[...]ense of movement, monumental architecture with three-dimensional figures moving in a ="trms"nttrm="already,spread">readable illusionistic space
‘stretched-out ="trms">animal skin with the head in the top center’ ='lgc'>='lgc'>--> Rubin's artistic ="trms">vocabulary ='lgc'>[='lgc'>='lgc'>--> followed in today way of layout='lgc'>]
lion='lgc'> = saint's attribute ='lgc'>--transformed='lgc'>='lgc'>--> medium for ="trms">writing
='lgc'>='lgc'>--> (underscoring the) significance of ='strcls'>**trophy='strcls'>**='lgc'>: subjugating a ="trms">wild d="trms"nttrm="danger,stranger">angerous ="trms">animal and then displaying it proudly for all to admire
="ppl">Olearius's choice of lionskin='lgc'>:
="lstsrd">1- dramatic visual introduction (to Golestan)
="lstsrd">2- piques the ="trms"nttrm="already,spread">reader's ="trms">interest in the work
="lstsrd">3- stands for d="trms"nttrm="danger,stranger">angerous exotic land (Persia) that has been ="trms">symbolically tamed and displayed for the Western viewer
="lstsrd">4- ="trms">material of ="trms">writing ='lgc'>+ ="trms">material being ="trms">written about
deictic
the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigor mortis of the body
="large lg2" stl="font-size:110%">
the dramatic pose of the Persian husband
the curtain-like skin
the “emblematic corpse” on a “="trms">stage”
to serve as ‘exemplum’ tamsil تمثيل
='lgc'>+ martyr-like European hero who suffers the slings and arrows of outrageous Tatars
='lgc'>}='lgc'>='lgc'>--> theater of cruelty
bellicosity (amade be jang آماده به جنگ)
="trms"nttrm="already,spread">reader/viewer is horrified ='and'>& fascinated ='lgc'>--provide='lgc'>='lgc'>--> a tale of ='strcls'>*oriental atrocities='strcls'>* ='lgc'>--set-for='lgc'>='lgc'>--> ="trms">stage adventure ="trms">stories that follow...
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less obviously, from standard geographical texts of the Islamic ="trms">world. yet with its emphasis on direct observation and critical objectivity, the map also points the way toward the more exacting “="trms">scientific” standards of the Enlightenment.
maps are cultural artifacts
Persia='lgc'>: exotic ='lgc'>+ faraway
map ='lgc'>='lgc'>==> analysis
a map='lgc'>--like a frontispiece='lgc'>--is comprised of both visual and textual elements, combining word and image; it re="trms">presents a type of text, or discourse, that needs to be analyzed in detail in order to be “="trms"nttrm="already,spread">read” correctly
maps are never completely ="trms">translatable (nor ="trms"nttrm="already,spread">readable)
="trms">language ="trms">translates into ="trms">historical practice
carto-="trms">literacy
="large lg6" stl="font-size:117%">
="trms">rhetorical device, ekphrasis='lgc'>: description
graph-o sug="trms">gests both picture and ="trms">writing ='strcls'>*
the cartographic enterprises under Duke Frederick III of Schleswig-Holstein-Gottorf
mathematical principles ='lgc'>+ projection ="trms">methods
14th century, seeks to in="trms"nttrm="cluster,club">clude “ancient and ="trms">modern discoveries in one ="trms">verbal and visual description”
early ="trms">modern age military and strategic ="trms">situation of europe
establish fortifications
(Harley='lgc'>:) behind most cartographers there is a patron
mapping so became the business of the state and cartography is early nationalized
="prgrph">-global empire building
="prgrph">-preservation of the nation-state
="prgrph">-local assertion of individual property ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rights
='lgc'>}='lgc'>='lgc'>--> in each of these contexts the dimensions of polity and territory were fused in images which were part of the intellectual ="trms">apparatus of power ='strcls'>**
individual niches ='lgc'>[on='lgc'>] architectural plinth
in Newe Landesbeschreibung='lgc'>: “in the beginning of the ="trms">world, God created everything at once, with his clever/intelligent finger, using ="trms">measure, weight and number ... because God is not a God of disorder, but wants everything to proceed in a proper manner and with the proper ="trms">differentiation.” (="trms">translated in Vision of Persia, p.123)
illustrious predecessors
through their patronage and linked to the noble art of geography
the map is framed by scale bars (the cartouche ='lgc'>[of title='lgc'>] rests on a kind of architectural base in which a scale bar is contained)='strcls'>***
(graticules, more details,)
typography plays a role in emphasizing (novelty='qstn'>?)
geographical purview (meydan-e did, چشم رس، ميدان ديد) of the rulers
="large lg18" stl="font-size:109%">
map and approval
="trms">different layers of information in the map='lgc'>: by looking at it all at once, it is difficult to comprehend the entire ="trms">story that the ="trms">author/artist are trying to tell. by examining individual visual elements in the map, and then linking them to the text, one can trace the ="trms">different ="trms">narratives extant='lgc'>--manifest and latent='lgc'>--in the work (="ppl">Brancaforte on ="ppl">Olearius cartographic work)
(this visual ="trms">rhetoric is also what i am using in my ="trms">storytellings) (i also need to be careful with my collages='lgc'>: (not='qstn'>?) to map out creations that are totalities much greater than its ="trms">author's own appreciation or conscious knowl="trms"nttrm="knowledge,Knowledge">edge of them; to emerge an often confused and paradoxical but signatory “self” in the liminal/marginal areas of the page)
="lsts lst1">•“the mass of textual ="trms">material that accompanies single-sheet or atlas maps tends to reveal its ideological perspective in the gaps between a silent, spatial, schematic rendering of an area (in visual form) and a voluble (por-harf پرحرف، روان، سليس، چرب و نرم، خوش زبان), copious (mofasal مفصل), emphatic (mo'akad تاکيد شده), printed discourse that strives to tell of the invisible ="trms">history that the image cannot put into words.” (="ppl">Conley)
grid, superimposed on the map
a common topos in Persian painting='lgc'>: a male protagonist expecting the female to pour wine or some other liquid into the shallow bowl he is holding
this ‘anticipation of drink’ is construed (in the title of ="ppl">Olearius map of persia) as a ="trms">gesture of welcome and hospitality; providing the viewer with an iconic image of two “typical” inhabitants and their form of dress ='lgc'>='lgc'>--> “promise and peril” ='lgc'>[riches to be found ='lgc'>+ d="trms"nttrm="danger,stranger">angers encountered; treasures ='lgc'>+ giant snakes='lgc'>]
this continues today='lgc'>: the image of an ="nms">iranian woman in native dress
on the Persians’ inner ="trms">nature and customs
the dedicatory cartouche's ='lgc'>[special effects='lgc'>]='lgc'>: ruler's name, capitalized, special style of italics
establishing the Duke's geographical purview ='lgc'>='lgc'>--> linked to foreign territories
through ‘knowl="trms"nttrm="knowledge,Knowledge">edge’ and ‘discovery’ ='lgc'>='lgc'>--> learn about Safavid Persia
(="ppl">Conley)
(cartography during early ="trms">modern age afforded to) the emerging self and the self's ="trms">relation to ='thdf'>the idea of national space
between raw perception and creative ="trms">imagination
surveying and plotting the ="trms">world
the drama of european ="trms">literature='lgc'>: an unforeseen theatricalization of the self in the 15th-17th century
="prgrph">-the self seems to be produced in the form of a subject, as a paradoxical being divided between a re="trms">presentation of the conditional ="trms">relations it is producing and the com="trms">posite ="trms">nature of the ="trms">simultaneously aural and visual medium of print
="prgrph">-growth of cartography parallels that of the coming of autobiography ='lgc'>='lgc'>--> mapping is ="trms">responsible for the consciousness that leads to the production of the ="trms">fashioned self
rise of='lgc'>:
="lsts lst1">•autobiography
="lsts lst1">•opera
="lsts lst1">•="trms">natural ="trms">history
="ppl">Olearius multiplicity of roles
artist, geographer, ="trms">historian, tourist, merchant, diplomat,
="ppl">Olearius's production of self
mantle of artist is passed on to the ="trms">author, who asserts himself and his new status in pictorial form
='lgc'>[in the corner of the map of Flensborg from Newe Landsbeschreibung='lgc'>] a hat obscures the ="trms">specific character traits of the individual ='lgc'>[artist/cartographer='lgc'>], and the image opts instead to emphasize the professional activity of the geographer ='lgc'>[='lgc'>='lgc'>==> ='strcls'>*expert='lgc'>: a new subject ruled by laws of classification or ideology, an expert ="trms">cosmographer or topographer='lgc'>]
='lgc'>+ beautiful theories of a fire that burned in the human heart
he stick to his calculations despite the criticism he receives from colleagues and friends
="ppl">Olearius's ="trms">scientific reticence (kam-guyi کم گويى)
he quotes (without attribution) Athanasius Kircher='lgc'>: “some think that the earth, as well as the heavens have their intelligent angels or spirits which move inside them and thus bring the waters out of their depth” (Vision of Persia p.153)
