[...] a city of dispersion ='lgc'>[intishar='lgc'>]
the ability to smell oneself ='lgc'>='lgc'>--> to experience oneself as other
how public culture can ability skepticism as a ="trms">pervasive condition
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mulla ="trms">jokes ='lgc'>='lgc'>--> ="trms">horror ="trms">stories='lgc'> = fear ='lgc'>+ revulsion
(="ppl">Freudian) eruptive quality of ="trms">jokes ='lgc'>='lgc'>--> ="trms">joke erupts into everyday life as of from elsewhere
political cartoon='lgc'>: maximum effect through a minimum of details
(mulla) ="trms">jokes, ="trms">horror ="trms">stories, political cartoons ='lgc'>--="ppl">Naveeda='lgc'>='lgc'>--> ='strcls'>*exiling the foreignness within='strcls'>*
="trms">stories of='lgc'>:
="lstsrd">1. mosque in an upscale shopping center
="lstsrd">2. sexually predictory mulla
='lgc'>}='lgc'>='lgc'>--> (speaks of='lgc'>:)
="lstsrd">1. the perception that there were places in Pakistan where vise was allowed to grow unchecked
="lstsrd">2. the menace the ulama introduced into everyday life
='lgc'>}='lgc'>='lgc'>==> (the effect of='lgc'>:)
="lsts lst1">•keeping public attention upon possible sites and ="trms">agents of corruption
="lsts lst1">•putting the everyday life into ="trms">question (as to whether it was what it appeared to be)
political cartoons ='lgc'>--imply='lgc'>='lgc'>-->
="lsts lst1">•Pakistanis are caught in someone else's game
="lsts lst1">•growing unfamiliarity of Pakistan
(charges of)
sinfulness
sexual voraciousness
cunning
gluttony
political ambition
worthlessness
corruption
self-destruction
='lgc'>='lgc'>--> continuous efforts to set the mulla outside of oneself (='lgc'>=/= everyday familiarity with the ulama)
='strcls'>***negative ="trms">stories and cartoons ='lgc'>--express='lgc'>='lgc'>--> various degrees of skeptical orientation to the ="trms">world='strcls'>***
="trms">jokes ='lgc'>--(descriptive ="trms">density)='lgc'>='lgc'>--> full expression to skepticism
='lgc'>--='lgc'>{also in ="nms">Iran='lgc'>}='lgc'>='lgc'>--> making (mulla) grotesquely other ='lgc'>='lgc'>==> inconcevable to ="trms">imagine any points of relatedness (to mulla)
="lsts lst1">•scatological ="trms">jokes
="lsts lst1">•reworking of official ="trms">rhetoric for ludic effect
="lsts lst1">•exaggerated performance of power
='lgc'>}='lgc'>--Mbembe='lgc'>='lgc'>--> “="trms">relationship of conviviality with the realm of official power”
vulgarity ='lgc'>==long-term='lgc'>='lgc'>==> ='strcls'>*zombification of official figures='strcls'>* (robbed of their humanity ='lgc'>='lgc'>--> they cannot be apprehended except through their caricatures)
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="brkr">
to loosen some terms carefully='lgc'>: ="trms">memory, form, order,
='lgc'>[The arts of ="trms">memory- Comparative perspectives on a mental artifact. Revised and updated by the ="trms">author ="ppl">Carlo ="ppl">="ppl">Severi. ="trms">Translated by ="ppl">Matthew ="ppl">="ppl">Carey - ="ppl">="ppl">Severi - HAU- Journal of Ethnographic Theory='lgc'>]
="trms">memory as a domain of ="trms">social life
archive
“order” constitutes a principle to engender other forms of knowl="trms"nttrm="knowledge,Knowledge">edge
totem poles, simply records the ="trms">different circumstances that marked a particular ="trms">social group, were comprised of organized series
occupied with the trans="trms">mission of ‘names’, but necessarily, paralleled by a form of logical power, implies sequential ordering of ="trms">different forms of knowl="trms"nttrm="knowledge,Knowledge">edge.
