[...]to the jinn
-bringing forth advice, instruction, expression of desire (from the jinn)

relationship of ventriloquism (between Maryam and jinn)

there was an accepted contiguity of jinn and human selves & possibility of a plurality of voices in Maryam's mediation --> enjoin her family to attend closely to her words

coterminous
هم مرز، هم زمان
Ahmadi in Pakistan
each Muslim group claimed itself the truest of all <-- the idea that *to accept the X's claim to be Muslim = accept one's own annihilation as Muslim*
--Naveeda--> question the limits of contiguity of different forms of life (when copresence was tolerable? when copresence was made intolerable?)


imitato Muhammadi
emulating X (to experience X) --through--> passionate love and ecstatic identification with the X
(for example the prophet: seeing the prophet on one's mind's eye + imitating him)
•sufist approach: prophet is immanent in the world
•varied affective relations to the prophet:
◦ecstatic love
◦reverential love
◦respect
◦

jinns having a dynamic disruptive presence within the human world

Sunni Deobandi's belief that the prophet is alive in his grave in Medina ~= Shia's notion of the hidden imam


*several (competing) bodies of knowledge*

Naveeda --read--> Sahib taking cues --on--> prophet's example --from--> faceless voiceless jinn --with--> little child surving as its medium


-parental disappointment with sons
-children possible abandonment by their fathers
-wife's estrangement from her dying husband
--> ambiguities that undergrid lived relations

“Maryam rushed to greet him at the door of the house but then she fell back screening. apparently a thirty-feet-tall churail (witch) had followed Sahib from India. Sahib immediately dropped his bags at the doorstep and without pause rushed to the mosque to say his prayers. when he returned home, Maryam assured him that the witch had left him.”

Sahib allowed the entry of jinn into his home without the armature of the average amil (who undergoes considerable pain and deprivation to be able to lay claim upon particular force, and undertake continental exercises of the body and mind to control it)
--risk--> potential disruption of the family
--abdicate--> his position of authority within his family --to--> attend to his daughter's words of guidance

*his turn towards Maryam = turn away from the present* (of his everyday life not having the spiritual richness & *authoritative accounts* [he desired to make himself a better Muslim])

from a pedagogical figure --to--> pupil to his daughter

pursuits of the self ~=> incorporate the unexpected --extent--> abdicating full control of oneself

in bringing a jinn into his life --> it became a version of him joining other versions of himself with whom he was bound

--Iqbal--> striving to one's next self


in the famous tale of Aladdin and the magic lamp, a child found a genie and could be literally pulled out of a humdrum existence to soar the skies
•Maryam shared the jinn's joy in discovering human food
•she got to whisper her secrets into his ears
•make him complicit in her projects
•she got to temporally take leave of her body that was changing beyond her control

(Naveeda asks) was Sulayman (the jinn) about the inability to acknowledge friendship over time?

...................................

Naveeda chapter 5 mulla


graffiti --> awareness of X at the level of gesture and affect

participation in change

(Agamben -->) [*]gesture: inhabiting of potentiality



Naveeda four scenes of aspiration:
1. librarians engaged in argumentation over the nature of the prophet's body after his death --gesture--> argumentation
2. neighborhoods embroiled in fights over mosques in attempting to prescribe the rightful atmosphere for prayer --gesture--> seizure
3. the state drawn into theological disputation and legal experimentation over how over should attach oneself to the prophet --gesture--> legal experimentation
4. a pious man trying to seek guidance on how to be Muslim from an invisible being (jinn) --gesture--> search for guidance
}--affect--> accompanied by intensity of seriousness, sincerity, excitement, disappointment, sense of loss
}--commitment--> friendship, neighborliness, familial ties

large arsenal of off-color jokes about specialist fogures of all religious traditions in the popular culture of the subcontinent...
•horror stories
•psychological profile of mullas
•weekly skewing of mullas
•mulla jokes
•cartoons
•
political commentary <--> criticism
--> mulla was to blame for everything that was perceived to be wrong (in Pakistan) --> *pervasive skepticism* [also in Iran]

skepticism shadows striving (?)


the other of the striving muslim in Pakistan:
•shadowi Shia
•deceiving Ahmadi
•bad-tempered mulla بدمزاج


mulla:
•Iqbal --> ossification of the institution of ulama
•Pakistani state --> ossification of commentary upon Islamic texts

