[...]the software environment ='lgc'>+ ="trms">embodied ="trms">techniques hackers generate (in ="trms">response to that environment)
='strcls'>*structural determination ='lgc'>+ emergent practice='strcls'>*
a key aspect of media today ='lgc'>--Stiegler='lgc'>='lgc'>--> ='lgc'>[='strcls'>*='lgc'>]selection='lgc'>: a decision is made to broadcast one ="trms">story over another
testing ='lgc'>='lgc'>--> calculative logics of anticipation and preemption ='lgc'>--shape='lgc'>='lgc'>--> the ="trms">contingency of the event
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the actual practices of ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riggers (="trms">technical animator)
animation industry
the ways in which ="trms">affect can be actively manipulated for commercial and economic ends in the design and production of ="trms">consumer services and good
='strcls'>***="trms">technologies are ="trms">affectively engineered='strcls'>*** ='lgc'><='lgc'>--Thrift='lgc'>--Ash='lgc'>-- microbiopolitics of the ="trms">subliminal='lgc'>: doing without thinking, practices of anticipatory manipulation ='lgc'>='lgc'>==> ="trms">position ="trms">consumers of media as passive dupes (='lgc'><='lgc'>-- زیرپوستی ='strcls'>*hypodermic model of media power='strcls'>*)
='lgc'>--='not'>✕='lgc'>='lgc'>--> Ash='lgc'>: ="trms">affective manipulation is necessarily a fragile achievement that is prone to fai="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure and always reliant upon being continually reworked in the creative ="trms">responses users develop in ="trms">relation to the designed environments with which they ="trms">interact ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to fandom and fan culture='lgc'>]
animation design (videogame)='lgc'>: is a complex, problematic, and ongoing struggle between='lgc'>:
="lsts lst1">•the openness and performative play of ="trms">contingency ='and'>& chance (which emerge through the ="trms">techniques and intelligences that users develop as they become ="trms">skilled at these games)
="lsts lst1">•the mechanical ="trms">systems and calculative rationalities through which these environments are designed
="trms">affective properties of ="trms">contingency ='lgc'>='lgc'>==> commercially and critically successful
="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rig='lgc'>: assemblage of human and nonhuman actor
="trms">staging, managing, and controlling event ='lgc'>[movement='lgc'>] within the limited computational architecture
(asking with Ash) how ="trms">agency is distributed in the assemblages of various human and ="trms">technical actors that make up ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging='qstn'>?
="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rig ='lgc'>=/= architecture
shaping corporeal dis="trms">positions
(entertainment industry does work) to maintain and guard the ="trms">contingent as a ="trms">positive force
="trms">contingency='lgc'>: the unexpected, the random, the singular, the unrepeatable, or the surprising (that which cannot be pinned down by any process that attempts to pin it down) ='lgc'>=/= boring
(Dastur, Dewsbury, ="ppl">Delanda)
='lgc'>='lgc'>--> you need ='strcls'>*open ="trms">skill='lgc'>: ="trms">contingent tactically oriented understanding='strcls'>* (contextually-appropriate ="trms">responsiveness, context-dependent ways, regulated improvisation) ='lgc'><='lgc'>-- hacker's talent
(="ppl">Deleuzian) ='lgc'>[='strcls'>*='lgc'>]="trms">affect='lgc'>: the outcome of an encounter between two or more bodies (which can be human or inhuman, organic or inorganic), which either increases or decreases a body's capacity for action
captivation ='lgc'>='lgc'>--> the ="trms">specificity of the ="trms">ecological ="trms">relationship between user and (image) environment
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(game) design
cultivation of the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right kinds of ="trms">affects through quantitative variables in the game's ="trms">database ='lgc'>='lgc'>~= (="ppl">="ppl">Latour's) laboratories='lgc'>: theatres of proof (through a process of decontextualization, the ="trms">scientific experiment which isolates the factors it wants to study, an entity becomes nameable ='and'>& calculable ='lgc'>='lgc'>==> pre="trms">dictable ='and'>& knowable)
="lsts lst1">•="ppl">="ppl">Latour's laboratory ='lgc'>--render='lgc'>='lgc'>--> a particular object/process ='lgc'>=/=
="lsts lst1">•game develop ='lgc'>--render='lgc'>='lgc'>--> ="trms">contingency (="trms">contingent events ='lgc'>[within an al="trms"nttrm="already,spread">ready existing horizon of expectation / ="trms">coded structure='lgc'>])
emergence of intelligences (of the users) ='lgc'>='lgc'>--> (="ppl">Massumi's) analogue='lgc'>: something that cannot be purely reduced to ="trms">measurement through quantitative states or mathematical modelling (for example vision ='lgc'>--into='lgc'>='lgc'>--> ="trms">imagination, noise in the ear ='lgc'>--into='lgc'>='lgc'>--> music in the heart ='lgc'>[body operating as transducer='lgc'>] ='lgc'>='lgc'>--> ='strcls'>*transduce energy='strcls'>*) ='lgc'>=/= digital='lgc'>: exhaustively possibi="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic (control re="trms">presented and manipulated through discrete quantitative states)
game design as an essentially the ='strcls'>*anticipatory practice='strcls'>* (practices that attempt to plan, preempt, and rationalise the potentiality of future events in order to bring this potentiality within a logic of calculation -Anderson)
="lsts lst1">•shape the potential actions of potential users ='lgc'>='lgc'>--> rendering ="trms">contingency visible
somatic bodily ="trms">techniques ='lgc'>+ analytical ways of conceptualizing and ="trms">responding to ="trms">situations (within the game, or animation task in a software) ='lgc'>='lgc'>--> reduce them to abstract and ="trms">codified tendencies ='lgc'>='lgc'>~= ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rig
