[...] 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)
="large lg2" stl="font-size:112%">
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
(="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'>*
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='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
="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'>*
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="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
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(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)
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="large lg34" stl="font-size:130%">
(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
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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
="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.
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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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='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
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(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)
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(="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'>?)
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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'>~->='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, portrayal of a cultural ="trms">worldview when they succeed (="ppl">="ppl">Marks)
="trms">Interpreting a cultural artifact for what it might have meant for the people of a ="trms">past time is always an im="trms">position='lgc'>--(to give preference to certain meanings at the expense of others)
(="ppl">="ppl">Marks’) existential ="trms">phenomenology ='lgc'>: one's own experience, sensory and mental, is used as a basis for analysis (to investigate), but does not assume this experience can be ="trms">generalized.
="trms">code='lgc'>: a ="trms">writing that is executable ='lgc'>: a ="trms">writing whose very ="trms">nature is to carry out an action
“We are at a point where the Islamic ="trms">heritage latent in Western ="trms">modernism can usefully inform efforts to make information culture meaningful and ="trms">responsive” -="ppl">="ppl">Marks
(="ppl">="ppl">Marks notion of) “Islamic art” ='lgc'>='lgc'>--> unity (tohid توحید) of ="trms">sorts ='lgc'>='lgc'>--> unity of the ="trms">code ='lgc'>='lgc'>==> multiplicity or in="trms">finity ='lgc'>='lgc'>--> un="trms">folding='lgc'>: ='lgc'>{directional (vector) ='and'>& performative='lgc'>} ='lgc'>--='lgc'>[D='lgc'>+G='lgc'>]='lgc'>='lgc'>--> (="trms">aesthetics of aniconism='lgc'>:) ‘abstract line’ ='and'>& ‘haptic space’ ='lgc'>='lgc'>==> ="trms">embodied perception ='lgc'>='lgc'>='lgc'>~=>='qstn'>? permeable, ="trms">phenomenological, “nomadic,” contemplative subjectivity
“="trms">networks are the haptic space of our age”
qualities of latency
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(in secular contexts) calligraphy, letters and words start to look like bodies
(Shii's favorite='lgc'>:) image latent in text ='lgc'>='lgc'>--> foliated Kufic, shekaste nasta'ligh (شکسته نستعلیق), etc.
='lgc'>='lgc'>--> ="trms">relationships are hidden, latent, and ="trms">interpretable ='lgc'>[='lgc'>='lgc'>--> ="trms">veil='lgc'>]
="lsts lst1">•figures arise from text-based, non="trms">figurative works
="lsts lst1">•textuality and figurality
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='strcls'>*relevance is hylo="trms">morphic, it imposes meaning from the outside
="lsts lst1">•to re="trms">present the nation / to critique the nation
="lsts lst1">•to self-orientalize / to critique orientalism
="lsts lst1">•to tell ="trms">stories that everyone can relate to
="lsts lst1">•to be expressive / to be conceptual
="lsts lst1">•
hylo="trms">morphic ="trms">nature
in which ‘="trms">matter’ and ‘form’ meld physically in myriad ways yet remain distinct ="trms">linguistic ="trms">categories
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ana="trms">morphic='lgc'>: pertaining to a kind of distorting optical ="trms">system, ana="trms">morphic lense, ana="trms">morphic gaze
(تغيير شکل دهنده) a notion of knowl="trms"nttrm="knowledge,Knowledge">edge inquiry
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="ppl">="ppl">Marks’ take on ="ppl">="ppl">Sadra's triadic ="trms">ontology of sensible, ="trms">imaginal عالم خیال, and intelligible realms
='lgc'>+cognitive trinity of='lgc'>:
="lsts lst1">•mental intuition
="lsts lst1">•bodily knowl="trms"nttrm="knowledge,Knowledge">edge
="lsts lst1">•spiritual knowl="trms"nttrm="knowledge,Knowledge">edge
='lgc'>='lgc'>--='lgc'>-='lgc'>-='lgc'>='lgc'>--> ="trms">different human faculties perceive each real='lgc'>:
="lsts lst1">•sense perception ='lgc'>='lgc'>--> external particulars='lgc'>: the sensible ="trms">world of ="trms">matter
="lsts lst1">•="trms">imagination ='lgc'>='lgc'>--> ="trms">internal particulars='lgc'>: the ="trms">imaginal
="lsts lst1">•intellect ='lgc'>='lgc'>--> universals='lgc'>: the intelligible
='lgc'>}='lgc'>='lgc'>--> with ="ppl">Avital i am learning ="trms">technically (in ="trms">language) to stay in a state of contamination (and their rewiring) of these faculties ='lgc'>='lgc'>--> not to disavow the eching lines of my in="trms">herited tradition (“='lgc'>='lgc'>-->” ='lgc'>+ “='lgc'>='lgc'>~='lgc'>~>”)
="lsts lst2">◦sense perception ='lgc'>='lgc'>~='lgc'>~> universals
="lsts lst2">◦="trms">imagination ='lgc'>='lgc'>~='lgc'>~> external particulars
="lsts lst2">◦intellect ='lgc'>='lgc'>~='lgc'>~> ="trms">internal particulars
="lsts lst2">◦...
