ='at'>@="nms">apass
="lsts lst1">•management reports
="lsts lst1">•staff
="lsts lst1">•servicescapes ='lgc'>[an environment where the first/primary perceived aspect is service='lgc'>]
="lsts lst1">•
harmful, deficient, deformed, secondary ='lgc'>=/= superman, supergirl
logocentrism='lgc'>: letting the logic lead the letter ='lgc'>--="ppl">Campbell='lgc'>='lgc'>--> images are logocentric in that they create meaning by appealing to a central apparently undeconstructible ="trms">system of ="trms">authoritative truth (appealing to sources of transcendence outside of the image) ='lgc'>[='lgc'>='lgc'>--> for example forensic architecture images ='lgc'>=/= ="ppl">Derrida's ='strcls'>*there is nothing outside of the text='strcls'>*='lgc'>]
="lsts lst1">•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 ="trms">authoritative meaning
='lgc'>[title='lgc'>]
ruined coherent ="trms">heritage
there is no escaping the enclosure of (logocentrism of western tradition of) ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics ='lgc'><='lgc'>-- we can critically engage it from within
bricolage
bricoleur ='lgc'>='lgc'>--> one is participating in the intellectual ="trms">heritage one is critiqing
death of man
="lsts lst1">•="ppl">Barthes ='lgc'>='lgc'>--> death of ="trms">author
="lsts lst1">•="ppl">Strauss ='lgc'>='lgc'>--> structura="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list approach to human ="trms">nature
="lsts lst1">•="ppl">="ppl">Foucault ='lgc'>='lgc'>--> ="trms">history of the ="trms">historical arbitrariness (of the human ="trms">sciences)
="lsts lst1">•
='lgc'>}='lgc'>='lgc'>--> antihumanism (of ="ppl">Barthes and ="ppl">="ppl">Foucault) sug="trms">gests it might be possible to stand outside the humanist legacy (and analyse from a ="trms">position outside) ='lgc'>==="ppl">Derrida='lgc'>='lgc'>==> (escaping from human constitutes) a very human tendency that has been at work in the cultural and ="trms">social ="trms">imaginary since antiquity ='lgc'>='lgc'>--> for example ="ppl">="ppl">Foucault's archaeology='lgc'>: (to understand) ='strcls'>*how reason determined madness in ="trms">different eras by looking at how reason evolved ="trms">historically='strcls'>* ='lgc'>='lgc'>==> puts the analyst outside the humanist legacy of reason ='lgc'>==restore='lgc'>='lgc'>==> the ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical illusion of mastery and control
='lgc'>=/= ="ppl">Derrida
(my problem with making alternative ='strcls'>*archives, gar="trms">dens, and maps='strcls'>* in art='lgc'>:)
="lsts lst1">•="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical complicity (with archive and garden) ='lgc'>+ critique we direct against complicity (with archive and garden) ='lgc'>='lgc'>--> we cannot give up the “='lgc'>+"='lgc'> = 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 ='lgc'>='lgc'>--> ='thdf'>for example
='lgc'>[='strcls'>*='lgc'>]map='lgc'>: visual organization of the ="trms">world ='lgc'>='lgc'>--> quickly erase or black box the circumstances and ="trms">history of their own construction ='lgc'>='lgc'>==> marshal vision into logocentric coherence ='lgc'>='lgc'>--> act as reflection (='lgc'>=/= re="trms">presentation) of the ="trms">world
radical cartography is now an established sub-discipline of geography (='strcls'>*maps are deconstructed to identify their logos='strcls'>*) ='at'>@="frds">Sina's ="trms">mimesis of ="ppl">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 ="trms">interfaces) ='lgc'>='lgc'>--> images of ="trms">technology
critical practice='lgc'>: producing a new knowl="trms"nttrm="knowledge,Knowledge">edge of the text (='lgc'>='lgc'>==> explain the ideological necessity of its silence) ='lgc'>=/= make a whisper audible, complete what the text leaves unsaid
other='lgc'>: other meanings of a text, other ways of seeing things
self/other ='lgc'>--="ppl">Derrida='lgc'>='lgc'>--> it only has meaning insofar as it differs from something else
="lsts lst1">•every concept has its op="trms">posite or its other (somehow marked within it)
="lsts lst1">•the good one can be designated only through the ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor of the bad one ='at'>#="trms">fable
deconstructing an image='lgc'>:
="lsts lst1">•looking at what the image in="trms"nttrm="cluster,club">cludes and ex="trms"nttrm="cluster,club">cludes