(design='lgc'>:) rendering ="trms">contingency visible through the practices of testing ='lgc'>='lgc'>--> build ="trms">affect into anticipatory practices
airport='lgc'>: ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigged architecture (passenger is faced with a ="trms">situation in which forwards or backwards are the only directions they may go)
3D animation ='lgc'>='lgc'>--> ='lgc'>[using='lgc'>] digital (a form of calculative abstraction) ='lgc'>+ ='lgc'>[to create ="trms">positive encounter with='lgc'>] analogue body subject (irreducible to purely digital or discrete mathematical states)
="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging ='lgc'>='lgc'>='lgc'>~='lgc'>~='lgc'>='lgc'>--> envelopment='lgc'>: complex forms of ="trms">difference (between the analogue and the digital) are transduced and rendered visible
event as a process of ="trms">ecological emergence (outcome of a ="trms">material assemblage of various entities, forces, and rules working together to encourage and prohibit ="trms">specific forms of movement and action) ='lgc'>--help='lgc'>='lgc'>--> ='strcls'>*how the potential for events to happen are being designed into environments='strcls'>* (preemption, both digital and physical)
mania for what is surprising, for what immediately sweeps us away and impresses us for fleetingness as the basic law of constancy ='lgc'><='lgc'>--="ppl">Heidegger='lgc'>-- a logic that is central to our experience of ="trms">modern ="trms">technology
='lgc'>='lgc'>~/=
games involve the development of ="trms">techniques for ="trms">interacting with them that subsist over longer periods of time within the body
="lsts lst1">•(gamer's) body ='lgc'><='lgc'>==shaped='lgc'>== through the creative ="trms">responses generated by users in ="trms">relation to the images they experience
="lsts lst1">•(game's) ="trms">responses ='lgc'>==bring='lgc'>='lgc'>==> into being ="trms">different bodily capacities and modes of attunement, which cannot be intentionally determined (by those who produce the images through the processes of design)
correct mixture of ="trms">contingency and structure
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prosthesis ='lgc'>+ castration complex ='lgc'>='lgc'>--> “cyberspace='lgc'>: having your everything amputated”
prosthetic ="trms">skill ='lgc'>='lgc'>~= mastery of the ="nms">phantom limb
='lgc'>='lgc'>--> ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging
prosthetic ='lgc'>='lgc'>--> vivid illustration of the human-="trms">technology ="trms">relations in terms of the body ='lgc'>[='lgc'>=/=='qstn'>? hyperobjects='lgc'>]
(set of) architectural ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphors ='lgc'>--provide='lgc'>='lgc'>--> foundation of the university
="prgrph">-(in the case of ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging) mechanical ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphors ='lgc'>--provide='lgc'>='lgc'>--> foundation of moving bodies
prosthetic ="trms">technology (like the ='strcls'>*magic lantern='strcls'>*)
='strcls'>***="trms">technology of theory='strcls'>***
="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging and the ="trms">question of ="trms">morphological cor="trms">respondence (homology='lgc'>: ="trms">systematic similarity) ='lgc'>='lgc'>--> iso="trms">morphic ="trms">systems of ="trms">relations
="lsts lst1">•iso="trms">morphic='lgc'>: 1-1 mapping, structure-preserving mapping ='lgc'>--='not'>✕='lgc'>='lgc'>--> breakable objects
homology='lgc'>: principle of ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging, essentially the same (parts might have ="trms">different shapes and be employed for ="trms">different purposes) ='lgc'>='lgc'>--> ="trms">geometrical similarity ='lgc'>='lgc'>--> ‘abstraction='lgc'>: ="trms">materials of organization’ ='lgc'>[="trms">position ='lgc'>+ structure='lgc'>] (Geoffroy > ="ppl">Hubert)
='lgc'>='lgc'>~='lgc'>~='not'>✕='lgc'>='lgc'>--> ="ppl">Deleuze and ="ppl">Guattari's body without organs ='lgc'>[anatomical='lgc'>: pure plane of immanence (='lgc'>~ ='strcls'>*="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rig='lgc'> = abstract ="trms">animal='strcls'>*)='lgc'>]
='lgc'>='lgc'>--> (thinkers of) ='strcls'>*organic ="trms">folding='strcls'>* ='lgc'>+ ='strcls'>*comparative biological intuition='strcls'>* ='lgc'>='lgc'>--> ='strcls'>*="trms">science of form='strcls'>*
="lsts lst1">•analogue='lgc'>: a part or organ in one ="trms">animal that has the same function as another part or organ in a ="trms">different ="trms">animal (='lgc'>='lgc'>--> ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rig is the analogue of the ="trms">animal's body)
="lsts lst1">•homotypy (homotype='lgc'>: serially repeated parts) ='lgc'>='lgc'>--> ="ppl">Goethe
homology='lgc'>: a ="trms">morphological cor="trms">respondence determined primarily by relative ="trms">position and connection ='lgc'>='lgc'>~= ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging
='lgc'>--="ppl">Darwin='lgc'>='lgc'>--> ="trms">material ="trms">ancestors (replaced ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical ="trms"nttrm="search">archetypes)
philosophical anatomy ='lgc'><='lgc'>='lgc'>~='lgc'>~='qstn'>?='lgc'>='lgc'>--> ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging
="lsts lst1">•dialectics is the search for rational laws which are active in ="trms">nature
="lsts lst1">•discontent with merely ="trms">="trms">empiricism
="lsts lst1">•transcendental (philosopher) ='lgc'>='lgc'>==> ="trms">morphologist
="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging='lgc'>: (step away form ordinary perception and) building ="trms">internal homologies (='lgc'>=/= external ressemblance)
='lgc'>='lgc'>==> comprehensible order (='lgc'>='lgc'>--> ="trms">systematic animation)