...everyday assertion that one's religiousity is superior to others


mulla = full-fledged maleficent persona


skepticism of daily existence
1. ...(they become skeptical) about his rationality and grounds for his beliefs
2. ...(at some point) anything could be said or believed about him
3. ...(he felt like) everyone around him had turned to animals
4. ...(he presumed) everyday life was one of illusion and appearances [go to --> kelile demne این همه سودا است، مجاز]
}--> actualize the potential for *skepticism that existed in the social fabric*
=/= chance encounter
=/= pervasive condition


figure of the mulla [~= collective fear + revulsion] --traverse--> the fragmented public culture of the city


[*]ulama: guardian, transmitter, interpreter of shari'a
+ specific claims of knowledge upon:
1. تفسیر tafsir (commentary upon the Quran)
2. فقه figh (jurisprudence)
3. حدیث hadis (sayings of the prophet)
4. کلام kalam (speculative theology)
+ (in Pakistan) personnel in mosque:
1. امام imam
2. خطیب khatib (Frida sermon)
3. قاری ghari
4. موذن muezzin

mulla --derogatory--> one who is overzealous in upholding the letter of the shari'a
(+ additional connotation:)
•ignorant master [go to --> mulla nasruddin: religious master who gets by in life through hypocrisy and cunning + outsmarting those of noble birth and high cultivation]
•gabza agent (seizure of property)
•sodomizer (one who rapes men)
•a naive fool out of step with his time
•


colonial politics in south Asia --> British colonial administration in India see ulama as outdated, deliberately obscurantist, jahel ==> negative stereotype ----> post-colonial period

mullaism:
•Pakistani state --> fossilized state of knowledge on Islam
•Iqbal --> mullaism =/= freedom of ijtihad


(Talal Asad -->) Islamic diskursive tradition is grounded in *argument that anticipates resistance* in the form of doubt, indifference, or lack of understanding ==> it employs the force of reason to bring forth the *willing performance of a practice*
}==produce==> domain of orthodoxy (+ relations of power)


(for Naveeda) anxiety or skepticism ~= sign of aspiration for striving


labbaik: i am here (to follow your orders)

theatrical unteality

...animus lies in the world
[later he] identitues this animus with thr workings of iblis (satan)
...this is a city of whispers [waswasen], a city of mad possession [shar], a city of deviation [ilhad], a city of anxiety [tazadzud], a city of dispersion [intishar]

the ability to smell oneself --> to experience oneself as other


how public culture can ability skepticism as a pervasive condition


mulla jokes --> horror stories = fear + revulsion

(Freudian) eruptive quality of jokes --> joke erupts into everyday life as of from elsewhere

political cartoon: maximum effect through a minimum of details

(mulla) jokes, horror stories, political cartoons --Naveeda--> *exiling the foreignness within*


stories of:
1. mosque in an upscale shopping center
2. sexually predictory mulla
}--> (speaks of:)
1. the perception that there were places in Pakistan where vise was allowed to grow unchecked
2. the menace the ulama introduced into everyday life
}==> (the effect of:)
•keeping public attention upon possible sites and agents of corruption
•putting the everyday life into question (as to whether it was what it appeared to be)


political cartoons --imply-->
•Pakistanis are caught in someone else's game
•growing unfamiliarity of Pakistan


(charges of)
sinfulness
sexual voraciousness
cunning
gluttony
political ambition
worthlessness
corruption
self-destruction
--> continuous efforts to set the mulla outside of oneself (=/= everyday familiarity with the ulama)

***negative stories and cartoons --express--> various degrees of skeptical orientation to the world***
jokes --(descriptive density)--> full expression to skepticism
--{also in Iran}--> making (mulla) grotesquely other ==> inconcevable to imagine any points of relatedness (to mulla)



•scatological jokes
•reworking of official rhetoric for ludic effect
•exaggerated performance of power
}--Mbembe--> “relationship of conviviality with the realm of official power”

vulgarity ==long-term==> *zombification of official figures* (robbed of their humanity --> they cannot be apprehended except through their caricatures)

...................................


to loosen some terms carefully: memory, form, order,


[The arts of memory- Comparative perspectives on a mental artifact. Revised and updated by the author Carlo Severi. Translated by Matthew Carey - Severi - HAU- Journal of Ethnographic Theory]


memory as a domain of social life

archive
“order” constitutes a principle to engender other forms of knowledge

totem poles, simply records the different circumstances that marked a particular social group, were comprised of organized series
occupied with the transmission of ‘names’, but necessarily, paralleled by a form of logical power, implies sequential ordering of different forms of knowledge.