="lsts lst1">•detecting the ="trms">social roles it creates
="lsts lst1">•examining the hierarchies that appear ="trms">natural in the image
='lgc'>}='lgc'><='lgc'>== ='strcls'>**visual re="trms">presentation works as much through what is not shown as what is shown='strcls'>** (Hall), through feints and deceptions (Mitchel), through gaps and silences (Joy ='lgc'>+ Venkatesh), through stated and unstated (Stern), through the not seen or said (="ppl">Rose)
="trms"nttrm="already,spread">reading='lgc'>: detailed and ="trms">specific examination (of a piece of text)='lgc'> = لاروب dredging machine ='lgc'>='lgc'>--> disturb the text (dissecting patiently and minutely the ="trms">narrative, structure, syntax, ="trms">figuration, images, ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphors, metonyms استعمال لفظ در معنای غیرحقیقی majaz) ='lgc'>==(draw out)='lgc'>='lgc'>==> complexities, ambiguities, aporias, ironies, taken-for-grantedness, just-is-ness
='lgc'>--imply='lgc'>='lgc'>--> a critique of objectivity
='lgc'>{revelation='lgc'> = dist="trms"nttrm="disturban">urbance='lgc'>}='lgc'>='lgc'>-->='lgc'>{alternative meaning='lgc'> = site of ="trms">simultaneous deconstruction='lgc'>}
dynamics of ="trms"nttrm="already,spread">reading (close ="trms"nttrm="already,spread">reading)
="lstsrd">1. working of a text hides itselg (images of soap powder, ="trms">children's ="trms">science homework, computer chips, etc.)
="lstsrd">2. ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigorous inspection of the text
="lstsrd">3. text is not immune to ="trms">interpretation (='lgc'>~ text reconfigures itself ="trms">according to the touch of ="trms">history, personality, ="trms">method, intention, politics, culture of any given ="trms">interpretation ='lgc'>=/= closed space)
='strcls'>*="trms"nttrm="already,spread">reading='lgc'> = producing meaning='strcls'>* ='lgc'>=/= reflecting
="lsts lst1">•Toyota's advertisement ='lgc'>='lgc'>--> an image of gay family life ='lgc'>='lgc'>--> the image converges on a notion of multicultural pansexual divergence ='lgc'>='lgc'>--> ="trms">market conditions under which homosexuality is accepted
="lsts lst1">•Joe Camel campaign ='lgc'>='lgc'>--> 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 ="trms">category of person ='lgc'>[='lgc'>=/= dinosaurs='lgc'>] ='lgc'>+ camel='lgc'>: ="trms">beast of burden and of humility (Aesop's ="trms">fables) and as creatures of uncontrollable lust (from depiction by monks in medieval times to teach moral ="trms">fables to the public)
performance of a textual sex change operation
(monotonality) monovisuality of the dominant visual message
logocentric='lgc'>: a transcendental signified to which the text refers
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="ppl">Plato's powerful attack on ="trms">writing as “dead speech”='lgc'>: ="ppl">Socrates and Phaedrus walk in the countryside. ="ppl">Socrates recounts to him a myth about the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of ="trms">writing='lgc'>: the king Thamus is ="trms">presented with a ="trms">present from his son Theus; the gift of ="trms">writing. Theus tells his father that the gift will make his people wise as it will improve their ="trms">memory ='lgc'>--='not'>✕='lgc'>='lgc'>--> ="ppl">Derrida shows that in the same argument ="ppl">Socrates goes on to describe speech as another ="trms">sort of ="trms">writing; he actually uses a ="trms">writing ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor to describe the “true ="trms">nature” of speech “not merely as a knowing, living, animate discourse, but as an inscription of truth in the soul”
="large lg22" stl="font-size:101%">
deconstruction ='lgc'>=/= re-="trms">interpretation
| |
impossible ='lgc'>+ providing a
plausible ="trms">story ="trms">different ="trms">story
deconstructive ="trms"nttrm="already,spread">reading (idio="trms">syncratic to the text) ='lgc'>==offer='lgc'>='lgc'>==> multiple ='and'>& contradictory potential meanings to the text
="ppl">Derridean approach to meaning making='lgc'>:
="lsts lst1">•cricular
="lsts lst1">•paradoxical
='lgc'>='lgc'>~= it requires us to ='strcls'>*deconstruct the deconstruction='strcls'>* ='lgc'>='lgc'>--> ='strcls'>*work against meaning and ="trms">interpretation='strcls'>*
