[...]n 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”
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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'>~= 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
(='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'>**
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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'>?
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rationalizing and separating functions in the city
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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 [...]