[...]rum


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'>*

="large lg2" stl="font-size:112%">
(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

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

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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(="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

="large lg3" stl="font-size:110%"> (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

="large lg4" stl="font-size:110%"> 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'>:)

="large lg5" stl="font-size:132%"> 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 Av[...]