[...]ependent ="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">•
="large lg2" stl="font-size:110%">
“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;">...................................
="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.
="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
="large lg1" stl="font-size:135%">
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
="large lg22" stl="font-size:109%">
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'>}
="large lg22" stl="font-size:125%">
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
="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”
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'>*
="large lg14" stl="font-size:132%">
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
(='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">
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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.)
="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
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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 mul[...]