therefore the waters were driven by a ="trms">natural power through the hidden veins of the earth and rose up into the mountains, just as in a human being the blood rises from the liver to the heart and moves upward to the head through the vena cava. ='lgc'>--='qstn'>?='lgc'>='lgc'>--> Harvey's discovery of the circulation of blood
...cartographic ="trms">literature both reflected and brought about changing perceptions of the ="trms">world
about Marco Polo
Gabriel='lgc'>: Marco Polo did not have the influence on geography that one might have expected ='lgc'>[...='lgc'>] he had no cor="trms">responding education, had been unable to make astronomical observation, and the results of these thrown-together maps was complete chaos ='lgc'>[!='lgc'>]
the shape-shifting Caspian sea
='strcls'>*** Tabula Asiae ='strcls'>***
="ppl">Olearius's ="trms">travel account also seeks to be encyclopedic
...describe and judges the deviations from the European norm
common
barbarous
destruction of the body itself
Munster's final judgment='lgc'>:
“='lgc'>[Perisans='lgc'>] do not speak much and are more apt to act than to speak. they like the uncleanness or lust of the body; they are ="trms">measured in their eating habits; they seldom keep to what they promise unless it is to their advantage” ='lgc'>='lgc'>--> a laconic (mojez موجز) group of people who are frugal (sarfeju صرفه جو) in their habits, rarely keep their word unless it is to their advantage and are also oversexed ='lgc'>='lgc'>==> they are indeed ="trms">different from the Europeans
discourse of analogy
cartographic evidence
a ="trms">book of others
the ways it ="trms">fashions received information
“Ortelius's innovation in the ="trms">science of cartography is that he attends less to the “big picture” of the ="trms">world than to putting together an illustrated summery of possibly in="trms">finite number of fragmentary parts (="ppl">Conley)
='lgc'>='lgc'>--> “segmentable” units of an in="trms">finite possibility of scale and focus (='at'>#Goolge maps)
='lgc'>[='lgc'>]
Blue Map of Persia
influence of Ptolemy on the early islamic cartographers, in the time of Ma'mun
='thdf'>the notion of the inhabitable ="trms">world being divided into seven horizontal bands called ‘climata’ or agalim/aghalim/ اقلیم(a geographical model derived probably from Persia)
='strcls'>*encircling ocean='strcls'>* surrounded the known ="trms">world, and that usually have south at the top, probably to emphasize the importance of Mecca
="trms">system of Climes
(="trms">book of) notification='lgc'>: tanbih تنبیه
...pioneer on the road toward a (geographically) correct picture of Persia
_Persienbild_
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“drawn from life”
the imagery and allegorical figures found on the frontispiece are learned signifiers belonging to a visual ="trms">world that reflects and prefigures the ="trms">verbal description that forms the body of the work
="ppl">Olearius designs a brilliant visual program
visual table of contents
his nascent (dar tavalod درحال تولد) nationa="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list feelings
he ="trms">translates both='lgc'>:
="lsts lst1">•the ="trms">literature of the Persian ="trms">poet
="lsts lst1">•the visual ="trms">code of the land (he has visited)
traces of the ="trms">author within the map
signs of the hidden power ="trms">relation
depiction of the exotic “other” ='lgc'>='lgc'>--> re="trms">presented visually and typologically ="trms">categorized, be it within the map itself, or in the boundary areas, in the margins of the re="trms">presentational space='strcls'>**
='lgc'>--='qstn'>?='lgc'>='lgc'>--> Timuri jiz
patronage
naming
“es gab eine lustige perspective”
of note in this s="trms">cene ='lgc'>[shah Safi's banquet for the Hostein embassy='lgc'>] is the woman alongside the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right wall, who seems to be flirting coquettishly with a German looking in her direction, thus establishing a kind of contact between the two cultures
="large lg42" stl="font-size:129%">
the monarch's true ="trms">nature is laid bare
“you see me from the outside, as a pleasant young man in years, but on the murderous ="trms">interior i am a tyrant.”
the s="trms">cene of Eastern opulence and decadence cor="trms">responds to a 17th century (or even 21st century) Westerner's conception of an Oriental court
oriental ="trms">stage
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صورت الأرض surate al-arz (face of earth)
اصطخری Istakhri, 10th century, ="trms">translated into German by Mordtmann
he met another celebrated ="trms">traveler, Ibn Haukul ابن حوقل
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="ppl">Verran='lgc'>: ='strcls'>*innovating to effect the discipline of deductive proof in ancient ="trms">Greek='strcls'>*
(i found out='lgc'>--="frds scrmbld">Pierre also noted='lgc'>--that in ='mywrk'>my work i tend to) inspire a baroque style of ="trms">="trms">empirical analysis
="large lg1" stl="font-size:133%">
='lgc'>[='strcls'>*='lgc'>]baroque
='lgc'>='lgc'>--> now you see it, now you don't
='lgc'>='lgc'>--> (a th="trms"nttrm="already,spread">read of innovation in) mixing words and visuals
='lgc'>='lgc'>--> ="trms">wonder-filled ="trms">difference
='lgc'>='lgc'>--> sensibility concerned with collective way finding through complexity
='strcls'>*baroque sensibility='strcls'>* ="trms">loves unlikely juxta="trms">position
='strcls'>*baroque form lives with passionate intensity='strcls'>*
='strcls'>****forms of non-explanation ='lgc'>[='lgc'>=/= to reflect of ‘what is’ from a ="trms"nttrm="metaph,metamorph,metabol,metal">meta ="trms">position='strcls'>****='lgc'>]='lgc'>:
="lsts lst1">•juxta="trms">position
="lsts lst1">•="trms">stories
="lsts lst1">•framing
="lsts lst1">•reframing
="lsts lst1">•="trms">folds ='lgc'>='lgc'>--> working within the ‘="trms">folds’
="lsts lst1">•working on the ="trms"nttrm="knowledge,Knowledge">edge
="prgrph">-
='lgc'>='lgc'>--> ='strcls'>*pushing and pulling at the ="trms">interfaces we feel ourselves enmeshed in='strcls'>* ='lgc'>[='lgc'><='lgc'>-- that is exactly the description of what i do. ='at'>#amazon project='lgc'>]
to recognize ="trms">stories of entrepreneurship as ="trms">stories of working ="trms">relations between people, ="trms">technology, and ="trms">nature
='at'>@="frds scrmbld">Setareh
acknowl="trms"nttrm="knowledge,Knowledge">edge our “understanding of”(s)
(taking diagrams as involved only in) ="trms">epistemic practices linking the mess of the actual and ='thdf'>the ideal of the future ='lgc'>=/= (account of diagrams that focuses on their unique) contribution in ="trms">rhetoric ='lgc'>='lgc'>--> ='strcls'>*collective way-finding='strcls'>* (that ='at'>#="ppl">Olearius works agains for ="nms">iranians and german, and ="ppl">Sa'di's version)
='lgc'>[diagrams:='lgc'>]
="lsts lst1">•(graphs, images, visuals that fill the) two-dimensional physical spaces
="lsts lst1">•screened images that cover the surfaces of a ='strcls'>*tapestry='strcls'>*
="lsts lst1">•visuals performing in a graphic register in ='strcls'>*tension='strcls'>* with ="trms">linguistic registers (="ppl">Verran) ='lgc'>='lgc'>--> ="trms">figurations designed to work with text ='lgc'>='lgc'>--> open up a space for ="trms">imagining their capacities as ='strcls'>*="trms">agential devices='strcls'>* ='lgc'>='lgc'>--> (how) diagrams ="trms">intervene in the organization and governance of institutions ='lgc'>='lgc'>--> ='strcls'>*diagrams as objects of governance and organization='strcls'>* embeding working ="trms">imaginaries (such as in the imperial enterprise of the Duke Frederick that ="ppl">Olearius worked for) ='lgc'>--and='lgc'>='lgc'>--> diagramatic devices of ="trms">techno="trms">science ='lgc'>='lgc'>==> enforcing ='strcls'>*non-equivocation='strcls'>* and ='strcls'>*non-contra="trms">diction='strcls'>* ='lgc'>: the standard ="trms">rhetoric of Western ="trms">scientific thought and argument - - ='lgc'>='lgc'>--> ='strcls'>***devices enacting norm='strcls'>***
='lgc'>[='strcls'>*='lgc'>]diagrams='lgc'>: a juncture='lgc'>: text-graphic / graphic-text as an ephemeral clot لخته of ="trms">material ="trms">semiotic resources where words are embedded in graphics as much as graphics are buried in words
...not collaborate enough to benefit from each other's insights
='lgc'>[re="trms">presenting passage of a domain of innovation from ="trms">past to future='lgc'>]
is there a way re="trms">presenting the many ="trms">differences at play='qstn'>? are there other ways apart from one arrow pointing towards one futre='qstn'>? the answer was swift='lgc'>: “no, that would not be wise. we need to de="trms">monstrate that we stand united ='lgc'>[as an industry, nation, family,,,='lgc'>]” ='lgc'>='lgc'>--> it was ="trms">mutually and tacitly agreed that this is how innovation happens ='lgc'>: man-made devices ride into the future on arrows of progressive tinkering with heterogeneous things
(="ppl">Verran ="trms"nttrm="already,spread">reading/naming of) normative iconography of ="trms">technological innovation
assumptions of ="trms">technological innovation='lgc'>:
