[...]lanchot)
="lsts lst1">•death of Man (Malraux, Kojeve, ="ppl">Blanchot, ="ppl">="ppl">Foucault)
="lsts lst1">•devirilization of man (Kojeve, ="ppl">Bataille, Queneau)
="lsts lst1">•terror (Marlaux, ="ppl">Bataille, Kojeve, ="ppl">Merleau-Ponty)
="lsts lst1">•

Kojeve and Jean Wahl ='lgc'>='lgc'>--> antifoundational realism ='lgc'>='lgc'>--> new ="trms">anthropology

antihumanism
a precondition of thought
a fluid matrix of ideas
a philosophical attitude

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Malraux's (="trms">literary-="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical pursuits ='lgc'>[echoes ="ppl">Nietzsche ='lgc'>+ intellectual Left='lgc'>]) ="trms">heritage to us (to artists)='lgc'>: the alternative to bourgeois individualism ='lgc'>[can be achieved='lgc'>] through commitment to a justice based on a quasi-="ppl">Marxist notion of human dignity ='lgc'>='lgc'>--> the ='strcls'>*uprooted, cultured, and powerless individual='strcls'>* who struggled against the nation-driven, ="trms">science-executed destruction wrought by (arid and morally bankrupt) ="trms">modern warfare ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to forensic architecture, ="nms">apass='lgc'>] ='lgc'>='lgc'>--> (='thdf'>the idea that death of man can be averted through) ='strcls'>***a recognition of the heroism of the resistance='strcls'>*** ='lgc'>+ turn to human creativity

how i have used a non-western voice (“i am from outside the west”) to provide for myself an escape from political ="trms">categorization ='lgc'>+ claiming the knowl="trms"nttrm="knowledge,Knowledge">edge of an insider and enjoying the analytical clarity of distance ='lgc'>='lgc'>--> i make claims both ='strcls'>*expertise in='strcls'>* and cool-headed ='strcls'>*distance from='strcls'>* the essence of europe

(="trms">technique of) epistolary exchange


(to think of ="ppl">Kantian ="trms">cosmopolitanism a) a genuine model for commitment ='lgc'>=/= outdated illusion

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research ="trms">method (a ="trms">heritage of surrealism='lgc'>:) exquisite corpse ="trms">technique ='lgc'>='lgc'>--> (unpre="trms">dictable and) innocent inventiveness

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for ="ppl">Sohrevardi and ="ppl">Avicenna='lgc'>: ="trms">nature='lgc'> = chah چاه shahr gheyravan (="trms">material of ="trms">nature/="trms">world='lgc'>: ghir قیر) ='lgc'>='lgc'>--> zolmatkade ظلمت کده 

='at'>#comparative ="trms"nttrm="already,spread">reading of stranded
ghorbat gharbia ='lgc'>='lgc'>--> Crusoe

="lsts lst1">•daryaye sabz دریای سبز  (green sea)='lgc'> = donyaye mahsusat دنیای محسوسات (="trms">phenomenological ="trms">world)
="lsts lst1">•دایه daye='lgc'> = nafse nabati (vegetal self)- khahar sister='lgc'> = alame made عالم ماده (="nms">hayula هیولا) ='lgc'>='lgc'>--> (you should) wrap it in azab عذاب
="lsts lst1">•woman='lgc'> = shahvani شهوانی carnal, pas-mandani پسماندنی (the one who stays, Lot's wife leaving the catastrophic city ='lgc'>='lgc'>~= mashmul-e azab مشمول عذاب) ='lgc'>=/= salek سالک ="trms">wonderer='lgc'>==> ba shahvat nemitavan soluk kard ='lgc'>=/= queer mysticism
="lsts lst1">•maghak مغاک ghaar chah قعر چاه (where abe hayat is آب حیات ='lgc'>=/= abe heyvan آب حیوان)='lgc'> = riazat ریاضت

from the spiritual point of view we are always at the bottom of the pit


="brkr">

="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigid bodies
http://download.autodesk.com/global/docs/maya2014/en_us/index.html='qstn'>?=contextId=BULLETNODES
A ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigid body is a polygonal or NURBS surface converted to an unyielding shape. Unlike conventional surfaces, ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigid bodies collide rather than pass through each other during animation. To animate ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigid body motion, you use fields, keys, expressions, ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigid body constraints, or collisions with particles.
Maya has two kinds of ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigid bodies='lgc'>--active and passive. An active ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigid body reacts to dynamics='lgc'>--fields, collisions, and springs='lgc'>--not to keys. A passive ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigid body can have active ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigid bodies collide with it. You can key its ="trms">Translate and Rotate attributes, but dynamics have no effect on it.



notes on The ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">Rigid Bodies / (="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics of 3D)
the simulacrum / ideal / image ='lgc'>='lgc'>--> ="ppl">Plato
mystic ="trms">geometry ='lgc'>='lgc'>--> Pythagoras (='lgc'>='lgc'>--> mathematization of the real, real ‘is’ math)
='lgc'>}='lgc'>='lgc'>--> what does it mean to perform 3D for these two thinkers='qstn'>?

fire simulation in Maya ='lgc'><='lgc'>='lgc'>--> cotton touching fire in Islamic philosophy

