[...]ith, 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:112%"> 👉
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)

="large lg1" stl="font-size:113%">
(="ppl">Bynum making the point that) although by late 15th century medieval artists had begun to paint ="trms">wondering faces with the startle reflex ='lgc'>--='not'>✕='lgc'>='lgc'>--> it is more difficult to be sure whether a figure confronted with stupendous, bizarre, or d="trms"nttrm="already,spread">read-filled news is amzed or not
='lgc'>='lgc'>--> ='strcls'>***the amazement had a strong cognitive component='strcls'>*** ='lgc'>: you could ="trms">wonder only were you knew that you failed to understand ='lgc'>--entailed='lgc'>='lgc'>--> a passionate desire for the ="trms">scientia it lacked, it was a stimulus and incentive to investigation

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

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


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

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

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


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


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

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


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

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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'>~=> 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)

="large lg3" stl="font-size:111%">
(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


="large lg4" stl="font-size:110%"> 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 lg5" stl="font-size:145%"> 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'>? [...]