="lsts lst1">•physics as fundamental knowl="trms"nttrm="knowledge,Knowledge">edge (='lgc'>='lgc'>--> the ="trms">translation of kinetic energy to electrical energy and the variables that influence the efficiency of that ="trms">translation) ='lgc'>[='lgc'>--(this is)='lgc'>='lgc'>--> knowl="trms"nttrm="knowledge,Knowledge">edge relating to environmental and ="trms">social contextualization of the ="trms">techniques described by physics ='lgc'>='lgc'>==> constitution of environmental robustness ='lgc'>==achieving='lgc'>='lgc'>==> ="trms">social acceptability='lgc'>] ='lgc'>='lgc'>--> the ="trms">rhetoric of a diagram embeding that assumption='lgc'>:
="lsts lst2">◦‘additive’ ='lgc'>: that knowl="trms"nttrm="knowledge,Knowledge">edge becomes relevant at ‘later’ ="trms">stages in the life of the model asserted by the diagram. the purview of the ‘additive’ diagram ='lgc'>: negotiation and strategy reside in the realm of subjectivity, therefore cannot be re="trms">presented ='lgc'>}='lgc'>='lgc'>==> subjects, those who do the organizing and the gi="trms">verbing, do not belonge to the ‘core’ that the diagram claims to re="trms">present ='lgc'>: ='lgc'>[subject='lgc'>]='lgc'>--='lgc'>[emptiness='lgc'>]='lgc'>--='lgc'>[dieagram='lgc'>]
='lgc'>='lgc'>--> rendering innovation as a ‘general event’ of an ‘un="trms">specifiable future’ that is progressed towards ='lgc'>+ idealizing sites ='lgc'>[= times and places (of these affairs)='lgc'>] ='lgc'>[not allowing the ="trms">questioning of these sites as ="trms">obligatory passage points (for innovation)='lgc'>]
='lgc'>='lgc'>--> claiming for itself a capacity to rea="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listically map a stable ="trms">system
(diagram of ="trms">technological innovation='lgc'>: a cartography of stable entities and stable ="trms">relations) ='lgc'>=/= a complex and emergent ="trms">system embedding ambiguity and contra="trms">diction
='lgc'>='lgc'>--> promoting an organizational regime that proceeds by conforming to standards of non-contra="trms">diction and non-equivocation in its ="trms">rhetoric ='lgc'>=/= baroque baldachin (arshe عرشه) (with other than re="trms">presentation capacities) explicitly recognizing complexity, openness, and emergence ='lgc'>--offering='lgc'>='lgc'>--> ='lgc'>[enabling graphics to offer='lgc'>] pilotage خلبانى
='strcls'>***every tool should pose not only ="trms">technically complicated ="trms">questions rather fundamental ones='strcls'>***
branched tree diagram='lgc'>: saying that knowl="trms"nttrm="knowledge,Knowledge">edge of the ‘branches’ in="trms"nttrm="cluster,club">cludes a conception of the truck, sug="trms">gesting='lgc'>: to understand is to understand how the truck generates the branches, and that is what is learnt and transmitted by specia="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists (="ppl">="ppl">Stengers, ='at'>@="frds scrmbld">Eszter)
="ppl">Verran > ="ppl">="ppl">Stengers working on the “gods and demons that populate physics”
='lgc'>[...='lgc'>] rejection and enclosure within the domain of ‘non="trms">scientific’ or ‘simply subjective’ (of anything that cannot be reduced to the canon of the ‘simple’ model)
='lgc'>[="ppl">="ppl">Stengers='lgc'>]
(="ppl">Verran on) the capacities of numbers to ="trms">interpellate (رسما سوال کردن، استيضاح کردن) their users
diptych قاب دو لوحى
model of meaning-making that diagrams initiate (spatially ='lgc'>+ ="trms">linguistically)
="trms">articulated sets of ="trms">relations
a particularly efficacious form of certainty-generating ="trms">rhetoric by ancient ="trms">Greek mathematicians (appropriated by thier politicians), ="trms">according to Netz='lgc'>: meaning-making in ="trms">geometry proceeds in a particular way, a way that generates deductive proof ='lgc'>='lgc'>--> (Netz's notion of) oral performance o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigins of meaning-making with diagrammatic device ='lgc'>=/= (="ppl">Verran's) graphics embedded within flows of words ='lgc'>='lgc'>--> ="trms">relations graphically plotted frame the ="trms">relations plotted in flows of words (and reversed)='lgc'>: diagrams labile ناپايدار in their forms of participation in collectives='strcls'>***
='lgc'>{='mywrk'>my research on pre="trms">modern ="trms">systematic investigation of strange singularities of the labile ="trms">phenomena ='lgc'>[lability='lgc'>: ="trms">liable to err and fall, slip, glide, flow='lgc'>] in the middle ages ='lgc'>--helps='lgc'>='lgc'>--> how in the absence of ="trms">authoritative ='strcls'>*source of knowl="trms"nttrm="knowledge,Knowledge">edge='strcls'>* in artistic research environments such as ="nms">apass, ='strcls'>*="trms">styles of knowing='strcls'>* ="trms">mime and ="trms">intertwine in ="trms">poetics, practice, and politics='lgc'>}
speaking from diagram (offering possibilities of pilotage of the emergent ="trms">relations) ='lgc'>=/= speaking to diagram (a form of ="trms">presentation, a proposed ‘found’ ="trms">past in an idealized future, proposing as a rea="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic map of a given)
='at'>@="frds scrmbld">Eszter='lgc'>: the ="trms">question of recognizing the complexity of manipulating sets of ="trms">relations expressed graphically ='lgc'>='lgc'>--> developing (in my self) a contrast which offers possibilities for ="trms">rhetorically distinguishing between ‘speaking from’ and ‘speaking to’ ='lgc'>='lgc'>==> shifts that can effect moves in collective meaning-making
wordy texts
(="ppl">="ppl">Star Trek's) displaying “our” ="trms">modern commonplaces out of the place they are coming from ='lgc'>='lgc'>--> makes me vomit
="prgrph">-in US sci-fi TV series we face that we are still ="ppl">Aristotlian, in our regulation of speech, we live under the regime of non-contra="trms">diction and of non-equivocation (tie up our public life in it) (='lgc'>='lgc'>--> when i say this is not my ="trms">story, i am talking about another tradition of speech regulation)
proto-Baroque theater
='strcls'>*ambiguous monarchy='strcls'>*
absolutism has never been a feature of ="nms">Iran monarchies
(who='qstn'>?) put an end to the complex, emergent baroque polity
a baroque sensibility was no longer salient in the Danish monarchical context and the baldachin became war booty ='lgc'>='lgc'>--> that is how Adventure Time's sensibility is now
='lgc'>[="ppl">Verran ='and'>& Winthereik briliant thinking and ="trms">literature:='lgc'>] “baldachin was designed to perform within the tense shifting landscape of partnerships as="trms">sociated with an aristocracy vigorously reorganizing itself as it emerged out of the crisis of the late medieval.”
there was a shift from ‘vertical to horizontal ="trms">social ="trms">integration’ (="frds scrmbld"nttrm="Christianson">Christianson) with a better-off peasantry and a surge in the ="trms"nttrm="disturban">urban middle classes, and secular magnate families (n="nms">ajibzade نجيب زاده)
the baldachin was a device that performed in a force field='lgc'>--a wary but indomitable alliance of crown and noble magnates ='lgc'>='lgc'>--> baldachin as a diagram in as="trms">sociation with texts, the speech, and bodily ="trms">gesture of court events
diagram='lgc'>: ambiguously and ambivalently ‘spoken from’ (='lgc'>='lgc'>--> proposing how a just ="trms">society might be achieved) and ‘spoken to’ (='lgc'>='lgc'>--> a vivid vision of a just polity)
a ="trms">figuration that equivocates over what a just ="trms">society is
baroque diagram's felicity and ability to assist ='strcls'>**collective passage through complexity='strcls'>**
tapestry (فرش / منقوش ='lgc'>='lgc'>--> is concerned with collective way-finding ='lgc'>~ pilotage) and diagram ='lgc'>}='lgc'>='lgc'>--> has to do with the collective
baldachin and the (innovation) model as ="trms">material ="trms">semiotic devices that ="trms">intervene in the ‘happening of the real’ (="trms"nttrm="failure,blur,plur,lurk,tallur,slur">Lury ='and'>& Wakeford, Winthereik ='and'>& ="ppl">Verran)
="prgrph">-they press upon others their ="trms">presence as ='strcls'>*participating entities='strcls'>* and offer ='strcls'>*pilotage='strcls'>*
the model perfroms by eschewing اجتناب contra="trms">diction and equivocation ='lgc'>=/= the baldachin (my graphs, atlases) elaborately figures both equivocation and contra="trms">diction ='lgc'>='lgc'>--> ='strcls'>*it equivocates about contra="trms">diction='strcls'>*
='lgc'>[equivocate='lgc'>: in Medieval Latin perfect passive participle of aequivocō “I am called by the same name”, doubtful signification='lgc'>]
="ppl">Verran (in baroque form juxtaposing an engineering object with an art object) identifies diagrams as capable of effecting ='strcls'>*dual ="trms">rhetorical shifts='strcls'>*, effect possibilities of moving between speaking from and speaking to ='lgc'>='lgc'>--> open up possibilities for equivocatign our contra="trms">dictions ='lgc'>+ (re="trms">presenting =) ='strcls'>*equivocating over what exactly is re="trms">presented='strcls'>*='lgc'>[='lgc'><='lgc'>-- in ="nms">apass this is what i always do, in a way my project='lgc'>]
="large lg14" stl="font-size:110%">
(='at'>@="nms">apass, attending to iconography opens up a space for asking='lgc'>:)
='strcls'>****what are doing here together='qstn'>?