the “art of ="trms">memory” applies ="trms">different types of ="trms">relationships or archival ="trms">techniques that are not limited to mere numerical calculation='lgc'>: mnemonic, iconographic, and logical ="trms">techniques.
provide a convincing account of the complex process of ordering
in a ="trms">measured ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigorous way...
what characterizes the ="trms">system
development of taxonomic principle
="trms">system endowed with a high degree of logical power
='thdf'>the idea of pure quantity, based on decimal numbers applicable to wide range of ="trms">categories='lgc'>: people, objects, units of time or space, etc.
an “art of ="trms">memory” possessed of rudimentary form of visual salience and an extremely complex ordering of re="trms">presentable knowl="trms"nttrm="knowledge,Knowledge">edge
what ="trms">matters are ="trms">system's logical implications and not its visual manifestations
salience
(colors, shapes of knots, ="trms">folds)
the qualitative ="trms">categories (meant to be named)
(finding) the organizing principles
precisely calibrated
oriented space
(="trms">geometrically='qstn'>?)
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 knowl="trms"nttrm="knowledge,Knowledge">edge='lgc'>: ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists and ="trms">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 knowl="trms"nttrm="knowledge,Knowledge">edge
(Montesinos's ="trms">book='lgc'>:) “="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list of one hundred kings”
should we abandon the conventional terms of “="trms">narrative”
the term ="trms">narrative used to describe mnemonically oriented ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists of names..
="trms">narrative was just one of several ="trms">different means of organizing knowl="trms"nttrm="knowledge,Knowledge">edge..
graphical re="trms">presentation, capable of developing further degrees of complexity
“form”
recreate the ‘form’ (form ='lgc'>: ‘state of organization of ="trms">matter’)
within (this/a) variable ="trms">system
“text” as sequences of cords
="trms">memorization (the creation of mnemonic ="trms">relation) necessarily implies the modular organization of the knowl="trms"nttrm="knowledge,Knowledge">edge it re="trms">presents
constitutive dualism in many forms of the art of ="trms">memory='lgc'>:
="lsts lst1">•order (Anordnung) and salience (Hervorspringen)
="lsts lst1">•expressivity (and power)
="lsts lst1">•en="trms">coding (Verschlüsselung) and evocation (Herbeirufen)
possible course between the twin rocks of ="trms">writing='lgc'>: “="trms">social” and “arbitrary”
at the end it is the mental operation
(="trms">techniques of thought)
the image plays a central role in the construction of ="trms">relations between (visual) themes and particularity of words, which in turn help organize ="trms">narratives
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these all were ="trms">technical or formal ="trms">questions so far
="trms">memory is a way consistency maintains itself
civil ="trms">society is afraid of personal recollections and ="trms">perverse ="trms">databases, digital collections
is khm’s archive a state sponsored ="trms">memorialization, monuments of a consistent ="trms">history='qstn'>? (that assumes a ="trms">sublime ending='qstn'>?)
the im="trms">memorial (in ="trms">memorial)
have a strong philosophy of ="trms">technology with this project
there is never merely a ="trms">technological ="trms">question, always al="trms"nttrm="already,spread">ready ="trms">ontological
who wants to re="trms">member, solidify, and ="trms">memorialize='qstn'>?
and for whom='qstn'>?
building a ="trms">technological temple of ="trms">memory, khm ="trms">aesthetic ="trms">narrative of its own ="trms">history='qstn'>?
(first there is one big account of property that all these fragmented ="trms">histories of numerous people who worked in khm are singed under one sig="trms">nature, of khm)
should we disavow any notion of “spirit” in khm='qstn'>?
we must agree that khm's render of its own ="trms">history is pure ="trms">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 o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal conception and foundational roots (as Zielinski expresses in one ="trms">interview='lgc'>: “='lgc'>+25 KHM='lgc'>: Siegfried Zielinski” https://www.youtube.com/watch='qstn'>?v=S3JQ3aTwu2s)
arte
DAS KURZFILM-MAGAZIN
KURZSCHLUSS
Siegfried Zielinski im ="trms">Interview
http://cinema.arte.tv/de/artikel/siegfried-zielinski-im-="trms">interview
hybrid objects='qstn'>?
is the logistic characteristic of digital ="trms">data inconsistent with the hybrid objects of art='qstn'>?