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='strcls'>*the islamic ="trms">imaginal realm is (an audiovisual intangible) supra-individual and more real than ="trms">matter='strcls'>*
="ppl">="ppl">Sadra argues that the ="trms">imaginal realm subsists in the soul, mediating between the senses and the intelligence; it explains how ex="trms">trapersonal, supra-sensory realities ="trms">present themselves to ="trms">imaginative perception ='lgc'>='lgc'>--> نجمالدین کبری Najmuddin Kubra expert on visual ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics
تجربه شهودی
خيال و شهود
مراتب تجلّی
='lgc'>[='strcls'>*='lgc'>]="trms">imaginal realm='lgc'>: a radically pro-image concept
='lgc'>=/= ="ppl">Platonic d="trms">enunciation of images (as misleading and false)
='lgc'>=/= Byzantine iconoclasm
='lgc'>=/= islamic aniconism
='lgc'>=/= 20th century culture of media critique
='lgc'>=/= iconoclasm of contemporary ="trms">religious fanatics
='lgc'>=/= fantasies
='lgc'>=/= surrealism
suprasensory ="trms">imaginal realm of sufism
="trms">history of ="trms">imagination
="trms">world philosophy abounds with theories of the ="trms">imagination
ancient ="trms">Greek idea of how the ="trms">imagination can make contact with a supra-individual reality ='lgc'>--='lgc'>{followed ='and'>& developed='lgc'>}='lgc'>='lgc'>--> Neoplatonist (understading of the ="trms">imagination as) receptive of divine images
='lgc'>=/= ="trms">memory images
='lgc'>=/= fantasmatic images ='lgc'>='lgc'>--> phantasia ='lgc'>--='lgc'>{i am wotking against ='thdf'>the idea of “fantastic ="trms">beast” ='lgc'>='lgc'>~-> phantasmata='lgc'>: post-sensory images combined in mind, independently of sense impressions ='lgc'>='lgc'>==> ="trms">memory, dreams, and sensory illusion='lgc'>}
='lgc'>=/= ="trms">imaginal images
هیولا ="nms">hayula='lgc'>: the base, corporeal ="trms">world
sensory-="trms">imaginal-intelligible
="lsts lst1">•a bottom-up theory of the ="trms">imagination ='lgc'>='lgc'>--> active intellect in the human
="lsts lst1">•a top-down theory of ="trms">imagination ='lgc'>='lgc'>--> pre-existing divine mind
i disagree with ="ppl">="ppl">Marks that the (islamicated) ="trms">imagination was a means to connect to a divine reality, higher truth. in ="nms">ajayeb we encounter and abundance of descriptive environmental ="trms">materialities.