='lgc'>='lgc'>='lgc'>~=> complexities and accidents (are also part of it)
='lgc'>='lgc'>--> rational ="trms">morphology
='lgc'>='lgc'>--> mathematization of space ='lgc'>[='lgc'>='lgc'>--> analytic ="trms">geometry (not necessarily ="ppl">Euclidean or ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigid bodies, but also curved spaces, n-dimensional spaces, particle spaces, volumetric space, phase space, etc.) (looking at the ="trms">animal) ='lgc'>='lgc'>==> abstract, proliferation of types ='lgc'>='lgc'>--> ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rig='lgc'>] ='lgc'>{='lgc'>--Lefebvre='lgc'>='lgc'>--> ="trms">social critique of abstract space ='lgc'>='lgc'>--> ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigged='lgc'>}
="prgrph">-the way i learned 3D animation, the space of the software was a n-dimensional spaces (X, Y, Z, time, texture, audio, constraining, etc.)
automaton
a bit of machinery exhibiting somewhat complex behavior ='lgc'>--="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging='lgc'>='lgc'>--> programming movement ='lgc'>==produce='lgc'>='lgc'>==> a working simulacrum of a living organism
="lsts lst1">•(in the days of magic) “name of god” was the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rig for golem ='lgc'>[='qstn'>?='lgc'>]
="lsts lst1">•(in the time of ="ppl">Newton) automaton='lgc'>: clockwork music box
="lsts lst1">•(in 19th century) automaton='lgc'>: glorified heat engine
="lsts lst1">•(in 20th century) intelligent building ='lgc'>[='lgc'>='lgc'>~= ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rig='lgc'>]
="lsts lst1">•(perhaps ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging is our age's) desire to produce and study automata ='lgc'>[='lgc'>='lgc'>~= computational mechanization, kinematic model='lgc'>]
(abstractly) automaton='lgc'>: a set of physically un="trms">specified states, input, output, and operational rules
Galileo ='lgc'>='lgc'>--> ="trms">geometrical concept of space (='lgc'>=/= ="trms">differentiated qualitatively)
principles
="lstsrd">1. ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging ='lgc'>='lgc'>--> a form of understanding ='lgc'>=/= form of sensibility
="lstsrd">2. in animation (physics) the choice of ="trms">geometry is ="trms">pragmatic (='lgc'>=/= analytic, a ="trms">priori) ='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to visualization='lgc'>: ="trms">="trms">empiricist conception of ="trms">geometry
(="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging ='lgc'>='lgc'>--> transformations are applied to) ="trms">geometrical properties='lgc'>: characterized by an invariance with respect to certain transformations ='lgc'>[for example a line='lgc'>] ='lgc'>='lgc'>--> make it ="trms"nttrm="already,spread">ready for action or animation
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railway
primary ="trms">symbolic artifacts of the 19th century
railroad ='lgc'>+ its carriages should be considered as one machine ='lgc'>: “a railway, like a vast machine”
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(="trms">affective arousal) images of beauty amid urgencies of death ='lgc'>='lgc'>=/=> t="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigger the ="trms">responses one hopes
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(="ppl">Deleuzian) ='lgc'>[='strcls'>*='lgc'>]event='lgc'>: impact of chaos on the body
most problems don't have solutions ='lgc'>--="ppl">Grosz='lgc'>='lgc'>-->
concepts ='lgc'>=/= solutions to problems
problems ='lgc'>='lgc'>==> ways of living ='lgc'>=/= answers
concepts='lgc'>: align ="trms">materiality with incorporeality
identify politics ='lgc'>=/= the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right to speak about the ="trms">world, ="trms">matter, ="trms">nature
the reign of the i ='lgc'>='lgc'>--> who am i, who recognizes me, what can i become ='lgc'>='lgc'>--> the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right to ="trms">consumption
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process ="trms">ontology of transing ='lgc'>: one of many re="trms">embodied sensory arts in transgender practices
='lgc'>='lgc'>--> viral vectoring
='strcls'>*flexible global cognition='strcls'>*
discrete threats of knowing
discrete threats of ="trms">mattering
='lgc'>[='strcls'>*='lgc'>]trans='lgc'>: ="trms">materialization of process
='lgc'>[='strcls'>*='lgc'>]transdisciplinary='lgc'>: ="trms">materialization of labors (in ='and'>& beyond academia) ='lgc'>==="ppl">Katie='lgc'>='lgc'>==> possibility of care
="trms">animal studies ='lgc'>--often='lgc'>='lgc'>--> en="trms">codes ='and'>& de="trms">codes human
='lgc'>~
="trms">relational
trans
multiple
="trms">chimeric
liminal
='lgc'>='lgc'>--> ="trms">relationships that bind humans to their nonhuman companions ='lgc'>[...to virtual explosive demons of Charmed TV series ='lgc'>='lgc'>--> how we ="trms">embody ="trms">animals and how they ="trms">embody us='qstn'>? ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging demons (my digital folk tale), ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging as sensory medium (a mode of nearness), bodies bound through appropriation='lgc'>]
(in ="nms">apass='lgc'>:)
="trms">zoo="trms">semiotic registers
meaning making registers
bodily contact zones
(Charmed demons state of trans='lgc'>:) modes of incorporation, intimacy, inhabitation
='lgc'>='lgc'>--> tr="trms">animals='lgc'>: trans ="trms">animals, range of kinds of sapience and being in various distributed cognitions, syntaxes,and ="trms">embodiments (and ="trms">affects)
="trms">animals become “="trms">animals” not just in terms of p="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurality but in terms of a p="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurality that is located within spatiotemporal coordinations
(Kelley, ="ppl">="ppl">Hayward > ="ppl">Katie)
‘here’ and ‘there’ ='lgc'>~ ="trms">material partials
...
