[...]s 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.

="large lg2" stl="font-size:112%"> (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

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

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'>==> dialogue

mathematics='lgc'>: (="trms">presents itself as) a ="trms">communication maximally purged of noise

="large lg1" stl="font-size:114%"> HRN='lgc'>: human ="trms">relation-noise
='lgc'>=/= ="trms">geometry


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'>?

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'>~=='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'>=======================


“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'>==> ="trms">generalization
="trms">measurement ='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

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

="large lg3" stl="font-size:112%"> ="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 lg4" stl="font-size:111%"> 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.

="large lg5" stl="font-size:158%"> 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 conte[...]