="ppl">Avital studies the ="trms">interferences of='lgc'>:
="lstsrd">1- the lower, sensory ="trms">imagination
="lstsrd">2- the higher, intellective ="trms">imagination (that receives inspiration from above; ='at'>#prophets)
="nms">ajayeb='lgc'>: synthesized ="trms">Greek philosophy ='lgc'>+ Qur'anic thought ='lgc'>+ popular ="trms">material body belief
( ="trms">material body ='lgc'>[ X ) im="trms">material intellect ='lgc'>]
“X” ='lgc'>: ="trms">imaginal مثل='lgc'>: (audio-visual glimpses of divine reality)
="lsts lst1">•accounts of afterlife ='lgc'>='lgc'>--> gar="trms">dens
="lsts lst1">•accounts of apocalypse ='lgc'>='lgc'>--> sounds
="lsts lst1">•saints biographies ='lgc'>='lgc'>--> performances
="lsts lst1">•
christian tradition started to view the intellect as ="trms">internal to the soul ='lgc'>='lgc'>==> regard ="trms">imagination as psychological='lgc'>: an inspiration, invention, recombination from within (and not from without) (="frds scrmbld">Elen finds herself in this tradition='qstn'>?) ='lgc'>='lgc'>==> concept of an autonomous psychological subject
so persian subject wanted the so much to be there, when there was no flower, that the went to a zone of beyond, picked some ="trms">schizo-flowers and came back ='lgc'>{this is ="ppl">Sa'di='lgc'>}='lgc'>='lgc'>--> ="nms">iranian ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics
="prgrph">-i am more ="trms">interested in the blooming of flowers, also ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphorical understanding of their ="trms">morphogenesis. this tag line can be a subject of a phd study. for the last thousand years the ="nms">iranian ="trms">literature has been busy with this, how to describe flowers
='strcls'>*="nms">iranians believe in image
sufis, ="nms">iranian philosophers, ... ='lgc'>='lgc'>--> so poluted concepts and words
="large lg34" stl="font-size:134%">
attachment to the ="trms">world ='lgc'><='lgc'>--...(intelligible, barzakh)...='lgc'>='lgc'>--> ="trms">presence of God
(who knows what the ‘="trms">presence of God’ means. let's not assume we know.)
="ppl">Sohrevardi argues that the ="trms">imagination effectively the indipendent real of images
فتوحات fotuhat ='lgc'>--='qstn'>?='lgc'>='lgc'>--> illuminations
the ="trms">imagination realm exercises its ruling property over every thing and non-thing. it gives form to absolute nonexistence , to the impossible, to the necessary, and to possibility. it makes existence nonexistence existent. (="ppl">Ibn ="ppl">Arabi < ="ppl">="ppl">Marks)
majmu al bahrain مجموع البحرین, confluence of two oceans, to set two oceans in motion that flow side by side together, with a barzakh between
='lgc'>='lgc'>--> ='at'>#my بحرین theory, wave surface theory of ="trms">language
(to be careful with the figure of) wave ='lgc'>='lgc'>--> ="trms">questioning the textual case while then ="trms">morphing into the un="trms"nttrm="already,spread">readablity of its own answer
Giovanni Pico de M="nms">irandola='lgc'>: phantasy can strive to draw the senses to things celestial ... but if, yeslding to the senses, phantasy shall decline to apply itself to the business of virtue, so great is its power that it afflicts the body and beclouds the mind, and finally brings it about that man divests himself of humanity
(='at'>@="frds scrmbld">Aela='qstn'>?)
="trms">imagination ="trms">according to='lgc'>:
="ppl">Kant ='lgc'>+ ="ppl">Hume combining and synthesizing ="trms">agent
="prgrph">-what new ="trms">materialism has to say about the ="trms">imaginal='qstn'>?