='strcls'>****what kind of pilotage does this diagram offer and to whom='qstn'>?
(a way of abandoning ='thdf'>the idea that these objects are essentially ="trms">different) ='lgc'>='lgc'>--> attending an object as='lgc'>:
="lsts lst1">•="trms">story
="lsts lst1">•diagram
="lsts lst1">•
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="trms">intermingling the sexuality and ="trms">materiality of bodies with the transcendental concepts and ="trms">questions of spirituality and ="trms">religion
to re-insert the body back into ="trms">religious imagery
queer ="trms">religious imagery
culture-jam
weaving their desire and bodies back into an ex="trms">="trms"nttrm="cluster,club">clusionary ="trms">narrative
(un)critical faith
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sexuality, gender, and bodily regulation in ...
deep inextricability of ="trms">religious and secular discourses in constructing the body, as well as the ways in which such discourses alone can never tell the complete ="trms">story of gendered and sexual bodies and practices (Wetzel)
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="ppl">Saadia ="ppl">="ppl">Toor
() within the neo-Orienta="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list discourse ='lgc'>[='lgc'>='lgc'>~= liberal ="trms">modernity as ="trms">embodied by ‘the West’ and Barbarism as connoted by Islam='lgc'>] ‘the Muslim’ enemy is today configured as both misogynyst and homophobic (with an essentialized Islam comfortably ="trms">posited as the roots of illiberalism='lgc'>[= ="trms">presented as the mark and the evidence of Islam's radical alterity from Western civilization='lgc'>])='lgc'>='lgc'>==> “civilizing ="trms">missions” ='lgc'>[such as my orientation course (as an ideological cover) in Germany='lgc'>] ='lgc'>+ ='lgc'>[="frds scrmbld">Hoda's bottom-lined subjugated self puts her on such “="trms">mission” (‘to rescue women’ and) ends any discussion with her (about women, or Islam)='lgc'>] ='lgc'>}='lgc'>='lgc'>==> essentialized and monolithic (and flattened) ‘Islam’ emptied of ="trms">history, diversity, complexity, and dissent نفاق ='lgc'>-- devoid of any ="trms">internal complexity and in fact incapable of effecting change from within
='lgc'>[='lgc'>='lgc'>--> critical use of ='at'>#islamicated instead of “islamic"='lgc'>]
organic intellectuals (of the empire)
(authentic) native informants
brave and courageous ‘victims’ of Islam
="lsts lst1">•Rushdie one of the stron="trms">gest voices within the clash of civilizations framework, in popular support for the Global War on Terror
="lsts lst1">•Manji's narrow polemic and cultivating a persona (of young smart queer woman) ='lgc'>='lgc'>==> new Orientalism
="lsts lst1">•Hirsi ="frds scrmbld"nttrm="Alice,Shariati">Ali an authentic ‘victim’ (“I used to be a Muslim; I know what I am talking about” -saying things that liberal ‘politically correct’ discourse will not allow Whites/non-Muslims/Westerners to say)
='lgc'>}='lgc'>='lgc'>--> ideology of Empire ='lgc'>='lgc'>--> ='lgc'>[a neo-colonial project:='lgc'>] discursive construction of an essentialized Islam
a range of “misogynist cultural” practices='lgc'>:
="lsts lst1">•FGM (female genital mutilation)
="lsts lst1">•honor killings
="lsts lst1">•the ‘cult of virginity’
='lgc'>='lgc'>--> they all predate islam and are common to Animists and ="frds scrmbld"nttrm="Christianson">Christians of the sub-Saharan region as well as Ethiopian Jews
liberal ="trms">rhetoric of saving Muslim women
when some illustratives are pitched as a sensitive ="trms">response to racist Islamophobia, but taking part in the mainstream discourse on Islam and homosexuality
‘Islamic-ness’ of the subject-="trms">matter
(the strange idea) that all Muslim countries are Islamic
part ="trms">fiction, part ideological label, part minimal designation of a ="trms">religion called islam (or “west”)
="prgrph">-How really useful is “Islam” as a concept for understanding Morocco and Saudi ="ppl">Arabia and Syria and Indonesia (or ="nms">Iran)='qstn'>? ='lgc'>[Said asks='lgc'>]
return them to the ‘chardivari’
(="ppl">="ppl">Toor's notion of) ‘patriarchal opportunism’ ='lgc'>: “whereby patriarchal structures from families to nation-states strategically select elements from an ideological ‘toolbox’ in their attempt to gain support for the sexual regulation of women.”
="ppl">="ppl">Toor showing how impossible it is to think of ‘Islam’ as being the source of Muslim women's problems='lgc'>:
="lsts lst1">•(an ordinary ="trms">story) runaway marriage ='lgc'>--to='lgc'>='lgc'>--> a battle for the consolidation of class and patriarchal power played on a national ="trms">stage; a case (of Saima) abounding in the established and familiar postcolonial binaries of East/West, tradition/="trms">modernity, public/private, sacred/profane
='strcls'>*class struggle is itself always al="trms"nttrm="already,spread">ready a gendered process, both discursively and ="trms">materially='strcls'>*
clash between ="trms">different and competing patriarchies or patriarchal arrangements ='lgc'>='lgc'>--> the status of women within kin-="trms">networks ='lgc'>='lgc'>--> the role of marriage in consolidating class power ='lgc'>==hence='lgc'>='lgc'>==> the ="trms">rhetoric of marriage as something too important to be left to the men and women concerned (in Pakistan='lgc'>: ‘marriages='lgc'> = cementing ="trms">relations between men’) ='lgc'>='lgc'>--> “controlling female sexuality across class lines” ='lgc'>[='lgc'>='lgc'>--> a very ="trms">specific ="trms">anxiety over female (sexual) ="trms">agency='strcls'>* ='lgc'>+ complexities of patriarchy within Pakistani ="trms">society='lgc'>] ='lgc'>}='lgc'>='lgc'>--> “Among other things, they de="trms">monstrate that ‘Islam'='lgc'>--whether as a basis for individual/national identity, as a ="trms">religious and cultural ="trms">system, or as a set of injunctions en="trms">coded in theological and juridical textual sources='lgc'>--is always/al="trms"nttrm="already,spread">ready an ="trms">internally contested discourse rather than a monolithic and ="trms">internally coherent thing.”
(='lgc'>='lgc'>--> understanding of) the ways in which ‘the law’ itself is constructed and operationalized; delightful colonial legacy called the “Family Laws” (part of the penal ="trms">codes of India, Pakistan, and Bangladesh);
="lsts lst1">•zina (zena, illicit sex, adultery, premarital sex) ='lgc'>='lgc'>--> far from being an expression of ="trms">religious piety at the familial or state level, the zina law is wielded as a potent weapon of control and extortion by families of ‘disobedient’ women ='lgc'>+ the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rights that the moral ="trms">authority of Islam grants the women against their families ='lgc'>}='lgc'>=/= the manner in which the mainstream media in the West constructs the role of Islam in the lives of Muslim women (='lgc'>~ everything to do with Muslims is explained by ‘Islam’) ='lgc'>=/= ="ppl">Khan's research on incarcerated women leads her to con="trms"nttrm="cluster,club">clude that poverty is an important ="trms">causal factor in the imprisonment of women under the charge of zina in Pakistan (structural adjustment policies imposed on Pakistan by the ="trms">World Bank and IMF from the 1980s on) ='lgc'>='lgc'>--> larger global political and economic processes
="lsts lst1">•a transgender couple charged with perjury under the Pakistan Penal ="trms">Code, and not under ‘Islamic law.’ Supreme Court would rule in their favor, the judgment drew on the ="trms">presence of the figure of Hermaphrodite in Ancient Greece to Islam ='lgc'>+ discussed with ="trms">sympathy by mainstream media ='lgc'>+ well-organized and politically savvy hijra ="trms">community in Pakista
='lgc'>}='lgc'>='lgc'>--> ='at'>@="frds scrmbld">Hoda, since she is ="trms">interested in women's status under purportedly Islamic regimes
='lgc'>}='lgc'>='lgc'>==> Islam is not the overarching motor within purportedly Muslim ="trms">societies that mainstream discourse would have us believe
(Rastegar > ="ppl">="ppl">Toor='lgc'>:) “it is typical of much human ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rights discourse in the Third ="trms">World to focus on ='lgc'>[...='lgc'>] practices of regulating women's bodies, especially those identified with Islamic law, while ignoring ="trms">socioeconomic concern.” ='at'>@="frds scrmbld">Hoda
="ppl">="ppl">Toor's two distinctions ='lgc'>[='lgc'>=/= collapsing all forms of ‘Islamization’ resulting in a ="trms">serious misunderstanding of the ="trms">social processes at work='lgc'>]='lgc'>:
="lsts lst1">•‘Islamization from below’ ='lgc'>: rise of (voluntary) public piety among Muslims, adoption of particular styles of facial hair by men and of various forms of hijab by women
="lsts lst1">•‘Islamization from above’ ='lgc'>: the ways in which structures of power—from families to states—deploy ‘Islam’ in order to control women (and men)
(="ppl">="ppl">Toor='lgc'>:) Shah's cogent critique of the fetishization of the ‘="trms">community’ in ethnographic ="trms">literature
a ="trms">society defined by ‘a ="trms">history of’
="lsts lst1">•="trms">dictatorial regimes (with support of the U.S.)
