[...]orces



“authentic images” seem capable of action, seem to posses dynamis (super="trms">natural power)



="large lg2" stl="font-size:112%"> Universal Ex="trms">position of 1889 ='lgc'>+ ="trms">international congresses of hypnosis='lgc'>:
="lsts lst1">•rationalizing ideological imperatives (concertized in the actual organization and layout of the Ex="trms">position ='lgc'>='lgc'>--> rooted in the enlightenment's faith in man's limitless potential for mastery of his environment)
="lsts lst1">•hypnosis optimistically as the most effective entry into (previously inaccessible) territories and processes of human psychic life (and hopefully mastering this terrain)
="lsts lst1">•extensive ="trms">presentation of colonial people and lifestyle as objects of ="trms">spectacle in the 1889 Ex="trms">position (simulated villages inhabited by Congolese, Javanese, New Caledonians, Senegalese, and others) ='lgc'>='lgc'>--> became contents of an ="trms">imaginary immortal space, contents that were seemingly assimilable into the rationalizing taxonomy of the ex="trms">position's organizational schema ='lgc'>[='lgc'>=/= ="frds scrmbld">Steven's schema in ="nms">apass='lgc'>]
='strcls'>*both hypnosis (with its profoundly indecipherable trance states) ='and'>& ="trms">material life of colonial people (primitive cultures with their singular forms of exchange, of value and power ="trms">relations) took on an exhibitionary existence at the threshold of their marginalization, assimilation, or disappearance ='lgc'>='lgc'>--> (the unassimilable in both was) temporally refigured as the survival (or simulation) of an earlier ="trms">stage of development (as a lower, regressive, or ="trms">childlike state of mind or culture) ='lgc'>[='lgc'>='lgc'>--> radically irreconcilable with dominant forms of western rationalism='lgc'>]

(for western rationality) hypnosis='lgc'>:
="lsts lst1">•influence without any logical foundation
="lsts lst1">•production of an illusory ="trms">relation to the ="trms">world
='lgc'>[='lgc'>='lgc'>--> similar to ="frds scrmbld">Foad's modality of freedom, wakefulness, and ='thdf'>the notion of the intoxicated masses='lgc'>: loss of mastery, of ability to make decisions and reflect ='lgc'>='lgc'>==> the assertion that “hypnotic experience is formless” (='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="ppl">Nancy)
='strcls'>*="trms">spectacle domination over passivity='strcls'>*
="frds scrmbld">Foad='lgc'>: inner or subjective reality of a psychic state which could in fact involve residence and evasion of external ="trms">authority='lgc'>]
='lgc'>=/= state of trance (as in other cultures) whether individual or collective conceived as an opening up or sharing

the 19th century exhibitions were part of a ="trms">world in which people were beginning to live as tourists or ="trms">anthropologists, addressing an object-="trms">world as the endless re="trms">presentation of some further meaning or reality
='lgc'>==="ppl">="ppl">Crary='lgc'>='lgc'>==> reality='lgc'>: that which ="trms">presents itself as an exhibit before an observer

(Seurat's Parade de Cirque='lgc'>: ...a ="trms">figuration of ="trms">social territory where) ="trms">techniques of fascination and attraction, of appearance and semblance, have the capacity to overpower an observer or audience

(شهر بازی fairground kinesthetic experiences,  such as='lgc'>:) ='strcls'>*merry-go-round='strcls'>*='lgc'>: a fragmentary and mechanical recuperation of carnival energies ='lgc'>='lgc'>--> controlled circumstances inciting of dynamogenic bodily sensation
&
cinema later would radically displace survivals of pre="trms">modern forms like the circus ='lgc'>[='lgc'>='lgc'>--> look at Hollywood today 2018='lgc'>]

="trms">different modes of regression and fantasy

='strcls'>***late 19th century shift from “viewing machine” to “vertigo machine”

="large lg106" stl="font-size:105%"> 19th century's ="trms">inter="trms">relations between='lgc'>:
="lsts lst1">•photography
="lsts lst1">•hypnosis (both medically and mythically)
="lsts lst1">•cinema
="lsts lst1">•psychoanalysis
='strcls'>*strong ="trms">epistemological con="trms">figurations='strcls'>* ='lgc'>='lgc'>==> a new place of subject (in western culture) linked to formation of certain images of='lgc'>:
="lsts lst1">•time
="lsts lst1">•="trms">past
="lsts lst1">•="trms">memory


(for Brown Sequard) collective effect of acts of inhibition and dynamogeny ='lgc'>='lgc'>==> hypnotism ='lgc'>==(Charles Henry)='lgc'>='lgc'>==> de="trms">monstrating that perception is fundamentally unconscious (consisting of involuntary ="trms">responses to stimuli) ='lgc'>==Seurat='lgc'>='lgc'>==> ='strcls'>*indistinction between the automatism of a hypnotized subject and the perceptual experience of a so-called normal subject='strcls'>* ='lgc'>--="frds scrmbld">Foad='lgc'>='lgc'>--> ='lgc'>[="trms"nttrm="already,spread">reading people in a contemporary ="trms">social ="trms">phenomena of sug="trms">gestion and ="trms">somnambulism (='lgc'>~ sleep-walking):='lgc'>] a bypassing of intellectual process (such as reason and judgement) in an attentive ="trms">spectator
="prgrph">-='lgc'>{my discussion with ="frds scrmbld">Foad was perhaps about the ="trms">question of ="trms">social justice (= sufferings and causes are constant and self-evident, singularized principle of value ='lgc'>[="trms">social injury='lgc'>] located in a particular product ='lgc'>[political processes leading to ="trms">social injustice='lgc'>]) and/against thinking with assemblages (= contextual ="trms">relational uncertain concept of the ="trms">social of things and people as ="trms">system of objects, in which nothing merely rules itself or others, emphasizing heterogeneity and process)... finally saying that ="nms">Tehran is a ="trms">relational heterogeneous uncertain ="trms">system ='lgc'>[="frds">Sina='lgc'>] and not a destined coerced programmed doom-object ='lgc'>[="frds scrmbld">Foad='lgc'>]. ="trms">question='lgc'>: can we oppose the ideas of suffering and injustice and their expressions as essential qualities in the context of ="nms">Tehran='qstn'>? what conceptual hybrids or precarious collectives are ethically available or necessary to think with='qstn'>? can injustice and suffering as target of analysis be investigated not as concrete evident necessities ='lgc'>[stable essences, as something to defend or fight against='lgc'>] but as distributed changing and changeable always in process, in the contemporary ="nms">Tehran (specially if you are the one who is suffering)='qstn'>?
="prgrph">-my family dining table='lgc'>: space of arrangement of practices of objects of...
="prgrph">-this discussion for me was about the ="trms">categories and classifications that we rely on to investigate the ="trms">world.='lgc'>}

='lgc'>='lgc'>--> ="ppl">Bergson='lgc'>: “in the processes of art we shall find, in a weakened form, a refined and in some ="trms">measures spiritualized version of the processes commonly used to induce the state of hypnosis ='lgc'>[...='lgc'>] an effect of the same kind by the fixity which they suddenly impose upon life, and which a physical contagion carries over to the attention of the ="trms">spectator.”


1880s and 1890s is exactly the time where many ="trms">different discourses considered the ways in which external forces and procedures could influence or control both individual and collective subject
="prgrph">-common in French ="trms">sociological thinkers (Durkheim, Tarde, Le Bon)='lgc'>: the primal fact of ="trms">social life is some ="trms">system of control or coercion that is imposed on the individual ='lgc'>{for example Tarde='lgc'>: “stupefied and feverish beings ='lgc'>[in='lgc'>] magical charm of their environment ='lgc'>[...='lgc'>] it is always more fatiguing to think for oneself ='lgc'>[...='lgc'>] man lives in an animated environment ='lgc'>[...='lgc'>] he gradually refrains from all intellectual efforts ='lgc'>[...='lgc'>] his mind becomes stultified and more and more ex="trms">cited ='lgc'>[= ="trms">somnambu="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic='lgc'>] characteristic of many city dwellers ='lgc'>[...='lgc'>]"='lgc'>}

the audience in many artworks still today has the sign of the distracted crowd (جمعیت خواب)

(“man without qualities” =) de-individualized='lgc'> = sug="trms">gestible, hypnotizable

(Fried='lgc'>:)
anti-rococo French painting='lgc'>: a painting had to first attract (call to someone) and then to arrest (bring him to a halt in front of itself) and finally to enthral (hold him there as if spellbound)='lgc'> = the ="trms">modernizing ="trms">instrumentality that is fulfilled in cinema today

for Tarde='lgc'>:
“="trms">social existence='lgc'> = ="trms">somnambulism"='lgc'>[= heightened receptivity to sug="trms">gestion, individuals apt to imitate one another='lgc'>] ='lgc'>='lgc'>==> “="trms">social='lgc'> = (a form of) dream”
='lgc'>='lgc'>--> hypnotic aspect of the life of crowds
="lsts lst1">•“="trms">intercerebration”='lgc'>: one brain fascinates the other
="lsts lst1">•“="trms">fashion's sug="trms">gestibility”='lgc'>: half-conscious observation and mere physical proximity produce a functional ="trms">social homogeneity
="lsts lst1">•“fascination”='lgc'>: a genuine ="trms">neurosis, a kind of polarization of ="trms">love and faith  ='lgc'>='lgc'>--> effects of obedience and imitation
="lsts lst1">•“attention”='lgc'>: transformation of sensation by effort and desire ='lgc'>='lgc'>--> the desire for an increase in personal believe
="lsts lst1">•“plateau”='lgc'>: a flexible figure for ="trms">natural, ="trms">social, and statistical processes and events (in="trms"nttrm="cluster,club">cluding desire) ='lgc'>[='lgc'>--='qstn'>?='lgc'>='lgc'>--> ="ppl">Deleuze and ="ppl">Guattari's plateau='lgc'>]

Le Bon='lgc'>:
“="trms">social='lgc'> = a particular modality of perception,” as a ="trms">specific ="trms">social arrangement that conditions the limits of perceptual experience
(="trms">modern) crowd='lgc'>: a viewing machine capable of generating “collective ="trms">hallucinations,” a place for ="trms">consumption of illusion, (with a “psychological unity” that occupies spatially remote locations,)
="lsts lst1">•“observation”='lgc'>: a cognitive model predicated on workable notion of objective reality (a classical ="trms">epistemological model) that begins to corrode within a field saturated by illusion, ="trms">hallucination, and whole industries of simulation
="prgrph">-individual subsumed in crowd is incapable of observation ='lgc'>='lgc'>--> ="trms">modern ="trms">spectacular culture (to be ="trms">articulated 7 decades later by ="ppl">Guy ="ppl">Debord

the crowd (in Le Bon) is a ="trms">generalized site on which the accumulated d="trms"nttrm="already,spread">read and hope as="trms">sociated in the 19th century with ="trms">social insurrection collapse into am abstract countless mass ="trms">onto which dream ="trms">imaginary of any ="trms">sort can be projected
="prgrph">-="ppl">="ppl">Crary

19th century ‘crowd psychology’ ='thdf'>assumption that attention has no necessary connection to objective optical observation of the ="trms">world ='lgc'>='lgc'>--> ='strcls'>*crowd='lgc'>: drift toward a more primitive order of consciousness='strcls'>*
="prgrph">-withdrawal from surroundings and refocusing on some real or ="trms">symbolic figure
='lgc'>='lgc'>--> theatrical con="trms">figuration='lgc'>: means for controlling crowds ='lgc'>='lgc'>--> (La Bon's) image of theater exceeding its older place within models of ="trms">mimetic ="trms">relation ='lgc'>--to='lgc'>='lgc'>--> new effects of subjectification


Wagner's volkish homogeneity ='lgc'>='lgc'>--> uniform modes of perception and ="trms">response ='lgc'>='lgc'>--> (problem of) ="trms">community formation

Wagner's optical ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor (="trms">community could see itself reflected in the mirror of tragedy) of theatrical existence ='lgc'>='lgc'>--> ='strcls'>*sense of vision serves to reinforce one's place within the ="trms">social whole='strcls'>*
='lgc'>[='lgc'>='lgc'>--> when i look at Brussels from the 14th floor...='lgc'>]

Wagner's cultural program for ="trms">social re="trms">integration and his belief in the transformative effects of the collective experience of music drama preformed and produced as a ritual ="trms">communal event

(typical 19th century ='lgc'>='lgc'>--> debates about the effects of mass culture ='lgc'>--="trms">articulated='lgc'>='lgc'>--> “distraction ='lgc'>=/= self-conscious contemplative perception” ='lgc'>='lgc'>-->) Wagner's deploying the ="trms">pervasiveness of ='strcls'>*distracted modes of cultural ="trms">consumption='strcls'>* ='lgc'>='lgc'>==> “higher (deeply attentive ='lgc'>--advocated='lgc'>='lgc'>--> purified and ethically superior perceptual engagement) ='lgc'>=/= lower (distracted)” forms of ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listening
="prgrph">-his dissatisfaction with traditional theatre that had allowed or encouraged audiences to look at each other at the diverse ="trms">social texture of the theatre

an attentive, absorbed public (unthinkable in the 18th century ='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="ppl">Sennett)

(still we are suffering ='lgc'>='lgc'>-->) ='lgc'>[to have='lgc'>] ='strcls'>*control over the attentiveness of an audience='strcls'>* to subordinate it to the will of the artist ='lgc'>='lgc'>==> generate a ='strcls'>*collective state of reception='strcls'>* (worthy of an art with such ="trms">social aspiration ='at'>@="frds scrmbld">Hoda, ="frds scrmbld"nttrm="Alice,Shariati">Ali , ="frds">Sina, ='lgc'>--to which extent my mysticism in art was about my ideas about ="trms">spectators incapacity for attention in contemporary ="nms">Tehran='qstn'>?)

19th century theatre ='lgc'>--(transform into)='lgc'>='lgc'>--> ='strcls'>***construction of visibility='strcls'>*** (structure the ="trms">spectators perceptual experience)

“collective act of seeing ='lgc'>='lgc'>==> semblance of a ="trms">community”

(phantasmagoric character of his work) Wagner='lgc'>:
="lsts lst1">•eliminating lateral views ='lgc'>='lgc'>==> frontal engagement
="lsts lst1">•near-complete darkness ='lgc'>='lgc'>==> preventing peripheral distraction
="lsts lst1">•lowering the orchestra out of sight
='lgc'>='lgc'>--> ="trms">systematic concealing and mystification of the process of production
='lgc'>='lgc'>--> (Wagner stands for) will to mastery over all aspects of the ="trms">spectacle ='lgc'>==allow='lgc'>='lgc'>==> calculated production of states of regression, fascination, dream (="trms">synchronized sound ='lgc'>='lgc'>--> cinema's attentiveness half a century later)
="prgrph">-control over emotional ="trms">response
="prgrph">-remaking of ="trms">spectator experience
="prgrph">-production of dreamlike clairvoyant

(-can theater ="trms">stage be a place of distraction='qstn'>? again)

intelligible ="trms">relation of distance between viewer and illusory s="trms">cene
='lgc'>='lgc'>--> the way diorama commanded visual attention

in my ="trms">stage design drawings from 2009='lgc'>:
="lsts lst1">•standardized perspectival expectations
="lsts lst1">•metric ="trms">relations
="lsts lst1">•="trms">position of ="trms">spectator
="lsts lst1">•luminous detached rectangle
="prgrph">- 

Wagner's Ring cycle='lgc'>: the last expression of a 19th century fantasy of the recuperation of tragedy and myth ='lgc'>~ the dream that culture could make whole what capitalism has broken ='lgc'>--="ppl">="ppl">Crary='lgc'>+="ppl">Lacoue-Labarthe='lgc'>='lgc'>--> ='lgc'>[disturbing conviction/dream:='lgc'>] in an age where transcendence is undone, (the vacations of) art can recover an ancient destination and establish the type of mythological figure (in which humanity or a people could recognize itself)


="prgrph">-verisimilitude='lgc'>: the quality of seeming to be true, gloss, semblance


com="trms">posite ="trms">imaginary of the 19th century

______________


crowd
theater
phantasmagoria

="ppl">="ppl">Crary ='lgc'>='lgc'>--> Seurat's Parade de Cirque='lgc'> = disclosure of ='strcls'>*the absence at the heart of ="trms">modern ="trms">spectacle and perception='strcls'>*

vivid opening into a light-filled action-filled arena

='at'>@="nms">apass, a common way of criticism='lgc'>:
="lsts lst1">•='strcls'>*evoke, then withhold='strcls'>*
(fir example='lgc'>: evoke ‘entertainment commodity’ but withhold it. ="frds scrmbld">Laura, ="frds scrmbld"nttrm="Alex,Alert,Aleph,Alessi">Ale ,)
="lsts lst1">•='strcls'>*invest, and dismantle='strcls'>* (we are invested in what we dismantle)
="lsts lst1">•='strcls'>*desolation of older s="trms">cenes of re="trms">presentation='strcls'>* ='at'>@="frds">Sina

="ppl">="ppl">Crary on Seurat Cirque ='lgc'>='lgc'>--> investigation of the conditions under which a subject could be activated as an attentive perceiver
(forensic ="trms">aesthetics ='lgc'>='lgc'>--> conditions under which a subject could be arrested as a witness)
(="frds">Sina ="nms">ajayeb ="trms">bestiary ='lgc'>='lgc'>--> conditions under which a subject could be contested as a knowing ="trms">agent)

“frame='lgc'>: an isolating ="trms">agent” (='lgc'><='lgc'>== Wagner ='lgc'>~ to make an ='strcls'>*autonomous and luminous field of attraction='strcls'>* with a deliberately ambiguous spatial identity)
='lgc'>='lgc'>--> explicit r="trms">enunciation of the classical (and early ="trms">modern) status of the image
='lgc'>=/= as a windowlike plane ="trms">intersecting a cone of vision
='lgc'>=/= as a flat plane covered with colored patches

(Seurat's optics='lgc'>:) ='strcls'>***images apparitional value='strcls'>*** ='lgc'><='lgc'>== effect of image's detachment from a broader visual field (='lgc'>=/= diaroma and stereoscop)
='lgc'>='lgc'>--> 19th century optical experiences that severed the image from any continuous or intelligible ="trms">relation to the ="trms">position of the observing objects
(='lgc'>=/= Wagnerian ="trms">aesthetics)
='lgc'>='lgc'>--> ='strcls'>*collective visual experience='strcls'>* ='lgc'>='lgc'>~='lgc'>~='lgc'>='lgc'>--> precinematic forms of moving images

(='at'>@="nms">apass='lgc'>: hand drawing is not about being “="trms">trapped in older artisanal modes of production” ='lgc'>--='qstn'>?='lgc'>='lgc'>--> “performance ='lgc'>=/= projection”)

to assess (the ="trms">relationships between)='lgc'>:
="lsts lst1">•your own ="trms">technological products
="lsts lst1">•makeup of your audience
="lsts lst1">•economical realities of the ="trms">marketplace
='lgc'>}='lgc'>='lgc'>==> inventor of 19th century (Raynaud, Edison, )
='lgc'>='lgc'>--> modify your machines in terms of='lgc'>:
="lsts lst1">•performance
="lsts lst1">•shifting audience needs (and possibilities)

phantasmagoric='lgc'>: occultation of production by means of the outward appearance of the product (creating an experience for a solitary and immobile ="trms">spectator)

(spectral) atopic image='lgc'>: ="trms">literally not there

shimmering ='lgc'>='lgc'>--> effect of detachment from the environment

Reynaud's projected moving images ='lgc'>='lgc'>--> elastic and reversible temporalities (that had little to do with Lumieres's “real time”)

Cheret's posters (joyful ="trms">modern women, advertisement for cosmetics, lighting fixtures, department stores, ballets, and so on) ='lgc'>='lgc'>--> a ="trms">technology of attention ='lgc'>+ a ="trms">specific ornamental re="trms">presentation of commodity culture
(='lgc'>='lgc'>--> practical functionings of ="trms">consumption culture in the 1870s) ='at'>@OSP
='strcls'>*Cheret's “personal style” in graphic design='lgc'> = an abstract luster جلوه a decorative ="trms">formula that could be applied promiscuously to any possible object of ="trms">consumption='strcls'>* ='lgc'>=/= Seurat's dream of universal style

='strcls'>****rich textures of entertainment and visual ="trms">spectacle='strcls'>****

="large lg50" stl="font-size:106%"> ="prgrph">-which range of optical ="trms">apparatuses are available for public ="trms">consumption now='qstn'>?
='lgc'>[in 1880s='lgc'>: peep show, magic lantern, shadow theater, large-scale stethoscope, zeo="trms">tropes, etc.='lgc'>]

my links with Seurat ='lgc'>='lgc'>--> his ="trms">interest in='lgc'>:
="lsts lst1">•contemporary popular visual culture
="lsts lst1">•perceptual ="trms">modernization
="lsts lst1">•

="ppl">="ppl">Crary's ="trms"nttrm="already,spread">reading of Seurat's cirque='lgc'>: new experience of form deployed in time ='lgc'>='lgc'>--> kinematic (='lgc'>=/= semantic, iconographic significance of the clown and acrobat in the painting) ='lgc'>='lgc'>--> ='strcls'>*the illusion of movement='strcls'>*
beginning with the phenakistoscope and zoe="trms">trope in the 1830s ='lgc'>--through='lgc'>='lgc'>--> innumerable optical devices all the way into 1890s ='lgc'>='lgc'>--> endlessly fascinating and repetitive ='lgc'>='lgc'>--> sites of attentiveness (='lgc'>='lgc'>~= attraction)

='lgc'>{ Seurat ='lgc'>+ Reynaud ='lgc'>+ Edison (='lgc'>~ producers of the ='strcls'>***machines of the visible='strcls'>***, allowing the constructed and synthetic ="trms">nature of machine vision to coincide with their own rationalization of perceptual process) ='lgc'>+ forms of machinic vision developing through 1880s ='lgc'>}='lgc'>='lgc'>--> (examples of an emerging) ='strcls'>*****industrial art='strcls'>***** ='lgc'>: from ='strcls'>*artisanal practices='strcls'>* ='lgc'>--to='lgc'>='lgc'>--> standardizing industrial modes of image-making

="ppl">="ppl">Crary ="trms"nttrm="already,spread">reading Seurat without isolating him from the effects of what Raynaud, Edison and many others (Muybridge, Fuhrmann,) were developing through out the 1880s

='lgc'>{ the audience in Seurat's painting='lgc'> = the audience of the static backgrounds used in Reynaud's machines ='lgc'>}='lgc'>='lgc'>--> the unchanging, unreflective, even unseeing ="trms">nature of ="trms">modern ="trms">spectatorship ='lgc'>: ='strcls'>*a crowd of ="trms">spectators permanently in place, installed as a fundamental component of the ="trms">social ="trms">world='strcls'>* (in which the ="trms">specific content displayed to them is the ="trms">matter of absolute inconsequence)

shadow show
clown as magician-engineer who with his ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right hand opens the curtains ="trms">onto an illuminated and abstractly assembled plane of visual stimulation

(Seurat were disclosed to the) congruence of an im="trms">material, atopic and evanescent image with powerful reality effects and ="trms">techniques of attraction

="trms">techniques of perceptual ="trms">modernization ='lgc'>--constituting='lgc'>='lgc'>--> an autonomous space of invention ='lgc'>='lgc'>--> imposing its own constructed visions and truths on viewers

(="ppl">="ppl">Crary shows how) the mechanization of vision had no intrinsic link to objectivity, but rather to new capacities for simulation, illusion, conjuration

(my paintings='qstn'>? ...early) dreams of an impossible and inhuman vision, of a desire for perceptual ubiquity exceeding the spacial and temporal limits of human faculties ='lgc'>--='qstn'>?='lgc'>='lgc'>--> remake the self into a sovereign eye would create and impose its own truths
="prgrph">-the horses of Gericault and Seurat, in their airborne oneiric ="trms">trajectories, incarnate a deeper truth of the body='lgc'>: they become abstract correlates of psychological and kinetic ="trms">response to perceived movement ='lgc'>='lgc'>--> ideomotor experience (='lgc'>=/= truth of mechanical spatial movement)
(='lgc'>='lgc'>--> ="nms">ajayeb description movement ="trms">animal in motion)

='strcls'>***="trms">animal is arrested ='lgc'>='lgc'>--> ="trms">presence is not directly accessible to human vision, but can only be the product of ="trms">technical procedures of simulation='strcls'>*** ='lgc'>='lgc'>--> “="trms">nature='lgc'> = scenographic space” (='lgc'>--collapse='lgc'>='lgc'>--> precondition for the impossible unseeable apparition specter ='lgc'>--Seurat='lgc'>='lgc'>--> ="trms">spectacle)

phantasmal homeostasis
detemporalization of experience

management of attention ='lgc'><='lgc'>='lgc'>--> ="trms">techniques of attraction

(="frds scrmbld">Foad and) Seurat's efforts (in Cirque)='lgc'>: abstract conceptualization of perceptual experience

(possibility of ="trms">spectacle)
differed
displaced
denied
(image of ="trms">spectacle)
derealized
drained of ="trms">presence

='strcls'>*attentiveness of an observing subject='strcls'>*='lgc'> = site of increasingly specialized operations of power

...a twilight state of restricted consciousness ='lgc'>='lgc'>==> (Durkheimian solidarity ='lgc'>='lgc'>--> what is at stake is that) the autonomy of the individual is reduced

='lgc'>--="ppl">="ppl">Crary='lgc'>='lgc'>--> importance of Seurat's work ='lgc'>: to have intuited ='strcls'>**how the collapse of scenic space allowed new ="trms">imaginary ="trms">figuration of immediacy='strcls'>** (of a regressive unity based on a corporeal engagement of the ="trms">spectator) ='at'>@="frds scrmbld">Esther, ="nms">apass, OSP, ="frds scrmbld">Femke

Seurat sensed something fundamental about the industrialization of contemplation (='lgc'>='lgc'>--> now fully matured in Hollywood cinema) ='lgc'>+ (he anticipated, like Wagner) the ='strcls'>*effects of a phantasmatic luminous image on which essence had been displaced by appearance='strcls'>*

(you can still) escape into the psychological time (but don't erase the sense of the obdurate ="trms">historical conditions out of which your dreams of equilibrium emerges)

Seurat's resisted the temptation of the phantasmagoric and of myth (='lgc'>=/= Wagner)
(='lgc'>='lgc'>--> are we the hairs of Seurat='qstn'>?)
="lsts lst1">•exposure of ="trms">technical premises
="lsts lst1">•subversion of any stable “formation” (or ="trms">Gestalt, on which the al="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure of the myth depends)
='lgc'>--Buchloh='lgc'>='lgc'>--> ='strcls'>***avant-garde='lgc'>: a continually renewed struggle over the de="trms">finition of cultural meaning, the discovery and re="trms">presentation of new audiences, and the development of new strategies to counteract and develop resistence against the tendency of the ideological ="trms">apparatuses of the culture industry to occupy and control all practices and spaces of re="trms">presentation='strcls'>*** (='lgc'>='lgc'>--> ='thdf'>that is why i am ="trms">interested in Walt Disney and Hollywood and Qur'an)
='lgc'>='lgc'>--> ='strcls'>*to produce incompatibilities='strcls'>* (as an artistic strategy, visual or ="trms">epistemic and otherwise; to make opacity, hostility to virtuosity and expressionism, )

your work could be adjacent to ____
but not identical to ____

your work might be built out if mechanisms for the production of subjective ="trms">response ='lgc'>--but='lgc'>='lgc'>--> it is never reducible to them
='at'>@OSP, ="frds scrmbld">Femke



Cezanne ='lgc'>='lgc'>--> (nonoptical) art of attention
music ='lgc'>='lgc'>--> a mode of experience ='lgc'>=/= an art of time

(unstable status of an apprentice observer in 1900s) Cezanne='lgc'> = reinvention of synthesis (='lgc'>=/= Manet and Seurat's strategies of binding, homeostasis, fixation)

="ppl">="ppl">Crary highlighting the highly contested ="trms">nature of the ="trms">questions of attention (possibly of pure perception, ="trms">presence, etc. in 1890s) ='lgc'>='lgc'>--> recreation of attentive ="trms">presence amid the impact of new conceptualizations and organizations of motion, ="trms">memory, temporality (='lgc'>+ emerging ="trms">technological arrangements)

='lgc'>[one of many sites in the late 19th century where a crisis in perception is diagnosed:='lgc'>]
Cezanne ='lgc'>+ ="ppl">Husserl='lgc'>: attempt to bypass the accumulated cultural and commonsense assumptions about the ="trms">world as it appears in consciousness (="trms">heritage of ="trms">phenomenology ='lgc'>='lgc'>--> ="frds">Sina, ="frds scrmbld">Foad... ='lgc'>='lgc'>~='lgc'>~> and ="trms">fable of the artist='lgc'>:)
="lsts lst1">•Cezanne ='lgc'>='lgc'>--> forgetting everything and make an image of what you see ='strcls'>*beneath the imposed order of humanity='strcls'>* (19th century preoccupation with “innocent vision” ='lgc'><='lgc'>== to be completely estranged from the ="trms">world ='lgc'><='lgc'>-- ="ppl">Schopenhauer) ='lgc'>='lgc'>==> access to things-in-themselves
="lsts lst1">•="ppl">Husserl ='lgc'>='lgc'>--> pure form of consciousness ='strcls'>*stripped of all accretions of habit and ="trms">socialization='strcls'>* ='lgc'>='lgc'>==> “seeing essences”
='lgc'>='lgc'>--> their work challenged (sought to exceed) features of perception that ="trms">apparatuses (of production and ="trms">consumption) regulated and standardized

="ppl">Husserl
attempt of description of objectivists in a certain atemporal fixedness ='lgc'>=/=='lgc'>{attention='lgc'>: heightened awareness of a narrowed or focused range of perception, operation of selection, ="trms">question of existence of content in consciousness, empathic function which belongs in the sense of intuitional experience ='lgc'>='lgc'>~= psychophysical, as="trms">sociationist, sensationa="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list, atomistic accounts of perception and cognition ='lgc'>='lgc'>==> how re="trms">liable and consistent the knowl="trms"nttrm="knowledge,Knowledge">edge about the ="trms">world is possible ='lgc'>+ (classical model of vision='lgc'>:) privileged point of view of a perceiving subject from which the objectivity of the ="trms">world could be apprehended='lgc'>}
issue of cognitive and perceptual synthesis
="lsts lst1">•to resecure an unconditional basis for logic and ="trms">science
="lsts lst1">•to escape from refined habitual patterns of perception inherent in various aspects of rationalization and compassion of experience in 1890s and 1900s (='lgc'>='lgc'>--> dynamic, kinetic, distracted texture of ="trms">modern sensory life ='lgc'>='lgc'>==> attention='lgc'>: malleable entropic force susceptible to fatigue, distraction, and external management)
="lsts lst1">•to quest for the logic of meaning ='lgc'>='lgc'>==> primordial oneness of consciousness
='lgc'>-='lgc'>-='lgc'>='lgc'>--> (for ="ppl">Husserl) attention appears and appertains in the possibility of an ='strcls'>*impersonal, preindividual, transcendental sphere free of anything ="trms">="trms">empirical, of anything spatiotemporal='strcls'>* ='lgc'>='lgc'>==> attention='lgc'>: intentional act with an absolute structure, quasi-machine searchlight for an unwavering mode of looking at the act of looking
='lgc'>--="ppl">="ppl">Crary='lgc'>='lgc'>--> amid the dynamic dissolution of ="trms">modernization (a ="trms">world in which previously stable meanings, signs, ="trms">social ="trms">relations were being uprooted, made exchangeable, and put into circulation) ="ppl">Husserl proposes ='lgc'>[in a hopeless quest='lgc'>] a monolithe ="trms">technique of attention (to discern a halo of absolute authenticity around every object or ="trms">relation) to determine the universal structure of (the authenticity of) subjective life="trms">world ='lgc'>[unable to go beyond ‘pre-cinematographic conditions’ (='lgc'>~ movement thought only from the anchorage of a static “pose”)='lgc'>]
 ='lgc'>--Varela='lgc'>='lgc'>--> ="ppl">Husserl's (='lgc'>+ MerleauPonty) turn towards experience (the “things themselves”) was entirely theatrical ='lgc'>: lacked any ="trms">pragmatic dimension ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="ppl">="ppl">Despret, ="ppl">="ppl">Stewart='lgc'>]

what Cezanne did seek to “suspend” (to forget)='qstn'>?