Jungian ="trms"nttrm="search">archetype ='lgc'>='lgc'>--> extra-individual, suprasensory ="trms">world
Frankfurt school ='lgc'>+ ="ppl">Althusser saw collective unconscious as fascistic
='strcls'>*(my) ="trms">material practices of unlearning='lgc'>:
="lsts lst1">•pretending i don't know ='lgc'>='lgc'>--> enactment / acting
="lsts lst1">•(to try) forgetting ='lgc'>='lgc'>--> clearance / erasure
="lsts lst1">•sleep-walking ='lgc'>='lgc'>--> closing the eyes of certain perceptive ="trms">stories, and become available to another
="lsts lst1">•the “let's not assume...” ='lgc'>='lgc'>--> “in advance” of a the assumption
="lsts lst1">•
contemporary Western thought, tired of the sovereign subject, is trying to conceive of an extra-subjective reality that binds individuals ethically to others and to ="trms">history ='lgc'>='lgc'>--> this is totally ="nms">apass ='lgc'>:)
="prgrph">-contemporary Western thought (evident in ="ppl">Butler, ="ppl">="ppl">Foucault, and many others) is seeking a politically efficacious concept of the collective ="trms">imaginary='strcls'>*** (a ="trms">positive conception of alterity, of an outside that inspires the ="trms">imagination to create)
="nms">ajayeb for me is an alterity (of an quasi outside='lgc'>--not quite inside) that inspires the ="trms">imagination to create (='lgc'>='lgc'>--> ="trms">imagination is always creative)
="nms">ajayeb='lgc'>: alterity of a ="trms">world that inspired (and inspires) ="trms">storytelling and ="trms">imagination (to create beings)
since ="ppl">Sohrevardi the islamic philosophy has abandoned substantialism for process
="ppl">="ppl">Sadra's approach='lgc'>:
="lsts lst1">•process ="trms">ontology
="lsts lst1">•critique of abstraction
="lsts lst1">•celebration of singularity
God='lgc'> = neccessary being واجب الوجود
(tashkhis-e vojud تشخیص وجود) modulation of being ='lgc'><='lgc'>='lgc'>--> individuation (تشخص tashakhos)
ذات مخصوص, فرد مشخص معین, وجود جزئی اشیاء ='lgc'>='lgc'>--> موجودی است که از نظر قانونی می تواند موضوع حق قرار بگیرد
='lgc'>=/= شخص ناپیدا ='lgc'>=/= ="nms">hayula
='lgc'>[tashkhis (everyday ="trms">gesture of recognition of something gheir-shakhsi) ='lgc'>='lgc'>==>='qstn'>? tashakhos='lgc'>]
(="ppl">Simondon='lgc'>:) individuation is ="trms">prior to individuals, and individuals are simply ="trms">symptoms or effects of individuation ='lgc'>='lgc'>--> very processual
harkat-e johari حرکت جوهریtranssubstantiation, trans-substantial movement
='strcls'>*harkat-e johari respects the potential for intensification ='lgc'>[= the capacity to know, act, and fully participate in the flow of being ='lgc'>--and='lgc'>='lgc'>--> continual intensification;='lgc'>] in all things (in="trms"nttrm="cluster,club">cluding ="nms">hayula)='lgc'>='lgc'>--> ="ppl">Miyazaki's faceless ="trms">monster's ‘act of beiong’ (is efficaciously real in a Sadrian way)='lgc'>='lgc'>--> ='strcls'>*="ppl">="ppl">Sadra's great re="trms">figuration is that he ="trms">formulates the ‘act of being’ itself as the most real
="prgrph">-="ppl">Miyazaki's ="trms">monster (and ="ppl">Attar's San'an) is moved by ="trms">love, it is the energy that ="trms">traverses and transforms them; it is the best thing to be moved by. before, they are, in themselves, illusory and perishing
="prgrph">-="ppl">Miyazaki's ="trms">monster episode animation expresses how substance yields to process ='lgc'>='lgc'>--> خونابه اى plasmaticness of the animated line='lgc'>: freedom from ossification استخوانى شدن (='at'>#="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigs), the ability to dynamically assume any form (Gunning) ='lgc'>='lgc'>--> change occurring واقع from within ='lgc'>+ propelled سوق from without
="ppl">="ppl">Sadra's ="trms">matter='lgc'>: place of nonexistence and absence (='lgc'>=='qstn'>? ="nms">hayula)
="nms">hayula='lgc'>: form of the ="trms">natural, elemental body
in ="ppl">="ppl">Sadra='lgc'>:
="lsts lst1">•the plant(‘s form) (= vegetal soul) is ="trms">animal
="lsts lst1">•the ="trms">animal(‘s form ='lgc'>=='qstn'>? surat صورت) (= sensate substance) is human
="lsts lst1">•the human...
physical acts of perception
(a typical account='lgc'>:) the stronger the ="trms">imaginal soul, the less distracted it is by the body, the more manifestly ="trms">imaginal images will appear
fotuhat فتوحات or tazkirat تذکره is the ="trms">stories of the intensity[...]