="lsts lst1">•(under siege from joint pressures of) a corrupt ruling class
="lsts lst1">•a heavy debt burden
="lsts lst1">•predatory and conspicuous ="trms">consumption
="lsts lst1">•ongoing (neo)colonial ="trms">intervention
='lgc'>='lgc'>==> cultural identity becomes a contentious issue ='and'>& women's bodies become sites (for these cultural politics and the class struggles they ="trms">embody)
='lgc'>='lgc'>='lgc'>~=> regulation of women sexuality ='lgc'>: the key hegemonic move through which consent across ="trms">social classes can be secured='strcls'>**
the increasing ="trms">interconnectedness of ="trms">different parts of the ="trms">world at economic, political, and cultural levels (= globalization) ='lgc'>='lgc'>==> intensification in the dynamics of ="trms">social change ='lgc'>='lgc'>==> ="trms">anxiety ='lgc'>='lgc'>==> (greater) regulation of women (in kin-="trms">networks as a ="trms">response to political, ="trms">social and cultural ="trms">anxieties under globalization)
='lgc'>[This was just as true of Europe during the period of capita="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list ="trms">modernization in the 18th and 19th centuries, and of colonized and decolonizing ="trms">societies in the mid-20th century ='lgc'>=/= Islamic exceptionalism='lgc'> = a form of Orientalism operative today ='lgc'>: an ex="trms">="trms"nttrm="cluster,club">clusive focus on ‘Islam'='lgc'>]
haq bakhshwana (in rural Punjab)='lgc'>: the daughter of a propertied family is ‘married’ to the Qur'an, or, in some cases, to a tree—so as to prevent her share of the family property transferring to her husband's family ='lgc'>='lgc'>--> women are both the property of their kin (="trms">symbolically and sometimes ="trms">literally) while having ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rights to property themselves
="ppl">="ppl">Toor sug="trms">gesting in her analysis a healthy dose of skepticism towards projects that ="trms">present the ‘Muslim ="trms">world’ ='lgc'>--and asking how (in a ="ppl">Foucauldian sense) is ‘Islam'='lgc'>[='lgc'>~ ='thdf'>the idea that something stable and immutable called ‘Islam’ exists anywhere='lgc'>] being deployed, by whom, and for what purpose='qstn'>? “Is it being used as an ideological tool, does it serve as a spiritual haven, or is it invoked as an identitarian ="trms">response to the ravages of a globalized ="trms">world='qstn'>?” (="ppl">="ppl">Toor)
(unpack we must)
='strcls'>***to unpack ="trms">different islams (for ="trms">different actors who deploy it)
‘islam’ certainly cannot be unproblematically deployed as the explanatory ‘variable’
="ppl">="ppl">Toor in her example cases showing that the ‘islam connection,’ when it is there, is varied, complex, and sometimes contradictory (='lgc'>=/= mainstream discourse on Islam)
(i want ="frds scrmbld">Hoda to make her ="trms">categorical labor harder, i want her to make ="trms">historically and ="trms">socially contextual analysis, not just take shortcuts towards ="trms">generalization predetermined by a ="trms">priori ="trms">categories (of ="nms">Iran, Islam, women), rather to begin with the ="trms">="trms">empirical reality)
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a new legible object of analysis (in ="trms">writing culture)='lgc'>: qualities, ="trms">trajectories, ="trms">aesthetics ='lgc'>='lgc'>==> ="trms">writing became tactile and com="trms">positional, an attunement, a ="trms">response, “a vigilant protection of a ="trms">worlding” (="ppl">="ppl">Stewart)
='strcls'>*="trms">writing='lgc'> = a way of thinking='strcls'>*
='lgc'>[='strcls'>*='lgc'>]precarity='lgc'>: register of the singularity of emergent ="trms">phenomena, the way that they accrete, accrue and wear out
(='lgc'>=/= recognizing self-identical objects, ="trms"nttrm="metaph,metamorph,metabol,metal">metaculturally marked)
forms of perceiving (seeing, thinking) are themselves emergent
a ="trms">writing that hones attention to the way that a thing (like precarity, etc.) starts to take form as='lgc'>:
="lsts lst1">•a com="trms">position
="lsts lst1">•a recognition
="lsts lst1">•a sensibility
="lsts lst1">•some collection of='lgc'>:
="lsts lst1">•="trms">materialities
="lsts lst1">•laws
="lsts lst1">•movements
obvious='lgc'>: totalizing dramatizations of the thing in itself
precarity can take the form of='lgc'>:
="lsts lst1">•fraility (living in it and through it)
="lsts lst1">•a sea change
="lsts lst1">•a darkening atmosphere
="lsts lst1">•a hard fall
="lsts lst1">•the barely perceptible sense of a reprieve
="lsts lst1">•
ordinary things (='lgc'>=/= melodrama) they ="trms">matter because they shimmer precariously
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...seasons magnetized to tones of voice and a quality of light
place (='lgc'>=/= immpasive corporeality) ='lgc'>: ="trms">affective charges='lgc'>:
="lsts lst1">•a mantel of redemption
="lsts lst1">•a glacier of impatience
="lsts lst1">•a high desert of ="trms">anxiety dissected by fault lines of rage
='lgc'>}='lgc'>--performed='lgc'>='lgc'>--> in ='strcls'>**little s="trms">cenes of recognition='strcls'>** (='lgc'>='lgc'>--> “="trms">visceral complicity of those laying claim to a ="trms">composed tactility='lgc'>[...='lgc'>]” ='lgc'>=/= ="trms">naturalized order per se)
(="nms">Tehran's='qstn'>?) drawn curtains='lgc'>: physical shadow of a state of hardening, a rotting from the inside out
(...curtained people, they suck the) ='strcls'>*="trms">gestural sensory attachments of seeing and being seen='strcls'>* (into a ="trms">world in which things are dark)
precarity ='lgc'>==='qstn'>?='lgc'>='lgc'>==> intimacy (of people in place)
(in w="trms">inter with T-shirt and sandals) the townie body unfazed by the cold, endearing, a little heroic
an ="trms">imaginary ='lgc'>='lgc'>--> a logic of some ="trms">sort ='lgc'>='lgc'>--> abstracted ='lgc'>='lgc'>==> become a thing in itself
or, a thing ="trms">simultaneously virtual and concrete
like the road, made not of dreams per se, but of laws, of ordinary practices, military surges, and construction ="trms">technologies
...intensities pass from body to body='lgc'>:
="lsts lst1">•human bodies
="lsts lst1">•="trms">animal bodies
="lsts lst1">•machine bodies
="lsts lst1">•bodies of thought
="lsts lst1">•eco="trms">systems
="lsts lst1">•="trms">visceralities and noumena
="lsts lst1">•="trms">histories
="lsts lst1">•the seamless habitus of super="trms">markets and credit cards
="lsts lst1">•
(="ppl">="ppl">Stewart's) precarity's form='lgc'>: com="trms">positional ='lgc'>+ decom="trms">positional
attachments, temps, ="trms">materialities, states of being
='lgc'>[='strcls'>*='lgc'>]description='lgc'>: a ="trms">writing culture lodged in emergence, generativity, potentiality
things that come into form through an assemblage of ="trms">affects, routes, conditions, sensibilities, habits
what it means to meet the ="trms">world='lgc'>:
(="ppl">="ppl">Stewart) ='strcls'>*as a nearing='strcls'>* ='lgc'>[='lgc'>=/= raw ="trms">material for exploitation='lgc'>]
(="ppl">Heidegger) as the ringing between ="trms">composing subjects and objects
(McCormack) felt as ways of going on in the ="trms">world
(="ppl">Deleuze) as increases and decreases, b="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rightening and darkening
() in a cartography distributed across a field of intensities and durations
='lgc'>[='lgc'>=/= rush to incorporate them into a re="trms">presentational order of political or moral significance='lgc'>]
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='lgc'>[='strcls'>*='lgc'>]="trms">epistemology='lgc'> = ="trms">stories of knowl="trms"nttrm="knowledge,Knowledge">edge from before that somehow we are still living with now (='at'>#="trms">fable)
="ppl">Geroulanos ='lgc'>='lgc'>-->='lgc'>{ Ardrey ='lgc'>--to='lgc'>='lgc'>--> Kubrick's african genesis ='lgc'>: “weapon fathered man”
="trms">technology ='lgc'>+ pre="trms">history (in postwar period)