(sensitivity to) perceptual experiences that had been ignored, marginalized, or incompatible (='lgc'>='lgc'>==> un="trms">articulated)='lgc'>--within='lgc'>='lgc'>--> organization of knowl="trms"nttrm="knowledge,Knowledge">edge about vision
='lgc'>}='lgc'>='lgc'>==> (Cezanne's) “attention to anomalous='strcls'>* ='lgc'>='lgc'>--> ='strcls'>***engage a discordant exterior='strcls'>*** (that takes a hold on your recognizable ="trms">world) ='lgc'>[='lgc'><='lgc'>-- our ="trms">heritage in art='lgc'>]

Cezanne='lgc'>: “perception='lgc'> = process of its formation” ='lgc'>: confronting and inhabiting the instability of perception ='lgc'>=/= recording the evanescent appearances of the ="trms">world

(Cezanne ='lgc'>+ Manet's discovery='lgc'>:) looking at one thing
=X='lgc'>=> fuller and more in="trms">="trms"nttrm="cluster,club">clusive grasp of its ="trms">presence (='lgc'>~ rich immediacy)
='lgc'>='lgc'>==> perceptual dis="trms">integration and loss, breakdown as intelligible form ='lgc'>='lgc'>==> invention and discovery of previously unknown ="trms">religions and organizations of forces

dissolution inherent in attentiveness ='lgc'>==support='lgc'>='lgc'>==> (Cezanne's) radical de="trms">symbolization of the ="trms">world ='lgc'>+ perpetually modulating set of ="trms">relations between the exterior and sensations

Cezanne attentive to='lgc'>:
="lsts lst1">•activity of the eye
="lsts lst1">•visual sensation
="lsts lst1">•myriad intricacies of subjective vision
="lsts lst1">•(physiological) limitations of sensory experience
="lsts lst1">•the body (its pulsation, temporalities, ="trms">intersection of that body with a ="trms">world of ="trms">transitions, of events, of becomings)
="lsts lst1">•discontinuous com="trms">position of visual field (to its “concentric” format)

19th century ="trms">scientific research ='lgc'>='lgc'>==>
="lsts lst1">•comprehensive account of human perception
="lsts lst1">•disjointed ="trms">nature of the visual field
="lsts lst1">•central area of retina='lgc'>: photoreceptor cells
="lsts lst2">◦peripheral area of retina='lgc'>: sensitive to movement
="lsts lst1">•subjective visual field ='lgc'><='lgc'>== complex aggregate processes of the eye movement (“short fast jumps” ='lgc'>=/= instantaneous intake of an image) ='lgc'>='lgc'>--> a new psychological model of the human subject

acuity did not cor="trms">respond strictly to localized anatomy but rather was the product of a dynamic ="trms">relation of fovea and periphery as well as external luminous factors

hearing='lgc'>: aggregate perpetual process

Wundt's optical model (polarity between='lgc'>:)
="lsts lst1">•Blickfeld='lgc'>: field of consciousness
="lsts lst1">•Blickpunkt='lgc'>: focus of consciousness (where apperception occur) ='lgc'>='lgc'>~= attention

='lgc'>=/=
Locke, ="ppl">Descartes, ="ppl">Leibniz
consciousness='lgc'> = camera obscura

apperception='lgc'>: focalization of some content in consciousness ='lgc'>='lgc'>==> structure experience

='lgc'>--="ppl">="ppl">Crary='lgc'>='lgc'>--> what is at stake (with Wundt) is a cognitive modality part of a larger ='strcls'>***="trms">modern process of decentering='strcls'>***

(='lgc'>+ James ='lgc'>='lgc'>-->) a ="trms">question of the primacy of ‘="trms">transitive’ states in which the shifting fringes of perception were constitutive features of psychic “reality”


="trms">modernization of perception
center ='lgc'>=/= periphery
dispersed functioning of sensory ="trms">response

(how in 19th century capacities of human eye was made into='lgc'>:)
="lstsrd">1. architectural model of ='strcls'>*panorama='strcls'>*='lgc'> = permanent activation of optical periphery ='lgc'>+ no stable center of focused attentiveness
="lstsrd">2. ='strcls'>*stereoscope='strcls'>*='lgc'> = decisive ex="trms">="trms"nttrm="cluster,club">clusion of the periphery ='lgc'>+ 3D image hypertangiblity (='lgc'><='lgc'>-- our model of visual ="trms">consumption)
='lgc'>}='lgc'>='lgc'>==> loss of ='strcls'>*consistent and coherent ="trms">relations of distance between image and observer='strcls'>* ='lgc'>[='lgc'><='lgc'>-- this lost consistency is now in 2020 what everyone in art is busy with or to reactivate='lgc'>]


...having the fixed eye many disconnected areas of the visual field at once='lgc'> = continual beginning at a new center='lgc'> = Cezanne ='lgc'>='lgc'>~= ='strcls'>*radical rethinking the ="trms">nature of ='lgc'>[='strcls'>*='lgc'>]synthesis='lgc'>: rhythmic coexistence of radically heterogenous and temporally dispersed elements='strcls'>*

...a subjective immobilization
seeking to enter into the ="trms">world's ceaseless movement of destabilization (='lgc'>=/= holding together the content) ='lgc'>='lgc'>==> a more intensive recreation of a subjective ="trms">interface with the ="trms">world (='lgc'>=/= reverie, disas="trms">sociation)
='lgc'>}='lgc'>='lgc'>-->
="lsts lst1">•every object's identity is swallowed up in ="trms">difference
="lsts lst1">•='strcls'>*vision='lgc'>: veritable theater of ="trms"nttrm="metaph,metamorph,metabol,metal">meta="trms">morphosis and permutations='strcls'>*

(Cezanne reexamining the com="trms">position of the visual ="trms">world ='lgc'>='lgc'>==>)
fanatical attentiveness to the ="trms">data of sense ='lgc'>='lgc'>==> dissolution of unity, destabilization of objects ="trms">onto flux, dispersion, displaced the body to the ="trms">world, into a stream of change, of time, ='strcls'>*undoing the immediacy of the ="trms">world='strcls'>* ='lgc'>[='lgc'><='lgc'>-- my reexamination of the com="trms">position of the ="trms">epistemological ="trms">world of ="trms">fables in West Asia, ='mywrk'>my work's ="trms">relationship with knowl="trms"nttrm="knowledge,Knowledge">edge is like that. to gain control of myself in the midst of moving concepts, the circulation of concerns, jumble of paths and knots, whirlpool of velocities, and recourse to my capacity for forgetting...='lgc'>]

perceptual consistency is a phantom

(="ppl">="ppl">Lucretius='lgc'>:) ='lgc'>[='strcls'>*='lgc'>]="trms">world='lgc'>: in="trms">finite Cascades of self-="trms">differentiation

="prgrph">-the ="trms">question is='lgc'>: how to make ="trms">aesthetic constructions ='lgc'>[the task of the artist='lgc'>] (if the ="trms">world is so fragile)='qstn'>?

="prgrph">-how to go back and forth between attention and reverie='qstn'>?

perplexity of the eye (related to a deeper and ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical perplexity)
an imageless vision
...a mind for which no visible form is visible enough


the fixed and monocular eye has been posed (in recent theatrical ="trms">writing) as the formative element of classical ="trms">system of re="trms">presentation ='strcls'>**functioning to arrest duration and change in order to achieve a conceptual matey mastery of ="trms">phenomena='strcls'>** ='lgc'>{='lgc'>='lgc'>==> ="trms">zoocentric ="trms">animal anatomy ='lgc'>=/= ="nms">ajayeb='lgc'>}
='lgc'>--='not'>✕='lgc'>='lgc'>--> (="ppl">="ppl">Crary's sug="trms">gestion that) ='strcls'>***the fixed immobile eye is what annihilates the “="trms">naturalness” of the ="trms">world='strcls'>*** (disclosing the provisional and fluid ="trms">nature of visual experience) ='lgc'>=/= mobile glancing eye is what preserves the preconstructed character of the ="trms">world

="lsts lst1">•moving eye ='lgc'>='lgc'>--> habitually familiarly caresses objects (extracting previously established ="trms">relations among them)
="lsts lst1">•fixed eye ='lgc'>='lgc'>--> (immobile eye t="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riggers a ferment of activity ='lgc'>='lgc'>==>) trance and perceptual dis="trms">integration ='lgc'>='lgc'>--> dissolving the physiognomy of the everyday ="trms">world ='lgc'>[='lgc'>='lgc'>='lgc'>~=>='qstn'>? ="trms">bestiary's perceptual uncanniness='lgc'>]

fixed truth-taking stare ='lgc'>='lgc'>==> perceptual uncanniness

='thdf'>the idea of un undistorted o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal perception ='lgc'>='lgc'>==> objects in some accessable state available for objective comparison and evaluation

fixation sets the ="trms">world in motion
visual field begin vibration and oscillating
chromatic instability

the physiological ="trms">apparatus (our bodies) incapable of stability ='lgc'>=/= the aim of stabilizing the ="trms">world to look at it analytically


perceptualism='lgc'>: ='thdf'>the idea that (artists, cultures, etc.) expressions in varying degrees involves the transcription of the ="trms">world “as it appears” to them

Cezanne ='lgc'>='lgc'>==> understanding of the ="trms">world (as processes of becoming) that doesn't possess a ='strcls'>*premade ="trms">integrity='strcls'>* (='lgc'>='lgc'>--> ="trms">world of ="nms">ajayeb is full of premade ="trms">integrities)


reckon ='and'>& calculate
='lgc'>--='not'>✕='lgc'>='lgc'>--> (="ppl">Nietzsche's) formless un="trms">formulable ="trms">world of the chaos of sensation
='lgc'>--='not'>✕='lgc'>='lgc'>--> (Cezanne's) continual emergence and dis="trms">integration of constellations (of ="trms">relationships ='lgc'>+ self)



production (of other kinds) of fixed vision (amid the increasing awareness of the ="trms">transitive and unstable ="trms">nature of perception)='lgc'>:
="lsts lst1">•="trms">modern psychology (late 19th century)='lgc'>: how to incorporate the vagaries and unpre="trms">dictability of subjectivity into a set of constants ='lgc'>='lgc'>--> quantify subjective perceptual experience ='lgc'>[='lgc'><='lgc'>-- ="trms">question of artistic feedback='lgc'>: how to perceptually isolate stimuli='qstn'>? how to temporally control one's exposure='qstn'>?='lgc'>]
="lsts lst1">•tac="trms">histoscope (mid 1880s='lgc'>--search for elemental unit of attentive behavior)='lgc'>: ='thdf'>the idea of instantaneous perception, mechanically producted “="trms">presence” ='lgc'>--="ppl">="ppl">Crary='lgc'>='lgc'>--> fantasy of a descrete quantifiable perception detached from the lives dynamics of the body ='lgc'>+ ='thdf'>the idea that pure nonsense reveals ="trms">specific aspects of attention that hermeneutics could not conceive ='lgc'>{based on naive realism (ignoring the existence of transient iconic ="trms">memory) pre="trms">supposing='lgc'>:
1- the subject's visual experience directly mirrors the stimulus pattern
2- the subject's visual experience begins when the pattern is first exposed and terminates when it is turned off
="lsts lst1">•Muybridge's machine ='lgc'>='lgc'>==> reconstruct appearances through the production of consecutive images
="lsts lst1">•

tac="trms">histoscope (nonconsecutive visual stimuli) ='lgc'>='lgc'>--> how within the context of ="trms">technological ="trms">modernization, faster mechanical speeds are reciprocally related to new bodily forms of stasis (='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="ppl">Virilio)
="lsts lst1">•chronometric device='lgc'>: ="trms">measurement of ="trms">relation time

='lgc'>}='lgc'>='lgc'>--> the break or ="trms">interrupting of vision becomes the primary element within perceptual experience, rather than a visual continuum that maintains the cohesiveness of the ="trms">world

='lgc'>}='lgc'>='lgc'>==> ='strcls'>*possibility of pure sensation without perception='strcls'>*


“mental test”
detailed psychometrics of individual performance and behavior ='lgc'>--preoccupied='lgc'>='lgc'>--> features of a ="trms">generalized consciousness

20th century behaviorism ='lgc'>='lgc'>--> abandonment of ="trms">interest in any ="trms">internal or introspective experience (in favor of ="trms">data resulted from objective external controlled observation)
 ='lgc'>==Cattel='lgc'>='lgc'>==> application of ="trms">systematized knowl="trms"nttrm="knowledge,Knowledge">edge to the control of human ="trms">nature
='lgc'>--="ppl">="ppl">Crary='lgc'>='lgc'>--> ='strcls'>**accommodation of subjective life to machine operations='strcls'>** (='lgc'>+ speeds, temporalities)



new objective ="trms">world='lgc'>: de="trms">composed into autonomous and abstract stimuli (='lgc'>+ machine rythmes that differed dramatically from those of the body) ='lgc'>='lgc'>==> re="trms">positioning of the perceiver (='lgc'>+ motor ="trms"nttrm="already,spread">readiness) ='lgc'>}='lgc'>='lgc'>-->
="lsts lst1">•new patterns of production
="lsts lst1">•="trms">spectacular ="trms">consumption

='strcls'>*machinic ="trms">interface is the body='strcls'>* ='lgc'>='lgc'>==> related temporal shaping of everyday life

computer ='lgc'>='lgc'>==> psychic field of expectant attentiveness ='lgc'><='lgc'>--within='lgc'>-- one inevitably trains one self to maximize the speed of ="trms">response to ="trms">specific commands and functions (and derive at least one satisfaction from these habitual operations of mechanical facility)

='lgc'>}='lgc'><='lgc'>--="ppl">="ppl">Crary='lgc'>-- ="trms">epistemic shift in 20th century to theorise of subjective vision


instantaneity='lgc'>: unproblematic ="trms">presentness of vision

Helmholtz (discovery of slow speed of nerve trans="trms">mission) ='lgc'>='lgc'>==> “="trms">present state” of perception is deployed within a temporally extended physiological set of events


19th century ='lgc'>--="ppl">="ppl">Foucault='lgc'>='lgc'>--> the essence of human life ceased to be something re="trms">presentable in the tabular space of classical re="trms">presentation ='lgc'>=/= human life understood in terms of it's existence in time, of functions and energies that un="trms">folded and developed outside the ='strcls'>**immediacy of classical visibility='strcls'>**


='strcls'>*the conditioned reflex='strcls'>*
a ="trms">chimerical notion of the western ="trms">imagination in the 20th century

reflex (central cerebral process, onset of stimulus ='lgc'>='lgc'>==> preparation of motor ="trms">response)
="lsts lst1">•one of the ways in which attention was ="trms">positioned within knowl="trms"nttrm="knowledge,Knowledge">edge of human behavior
='lgc'>==producing='lgc'>='lgc'>==> new forms of sensory experience outside of (various myth of) organic wholeness of subjectivity (='lgc'>='lgc'>--> distinction between “="trms">natural” ='and'>& “artificial” sensation ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ='mywrk'>my work in WIELS ="trms">bestiary characters='lgc'>: what was individual experience in middle ages='qstn'>?='lgc'>])
="lsts lst1">•practical recon="trms">figuration of behavior ='lgc'>+ possibility of external ="trms">intervention and control
='lgc'>=/= Dewey's (galvanic image of) subject in a perpetual sensory ="trms">interface with the ="trms">world='lgc'> = un="trms">interrupted mass motion ='lgc'>='lgc'>--> unity of activity ='lgc'>='lgc'>-->='lgc'>{='strcls'>*continuity='strcls'>* ='lgc'>==sustain='lgc'>='lgc'>==> an ideal of unity and wholeness ='lgc'>=/= dis="trms">integration of individual experience, ='strcls'>*disconnected ="trms">nature of reality='strcls'>*='lgc'>}

(domain of experience in ="trms"nttrm="disturban">urban capita="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list life="trms">world='lgc'>:)
="lsts lst1">•industrial production
="lsts lst1">•="trms">spectacular condonation
="lsts lst1">•="trms">technological ="trms">modernization
="lsts lst1">•rational, ="trms">social, managerial control

(apperceptive experience of) anticipation, ="trms">memory, and preparation for future actions

(halfway ="trms">modernist Dewey didn't consider) breaks in perception might also have the capacity for ='strcls'>*revivifying or expanding the limits of thought or cognitive awareness='strcls'>* ='lgc'>[='lgc'><='lgc'>-- and today 2020 many don't consider our contemporary media culture has this capacity='lgc'>]
='lgc'>='lgc'>--> what if our fragmented ="trms">nature is one of the forms the discontinuous ="trms">nature of reality can be apprehended='qstn'>?

celestial camera obscura

Dewey was deeply ="trms">interested in practical ways of mind-body unity
rhythm, eurhythmy
alexander ="trms">technique


unwavering model of pure contemplation
“pure knowing subject='lgc'> = forget your own personality, lose oneself in perception"='lgc'> = clear eye of the ="trms">world (="ppl">Schopenhauerian model of knowing in Doctor Strange movie, seeing the ="trms">world directly and leave entirely one's own ="trms">interests, the pre="trms">modern idea of ='strcls'>*perception='lgc'> = ="trms">presence='strcls'>*)



="ppl">Bergson (='lgc'>+ Cezanne) ='lgc'>='lgc'>--> deepest forms of perception are mixed and com="trms">posite

(in ="trms">Matter and ="trms">Memory) ="ppl">Bergson='lgc'>: establish a model of perception ='lgc'>=/= ="trms">routinized and reified forms of perceptual experience within western ="trms"nttrm="disturban">urban and ="trms">scientific culture of the late 19th century

='lgc'>[='strcls'>*='lgc'>]externality='lgc'> = dream of inhuman immediacy='lgc'>: a vision of ="trms">matter both immediate and instantaneous
='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to Lucy movie primordial and fundamental act of perception

="ppl">Bergson (='lgc'>+ Dewey's ideal of coordination)
(the role of the) ='strcls'>*body='lgc'>: reproduce in action the life of the mind='strcls'>*
(the role of the) ='strcls'>*mind='lgc'>: hindering the thought from being lost in dream, an organ of ‘attention to life’
='lgc'>='lgc'>--> how ="trms">memory and perception ="trms">interpret each other
='strcls'>*="trms">memory coincides (diverge, ="trms">intersect) with the “="trms">present” perception='strcls'>*
='lgc'>{ ='lgc'>[='strcls'>*='lgc'>]determine='lgc'>: the more habitual and repetitive one's perceptual ="trms">response to one's environment ='lgc'>='lgc'>==> the less autonomy and freedom characterize that individual experience ='lgc'>}='lgc'>='lgc'>--> creativity='lgc'> = (zone of) indetermination

='lgc'>--again='lgc'>='lgc'>--> ="ppl">Bergson (disturbed by new arrangement of ="trms">spectacular ="trms">consumption posed as novelty within a mass ="trms">society ='lgc'>='lgc'>==> redundancy and habit ='lgc'>+ decay of traditional forms of collective ="trms">memory) his work is a ="trms">response to='lgc'>:
="lsts lst1">•general standardization of experience
="lsts lst1">•automation of perceptual ="trms">response
(='lgc'><='lgc'>--="frds">Sina='lgc'>-- typical problem of life-philosophers lebensphilosophie at the turn of the century reaction to the “intrusion of the mechanical”)

='strcls'>*preconditions of a free and autonomous subject='strcls'>* ='lgc'>+ ='strcls'>*end="trms"nttrm="danger,stranger">angered (coherent) ="trms">system of meaning='strcls'>*

(weak evolutionary assumptions of ="ppl">Bergson's elaboration of) human subject (= the most developed organism)='lgc'> = potential (for indetermination)='lgc'> = escape from a ="trms">relationship of constraint and necessity in one's lived milieu ='lgc'>[='lgc'>=/= ="trms">animal='lgc'>]


Helmholtz (research on physiological optics) ='lgc'>='lgc'>==> غیر واقعی nonveridical status of vision (and perception) ='lgc'>='lgc'>~= there is no direct cor="trms">respondence between sense experience and objects in the ="trms">world ='lgc'>='lgc'>==>
="lsts lst1">•uprooting='lgc'>: rationalization and ="trms">instrumentalization of senses (='lgc'>='lgc'>--> ="trms">technical prostheses)
="lsts lst1">•displacing='lgc'>: reterritorializing of perception

Helmholtz (='lgc'>='lgc'>~/= ="ppl">Bergson) committed to expanding and optimizing the productive functioning of ="trms">socioeconomic ="trms">world (of imperial Germany) ='lgc'>='lgc'>--> vision of capita="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list industrialization (exchangeability, convertibility, etc.)

Helmholtz's ="trms">ontology ='lgc'>='lgc'>--> physics
Helmholtz's ="trms">epistemology ='lgc'>='lgc'>--> ="trms">semiotics='lgc'>: re="trms">presentational and quasilogical order of signs


(Helmholtz ='lgc'>+) ="ppl">Bergson's attention='lgc'>:
="lstsrd">1. condition of relative motor arrest (Ribot)
="lstsrd">2. gives up the useful effect of ="trms">present perception
="lstsrd">3. backward movement of the mind

="ppl">Bergson's attention='lgc'>: a binding together of reality to ward off both perceptual and psychic dis="trms">integration


endosmosis='lgc'>: process of remaking an object of perception

="ppl">Deleuze's attention='lgc'>: gives back to duration its true characteristic... a very special coexistence (='lgc'>=/= succession), a ="trms">simultaneity of fluxes, in which the body was always implicated ='lgc'>='lgc'>--> “freedom='lgc'> = awareness of that coexistence”,


“reality function”
(psychic='lgc'>+) sensorimotor grounding in the reality

in early 20th century ='lgc'>='lgc'>--> clinic designation of a condition called “the feeling of unreality” ='lgc'>: fai="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure of an apperceptive attention ='lgc'>: when ="trms">present impressions do not link up with ="trms">memory as="trms">sociation ='lgc'>='lgc'>==> sense of unfamiliarity of the ="trms">present objects


='strcls'>*(inconsistent and ="trms">anxious treatment of) ="ppl">Bergson sketching out the marvels of a multidimensional perception='strcls'>* (capable of apprehending and creativity engaging the immanence of the ="trms">past and ="trms">present) ='lgc'><='lgc'>-- fantast of artistic research
='lgc'>='lgc'>---="ppl">="ppl">Crary='lgc'>='lgc'>--> for ="ppl">Bergson attention is one that does not waver, oscillate, or drift in and out of focus ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="ppl">Avital ="trms">drug='lgc'>] ='lgc'>='lgc'>--> his privileging of fusion, ="trms">interpenetration, and continuity does not apply to borderline states='lgc'>: insanity, dreaming, etc. piercing forms of nonspatialized experiences='lgc'>: dreamwork, trance, forms of hypnagogic visions (='lgc'>='lgc'>==> powerful penetration of the ="trms">present by ="trms">memory)

="ppl">Bergson's indetermination='lgc'>: a human attentive concentration, an abortion that would never lose its conscious connection to the willed activity of the body (='lgc'><='lgc'>-- fantasy of wakeful critical subject) ='lgc'>=/= (="ppl">="ppl">Crary's well argued) indetermination encompassing fluctuations in and out of trancelike states in which disas="trms">sociated ="trms">phenomenal might occur


="ppl">Bergson's work is typical of his period ='lgc'>='lgc'>--> ='strcls'>***great fear of perceptual behavior that is either passive or automatic='strcls'>***
='lgc'>}='lgc'>--="trms">historically='lgc'>='lgc'>--> construction of various forms of automatic perception in cinema, recorded sound, and other ="trms">technological attachments ='lgc'>='lgc'>==> ='thdf'>the idea of ='strcls'>**premade images ="trms">consumed passively='strcls'>** (...depreciation of experience when individual ="trms">memory images are stiffened into ="trms"nttrm="already,spread">ready-made things)

(for ="ppl">Bergson, Janet, ="frds scrmbld">Foad, and many others='lgc'>:) automatic behavior ='lgc'>='lgc'>==> dissolution of ego boundaries (in which the individual will cease to exert itself), contraction of personality, scattering of the self

drift
reverie
trance
dream

='strcls'>**="ppl">Bergson's work='lgc'> = re="trms">fashioning of the ="ppl">Rousseauian conviction of the truth and authenticity of (inner) subjective experience, without grasping how that experience is determined by forces external to the subject='strcls'>**
='lgc'>--trying='lgc'>='lgc'>--> to overcome the degradation and devaluation of experience within a ="trms">modernizing culture founded on amnesia and obsolescence='lgc'> = collaptof auratic perception

='lgc'>--="ppl">="ppl">Crary='lgc'>='lgc'>--> ="ppl">Bergson and others could not see the ways in which ='strcls'>*****capitalism itself was a nonfixable duree, a nonre="trms">presentable variation ='lgc'>='lgc'>==> an endless chain of dislocations and destabilizations ='lgc'>='lgc'>==> its own virtual realm of novelty='strcls'>*****

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(Cezanne and ="frds">Sina's attraction to) rock motifs
various spl="trms">intering and dispersal of rocks
="trms">intermingled with ruins of man-made stone structure
(rock's) precarious status as object

rock='lgc'> = (incarnated) resistance to drift and entropy ='lgc'>:
forces of gravity
geological erosion
inexorable dis="trms">integration of substance
...