name of man='lgc'>: (the name of that being who throughout the entire ="trms">history has dreamed of full ="trms">presence='lgc'> = the reassuring foundation, the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin ='lgc'>=/= play)
='lgc'>[my ="trms">fable workshop was about this ='lgc'>='lgc'>-->='lgc'>] ="ppl">Derridean deconstruction of images ='lgc'>='lgc'>-->
="lsts lst1">•drawing attention to the way image constructs itself in order to implicitly re="trms">present a single ="trms">history (='lgc'>=/= seeking to tell the truth about what X means)
="lsts lst1">•keeping alive the contra="trms">dictions within it (='lgc'>=/= solutionizing)
(='qstn'>?how to deconstruct ='lgc'>[iamges of='lgc'>]) nano="trms">technology='lgc'>: practice of manipulating all types of living and non-living ="trms">matter at its atomic level
="lsts lst1">•corporations portraying nano="trms">technology as a ="trms">positive and legitimate force (='lgc'>+ visually close down the possible meanings of its products)='lgc'> = Iron Man
="lsts lst1">•nanospace='lgc'>: planetary bodies afloat in the darkenss of ="trms">intergalactic space
="lsts lst1">•fantastical un="trms">serious endeavour
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(='lgc'>[what is='qstn'>?='lgc'>] my problem with) message شعاری
='strcls'>**advertisement ='lgc'>='lgc'>==> confuse ="trms">agency ='and'>& ownership='strcls'>**
the fantastic is rescued by the human (face)
(in advertisement ='lgc'>='lgc'>-->) ='strcls'>**the ways in which knowl="trms"nttrm="knowledge,Knowledge">edge ='and'>& reality are marshalled into collective visual con="trms">sensus='strcls'>**
visual deconstruction ='lgc'>='lgc'>--> ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigor towards the idio="trms">syncrasy and singularity of any text
restricted economy of the text ='lgc'>='lgc'>==> particular meaning ='lgc'>=/= ="ppl">Derrida='lgc'>: moveing from a restricted ='lgc'>--to='lgc'>='lgc'>--> general economy of the text
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="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics='lgc'>: enterprise of returning (strategically, ideally) to an o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin (a ="trms">priority) thought to be simple, intact, normal, pure, standard, self-identical ='lgc'>[='lgc'>=/= to think in terms of derivation, complication, deterioration, accident='lgc'>]
='lgc'><='lgc'>--="ppl">Derrida='lgc'>-- (the most constant profound potent ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical ="trms">gesture in Western philosophy='lgc'>:) conceiving simple before the complex, essential before the accidental
='lgc'>}='lgc'>='lgc'>--> logocentric thought='lgc'>: thought which does not adequately attend to the contra="trms">dictions inherent in its own medium ='lgc'>='lgc'>==> ='lgc'>[logocentrism:='lgc'>] (="trms">fable) faith in the status of ="trms">language as a lucid carrier of meaning (='lgc'>=/= attentiveness to the ="trms">materiality of ="trms">communication and the implications of such a project)
pecific ="trms">languages make ="trms">communication ="trms">material, and exploring the ="trms">interplay of terms within a ="trms">linguistic ="trms">system (='lgc'>='lgc'>-->='qstn'>? baroque) ='lgc'>=/= Enlightenment='lgc'> = Age of Reason (logos)
="brkr">
="large lg30" stl="font-size:100%">
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Beauty and the ="trms">Beast
or, blast of the clean slate
(goddamn it)
The picture of a relatively un="trms">differentiated and continuous topological space undergoing discontinuous ="trms">transitions and progressively acquiring detail until it con="trms">denses into the ="trms">measurable and divisible metric space which we inhabit, is a powerful ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor for the cosmic genesis of spatial structure. (Intensive ="trms">Science ='and'>& Virtual Philosophy)
baroque Trauerspiel, classical synthesis, ...
synthesis='lgc'>: synthetic thinking (the combination of ideas into a complex whole)
this is not a reasoning exercise (deducing particularity, etc.)
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="trms">imagine you find a head. how do you search for the body='qstn'>? (research project)
graduating from ... and approaching ...
(from fairy tale ='lgc'>-='lgc'>='lgc'>--> approach myth)
='lgc'>='lgc'>--> http://www.sinaseifee.com/DifficultForests.html
becoming Amazon as the fear of the male.