="trms">sensuous trafficking
from inorganic to organic
trans="trms">code sensoria
as refrain
by which life gets lived
play enjoyed
augmented states of being emerge
='strcls'>*distributed cognitions='strcls'>* (populated digitalities) ='lgc'>==Hayles='lgc'>='lgc'>==> abandonment of mastery (="trms">anthropo="trms">morphic fantasies of control)
my text ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging demons='lgc'> = (an un="trms"nttrm="metaph,metamorph,metabol,metal">metabolized knowl="trms"nttrm="knowledge,Knowledge">edge,) play between ="trms">technical animator programming ='lgc'>+ ="trms">CG ="trms">interface ='lgc'>+ soap opera ='lgc'>+ my ="trms">affective involvement ='lgc'>='lgc'>--> speciation ="trms">bestiary style
not only tr="trms">animals, but national restructuring, political economies of ="trms">sciences, images, culture industries, and ="trms">technologies reordering in infrastructural assemblages are also ="trms">sensuous refrains
="lsts lst1">•some becomings and assemblages might refuse these refrains and ='strcls'>*="trms">demand ="trms">ontological primacy='strcls'>*
="ppl">Leigh ="ppl">="ppl">Star
for some kinds of tasks we (humans) are highly distributed ='lgc'>='lgc'>--> re="trms">membering='lgc'>: ='strcls'>***much of our ="trms">memories are in other people='strcls'>*** (libraries and homes)
part of our selves extend beyond the skin in every ="trms">imaginable way ='lgc'><='lgc'>--="nms">phantom limb
='lgc'>--="ppl">Katie='lgc'>='lgc'>--> ="trms">embodiments (and beings) are distributed among ="trms">memories, capacities, corporealities
demon de="trms">materialization ='lgc'>='lgc'>--> body dissolve (vanquish) ='lgc'>='lgc'>--> relinquish ='lgc'>='lgc'>--> ="trms">networking ="trms">materializing forces ='lgc'>='lgc'>--> this text
the state of cut in manga series Attack on Titan
="lsts lst1">•="trms">affective wounds
="lsts lst1">•="trms">affective formations that break the skin
="lsts lst1">•restructuring
="lsts lst1">•chaotic and unpre="trms">dictable ="trms">nature
="lsts lst1">•your avatar (your ="trms">monster)='lgc'>: ="trms">sensuously augmented elements of self
="lsts lst1">•territory registers
="lsts lst1">•="trms">materially real scales of involvement
="lsts lst1">•
play='lgc'> = double consciousness ='lgc'>='lgc'>--> being in both states (is ='and'>& is not, assertion ='and'>& rejection) ='lgc'>--creates='lgc'>='lgc'>--> its own commentary in itself about itself ='lgc'><='lgc'>-- intense and pleasurable ="trms">interactive dynamism ='lgc'><='lgc'>-- ="trms"nttrm="metaph,metamorph,metabol,metal">meta ="trms">communications performed by ="trms">embodied selves at multiple levels (of organic and ="trms">social ="trms">systems)
commercial entertainment drawing on understandings of mammalian-="trms">affective structure ='lgc'>: transmedia ='lgc'>+ mammalian ="trms">animalities ='lgc'>+ AI ="trms">agents (='lgc'>='lgc'>~= ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging)
Disney='lgc'> = ="trms">interactive dramas of mammalian behavior of psychological bonding
3D application='lgc'>: ="trms">interactive micro="trms">world of augmented assemblage of objects and beings and tools and ="trms">zoons, visualization of mu="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listable cognition
= a form of globally restructuring knowl="trms"nttrm="knowledge,Knowledge">edge work ='lgc'>+ ="trms">embodied learning ='lgc'>+ economies
exosome explosive demons, as significant other='qstn'>?