“tool ='lgc'>='lgc'>==> man"='lgc'>}
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knowing images
="trms">epistemic image ='lgc'>: knowl="trms"nttrm="knowledge,Knowledge">edge-based pictorial ="trms">gestures (in ='mywrk'>my work without) ='lgc'>='lgc'>--> organization ='lgc'>+ collecting ='lgc'>+ de="trms">monstrating theories ='lgc'>+ ="trms">scientific tools ='lgc'>+ direct references to ="trms">natural objects
='lgc'>='lgc'>--> searchable ="trms">interfaces (='lgc'>+ desire for con="trms">densed information)
(='strcls'>**="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list ='lgc'>='lgc'>==> searchable='strcls'>**)
(Apianus's early ="trms">modern cognitive horizon ='lgc'>='lgc'>-->) eye='lgc'>: another organ used to calibrate settings
activated eye ='lgc'>='lgc'>--> new ="trms">="trms">empirical pursuits
my ="trms">epistemic images ='lgc'>: work of an image fetishist
="trms">bestiary='lgc'>: ="trms">animal character diagnosis
='lgc'>[horses='lgc'>]
(from) genre of taking care of the ="trms">animal='lgc'>: veterinary ='lgc'>--to='lgc'>='lgc'>--> chiromancy='lgc'>: profiling of the ="trms">animal conditioned through the serial ="trms">nature of ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list (='lgc'>='lgc'>==> control)
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="ppl">Brancaforte
="trms"nttrm="already,spread">readings of the ="trms">apparatuses framing ="ppl">Olearius's ="trms">books
tradition of re="trms">presenting Persia in the West (Xenophon and Herodotus)
="trms">narrative elements of ="ppl">Olearius’ works remain largely unexamined
Brentjes
elm naghli علم نقلی (artistic research knowl="trms"nttrm="knowledge,Knowledge">edge) ='lgc'>=/= elm aghli علم عقلی (rationality)
(="trms">science) elm in ="nms">Iran ='lgc'><='lgc'>== (10th century ="trms">written in Persian='lgc'>:) limits of the ="trms">world ='lgc'>[hodud al-alam='lgc'>] ='lgc'>+ pharmacological medicine ='lgc'>+ (="trms">translated ='lgc'>='lgc'>~= adaptations of) astrology
10th century ='lgc'>='lgc'>--> gradual decline in ="trms">literacy in ="ppl">Arabic ='lgc'>='lgc'>==> Persian treaties on ="trms">sciences
rag-shenasi (knowl="trms"nttrm="knowledge,Knowledge">edge of the pulse) ='lgc'>='lgc'>--> ="ppl">Avicenna
روضة المنجمین
rowzat (روضة to look) ='lgc'>[='lgc'>='lgc'>~/=='qstn'>? nozhat نزهت='lgc'>] ='lgc'>='lgc'>~= garden ='lgc'>='lgc'>~= astrological site
="prgrph">-(="nms">iran) university garden ='lgc'>=/= (="trms">greek) university gymnasium
="trms">book='lgc'>: ex="trms">pository discourse (رساله توضیحی، تفسیری، نمایشی)
="lsts lst1">•="trms">poems on the subject
="lsts lst1">•تحسین و تمجید lengthy laudatory adjectives to describe the dedicatee='lgc'>:
="lsts lst2">◦patronage of the courts
="lsts lst2">◦the teaching circles
="lsts lst2">◦the family lineages of professions
="lsts lst2">◦the existence of “amateurs de ="trms">sciences” (the private individuals ="trms">interested in ="trms">science)
="lsts lst1">•anecdotes (="trms">historical or legendary)
="lsts lst1">•="trms">questions and answers
="lsts lst1">•observation on the usefulness and the excellence of knowl="trms"nttrm="knowledge,Knowledge">edge in general
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ethnography='lgc'>:
="lsts lst1">•set of ="trms">methods for knowing about ="trms">social ="trms">relations ='lgc'>[='lgc'>='lgc'>--> ="trms">storytelling='lgc'>] (='lgc'>=/=='qstn'>?)
="lsts lst1">•cultural-analytical scholarship ='lgc'>[='lgc'>='lgc'>--> analysis='lgc'>]
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ethnography='lgc'>: ='lgc'>[='strcls'>*='lgc'>]ethnographic ="trms">stories='lgc'> = ="trms">generalizations that ="trms">intervene (='lgc'>='lgc'>~= ="trms">instruments that make ="trms">intervention possible ='lgc'><='lgc'>-- a knowl="trms"nttrm="knowledge,Knowledge">edge product in contemporary sci ='and'>& tech studies STS)
ethnography='lgc'>: ="trms">stories that have in them a capacity re="trms">present the ="trms">world in ways that are generative for the people and practices that the ="trms">stories are about ='lgc'>+ ="trms">authors (='lgc'>+ their peers ='lgc'>+ ="trms"nttrm="already,spread">readers)
='strcls'>****(from) post="trms">modern concern about the ="trms">authority of the ="trms">author ='lgc'>--to='lgc'>='lgc'>--> a concern about partiality and generative critique='strcls'>****
='at'>@="nms">apass ='at'>#feedback
(="ppl">Verran giving voice to what my concern and ="trms">interest is in artistic research environment)
the ="trms">question of how to re-="trms">present others (their diverse practices) on good faith='qstn'>? ='lgc'><='lgc'>-- moral
='lgc'>='lgc'>~='lgc'>~> the ='thdf'>bad idea of “good faith ='lgc'>=/= bad faith” ='lgc'>='lgc'>==> assume a moral high ground that we have no reason to argue in favor of
altering oneself to good faith='lgc'> = altering oneself to the possibility of double vision
(in ethnography) good faith='lgc'>: ="trms">writing ="trms">generalizing ="trms">stories that ="trms">intervene, because of the partiality of research and analysis (not despite of it)
="lsts lst1">•good faith analysis='lgc'>: having faith in it being possible to ="trms">write ="trms">stories that are generative for ='strcls'>*some of='strcls'>* the practices we study ='lgc'>+ for ='strcls'>*some of='strcls'>* our peers
(="trms">stories ='lgc'>--="ppl">Verran='lgc'>='lgc'>-->) two moments of ="trms">generalizing='lgc'>:
="lstsrd">1. ='strcls'>*onemany='strcls'>* form ='lgc'>==enable='lgc'>='lgc'>==> abstracting
="lstsrd">2. ='strcls'>*whole-parts='strcls'>* form ='lgc'>==bring='lgc'>='lgc'>==> a ="trms">situating moment
='lgc'>='lgc'>~=='lgc'>{ ="ppl">="ppl">Star Wars apocalyptic ="trms">stories (single vision) ='lgc'>+ lived ="trms">social bodily realities='lgc'> = (="ppl">="ppl">Harawayian) many-headed ="trms">monster ='lgc'>}='lgc'>='lgc'>--> ='at'>#="nms">Tehran index
ethnographic research is always embedded in multi-stakeholder ="trms">situations
the ="ppl">Verran is proposing
='lgc'>=/= ="trms">writing ="trms">stories that ="trms">narrate what collaborators hope to hear
='lgc'>=/= hardening the ="trms">categories of the everyday
='lgc'>[='strcls'>*='lgc'>]="trms">generalization='lgc'>: (performative) ways of making and negotiating ="trms">different realities
(Hinde ='lgc'>='lgc'>-->) adequate ="trms">story='lgc'>: objects that ='strcls'>*find='strcls'>* audiences ='lgc'>='lgc'>~= ='strcls'>*pointing to='strcls'>* (='lgc'><='lgc'>-- performative) ='lgc'>='lgc'>~/= ='strcls'>*pointing for='strcls'>* (='lgc'><='lgc'>--="ppl">Verran='lgc'>-- invite them to do work to see their own ="trms">ontological commitments)
='at'>@apasa, research on performativity entailles when not to be performative
ethnographic ="trms">story='lgc'>: re-performance / re-="trms">presentation of some here-now
="lsts lst1">•description='lgc'>: ="trms">storytelling event
working indexically with an in="trms">finitely complex here-now
indexicality depends on posing a somewhere or something else that is real in a ="trms">different manner ='lgc'>='lgc'>~= performativity
(Hacking='lgc'>:) we recognize the collective enactment of knowl="trms"nttrm="knowledge,Knowledge">edge practices in devising re-="trms">presentations ='lgc'>--="ppl">Verran='lgc'>='lgc'>--> ethnographic ="trms">story='lgc'>: (first ans foremost) making reality (='lgc'>=/= ='thdf'>the idea that reality gives rise to re-="trms">presentations)
a ="trms">generalization='lgc'>: a unified text, ="trms">narrative, exemplifying and enacting a particular time and space ='lgc'>--con="trms">dense='lgc'>='lgc'>--> here-now
='lgc'>}='lgc'>='lgc'>--> recognizing how ethnographic ="trms">stories deal with necessarily being just one of in="trms">finitely many possible ="trms">stories of a herenow
(John Law='lgc'>:) ethnography='lgc'>: a ="trms">method of assemblage ='lgc'>: enactment of ="trms">presence, manifest absence, and absence as otherness
='at'>#="nms">Tehran index