(='qstn'>?like many artists i am looking for incarnations too, for) procedures of binding ='lgc'>: transformed re="trms">presentational logic
='strcls'>*operation of fixing, of fastening, within a ="trms">world in which ="trms">position no longer has its former meanings='strcls'>*

="trms">interpretation of tentatively scenic spaces

(BOZAR ="nms">Tehran tree project)
="lsts lst1">•flickering screen of sky and trees
="lsts lst1">•one stone lies nested or w="trms"nttrm="knowledge,Knowledge">edged within the embrace of another element
='lgc'>='lgc'>--> (logic of the ='lgc'>[phantom='lgc'>]) limbs

="trms">eroticized enclosure (seek to grasp and be grasped) ='lgc'>--becomes='lgc'>='lgc'>--> diagram of perception (seek to envelope and be enveloped)

Cezanne's discovery='lgc'>: any attempt to stabilize perception ='lgc'>='lgc'>==> dis="trms">integration and transformation

="lsts lst1">•Cezanne ='lgc'>='lgc'>--> dispersed perceptual processes
="lsts lst1">•="ppl">Freud ='lgc'>='lgc'>--> dispersed psychic processes ='lgc'>{perception='lgc'> = ="trms">interface of the nervous ="trms">system with the ="trms">world <='lgc'>=='lgc'>~ ="trms">interface between consciousness and the stored stimuli of wishes, ="trms">memories, anticipations='lgc'>}

(mid 1890s) ="ppl">Bergson ='lgc'>+ ="ppl">Freud ='lgc'>='lgc'>==> sustained and o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal consideration of the anti-optical functioning of subjectivity perceptual experience as a nondirectional, acentric, multitemporal event
='lgc'>='lgc'>--> empathic decentering of the observer
='lgc'>+ (widesp="trms"nttrm="already,spread">read) practical and discursive remaking of the observer as subject, vision is no longer a distinct and isolable ="trms">phenomenon


="ppl">Freud ='lgc'>='lgc'>--> psyche='lgc'> = a perpetually available innocence ='lgc'>+ in="trms">finite reserve of traces
='strcls'>*perception arouse ="trms">interest on the account of their possible connection with the object wished for='strcls'>* ='lgc'>: ‘perception='lgc'> = ="trms">question of ="trms">internal ex="trms">citation’

Cezanne ='lgc'>--(in Pineapple and Rocks)='lgc'>='lgc'>--> coexistence (continuity) of='lgc'>:
="lsts lst1">•an attentiveness that is bound (cathected) ="trms">onto established (facilitated) patterns ='lgc'>[= one's own ="trms">history ='lgc'>+ its fixation='lgc'>]
="lsts lst1">•a perception of ="trms">animality and novelty ='lgc'>[= relaxation of grip, musical, (="ppl">Deleuze and ="ppl">Guattari's) ='strcls'>*anti="trms">memory='strcls'>* ='lgc'>=/= atemporal forgetting='lgc'>]


vertigo='lgc'>: auto-movement of chaos

“Cezanne's work='lgc'> = model of a nonhuman perception” ='lgc'>: (="trms"nttrm="already,spread">reading of Cezanne as) austere project of formal ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigor, performed on some remote plane of ="trms">aesthetic production; an enterprise tragically detached from an engagement with the ="trms">social contra="trms">diction of his time ='lgc'>=/= (="ppl">="ppl">Crary's ="trms"nttrm="already,spread">reading of) Cezanne coinciding ="trms">historically with new perceptual ="trms">technologies ='lgc'>='lgc'>--> new ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphoric possibilities

accumulated experience ='lgc'>--basis='lgc'>='lgc'>--> radical depersonalization ='lgc'>--intuit='lgc'>='lgc'>--> creative forces of chaos (in your own provence)

='strcls'>**Cezanne's ="trms">imaginative re="trms">figuration of himself as machine='lgc'> = ="trms">translate automatically='strcls'>** ='lgc'>='lgc'>==> release from grounded condition of human perception ='lgc'>: to become an ="trms">apparatus='lgc'> = implacability apprehend a ="trms">world outside of the terms (that the artist wants out) ='lgc'>='lgc'>==> novelty (='lgc'>='lgc'>~= to overcome the gravity of one's own ="trms">interiority) ='lgc'>--Cezanne='lgc'>='lgc'>--> primordial image (of irreducible formlessness, of ='strcls'>***="trms">world in process without horizon='strcls'>***, without ="trms">position, of slowly vibrating colors...) ='lgc'>[='lgc'><='lgc'>-- ='strcls'>*="trms">apparatus becoming='strcls'>* is now the cliche of contemporary artist='lgc'>]

glow of a geological dawn
archaic ='lgc'>+ inert
Precambrian
deterritorializing processes of capitalism (='lgc'>+ its imperatives of perpetual renovation) ='lgc'>='lgc'>--> (its compatible) uprooted nonorientable subject

="trms">nature experienced as vibrations, animations, chromatic re="trms">verberation (='lgc'>+ seeking a “logic” to clarify its un="trms">folding)

hideous sign of progress (for Cezanne='lgc'>: electric light, cinema, )

artistic ="trms">modernism ='lgc'><='lgc'>==="ppl">Adorno='lgc'>== (the fact that) the most advanced procedures of ="trms">material production and organization are not limited to the sphere in which they o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginate (='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to incarnation)

demotivated subjectivity
wants something that is neither optical nor mechanical nor intellectual ='lgc'>='lgc'>==> substitute a mode of consciousness that is predominantly intuitive ='lgc'>: the awareness of touch


="trms">historical adjacency (='lgc'><='lgc'>-- ="ppl">="ppl">Crary's knowl="trms"nttrm="knowledge,Knowledge">edge ="trms">zoom)

='strcls'>*late work of Cezanne (in spite of apparent ="trms">social isolation of its production)='lgc'> = a site where ="trms">modernization of subject occurs (of late 19th century)='strcls'>* ='lgc'>='lgc'>--> dynamization of perception (occurring in many ="trms">different domains around the year 1900 ='lgc'>--introducing='lgc'>='lgc'>--> new ="trms">techniques of vision)

Cezanne ='lgc'>=/= contemplative distance
Cezanne ='lgc'>=/= perceptual autonomy
Cezanne='lgc'> = nervous ="trms">system ="trms">interfacing with (a continually transforming) external environment
Cezanne='lgc'> = an ='thdf'>example of a contemporary conceptualization of reality (as a dynamic aggregate of sensations)

='lgc'>='lgc'>--> emerging industries of ="trms">spectacle


(fundamentally distinct) machinic visual ="trms">technologies ='lgc'>--="ppl">Deleuze='lgc'>='lgc'>--> cinema ='lgc'>=/= previous ="trms">historical forms of simulation (some continuous western mode of re="trms">presentation, with its o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigins in Renaissance), re="trms">present the ="trms">world
cinema ='lgc'>--constitutes='lgc'>='lgc'>--> ='strcls'>*an autonomous ="trms">world='strcls'>* made up of breaks and disproportions, deprived of all centers, addressing itself as such to viewers who are in themselves no longer the center of their own perception

percipiens
percipi

nonselectivity of cinema eye ='lgc'>=/= texture of human attentiveness

cinema='lgc'> = fusion='lgc'> = dream of the functional ="trms">integrity of the ="trms">world

film='lgc'> = validation of the authenticity of the perceptual disorientation

='lgc'>}='lgc'>--='not'>✕='lgc'>='lgc'>--> ="ppl">="ppl">Crary's analysis of Edison's train robbery s="trms">cene ='lgc'>: serial recon="trms">figuration of a kinesthetic constellation of moving forces (='lgc'>+ additional ="trms">system of movements and forces='lgc'>: bodies, bullets, explosion) ='lgc'>=/= ="trms">question of mobile point of view

Cezanne ='lgc'><='lgc'>='lgc'>--> cinema camera ='lgc'>--Dziga='lgc'>='lgc'>-->
i am a mechanical eye
i, a machine, show you the ="trms">world as only i can see it
now and forever, i free myself from human immobility
i am in constant motion, i draw near, then far away objects, i crawl under, i climb ="trms">onto them... i plug and soar together with plunging and soaring bodies
now, i, a camera, fling myself along their resultant maneuvering in the chaos of movement, recording movement, starting with movement of the most complex combinations


Sherrington ='lgc'>='lgc'>--> stimuli in the external ="trms">world are selected and ="trms">fashioned by the organism
='lgc'>=/= Pav="trms">lov='lgc'>: stimuli='lgc'> = alien shocks encountered and ="trms">responded to
='lgc'>=/= ="ppl">Cartesian res extensa, res cogitans
“the great physical process of attention”
inhibition='lgc'>: an active process
anticipatory behavior
exploratory locomotor behavior
“="trms">integrative function” of nervous ="trms">system ='lgc'>='lgc'>==> binding
(="trms">integrative='lgc'>: incorporation of the exterior ="trms">world)
“human perception='lgc'> = possibility of motor activity”

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Cezanne sitting in ="trms">nature and studying motif, tilting his head ='lgc'>='lgc'>~='lgc'>-> intensity un="trms">folding chromatically before him (a mode of physical being) ='lgc'>='lgc'>--> ='strcls'>*time of the body='strcls'>* ='lgc'>[='lgc'><='lgc'>-- this is typical of today art in european='lgc'>]='lgc'> = inde="trms">finite scalar time ='lgc'>+ intensity is experienced outside re="trms">presentation
="lsts lst1">•river stands for his engagement with a more primal flux
="lsts lst1">•sustained condition of vibrating instability
="lsts lst1">•apprehension of multiplicity
="lsts lst1">•="trms">world='lgc'> = turn of a kaleidoscope (prismatic)
="lsts lst1">•(when you look at a) landscape has its own weird anima, it changes like a living ="trms">animal under our gaze (='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to machine dreaming image learning 2020)
="lsts lst1">•to make yourself into a ="trms">responsible productive organ
='lgc'>='lgc'>--> ='strcls'>**incarnation of a contradictory enterprise of self-transformation, self-renewal='strcls'>** ='lgc'><='lgc'>-- (Cezanne's retrospective fulfilment of a tradition from which he could not fully acknowl="trms"nttrm="knowledge,Knowledge">edge his own decisive departure)

...your intuition on the ="trms"nttrm="knowledge,Knowledge">edge of the river


Cezanne='lgc'> = re="trms">formulation of ="trms">natural ="trms">world ='lgc'>+ broken hope of ="trms">community (='lgc'>='lgc'>~= intimacy ='lgc'>='lgc'>--> ="ppl">Rousseau's mode of attention contemplation='lgc'>: “thought ='lgc'>=/= reverie” ='lgc'>: the more sensitive the soul of the observer, the greater the ecstasy aroused in him. deep and delightful reverie ='lgc'>: a state of blissful self-abandonment)
='lgc'>='lgc'>--> novelty of a smooth unorganized perceptual space
='lgc'>--="ppl">="ppl">Crary='lgc'>='lgc'>--> ='thdf'>example of the non="trms">synchronous character of ="trms">modernism (='lgc'>~ coexistence of realities from radically ="trms">different moments of ="trms">history) ='lgc'>[='lgc'><='lgc'>-- is my ="trms">bestiary research on the same p="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lural ="trms">historical ="trms">positioning='qstn'>?='lgc'>]
="lsts lst1">•termination of a romantic visionary tradition

(in the West) ='lgc'>[='strcls'>*='lgc'>]image='lgc'>: decentered chrono-iconography, automatic self-movement

rise of cinema='lgc'>: body-machine assemblage ='lgc'>--="ppl">Deleuze='lgc'>='lgc'>--> new paradigm of ='strcls'>*psycho-mechanics='strcls'>* ='lgc'>~ cinema is capable of touching the cerebral ="trms">system directly ='lgc'>='lgc'>==>
="lsts lst1">•experimental forms of life='lgc'> = freedom (affirmative model of automatic behavior ='lgc'>='lgc'>--> thought functions at a higher level with an arsenal of syntactic perceptual conceptual tools)
="lsts lst1">•management of attention (model of passive automatism)

(from) dreamer ='lgc'>--to='lgc'>='lgc'>--> ="trms">somnambu="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list ='lgc'>--to='lgc'>='lgc'>--> hypnosis ='lgc'>--to='lgc'>='lgc'>--> sug="trms">gestion ='lgc'>--to='lgc'>='lgc'>--> ="trms">hallucination ='lgc'>--to='lgc'>='lgc'>--> obsession

="ppl">Deleuze ='lgc'>+ ="ppl">Benjamin ='lgc'>+ ="ppl">Virilio
='thdf'>the idea of ='strcls'>*art of automatic movement coincide with fascism='strcls'>*
='at'>@="frds scrmbld">Pierre, pass, ="frds scrmbld">Foad

scopophilia='lgc'>: a forced ecstatic abjection before the image
='lgc'>=/= mastery

='lgc'>[='strcls'>*='lgc'>]="trms">spectacle='lgc'>: (="trms">spectacular culture) attention would be made attentive to everything but itself

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“my experience is what i aggree to attend to” (James) ='lgc'>='lgc'>~= affirmation of an autonomous self-choosing ="trms">world-creating subject liberated from the receptive status of a subject for whom experience was “the mere ="trms">presence to the senses of an outward order”) ='lgc'>--="ppl">="ppl">Crary='lgc'>='lgc'>--> ="trms">historical crisis in the ="trms">nature of experience='lgc'>: ='strcls'>*attention='lgc'> = simulation of ='lgc'>+ compensation for a ="trms">chimerical real experience='strcls'>*

(in my text ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging demons ='lgc'>='lgc'>--> reconciliation of='lgc'>:)
="lsts lst1">•individual attentiveness to the fringes, ="trms">transitions, pulses of one's own particular “pure experience”
="lsts lst1">•“experience” as immersion in the tangled ="trms">density of a shared ="trms">mutually inhabited ="trms">world

James's conception of selfhood='lgc'>: private property (='lgc'>--in='lgc'>='lgc'>--> Tasavof='lgc'>: the most radical of all possible alienation and disconnection) ='lgc'>--Lentricchia='lgc'>='lgc'>--> deployed to preserve a human space of freedom ="trms">interiorized from the vicis="trms">situdes and coercions of the ="trms">marketplace

='strcls'>**="trms">modern attention='strcls'>** ='lgc'>+ individual evasion of ="trms">memory (and ="trms">history) ='lgc'>='lgc'>--> habitual ='and'>& commodified ='lgc'>: an ="trms">imaginary deletion of all that is unbearable in collective and individual experience

in Corridor Crew the perceptual selectivity of the ="trms">CG hackers sustains efficiency of animation tools ='lgc'>+ tangled ="trms">social and psychic machinery of ="trms">sublimation


(='qstn'>?do i have) agoraphobia ='lgc'>='lgc'>--> ="ppl">Simmel


(destructive transformation of) ='strcls'>*="trms">modernization always preserve and carry over non="trms">synchronous components of ="trms">past moments='strcls'>*
="ppl">="ppl">Crary, Lefebvre

="nms">Piranesi's etching of Rone='lgc'> = foctive and atmospheric prison
="ppl">Freud's description of piazza='lgc'>: patchwork texture of screens and flashing signs (formless field of attraction ='at'>@="frds scrmbld">Foad, ="frds">Sina; multidimensional field of stimuli, ="trms"nttrm="disturban">urban space='lgc'>: “a theater of ="trms">memory and a theater of prophecy”) ='lgc'>=/= ="nms">Piranesian dissolution of the axial city (organized views around a coherent even if mobile subjective orientation)

="ppl">Freud's ="trms">technique of attention='lgc'>: gleichschwebende Aufmerksamkeit
‘evenly suspended attention’ (giving equal notice to everything, everything in low-level focus without the risk of ="trms">schizophrenic overload) ='lgc'>--define='lgc'>='lgc'>--> ='strcls'>**a state of receptivity in the analyst that eill be commensurate with the spoken free as="trms">sociation of the patient='strcls'>** ='lgc'>='lgc'>--> dealing with a stream of information that has no evident structure or coherence ='lgc'>+ extracting from that disjunct texture (artwork, chaotic syntax of dreams, indecipherable ="trms">present,) some ="trms">interpretive clarity (feedback)

="ppl">Freud ='lgc'>+ Cezzaine ='lgc'>='lgc'>--> design a countermodel of attentiveness that surmounts an ='strcls'>***inhibition of the peripheral='strcls'>*** (='lgc'>=/= notion of selection ='lgc'>='lgc'>='lgc'>~=> finding out what one al="trms"nttrm="already,spread">ready knows)

='strcls'>****diffuse attention ='lgc'>=/= critical attention='strcls'>**** (a faculty in which the observer is led to reject some of the ideas that occur to him after perceiving them)


(at the turn of the century) experience='lgc'>: compulsory ="trms">consumption of information


(from) the experience of deindividualtion (in piazza) ='lgc'>--to='lgc'>='lgc'>--> a more controllable form of loneliness (bedroom)


='lgc'>[this='lgc'>] p="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lural hybrid space of Roman square (="ppl">="ppl">Crary on ="ppl">Freud's re="trms">presentation) ='lgc'>='lgc'>~= a ="trms">spectacle ="trms">society ='lgc'>: a patchwork of fluctuating effects in which individuals and groups continually reconstitute themselves (either creativity or reactively) ='lgc'>=/= (="ppl">Guy ="ppl">Debord's) seamless regime of separation, ominous collective mobilization

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="large lg46" stl="font-size:121%"> ="ppl">Deleuze and ="ppl">Guattari's Varuna and Mitra ='lgc'>='lgc'>--> lacking a mythology of conflict (='lgc'>=/= ="ppl">Singh's analysis)
forming a milieu of ="trms">interiority ='lgc'>='lgc'>--> double ="trms">articulation that makes the State ="trms">apparatus into a stratum

State's operates by='lgc'>:
="lsts lst1">•seizes (immediate, magical capture)
="lsts lst1">•binds (preventing all combat ='lgc'>='lgc'>--> pre="trms">supposing a juridical ="trms">integration of war)

“chess (pieces are ="trms">coded)='lgc'> = a game of State”
chess='lgc'>: an institutionalized, regulated, ="trms">coded war, pure strategy ='lgc'>=/= Go='lgc'>: pure ="trms">semiology
(what is game's form of ="trms">interiority)

nonsubjectified machine assemblage

...returning from the outside with that inconceivable thing, an army

magical-despotic State (='at'>@="frds scrmbld">Eszter)


Genghis ="ppl">Khan didn't understand the ="trms">phenomenon of the city ='lgc'>='lgc'>--> war machine='lgc'>: a pure form of exteriority

magic violence
military institution

="ppl">Deleuze and ="ppl">Guattari='lgc'>: State has no war machine of its own; it can only appropriate one in the form of a military institution

machine='lgc'>: ="trms">ontology of production

State thinkers='lgc'>:
="lsts lst1">•="ppl">Goethe
="lsts lst1">•="ppl">Hegel
="lsts lst1">•="ppl">Euclid (finding a foundation for the enterprise) ='lgc'>='lgc'>--> logos='lgc'>: the law over the nomos (from Proto-Indo-European nem-='lgc'>: distribute)='lgc'>='lgc'>-->='lgc'>{="ppl">Euclidian space='lgc'>: a sufficient number of dimensions, by which one reintroduces parallelism between two vectors, treating multiplicity as though it were immersed in this homogeneous and striated space of reproduction='lgc'>}
="lsts lst1">•Archimedes (an operative projective descriptive ="trms">geometry)
="lsts lst1">•Durkheim ='lgc'>='lgc'>--> to give the republic a secular model of thought
="lsts lst1">•
="lsts lst1">•

political ="trms">differentiation ='lgc'>='lgc'>==> State ='lgc'>='lgc'>~= distinct organs of power (='lgc'>=/= chief رئیس قبیله) ='lgc'>==!='qstn'>?='lgc'>='lgc'>==> economic development

(="frds scrmbld">Laura='lgc'>:) keep the ="trms">social body from crystallizing ='lgc'>=/= (concern of the State='lgc'>:) to conserve

='lgc'>[='strcls'>*='lgc'>]war='lgc'>: a mode of a ="trms">social state that wards off and prevents the State; that which limits exchange, maintains them in the framework of alliances ='lgc'>='lgc'>--> (critical ="trms">epistemologies='lgc'>:) ='strcls'>*war replaces “exchange” with “alliances”='strcls'>*

='lgc'>[sometimes leadership='lgc'>] inhibits the installation of stable powers, in favor of a fabric of immanent ="trms">relations (='lgc'>='lgc'>--> could we say that about ="nms">Iran today='qstn'>?)

diffusion of prestige

(="ppl">Deleuze and ="ppl">Guattari='lgc'>:)
types/organs that center around organs of power='lgc'>:
="lsts lst1">•rhizome
="lsts lst1">•='lgc'>=/= aborescent
family (aborescent type that centers around organs of power ='lgc'>--structuring='lgc'>='lgc'>--> centralized ="trms">societies) ='lgc'>=/= pack (bands, rhizome)

State ='lgc'>=/= perpetual blackmail by abandonment or betrayal (='lgc'>='lgc'>--> ="nms">Iran)
='lgc'>='lgc'>==>='lgc'>{
="lsts lst1">•large-scale projects
="lsts lst1">•constitution of surpluses
="lsts lst1">•organization of the cor="trms">responding public functions
="lsts lst1">•on-the-spot emergence (='lgc'>='lgc'>--> kinda magical, and ="trms">monstrous, miraculous)

war machine='lgc'>: a counter-State mechanism
realized completely in='lgc'>: the “barbaric” assemblages of nomadic warriors (='lgc'>=/= “savages” assemblages of primitive ="trms">societies)
="prgrph">-problem='lgc'>: it cannot relay

="ppl">Deleuze and ="ppl">Guattari ask='lgc'>: so, why did the State triumph='qstn'>?

the ="trms">fable of Urstaat='lgc'>: the State clearly dates back to the most remote ages of humanity

law of the State ='lgc'>='lgc'>--> ="trms">interior and exterior, Sovereignty only reigns over what it is capable of ="trms">internalizing, of appropriating locally
='lgc'>=/= the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rights of segmentary ="trms">societies

_='lgc'>~='strcls'>*neoprimitivism='strcls'>*='lgc'>~_

poly="trms">morphous war machine

commercial circuit...
="trms">religious creation...



(="ppl">Deleuze and ="ppl">Guattari's) space='lgc'>:
='strcls'>*smooth='lgc'>:
="lsts lst1">•vectorial ↗️⤴️↘️↞
="lsts lst1">•projective 📹
="lsts lst1">•topological 🐍 (='lgc'>=/= ="trms">geometrical)
="lsts lst1">•
='lgc'>='lgc'>--> ='strcls'>*space is occupied without being counted='strcls'>*
='lgc'>=/=
='strcls'>*striated='lgc'>:
="lsts lst1">•metric -|-|-|-|-
="prgrph">-
='lgc'>='lgc'>--> ='strcls'>*space of counted without being occupied='strcls'>*



“minor ="trms">science” (in which, model are='lgc'>:)
="lstsrd">1. hydraulic ='lgc'>=/= hylo="trms">morphic
="lstsrd">2. of becoming and heterogeneity
="lstsrd">3. goes from a curvilinear declination to the formation of spirals and vortices on an inclined plane (='lgc'>=/= from straight line to its parallels) ='lgc'>='lgc'>--> vortical
="lstsrd">4. ='strcls'>*****problematic(='lgc'>='lgc'>==> event ='lgc'>--to go from a problem to the accidents that both condition and resolve it ='lgc'>='lgc'>==> ='lgc'>[all kinds of='lgc'>] deformations, transmutations, passages to the limit, each figure designates an “event”) ='lgc'>=/= theorematic(='lgc'>='lgc'>==> essence ='lgc'>--theorematic='lgc'>: to go by ="trms">specific ="trms">differences from a genus to its ="trms">species, or by deduction from a stable essence to the properties deriving from it) ='lgc'>[='lgc'>='lgc'>--> make your model problematic, not affirmed by theoretical bullshit! ='lgc'>='lgc'>--> my performances are about trying to find a way of not being theorematic while doing theory='lgc'>]='strcls'>***** (and they say ‘problematic’ the problem it is not an “obstacle”)
='lgc'>=/= “royal ="trms">science”='lgc'>: reducing the “problem-element” and subordinate it to the “theorem-element.” State needs to subordinate hydraulic force ='lgc'>='lgc'>==> prevent turbulence (='lgc'>--='not'>✕='lgc'>='lgc'>--> Middle East ='lgc'>=='qstn'>? distributed turbulence across a smooth space ='lgc'>[='lgc'><='lgc'>-- fucked up='lgc'>], ='lgc'>[in smooth space:='lgc'>] vortical movement that can rise up at any point)
="lsts lst1">•civil
="lsts lst1">•static
="lsts lst1">•ordinal
/="trms">matter ='lgc'>--assigned-to='lgc'>='lgc'>--> content
/form ='lgc'>--assigned-to='lgc'>='lgc'>--> expression
='lgc'>='lgc'>~= hylo="trms">morphic='lgc'>: implying both a form that organizes ="trms">matter and a ="trms">matter prepared for the form (='lgc'>=/= hydraulic) ='lgc'><='lgc'>== ='strcls'>*a ="trms">society divided into governors and governed='strcls'>*
='lgc'>='lgc'>--> State ="trms">science (appropriates and transforms the elements of='lgc'>:)
='lgc'>=/= “nomadic ="trms">science” (Homeland TV series sug="trms">gesting US government is a nomadic ="trms">science='lgc'>: viewpoint of ="trms">affections ='lgc'>+ nomadic operation of rogue CIA operatives ='lgc'>+ presidential decentralized power dynamic)
="lsts lst1">•becoming
="lsts lst1">•heterogeneity
="lsts lst1">•in="trms">finitesimal
="lsts lst1">•passage
='lgc'>='lgc'>--> in tune with the connection between content and expression, ='strcls'>***essentially laden with singularities='strcls'>*** (='lgc'>='lgc'>--> my ="trms">lectures='qstn'>? an art, a ="trms">technique, a ="trms">science ='lgc'>: following the connections between singularities of ="trms">matter and traits of expression, they seize or determine singularities in the ="trms">matter ='lgc'>=/= constituting a general form)
='lgc'>=/= ='strcls'>*chaotic ="trms">science='strcls'>* (='lgc'>='lgc'>--> what kind of figure of engineer='qstn'>? ='at'>@="frds">Sina)

='strcls'>*the problemata='strcls'>* ='lgc'>='lgc'>--> vortices ='and'>& projections ='lgc'>[='lgc'>='lgc'>~='lgc'>~='qstn'>?='lgc'>='lgc'>--> chaotic ="trms">imagination='lgc'>]
(projected into an abstract knowl="trms"nttrm="knowledge,Knowledge">edge ='lgc'>--='qstn'>?='lgc'>='lgc'>--> mapping knowl="trms"nttrm="knowledge,Knowledge">edges)

State ="trms">science ='lgc'>='lgc'>--> ="ppl">="ppl">Star Trek
imposes its form of Sovereignty on the inventinos of nomad ="trms">sciencet

to administrate projections ='lgc'>='lgc'>--> submit (war machine) to civil and metric rules that strictly limit, control, localize (nomad ="trms">science)

