[...]estion of epidemiology

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”

="large lg2" stl="font-size:111%"> that which disappears from de="trms">finition, reappears ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphorically

the small amount of linkage between events

(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'>?

="large lg22" stl="font-size:127%"> 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

="large lg1" stl="font-size:128%">
die agonal


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'>?

="large lg22" stl="font-size:111%"> 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'>===


“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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="large lg10" stl="font-size:129%"> ="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.

="large lg18" stl="font-size:131%"> 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.

="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


='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)


="large lg3" stl="font-size:112%"> ="trms"nttrm="already,spread">reading='lgc'>: detailed and ="trms">specific examination (of[...]