attending to indexes for herenow that embed two logics ="trms">generalization='lgc'>: one-many ='and'>& whole-parts
="lstsrd">1. one kind of ="trms">story embeds a logic of one-many ="trms">generalization ='lgc'>='lgc'>--> re="trms">presents its here-now as an ='thdf'>example of something in general ='lgc'>[='lgc'>='lgc'>--> ="trms">story='lgc'> = evidence base of a general statement about human, ="trms">world, erc.='lgc'>]='lgc'>--Kwa='lgc'>='lgc'>--> ='strcls'>*romantic='strcls'>*
="lstsrd">3. one kind of ="trms">story embeds a logic of whole-parts ="trms">generalization ='lgc'>='lgc'>--> ="trms">presents its here-now by first building this ="trms">world ='lgc'>[='lgc'>='lgc'>--> ="trms">story='lgc'> = an emergent entity on a vague whole='lgc'>]='lgc'>--Kwa='lgc'>='lgc'>--> ='strcls'>*baroque='strcls'>*
20th century ="trms">history of complexity theory
='strcls'>*romantic ='lgc'>=/= baroque ways of doing complexity='strcls'>*
='lgc'>--="ppl">Verran='lgc'>='lgc'>--> we should use both ="trms">simultaneously ='lgc'>='lgc'>~= ="ppl">="ppl">Haraway cyborg double vision
='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="ppl">="ppl">Latour's analysis of Ambassadors painting (='lgc'>='lgc'>~= illustration of an ethnographic ="trms">story)
="lsts lst1">•="trms">technique of ana="trms">morphosis='lgc'>: invite the viewer to shift their perspective ='lgc'>='lgc'>--> ='strcls'>*they are invited to do the work of recognizing the alternative logics of ="trms">generalization='strcls'>*
="lsts lst1">•="trms">agential ="trms">instrumentality
="lsts lst1">•dual logic='lgc'>: ambassadors ='and'>& skull
="lsts lst1">•skull/brownish object ='lgc'>--signal='lgc'>='lgc'>--> a ‘viewer’ must ‘lean over’ in order to see the ="trms">database (in ="ppl">Verran's example) as ="trms">authoritative ='and'>& as autonomous and ='strcls'>*capable of making new kinds of knower='strcls'>* emerge (worker, ="trms">storyteller, ethnographer)
="prgrph">-
my image assemblages are whole-part ="trms">generalizations, one-many pictures, vague whole with emergent parts
='at'>#workshop on training two modes of ="trms">generalization, use of drawing and image making, ="trms">writing ethnographic ="trms">stories
(artists typically make the mistake of making these two identical ='lgc'>='lgc'>-->)
='strcls'>*indicator ='lgc'>=/= outcome='strcls'>*
="lsts lst1">•indicator='lgc'>: for example you implement something
="lsts lst1">•outcome='lgc'>: a change in behavior (= accomplished indicator)
='strcls'>*one-many ="trms">generalization='strcls'>*
x is one of many possible ="trms">stories about X in general (='lgc'>--="ppl">="ppl">Latour='lgc'>='lgc'>--> purification='lgc'>:) spacetime ="trms">specificities are transformed into general claims ='lgc'>}='lgc'>='lgc'>--> abstracting
='lgc'>=/=
='strcls'>*whole-parts ="trms">generalization='strcls'>*
x is a participant on an assemblage where all actors are somehow emerging parts ='lgc'>='lgc'>--> one does not yet know what X is or may become (X remains a vague whole) (='lgc'>--="ppl">="ppl">Latour='lgc'>='lgc'>--> ="trms">translation work='lgc'>:) working a number of herenows into the picture ='lgc'>}='lgc'>='lgc'>--> ="trms">situating
='lgc'>='lgc'>--> how to ="trms">write (ethnographic) ="trms">stories embedding the dual logic of ="trms">generalization='qstn'>?='lgc'> = ='strcls'>*how to arrive at a non-relativizing non-universalizing description that nevertheless works as a ="trms">generalization='qstn'>?='strcls'>*
='lgc'>==constitute='lgc'>='lgc'>==> ="trms">generalization='lgc'>: an irresolvable tension
='lgc'><='lgc'>-- ="trms">interventionist potentiel
="trms">narratives that allow both='lgc'>:
="lsts lst1">•information exchange (handling information correctly)
="lsts lst1">•unexpected cuts in information exchange (cutting the ="trms">world)
what is gained in the ="trms">interventionist potentiel ='lgc'>[of ="trms">stories; for ='thdf'>example of the skull in Holbein's ambassadeur, magic ="trms">database in ="ppl">Verran's ethnographic ="trms">story='lgc'>]='qstn'>?
="prgrph">-enabling double vision
="lsts lst1">•the worker has to be equally magical about her own monitoring repertoires (="nms">apass cloud attitudes)
="lsts lst1">•to ="trms">intervene the ideas of smooth and wellfunctioning development bureaucracy
="lsts lst1">•reflexivity='lgc'>: what the ethnographer sees as she is shifting her ="trms">position and beginning to focus on a ="trms">different (whole-parts) ="trms">generalization ='lgc'>[='lgc'>=/= simply a ="trms">matter of being transparent about one's analytical choices='lgc'>]
(="frds">Sina='lgc'>:)
="trms">storytelling ='lgc'>='lgc'>~= bullshiting
="trms">storytelling ='lgc'>='lgc'>~= analytical ="trms">social ="trms">science
deflating claims (for example we have never been ="trms">modern, etc.) do not afford possibilities for ="trms">intervening
(why i use comparing ="trms">stories in my ="trms">lecture performances ='lgc'>='lgc'>-->) the act of ='lgc'>[='strcls'>*='lgc'>]comparing ='lgc'>: a central aspect of seeking to contain the dual logic in one ="trms">story ='lgc'>='lgc'>--> (="ppl">Strathern > Holbraad ='and'>& Pedersen > ="ppl">Verran > ) peculiar intensification of the act of fieldwork
good faith analysis ='lgc'>: ="trms">stories that are explicit about the double vision through foregrounding within the ="trms">story a figure that enables ='strcls'>*switching='strcls'>*
="lsts lst1">•="trms">stories that never ="trms">intervene in a way that was ="trms">imagined (before the study was carried out)
(="ppl">Strathern's) ='lgc'>[='strcls'>*='lgc'>]partiality='lgc'> = incomplete ='lgc'>+ committed ='lgc'>: a description is always part of a whole, which can never be known as a totality, and it is political (biased)
="trms">lecture performance ='lgc'>='lgc'>~= brining the effect of a ="trms">story to life as ="trms">generalization ='lgc'>='lgc'>--> infra-="trms">ontological ='lgc'>+ ="trms">epistemological work
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Kwa
='lgc'>[='strcls'>*='lgc'>]holism='lgc'>: ='thdf'>the ideal of ="trms">integrating all the workings of ="trms">nature into one whole
1950s ='lgc'>='lgc'>--> a special ="trms">relationship between the holism and the computer (='thdf'>the idea that if ='thdf'>the ='thdf'>assumption of holism is fed into a computer model, the computer faithfully reproduces it)
early 20th century ='lgc'>='lgc'>--> notions of the complex unity of (living) ="trms">systems ='lgc'>='lgc'>==> romantic conceptions of ="trms">nature
='strcls'>*complexity='lgc'> = romantic holism ='lgc'>=/= reductionist='strcls'>*
romantic tradition of complexity ='lgc'>: to see an underlying unity in a ="trms">world of heterogeneous objects and ="trms">phenomena (="ppl">Rousseau, Cuvier, last two thousands years, ='lgc'>[is ="trms">religion romantic='qstn'>?='lgc'>])
romantic ="trms">scientist's moderate version of ="ppl">Kant's Copernican Revolution='lgc'>:
="lsts lst1">•="ppl">Rousseau
="lsts lst1">•="ppl">Humboldt ='lgc'>='lgc'>--> ='strcls'>***to arrange the facts, not successively on the order in which they have ="trms">presented themselves, but ="trms">according to the ="trms">relations which they have between themselves='strcls'>*** ='lgc'>[='lgc'>='lgc'>~='lgc'>~> a ="trms">sort of ="trms">paranoia='lgc'>]
="lsts lst2">◦='thdf'>the idea that to see that ="ppl">Humboldt was able to see takes a “sensitive observer”
="lsts lst1">•="ppl">Whitehead ='lgc'>='lgc'>--> physical ="trms">systems with endurance as the ="trms">measure of their stability
="lsts lst1">•Tansley ='lgc'>='lgc'>--> eco="trms">system ='lgc'>='lgc'>~= superorganism
="lsts lst1">•
='lgc'>=/= baroque (='lgc'>--Kwa='lgc'>='lgc'>--> neobaroque)='lgc'>:
="lsts lst1">•="ppl">Leibniz ='lgc'>='lgc'>--> every bit of ="trms">matter can be conceived as a garden full of plants ='lgc'>: each drop of its bodily fluid is also such a garden ='lgc'>='lgc'>==> ='strcls'>***it is the direction of looking that ="trms">matters ='strcls'>*** (mode of attention)