Forms of thought, from what Lévi-="ppl">Strauss called the “="trms">systematization ='lgc'>[of='lgc'>] what is immediately ="trms">presented to the senses,”
(="ppl">Jakobson)
transmutation='lgc'>: cognition involved by the form of ="trms">translation
="trms">data ="trms">ontology
what is the point of view of rationality in this for us='qstn'>?
(what is the point of view in witch="trms">craft='qstn'>? knowl="trms"nttrm="knowledge,Knowledge">edge is a performative recipe)
what is the point in point of view='qstn'>?
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(="ppl">Jorge Luis Borges - ‘Funes the ="trms">Memorious’ in ‘Labyrinths='lgc'>: selected ="trms">stories ='and'>& other ="trms">writings’ 1964)
in Borges ="trms">story, Funes, the character unable to forget is incapable of the concept of ‘general’
solitary and lucid ="trms">spectator of ='lgc'>[...='lgc'>] an intolerably precise ="trms">world
not capable of thought
in order to sleep, he had to ="trms">imagine a direction he would turn his face, made of homogeneous darkness
“To think is to forget ="trms">differences, ="trms">generalize, make abstractions.”
Borges ‘homogeneous darkness’ is what we as forgetful immortals afraid of to turn to='qstn'>?
maybe the directions we sleep into, orientation to the ="trms">cosmos='qstn'>?!
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is archive ="trms">naturally and necessarily generated (out of regular form of activity)='qstn'>?
a (="trms">technologically implemented) beyond
the drive to animate and mobilize; and the drive to conserve, to fix, and so forth, are ="trms">mutually constitutive for ="trms">modern imagery and media (from museum to archive)
archive performs a strange dialectics
to see the archive as a ="trms">technological rational ="trms">question, and engineering assignment, is to naively avoid the thinking about your own activity as a constructive activity
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depriving yourself of any tools to act
is archive a tool to act='qstn'>?
the ="trms">agency of an archive..
“other ways” of ="trms">composing='qstn'>?
marking its territory='qstn'>? how to make a map without giving way to the territory as an extension of the map='qstn'>?
='lgc'>["Angels Without Wings” A conversation between ="ppl">="ppl">Bruno ="ppl">="ppl">Latour and Anselm Franke='lgc'>]
the mechanical extension, Res extensa, the (descartian) extended thing, the visualizing ="trms">technologies, ="trms">technical drawings, has been so strong that the temptation so say “well, that's what the ="trms">world is really like” is very great, especially when your foreground is all of the engineering talents and engineering ="trms">skills that are necessary to assemble.
to attribute strangeness...
what ‘will’ you in="trms">herit='qstn'>?
you have little idea of what will you in="trms">herit
(other way of not thinking about your activity now)
='strcls'>*the ="trms">question of future
='lgc'>[="ppl">Ronell='lgc'>]
false re="trms">membrance, displaced ="trms">memory, that actually repeatedly represses and disturbs ‘giving’
any re="trms">membrance involves forgetting
an official call for design an archive from khm also invoked that the institution is ="trms"nttrm="already,spread">ready to forget, announces institutional forgetting, and disavows re="trms">membrance
re="trms">member in="trms"nttrm="cluster,club">cludes the lost-="trms">member, bringing my ="trms">member, the phalus (in English ‘="trms">member’ also means the male organ of copulation)
='lgc'>[="ppl">Hegel, Georg Wilhelm Friedrich. “Das Gedächtnis.” ‘Enzyklopädie Der Philosophischen Wissenschaften Im Grundrisse’ 1817. Web.='lgc'>]
="ppl">Hegel makes a distinction of two modalities of ="trms">memory='lgc'>:
(1) ‘Erinnerung’ (="trms">internalized ="trms">memory, which is ="trms">situated in the heart), (it could also be ="trms">hallucinatory, might dependent on an ="trms">interiority that isn't there!);
(2 and this one concerns archive) ‘Gedechnis’ (="trms">technological ="trms">memory, a supplement or prosthetic device that reminds you. ='lgc'>='lgc'>==> it's mechanical, it's on the side of death and forgetting, a kind of ="trms">memory that needs to be prompted) (to choose the ="trms">technology of ="trms">writing/archive the subject of ="trms">memory is so screwed.)