“rhythm ='lgc'>=/= turbulence”


cursing of a river='strcls'>*


="large lg90" stl="font-size:101%"> Gothic conquered a smooth space ='lgc'>='lgc'>--> the cutting of the stone (='lgc'>=/=='qstn'>? digital) ='lgc'>+ ‘plane of projection’='lgc'>: a plane limit, a series of successive approximations or placings-in-variations
='lgc'>=/= Romanesque remained striated space ='lgc'>='lgc'>--> vault depends on the juxta="trms">position of parallel pillars


='lgc'>--D='lgc'>+G='lgc'>='lgc'>--> ='strcls'>***one does not re="trms">present, one engenders and ="trms">traverses='strcls'>***
='lgc'>[='strcls'>*to engender='lgc'>: give you a baby from behind. ='strcls'>*to ="trms">traverse='lgc'>: zigzagging='lgc'>]
='lgc'>--democracy='lgc'>='lgc'>--> one re="trms">presents visually
='lgc'>--="frds">Sina='lgc'>='lgc'>--> one sug="trms">gests chaotically


roadways (well-centralized administration) ='lgc'>=/= bridges (active, dynamic, collective experimentation)

lobby='lgc'>: a group with fluid c="trms">ontours, whose ="trms">position is very ambiguous in ="trms">relation to the State it wishes to influence

(for Ibn Khaldun='lgc'>:) war machine='lgc'>: families or lineages ='lgc'>+ esprit de corps

="large lg26" stl="font-size:125%"> pouvoir (monopoly of an organic power) ='lgc'>=/= puissance (a vortical body in a nomad space)

(to address the) vague='lgc'> = vagabond, nomadic, ="trms">morphological essences (='lgc'>=/= ideal, royal, imperial essences)='lgc'> = haecceities
='lgc'>{='thdf'>for example the circle is an organic, ideal, fixed essence, but roundness is a vague and fluent essence, distinct both from the circle and things that are round (a vase, a wheel, a sun)='lgc'>}='lgc'>='lgc'>--> State is perpetually producing and reproducing ideal circles ='lgc'>=/= war machine makes something round

="frds scrmbld">Agnes drawings ='lgc'>='lgc'>--> proto="trms">geometry
="frds scrmbld">Agnes='lgc'> = drwaing and linking up smooth space

(is Finn in Adventure Time a man of State ot nomadic ="trms">scientist='qstn'>? ='lgc'>='lgc'>-->) journey-men's as="trms">sociations

nomadic ='lgc'><='lgc'>==form='lgc'>== masons, carpenters, smiths
labor ='lgc'><='lgc'>== regulating the movement of the flow of labor, assigning it channels and conduits, forming corporations, relying on forced manpower ="trms">recruit

="large lg54" stl="font-size:132%"> (plane of) consistency ='lgc'>='lgc'>~= com="trms">position ='lgc'>=/= (place of) organization ='lgc'>='lgc'>~= formation

='strcls'>***everything is about the division of labor='strcls'>*** (='lgc'>='lgc'>--> this is the most critical about ="nms">apass)

State='lgc'>:
="lsts lst1">•repress the nomad
="lsts lst1">•repress the minor ="trms">science
="lsts lst1">•oppose vague essences (='lgc'>='lgc'>--> visa and ="trms">integration)
="lsts lst1">•operative ="trms">geometry of the trait
='lgc'>=/= nomad imply a division of labor opposed to the norms of State


="frds scrmbld">Steven='lgc'>: a dynamic connection between support and ornament ='lgc'>=/= ="frds scrmbld"nttrm="Alex,Alert,Aleph,Alessi">Alex's hylo="trms">morphic schema (the search for laws in extracting constants ='lgc'>='lgc'>--> an invariable form for variables ='lgc'>[for ="frds scrmbld"nttrm="Alex,Alert,Aleph,Alessi">Alex='lgc'>: the invariable de="trms">finition of artistic research for variable artists='lgc'>])

compars ='lgc'>=/= dispars

(let's go) from ="trms">matter-form ='lgc'>--to='lgc'>='lgc'>--> ="trms">material-force(= placing the variables themselves in a state of continous variation)
='lgc'>[="frds">Sina='lgc'>: let's go instead of thinking about ‘flow’ ='lgc'>--to='lgc'>='lgc'>--> ‘force'='lgc'>]
force (is full of)='lgc'>:
="lsts lst1">•equations “=”
="lsts lst1">•adequations (change in the meaning of a term depending upon context)
="lsts lst1">•inequations “='lgc'>=/=”
="lsts lst1">•="trms">differential equations (functions ='lgc'>+ derivatives ='lgc'>='lgc'>--> useful for modeling and simulating physical ="trms">phenomena) ='lgc'>='lgc'>--> solution of a ="trms">differential equation is a function ='lgc'>=/= algebraic equations (solution of an algebraic equation is a value)
="lsts lst1">•


(distribution of ="trms">matter in='lgc'>:)
space of pillars
striated by the fall of bodies
verticals of gravity
parallel layers

quantitative and ="trms">scientific oppsositions (such as='lgc'>: speed/slowness, quick/weighty, celeritas/gravitas)
='lgc'>=/= qualitative oppsositions
='lgc'>=/= mythological structures


(i am basically ="trms">interested in the law of falling bodies)

(my ="trms">lectures='lgc'>: an art of) following ='lgc'>=/= flowing
="prgrph">-one never follows in order to reproduce
="prgrph">-in following, one is in search of singularities of a ="trms">matter
(my whole work has been about the art of being carried away by the vortical flow of texts)='lgc'>='lgc'>--> ='lgc'>[='strcls'>*='lgc'>]="nms">ajayeb ='lgc'>='lgc'>~= a vertical field across which singularities are scattered like so many accidents (i see them as ‘problems,’ and my job is to follow them)


global theory of waves


(="ppl">Deleuze and ="ppl">Guattari romanticizing the royal ="trms">science='lgc'>:) “reproducing implies the performance of a fixed point of view that is external to what is reproduced” (='lgc'>--no='lgc'>='lgc'>--> it is about saying what you say attached to a temporary fixed point ='lgc'>[for example an identity='lgc'>], in order to be able to be proven wrong)


="trms">categorical apo="trms">dictic ="trms">apparatus
='lgc'>[="trms">category='lgc'> = intrinsic concepts='lgc'>]


content is (not='qstn'>?) always conformist (='lgc'><='lgc'>-- Julia was never)

="frds scrmbld"nttrm="Alex,Alert,Aleph,Alessi">Alex='lgc'>: imperium of true thinking ='lgc'>='lgc'>--> capture, seizure, binding, constituting the efficacy of a foundation (= myth) ='lgc'>='lgc'>==> ='lgc'>[='strcls'>*='lgc'>]logos='lgc'>: sanction of a ground

="trms">modern state='lgc'>: ='strcls'>*realized reason='strcls'>*, the rational and reasonable organization of a ="trms">community
="prgrph">-what are the exchanges that take place between the State and reason
="trms">modern state reason ='lgc'>='lgc'>--> “the more you obey, the more you will be master” (for you will be only obeying pure reason) ='lgc'>='lgc'>--> philosophy assigned itself the role of ground

common sense='lgc'>: the unity of all faculties at center

(in the archaic model imperial State='lgc'>:) ="trms">poet='lgc'> = image trainer ='lgc'>=/= (toady's) artist='lgc'>: (="ppl">Deleuzian) ='strcls'>*private thinker='strcls'>* (making counterthought, destroy images) ='lgc'>=/= public professor
="prgrph">-problem with private thinker is that it exaggerates ="trms">interiority when it is a ="trms">question of outside thought ='lgc'>='lgc'>--> the ="trms">question of how ='strcls'>**to place the thought in an immediate ="trms">relation with the outside, with the forces of the outside='strcls'>** (to make thought a war machine='qstn'>?)

(="frds scrmbld"nttrm="Alex,Alert,Aleph,Alessi">Alex in search of) maxim ='lgc'>=/= aphorism (always awaits its meaning from a new external force, a final force that utilizes it) ='lgc'><='lgc'>-- my ="trms">interest

(='qstn'>?which) image inspired by State ="trms">apparatus

='lgc'>[='strcls'>*='lgc'>]="trms">method='lgc'>: the striated space of the cogitatio universalis ='lgc'>='lgc'>==> path (='lgc'>=/= bridge)

thought ='lgc'>='lgc'>~= vampire (has no image)

(in the smooth space of Zen) the arrow does not go from one point to another but is taken up at any point, to be sent to any other point, and tends to permute with the ="trms"nttrm="search">archer and the target (='at'>#my bow and arrow ='lgc'>='lgc'>--> it takes no aim but hopes the arrow will stick somewhere)
="prgrph">-whenever a “thinker” shoots an arrow, there is a man of the State, a shadow or an image of a man of the State, that counsels and admonishes him, and wants to assign him a target or aim (='at'>#my bow and arrow ="trms">joke ='at'>@="nms">apass)

pathetic texts='lgc'>: thought becomes pathos (='lgc'>=/= logos ='lgc'>=/= mythos)


(a lot of ="trms">poetry today is like this='lgc'>:)
(an antidialogue between brother and sister='lgc'>:) one ='strcls'>*speaks before knowing='strcls'>* while the other ='strcls'>*relays before having understood='strcls'>*
='lgc'>='lgc'>--> the necessity of not having control over ="trms">language ='lgc'>~ (="frds scrmbld">Chloe='lgc'>:) the necessity of being a foreigner in one's own tongue
='lgc'>='lgc'>--> “bring something incomprehensible into the ="trms">world” ='lgc'>='lgc'>--> in the form of exteriority
='lgc'>='lgc'>--> the becoming woman of the thinker ='lgc'>~ the becoming thought of the woman
='lgc'>='lgc'>--> (="frds scrmbld">Chloe =) the Gemüt ='lgc'>[feeling, heart, soul, mind='lgc'>] that refuses to be controlled ='lgc'>==forms='lgc'>='lgc'>==> a war machine ='lgc'>: a thought grappling with exterior forces instead of being gathered up in an ="trms">interior form
='lgc'>='lgc'>--> operating by relay ='lgc'>=/= forming an image ='at'>@="frds scrmbld"nttrm="Robin,Robot,Robert,Robocop">Rob='lgc'>='lgc'>--> a thought that appeals to government ministry
='lgc'>='lgc'>--> event-thought ='lgc'>=/= subject-thought
='lgc'>='lgc'>--> problem-thought ='lgc'>=/= essence-thought, theorem


striating of mental space ='lgc'>=/= ="frds">Sina's textures and ="trms">lectures

='at'>@="frds scrmbld">Pierre='lgc'>: is horizon a striation='qstn'>?
="ppl">Deleuze and ="ppl">Guattari='lgc'>: a horizonless milieu ='lgc'>='lgc'>--> smooth space

the true name of race='lgc'>: bastard, mixed-blood
="prgrph">-a race is defined not by its purity but rather by the impurity conferred upon it by a ="trms">system of domination

="large lg1" stl="font-size:134%">
='lgc'>[(aspects of) war machine or='lgc'>] machine='lgc'>:
="lsts lst1">•spatiogeographic
="lsts lst1">•arithmatic
="lsts lst1">•="trms">affective


principle ='lgc'>=/= consequence
="prgrph">-in nomads life what is a principle and what is only a consequence='qstn'>?
='lgc'>{migrant ='lgc'>='lgc'>--> goes principally='lgc'>}='lgc'>=/=='lgc'>{nomad ='lgc'>='lgc'>--> goes as a consequence='lgc'>}
='lgc'>{(sedentary) road ='lgc'>='lgc'>--> parcel out a closed space to people='lgc'>}='lgc'>=/=='lgc'>{(nomadic) ="trms">trajectory ='lgc'>='lgc'>--> distributes people or ="trms">animals in an open space, indi="trms">finite and non="trms">communicating='lgc'>}


(space) in the manner of a vortex

migrant leaves behind a milieu that has become a="trms">morphous or hostile

forest and house ='lgc'>='lgc'>--> both striated='qstn'>?
pigs ='lgc'>='lgc'>--> ="trms">pragmatism or expertise

="prgrph">-the pigs ="trms">story might not predict the coming of the nomad wolf, but it constitutes the principles of architecture for which an incoming is striated. striated space is the result of the pigs ="trms">story

عرفان همیشه بیابانی است؟
does mysticism always requires deprivation of life='qstn'>? mysticism ='lgc'>='lgc'>~=='qstn'>? ="trms">symbolism

='lgc'>[='strcls'>*='lgc'>]godzilla='lgc'>: dramatization of where the mountain recedes, of the earth deterritorializing itself ='lgc'>='lgc'>==> providing the nomad with a territory
='strcls'>*vectors of deterritorialization and local operations='strcls'>* that='lgc'>:
="lsts lst1">•wolf adds to the forest
="lsts lst1">•godzilla adds to Tokio
="lsts lst1">•

='at'>#video concept
in tiktok comedy style, a group of ="nms">iranians (talking ="trms">Farsi, all acted by one person='qstn'>?) are personifying a govermental ="trms">response to a godzilla who is roaming in the city.

localized ='lgc'>=/= delimited

='lgc'>[the spot where the forest recedes='lgc'>] or the desert advances
گرگ در جنگل / آل در بیابان

.... .\ ____ _
  ... \_____
. .... \ __ __
.... . \ ____
. ...\ _ ___ _


assigned direction ='lgc'>=/= direction of the crossing

(for ="ppl">Deleuze and ="ppl">Guattari) ="trms">religion='lgc'>: a ="trms">technique of converting the absolute, making the absolute appear in a particular place ='lgc'>='lgc'>--> the sacred place of ="trms">religion is fundamentally a center that repels the ='strcls'>*obscure nomos='strcls'>*='lgc'>[= Bayazid بایزید='lgc'>]


vagabond monotheism

Sascha's ="trms">relation to the absolute through the space of the machine
electrically tampered ='lgc'>='lgc'>~= electrically tamed

از چادر نشین به هجرت reterritorialization of the spiritual ='lgc'>='lgc'>==> همدستی مهاجر با چادر نشین ='lgc'>='lgc'>==> war machine

/='strcls'>*='lgc'>[khawarij خوارج during the first fitna فتنه اول ='lgc'>='lgc'>--> arbitration ='lgc'>=/= war machine in which anyone can be Imam='lgc'>]


...when ="trms">religion becomes a war machine (='lgc'>='lgc'>==> absolute deterritorialization) ='lgc'>='lgc'>--> Isis
...a ="trms">society reduced to the military enterprise ='lgc'>='lgc'>--> Avengers
...gravitational verticals ='lgc'>='lgc'>--> forest
...="trms">generalized parallels ='lgc'>='lgc'>--> agriculture


three little pigs can be nomads='qstn'>? ='lgc'>='lgc'>--> creating the house and then leave it (as an empty stronghold)


="trms">animal raising for the most part outside the control of sedentaries

orient='lgc'>: absence of State-form (!)
various components plied by escape vectors ='lgc'>='lgc'>==> despotic formation (in orient)

oriental State (sheltered in striated space) ='lgc'>=/= nomad war machine

revolution ='lgc'>--western='lgc'>='lgc'>--> transformation of the State
revolution ='lgc'>--eastern='lgc'>='lgc'>--> abolition of the State

the empires of the orient, africa, america run against wide-open smooth spaces that penetrate them and maintain gaps between their component (='strcls'>*the nomos does not become countryside='strcls'>*, the countryside does not ="trms">communicate with the town, large-scale ="trms">animal raising is the affair of the nomads, etc.) ='lgc'>=/= Black Panther's fantasy of the african State

psychoanalysis of the dream of the State ='qstn'>? and its ="trms">relation to its reality

(to establish) a zone of ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rights over an entire exterior ='lgc'>='lgc'>--> rage ='and'>& innocence

Neon Genesis Evangelion anime series ='lgc'>='lgc'>--> war machine striated final merged in a cyber-flux with its human counterpart ='lgc'>='lgc'>--> ="trms">nature dominated (battle to occupy the smooth space)

='lgc'>[what now people want in ="nms">Iran='lgc'>: not the smooth space a deterritorializing State, rather:='lgc'>]
capture of flows
(need for) fixed paths
well-defined directions ='lgc'>='lgc'>--> restrict speed, regulate circulation, relativized movement
='lgc'>='lgc'>--> polics='lgc'> = management of the public ways ='lgc'>=/= fluidity of messages and masses

silk road...

="nms">Iran State='lgc'> = smooth ='lgc'>+ striated

State ="trms">translates='lgc'>: “moving bodies” ='lgc'>--to='lgc'>='lgc'>--> “moved bodies”

” ” ='lgc'>='lgc'>--> ” “
="ppl">="ppl">Star Trek transportation ="trms">system
sedentary kind of tey-ol-arz طی الارض

what homeless/drunk people do in cities ='lgc'>='lgc'>--> reconstitution of a smooth space='lgc'> = a manner of being in space as though it were smooth

='strcls'>***rebellious space is always smooth space='strcls'>***

virtual space is neither striated nor smooth space

multiplication of relative movements ='lgc'>='lgc'>==> smooth space ='lgc'>='lgc'>--> the sea becomes the place of the ‘fleet in being’ ='lgc'>='lgc'>--> nomadism accompanying a ="trms">worldwide war machine
='at'>@="frds scrmbld">Jassem's rebellious ="trms">nature ='lgc'>=/= ="frds scrmbld">Pierre's staying with the striated space (with the trouble, with the institution, )

decimal grouping ='lgc'>='lgc'>--> comes from the nomads

three major types of organization='lgc'>:
="lstsrd">1. lineal
="lstsrd">2. territorial
="lstsrd">3. numerical

number ='lgc'>='lgc'>==> lineage

spatium (="trms">differentiated space with depth and levels) ='lgc'>=/= extensio (immanent center, divisible homologous parts, and ="trms">symmetrical and reversible ="trms">relations)


='lgc'>[title='lgc'>]
numbering of numbers

census
taxation
election

(="ppl">Deleuze and ="ppl">Guattari are wrong about numbers serving to gain mastery over ="trms">matter ='lgc'>--='not'>✕='lgc'>='lgc'>--> ="ppl">Verran's work on number in Africa)

State='lgc'> = a teritorial principle (of deterritorialization that links the number to metric magnitudes) ='lgc'>--D='lgc'>+G='lgc'>='lgc'>--> “we don't believe that the conditions of independence or autonomy of the number can be found in the State (='lgc'>='lgc'>--> ="ppl">Deleuze and ="ppl">Guattari leftist tendency to purity the State)

(operating war machine ='lgc'>='lgc'>-->) numbering number ='lgc'>: autonomous arithmetic organization

='strcls'>*numbers appear as soon as one distribute something in space ='lgc'>=/= distribution of space (that is more the State's business)='strcls'>*
independence of the number in ="trms">relation to space ='lgc'>='lgc'>--> concrete ="trms">nature of smooth space
='lgc'>='lgc'>--> number='lgc'>: a means of moving ='lgc'>=/= means of counting

="large lg42" stl="font-size:108%"> ='strcls'>*middle ages curse sheets and taxa='lgc'>:
="lsts lst1">•="trms">geometry of smooth space
="lsts lst1">•a minor, operative ="trms">geometry
='lgc'>=='qstn'>? ='lgc'>[='strcls'>*='lgc'>]="nms">="nms">ajayebnameh='lgc'>: ="trms">geometry of the trait between the rumers of the ="trms">world, senses, and ="trms">writing

vector ='lgc'>='lgc'>--> directional number ='lgc'>=/= dimentional number ='lgc'>=/=='qstn'>? metric number

directions are everywhere

rhythmic ='lgc'>=/= harmonic (='lgc'>='lgc'>--> setar / is my whole work about harmonic='qstn'>? ="trms">horror-nic)

order of displacement

concentration-camp ="trms">society='lgc'>: ‘people='lgc'> = deterritorialized numbers’ (='lgc'>='lgc'>--> fantasy of full despotism in The Handmaid's Tale)

='strcls'>**the ="trms">question is not one of good or bad but of ="trms">specificity='strcls'>** (='lgc'><='lgc'>-- when i say who what artists say could have a chance of being disputed)

complex='lgc'> = ="trms">articulated

the Roman legion was a number made up of numbers, ="trms">articulated in such a way that the segments become mobile, and the figures ="trms">geometrical, changing, transformational


logistics='lgc'>: the art of external ="trms">relations

Genghis ="ppl">Khan ='lgc'>='lgc'>--> com="trms">position of the steppe
Moses ='lgc'>='lgc'>--> com="trms">position of the desert


nomads as ="trms">child stealers


(commissars, diplomats, spies, strategists, logisticians) cannot be explained away as a “whim of the sultan”

special numerical body

slave-infidel-foreigner is the one who becomes a soldier and believer while remaining deterritorialized in ="trms">relation to the lineages and the State ='lgc'>='lgc'>--> نظام‌الملک سیاست‌نامه

='strcls'>*nomads have no ="trms">history, they only have ="trms">geometry='strcls'>*

Iron Man's ="trms">technological de="trms">finition='lgc'>: “weapon (destroying people) ='lgc'>=/= tool (producing goods)”

weapon ='lgc'>='lgc'>--> projection, anything that throws or is thrown
='at'>@="frds scrmbld">Pierre ='strcls'>*='thdf'>the notion of “problem” is related to the war machine='strcls'>*

introjective='lgc'>: preparing a ="trms">matter from a distance, in order to bring it to a state of equilibrium or to appropriate it for a form of ="trms">interiority
(projection='lgc'>: appropriate it for a form of exteriority)


='at'>#bow and arrow ='lgc'>='lgc'>--> hunt (when speed is as="trms">sociated primarily with the hunted ="trms">animal) ='lgc'>=/= war (speed is an independent variable)
prey ='lgc'>=/= enemy
prey ='lgc'>=/= motor
(='at'>#bow and arrow does ='lgc'>='lgc'>--> ='strcls'>*abstracts ='thdf'>the idea of motor and applying it to itself='strcls'>* ='lgc'>=/= ="trms">generalize ='thdf'>the idea of prey by applying it to the enemy)

the economy of hunted ="trms">animal


eco="trms">system ="trms">situated at the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin ='lgc'>='lgc'>--> garden of eden / heaven
eco="trms">system ="trms">situated at the end ='lgc'>='lgc'>--> apocalypse / end-time

discovery of a projecting and projectile ="trms">system ='lgc'>='lgc'>==> war machine

war machine
breeding ='lgc'>+ training
in="trms">situtes an entire economy of violence
='lgc'>='lgc'>--> ='strcls'>*a way of making violence durable='strcls'>*



two ideal models motor='lgc'>:
work ='lgc'>=/= free action
="lsts lst1">•(let's) work='lgc'>: tool meets resistance
="lsts lst1">•free action='lgc'>: operates only upon the mobile body itself, is not ="trms">consumed in its effect(='qstn'>?), continues from one moment to the next ='lgc'>[='lgc'>='lgc'>--> style of artistic research='lgc'>]. the way in which the elements of the body escape gravitation to occupy absolutely a nonpunctuated space

weapon is moving
tool is moved
tool pre="trms">supposes work, tool does not define work

='strcls'>***the principle behind all ="trms">technology is to de="trms">monstrate that a ="trms">technical element remains abstract='strcls'>***, remains entirely undetermined ='lgc'>='lgc'>--> as long as one does not relate it to an assemblage it pre="trms">supposes

tool
="prgrph">-one cannot speak of weapons or tools before defining the constituent assemblages they pre="trms">suppose and enter into ='at'>@OSP
the tool is essentially tied to a gensis, a displacement, and an expenditure of force (whose laws reside in work) ='lgc'>=/= weapon concerns only the exercise or manifestation of force in space and time (in conformity with free action)

when speed added to displacement ='lgc'>='lgc'>==> ='qstn'>?

tools ='and'>& weapons='lgc'> = consequences ='lgc'>='lgc'>~/=='qstn'>? causes


the morning star and the battle-axes

variable assemblages of human, ="trms">animal, and thing

='strcls'>*assemblage='strcls'>*='lgc'>: (passional) com="trms">positions of desire='lgc'>[='lgc'>=/= ="trms">natural determination, spontaneous determination='lgc'>] ='lgc'>--D='lgc'>+G='lgc'>='lgc'>--> there is no desire, but assembling/assembled desire
assemblage ='lgc'>==(bring into play)='lgc'>='lgc'>==> ='lgc'>[='strcls'>*='lgc'>]passion='lgc'>: effectuations of desire that differ ="trms">according to the assemblage ='lgc'>[='lgc'>=/= Germany='lgc'>]
man-="trms">animal-weapon
man-horse-bow
assemblage of speed
...