we ="trms">love to create ="trms">worlds (='thdf'>that is why we make and watch soap operas)
careful negotiation of meaning and tools (in ="nms">apass, not careful always)
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(="ppl">Katie ='lgc'>='lgc'>-->) ='lgc'>[='strcls'>*='lgc'>]web='lgc'>: a ="trms">material ='thdf'>example of a then counter-intuitive convergence and recombination, one across forms of inscription and meaning making devices='lgc'>[...='lgc'>]in that ="trms">fictional everywhere of “everyone's” lives
emerging posthumanities='lgc'>: humans are only some of the ="trms">agencies self-organizing in altering ="trms">systems of things ='lgc'>+ people ='lgc'>+ ="trms">worldly processes ='lgc'>--="ppl">Katie='lgc'>='lgc'>--> being inside and moved around ="trms">literally by the very ="trms">material and conceptual structures you are analyzing and ="trms">writing about ='lgc'>='lgc'>-->
="lsts lst1">•transdisciplinary consciousness='lgc'>: telescoping out to engage infrastructures in their layered accretions رشد
="lsts lst1">•witing (saying what counts) ='lgc'>[has to='lgc'>] diverge perpendicularly across the normative ='lgc'>='lgc'>--> performative='lgc'> = de="trms">monstration ='lgc'>+ simulation
="lsts lst1">•knowl="trms"nttrm="knowledge,Knowledge">edge workings ='lgc'>--embed='lgc'>='lgc'>--> within culture industries ='lgc'>+ transnational educational restructuring projects
="trms">writing ="trms">technologie (='lgc'>='lgc'>~= activities ='lgc'>+ ="trms">skills ='lgc'>+ devices in layered assemblages ='lgc'>+ ="trms">material ='lgc'>+ conceptual inscription) ='lgc'>--="trms">literalize='lgc'>='lgc'>--> tensions in grammatology='lgc'>:
="lsts lst1">•between ="trms">writing's many possible referent/sign ="trms">relationships in ="trms">historical progression ='lgc'><='lgc'>-- Ignace Gelb
="lsts lst1">•call to account of assumptions about ="trms">writing's derivations from speech built into the assertion of these ="trms">relationships ='lgc'><='lgc'>-- ="ppl">Derrida
my ="trms">writing on Charmed and ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging ='lgc'>='lgc'>--> a ="trms">mime of ="trms">writing, ="trms">mime understanding ='lgc'>[='at'>#simulacra of knowl="trms"nttrm="knowledge,Knowledge">edge='lgc'>], (using ="ppl">Katie's word) a ="trms">literalizing attempt to work/="trms">write in the middle of ="trms">writing ="trms">technologies
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lord of the rings (and similar movies) ='lgc'>='lgc'>~= new forms of evangelization
='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to propaganda
="brkr">
temporality, time, day ='and'>& night='lgc'>:
in ="nms">ajayeb='lgc'>:
گویند که در حدود مغرب حیوانی است. چون آفتاب برآید، حالی بچّه بزاید و بچّه را در آفتاب نهد. به یک روز بزرگ گردد. چون آفتاب فرو رود، بمیرد و بچّه آبستن گردد. دیگر روز که آفتاب برآید، بمیرد وعمر وی یک شب و دو روز بود.
به حدود مکران وتیردابه یست بزرگ از دریا براید و در آفتاب مینگرد و بیهوش گردد تا به وقت زوال چنان شود که مرده، ملاحان با وی بازی کنند، چو آفتاب فرو رود زنده گردد، در آفتاب جان بدهد و از وی سیر نگردد
از اسکندر رومی پرسیدند که در عالم چه دیدی از عجایب؟ گفت در مشارق و مغارب گردیدم اعجوبه دیدم به چین و ماچین. در مفازهٔ درختها دیدم رسته، بوی مشک از آن میدمید و از بامداد که آفتاب برآمدی تا وقت زوال از زمین برمیخاستی و پس از زوال به زمین فرو شدی، به وقت غروب تمام به زمین فرو رفته بودی، روز دگر که آفتاب بر آمدی درختها سر از آب بر آوردی.
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in ="ppl">Nezami (with ='thdf'>the notion of bamdad بامداد morning)='lgc'>:
چو برزد بامدادان خازن چین به درج گوهرین بر قفل زرین
چو بر زد بامدادن بور گلرنگ غبار آتشین از نعل بر سنگ
بامدادان که صبح زرین تاج کرسی از زر نهاد و تخت از عاج
بامدادان که روز روشن گشت شب تاریک فرش خود بنوشت
صبح یک زخمی دو شمشیری داد مه را ز خون خود سیری
چو صبح از دم گرگ برزد زبان به خفتن درآمد سگ پاسبان
خروس غنوده فرو کوفت بال دهل زن بزد بر تبیره دوال
که چون بامدادان چراغ سپهر جمال جهان را برافروخت چهر
به جلوه برآورد خورشید دست عروسانه بر کرسی زر نشست
به نیک اختری روزی از بامداد که شب روز را تاج بر سر نهاد
چو آمد زلف شب در عطر رسائی به تاریکی فرو شد روشنائی
برون آمد ز پرده سحر سازی شش اندازی بجای شیشه بازی
چو مشگین جعد شب را شانه کردند چراغ روز را پروانه کردند
به زیر تختهنرد آبنوسی نهان شد کعبتین سندروسی