='strcls'>***everything depends on the ways we re="trms">member!
='lgc'>[footnote on German ="trms">memory='lgc'>]
='lgc'>[blackwellreference.com, entry='lgc'>: “="trms">memory, recollection and ="trms">imagination"='lgc'>]
="ppl">Plato's doctrine that all learning is the recollection (anamnésis) of things previously known but later forgotten casts a shadow over the idea="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists’ uses of Erinnerung.
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is any act of re="trms">membrance also a traumatic experience='qstn'>? (="ppl">Freudian take on ="trms">memory) ='lgc'>-- archive is so “not” traumatic therefore a tool of amnesia. (archive in digital age='lgc'>: the oblivion of availability ='lgc'>='lgc'>--> media theory)
can we think of a non-traumatic ="trms">gesture of ="trms">socialization of ="trms">memory='qstn'>? or ="trms">memorial activity “has” to be violent in order to be re="trms">membered='qstn'>? (='lgc'>='lgc'>--> ="trms">sublime) (like what ="frds scrmbld"nttrm="Alice,Shariati">Ali does, tattooing me, every time he tells me one of his ="trms">stories of trauma)
like i said before, “who” wants to re="trms">member='qstn'>?
(masculinity is ="trms">written all over this ="trms">anxiety-ridden re="trms">membrance ='lgc'>='lgc'>--> re='lgc'>+="trms">member, bringing back the ="trms">symbolically lost phallus='lgc'>: “="trms">member” means “the male organ of copulation” in English)
trauma makes available, brings back lost objects to the consciousness, in a psychoanalytical sense. is then the digital archive an absolute oblivion='qstn'>?
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///////// newer notes, saved in 11 September 2016 /////////
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='lgc'>[as ="ppl">Holderlin announces that the “remains” for which ="trms">poets are ="trms">responsible.='lgc'>]='lgc'>-='lgc'>='lgc'>--> ="trms">memory (don't let engineers build you archives! let the ="trms">poet be ="trms">responsible for whatever has “remained.”) ='lgc'>[this would be ="ppl">Holderlinian advice='lgc'>]
="prgrph">-inappropriable remainder(s)
="trms">memory/re="trms">member is sojourn
the importance of archive is today perhaps not in creating one but in ="trms"nttrm="already,spread">reading them.
='lgc'>--how many archive we still need to ="trms"nttrm="already,spread">read and probe and consider, with concepts or para-concepts that we thought we had a hold on.
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being en="trms">folded is often a strategy for survival (='qstn'>?, ="ppl">="ppl">Marks)
(="ppl">Akira Mizuta ="ppl">Lippit='lgc'>:) things are not saved by being archived (Borgesian nightmare)
="trms">histories for which the ="trms">present is not ="trms"nttrm="already,spread">ready ='lgc'>='lgc'>--> what are those sites where ="trms">histories slip into latency='qstn'>?