(what Game of Thrones TV series missed='lgc'>:) military of men ='lgc'>='lgc'>--> homosexual eros replaces the ="trms">zoosexual eros of horesman ='lgc'>[='lgc'>='lgc'>--> اسب امام حسین='lgc'>]

State ='lgc'>='lgc'>==>='lgc'>{(training of) worker ='lgc'>--to='lgc'>='lgc'>--> (apprenticeship of) soldier='lgc'>}

='lgc'>{="trms">affect='lgc'>: active discharge of emotion ='lgc'>='lgc'>--> projectile ='lgc'>~ weapon='lgc'>}='lgc'>=/=='lgc'>{feeling='lgc'>: displaced, retarded, resisting emotion ='lgc'>='lgc'>--> introceptive ='lgc'>~ tool='lgc'>}


martial arts='lgc'>: the not-doing of the warrior ='lgc'>~ the undoing of the subject
effectuated in the void (='lgc'>=/= nothingness)


form-="trms">matter ='lgc'>=/= motif-support
(the support is as mobile as the motif)


goldsmith's and silversmith's is the barbarian art par excellence

="large lg18" stl="font-size:108%">
picto-ideographic

short war
live messages

='lgc'>[text that is='lgc'>] ornamental (a way of en="trms">coding) ='lgc'>=/= scriptural (="trms">according to a sacred ="trms">writing)


tools
weapons
signs
jewellery

jewellery/sign ='lgc'>='lgc'>--> expression
model ='lgc'>='lgc'>--> free action / work
direction ='lgc'>='lgc'>--> projection / introception (='at'>#bow and arrow)


(for ="ppl">Deleuze and ="ppl">Guattari='lgc'>:) ='strcls'>***architecture and cooking have an af="trms">finity with the State ='lgc'>=/= music and ="trms">drugs have ="trms">differential traits ='lgc'>='lgc'>--> on the side of the nomadic war machine


="large lg82" stl="font-size:104%"> ="trms">schizophrenic taste for the tool that moves it away from work and towards free action ='lgc'>='lgc'>--> a ="trms">schizophrenic taste for the weapon that turns it into a means for peace (='lgc'><='lgc'>-- i prefer not to do this)

everything is ambiguous

rebel='lgc'>: a ="trms">transitional figure of worker-solder (drawing the worker, on the one hand, and the soldier, on the other), a shared line of flight='lgc'>: “i seek a weapon ='and'>& i am looking for a tool”
‘line of flight’='lgc'>: ="trms">communication with smooth space

='mywrk'>my work on ="nms">ajayeb='lgc'>: to figure a trans="trms">historical assemblage (that is untimely ='lgc'>=/= eternal ='lgc'>=/= ="trms">historical) ='lgc'>='lgc'>==> encounter the myth anew ='lgc'>=/= demystification='lgc'>: re-conquer the myth


the empire
="lsts lst1">•="trms">communicates with
="lsts lst1">•conquer
="lsts lst1">•="trms">integrates with


="trms">communication (of secret) ='lgc'>--='qstn'>?='lgc'>='lgc'>--> adaptation, propagation


saber ='lgc'>=/= sword

="large lg82" stl="font-size:118%"> the flow of ="trms">matter-movement
conveying singularities and traints of expression

assemblage ='lgc'>--="trms">differentiates='lgc'>='lgc'>--> phyla (major taxonomic class) ='lgc'>='lgc'>~= flow ='lgc'>='lgc'>==> division into many ="trms">different phylas ='lgc'>+ introducing selective discontinuities


="trms">technological vitalism

='strcls'>*refract ="trms">differentiates='strcls'>*, retains, selects, draws together, causes to converge, invents

region of vague and ="trms">material essences ='lgc'>='lgc'>--> essences that are vagabond yet ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigorous ='lgc'>='lgc'>==> ="trms">situate fuzzy aggregates ='lgc'>=/= fixed distinct and formed essences

corporeality='lgc'> = formed and perceived thinghood
="lsts lst1">•inseparable from processes of transformation
="lsts lst1">•inseparable from expressive qualities

vague='lgc'> = ="trms">intermediary ='lgc'>='lgc'>--> autonomous, stretching itself between things and thoughts ='lgc'>--establish='lgc'>='lgc'>--> new ="trms">relations (='lgc'>='lgc'>--> this is what Manning has adopted from ="ppl">Deleuze and ="ppl">Guattari)

variable intense ="trms">affects

topological ='lgc'>=/= ="trms">geometrical

hylo="trms">morphic model ='lgc'>=/= active and ="trms">affective... (="trms">matter-flow can only be followed)
hylo="trms">morphic='lgc'>: imposing a form upon ="trms">matter ='lgc'>=/= ="trms">materiality possessing a nomos ='lgc'>: ="trms">material traits of expression constituting ="trms">affects (='thdf'>for example surrendering to the wood, then following where it leads by connecting operations to a ="trms">materiality...)
="prgrph">-the critique of the hylo="trms">morphic schema is based on the existence between form and ="trms">matter, of a zone of medium and ="trms">intermediary dimension, of energetic... ='lgc'>[and what about digital ="trms">technology='qstn'>?='lgc'>]='lgc'>='lgc'>--> we need more artisan (follows the ="trms">matter) ='lgc'>=/= artist (invents/breaks the ="trms">matter)
='strcls'>*artisan='strcls'>* ='lgc'>='lgc'>--> one who is determined in such a way as to follow a flow of ="trms">matter, of ='strcls'>*machinic phylum='strcls'>* (='at'>@OSP, ='thdf'>for example ="trms"nttrm="metaph,metamorph,metabol,metal">metal="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurgist='lgc'> = one who works inside the mold, the consciousness of thought of the ="trms">matter-flow ='lgc'>+ ="trms"nttrm="metaph,metamorph,metabol,metal">metal the correlate of this consciousness)
='lgc'>[follow a flow of ="trms">matter='lgc'> = to itinerate, to ambulate='lgc'>]
artisan ='lgc'>=/= farmer
artisan ='lgc'>=/= ="trms">animal raiser
='lgc'>[='strcls'>*='lgc'>]artisan='lgc'>: take up ="trms">craft activity ='lgc'>+ follow the ="trms">matter-flow as pure productivity

="large lg106" stl="font-size:116%"> continous development of form, chromaticism ='lgc'>='lgc'>--> a form proper to ="trms">matter ='lgc'>[='lgc'>='lgc'>-->='qstn'>? not in middle east='lgc'>: ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics ='lgc'>='lgc'>--> ="trms"nttrm="metaph,metamorph,metabol,metal">metal="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurgist ='lgc'>=/= ="trms"nttrm="metaph,metamorph,metabol,metal">meta="trms">morphosist ="trms">poet ='lgc'>='lgc'>--> chaotic ='lgc'>=/= harmonic, nomadic='lgc'>]

not everything is ="trms"nttrm="metaph,metamorph,metabol,metal">metal, but ="trms"nttrm="metaph,metamorph,metabol,metal">metal is everywhere (='lgc'>='lgc'>--> what would X-Men say about this)

='lgc'>--D='lgc'>+G='lgc'>='lgc'>--> ='strcls'>*thought is born more from ="trms"nttrm="metaph,metamorph,metabol,metal">metal than from stone='strcls'>*(!!)
="trms"nttrm="metaph,metamorph,metabol,metal">metal="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurgy is minor ="trms">science, vague ="trms">science, ="trms">phenomenology of ="trms">matter

="trms"nttrm="metaph,metamorph,metabol,metal">metal is neither a thing not an organism, but a ='strcls'>*body without organs='strcls'>*
(on the ="trms">symbolic value of ="trms"nttrm="metaph,metamorph,metabol,metal">metal and its cor="trms">respondence with an organic soul but on the immanent power of corporeality)


="large lg74" stl="font-size:104%"> smiths (="frds">Sina, OSP='qstn'>?)
their space is neither the striated space of the sedentary nor the smooth space of the nomad (='lgc'>='lgc'>--> my room and computer desktop) ='lgc'>='lgc'>--> ='at'>#tent, in the manner of a cave or a hole
='lgc'>='lgc'>--> ='strcls'>*they are cave dwellers not by ="trms">nature by by artistry and need='strcls'>*
="trms">internal itinerancy, their vague essences ='lgc'>='lgc'>==> their ="trms">relation to others
='lgc'>='lgc'>--> ='strcls'>*smith='strcls'>* ='lgc'>[follows the flow of ="trms">matter ='lgc'>='lgc'>==> (surplus value='lgc'>:) ‘resist the State’, Tamar Yaen ="frds scrmbld">Pierre ="frds">Sina ="frds scrmbld"nttrm="Godard">Goda='lgc'>]
='lgc'>=/= ='strcls'>*migrant='strcls'>* ='lgc'>[existence depends upon and constrained by the logic of the State (with its boundaries and borders) ='lgc'>='lgc'>==> (surplus value='lgc'>:) ‘residual gold in the ruins’, ="frds scrmbld">Hoda ="frds scrmbld">Sana Rui Flavio ="frds scrmbld">Quinsy ="frds scrmbld">Elen='lgc'>]
='lgc'>=/= ='strcls'>*nomad='strcls'>* ='lgc'>[occupies and inhabits smooth space beyond or bellow the State ='lgc'>='lgc'>==> (surplus value='lgc'>:) ‘alternative’, Deborah ="frds scrmbld">Xiri ="frds scrmbld"nttrm="Leonardo">Leo Isabel ="frds scrmbld">Aela ="frds scrmbld">Agnes='lgc'>]
='lgc'>=/= ='strcls'>*="trms">pastoral transhuman='strcls'>* ='lgc'>[rotates through a circuit ='lgc'>='lgc'>==> (surplus value='lgc'>:) ‘="trms">erotic in="trms">="trms"nttrm="cluster,club">clusivity'='lgc'>]


vital forms of nonorganic life

='lgc'>[title='lgc'>]
your strength and your nothingness

transpierce ='lgc'>=/= scaling
excavate ='lgc'>=/= striating

...vagabond sign of itinerancy سيارى

from hole to hole
a line of variation

='strcls'>***the hybrid ="trms"nttrm="metaph,metamorph,metabol,metal">metal="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurgist, a weapon- and toolmaker, ="trms">communicates with the sedentaries and with the nomads at the same time='strcls'>***

phylum='lgc'>:
='lgc'>--connected-to='lgc'>='lgc'>--> nomad space
='lgc'>--conjugates-with='lgc'>='lgc'>--> sedentary space

(we have both='lgc'>:)
='strcls'>*war machine='strcls'>*='lgc'>:
="lsts lst1">•opening
="lsts lst1">•rhizome
="lsts lst1">•gaps
="lsts lst1">•detours
="lsts lst1">•holes
="lsts lst1">•stems
='lgc'>=/=
='strcls'>*state ="trms">apparatus='strcls'>*='lgc'>:
="lsts lst1">•capture phylum
="lsts lst1">•play the lines of flight
="lsts lst1">•into ="trms">code
="lsts lst1">•into form


war machine collides with States and cities (forces of striation) ='lgc'>='lgc'>==> war

="ppl">Deleuze and ="ppl">Guattari ask='lgc'>:
="prgrph">-how will the State appropriate the war machine='qstn'>?
(appropriate='lgc'>: subordinates it to its political aims)

from encasement قفسه ='lgc'>--to='lgc'>='lgc'>--> (forms of) appropriation تصاحب

Genghis ="ppl">Khan and his followers were able to hold out for a long time by partially ="trms">integrating themselves into the conquered empires, while at the same time maintaining a smooth space on the steppes to which the imperial centers were subordinated

Timur who constructed a fantastic war machine turned back against the nomads, but who, by that very fact, was ="trms">obliged to erect a State ="trms">apparatus all the heavier and more unproductive since it existed only as the empty form of appropriation of that machine


the peace of terror or survival
="prgrph">-the postfascist figure that takes peace as its object directly
="prgrph">-we have seen war machine assign its objective a peace still more terrifying than fascist death
='strcls'>*the un="trms">specified enemy='strcls'>* we have seen it put its counterguerrilla elements into place


two poles of war machine='lgc'>:
="lstsrd">1. it takes war for its object and forms a line of destruction prolongable to the limits of the universe
="lstsrd">2. when it, with in="trms">finitely lower qualities, has as its object not war but the drawing of a ='strcls'>*creative line of flight='strcls'>* (the com="trms">position of a smooth space and of the movement of people in that space)

an ideological, ="trms">scientific, or artistic movement can be a potential war machine, to the precise extent to which it draws, in ="trms">relation to aphylum, a plane of consistency, a creative line of flight, a smooth space of displacement

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="lstsrd">0.99993

="ppl">Daston ="trms">history of reason
="ppl">Daston asking='lgc'>: how reason became rationality='qstn'>?

rationality (='lgc'>='lgc'>~= universal calculus of) ='lgc'>=/= reasoning

="lsts lst1">•(a more) ancient ideal ='lgc'>='lgc'>--> reasoning ='lgc'>[with recourse to the faculty of judgement='lgc'>]
="lsts lst1">•="trms">modern ideal ='lgc'>='lgc'>--> (cold war) rationality='lgc'>: a ="trms">finite well-defined set of rules that can be applied unambiguously in ="trms">specified settings without recourse to the faculty of judgement

cold war='lgc'>: crystalline ='lgc'>+ generality ='lgc'>+ con="trms">="trms"nttrm="cluster,club">clusivess could cope with a ="trms">world on the brink
='lgc'>='lgc'>--> algorithmic rules as the core of rationality
='lgc'>='lgc'>--> sacrifice of ='lgc'>[precious to philosophers='lgc'>] ‘insight’ and ‘understanding’ ascpects of reason
='lgc'>='lgc'>--> automatic='lgc'>: you don't need to understand them to execute them

='strcls'>*the posiblity of a mechanical mind='strcls'>*

Turing's ='lgc'>[='strcls'>*='lgc'>]programming='lgc'>: constructing ="trms">instruction tables

(1794 early French revolution) universal school for future French citizen with arithmetic ='lgc'>[3 ='lgc'>+ 4='lgc'> = 7='lgc'>] at its core ='lgc'>--teach='lgc'>-> “exactitude of the mind” ='lgc'>='lgc'>--> ="trms">children are going to learn='lgc'>:
="lsts lst1">•the meaning of self evidence ='lgc'>[of arithmetic pro="trms">positions='lgc'>]
="lsts lst1">•the meaning of justified belief
="lsts lst1">•formation of ideas
="lsts lst1">•judgement
="lsts lst1">•reasoning
='lgc'>}='lgc'>--foundation='lgc'>='lgc'>--> quanitative ="trms">science of a human realm

first re="trms">liable calculator ='lgc'>='lgc'>--> 1850

rationality عقلانيت
="lsts lst1">•="trms">history of ever more sophisticated mechanical computers
="lsts lst1">•how rules themselves became increasingly identified with algorithms
="lsts lst1">•how algorithms became increasingly identified with mindlessness

="ppl">Kant ='lgc'>='lgc'>--> ="trms">science as mechanical ="trms">skill that can be mastered by diligence and determinate rules
tacit knowl="trms"nttrm="knowledge,Knowledge">edge='lgc'>: a manul labor ='lgc'>[="trms">styles of knowing='lgc'>] that cannot be captured by algorithms

='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to Encyclopedie (Did="trms">erot)...

de="trms">skilling calculation ='lgc'>='lgc'>==> economic rationality (economic rationalization)='lgc'>: you take the task, de="trms">compose it into simplest possible steps, you divide the labor, you hire the least ="trms">skilled and cheapest labor possible ='lgc'>==Babbage='lgc'>='lgc'>==> increase the efficiency and the costs

="lsts lst1">•game theory
="lsts lst1">•rational choice theory


(="trms">memory ='lgc'>+ understanding ='lgc'>+ judgement ='lgc'>+ ="trms">imagination)
='strcls'>*judgement (="ppl">Daston) and ="trms">imagination (="frds">Sina) are ="trms">integral to the exercise of reason='strcls'>*

reason in rationality='lgc'>: algorithmic rule governed ='lgc'>=/=
="lsts lst1">•passions اشتياق تعصب
="lsts lst1">•fantasy وسواس
="lsts lst1">•sloppy thinking درهم وبرهم
="lsts lst1">•ignorance بى خبرى
="lsts lst1">•superstition خرافه
="lsts lst1">•self-deception خود فريبى


the human factor
there is something about human that has always been in odds with reason

Nozick (='lgc'>~ Terminator) ='lgc'>='lgc'>--> the rules of procedures that constitute rationality would be valid, would be efficacious, but algorithmic. executed by machine, but opaque to human understanding
='lgc'>~ ="ppl">Wittgenstein ='lgc'>='lgc'>--> to follow a rule='lgc'>: a practice taught by example ='lgc'>=/= precept
='lgc'>}='lgc'>='lgc'>--> ='strcls'>*to understand rules in an algorithmic sense='strcls'>* ='lgc'>=/= model, maxim, tacit knowl="trms"nttrm="knowledge,Knowledge">edge


="ppl">Daston ='lgc'>='lgc'>--> there is no simple way, in which ="trms">historical context determines the form and content of the thinkable. but (as in the case of algorithmic rules and cold war rationality) ="trms">historical circumstances do light up some parts of the intellectual landscape and darken others

our current understanding of what it means to be rational owes a great deal to the power of place and time
="lsts lst1">•for ="ppl">Kant='lgc'>: judgement='lgc'> = highest faculties ='lgc'>=/= for ="trms">modern (us) judgement is problematic


="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

='lgc'>[the ="trms">horror of the contemporary German art:='lgc'>] to deliberate='lgc'>: کنکاش سنجیده و عمدی ='lgc'>=/= ="frds scrmbld">Janina
(art of ='lgc'>[ironic='lgc'>] deliberation ='lgc'>=/= chaotic venture, ="frds">Sina's ="trms">lecture-performances)
deliberation='lgc'>: thinking then doing it ='lgc'>=/= doing then thinking about what you have done (='lgc'>='lgc'>~= ="trms">communication, intimacy)

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics of ="trms">natural law

="ppl">Daston's ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigor='lgc'>: trying to understand why is it so persistant (almost irresistible) that we ='strcls'>**extract ="trms">social and moral norms from ="trms">nature='strcls'>** (rather than jumping up saying that it is a doomed idea)
='lgc'>[='lgc'>='lgc'>--> got to ="trms">fable; ikhvano safa court of ="trms">animals; panchatantra Kelile Demne='lgc'>]
="lsts lst1">•to merge ="trms">natural and ="trms">social orders together
="lsts lst1">•to make ="trms">nature meaningful
="lsts lst1">•to invoke ="trms">nature to buttress human values of='lgc'>: true, good, beautiful
="lsts lst1">•

devil='lgc'> = collective human ="trms">imagination of chaos

formless and lawless
land of no promises
="trms">past is no guide to the future
at the mercy of chance

the axiom of ="trms">modern thought='lgc'>: ="trms">society ='lgc'>=/= ="trms">nature ='lgc'>[of which trespassings are rife='lgc'>]

='lgc'>[='at'>#="trms">fable='lgc'>]
to extract some ="trms">sort of politics from='lgc'>:
="lsts lst1">•beehive
="lsts lst1">•physics of liver
="lsts lst1">•evolutionary theory
="lsts lst1">•organic specialization ='lgc'>[='lgc'>--="ppl">Aristotle='lgc'>='lgc'>--> slavery='lgc'>]
="lsts lst1">•

="lstsrd">1. how conceptions of ="trms">natural order sustains ="trms">specific norms ='and'>& the model of any kind of norm ='lgc'><='lgc'>-- ="trms">historical ='lgc'>+ ="trms">="trms">empirical
="lstsrd">2. appeal to ="trms">nature capture something profound about values in general regardless of their ="trms">specific context ='lgc'><='lgc'>-- philosophical

(the human) impulse to ='strcls'>*make ="trms">nature meaningful='strcls'>* ='lgc'>='lgc'>--> psychological ='lgc'>+ ="trms">epistemological ='lgc'>+ ethical necessity


(1)
(="trms">specific) ='lgc'>[='strcls'>*='lgc'>]="trms">nature='lgc'>: the ="trms">ontological identity card ='lgc'>: that which makes a particular thing what it is (what makes skwerl a skwerl)
='thdf'>the idea of ='strcls'>***fixed ="trms">natural kind ='lgc'>==inspire='lgc'>='lgc'>==> ='thdf'>the ideal of justice='strcls'>***
='lgc'>='lgc'>--> ='thdf'>the idea of organic specialization ='lgc'>[organ='lgc'>: ‘tool’ in ="trms">greek; for ="ppl">Aristotle='lgc'>: “injustice='lgc'> = violation of specialization” (of citizen's tools or honors) ='lgc'><='lgc'>-- an order of ="trms">nature='lgc'>]

rose wanna be skwerl ='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="trms">bestiary
“good consist in each being striving to be the best of its kind not the best of all”

(2)
='lgc'>[='strcls'>*='lgc'>]="trms">nature='lgc'>: the will of God (='lgc'>~ edict of God) ='lgc'>--="ppl">Augustine='lgc'>='lgc'>--> “sodomy='lgc'> = crime against ="trms">nature (='lgc'>~ against God='lgc'>: the ="trms">author of ="trms">nature)” ='lgc'>[='lgc'>='lgc'>--> un="trms">natural ='lgc'>=/= sacrilege توهين به مقدسات='lgc'>]
="lsts lst1">•a Roman custom (and a Roman intuition)='lgc'>: when you are in a place you try to adapt to the local ways of doing things ='lgc'><='lgc'>-- (with ="ppl">Augustine) we are preserved in a pro="trms">verb ='lgc'>[='at'>#="trms">integration='lgc'>] ='lgc'>--grant='lgc'>='lgc'>--> ="trms">nature with supreme ="trms">authority as God's proxy


seeking norms in ="trms">nature ='lgc'>--="ppl">Daston='lgc'>='lgc'>-->
="lsts lst1">•is this (examples) why we should stop it (at best ="trms">nature ="trms">authority is borrowed whether overtly from God or covertly from ="trms">social conventions ='lgc'>='lgc'>==> it is redundent and we don't need it)
="lsts lst1">•it is a d="trms"nttrm="danger,stranger">angerous weapon in the arsenal of the most repressive and aggressive elements of ="trms">society

content of norms ='lgc'>=/= ='lgc'>[='strcls'>*='lgc'>]normativity='lgc'>: a justificatoin that gives any and all norms their force ='lgc'>: the quality of telling us what should be (='lgc'>=/= describing how things actually are)

“the starry heavens above ='lgc'>='lgc'>~/= the moral law within” ='lgc'>='lgc'>--> ="ppl">Kant's awe='lgc'>: the regularity (of both human law and ="trms">natural law)
حيرت awe ='lgc'>[='lgc'><='lgc'>==evoke='lgc'>== the cosmic='lgc'>: all encompassing order ='and'>& exquisitely designed ornament='lgc'>] ='lgc'>=/= ="trms">horror ='lgc'>[='lgc'><='lgc'>==evoke='lgc'>== the un="trms">natural (="nms">ajayeb)='lgc'>]

='strcls'>**the recognition of an order='strcls'>** ='lgc'>--="ppl">Daston='lgc'>='lgc'>--> the key to all kinds of norms (='lgc'>='lgc'>--> awe='lgc'> = ="trms">wonder ='lgc'>+ fear ='lgc'>+ respect)


(ancient ="trms">greek ="trms">cosmopolitan ="trms">traverler ethnographer) Herodotus's ="trms">fable of ‘custom is king of all’ ='lgc'><='lgc'>-- داریوش perian king Darius's ="trms">anthropological experiment='lgc'>: ="trms">Greeks won't eat their father's dead body, they burn it ='lgc'>=/= Indians won't burn their father's dead body, they eat it

="lsts lst1">•chaos='lgc'>: ="trms">nature without order
="lsts lst1">•anarchy='lgc'>: ="trms">society without order
='lgc'>}='lgc'>='lgc'>--> ="trms">past is no guide to ="trms">present and future ='lgc'>: ='strcls'>*there are no regularities (of human promises or ="trms">natural cycles) to support either justice or knowl="trms"nttrm="knowledge,Knowledge">edge='strcls'>*


why duplicate the moral order with an analogical ="trms">natural order='qstn'>?
why turn to ="trms">nature for your raw ="trms">materials (to construct moral order for themselves)='qstn'>?
='lgc'>='lgc'>--> ...

are we now in the ="trms">position to reclaim norms from ="trms">nature='qstn'>?
='lgc'>='lgc'>--> yes ='lgc'><='lgc'>== ="trms">nature exemplifies so many ="trms">different kinds of order='lgc'>:
="lsts lst1">•order of the stars and plant ='lgc'>=/= order of weather
="lsts lst1">•order of ="trms">specific ="trms">natures ='lgc'>=/= order of universal ="trms">natural laws
="lsts lst1">•order of local ="trms">ecologies ='lgc'>=/= order of ="trms">cosmological unities of gravitation
="lsts lst1">•
which ="trms">nature='qstn'>? ='lgc'>='lgc'>--> any order of ="trms">nature can be countered with examples of another order equally ="trms">natural ='lgc'>}='lgc'>--="ppl">Daston='lgc'>='lgc'>--> ='lgc'>[='strcls'>*='lgc'>]="trms">nature='lgc'>: re="trms">pository (or wunderkammer) of all ="trms">imaginable orders='strcls'>****

terror ='lgc'>+ randomness ='lgc'>='lgc'>--> most effective weapon of ="trms">dictators (you never know when it strikes again)
="prgrph">-="trms">horror of ="ppl">Kafka's bureaucracy='lgc'>: negation of regularity, destruction of order, institutionalized anarchy
="prgrph">-one of the most dehumanizing experiences='lgc'>: being completely subject to the will of another (='lgc'>~ slavery) ='lgc'>[='lgc'>='lgc'>--> this is the most pleasurable experience in sex and sado masochism='lgc'>]

="lsts lst1">•="trms">nature never insults (its inhumanity)
="lsts lst1">•="trms">nature provides the raw ="trms">material for meaning ='lgc'><='lgc'>-- ='strcls'>*because we are ="trms">embodied organisms we must incarnate our orders='strcls'>* (='lgc'>~ we must find a way to display them to ourselves)
="lsts lst1">•="trms">animals can feel terror, but only humans can feel ="trms">horror='lgc'>: the emotion that registers a deep disruption of an order (no ="trms">matter what kind, a two-headed baby ='lgc'>[="trms">natural ="trms">monster='lgc'>] or a mother who kills her two babies ='lgc'>[moral ="trms">monster='lgc'>])


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='lgc'>[title='lgc'>]
itchy eyes

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16th and 17th centuries
times of extraordinary ="trms">religious, economic, and intellectual upheaval (Europe was deluged by novelties of all kinds='lgc'>: ="trms">birds of paradise, armadillos, anomalies='lgc'>: solar eclipse, comet, narwhal tusk, etc.)
(="ppl">Daston >) Bacon ='lgc'>[standing on an extremely unstable ="trms">scientific ground='lgc'>] used ="trms">monsters and marvels (as a ="trms">sort of intellectual hygiene) to jolt people out of their assumptions about the ="trms">natural ="trms">world
='lgc'>=/= Aristotelian ="trms">natural philosophy
='lgc'>='lgc'>--> anomaly took center ="trms">stage of ="trms">scientific explanations ='lgc'>='lgc'>~= art's investment in the exceptional
='lgc'>='lgc'>==> curiosity becomes a virtue ='lgc'>=/= vice
="lsts lst1">•="trms">nature is allowed to ="trms">joke
="lsts lst1">•="trms">nature has the freedom to experiment ='lgc'>=/= God
='lgc'>='lgc'>--> ended by='lgc'>:
="lsts lst1">•18th century's ='strcls'>*division of labor='strcls'>*
="lsts lst1">•19th century's ='strcls'>*institution of ="trms">science='strcls'>*

(two-headed cat's) deformations ='lgc'>='lgc'>--> terrifying ='lgc'>+ electrifying
='lgc'>[='strcls'>*='lgc'>]="trms">bestiary='lgc'> = Telegram media from God='lgc'>:
="lsts lst1">•sign of end
="lsts lst1">•sign of fecundity, creativity, variety of ="trms">nature

.../="trms">horror/="trms">wonder/="trms">horror/="trms">wonder/="trms">horror/="trms">wonder/...

“everyone was trafficking in marvels in the 17th century”
="ppl">Daston

... ='lgc'>='lgc'>--> pre="trms">modern sci ='lgc'>='lgc'>--> age of ="trms">wonder ='lgc'>='lgc'>--> ="trms">modern ="trms">science ='lgc'>='lgc'>--> ...

cabinets of curiosity
(="ppl">Daston's) chambers of ="trms">wonders
="lsts lst1">•to overwhelm you
="lsts lst1">•to impress the ambassador


for ="ppl">Aristotle, philosophy starts with ="trms">wonder, but you make it disappear as soon as possible (“="trms">wonder='lgc'> = sign of ignorance” of the unlettered and il="trms">literate)

genre of ="trms">natural ="trms">history involving the marvels of insects ='lgc'>='lgc'>--> domesticate the emotion of ="trms">wonder for things we can explain

="ppl">Daston ='lgc'>=/= (early 20th century) morose and elegiac discourse about the disenchantment of the ="trms">world

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pessimism ='lgc'>='lgc'>~= realism
(optimism ='lgc'>='lgc'>~= idealism)

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(to move from) eternal truths ='lgc'>--to='lgc'>='lgc'>--> eternal archives
(an ="trms">aesthetic='lgc'>:) archival monuments

despite computer's hype and undeniable capacity and flexibility of computerize ="trms">databases, the practices of collecting, inventorying, describing, image-making, collating, and publishing have remaining stable since the monumental projects of 19th century: corpus inscriptionum latinarum, carte du ciel, botanical gar="trms">dens, etc. ='lgc'>='lgc'>--> archival projects

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popular and learned ="trms">interest in ="trms">monsters

(in the 16th century ='and'>& 17th century Baconian ="trms">scientific programm='lgc'>:) treatments of ="trms">nature and ="trms">natural ="trms">history must have in="trms"nttrm="cluster,club">cluded (with ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigorous selection) ="trms">monsters (='lgc'>~ aberrations in the ="trms">natural order='lgc'>: new, rare, and unusual ="trms">nature, both exotic ='and'>& domestic)
='lgc'>[='strcls'>*='lgc'>]="trms">nature='lgc'>: an ingenious ="trms">craftsman ='lgc'>='lgc'>--> ='lgc'>[='strcls'>*='lgc'>]="trms">monster='lgc'>: ="trms">nature's most artful work (='lgc'>='lgc'>--> they bridged the ="trms">natural ='and'>& the artificial)
="lsts lst1">•cor="trms">responded to the activities of ="trms">nature ='lgc'>=/= types of subject ="trms">matter, ="trms">methods of investigation
="lsts lst1">•="trms">interest in irregularities (='lgc'>=/= end of 17th century ="trms">interest in ="trms">nature's uniformity and order)
="lsts lst1">•

Lazarus exhibition, the parasitic twin (the italian conjoined twins who toured freak shows in 17th century europe)

="large lg46" stl="font-size:114%"> (="ppl">Daston ='lgc'>='lgc'>--> a case study of) the changing ="trms">relationship between popular ='and'>& learned culture

legal status of ="trms">monsters
infanticide in antiquity


earlier tradition of ="trms">interest in ="trms">monster='lgc'>:
="lsts lst1">•="ppl">Aristotle ='lgc'>='lgc'>--> Albertus Magnus
="lsts lst1">•divine sign ='lgc'>='lgc'>--> Cicero, ="ppl">Augustine, Isidore of Sevill
="lsts lst1">•="trms">cosmographical ='and'>& ="trms">anthropologic ='lgc'>='lgc'>--> Solinus


="trms">monsters in a context of a whole ="trms">natural ="trms">phenomen (="trms">bestiary)='lgc'>:
earthquakes, floods, volcanic eruptions, celestial apparitions, strange rains (of blood), stones, and miscellanea

(="trms">monsters ='lgc'>='lgc'>--> shift from) signs of God's wrat ='lgc'>--to='lgc'>='lgc'>--> signs of ="trms">nature's fertility
(by the end of 17th century) ='lgc'>--to='lgc'>='lgc'>--> comparative anatomy and embryology (teratology)
(from) اعجوبه prodigy ='lgc'>--to='lgc'>='lgc'>--> examples of medical pathology

='strcls'>*peasant and professional had participated to a significant extent in a shared culture of intellectual and ="trms">religious ="trms">interest='strcls'>* ='lgc'>--='not'>✕='lgc'>='lgc'>-->='lgc'>{
(="trms">literate culture evolved far more rapidly ='lgc'>='lgc'>==> sharpening of ="trms">social boundaries of)
city dwellers ='lgc'>=/= peasants
="trms"nttrm="disturban">urban ="trms">literate elite ='lgc'>=/= unlettered day laboure
='lgc'>='lgc'>--> for the educated layman='lgc'>: (="trms">religious as="trms">sociations of) ="trms">monsters='lgc'> = another manifestation of popular ignorance and superstition ='lgc'>--fostering='lgc'>='lgc'>--> uncritical ="trms">wonder ='lgc'>=/= sober investigation of ="trms">natural cause


="large lg38" stl="font-size:104%"> prodigy ='lgc'>='lgc'>--> contrary to ="trms">nature ='lgc'>='lgc'>--> attributable directly to God (divine displeasure)
="prgrph">-the sunne shal suddenly shine againe in the night, and the moone thre times a day. blood shal drop out of the wood, and the stone shal give his voyce ='lgc'>[...='lgc'>] There shalbe a confusion in many places, and the fyre shal oft breake forthe, and the ="trms">wilde ="trms">beastes shal change their places, and menstruous women shal beare ="trms">monstres='lgc'>[...='lgc'>]

="lsts lst1">•="trms">monstrum='lgc'> = prodigium ='lgc'>='lgc'>==> ="trms">monstrat ='lgc'>[="trms">monstro='lgc'>: i ="trms">wonder ='lgc'>='lgc'>--> i indict ='lgc'>='lgc'>--> i teach, de="trms">monstrate='lgc'>]='lgc'> = god's will
="lsts lst1">•apocalyptic as="trms">sociation ='lgc'>='lgc'>--> ="trms">world reformation, the overthrow of the wicked ='lgc'>='lgc'>--> vindication of god's elect

(="trms">bestiaries were a lot commentaries)

various bestial parts...

bestial vices and errors (of...)