بر آمد مشتری منشور بر دست که شاه از بند و شاپور از بلا رست
چو شد دوران سنجابی وشق دوز سمور شب نهفت از قاقم روز
سر از البرز بر زد جرم خورشید جهان را تازه کرد آیین جمشید
شباهنگام کاین عنقای فرتوت شکم پر کرد ازین یک دانه یاقوت
به دشت انجرک آرام کردند بنوشانوش میدر جام کردند
در آن صحرا فرو خفتند سرمست ریاحین زیر پای و باده بر دست
چو روز از دامن شب سر برآورد زمانه تاج زرین بر سر آورد
بر آن پیروزه تخت آن تاجداران رها کردند می بر جرعه خواران
سپیده دم چو دم بر زد سپیدی سیاهی خواند حرف ناامیدی
هزاران نرگس از چرخ جهانگرد فرو شد تا بر آمد یک گل زرد
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چو شب زلف سیاه افکند بر دوش نهاد از ماه زرین حلقه در گوش
شبا هنگام کز صحرای اندوه رسیدی آفتابش بر سر کوه
سیاهی بر سپیدی نقش بستی علم برخاستی سلطان نشستی
چو شب روی از ولایت در کشیدی سپاه روز رایت بر کشیدی
night in ="ppl">Nezami's Khamse='lgc'>:
فرو زنده شبی روشنتر از روز جهان روشن به مهتاب شبافروز
شبی باد مسیحا در دماغش نه آن بادی که بنشاند چراغش
ز تاریکی در آن شب یک نشان بود که آب زندگی دروی نهان بود
سوادی نه بر آن شبگون عماری جز آن عصمت که باشد پردهداری
صبا گرد از جبین جان زدوده ستاره صبح را دندان نموده
شبی بود از در مقصود جوئی مراد آن شب ز مادر زاد گوئی
ازین سو زهره در گوهر گسستن وز آن سو مه به مروارید بستن
زمین در مشک پیمودن به خروار هوا در غالیه سودن صدفوار
ز مشک افشانی باد طربناک عبیرآمیز گشته نافه خاک
دماغ عالم از باد بهاری هوا را ساخته عود قماری
سماع زهره شب را در گرفته مه یک هفته نصفی بر گرفته
ثریا بر ندیمی خاص گشته عطارد بر افق رقاص گشته
جرس جنبانی مرغان شبخیز جرسها بسته در مرغ شبآویز
دد و دام از نشاط دانه خویش همه مطرب شده در خانه خویش
اگر چه مختلف آواز بودند همه با ساز شب دمساز بودند
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climate in ="ppl">Nezami='lgc'>:
یکی شب از شب نوروز خوشتر چه شب کز روز عید اندوه کشتر
سماع خرگهی در خرگه شاه ندیمی چند موزون طبع و دلخواه
زمستان گشته چون ریحان ازو خوش که ریحان زمستان آمد آتش
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in Shahnameh (night)='lgc'>:
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چو شب گردش روز پرگار زد فروزنده را مهره در قار زد
سوی خانه رفتند هر سه چوباد شب آمد بخفتند پیروز و شاد
چو خورشید زد عکس برآسمان پراگند بر لاژورد ارغوان
به شادی درآمد شب دیریاز چو خورشید رخشنده بگشاد راز
شب تیره تا شد بلند آفتاب همی گشت با نوذر افراسیاب
شب تیره تا برکشد روز چاک نیایش کنم پیش یزدان پاک
شب تیره چون روی زنگی سیاه ستاره نه پیدا نه خورشید و ماه
تو خورشید گفتی به بند اندرست ستاره به خم کمند اندرست
ز شبگیر تا تیره شد آفتاب همی خون به جوی اندر آمد چو آب
به روز درخشان شب آمد سیاه چپ و راست لشکر بیاراستند
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in old ="trms">Farsi='lgc'>:
پرچم='lgc'> = دم گاو بزرگ
خانه='lgc'> = اتاق
هیجان='lgc'> = مستی جنسی (حیوان نر)، جنبش دریا
دانستن to know='lgc'> = توانستن to be able to
خسته شدن getting tired='lgc'> = مجروح شدن getting injured
سرشتن to create='lgc'> = مخلوط کردن to mix, ="trms">compose
راه بردن='lgc'> = شناختن، بلد بودن
raftan='lgc'> = eshal gerftan
dashtan='lgc'> = motevaghef kardan
afzudan='lgc'> = toghyan kardan
="brkr">
TRAVEL='strcls'>*
="prgrph">-Adam ="ppl">Olearius (ambassador, ="trms">translator, Russian='lgc'>+Persian)
="prgrph">-="ppl">Sa'di (="trms">poet, ="trms">traveler, theorist of ="trms">love and friendship, )
="prgrph">-="frds scrmbld">Sana='lgc'>+="frds">Sina (artist, rese="trms"nttrm="search">archer, ="trms">translator, )
="trms">world='qstn'>? what is late today='qstn'>? trans-late='lgc'>: beyond being late ='lgc'>='lgc'>--> ="trms">travel and arriving late
="trms">travel, trans, transportation, ="trms">poetry, disruption in ="trms">travel, traumatic ="trms">travel, log,
traumatic ="trms">travel='lgc'>:
="trms">poetic source/act
related to refuging
voyage
exploration
investigate ="trms">poetry and ="trms">travel in the 12th century and 16th century and 21st century encounter
="trms">translational ="trms">worlding between German ="nms">Iranian cross-cultural speculative ="trms">narratives that we ="trms">fabulate with artistic and research ="trms">methodologies
="trms">trajectory, destined beings, ="trms">translations, transportation, routs, paths, maps,
transportation ="trms">system
="trms">translation ="trms">system
error in destination(='qstn'>?) ='lgc'>[="trms">ontology of ‘error’ in 12th, 16th, 21st='lgc'>]
mutation in the garden(='qstn'>?)
