[...]ted with a deformed man, questioned him closely and sent him away unhealed but with a new sense of self-worth

**moral reaction described in heightened emotion-language**
(we see) *the response enacted inside the story*

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

the unheards-of... عجایبِ (ajayeb-e)
describing unheard-of prodigy (of green children born from the earth)


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

monster <-- monstrare: to know

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


(my work for WIELS, Wonders of the Moon – A Thousand Years of Sleepwalking 2020)
•*not* all medieval statements about wonder were synonymous or compatible
•how people acted and reacted necessarily were *not* in very close synchrony with the definition they gave or the ابتذال platitudes they propounded


wonder in medieval texts
=/= increasingly rare exception to an enlightenment sense of unbreachable laws of nature
=/= startle reflex of early modern psychology
=/= appropriation practiced by early modern rulers, explores, conquistadors (adventurer)


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

significance-reaction: a flooding with awe, pleasure, dread owing to something deeper *lurking in the phenomenon*

wonder was situated
wonder was perspectival (even if miracles were not)


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

admiratio: (a medieval sense) cognitive, perspectival, nonappropriative, deeply respectful of *the specificity of the world*
=/= investigate
=/= imitate
=/= generalize
=/= postmodern anxiety:
◦we emphasize how hard it is to knwo
◦we are aware that any response involves some appropriation
◦we suspect the awareness (of collectors of marvels: awe and dread are situated) shatters the possibility of writing any coherent account of the world
◦we fear that the particular is the trivial and that significance is merely the projection of our own values onto the past

amazement is suppressed by:
•citing of too many cases
•formulation of general laws
•inductio exemplorum


medieval --> wonder ==> knowledge
postmodern --> politics ==> knowledge


Bynum --> 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 writing about ourselves and our fears as to *crafting our stories with attentive wondering care*

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


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

...................................

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

***time travel series --signal--> national memory-crisis***

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

television =/= realist-modernist-postmodernist cultural trajectories of art

main traidemarks of postmodernity:
•self-reflexivity
•intertextuality
•visual and narrative disorientation
•fragmentation
•contamination of genres
•irony
•pastiche
•hypertextual travel

Batori

consumer capitalism ==Jameson==> erase/lack of history ==> nostalgic revisitation of the past

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

Dark TV series = national narratives + global postmodern visual practices

space: gray
force: violence
interrelation: neglect

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


(serial poetic of) cliff-hanger structure
maintaining an (absolute) aesthetic continuity

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


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

...................................

labyrinth is architecture at it's best?
space as a limit and space as an environment
the 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: is a charachteristic feature of intellectual realism. in a drawing, transparency means the demonstration of knowledge about -or disclosure of- that which is inside, behind and under visible surfaces. (stimulant to the imagination of grave robbers)

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


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

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

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

fetish: unnatural participation with things

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

self-organization: (the capacity of a field) to generate patterns spontaneously


topological reading is a christian tradition, theory, and practice of interpreting the figurative meaning of the Bible. It is part of Biblical exegesis.

According to ideas developed by the Church Fathers, the literal meaning, or God-intended meaning of the words of the Bible, may be either figurative or non-figurative; for instance, in the Song of Songs (also called Canticles or Song of Solomon), the inspired meaning is always 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 interpretation

...................................

(Mitchell:) 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.

...................................

(Corbin)

Platonic 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 the notion of ishraq (eshragh اشراق), the structure of the 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 = unveiling

Thus, just as in the sensible 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 knowledge.

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



(for hayula proj.:)

primordial Flame which is their source, and which 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) cosmology and anthropology. It is the effulgent majesty 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, love as indigence)
produce the Heaven of the Fixed Stars which accords with them. The innumerable stellar individuations of this Heaven {as in the Avicennan schema, each celestial orb is celestial in relation to the Intelligence from which it emanates) are so many emanations which materialize, in a still wholly subtle celestial matter, that part of non-being which conceals--if one thinks of it hypothetically as isolated from its Principle--their being that emanates from the Light of Lights.
... from this second order of Archangels there emanates a new Order of Lights, through the intermediary of which the Archangelarchetypes govern and rule over the Species, at least in the case of the higher Species. These are the Angel-Souls, the ‘Animae caelestes’ and ‘Animae humanae’ of Avicenna's angelology.

...................................

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

Intimated beyond the heaven of the Fixed Stars of Peripatetic or Ptolemaic astrology lie innumerable marvelous universes.
In opposition 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 world and the material world of becoming. It is the Heaven of the Fixed Stars which now symbolizes the boundary between the angelic universe of Light and Spirit (Ruh-abad روح آباد) and the dark, material universe of the ‘barzakh’ (برزخ).

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

That concept, therefore, that the word barzakh connotes is fundamental to Sohrevardi's 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 Aristotlian sense; in relation to Light it is pure negativity, Ahrimanian (اهریمنی) negativity as Sohrevardi understood it. It would be a mistake, then, to attempt to base the causal explanation of a positive fact on this negativity. Every 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 cosmology, in which the universe of being is divided into menuk {celestial, subtle) and getik {terrestrial, dense);


{سهروردی}--{*} In Sohrevardi, the perception of the world includes, in structural terms, a metaphysics of essences; existence is simply a way of regarding {e'tebar اعتبار) essence or quiddity--it does not add anything to it in concrete.

The schema of the universe, then, is arranged according to a fourfold plan:
... (4) There is the mundus imaginalis (alame mesal عالم مثال). This is the world which is intermediary between the intelligible world of the beings of pure Light and the sensible world; and the perceiving organ proper to it is the active Imagination. It is the world not of Platonic ideas (muthuli flatunlyah مثل افلاطونی?), but of Forms and Images ‘in suspension’ (muthul mu'allaqah مثل معلق). This term means that such forms are not imminent in a 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 world contains all the richness and variety of the world of sense in a subtle state; it is a world of subsistent and autonomous Forms and Images, the threshold of the malakut {ملکوت}. In it are to be found the mystical cities of Jabalqa جابلقا, Jabarsa جابرسا and Hurqalya هورقلیا.


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



stories:

The action of these Recitals, in fact, takes place in the ‘alame mesal’ [عالم مثال]. In them, the mystic relates the drama of his personal history on the level of a supra-sensible world, the world of the events of the soul, because the writer, in configurating his own symbols, spontaneously discovers the meaning of the symbols o[...]