="large lg22" stl="font-size:120%"> ephemeral ="trms">literature
displayed and re="trms">cited publicly
characteristically illustrated
appeal through spoken word ='and'>& image to the il="trms">literate

="large lg74" stl="font-size:106%">
="frds scrmbld">Pierre Boaistuau ='lgc'>[='lgc'><='lgc'>== Peucer, Lycosthenes, Swiss surgeon Jakob Rueff, ="trms">natura="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list Konrad Gesner, ="frds scrmbld">Pierre Belon='lgc'>]
="trms">histoire tragique
="trms">histoire prodigieuse (="trms">monster ="trms">literature, ="trms">bestiary='qstn'>?)
="lsts lst1">•two-headed woman seen in Bavaria in 1541
="lsts lst1">•three-legged Siamese twins from 1552
="lsts lst1">•calf without forelegs reported in 1556
="lsts lst1">•celebrated ="trms">monster of Cracow
="lsts lst1">•
ghoulish tone, ="trms">religious didacticism, erudite آموزنده, ="trms">monsters as polemical weapons
“="trms">nature's ="trms">wonder='qstn'>?” ='lgc'>='lgc'>--> to “discovre the secret judgment and scourge of the ire of God”

The Scripture sayth, before the ende
Of all thinges shall appeare,
God will wounders straunge thinges send,
As some is sene this yeare.
The selye infantes, voyde of shape,
The calues and pygges so straunge,
With other mo of suche mishape,
Declareth this ="trms">worldes chaunge.


...="trms">monsters began to lose their ="trms">religious resonance
it was unlawful to “delight” in the undesirable
portentous meaning of ="trms">monster

(from) fear ='lgc'>--to='lgc'>='lgc'>--> delight
(from) prodigy ='lgc'>--to='lgc'>='lgc'>--> ="trms">wonder
(from) sermon ='lgc'>--to='lgc'>='lgc'>--> table-talk
(from) horrible, terrible, effrayable, espouventable ='lgc'>--to='lgc'>='lgc'>--> strange, ="trms">wonderful, mer="trms">veilleux (marvelous جالب)
(from) final cause ='lgc'>--to='lgc'>='lgc'>--> proximate cause (physical explanations and the ="trms">natural order)
='lgc'>}='lgc'>='lgc'>==> ="trms">nature began to assume the role of an autonomous entity with a will (and sense of humour of her own) ='lgc'>='lgc'>~='lgc'>~> ="trms">natural ="trms">wonder



="trms">wonder ="trms">literature (='lgc'>[lavishly illustrated ="trms">bestiary, ="trms">cosmography, ="trms">travel ="trms">literature, geological curiosa, herbal and astrological lore,='lgc'>] of later 16th and 17th century ="ppl">Daston) ='lgc'>='lgc'>--> secularization of an ="trms">interest in (="trms">monsters as) prodigies
='lgc'>--part-of='lgc'>='lgc'>--> the great body of common culture
='lgc'>--af="trms">finity='lgc'>='lgc'>--> popular 16th century genre of diverses lefons (selections from famous ="trms">authors)

catalogues of strange instances or hidden properties of ="trms">animals, vegetables and mineral
(middle class culture in elizabethan england)

prodigies denuded of their super="trms">natural aura ='and'>& (="trms">presented) to surprise and entertain the ="trms"nttrm="already,spread">reader ='lgc'>=/= to acquaint the ="trms"nttrm="already,spread">reader with imminent apocalypse and judgeme

Certaine Secrete ="trms">Wonders of ="trms">Nature

portentous events بد شگون

(cro="trms">codiles) to be granted honorary ="trms">monstrous status by virtue of their rarit

many will ="trms"nttrm="already,spread">reade them ='lgc'>[="trms">monsters='lgc'>], heare them and haue profit by them, that otherwise whould neuer haue knowen them. For many (I ="trms">suppose) will buye this ="trms">Booke for the things whereto they are ="trms">affectioned, that neuer coulde or would have bought, or looked on the ="trms">bookes, wherein all they are. -Lupton

common and popular forms of escapist ="trms">literature='lgc'>: ='strcls'>*="trms">travel ="trms">books='strcls'>* and ='strcls'>*chivalric romanc='strcls'>*
(='lgc'>='lgc'>--> don Quixote)
="trms">monstrous races (men with a single giant foot, or huge ears, or their faces on their chests, giants and dwarfs)

medically oriented ="trms">monster ="trms">literature

='lgc'>[="ppl">Daston:='lgc'>] Pare was forced to eliminate a section on lesbianism, with a graphic description of the female genitals, before in="trms"nttrm="cluster,club">cluding Des ="trms">monstres in later editions of his collected work

="large lg78" stl="font-size:113%">
A Helpe to ="trms">Memorie and Discourse (of ="trms">Wonders, Foreign and Domestic)
='strcls'>*the passages and occurrences of the ="trms">world='strcls'>* ='at'>#="nms">ajayeb
="lsts lst1">•the creatures thereof
="lsts lst1">•the casualties therein

little-known properties of... (wine and water, fish, dogs, cuckolds, hunchbacks and ="trms">monsters)

popular ignorance
solitary efforts of the professional scholar
culture of the educated layman (lawyer, businessman, government official, and their wives and daughters)

='lgc'>[change in sensibility (&-='lgc'>=>='qstn'>? change in ="trms">interpretation)='lgc'>]
beginning of the withdrawal of the educated classes from more popular culture
='at'>@="frds scrmbld"nttrm="Godard">Goda

="trms">monsters (familiar canon of prodigies) became a subject of great ="trms">fashion and not vulgar

(="ppl">Daston tracing how) “in the ="trms">wonder ="trms">literature, then, ="trms">monsters='lgc'>--along with the rest of the canon of prodigies='lgc'>--began to cast off their ="trms">religious as="trms">sociations. this trend was accompanied by a movement to emphasize ="trms">natural causes over super="trms">natural ones.”

Pare re="trms">presented ='lgc'>[the causes of ="trms">monstrous births='lgc'>] an elaboration on the ="trms">natural explanations offered by ="ppl">Aristotle and ="trms">writers in the Aristotelian tradition (too much or too little seed, maternal ="trms">imagination, a narrow womb, a traumatic pregnancy, hereditary disease, bestiality and so on) ='lgc'>+ a new ="trms">causal ="trms">category='lgc'>: artifice (to in="trms"nttrm="cluster,club">clude fakes and ="trms">children mutilated by their parents to enhance their take as beggars)

shift in ='strcls'>*="trms">causal thinking='strcls'>* ='lgc'>='lgc'>--> (expanded the power of) maternal ="trms">imagination covering eventuality ='lgc'>='lgc'>==> a new way of talking about ="trms">nature
='lgc'>{(from) in the prodigy ="trms">literature ="trms">nature was effectively transparent (a ="trms">veil through which God's purposes could be discerned)='lgc'>}='lgc'>--to='lgc'>='lgc'>--> ="trms">nature gained a new autonomy ( fertility of invention ='lgc'>=/= wrath) ='lgc'>='lgc'>--> ='strcls'>*="trms">nature personified='strcls'>* (the artisan) ='lgc'>[Pare='lgc'>: “chambermaid to our great God"='lgc'>], ="trms">monsters were treated as ="trms">jokes or “sports” (lusus) of a personified ="trms">nature

transcorporeal fields of sensoriality ='lgc'>=/= boundedness of isolated bodies and things

non="trms">anthropocentric ="trms">zoological studies



Bacon's (tripartite division of) ="trms">natural ="trms">history='lgc'>:
="lstsrd">1. ='strcls'>*="trms">natural='lgc'>: the study of ="trms">nature “in course”, or ="trms">natural ="trms">history
="lstsrd">2. ='strcls'>*preter="trms">natural='lgc'>: the study of ="trms">nature “erring”, or the “="trms">history of marvels” ='lgc'>='lgc'>--> a coherent ="trms">category (='lgc'>=/= miscellaneous collection of ="trms">phenomen)
="lstsrd">3. ='strcls'>*artificial='lgc'>: the study of ="trms">nature “wrought, or the ="trms">history of arts

="trms">nature's aberrations for the finest examples of her workmanship

="trms">nature imagery of the ="trms">wonder ="trms">book

renaissance thought ='lgc'>='lgc'>-->='lgc'>{ (antithesis of) art ='lgc'>=/= ="trms">nature ='lgc'>}='lgc'>='lgc'>--> art may aid, imitate, modify or surpass ="trms">nature
='lgc'>--='not'>✕='lgc'>='lgc'>--> Bacon='lgc'>: art (formal and final causes) should become more ="trms">natural ='and'>& ="trms">nature (="trms">material and efficient causes) should be made more artificial ='lgc'>='lgc'>--> ="trms">monster='lgc'>: ="trms">nature's artificial work
="lsts lst1">•="trms">nature in extremis ='lgc'>=/= conventional wisdom
="lsts lst1">•="trms">monsters='lgc'>: models for the novelties of art

='lgc'>--Bacon='lgc'>='lgc'>--> enrichment of both speculative and operative ="trms">natural philosophy (='lgc'>=/= ="trms">books of ="trms">fabulous experiments and secrets)

='strcls'>**="trms">wonder ="trms">literature sacrificed accuracy to admiration='strcls'>**

corroboration


xxxxxx

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="large lg78" stl="font-size:107%"> to take echoing abstractions (reason, ="trms">nature, etc.) and try to cash them out in concrete practices
(transformation of) extremely abstract ='lgc'>--to='lgc'>='lgc'>--> extremely concrete
="prgrph">-why is it so irresistible to reach analogies between the moral and the ="trms">natural orders='qstn'>?
other orders of ="trms">nature ='lgc'>[='strcls'>**every order of ="trms">nature sustains a moral order='strcls'>**='lgc'>]='lgc'>:
="lstsrd">1. local ="trms">nature (what happens when we scale up)
="lstsrd">2. ="trms">ontological identity card (what makes a squirrels)
="lstsrd">3. universal ="trms">natural laws
aggregation of these forms of orders ='lgc'>]='strcls'>**each provokes a characteristic cognitive passion='strcls'>** ='lgc'>: they involve judgment ='lgc'>+ emotional reaction to its transgressions='lgc'>]='lgc'>:
="lstsrd">1. disequilibria (='lgc'>='lgc'>--> terror='lgc'>: fear saturated by guilt) ='lgc'>='lgc'>--> local ="trms">nature
="lstsrd">2. ="trms">monsters (='lgc'>='lgc'>--> ="trms">horror) ='lgc'>='lgc'>--> ="trms">specific ="trms">nature
="lstsrd">3. marvels and miracles (='lgc'>='lgc'>--> ="trms">wonder) ='lgc'>='lgc'>--> ="trms">natural laws

='lgc'>[(a very recently) forceful kind of='lgc'>] argument to anchor moral or political order in a ="trms">natural foundation

='lgc'>--="ppl">Daston='lgc'>='lgc'>--> we are ="trms">species that re="trms">present (='strcls'>**we must model our orders='strcls'>** ='lgc'>: to make visible ='and'>& external) ='lgc'>--='lgc'>{with an appeal to a ="trms">natural analog='lgc'>}='lgc'>='lgc'>--> ='strcls'>*="trms">nature='lgc'>: the richest source of models of all kind of orders

='lgc'>[!!!today task of artist:='lgc'>] ='strcls'>***to give back humanity its ="trms">childhood='strcls'>*** (that was lost in the age of objectivity) ='at'>@="frds">Sina, ="frds scrmbld">Sarah

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Schutz
="trms">social ="trms">nature of knowl="trms"nttrm="knowledge,Knowledge">edge
how people grasp the consciousness of others while living within their own streams of consciousness

absent friends='lgc'>:
="lsts lst1">•his brother whom he has described to me
="lsts lst1">•the professor whose ="trms">books i have ="trms"nttrm="already,spread">read
="lsts lst1">•the postal clerk
="lsts lst1">•the Canadian Parliament
="lsts lst1">•abstract entities like Canada herself
="lsts lst1">•the rules of English grammar
="lsts lst1">•the basic principles of jurisprudence
="lsts lst1">•
='lgc'>--Schutz='lgc'>='lgc'>--> more one goes into the contemporary ="trms">world, the more anonymous the contemporary inhabitants become

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="trms">wonder
and its marvels

(Paris wall slogan from the student rebellion of 1968 ='lgc'>='lgc'>-->) “every view of things that is not strange (bizarre, foreign) is false” ='lgc'>--="ppl">Bynum='lgc'>='lgc'>--> to jolt her ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listeners nad ="trms"nttrm="already,spread">readers into encounter with a ="trms">past that is unexpected and strange

="trms">past ='lgc'>='lgc'>--> answer ="trms">questions we haven't asked

="prgrph">-could “="trms">wonder” be the special characteristic of the ="trms">historian='qstn'>?

="large lg34" stl="font-size:130%"> ="trms">wonder ='and'>& marvels ='lgc'>='lgc'>--> a medieva="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list's topic

="ppl">Bynum re="trms">present a rearguard action to claim back from early ="trms">modernists the irrational and grotesque and to “re-enchant” (if not the ="trms">world, at least) the ="trms">historical professional

="lstsrd">1180-1320
a great increase in ="trms">stories of marvels, ="trms">monsters, miracles, ghosts
medieval europe awash in ="trms">wonders


='strcls'>*the circumstances under which medieval men and women felt ="trms">wonder='strcls'>*
="lsts lst1">•="trms">wonder-talk
="lsts lst1">•="trms">wonder-behavior ='lgc'>[='lgc'>='lgc'>==>='qstn'>? empowering them='lgc'>]
="lsts lst1">•the ='strcls'>*web of actual ="trms">horror ='and'>& delight='strcls'>* we can decipher in medieval texts (and on in="trms">stagram, telegram, whatsapp) (='lgc'>=/= ='thdf'>the idea of “knowing='lgc'> = appropriating” ='lgc'>='lgc'>==> knowing is impossible)

="large lg50" stl="font-size:102%"> medieval theorist ='lgc'>[& my ="trms">bestiary research='lgc'>] ='lgc'>--="ppl">Bynum='lgc'>='lgc'>--> ="trms">wonder='lgc'>: (admiratio) cognitive, nonappropriative, perspectival, particular, (not merely a) physiological ="trms">response
='lgc'>[='strcls'>*='lgc'>]="trms">wonder='lgc'>: recognition of the singularity and significance of the thing encountered

‘thing ='lgc'>=/= knower’ (in a context ='lgc'>+ from a particular point of view) ='lgc'>==t="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigger='lgc'>='lgc'>==> ="trms">wonder

telegram ="trms">bestiary ='lgc'>='lgc'>--> capacity to be shocked by the singularity of the event (='lgc'>==="frds">Sina='lgc'>='lgc'>==> search for significance ='lgc'>='lgc'>~/= cause, explanation)


scholarship on (early ="trms">modern age of) ="trms">wonder
="lstsrd">1- enthusiasm for ="trms">wonders='lgc'> = ='strcls'>*expropriative ='and'>& appropriative='strcls'>* (ضبط و سلب) ='lgc'>='lgc'>--> ='strcls'>*orientalism='lgc'>: projection of self or construction of “other” as self ='lgc'>='lgc'>--> the rape of the New ="trms">World seems implicit in ="trms">wonder at it
(early ="trms">modern europe) impulse to ='strcls'>*collect ='and'>& explore='strcls'>*='lgc'>:
="lsts lst2">◦collection of narwal horns and jewels, deformed fetuses and human captives (made by rulers, ="trms">missionaries, and ="trms">natura="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list)
="lsts lst2">◦o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigins of museums in the wunderkammer (="trms">wonder cabinet)
="lsts lst2">◦voyages to the New ="trms">World with their attendant goals of ='strcls'>*conquering ='and'>& ="trms">missionizing='strcls'>* (='lgc'>=/= ="nms">Sinbad)
="lsts lst2">◦use of inquisitors and ="trms">questionnaires by government to assemble information for juridical ='strcls'>*processings ='and'>& taxation='strcls'>*
="lsts lst2">◦Columbus's “desire to know the secrets of the ="trms">world” (glossed with) Jode de Acosta's praise of proselytizing curiosity
="lstsrd">2- ="ppl">Aristotle's ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">Metaphysics='lgc'>: “="trms">wonder='lgc'> = ignorance and doubt” ='lgc'>{ desire to seek causes (it did not understand) ='lgc'>==arose='lgc'>='lgc'>==> ="trms">wonder (admiratio) ='lgc'>='lgc'>==> replacement by knowl="trms"nttrm="knowledge,Knowledge">edge (="trms">scientia or philosophia) ='lgc'>}='lgc'>='lgc'>--> miracula (marvel='lgc'>: ="trms">natural effects we fail to understand) ='lgc'>=/= mirabilia (unusual and difficult events ='lgc'>[produced by God='lgc'>])
="lstsrd">3- ="ppl">Descartes’ ="trms">wonder='lgc'>: (first of all passions) a sudden surprise of the soul ='lgc'>='lgc'>==> tend to consider attentively those objects (which seem to it rare and extraordinary)
="lsts lst2">◦='strcls'>*begining of the tendency to reduce emotion to physiology='strcls'>*
="lsts lst2">◦Charles Le Brun's drawings of the passions
="lsts lst2">◦="ppl">Darwin's ="trms">wonder='lgc'>: a reaction ='lgc'>='lgc'>==> making the ="trms">animal see and breathe better in crisis ='lgc'>='lgc'>==> increased its chances of survival (...raised eyebrows, opened and protruding lips, a hand held up, palm out with fingers open)
="lsts lst2">◦early ="trms">modern physiology ='lgc'>='lgc'>--> ="trms">wonder='lgc'>: (='lgc'>~ startled ="trms">response,) paradigmatic emotion
="lstsrd">4- (the horrible) philosophical understanding of ="trms">wonder='lgc'>: ignorance rationalized or erased by knowl="trms"nttrm="knowledge,Knowledge">edge
a ="trms">wondering desire that collects and appropriates what it endeavors to know or project its self ="trms">onto an ="trms">imagined other ='lgc'>='lgc'>--> a passion that reduces to a startle ="trms">response at the unfamiliar

='lgc'>}='lgc'>=/= ="trms">historian (and teacher ='lgc'>[and performance-="trms">lecturer='lgc'>]) vacation (or ="trms">responsibility) ='lgc'>='lgc'>--> (we must aspire to) ="trms">imagine the kind of nonappropriative perspectival ='strcls'>*intensely cognitive='strcls'>* ="trms">response

middle ages (how they characterize their ="trms">difference='lgc'>:)
="lstsrd">1. theological-philosophical understanding of ="trms">wonder ='lgc'><='lgc'>== university intellectuals ='lgc'>{
="lsts lst2">◦admiratio ='lgc'>=/= ="trms">scientia ='lgc'>='lgc'>==> knowl="trms"nttrm="knowledge,Knowledge">edge
="lsts lst2">◦admiratio ='lgc'>='lgc'>~= diversitas (diversity) ='lgc'>=/= solitum (the usual, the general)
="lstsrd">2. ="trms">religious discourse about ="trms">wonder ='lgc'><='lgc'>-- sermons, hagiography, devotional ="trms">writing, enormously popular genre of ='strcls'>*saint's lives='strcls'>* (tazkirat تذکره نویسی) ='lgc'>{
="lsts lst2">◦admiratio ='lgc'>=/= imitatio (imitation جعلى) ='lgc'>[the ="trms"nttrm="already,spread">readers were urged to ="trms">wonder at and not immitate the power and extravagant asceticism of holy men and women (in ="ppl">Attar='qstn'>?)='lgc'>]
="lsts lst3">◾admiratio ='lgc'>='lgc'>~= paradox (coincidence of op="trms">posites) ='lgc'>[one finds mira (wondrous) again and again in the texts alongside mixta (mixed, com="trms">posite things, ="trms">chimera)='lgc'>]
="lsts lst2">◦admiratio ='lgc'>='lgc'>~/= curiositas (curiosity کنجکاوی)
="lsts lst2">◦admiratio ='lgc'>='lgc'>~/= disputatio (disputatiousness ستيزه جويى)
="lstsrd">3. ="trms">literature of entertainment='lgc'>: ="trms">travel accounts, ="trms">history ="trms">writing, collection of odd ="trms">stories called by one ="trms">author
="lsts lst2">◦admirari (to ="trms">wonder at) ='lgc'>=/= rimari (to pay into)
="lsts lst2">◦(collected ="trms">stories ='lgc'>='lgc'>==> amuse, ="trms">instruct, move their aristocratic ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listeners ='lgc'>='lgc'>-->) ="trms">wonder ='lgc'>=/= inductio exemplorum (="trms">generalizing)


12th 14th centuries
(twin ="trms">authorities for middle ages) ="ppl">Aristotle ='lgc'>+ ="ppl">Augustine ='lgc'>='lgc'>==> tradition of understanding ="trms">wonder as perspectival ='and'>& psychological ='lgc'>='lgc'>==> theological-philosophical discourse
="lsts lst1">•="ppl">Augustine='lgc'>: marvel ='lgc'>=/= what we know of ="trms">nature (='lgc'>=/= ="trms">nature) ='lgc'>='lgc'>--> ='strcls'>*lodge the ="trms">wonderful-ness of things (not in our reaction to them but) in their ="trms">ontological status='strcls'>*
="lsts lst1">•Anselm of Canterbury='lgc'>: marvelous ='lgc'>=/= ="trms">natural ='lgc'>=/= artificial (voluntary, made by humans)
='lgc'>}='lgc'>='lgc'>--> miracles are objectively ="trms">wonderful (because produced by God's power alone)


='lgc'>[1='lgc'>]
early middle ages latin texts ='lgc'>='lgc'>--> mirabilia (="trms">wonder) ='lgc'>='lgc'>~= miracula (miracle)
13th century ='lgc'>='lgc'>--> mirabilia (="trms">wonder) ='lgc'>=/= miracula (miracle) ='lgc'>==="trms">ontological='lgc'>='lgc'>==> flatten the impulse to ="trms">wonder='lgc'>:
="lstsrd">1- (tends to) separate out (with hair-splitting distinction) a small number of ="trms">phenomena as objectively ="trms">wonder-inducing (='strcls'>*whereas all others no ="trms">matter how odd are ="trms">wonderful only to the ignorant='strcls'>*)
="lstsrd">2- (sug="trms">gests that) most events have ="trms">natural causes='lgc'>: ='strcls'>*if philosophers are diligent enough ='lgc'>='lgc'>==> ="trms">wonder will cease='strcls'>* ='lgc'>[= Sherlock Holmes='lgc'>]
="lsts lst2">◦(1235) William of Augergne ='lgc'>='lgc'>--> people do not know how to go about investigating the cause ='lgc'>[='lgc'>='lgc'>--> detective='lgc'>]
="lsts lst2">◦(1325) ="ppl">="ppl">Oresme ='lgc'>='lgc'>--> ='strcls'>*vigorous ="trms">imagining of a retained ="trms">species ='lgc'>+ small external appearance ='lgc'>+ imbalance of some ="trms">internal dis="trms">position ='lgc'>='lgc'>==> marvelous appearance='strcls'>* ='lgc'>[='lgc'>--='not'>✕='lgc'>='lgc'>--> himself was fascinated and enchanted by the “marvelous properties” of ="trms">animals and the ='strcls'>*diversitas of human experience='strcls'>* especially of tastes in ='strcls'>*food and in sexual ="trms">positions and partners='strcls'>*='lgc'>]
="lsts lst2">◦a 13th century treatise “on the marvels of the ="trms">world” (Qazwini='qstn'>?) ='lgc'>='lgc'>--> a great part of philosophers and physicians believe that='lgc'>: ="trms">natural things ='lgc'>='lgc'>==> marvellousness of experiences and marvels
="lsts lst2">◦Roger Bacon ='lgc'>='lgc'>--> ="trms">natura="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic explanation of saints who lived without eating... charms and amulets... ='strcls'>*waxed lyrical over the in="trms">finite complexity of the common fly='strcls'>* (='lgc'><='lgc'>-- is this what i did in telegram ="trms">bestiary='qstn'>?)
="lsts lst2">◦Albert the Great ='lgc'>='lgc'>--> physical manifestations of admiratio='lgc'> = "constriction and suspension of the heart” confronted with something “great and unusual”
="lsts lst2">◦Aquinas ='lgc'>='lgc'>--> connect ="trms">wonder with pleasure='lgc'> = a desire that culminates not so much in knowl="trms"nttrm="knowledge,Knowledge">edge as in encounter with ma="trms">jesty, ='strcls'>*="trms">wonder='lgc'>: the best way to grab the attention of the soul
="lsts lst2">◦
='lgc'>}='lgc'>--="ppl">Bynum='lgc'>='lgc'>--> distinguishing ‘miracle ='lgc'>=/= marvel’ ="trms">ontologically ='lgc'>=/= psychologically, perspectivally (or attributing marvels to ="trms">natural causes) ='lgc'>--='not'>✕='lgc'>='lgc'>--> eclipse of ="trms">wonder

="trms">wonder as a ="trms">response was not devalued or dismissed (even in a philosophical and theological tradition that de-="trms">wondered anomalies by insisting on an increasingly ordered ="trms">world, whose laws were decipherable by the wise)



='lgc'>[2='lgc'>]
in the discourse of the homiletic موعظه and hagiographical تاريخ انبياء (tazkirat) ='lgc'>='lgc'>--> ="trms">wonder ='lgc'>=/= imitable قابل تقلید (='lgc'>--='not'>✕='lgc'>='lgc'>--> the known, the knowable, the usual)
“non imitandum sed adm="nms">irandum” (not to be immitated but to be marveled at)
heroes and martyrs ='lgc'>=/= ordinary faithful
='lgc'>='lgc'>--> (="ppl">Attar ='lgc'>[master of ="trms">rhetorics='lgc'>] in تذکرة الاولیا uses) a kind of ='strcls'>*humility topos='strcls'>* intended to express an ="trms">author's conviction that the miracle-working charisma of a saint was far beyond the capacity of ="trms">author and ="trms"nttrm="already,spread">reader alike (channel the attention of the faithful... towards the emulation of ordinary virtues='lgc'>: to control credulity ساده لوحی, extravagant asceticism, straining after flamboyant ="trms">religiosity)
='lgc'>}='lgc'>='lgc'>--> nonappropriative ="trms">nature of ="trms">wonder

