[...] 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
mulla ="trms">jokes ='lgc'>='lgc'>--> ="trms">horror ="trms">stories='lgc'> = fear ='lgc'>+ revulsion
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(="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,
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='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'>?
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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
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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, or[...]