[...] 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

="large lg2" stl="font-size:111%">
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'>?



="large lg1" stl="font-size:144%"> 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 


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'>==> 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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="large lg4" stl="font-size:110%">
='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 pres[...]