Bernard of Clairvaux (medieval piety)
(="trms">rhetoric of) ="trms">wonder ='lgc'>=/= curiosity
praying to the affairs of others
praying to the secrets of the universe
="trms">wonderful deformed beauty (of Romanesque sculpture)
='lgc'>='lgc'>--> ='strcls'>****imitatio (جعل)='lgc'> = appropriation='lgc'> = being in ="trms">society with ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to drawing ="trms">mimetics, ="trms">literal ="trms">CG 3D modeling='lgc'>], experiencing, learning, taking into oneself, ="trms">consuming='strcls'>****

“we, when we take the deeds ='lgc'>[of others='lgc'>] for imitation, ought to make the lofty things hidden and humble ones manifest” (like the shape of the seal='lgc'>: sculpted inward is appeared concave when printed) ='lgc'>='lgc'>--> ="trms">mimesis

='strcls'>*the encounter is made possible because an ="trms">ontological similarity to that other is built into the experiencing self='strcls'>*

golden goblet 🏆
we ="trms">consume, absorb, incorporate the drink (='lgc'>='lgc'>~= imitate the virtues) ='lgc'>=/= we give back (='lgc'>='lgc'>~= we ="trms">wonder at) the goblet, we ="trms">wonder at what we cannot in any sense incorporate, or ="trms">consume, or encompass in our mental ="trms">categories ='lgc'>='lgc'>--> we ="trms">wonder at mystery, at paradox, at admirabiles mixturae ='lgc'><='lgc'>==Bernard='lgc'>== three hybrids='lgc'>:
="lstsrd">1- mixture of God and man
="lstsrd">2- mixture of woman and virgin
="lstsrd">3- mixture of belief and falsity (in our hearts)


(="ppl">Attar seductively drawn to the ="trms">wonderful deformed beauty of saints of early sufism)


='lgc'>[title='lgc'>]
failed exorcism


='lgc'>[3='lgc'>]
(="ppl">Bynum providing a) medieval theory of ="trms">wonder in the ='strcls'>*="trms">literature of enlightenment='strcls'>*='lgc'>:
="trms">history ="trms">writing
="trms">travel accounts
="trms">story collection
عجایب‌المخلوقات ="nms">="nms">ajayebnameh='lgc'>: the encyclopedic tradition of the ancient ="trms">world known as ='strcls'>*paradoxology='lgc'>: collection of oddities (="trms">monsters, hybrids, distant races, marvelous lands, ='lgc'>[telegram ="trms">beasts, in="trms">stagram ="trms">animals='lgc'>]) ='lgc'>+ antique notions of portents or omen='lgc'>: unusual events that foreshadowed the (usually catastrophic) future ='lgc'>+ accompanied by a vague sense of d="trms"nttrm="already,spread">read ='lgc'>[it gives you goosebumps='lgc'>]
='lgc'>+ (="frds scrmbld">Ehsan master of) ='lgc'>[='strcls'>*='lgc'>]="trms">fabulae='lgc'>: (="trms">story) told without claims to their ="trms">ontological status ='lgc'>=/= ="trms">historia
='lgc'>}='lgc'>='lgc'>==> theory of ="trms">wonder='lgc'>: ='lgc'>[='at'>@="nms">apass='lgc'>]
="lstsrd">1. ='strcls'>*="trms">response to facticity='strcls'>*
="lstsrd">2. ='strcls'>*="trms">response to the singular='strcls'>*
="lstsrd">3. ='strcls'>*is deeply perspectival='strcls'>*

="lsts lst1">•William of Newburgh ='lgc'>='lgc'>--> (some ="trms">sort of) probatio (testing, evidence) ='lgc'>--base='lgc'>='lgc'>--> rimari (probe, pry into فضولی، با اهرم بلند کردن) ='lgc'>=/= admirari (to ="trms">wonder at)
="lsts lst1">•Gervais of Tilbury ='lgc'>='lgc'>--> facts ='lgc'>==induce='lgc'>='lgc'>==> marvel ='lgc'>='lgc'>~= res ="trms">gestae (deeds or ="trms">historical accounts) ='lgc'>=/= ="trms">stories (="trms">fabulae, lies) ='lgc'>[='lgc'>='lgc'>~= ='strcls'>*you cannot be amazed by what you don't believe='strcls'>* (="trms">stories of ghosts, vampires, migration of quail, flight of squirrels, etc.)='lgc'>]
="lsts lst1">•John of Salisbury ='lgc'>='lgc'>--> ='strcls'>*marvellous singularity='strcls'>* (collection of advice for courtiers and princes) ='lgc'>~ ="trms">wonder='lgc'>: ="trms">response to ma="trms">jesty (hidden wisdom, significance) ='lgc'>=/= ="trms">generalizing='lgc'> = moralizing (inductio exemplorum, citing of ="trms">instructive general causes ='lgc'>='lgc'>--> forensic)
="lsts lst1">•

credible deeply unusual singular event ='lgc'>='lgc'>==> admiratio

='lgc'>[='strcls'>*='lgc'>]perspectival='lgc'>: reaction of a particular “us” to an “other” that is “other” only relative to the particular “us” (='lgc'><='lgc'>-- ='thdf'>this is why ="nms">="nms">ajayebnameh is ="trms">interesting)
="lsts lst1">•James of Vitry ='lgc'>='lgc'>--> ='strcls'>***cyclopses who all have one eye marvel as much at those who have two eyes as we marvel at them='strcls'>*** (1200)
="lsts lst1">•Gosswin of Metz ='and'>& John Mandeville ='lgc'>='lgc'>--> turning such perspectivalism into gently ironic comments on themselves
="lsts lst1">•William of Rubruck ='lgc'>='lgc'>--> barefoot ="trms">travel through harsh terrain and climate required by Franciscan asceticism seems as ="trms">monstrous a practice in the East as certain Eastern customs appear when reported “back home”
="lsts lst1">•



='strcls'>**(how='qstn'>? can we simply='qstn'>?) study medieval emotion='strcls'>** ='lgc'>=/= ="trms">wonder stated by ="trms">historians, ="trms">travelers, theologians, philosophers, preachers, devotional ="trms">writers

='strcls'>*traces of emotion='strcls'>* that survive are mediated through texts, pictures, artifacts ='lgc'>--="ppl">Bynum='lgc'>='lgc'>--> we are not entitled either to assume a ="trms">sort of ="ppl">Darwinian universal emotion, or to think that emotion-behavior is culturally constructed (as to exist only where we find words for it)

='strcls'>***texts may give us access to reactions less through adjectives attached to nouns='strcls'>*** (by calling something “="trms">wonderful” or “d="trms"nttrm="already,spread">readful” ='lgc'>=/= indicating the ="trms">responses of an implicit ="trms"nttrm="already,spread">reader/viewer)
="lsts lst1">•a keyword search for “="trms"nttrm="danger,stranger">anger” will tend to turn up set pieces on how to control it ='lgc'>='lgc'>--> discussions of where it is not
="lsts lst1">•reactions such as ="trms">wonder, delight, or terror (do not simply occur) they are ='strcls'>*evoked='strcls'>*, sometimes even ='strcls'>*="trms">staged='strcls'>* ='lgc'>='lgc'>--> we can explore what evoked them

finding ="trms">wonder-words ='lgc'>=/= finding ="trms">wonder (complex semantic field)

="trms">wonder-reaction='lgc'>:
="lsts lst1">•terror
="lsts lst1">•disgust
="lsts lst1">•solemn astonishment
="lsts lst1">•playful delight

in medieval accounts ="trms">wonder often has='lgc'>:
="lsts lst1">•a mischievous quality
Bernard of Clairvaux ='lgc'>='lgc'>--> spice of ="trms">stories
11th century ='lgc'>='lgc'>--> (naughtily) impish girl saint ="trms">jokes
="frds scrmbld">Gerald of Wales ='lgc'>='lgc'>--> ="trms">nature's pranks
='lgc'>}='lgc'>='lgc'>--> moralizing ="trms">bestiary tradition (taking more pleasure in the ="trms">animal tales than in theology)
analogies between ="trms">animals and humans are anything but solemn and didactic
="lsts lst1">•a d="trms"nttrm="already,spread">readful quality
(="ppl">Attar's accounts of saint torture)
="frds scrmbld">Gerald of Wales ='lgc'>='lgc'>--> recounting some of the earliest warewold ="trms">stories to survive in european ="trms">literature, he glosses the admiratio felt by those inside the ="trms">story as stupor خرفتی, timor بیم, ="trms">horror خوف
="lsts lst2">◦shape-shifting violating ="trms">nature
="lsts lst2">◦tales of ="trms"nttrm="metaph,metamorph,metabol,metal">meta="trms">morphoses ='lgc'>='lgc'>--> the real change of substance in the eucharist عشاربانى ='lgc'>+ the terrifying possibility that sexual ="trms">intercourse between humans and ="trms">animals might produce ="trms">monsters

="large lg50" stl="font-size:121%">
(="ppl">Bynum asking) what in medieval accounts or artistic re="trms">presentations tends to t="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigger ="trms">wonder='qstn'>? ='strcls'>*where do the surviving source give us access either to intensely heightened reactions or to events and objects calculated to evoke or ="trms">stage such reactions='qstn'>?='strcls'>*
='lgc'>='lgc'>--> where ="trms">wonder is not='qstn'>?


(didactic purposes of) miracle collections
='strcls'>*hovering significance='strcls'>* (of unusual ="trms">natural events='lgc'>: eclipse, earthquakes, famines) ='lgc'>='lgc'>--> sometimes ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listed as clipped ="trms">matter-of-fact prose
William Auvergne ='lgc'>+ ="ppl">="ppl">Oresme ='lgc'>='lgc'>--> ="trms">natural causes can be found for marvels tend to flatten the ="trms">language of some accounts of ="trms">natural ="trms">world as well
='lgc'>}='lgc'>='lgc'>==> miracles, portents فال بد, oddities are sites and ="trms">stagings of ="trms">wonder less often than we might ="trms">suppose


12th - 14th century ='lgc'>='lgc'>--> ="trms">narrative accounts tell us of objects and events carefully constructed to elicit awe, delight, d="trms"nttrm="already,spread">read
='strcls'>*rulers (secular ='lgc'>+ ecclesiastical) ='lgc'>--competed='lgc'>='lgc'>--> display of power and splender in="trms"nttrm="cluster,club">cluding tricks and automata ='lgc'>--calculated='lgc'>='lgc'>--> to amaze and tantalize='lgc'>:
="lsts lst1">•(13th century) خانه وحشت 🏰 evidence of a count of Artois who built an elaborate funhouse with distorting mirrors, rooms that simulated thunderstorms, hidden pipes for wetting unsuspecting visitors and covering them with flour
="lsts lst1">•puppet shows in ="trms">pastry (sotelties)
="lsts lst1">•food was often planned as an illusion or trick for the eye (='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to in="trms">stagram cake baked in the shape of ordinary objects)
="lsts lst1">•changes in church architecture in liturgy (آئین نماز) ='lgc'>+ fabrication of ="trms">monstrances ='lgc'>='lgc'>--> define the moment in the Mass when ='strcls'>*the consecrated host (the devine installed in food or flesh or ="trms">matter) was elevated as a sudden revelation of the unexpected and paradoxical='strcls'>*
="lsts lst2">◦collection of relics and their ='strcls'>**elaborate containers='strcls'>** (reliquaries محفظه عتیقه) ='lgc'>[='lgc'>='lgc'>--> similarity and ="trms">historical connection to wunderkammer of early medieval princes='lgc'>]
="lsts lst1">•
='lgc'>='lgc'>--> theologians and many of the ordinary faithful continued ='strcls'>*to value the super="trms">natural power mediated through bone chips or dust='strcls'>* more than the intricate workmanship or sheer novelty of the container ='lgc'>='lgc'>--> ='strcls'>*object='lgc'> = a means of access to an other tham as a singularity fascinating in itself='strcls'>*
='lgc'>='lgc'>--> ='strcls'>*relic cabinets ='lgc'>='lgc'>~= cabinets of novelties='strcls'>*
='lgc'>}='lgc'>--underlying='lgc'>='lgc'>--> ='strcls'>***impulse to collect='strcls'>***

mirabile visu!
='strcls'>****(12th century) abbot Suger of St. Denis describes the crowd (more desperate to touch, possess, appropriate) that is frantic over access to a power not only ='strcls'>*beyond='strcls'>* but also in its ="trms">nature ='strcls'>*other than='strcls'>* what contains it
(God lodged in decayed body, manifested and hidden behind the crystal and gold)

="trms">narrative accounts not only described objects and events that were ="trms">staged or constructed to produce ="trms">wonder ='lgc'>+ they also ='strcls'>*teemed with complex ="trms">wonder-reactions='strcls'>*
='lgc'>='lgc'>--> hagiographer (="ppl">Attar's) detailed in emotional ="trms">sensual ="trms">language the extravagant asceticism and para-mystical manifestations holy women experienced ='lgc'>+ the amazement such manifestations engendered in others ='lgc'>{beauty was not merely referred to as ="trms">wonderful, ='strcls'>*it was also described in ="trms">loving and lyrical ="trms">language='strcls'>* as signaling a deeper pattern or purpose='lgc'>}

(old ="ppl">Augustinian idea that) the ="trms">world itself is a miracle ='lgc'>='lgc'>--> (homi="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list Aelfric) wundra (marvels) of God
="lsts lst1">•it requires no sorcery that the moon waxes and wanes, that the sea agrees with it, that the earth greens in ="trms">response to its power 🌙
="lsts lst1">•(recounting the migration of salmon upstream to spawn) they leap from bottom to top with a leap that is marvellous, and except that is is proper to the ="trms">nature of fish, marvellous


سندباد ="nms">Sinbad
='lgc'>[fantastical='lgc'>] ="trms">travelers’ tales (recounted) the ='strcls'>*fearsome='strcls'>* and the ='strcls'>*ugly='strcls'>* ='lgc'>--as='lgc'>='lgc'>--> ='strcls'>*="trms">wonderful='strcls'>*
to Marco Polo almost every ="trms">animal he met was a marvel (the horrible cro="trms">codile, beautiful giraffe) ='lgc'>[described with an earnest and urgent facticity ='lgc'>='lgc'>--> ="nms">ajayeb's tone='lgc'>]

in later middle ages (and in toda popular media) ='strcls'>*strangeness appealed='strcls'>* ='lgc'>='lgc'>--> ="trms">stories abounded='lgc'>:
="lsts lst1">•of ="trms">fabulous palces
="lsts lst1">•of stones with marvellous powers
="lsts lst1">•of ="trms">monsters
="lsts lst1">•of mermaids
="lsts lst1">•of fairies
="lsts lst1">•of bizarre races with eyes in their chests or enormous umbrella feet

="lsts lst1">•Marco Polo's awkward and impoverished prose
="lsts lst1">•Mandeville's credulous tale-telling
="lsts lst1">•="nms">Sinbad='lgc'>: ='lgc'>[a powerful sense that='lgc'>] what is ="trms">wonderful='lgc'>: (is not chickens and peacocks, even cyclopses and cannibals per se, but) ='strcls'>**a ="trms">world that encompasses such ="trms">staggering diversity='strcls'>** ='lgc'>--="ppl">Bynum='lgc'>='lgc'>--> ='strcls'>******the impulse to chronicle (such things) ='lgc'>='lgc'>~= a critique of the impulse to possess them='strcls'>******

“If you ='lgc'>[="frds scrmbld"nttrm="Alex,Alert,Aleph,Alessi">Alexander the Great='lgc'>] had a body that matched your greedy mind and heart that know no bounds in their desires, or if your body equaled your great cupidity, the great ="trms">world itself would not suffice to contain you ... Your ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right hand would hold the East, the left the West. Not content with this, in all your prayers you would be ="trms">consumed with desire to investigate and find out where that amazing light hid itself, and would dare to climb into the sun’s chariot and ... control its wandering beams. So, too, you desire much that you cannot possess. Having subdued the ="trms">world and conquered the human race, delighting in blood, you will wage war against trees, ="trms">wild ="trms">beasts, rocks and mountain snows. ='strcls'>*You will not allow the strange creatures that ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurk in the caves to be untouched. Even senseless elements will be compelled to experience your rages.='strcls'>*
='lgc'>='lgc'>--> ='strcls'>***Chatillon's powerful prose understands that marveling at diversity can be the prelude to appropriation='strcls'>***
='strcls'>*marveling at diversity ='lgc'>='lgc'>='lgc'>~=> appropriation='strcls'>*


='strcls'>*impulse to collect/chronicle/="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list ='lgc'>--(critique='lgc'>[="trms">sublimated='qstn'>?='lgc'>])='lgc'>='lgc'>-->='lgc'>='lgc'>~='qstn'>?='lgc'>=>(='lgc'><='lgc'>--)(='lgc'>='lgc'>~/=!!) impulse to posses='strcls'>*


beautiful ='lgc'>+ horrible ='lgc'>+ ="trms">skillfully made ='lgc'>==induce='lgc'>='lgc'>==> ="trms">wonder
bizzar ='lgc'>+ rare (='lgc'>='lgc'>~= that which challenges or suddenly illuminates our expectations) ='lgc'>+ ='strcls'>*range of ="trms">differences='strcls'>* found in the ="trms">world ='lgc'>='lgc'>==> ="trms">wonder

admirabiles mixturae='lgc'>: events or ="trms">phenomena in which ="trms">ontological and moral boundaries are crossed, confused, erased

='lgc'>[='strcls'>*='lgc'>]singularity='lgc'>: absence of cause ='lgc'>[='lgc'>='lgc'>--> is enough to induce ="trms">wonder='lgc'>]


human body appearing as meat to be masticated is an aweful condescension (in ="trms">worldly terms='lgc'>: an assuming of an inappropriate ="trms">nature) for God


Peter the Venerable (12th century collection of miracle ="trms">stories)
reverents (those who returned from the dead)
...a monk who has been poisoned appears in a dream while the murder is under investigation='lgc'>: “When I saw him ='lgc'>[the murdered monk='lgc'>], I got up full of joy and began to embrace and kiss him with much ="trms">affection. Although a deep stupor ='lgc'>[sopor='lgc'>] took the place of my outward senses,... I was not unaware that I was sleeping ... And what is more ="trms">wonderful ='lgc'>[mirum='lgc'>], it occurred to me immediately ... that the dead could not remain long with the living ... So I decided to ="trms">question him quickly, for the vision seemed not a phantasm but true ='lgc'>[non fantastica sed verax='lgc'>] ... ='lgc'>[The monk attests his faith and affirms that he has been murdered; then he disappears.='lgc'>] I ="trms">wondered greatly ... then rested my head again ... and immediately he reappeared ... I rushed toward him and ... began to kiss him as before ... I heard the same answers as above concerning his state, his vision of God, the certitude of the ="frds scrmbld"nttrm="Christianson">Christian faith, and his death ... ='lgc'>[Then='lgc'>] I woke up and found my eyes wet and my cheeks warmed by fresh tears.
='lgc'>=/= Hamlet's experience with his father's ghost (='lgc'>='lgc'>--> has no ="trms">epistemological ="trms">wonder)

Peter of Tarentaise
confronted with a deformed man, ="trms">questioned him closely and sent him away unhealed but with a new sense of self-worth

='strcls'>**moral reaction described in heightened emotion-="trms">language='strcls'>**
(we see) ='strcls'>*the ="trms">response enacted inside the ="trms">story='strcls'>*

Julian of Norwich
her most ="trms">wonder-filled ="trms">language
because of the incarnation we are a marvelous mixture (medle se mervelous) of sin and grace

the unheards-of... عجایبِ (="nms">ajayeb-e)
describing unheard-of prodigy (of green ="trms">children born from the earth)


👉
William of Newburgh
what he cannot grasp (attingere or rimari) ='lgc'>[there must be a “reason"='lgc'>] ='lgc'>='lgc'>==> forced to marvel at (mirari) ='lgc'>--means='lgc'>='lgc'>--> a significance or moral use (utilitas)
="lsts lst1">•mysterious dog discovered in a stone
="lsts lst1">•a crucifix in the sky
="lsts lst1">•
='lgc'>}='lgc'>='lgc'>--> rarity ='lgc'>+ (they have a) secret reason
='lgc'>}='lgc'>--="ppl">Bynum='lgc'>='lgc'>--> ='strcls'>*="trms">wonder-reaction='lgc'> = significance-reaction='strcls'>* ='lgc'>='lgc'>~= ='strcls'>****things are signs or portents (not because of their ="trms">natures or their causes but ='lgc'>[from their ="trms">ontology='lgc'>]) because they indicate or point ='lgc'>[from their utility='lgc'>]='strcls'>****
='at'>#telegram ="trms">bestiary
='at'>#index finger

="trms">monster ='lgc'><='lgc'>-- ="trms">monstrare='lgc'>: to know

(for theologians, chroniclers, preachers) ="trms">wonderful='lgc'> = strange ='lgc'>+ rare ='lgc'>+ inexplicable (never merely strange or simply inexplicable)
='lgc'>='lgc'>--> it was ='strcls'>***a strange that ="trms">mattered, that pointed beyond itself to meaning='strcls'>*** (='lgc'>='lgc'>--> ='at'>#="trms">wonders of pits)


(='mywrk'>my work for WIELS, ="trms">Wonders of the Moon – A Thousand Years of Sleepwalking 2020)
="lsts lst1">•='strcls'>*not='strcls'>* all medieval statements about ="trms">wonder were synonymous or compatible
="lsts lst1">•how people acted and reacted necessarily were ='strcls'>*not='strcls'>* in very close ="trms">synchrony with the de="trms">finition they gave or the ابتذال platitudes they propounded


="large lg110" stl="font-size:131%"> ="trms">wonder in medieval texts
='lgc'>=/= increasingly rare exception to an enlightenment sense of unbreachable laws of ="trms">nature
='lgc'>=/= startle reflex of early ="trms">modern psychology
='lgc'>=/= appropriation practiced by early ="trms">modern rulers, explores, conquistadors (adventurer)


(="ppl">Bynum making the point that) although by late 15th century medieval artists had begun to paint ="trms">wondering faces with the startle reflex ='lgc'>--='not'>✕='lgc'>='lgc'>--> it is more difficult to be sure whether a figure confronted with stupendous, bizarre, or d="trms"nttrm="already,spread">read-filled news is amzed or not
='lgc'>='lgc'>--> ='strcls'>***the amazement had a strong cognitive component='strcls'>*** ='lgc'>: you could ="trms">wonder only were you knew that you failed to understand ='lgc'>--entailed='lgc'>='lgc'>--> a passionate desire for the ="trms">scientia it lacked, it was a stimulus and incentive to investigation

significance-reaction='lgc'>: a flooding with awe, pleasure, d="trms"nttrm="already,spread">read owing to something deeper ='strcls'>*="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurking in the ="trms">phenomenon='strcls'>*

="trms">wonder was ="trms">situated
="trms">wonder was perspectival (even if miracles were not)


(medieval theories of) ="trms">wonder='lgc'>: nonappropriative (empathically not to ="trms">consume and incorporate), yet based in facticity ='lgc'>+ singularity
='strcls'>*="trms">wonder='lgc'>: to give back the goblet after draining the potion ='heart'>♥ ='lgc'>[='lgc'>='lgc'>--> my mood on telegram ="trms">animals, to receive their concreteness and ="trms">specificity='lgc'>]
(Bernard of Clairvaux='lgc'>:) if you do not believe the event, you will not marvel at it ='lgc'>{you can marvel only at something that is (at least to some sense) ='lgc'>[='strcls'>*='lgc'>]there='lgc'>: concreteness ='lgc'>+ ="trms">specificity='lgc'>} ='lgc'>[='lgc'>='lgc'>--> ="trms">wonder at the object of doom, cat videos, popular media='lgc'>]

admiratio='lgc'>: (a medieval sense) cognitive, perspectival, nonappropriative, deeply respectful of ='strcls'>*the ="trms">specificity of the ="trms">world='strcls'>*
='lgc'>=/= investigate
='lgc'>=/= imitate
='lgc'>=/= ="trms">generalize
='lgc'>=/= post="trms">modern ="trms">anxiety='lgc'>:
="lsts lst2">◦we emphasize how hard it is to knwo
="lsts lst2">◦we are aware that any ="trms">response involves some appropriation
="lsts lst2">◦we suspect the awareness (of collectors of marvels='lgc'>: awe and d="trms"nttrm="already,spread">read are ="trms">situated) shatters the possibility of ="trms">writing any coherent account of the ="trms">world
="lsts lst2">◦we fear that the particular is the trivial and that significance is merely the projection of our own values ="trms">onto the ="trms">past

amazement is suppressed by='lgc'>:
="lsts lst1">•citing of too many cases
="lsts lst1">•="trms">formulation of general laws
="lsts lst1">•inductio exemplorum


medieval ='lgc'>='lgc'>--> ="trms">wonder ='lgc'>='lgc'>==> knowl="trms"nttrm="knowledge,Knowledge">edge
post="trms">modern ='lgc'>='lgc'>--> politics ='lgc'>='lgc'>==> knowl="trms"nttrm="knowledge,Knowledge">edge


="ppl">Bynum ='lgc'>='lgc'>--> our research is better when we move only cautiously to understanding, when fear that we may appropriate the “other” leads us not so much to ="trms">writing about ourselves and our fears as to ='strcls'>*="trms">crafting our ="trms">stories with attentive ="trms">wondering care='strcls'>*

strange view of things ='lgc'>--Aquinas='lgc'>='lgc'>--> teaching
='lgc'>='lgc'>==> students='lgc'>:
="lsts lst1">•gaze in ="trms">wonder at texts and artifacts
="lsts lst1">•quick to puzzle over a ="trms">translation
="lsts lst1">•slow to project
="lsts lst1">•slow to appropriate
="lsts lst1">•quick to assume there is a significance='strcls'>*


(sometimes you need to be binocular='lgc'>: see your ="trms">society on its own terms ='lgc'>+ to take a step back and see it as something as realy bizarre and odd ='lgc'>='lgc'>--> “strange view of things” ='lgc'>[='lgc'><='lgc'>-- 19th century French ="trms">poets='lgc'>] ='lgc'>=/= normal modes of perception about things)
='lgc'>--='qstn'>?='lgc'>='lgc'>--> they way i feel extremely alienated by politics, journalism, fashoin, ="trms">marketing

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

(in the style of temporal and spatial complexity) learning from tv series ='lgc'>='lgc'>--> ="trms">interweaving of='lgc'>:
="lsts lst1">•flash-backs
="lsts lst1">•flash-sideways from parallel ="trms">worlds
="lsts lst1">•jumping chronologies
="lsts lst1">•plotlines
="lsts lst1">•mental images
="lsts lst1">•uncanny ="trms">relations of characters to each other
="lsts lst1">•

='strcls'>***time ="trms">travel series ='lgc'>--signal='lgc'>='lgc'>--> national ="trms">memory-crisis='strcls'>***

(spatiotemporal) jigsaw ='lgc'>='lgc'>==> audience engagement (in trying to solve the pozzels ='lgc'>='lgc'>--> you solve ='lgc'>=/= watch)

television ='lgc'>=/= rea="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list-="trms">modernist-post="trms">modernist cultural ="trms">trajectories of art

main traidemarks of post="trms">modernity='lgc'>:
="lsts lst1">•self-reflexivity
="lsts lst1">•="trms">intertextuality
="lsts lst1">•visual and ="trms">narrative disorientation
="lsts lst1">•fragmentation
="lsts lst1">•contamination of genres
="lsts lst1">•irony
="lsts lst1">•="trms">pastiche
="lsts lst1">•hypertextual ="trms">travel

Batori

="trms">consumer capitalism ='lgc'>==Jameson='lgc'>='lgc'>==> erase/lack of ="trms">history ='lgc'>='lgc'>==> nostalgic revisitation of the ="trms">past

traumatic events of the ="trms">past ='lgc'>='lgc'>--> self-critical ="trms">memory-culture ='lgc'>='lgc'>--> (in Dark TV series) German national self-understanding ='lgc'>[visiting Third Reich ='lgc'>+ ="ppl">Nietzschean eternal return ='lgc'>+ wormhole='lgc'> = floating state of identity ='lgc'><='lgc'>-- this is the achievement of the Dark TV series='lgc'>: selling the German nation to their ="trms">international audience as a commodity='lgc'>]