(how not='qstn'>?) ='strcls'>***to enter a culture from outside='strcls'>*** (problem of the prophet, both Moses and ="ppl">Freud) ='lgc'>='lgc'>--> ='strcls'>*everything depends on the ways we ‘bring’ things='strcls'>* ='lgc'>[bringing monotheism, destruction, etc.='lgc'>] ='lgc'>='lgc'>~-> (="trms">social and ="trms">material) milieu thinking (='lgc'>='lgc'>--> to think about Baten in Baten)
(art's will and the judgment of value that informs it...) Kunstwollen's desire to grow and ="trms">travel
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='lgc'>[="ppl">Ariella ="ppl">Azoulay='lgc'>]
() the op="trms">position between keeping and putting away, preservation and cancelation.
archive='lgc'>: the home of the dialectic of preservation and cancellation
...when fully lit and relatively flat
="ppl">Derrida='lgc'>: (archive) “is a ="trms">question of the future, the ="trms">question of the future itself, the ="trms">question of a ="trms">response, of a promise and of a ="trms">responsibility for tomorrow.”
archive's ="ppl">Foucauldian “space of appearance”
constructed as ex-territorial and as a receptacle (makhzan) for the ="trms">past
archive is not a fortress external to our ="trms">world, with us as its pilgrims
(the ="trms">ontological performance of filling a document)
(a constellation, aimed at distancing and disturbing us)
collecting ='lgc'>='lgc'>--> grouping
extracting ='lgc'>='lgc'>--> sharing
cataloguing ='lgc'>='lgc'>--> indexing and tagging
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(for ="ppl">Freud='lgc'>:) trauma ='lgc'><='lgc'>~='lgc'>=> ="trms">memory
(for ="ppl">Nietzsche='lgc'>:) “Man could never do without blood, torture, and sacrifices when he felt the need to create a ="trms">memory for himself.” ='lgc'>-='lgc'>-='lgc'>='lgc'>--> ‘ritual’ may be seen as a way to keep ="trms">memory alive without the experience of pain='qstn'>?
(="ppl">Bataille after ="ppl">Nietzsche='lgc'>:) ‘sacredness’='lgc'>: the revelation of continuity through the death of a discontinuous being
within the political art domain the “I feel your pain” has ="trms">sympathetic currency. one is punished by drawing public attention to their pleasures
(I feel your pleasures ='lgc'>=/=) “sense of pain” ='lgc'>[an asset of the artist='lgc'>] ='lgc'>==establishes='lgc'>='lgc'>==> awareness of the existence of the body
processing is largely parallel, while, attention is largely serial
disciplines of the ="trms">modern subject
(in artistic work the unsolved issue remians='lgc'>:) ="trms">technniques for/of the external control
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='lgc'>[='strcls'>*='lgc'>] which spaciotemporal vectors are embeded in the archive, as a ="trms">modern feeling of arrow that thrusts forward ="trms">differentiating ="trms">past from the future, “archaic” from the “advanced”='qstn'>?
='lgc'>[='strcls'>*='lgc'>] archive produces a “yesterday”
a d="trms"nttrm="danger,stranger">angerous arrow of time that is constituted and announced
="prgrph">-how do we attend the ="trms">histories of implication and attachment='qstn'>?
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futurity ='lgc'>[aghebat عاقبت, (even) akherat اخرت='lgc'>], the promis of the archive
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trauma='lgc'>: that which it won't tell its ="trms">story ='lgc'>=/= total recall
how can ="trms">history tell='qstn'>?
="trms">history, a compensatory device='qstn'>?
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gist
جان کلام
مراد
='lgc'>[="ppl">Geoffrey ="ppl">="ppl">Bowker='lgc'>]
http://www.ics.uci.edu/='lgc'>~gbowker/forget.html
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Grand ="trms">Historiographer, Sima Qin (1994 ='lgc'>[ca 100BC='lgc'>]), ="trms">writing of the burning of the ="trms">books in 213BC, notes that the Chief Minister adviced the emperor that='lgc'>: Aall who possess ="trms">literature such as the Songs, the Documents, and the sayings of the hundred schools should get rid of it without penalty. If they have not got rid of it a full thirty days after the order has reached them, they should be branded and sent to do forced labor on the walls. there should be exemption for ="trms">books concerned with medicine, pharmacy, divination by tortoise-shell and milfoil, the sowing of crops, and the planting o[...]