(Amazon as male hunter ="trms">symbol)
(="trms">symbol for) masculine gender principle
(to disavow sexual ="trms">difference)
I am not bringing the text to you, or you to the text.
as you have al="trms"nttrm="already,spread">ready guessed we have to destroy both ='thdf'>the notion of text and you, to some extent, in order to permit a ="trms"nttrm="already,spread">reading to constitutes itself.
is San'an a prince charming='qstn'>?
(let's examine)
the spiritually established death-birth (death of birth and birth of death) at the end of ="trms">story
="ppl">Miyazaki's faceless ="trms">monster (in Spirited Away 千と千尋の神隠し), with his flexible plasticity, has an issue with appearance. he goes from loneliness, to ="trms">love, to greed, and finally becomes a student body. he has great ="trms">agency in the beginning and docile in the end, ='lgc'>[اسیر صورت ='lgc'>--='qstn'>?='lgc'>='lgc'>--> اسیر معنی='lgc'>]
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 ="nms">Iranian ego
(for Anastasia) what is the next war='qstn'>?
ترسا
(to the audience='lgc'>:) you should feel free to make notes, because I am making notes while you are talking, and these kind of ="trms">lectures I am doing are the process of those note-makings.
I like to ="trms">interrupt you. the performance is itself an ="trms">interruption of you, like when we say in a conversation “may I ="trms">interrupt you” your pace, your velocity, your speech-acts, etc.
what is being ‘="trms">interested’ in the ="trms">history of illusion='qstn'>?
in your process in becoming woman, you might end up becoming a female robot.
(Tarsaa's part)
whose testicles are smashed here='qstn'>?
to the less molested .... (body of the pupil)
psycho-="trms">history
human preparedness for ="trms">inter-="trms">relations with ="trms">technology and ="trms">technologization
='strcls'>***test some fai="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lures
a ="trms">different brand of ="trms">anxiety (='qstn'>?)
walking on groundlessness, ="trms">literature, house of ="trms">literature='qstn'>?
protest against “was”
give ="trms">literature in its totality
initiate a program
we don't ="trms">love our selves nor our neighbors
San'an, when he thinks he is getting close, he has ="trms">abysses he has to clear
which ="trms">language the house speaks='qstn'>? or which ="trms">language German speaks='qstn'>?
house of ="trms">literature, house is the site of kinship too.
if ="trms">literature is like a house at all
un="trms"nttrm="already,spread">readable algorithm of encounter
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I hope we can get along famously
='mywrk'>my work has been really about old forms in the city, how should we build,
tyranny,
packaging (packaging existing knowl="trms"nttrm="knowledge,Knowledge">edge, the way for example the IT industry does it.)
am I against packaging='qstn'>?
rationalizing and separating functions in the city
place, space, face,
in the ="trms">history, the leg-less-stone and the lying-visage have been together. a study of apparition must in="trms"nttrm="cluster,club">clude the physical ="trms">material as well, not as counterparts, rather as its play-mate.
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the structure of space in San'an ="trms">poetry
distinction between subject and object, between signifier and signified, encompassing the whole of dua="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic logic through its branching patterns, through its de="trms">finitions of set pathways between root and branch.
the Arborescent model of ="trms">relationships in San'an ="trms">story='qstn'>?
The rhizome likewise resists structures of domination, such as ='thdf'>the notion of “the mother tongue” in ="trms">linguistics, though it does admit to ongoing cycles of what ="ppl">Deleuze refers to as “deterritorializing” and “reterritorializing” moments.
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about my performances='lgc'>:
“There is no longer a tripartite division between a field of reality (the ="trms">world) and a field of re="trms">presentation (the ="trms">book) and a field of subjectivity (the ="trms">author). Rather, an assemblage establishes connections between certain multiplicities drawn from each of these orders, so that a ="trms">book has no sequel nor the ="trms">world as its object nor one or several ="trms">authors as its subject.”
(="ppl">Deleuze - Rhizome)
...consists not in an argument, but in the ecstatic elaboration of a ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor, a web of ="trms">interconnected concepts, the development of a new ="trms">vocabulary without a pause for explanation or so much as a simple de="trms">finition.
“...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 ="trms">lecture, emphasizes the rhizomatic to foster ="trms">imaginative work that challenges typical critical forms.
not to overlook the working of ="trms">matters, and the exteriority of their ="trms">relations.
(in a ="trms">book, a ="trms">lecture, etc.) there are lines of ="trms">articulation or segmentarity, strata and territ[...]