Dark TV series='lgc'> = national ="trms">narratives ='lgc'>+ global post="trms">modern visual practices

space='lgc'>: gray
force='lgc'>: violence
="trms">inter="trms">relation='lgc'>: neglect

(Dark's sty="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic) labyrinthine time-="trms">memory mosaic (protagonists meeting with their elder/younger selves, ="trms">memory images, time ="trms">travel etc.) ='lgc'>='lgc'>--> locate the ="trms">spectator ='lgc'>='lgc'>==> viewer is encouraged to find a way out of the labyrinth ='lgc'>[='lgc'>='lgc'>='lgc'>~=> care for the German characters with their double burden (Nazi ='lgc'>+ GDR) of traumatic recollections ='lgc'>='lgc'>='lgc'>~=> a ="trms">positive affirmative identity for contemporary Germany (='lgc'>='lgc'>~='lgc'>~> nationalism ='lgc'>=/= sense of existential homelessness)='lgc'>]
='lgc'>}='lgc'>='lgc'>--> ='strcls'>*TV series becomes a form of ="trms">memory='strcls'>* (protagonist='lgc'> = German nation)


(serial ="trms">poetic of) cliff-h="trms"nttrm="danger,stranger">anger structure
maintaining an (absolute) ="trms">aesthetic continuity

='lgc'>{time='lgc'>: liquid realm ='lgc'>=/= ="trms">history='lgc'>: fixed realm='lgc'>}='lgc'><='lgc'>--Dark='lgc'>-- protagonists must face when looking for their own identity


new German Cinema (Berlin School) ='lgc'>='lgc'>--> ghostliness, constant ="trms">travel, national division, alienation, rootlessness, inbetween-identity of the protagonists, stuckness in time ='lgc'>=/= Heimat='lgc'>: ='thdf'>the idea of stable secured ="trms">community

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

labyrinth is architecture at it's best='qstn'>?
space as a limit and space as an environment
the ="trms">relation of ornament to void space (background)
entering the space (pointing, direction) versus filling the space

in purely perceptual terms, all that is seen is the surface, but as an idea the building involves the whole of its inner, hidden structure; hence not only what is seen, but what alse is known appears.

concept of transparency='lgc'>: is a charachteristic feature of intellectual realism. in a drawing, transparency means the de="trms">monstration of knowl="trms"nttrm="knowledge,Knowledge">edge about -or disclosure of- that which is inside, behind and under visible surfaces. (stimulant to the ="trms">imagination of grave robbers)

is labyrinth or architecture a visual ="trms">system (window etc.) or a spatial construction (direction, distinction etc.)='qstn'>? when we look at it in this text with the object of cloud...


labyrinth ='lgc'>='lgc'>~=='qstn'>? architecture's ornamental activity
='lgc'>[='strcls'>*='lgc'>]ornament='lgc'>: epression of an ="trms">excessive force of form, the blossoming of a force that has nothing more to achieve ='lgc'>='lgc'>--> fecundity
="prgrph">-ornament shifts among ="trms">different planes at ="trms">different speeds ='lgc'>==illusion='lgc'>='lgc'>==> movement and depth

labyrinth ='lgc'>--(="ppl">Deleuze and ="ppl">Guattari)='lgc'>='lgc'>--> “smooth space” ='lgc'>[can be explored only by legwork='lgc'>]
labyrinth ='lgc'>='lgc'>--> immersion ='and'>& navigation ='lgc'>[='lgc'>='lgc'>--> descriptions of ="trms">technology='lgc'>]
labyrinth ='lgc'>='lgc'>--> texture field (a form of emerging visuality)

="frds scrmbld">Jassem ='lgc'>+ ="frds">Sina's labyrinthine polychromic activities (='lgc'>='lgc'>==> underlying artistic creation) ='lgc'>='lgc'>--> ="trms">interpret form ="trms">symbolically through the visual residues of the ="trms">technical operations

fetish='lgc'>: un="trms">natural participation with things

='strcls'>*field theory='strcls'>*
behaviour of a dynamic ="trms">system that is extended in space
all fields in ="trms">nature are quantum fields
="lsts lst1">•='lgc'>[='strcls'>*='lgc'>]="trms">matter='lgc'>: energy bound within fields
="lsts lst1">•='lgc'>[='lgc'>=/= classical magic ='lgc'>='lgc'>--> action at a distance='lgc'>]
="lsts lst1">•="trms">system ='lgc'>='lgc'>--> a ="trms">relation-concept ='lgc'>[='lgc'>=/= additive whole='lgc'>]
='lgc'>='lgc'>--> ability to exhibit gradients, or lines of force

self-organization='lgc'>: (the capacity of a field) to generate patterns spontaneously

="large lg30" stl="font-size:100%"> ="brkr">
topological ="trms"nttrm="already,spread">reading is a christian tradition, theory, and practice of ="trms">interpreting the ="trms">figurative meaning of the Bible. It is part of Biblical exegesis.

="trms">According to ideas developed by the Church Fathers, the ="trms">literal meaning, or God-intended meaning of the words of the Bible, may be either ="trms">figurative or non-="trms">figurative; for instance, in the Song of Songs (also called Canticles or Song of Solomon), the inspired meaning is always ="trms">figurative. The typical meaning is the inspired meaning of words referring to persons, things, and actions of the Old Testament which are inspired types of persons, things, and actions of the New Testament.

The early uses of allegory and topology were very close. Later a clearer distinction was made between the allegorical mystical, and tropological moral, styles of ="trms">interpretation

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(="ppl">Mitchell='lgc'>:) vision has played the role of the sovereign sense since God looked at his own creation and saw it was good, or perhaps even earlier when he began the act of creation with the division of light from the darkness.

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(="ppl">Corbin)

="ppl">Platonic ="trms"nttrm="search">archetypes in terms of Zoroastrian angelology

psalms and invocations to the beings of light

the celestial physics, which limits the number of Intelligences

victoriality
Sovereignty of Light, heralded by Zarathustra زرتشت‎‎

(arch)angelic vectors

to grasp ='thdf'>the notion of ishraq (eshragh اشراق), the structure of the ="trms">world that it governs, and the form of spirituality that it determines.

ishragh is at the same time both the ‘illumination’ and the ‘reflection’ (zuhur ظهور) of being

appearance='lgc'> = un="trms">veiling

Thus, just as in the sensible ="trms">world the term signifies the splendor of the morning, the first radiance of the star, in the intelligible Heaven of the soul it signifies the epiphanic moment of knowl="trms"nttrm="knowledge,Knowledge">edge.

the ="trms">Presence of the philosopher at the mutational appearance of the intelligible Lights
“estrangement from their bodies” was for them a philosophical ="trms">question



(for ="nms">hayula proj.='lgc'>:)

primordial Flame which is their source, and which ="ppl">Sohrevardi claims to have seen in a vision that revealed to him the authentic ‘Oriental source’. This is the ‘Light of Glory’ that the Avesta names as the Xvarnah (khurrah in Persian, or in the Parsi form fan, farrah فره). Its function is primordial in Mazdean (مزدایی) ="trms">cosmology and ="trms">anthropology. It is the effulgent ma="trms">jesty of the beings of light, and it is also the energy which conjoins the being of each being, its vital Fire, its ‘personal angel’ and its destiny...

... the ‘negative’ intelligible dimensions of the ‘longitudinal Order’ (dependence, passive illumination, ="trms">love as indigence)
produce the Heaven of the Fixed ="ppl">="ppl">Stars which ="trms">accords with them. The innumerable stellar individuations of this Heaven ='lgc'>{as in the ="ppl">Avicennan schema, each celestial orb is celestial in ="trms">relation to the Intelligence from which it emanates) are so many emanations which ="trms">materialize, in a still wholly subtle celestial ="trms">matter, that part of non-being which conceals='lgc'>--if one thinks of it hypothetically as isolated from its Principle='lgc'>--their being that emanates from the Light of Lights.
... from this second order of Archangels there emanates a new Order of Lights, through the ="trms">intermediary of which the Archangel="trms"nttrm="search">archetypes govern and rule over the ="trms">Species, at least in the case of the higher ="trms">Species. These are the Angel-Souls, the ‘Animae caelestes’ and ‘Animae humanae’ of ="ppl">Avicenna's angelology.

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transcend the ‘two-dimensional’ space ='lgc'>{of the necessary and the possible) of ="ppl">Avicenna's theory of the hierarchical Intelligences.

Intimated beyond the heaven of the Fixed ="ppl">="ppl">Stars of Peripatetic or Ptolemaic astrology lie innumerable marvelous universes.
In op="trms">position to what was to happen in the West, where the development of astronomy eliminated angelology, here it is angelology which takes astronomy beyond the classical schema within which it was confined.

...there proceeds eternally the universe of the Primordial Ruling Lights



... which marks the boundary between the celestial ="trms">world and the ="trms">material ="trms">world of becoming. It is the Heaven of the Fixed ="ppl">="ppl">Stars which now ="trms">symbolizes the boundary between the angelic universe of Light and Spirit (Ruh-abad روح آباد) and the dark, ="trms">material universe of the ‘barzakh’ (برزخ).

The characteristic term barzakh, when used in eschatology, means the ="trms">intermediate, and when used in ="trms">cosmology, it means the ="trms">inter-="trms">world ='lgc'>{the ‘mundus ="trms">imaginalis’). In ="ppl">Sohrevardi's philosophy of the Ishraq it assumes a more general meaning='lgc'>: it designates in general everything that is body, everything that is a ‘screen’ and an ‘="trms">interval’, and which of itself is Night and Darkness.

That concept, therefore, that the word barzakh connotes is fundamental to ="ppl">Sohrevardi's ="trms">system of physics. The barzakh is pure Darkness; it could exist as such even if the Light were to withdraw. Thus, it is not even a potential light, a virtuality in the ="ppl">Aristotlian sense; in ="trms">relation to Light it is pure negativity, Ahrimanian (اهریمنی) negativity as ="ppl">Sohrevardi understood it. It would be a mistake, then, to attempt to base the ="trms">causal explanation of a ="trms">positive fact on this negativity. Every ="trms">species is an ‘icon’ of its Angel, a theurgy effected by this Angel in the barzakh which in itself is death and absolute night.


the schema of Mazdean ="trms">cosmology, in which the universe of being is divided into menuk ='lgc'>{celestial, subtle) and getik ='lgc'>{terrestrial, ="trms">dense);


='lgc'>{سهروردی='lgc'>}='lgc'>--='lgc'>{='strcls'>*='lgc'>} In ="ppl">Sohrevardi, the perception of the ="trms">world in="trms"nttrm="cluster,club">cludes, in structural terms, a ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics of essences; existence is simply a way of regarding ='lgc'>{e'tebar اعتبار) essence or quiddity='lgc'>--it does not add anything to it in concrete.

The schema of the universe, then, is arranged ="trms">according to a four="trms">fold plan='lgc'>:
... (4) There is the mundus ="trms">imaginalis (alame mesal عالم مثال). This is the ="trms">world which is ="trms">intermediary between the intelligible ="trms">world of the beings of pure Light and the sensible ="trms">world; and the perceiving organ proper to it is the active ="trms">Imagination. It is the ="trms">world not of ="ppl">Platonic ideas (muthuli flatunlyah مثل افلاطونی='qstn'>?), but of Forms and Images ‘in suspension’ (muthul mu'allaqah مثل معلق). This term means that such forms are not imminent in a ="trms">material sub-stratum, as the colour red, for example, is imminent in a red body; they possess ‘epiphanic places’ (mazahir مظاهر) where they manifest themselves like the image ‘in suspension’ in a mirror. This ="trms">world contains all the richness and variety of the ="trms">world of sense in a subtle state; it is a ="trms">world of subsistent and autonomous Forms and Images, the threshold of the malakut ='lgc'>{ملکوت='lgc'>}. In it are to be found the mystical cities of Jabalqa جابلقا, Jabarsa جابرسا and Hurqalya هورقلیا.


It appears that ="ppl">Sohrevardi was indeed the first to elaborate the ="trms">ontology of the ="trms">inter-="trms">world, and the theme once introduced was taken up and expanded by all the mystics and gnostics of Islam.



="trms">stories='lgc'>:

The action of these Re="trms">citals, in fact, takes place in the ‘alame mesal’ ='lgc'>[عالم مثال='lgc'>]. In them, the mystic relates the drama of his personal ="trms">history on the level of a supra-sensible ="trms">world, the ="trms">world of the events of the soul, because the ="trms">writer, in con="trms">figurating his own ="trms">symbols, spontaneously discovers the meaning of the ="trms">symbols of the divine revelations.

We are not concerned with a series of ‘allegories’ but with the secret hiero="trms">history, invisible to the external senses, which un="trms">folds in the ="trms">world of the malakut, and with which external and fleeting events ="trms">symbolize.



سهروردی ="ppl">Sohrevardi's noble venture is not an ‘insurrection’ to islam an external and ="trms">litera="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list ="trms">religion, rather view that sees the ="trms">integral Islam is spiritual, then ="ppl">Sohrevardi lies at the summit of this spirituality and is nourished by it.

crypto-Shiism شیعه

prophetic philosophy

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Between a ="trms">scientific treatise, a ="trms">fable and philosophical discourse, Vampyroteuthis Infernalis ="trms">imagines a pitch-dark ="trms">world of an ="trms">animal living as deep as possible down in the ="trms">abyss in order to disclose a way of living opposed to the luminous one of the human being.

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analogy of the cave


man with the x-ray vision

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nowhere prosperous
ruinous prosperous

accidental intellects (subjects, qualities, quantities,)

light, self, ="trms">presence, knowl="trms"nttrm="knowledge,Knowledge">edge


One night darkness had settled in sky and a darkness that and held the hand of the brother of non-existence had been catered around the lower ="trms">world.

After sleep came upon me, disappointment resulted.

I was holding a candle.

has two doors, one to the city and the other one to the desert. I went and closed the door

tailors of divine words

I then saw an eleven-layered pot thrown into the desert with some water in it and in the water were some pebbles around which here were a few ="trms">animals.

The heavenly spheres were absolutely round and a straight line could not have been ='lgc'>[drawn='lgc'>] between them. Those eleven levels were colorless and due to their extreme fineness, what was in them could not be ="trms">veiled.

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="large lg62" stl="font-size:121%"> ='lgc'>{="ppl">="frds scrmbld">Laura ="ppl">="ppl">Marks='lgc'>}='lgc'>--='lgc'>[her ="trms">method of description, “="trms">affective analysis”='lgc'>: act of describing, what is going on in your body, ="trms">prior to the body, and ="trms">prior to perception='lgc'>--i have to describe well and simply. (sometimes even doesn't go back to the object we are describing) ='lgc'>='lgc'>--> to tribute ="trms">imagination to people='lgc'>]

muslim majority countries (! instead of ‘muslim countries’)
occasional and atomist ="trms">fabulation ='lgc'>='lgc'>--> ="trms">agency of God
(Occasionalism='lgc'>: God as the cause of things)
Islam's atomism it is not coming from ="trms">Greek atomism

Mullah ="ppl">="ppl">Sadra ='lgc'>='lgc'>--> Process philosophy='lgc'>: ="ppl">Whitehead, ="ppl">Deleuze, etc.
تشخص tashakhos ='lgc'>='lgc'>--> ="ppl">="ppl">Gilbert ="ppl">Simondon theory of individuation

...so perception does not give complete access to the ="trms">world (this is ="ppl">Foucauldian)
='lgc'>=> perception seems to have a more protective role (from unnecessary stimuli='lgc'>--in order to safe guard our survival) ='lgc'>--="ppl">Bergson='lgc'>: “it is grass in general that ="trms">interests the herbivore” ='lgc'>='lgc'>--> ‘sensory-motor schema’ is an ="trms">agent of abstraction (="ppl">Deleuze)
='lgc'>[='at'>@="frds scrmbld">Varinia's “could/should/would”; ‘line of flight’ ='lgc'>='lgc'>--> becoming; disturbing the virtual, in her work how is actual/virtual (made impossible to='qstn'>?) distinguished='qstn'>?='lgc'>]

sensory-motor schema='lgc'>:
Within constructivist theories, the sensorimotor schema is held to be the principal unit of knowl="trms"nttrm="knowledge,Knowledge">edge in use during infancy. A sensorimotor schema is a psychological construct which gathers together the perceptions and as="trms">sociated actions involved in the performance of one of the habitual behaviors in the infant's repertoire. The schema re="trms">presents knowl="trms"nttrm="knowledge,Knowledge">edge ="trms">generalized from all the experiences of that behavior. It in="trms"nttrm="cluster,club">cludes knowl="trms"nttrm="knowledge,Knowledge">edge about the context in which the behavior was performed as well as expectations about the effects. Sensorimotor schemas are central to ="ppl">Jean ="ppl">="ppl">Piaget's explanation of infant development.
='lgc'>[http://link.springer.com/referenceworkentry/10.1007='prcnt'>%2F978-1-4419-1428-6_463='lgc'>]


(motions, ="trms">gestures='lgc'>:)
purposeful ='lgc'>=/=='qstn'>? ="trms">communicative



(="ppl">="ppl">Marks on) Invisibility, Legibility (khanayi خوانایی), and Aniconism (that the artist should or must avoid depictions of human beings or icons; an art that refuses to un="trms">fold its ="trms">code, asserting that ="trms">relationships need not be ="trms">interpreted='lgc'>--a view developed in the conservative Sunni thought of the later Abbasid caliphate)

(عقل سرخ aghl-e sorkh ='lgc'>='lgc'>--> Ulf Langheinrich's works)
the ways ambiguity stimulates ="trms">imagination
“rubied mind-body”

(...ruined main body)


sense-perceptibles='lgc'>: images, etc. ='lgc'>='lgc'>--> ="trms">matter that is processed by information ='lgc'>='lgc'>--> in new media (as ="ppl">="ppl">Gilbert ="ppl">Simondon put it,) ‘form’ arises almost ="trms">symptomatically from a ground modulated by information processes

a new level of invisibility='lgc'>--though not im="trms">materiality='lgc'>: information

cognitive attention as information to be processed ='lgc'>=/=='qstn'>? ="trms">sensuous ="trms">material to be experienced ='lgc'>='lgc'>--> is this a shift (predicted by ="ppl">Deleuze) from visual to information culture='qstn'>? (='lgc'>='lgc'>--> ="ppl">Trevor ="ppl">Paglen's works characterizes arts of the information age in general='lgc'>='lgc'>---image is the trace, effect, or document.)

the perceptible ='lgc'>=/= the legible

aniconic='lgc'>: what we do not see is more significant than what we do ='lgc'>='lgc'>--> that the temporal and ="trms">social are more important than the visible='strcls'>***
“Islamic aniconism emphasizes the word='lgc'>--as ="trms">written, ="trms"nttrm="already,spread">read, and re="trms">cited='lgc'>--and the ="trms">social spaces of worship.”

en="trms">fold ='and'>& un="trms">fold


(="ppl">Deleuze's) ="ppl">Leibniz's monad='lgc'>: smallest unit of ="trms">matter is the ‘="trms">fold’ (and not the point.) Each ="trms">fold, being connected to the entire plane, has a point of view on the whole ='lgc'>-='lgc'>-='lgc'>='lgc'>--> ‘plane of immanence’ ='lgc'>: a vast surface ="trms">composed of an in="trms">finite number of ="trms">folds; en="trms">folded ='lgc'>='lgc'>--> un="trms">folds ='lgc'>='lgc'>==> actualizes


you might work on a concept, on a percept, on an ="trms">affect, or on...

(="ppl">Deleuze's) real='lgc'> = virtual ='lgc'>+ actual
="lsts lst1">•actual='lgc'>: exists; a thing, event, concept
="lsts lst1">•virtual='lgc'>: potential to exist or to pass, all that cannot ="trms">presently be thought ='lgc'>='lgc'>--> ='strcls'>*most ="trms">materiality is virtual='strcls'>*

wood grain (longitudinal arrangement of wood fibers) that guides the artisan to invent ='lgc'>='lgc'>--> “thought's powerlessness at the heart of wood” (="ppl">="ppl">Marks)

(what is thought's powerlessness at the heart of digital new media='qstn'>?)

calligraphy ='lgc'>--(="trms">interface)='lgc'>='lgc'>--> Qur'an ='lgc'>--(="trms">interface)='lgc'>='lgc'>--> the divine

(Gregory ="ppl">="ppl">Bateson='lgc'>:) information='lgc'> = "the ="trms">difference that makes a ="trms">difference”
(='at'>@="frds scrmbld">Anouk)

“in Islamic art and new media art, we have two triadic models in which the in="trms">finite is mediated to perception by some kind of information.”

worship !='lgc'>='lgc'>='lgc'>~/=>='qstn'>? transcendence
(Who can say what people are really experiencing when, in the course of worship, they gaze at a dome, kneel on a carpet, or let an allegorical painting dazzle their senses='qstn'>? -="ppl">="ppl">Marks)


(="ppl">Deleuze and ="ppl">Guattari acknowl="trms"nttrm="knowledge,Knowledge">edge that) “every body of thought has its own plane of immanence, an unthought against which it struggles to give rise to new concepts”, still, they dismiss Chinese, Hindu, Jewish, and Islamic “philosophy” as prephilosophical(!)
intellectual struggle ='lgc'>='lgc'>~= jahd جهد, ejtehad اجتهاد (="ppl">Averroes) ='lgc'>='lgc'>==> to bring new concepts into the ="trms">world

yes, Islam assumes an ="trms">epistemological endpoint, yet this endpoint is never achieved and inspires endless intellectual struggle (Sufi mystics, تفکر اسماعیلی Isma'ili thought) ='lgc'>='lgc'>--> engaging with the ='strcls'>*divine plane of immanence='strcls'>* ='lgc'>{perceptual and contemplative venture into the in="trms">finite='lgc'>}

mediation between the divine and the ="trms">world ='lgc'>='lgc'>='lgc'>~=> a certain manner of un="trms">folding (='lgc'>='lgc'>--> for ="ppl">Sohrevardi='lgc'>: emanation='lgc'>--in terms of a philosophy of light ='lgc'>='lgc'>--> universe is a cascade of un="trms">foldings ='lgc'>[="trms">veil='qstn'>?='lgc'>])
="prgrph">-="ppl">Farabi='lgc'>: God contained the forms or models of things ='lgc'>='lgc'>==> the spirits of the spheres, active reason, soul, form, and ="trms">matter
="prgrph">-="ppl">Avicenna='lgc'>: all existence is ="trms">contingent; God='lgc'> = 'the uncaused’
(="ppl">Avicenna's conception of) the nonentity (or anti="trms">matter) as the virtual double of every existent ='lgc'>='lgc'>~= (="ppl">Deleuze and ="ppl">Guattari's) concepts of the virtual and the actual
(="ppl">Avicenna='lgc'>:) God ='lgc'>='lgc'>==> existence/nonexistence
(="ppl">Deleuze='lgc'>:) existence ='lgc'><='lgc'>='lgc'>==> nonexistence; (mirror each other='qstn'>?)

="large lg98" stl="font-size:129%">
virtual (حق hagh ='lgc'>~ truth) ='lgc'><='lgc'>='lgc'>--> actual (حقیقت haghighat ='lgc'>~ reality)

hierarchy of nonexistent things


not everything is cognitive, sometimes it is ="trms">sensuous ="trms">material to be experienced
(='at'>@="frds scrmbld">Seba, flows of information that “="trms">demand” cognitive attention)


="prgrph">-what ="trms">interfaces Zaher ظاهر and Baten باطن='qstn'>?
='lgc'>{plane of immanence, plane of in="trms">finite information, (gender neutral) pregnancy, ventral='lgc'>} Baten ='lgc'><='lgc'>='lgc'>--> Zaher ='lgc'>{plane of image information, dorsal, hard and complete='lgc'>} ='lgc'>='lgc'>==> vulnerability of the virtual protected by a ="trms">fold

فنا fana='lgc'>: an stimulating awareness of the nonexistent side of every existent ='lgc'>='lgc'>~='lgc'>->='qstn'>? (="ppl">Deleuzian) creativity; ='lgc'>[...the ="trms">schizo/darvish/ درویش (creative processes)='lgc'>]
(="ppl">Rumi as a ="trms">child sees people in their house, grinding mill talking to him, his mill speaking with him; condition of ="trms">schizophrenogenic hearing ='lgc'>='lgc'>--> gheib غیب, alame gheib عالم غیب)

yes yes, in transcendentalism universe suffers in a state of nonreality (or illusion) ='lgc'>='lgc'>--> ="trms">sublimely inventive ="trms">cosmologies

the current information culture with its lame digital in="trms">finity (reiterating paths of vast ="trms">networks and archives with terrible, clicked, controlling sameness, and only quantitatively new) ='lgc'>='lgc'>==> “dividuals”

ابن عربی ="ppl">Ibn ="ppl">Arabi's locus of divine='lgc'>: pulsation='lgc'>: movement towards God and away from Him

='strcls'>*transcendence is a ="trms">symptom of immanence, and not the other way around (="ppl">="ppl">Marks)
(="ppl">El Khachhab='lgc'>:) transcendence is not in the ="trms">world nor out of it. It simply has no location. It functions as an energy, coextensive of ="trms">matter and does not belong to a separate stratum.


='lgc'>[logical death='lgc'>]


(='at'>@="frds scrmbld">Seba) “logical depth”='lgc'>: the amount of (useful) labor en="trms">folded in a message. (Charles Bennett) ='lgc'>='lgc'>--> forgotten but constitutive ="trms">history of ='strcls'>*contemporary information culture='strcls'>*
(='lgc'>[aspects of='lgc'>] ‘en="trms">foldment’ instead of ‘="trms">narrative’ ='at'>@="frds scrmbld">Seba)
(relying on the thoughts and calculations of many thinkers='lgc'>:) ‘deeply en="trms">folded’ instead of ‘complexity’ (='lgc'>='lgc'>~=='qstn'>? ‘the obscured ="trms">social ="trms">world’ ='at'>@="frds scrmbld">Seba)

.finding the direction of Mecca in a complex ="trms">network of signifiers ='lgc'>='lgc'>--> the local value of the work of ="trms">science or ="trms">narratology / Islamic culture of astrological experimentation ='lgc'>-='lgc'>-='lgc'>='lgc'>--> logical depth and en="trms">foldedness index Baten باطن
="prgrph">-(living in a time of animosity,) is ="frds scrmbld">Seba wanting to democratize Baten='qstn'>?

descriptive encounters with objects
="trms">narrative encounters with objects
='lgc'>='lgc'>--> un="trms">fold what is en="trms">folded (and en="trms">fold what is un="trms">folded='qstn'>?)

how to commit to (="trms">history's) complexity's ='strcls'>*dissipation='strcls'>*='qstn'>? and not to discover roots='qstn'>?

='mywrk'>my work (now i have the feeling that) a little bit in="trms"nttrm="cluster,club">cludes working on this bulldozed sites of ="trms">difference/similarity between Islamic and European cultures
="prgrph">-I behave as if there is (a ="trms">historical) continuity ='lgc'>=/= ='thdf'>the idea that things get lost tragically (="ppl">Benjaminian='qstn'>?)
="prgrph">-we do not know what is lost
='strcls'>**chaotic loss ='lgc'>='lgc'>--> to process through a host of errors and phantasms
what is the carrier bag theory of in="trms">finite='qstn'>?
عجایب ='lgc'>='lgc'>--> (="nms">ajayeb's) inexplicable ="trms">historical objects that suddenly turn up and refuse to be accounted for “fossils” (='lgc'>='lgc'>--> rupture ='lgc'>=/= ="trms">fold='lgc'>: ="trms">history is deeply en="trms">folded)
='lgc'>[which ="trms">histories objects of ="nms">ajayeb en="trms">fold and un="trms">fold='qstn'>?='lgc'>]

the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin is always complex

(how to) invert the judgment of value that informs us

piecemeal fabrication from alien forms ='lgc'>=/= essential secret in ="trms">history

="trms">positivism (esbat-gara اثبات گرا) ='lgc'>=/= speculation

trans="trms">historical claims about Islamic art='lgc'>--its a="trms">historical approach to Islam can contribute to Orientalism, (Nasr's spirituality) ='lgc'>=/= to ="trms">situate Islamic art within the ="trms">history of ideas of its period, [...]