[...]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)


="large lg2" stl="font-size:110%"> 👉
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'>~= ='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'>*

="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'>*

="large lg1" stl="font-size:125%"> 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'>***

="large lg10" stl="font-size:135%"> (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'>~=> care for the German characters with their double burden (Nazi ='lgc'>+ GDR) of traumatic recollections ='lgc'>='lgc'>~=> a ="trms">positive affirmative identity for contemporary Germany (='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

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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.

="large lg10" stl="font-size:132%"> 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'>~=='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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="large lg14" stl="font-size:120%">
(="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

="large lg10" stl="font-size:110%">

(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



="large lg6" stl="font-size:120%"> ... 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);

="large lg3" stl="font-size:112%">
='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.[...]