the “art of memory” applies different types of relationships or archival techniques that are not limited to mere numerical calculation: mnemonic, iconographic, and logical techniques.

provide a convincing account of the complex process of ordering

in a measured rigorous way...

what characterizes the system

development of taxonomic principle
system endowed with a high degree of logical power

the idea of pure quantity, based on decimal numbers applicable to wide range of categories: people, objects, units of time or space, etc.

an “art of memory” possessed of rudimentary form of visual salience and an extremely complex ordering of representable knowledge

what matters are system's logical implications and not its visual manifestations

salience
(colors, shapes of knots, folds)

the qualitative categories (meant to be named)

(finding) the organizing principles

precisely calibrated
oriented space
(geometrically?)

what constitutes the logical poles of the vast spectrum of the projects in the archive (people, objects, units of time or space, etc.)

(concerning the archive) we can negotiate two types of knowledge: lists and narratives

to identify a series of key elements that allow us to rethink a wider chronology

textual archaeology - evaluates and decrypts, layer by layer

discovering (evidential) mnemonically oriented means of organizing traditional knowledge

(Montesinos's book:) “list of one hundred kings”

should we abandon the conventional terms of “narrative”
the term narrative used to describe mnemonically oriented lists of names..
narrative was just one of several different means of organizing knowledge..

graphical representation, capable of developing further degrees of complexity

“form”
recreate the ‘form’ (form : ‘state of organization of matter’)

within (this/a) variable system

“text” as sequences of cords

memorization (the creation of mnemonic relation) necessarily implies the modular organization of the knowledge it represents


constitutive dualism in many forms of the art of memory:
•order (Anordnung) and salience (Hervorspringen)
•expressivity (and power)
•encoding (Verschlüsselung) and evocation (Herbeirufen)

possible course between the twin rocks of writing: “social” and “arbitrary”

at the end it is the mental operation
(techniques of thought)

the image plays a central role in the construction of relations between (visual) themes and particularity of words, which in turn help organize narratives

...................................

these all were technical or formal questions so far


memory is a way consistency maintains itself


civil society is afraid of personal recollections and perverse databases, digital collections

is khm’s archive a state sponsored memorialization, monuments of a consistent history? (that assumes a sublime ending?)


the immemorial (in memorial)


have a strong philosophy of technology with this project
there is never merely a technological question, always already ontological

who wants to remember, solidify, and memorialize?
and for whom?
building a technological temple of memory, khm aesthetic narrative of its own history?
(first there is one big account of property that all these fragmented histories of numerous people who worked in khm are singed under one signature, of khm)

should we disavow any notion of “spirit” in khm?
we must agree that khm's render of its own history is pure aesthetic what so ever.


we must remain committed to the experimental, when dealing with archival domains in the school of media art where experimentation was in its original conception and foundational roots (as Zielinski expresses in one interview: “+25 KHM: Siegfried Zielinski” https://www.youtube.com/watch?v=S3JQ3aTwu2s)

arte
DAS KURZFILM-MAGAZIN
KURZSCHLUSS
Siegfried Zielinski im Interview
http://cinema.arte.tv/de/artikel/siegfried-zielinski-im-interview



hybrid objects?
is the logistic characteristic of digital data inconsistent with the hybrid objects of art?



Forms of thought, from what Lévi-Strauss called the “systematization [of] what is immediately presented to the senses,”


(Jakobson)
transmutation: cognition involved by the form of translation

data ontology



what is the point of view of rationality in this for us?
(what is the point of view in witchcraft? knowledge is a performative recipe)
what is the point in point of view?

...................................

(Jorge Luis Borges - ‘Funes the Memorious’ in ‘Labyrinths: selected stories & other writings’ 1964)
in Borges story, Funes, the character unable to forget is incapable of the concept of ‘general’
solitary and lucid spectator of [...] an intolerably precise world
not capable of thought
in order to sleep, he had to imagine a direction he would turn his face, made of homogeneous darkness
“To think is to forget differences, generalize, make abstractions.”

Borges ‘homogeneous darkness’ is what we as forgetful immortals afraid of to turn to?
maybe the directions we sleep into, orientation to the cosmos?!

...................................

is archive naturally and necessarily generated (out of regular form of activity)?

a (technologically implemented) beyond


the drive to animate and mobilize; and the drive to conserve, to fix, and so forth, are mutually constitutive for modern imagery and media (from museum to archive)
archive performs a strange dialecti[...]