="trms">technological ="trms">system of destiny -='qstn'>?='lgc'>-> ="ppl">Sa'di
the flow of energy and ="trms">material ='lgc'>: dejle-biaban continuity
which ="trms">agential force or ="trms">travel ="trms">agency ="ppl">Sa'di or ="ppl">Olearius or ="frds scrmbld">Sana or ="frds">Sina is enrolled or registered in, that it sends them off to far distances='qstn'>?
pure political plays='qstn'>?
the ="trms">question of ambassadorship
ambassadorial activities of ="frds scrmbld">Sana and ="frds">Sina
the ="trms">question of diplomacy
ambassador='lgc'>: ="trms">storytelling, acting,
comparative thinking, comparative research, comparative ="trms">translational ="trms">methodology ='lgc'>: ='strcls'>*self in ="trms">world='strcls'>* tech., lit., dis.,
which ="trms">technologies (of ="trms">composing, of ="trms">writing, of figuring) are installed for ="ppl">Sa'di in the 12th century and for Adam ="ppl">Olearius in the 16th century that allows them to ="trms">imagine and engage in/with what we call today ='strcls'>*mondial='strcls'>*='qstn'>?
(="ppl">Sa'di ='lgc'>+ ="ppl">Olearius='lgc'>:)
chance encounter, fai="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lures, ="trms">writing, making figures, ="trms">loving, making friends, their acts of ="trms">worlding (='qstn'>?), ="trms">composing ="trms">worlds, (de-="trms">compose='qstn'>?)
="trms">technicity='lgc'>: armillary sphere, Globe of Gottorf, Golestan, drawings, star constellations with astrological and mythological ="trms">symbols, inside-outside model of the ="trms">cosmos,
='lgc'>='lgc'>--> they both have concerns of ='strcls'>*global consciousness='strcls'>* ='lgc'>='lgc'>--> and their ="trms">differences='lgc'>: two (or more) ="trms">different ="trms">world knowl="trms"nttrm="knowledge,Knowledge">edges
GPS='lgc'>: global ="trms">system ="trms">position, concern of both ="ppl">Sa'di and ="ppl">Olearius
an excuse to ="trms"nttrm="already,spread">read and investigate their ="trms">worldings='qstn'>? ="trms">translations between ="trms">worlds, and sewing, tearings, and so on during the Safaviten and the Russian Tsar 16th century ="trms">cosmology and models of reciprocity
(="trms">Translation is always ="trms">interpretive, critical, and partial.)
="trms">intersection of multiple hierarchies='lgc'>:
="prgrph">-the Safaviten order (Isfahan architecture)
="prgrph">-the Duke of Holstein-Gottorp order (family architecture, court and mathematic)
="prgrph">-Tsar order (="trms"nttrm="disturban">urban)
="prgrph">-="trms">literature of reciprocity='strcls'>***
="frds scrmbld">Sana keywords='lgc'>: distortion, displacement, distance, alternation, collage, b="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lur (noun), noise, voice-over, subtle changes, micro-macro, micro-politic, rhythm, turbulence, fragmentation, ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor, persistence, repetition, dist="trms"nttrm="disturban">urbance,
(unexpected)
='lgc'>='lgc'>--> separation ='qstn'>?='qstn'>?='qstn'>? ='lgc'>=/=='qstn'>? ="trms">compose
media/mediums='lgc'>: new ="trms">narratives (script, score, etc.), image archive, garden (="trms">material and ="trms">semiotic site), performance ="trms">poetry, land-art, video
why video='lgc'>: using performative ="trms">materials, enactments and ="trms">staging of speculative ="trms">narratives, experimental film making, editing, cheap visual effects, animation and drawing. by using the local geography and landscape of Eckernförde, employment of fragmented scores and modest ="trms">embodiment, experimental acting and ="trms">storytelling, the video as a generous medium holds and hosts all our gathered ="trms">materials, and enables a linear but expansive experience. we will ="trms">write short scripts based on ="trms">stories from ="ppl">Olearius's ="trms">travel logs in ="nms">Iran and ="ppl">Sa'di's Golestan in order to put them into tests after 8 and 3 centuries, and produce intensity and curiosity for a richer way of relating to our shared cultural ="trms">heritages and ="trms">literacies.
practical='lgc'>: we will explore all the mentioned ideas and ="trms">storylines as starting points to create ="trms">interest for ="trms">material-discursive practices of ‘="trms">worlding’ and ‘encountering’ in cross-="trms">techno-cultural ="trms">intersections.
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='lgc'>[working='lgc'>] title='lgc'>:
Das Gesicht des Paradies
the cast of one Globe to another
Globe of Gottorf of Golestan
“Each serving diligently in its own appointed place”
“Deliverance from the yoke of bondage”
The Globe of Gottorf and deliverance from the yoke of bondage
The cast of Golestan and the magnitude prison of Globe
Das Gesicht des Paradies und schlichtendes Gottorfer Riesenglobus
Adam ="ppl">Olearius and ="ppl">Sa'di in bondage
magnetic fields of
="trms">intermediate ="trms">category
contiguous mass of flowers and tulips
magnitude prison
Others adopt Hell
...instead you are in paradise
="trms">traveling
post ="trms">travel
Paradise Roads
Gesicht
Globe of Gottorf and Golestan of ="ppl">Sa'di
foreign affairs
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Pl="trms">anthropos="trms">cene, the age of gar="trms">dens
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='lgc'>[...='lgc'>] re="trms">membering is not a replay of a string of moments, but an enlivening and reconfiguring of ="trms">past and future that is larger than any individual. ='lgc'>[...='lgc'>] The ="trms">past is never finished. It cannot be wrapped up like a package, or a scrap="trms">book, or an acknowledgment; we never leave it and it never leaves us behind.
