[...]what perspective they were ="trms">written (what ="trms">historical context they were embedded in)='lgc'> = “critical ="trms"nttrm="already,spread">reading” from the stand point of all of one might say “the illusions of ="trms">memory” which might cloud an objective impartial records of events (not accepting the ="trms">narrative that place value in the source) ='lgc'>[='lgc'>=/= ='mywrk'>my work on ="nms">ajayeb='lgc'>]
="lsts lst2">◦securing evidence (='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to archive) ='lgc'>: ="trms">intersection of objectivity with study of ="trms">history

(since 17th century) ="trms">memory has been essential to our conceptualization of what does it mean to have a self ='lgc'>='lgc'>--> why we are so concerned with ="trms">memory damage ceases (alzheimer, etc.)

husod3oqLds


="large lg2" stl="font-size:112%"> many time when we define (say “what X is”), what we are doing is to how to make a term more precise, to make something ='strcls'>*artificially operational='strcls'>*

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='strcls'>*="trms">sciences of the archive='strcls'>*
depend on longed lived collections

(since 16th century, as we know it) ="trms">modern ="trms">science's ="trms">epistemic goal='lgc'>: ='strcls'>*pre="trms">dictive accuracy='strcls'>* ='lgc'>=/= ='strcls'>*to elevate certainty='strcls'>* (the case in medieval Latin Europe)

="trms">books (="trms">past discoveries) ='and'>& ="trms">instruments (future discoveries) ="trms">interspersed ='lgc'>--when='lgc'>='lgc'>--> they both belong to the same practice ='lgc'>==> library



(="ppl">Goethe='lgc'>:) search nothing beyond the ="trms">phenomena

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="ppl">="ppl">Morris
movement of commerce's subject (='lgc'>=/= walking of the Parisian flaneur)
plaque's morbid sentimen ='lgc'>='lgc'>--> evades the reduction of signs to mere reference

='lgc'>[='strcls'>*='lgc'>]public art='lgc'>: the art of a ="trms">world bifurcated by capital ='lgc'>--tending='lgc'>='lgc'>--> ='strcls'>*monumentality='lgc'>: an exaggerated ="trms">literality ='lgc'>+ ="trms">excess of scale (incapable of irony)

(of image ='lgc'>='lgc'>-->) textuality='lgc'>: something ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurking off that bids us engage the ambiguity

metonym

critique='lgc'>: (analogy of) a movement toward the outside

a grammatical negative can never efface what it attempts to contradict
a call for judgment hides in the defensive ="trms">gesture


criminality='lgc'>: departure from (or fai="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure) to recognize a law

new violence
="lsts lst1">•violence against the sovereignty of local subjects
="lsts lst1">•violence against an ="trms">internationalized regime that increasingly claimed ex="trms">="trms"nttrm="cluster,club">clusive sovereignty for itself


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ethnography of capita="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list crisis (a project on='lgc'>:)
="lsts lst1">•the politics of ='lgc'>[='strcls'>*='lgc'>]transparency='lgc'>: the ideological pointing stick by which the ="trms">market has appropriated for itself the function of regulating the state (where it was the function of the state to regulate the ="trms">market)
="lsts lst1">•how capitalism (='lgc'>[="ppl">="ppl">Morris='lgc'>] in Thailand) disguises itself as mere monetization
="lsts lst1">•how money's total and totalizing meditations have come to be experienced in the contrary idioms of immediacy and eternal ="trms">present-being
="lsts lst1">•

(='lgc'>[i am='lgc'>] learning with ="ppl">="ppl">Morris) ethnography of crisis
="prgrph">-how capitalism in Thailand disguises itself as mere monetization
="prgrph">-how money's (total and totalizing) mediations have come to be experienced in the contrary idioms of immediacy (and eternal ="trms">present-being)
="prgrph">-="trms">rhetorics of transparency and visibility (conceived in ="trms">aesthetic domains)

="large lg1" stl="font-size:126%"> (="trms">narcissistic act of) tele="trms">technic encompassment


='strcls'>*spirit mediumship='strcls'>*
='lgc'>[auratic threshold of re="trms">presentation='lgc'>]
(the nationally renowned spirit medium) Chuchad, flamboyant media savvy
daguerreotypy='lgc'>: a demonic receiving device that had the capacity to retain and thereby diminish the photographed subject's substance
(in Thai) kaan thaay ='lgc'>[taking, wasting='lgc'>] ruup ='lgc'>[picture='lgc'>]
="lsts lst1">•Thai word for photography
="lsts lst1">•concomitant transformation and discharge
='lgc'>--='not'>✕='lgc'>='lgc'>--> spirit practices were brought into conversation with the mass media
="lsts lst1">•conceptualized largely in terms of atavism and/or residue (repressed orgiastic impulse buried)
="lsts lst1">•(located on the periphery of) the ='strcls'>*nation's geo-body='strcls'>* ='lgc'>[='lgc'>=/= state's formed public='lgc'>]


(from the perspective of rationa="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list Buddhist orthodoxy ='lgc'>[and in the case of ="nms">iranian superstitions, Holakouee خرافه khorafe='lgc'>] ='lgc'>='lgc'>-->) mediumship='lgc'>: (="trms">imagined as) a temporal ="trms">interruption of the nation's ="trms">modernity