(<)>  ='lgc'>='lgc'>-->='lgc'>{
() manifest image ='lgc'>='lgc'>--> shader/topology/raytracing
<> underlying (="trms">scientific='qstn'>?) image ='lgc'>='lgc'>--> C='lgc'>+='lgc'>+ / physics engine / object oriented programming

the mode of production in current 3D-biz creates a ="trms">sort of cultural collateral or collateral culture (term by ="ppl">Lazzarato). 3D practices are arising as series of activities, not recognized as “work,” rather involved in defining and fixing artistic/cultural standards, tastes, norms, and strategically public opinion.
“is this real or fake='qstn'>?” (you have to click)
='lgc'>='lgc'>--> when the productive mediation is smashed to pieces and replaced by this ="trms">question.
either it is ‘made’ or ‘real’
='lgc'>[structural imposibility, a double bind, ...='lgc'>]
='lgc'>}='lgc'>='lgc'>--> the image-warrior who violently asks us to choose between the visible and the invisible
( ='lgc'><-)='lgc'>--='qstn'>?='lgc'>--(='lgc'>-> )

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='thdf'>the notion of “general purpose toolkit”
synthesis, patches,
environment ='lgc'>='lgc'>--> media
="trms">interface ='lgc'>='lgc'>--> physical
="trms">dataflow programming, rapid prototyping, indeterministic machine paradigms,
one-dimensional array of values
telemetry (duri-sanj دوری سنج)

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an evange="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list builds a monument
softimage monument
virtual='qstn'>?



movement and stillness in houdini='qstn'>?
who the 3d software, as an ="trms">ontological device to recreate and study and understand being, is devided or made-up='qstn'>? the presebce of ='thdf'>the notion of movement in it and essence. what is movement and apparition='qstn'>?
='lgc'>[we can have a workshop that teaches houdini just through movement. or a non-movement approuch to 3D making.='lgc'>]


nonre="trms">presentational maya
="trms">epistemology and cognitive approuch to space and ="trms">matter

="trms">ontology of ="trms">matter in maya

="trms">worlding in autodesk industry (look at the trailers, tutorials, and so on.)
="trms">historical view='qstn'>?


i see maya and other 3D apps as visualization ="trms">technologies en="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listed as ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphors by ="ppl">="ppl">Haraway and as ="trms">languages that actively ="trms">intertwine in the production of ="trms">literary value


friction, forms of masks (shaders='qstn'>?), and play, and the dance of Dis-tanz
the separations and partings
nearness


transforming and transformative ="trms">agencies

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“="trms">matter refers to the ="trms">materiality/="trms">materialization of ="trms">phenomena” (="ppl">="ppl">Barad)
="prgrph">-let's look at my 3D-related practices again and investigate their ="trms">ontological implications and rework how ="trms">matter is defined, ='lgc'>[="trms">matter, force, ="trms">interdependency, appearance,,, ="trms">phenomena, meaning,='lgc'>] ="ppl">Delanda-='lgc'>[intensification, ="trms">articulation, flow-of,='lgc'>]

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='at'>#="frds scrmbld">Femke workshop='lgc'>: on ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging and skinning, ="trms">writing ="trms">stories cultivating creation and creatures before their enrollment in George Lucas film, speculating on the inorganic skeletal ="trms">animacies

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(Brey > ="ppl">="ppl">Ihde='lgc'>:) ='lgc'>[="trms">technology:='lgc'>] a special class of artifacts (='thdf'>for example telescopes, probes, hearing aids, etc) that are capable of engaging in ‘="trms">symbiotic’ ="trms">relationships with the human body. ='lgc'>[...='lgc'>] means through which the environment is experienced and acted on.


essential ambiguity of ="trms">technology / of ="trms">material human-="trms">technology ="trms">relations

="large lg5" stl="font-size:160%"> hermeneutic fluency (and the special enigma) of the connection between text and ="trms">world

='strcls'>*="trms">bird's-eye='lgc'>=='qstn'>?/!='lgc'>~navigational='lgc'>='lgc'>~/='qstn'>?=.'='lgc'><-="trms">phenomenological
='lgc'>[...in front of the open (blank) page (of the ="trms">book) (we teach ="trms">children to take the) ="trms">position of the industria="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list, the ="trms"nttrm="disturban">urban planner, or the ="ppl">Cartesian philosopher ='lgc'>='lgc'>--> outside the page is outside and inside the page is inside ='lgc'>]='at'>@="frds scrmbld">Eunkyung's scriptural enterprise ='lgc'>='lgc'>--> ="ppl">Derridean proper space of ="trms">writing
="prgrph">-the panopticon as observing ="trms">instrument for human ="trms">sciences is embeded in the page of the ="trms">book we open. part of this tradition ='lgc'>=/= first person shooter

(="ppl">="ppl">Ihde on) game-bodies='lgc'>: (on multistability ='lgc'>='lgc'>-->) ‘modes of navigation’ ='lgc'>[macro ="trms">phenomenological conditions, modeling observational possibilities, ='lgc'>]='lgc'>:
='lgc'>[1='lgc'>]- third person (pretended) overhead view looking down a map-like ="trms">world and plotting your course, one says “I go to X.” he calls it “the ="trms"nttrm="already,spread">reading ="trms">position” (usually a western navigator) ='lgc'>='lgc'>--> using ="trms">instrumental mediations to ="trms">translate this (overhead) ="trms">position, star patterns are with the north star
='lgc'>[2='lgc'>]- first person shooter, take your body as stable ="trms">position, one says='lgc'>: “X is coming to me.” (usually a south pacific navigator) ='lgc'>='lgc'>--> ="trms"nttrm="already,spread">reading ="trms">phenomena as ="trms">instruments, dynamic motion of star patterns are without the north star
='lgc'>[3='lgc'>]-



every major culture/civilization watches the ='strcls'>*movements of heaven='strcls'>*
="trms">technologies of temporality, lunar calendars (mostly migratory or non-agricultural people who were into smaller cycles) and solar calendars (people who were into lager cycles), k[...]