="ppl">="ppl">Barad's mother's ="trms">question='lgc'>: “what good is there in offering recognition that can't be recognized='qstn'>?”
='lgc'>[...='lgc'>] there is only the ongoing practice of being open and ='strcls'>*alive to each(other)='strcls'>* meeting
“How to disrupt patterns of thinking that see the ="trms">past as finished and the future as not ours or only ours='qstn'>?”
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When we ="trms"nttrm="already,spread">read or hear any ="trms">language statement from the ="trms">past, we ="trms">translate.
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the ways ="ppl">Olearius remains non-="nms">Iranian all the way
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="ppl">Conley's notion of “Haptic Eye” (in line with ="ppl">="ppl">Marks)
dilate the way (here='qstn'>?), we can't elsewhere
the lines that ="ppl">Olearius draws have their o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin in their process, in the line, and in the support that line receives,
the drawing that causes the line
="large lg10" stl="font-size:115%">
the hand that sees
a hand that perceives
the reciprocity between seeing and drawing is that which ="trms"nttrm="metaph,metamorph,metabol,metal">metabolizes ="ppl">Olearius ='lgc'>--(the ="trms">interchangeability of the visual and ="trms">verbal)='lgc'>='lgc'>--> “="trms">simultaneous process of subjectivation and objectivation” (of sensation)
study of the Persian object
gradually discovering what is in the image
to the image
(al="trms"nttrm="already,spread">ready knowing what it is)
how the screen/surface inflicting things far and near
="large lg14" stl="font-size:109%">
(an) art of viewing
how the eye and the object of my vision constitute each other
optical visuality
="trms">erotically charged moment
='lgc'>='lgc'>--> the distanced is sensed
='strcls'>*="trms">world laid bare
lay='lgc'>: to place down in a ="trms">position of rest, or in a horizontal ="trms">position
bare='lgc'>: naked, open
a political ="trms">aesthetic='lgc'>: a seeing hand relates to prehension (Greifen) of the ="trms">world at large, the ="trms">world at its ="trms">imagined totality, ='strcls'>*a ="trms">world in which any ocular grasp is utopian='strcls'>* (and is always politically invested)
celestial sphere
|
terrestrial sphere
|
the insular eye
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='lgc'>[a map='lgc'>] it tells a ="trms">story, an itinerary ='lgc'>[...='lgc'>] it whets the ="trms">imagination. It propels ="trms">narrative but also, dividing our attention, prompts reverie and causes our eyes to look both inward, at our own geographies, and outward, to rove about the frame and to engage, however we wish, the space='lgc'>[...='lgc'>]
(طرز بیان tarz-e bayan) idiolect of the geographer and cartographer
is ="trms">composed of signs that do not transcribe speech. Riddled with speech and ="trms">writing
a “map” that plots and colonizes the ="trms">imagination of the public it is said to “invent” and, as a result, to seek to control.
an image that locates and patterns the ="trms">imagination of its ="trms">spectators
When it takes hold, ='lgc'>[a map='lgc'>] encourages its public to think of the ="trms">world in concert with its own ="trms">articulation of space.
(the advent of ="trms">bird-eye-view culture)
A map underlines what a film ='lgc'>[or text='lgc'>] is and what it does, but it also opens a rift or brings into view a site where a critical and productively ="trms">interpretive ="trms">relation with the film ='lgc'>[or text='lgc'>] can begin.
='strcls'>*locational ="trms">imaging='strcls'>*
As the person who gazes upon a map works through a welter of impressions about the geographical information it puts forward—along with his or her own fantasies and pieces of ="trms">past or anticipated ="trms">memory in dialogue with the names, places, and forms on the map='lgc'>[...='lgc'>]
(="ppl">Olearius drawings and frontispieces) establishes a geography, manufactured from cartographic elements
When a geography is given a sense of identification, of ="trms">difference, doubt, a discerning gaze, or a critical reverie ='lgc'>[the people, ="trms">animals, subjects in the map cannot see how they are being mapped='lgc'>]
="large lg3" stl="font-size:111%">
(how certain places are made to become the) simulacra of others='strcls'>*
perspective, visual style, ="trms">narrative economy, scale, ='lgc'>[...='lgc'>], the stakes of ="trms">mimesis, and reception
="trms">story about the demise of nation and its cartographer='lgc'>:
(Dreamtigers by J. L. Borges)
In my ="trms">childhood I was a fervent worshiper of the tiger='lgc'>: not the jaguar, the spotted “tiger” of the Amazonian tangles and the isles of vegetation that float down the Paraná, but that striped, Asiatic, royal tiger, that can only be faced by a man of war, on a castle atop an elephant. I used to linger endlessly before one of the cages at the ="trms">zoo; I judged vast encyclopedias and ="trms">books of ="trms">natural ="trms">history by the splendor of their tigers. (I still re="trms">member those illustrations='lgc'>: I who cannot ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rightly recall the brow or the smile of a woman.) ="trms">Childhood passed away, an[...]