="trms">communist occult practices
emasculating magic

phantasmatic triad of nation, ="trms">religion, monarch

mediums='lgc'> = state's other


='lgc'>[today='lgc'>]
="lsts lst1">•identification between the  local and the global (facilitated by transnational ="trms">communication ="trms">systems) compete with those of the nationalism
="lsts lst1">•='strcls'>*="trms">market-based discourses of civic politics in the anticipation of being seen from afar by a multinational media audience='strcls'>*
="lsts lst1">•

mediumship reborn as...
="lsts lst1">•circulating along with its own images
="lsts lst1">•part of an endlessly proliferating series (='lgc'>=/= double of a lost o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal) in which it merely seeks to be legible as an image of its displaced self


='lgc'>[a figure many artists today want to be='lgc'>: spirit='lgc'>] ='strcls'>*medium='strcls'>* (profession of epiphanic discovery) ='lgc'>--transmitting='lgc'>='lgc'>--> ="trms">paranoiac messages ='lgc'>--prophesying='lgc'>='lgc'>--> boundary penetration (o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginated with the state)

(revolution reduced to) the status of mise-en-s="trms">cene
bourgeois democracy
="trms">market-based discourses of civic politics

simulacral space of the new mediascape

="large lg3" stl="font-size:112%"> (Chuchad's promise of authenticity ='lgc'>='lgc'>-->) violent authenticity of an exposure in which mediumship's re="trms">presentations would be renounced ='lgc'>='lgc'>--> ='strcls'>*="trms">techniques of the performance themselves become the object of performative inscription='strcls'>*

="trms">history of ="trms">religious legitimacies
popu="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list conservative monk ='lgc'>='lgc'>--> ="trms">religious sermon in the format of emphatically dialogic, using vernacular forms and local dialects to disseminate ='lgc'>[='lgc'>='lgc'>--> content remaines deeply orthodox in its valorization of the foundational texts ='lgc'>+ its ritua="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list inscription='lgc'>]
='lgc'>+
medium's anti-="trms">ontological discovery
='lgc'>='lgc'>='lgc'>~=>
either there is nothing to transmit or there is no means of trans="trms">mission='lgc'> = silence or white noise

Phra Phyom ='lgc'>='lgc'>--> ="trms">embodiment of fame itself, a bastardized auratic ="trms">presence that is always arriving (='lgc'>~ imminent without ="trms">specification)

="prgrph">-what drew these people to this performance='qstn'>?
(seeking the) ambivalent pleasure (not without violence) of having a secret unmasked

="large lg4" stl="font-size:110%"> acolyte
to ensure a line of vision between the medium and his audience

broadcasting device='lgc'> = recording device

="trms">authorship ='lgc'>--(displaced by)='lgc'>='lgc'>--> a logic of ='strcls'>*tracking of traces without a subject='strcls'>* (='lgc'><='lgc'>-- reduction of re="trms">presentation and inscription)

="trms">modern mediumship ='lgc'>='lgc'>~= ='lgc'>[='strcls'>*='lgc'>]automatic ="trms">writing='lgc'>: (most as="trms">sociated with surrealism, in Western contexts) the ="trms">writer seeks to merely transmit his or her unconscious thoughts and, in the process, to disavow ='thdf'>the notion of ="trms">authorial ="trms">agency... ='lgc'>[it marks a more general ="trms">transitional moment in the ="trms">history of re="trms">presentation ='lgc'>--="ppl">="ppl">Morris='lgc'>='lgc'>-->='lgc'>] ='strcls'>***the production of meaning ceases to be a function of ="trms">writing ='lgc'>='lgc'>--> actuality or facticity becomes the primary object of inscription='strcls'>***)


="large lg5" stl="font-size:155%"> confessional performances
d="trms">enunciation of possession performance
un="trms">translatable utterances ='lgc'>[='strcls'>**increasing performance of un="trms">translatability, glossolalia غريبه گفتارى ='lgc'>='lgc'>--> contemporary spirit possession performances ='lgc'>==> the truth of the spirits in the mass-mediatized ="trms">world is not referential and certainly not universal ='lgc'>--='not'>✕='lgc'>='lgc'>--> the truth of the spirits centers on ="trms">questions about the ="trms">difference between noise and information='lgc'>]
mediums embrace ="trms">technology
mediumship proliferates
mediums and the media provide each other with ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphors
(mediums seek to escape the ="trms">relationship altogether) in forms of ecstatic nonre="trms">presentation or absolute r="trms">enunciation


Chuchad cutting his tongue ='lgc'>='lgc'>--> disavow disavowal
“='lgc'>[...='lgc'>]he rendered himself voiceless, and the only sounds he could make were those of exhalation and inhalation='lgc'>: sounds of the body as machine”
...the crowd gasped and then repeated ='lgc'>='lgc'>--> confused awe ='and'>& automatism

='lgc'>[a ="trms">fable:='lgc'>] “Chuchad placed the tongue on a piece of white paper, and the blood quickly diffused into the fibers. For a moment it appeared as though the tongue was ="trms">writing a blunt, indecipherable hieroglyph. Chuchad then held the paper to his mouth so it was covering his face and pressed the tongue back into its o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal place. This time, he seemed to be re="trms">writing, or rather, ="trms">writing in reverse, and the glyph was inscribed on the tongue as though the tongue had been transformed into paper and the paper into pen. Thus did ="trms">writ- ing make speech possible. The medium pulled the paper away, ="trms">folded it carefully, and then, with only a little blood reddening his lips, began speaking.” (="ppl">="ppl">Morris)
="lsts lst1">•tongue excision='lgc'> = perfo[...]