="lsts lst1">•="ppl">Deleuze
="lsts lst1">•="ppl">Whitehead
="lsts lst1">•="ppl">Darwin
="lsts lst1">•="ppl">Benjamin
="lsts lst1">•
="trms">bestiary='lgc'> = baroque ='lgc'>+ romantic
='strcls'>*romantic complexity (looks up) ='lgc'>=/= baroque complexity (looks down)='strcls'>*
="lsts lst1">•looking up='lgc'>: ="trms">integrate individuals (who appear to be a heterogeneous lot) at the ="trms">phenomenological level to a single entity at a higher level of organization ='lgc'>='lgc'>--> (plants and ="trms">animals, individuals) are='strcls'>*functionality ="trms">integrated='strcls'>* ='lgc'>[='lgc'><='lgc'>-- my problem with ='thdf'>the notion of ="trms">community='lgc'>]
="lsts lst2">◦looking up to the ="trms">world of platonic forms ='lgc'><='lgc'>-- a process of abstraction
="lsts lst1">•looking down='lgc'>: a table of companions ='lgc'>='lgc'>--> (plants and ="trms">animals, individuals) are ='strcls'>*cooperating='strcls'>*
(romantic conceptions of) ="trms">society as organism ='lgc'>=/= (baroque conception of) organism as ="trms">society
(="trms">historic) baroque
="prgrph">-grand style of 17th century
="prgrph">-(insist on) strong ="trms">phenomenological realness ='lgc'>='lgc'>--> ="trms">sensuous ="trms">materiality
="prgrph">-="trms">materiality flows out in many directions (='lgc'>=/= confined within) ='lgc'>='lgc'>==> b="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurring “individual ='lgc'>=/= environment”
="prgrph">-inventiveness='lgc'>:
='lgc'>--music='lgc'>='lgc'>--> the ability to produce lots of novel combinations out of a rather limited set of elements
='lgc'>--theater='lgc'>='lgc'>--> (logical development of plot ='lgc'>=/=) sequence of monologues and allegories ='lgc'>='lgc'>==> action
="ppl">Leibniz baroque philosophy ='lgc'>='lgc'>--> monad='lgc'>: individuals not linked to form greater ="trms">systems (they don't even ="trms">communicate), but they ="trms">affect each other
='lgc'>--="ppl">Deleuze='lgc'>='lgc'>--> each monad had its context re="trms">presented inside itself (as ="trms">fold) ='lgc'>[more important the monad ='lgc'>='lgc'>--> richer its ="trms">world='lgc'>]
="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphors of romanticism='lgc'>:
="lsts lst1">•organicism
="lsts lst1">•="trms">system ='lgc'>='lgc'>--> (in graphical re="trms">presentation) depicted by connecting lives between constituent elements (='lgc'>=/= monad)
="lsts lst1">•
="ppl">Whitehead ='lgc'>--="ppl">Deleuze='lgc'>='lgc'>--> a neobaroque philosopher ='lgc'>='lgc'>--> possibility of a chaotic side-by-side existence of ="trms">mutually ex="trms">="trms"nttrm="cluster,club">clusive realities
(baroque era) harmony='lgc'>: art of counterpoints (bringing together independent voices)
German baroque (Gryphius, Lohenstein) ='lgc'>='lgc'>--> ="trms">nature='lgc'> = ='lgc'>[='strcls'>*='lgc'>]ruin='lgc'>: heap of highly significant fragments ='lgc'>=/= seamless web (='at'>@ERG website)
="lsts lst1">•fragment='lgc'>: independent individual things with a monadological structure (='lgc'>='lgc'>~/= post="trms">modern understanding of fragment)
="lsts lst1">•link (between them)='lgc'> = reciprocal reference ='lgc'>=/= connection
="lsts lst2">◦(references remain in their) ='strcls'>*allegorical immanence='strcls'>*
="lsts lst1">•
="trms">World War II ='lgc'>='lgc'>='lgc'>~=> ="trms">systems theories (attempt to explain the structure and behavior of complex objects
Charney ='lgc'>+ von Neumann
deterministic description of the atmosphere
“long-range forecasting”
computer-based metrology
='lgc'>='lgc'>==> ='strcls'>*field='strcls'>* became the essence of atmospheric state (field ='lgc'>=/= structure, ="trms">phenomena such as cyclones, fronts, cyclogenesis, fr="trms">ontogenesis)
='lgc'><='lgc'>--Lorenz='lgc'>-- a given that the atmosphere is a single whole
romantic ='and'>& nonromantic ="ppl">Darwin
evolutionary theory
phylogenetic tree
="prgrph">-“war of ="trms">nature ='lgc'>='lgc'>==> higher ="trms">animals directly follow”
="prgrph">-individual organisms engage in various ="trms">interactions with each other ='lgc'>='lgc'>==> speciation
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Tansley (fulfilling a romantic expectation with regard to complex ="trms">systems) ='lgc'>--1926='lgc'>='lgc'>--> maintenance of equilibrium by eco="trms">system ='lgc'>["life='lgc'> = equilibrium"='lgc'>]
='lgc'>=/= Schrödinger (showed that equilibrium is unfit as a ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor for life) ='lgc'>='lgc'>--> life='lgc'> = islands of low entropy (complex locations) in a sea of high entropy (of decreasing complexity)
Lokta
(evolution of) chemical ="trms">systems='lgc'> = general ="trms">systems
Patten
eco="trms">system ="trms">ecologist
“eco="trms">system='lgc'> = ="trms">natural control ="trms">system” ='lgc'>='lgc'>~= (single equilibrium simple cybernetic) ="trms">technical control device ='lgc'><='lgc'>-- the ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor of ='strcls'>*automatic machine='strcls'>* (taken ="trms">literally)
re="trms">presenting whole eco="trms">systems by (mathematized and fit for simulation on digital computers) models
1960s 70s ='lgc'>='lgc'>--> ="trms">system ="trms">ecology
='lgc'>--="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurck='lgc'>='lgc'>--> (romantic ="trms">trope of) ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigorous functionalism ='lgc'>[every little plant or insect had its place as a cog on a giant machinery='lgc'>]
Rene Thom
chemical reaction kinetics
biological ="trms">morphogenesis
catastrophe theory='lgc'>: slight change in a single variable of a ="trms">system can give rise to sharp discontinuous change
='lgc'>='lgc'>==> existence of multiple equilibria
Slobodkin
game theory
management of ="trms">natural ="trms">systems
P="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigogine ='lgc'>+ ="ppl">="ppl">Stengers
brusselator device (='lgc'>='lgc'>--> strange attractor) ='lgc'>='lgc'>--> behavior and evolution of complex ="trms">systems ='lgc'>--illustrate='lgc'>='lgc'>-->
="lsts lst1">•discontinuous development
="lsts lst1">•bifurcation (points at which the ="trms">system may go in either of two directions ='lgc'>='lgc'>--> the ="trms">system behaves as a whole)
local random fluctuations (around a mean) ='lgc'>='lgc'>--> bifurcation point ='lgc'>='lgc'>--> the ="trms">system as a whole evolves to a new order
='lgc'>=/= cybernetic ="trms">system (control center)
='lgc'>=/= steam engine (governor)
="frds scrmbld"nttrm="Robin,Robot,Robert,Robocop">Robert May
the more complex a ="trms">system is, the more likely it is that small fluctuations (will be just large enough) to be critical
complexity ='lgc'>='lgc'>==> unstability
='lgc'>='lgc'>~='lgc'>~='lgc'>='lgc'>~='lgc'>~> chaos theory
(for P="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigogine) fluctuation='lgc'>: essential condition for order of physical universe, life, civilization
='lgc'>[the most humble aspect of the behavior of ="trms">matter:='lgc'>] white noise ='lgc'>--(chaotic ="trms">phenomena)='lgc'>='lgc'>--> order ='lgc'>[on macro level='lgc'>]
turbulence ='lgc'><='lgc'>-- cannot be predicted (deterministic approach), but we have ="trms">="trms">empirical certainty that they will appear
55BC ='lgc'>--turbulence='lgc'>='lgc'>--> ="ppl">="ppl">Lucretius’ De Rerum ="trms">natura (philosophical ="trms">poem on the ="trms">nature of things)
(his basic ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor of) ="trms">nature='lgc'>: hydrodynamic flow of particles in free fall, in swirls, in vortexes
‘small cause ='lgc'>='lgc'>==> disproportional nonlinearity’ ='lgc'>: ‘random collision of some falling atoms ='lgc'>='lgc'>==> constitution of ="trms">world’
='lgc'>--="ppl">Serres='lgc'>='lgc'>--> (="ppl">="ppl">Lucretius) heterodox tradition (='lgc'>=/= orthodoxe)
romantic ='and'>& baroque are ='strcls'>***discourse ='lgc'>=/= paradigm='strcls'>***
="lsts lst1">•discourse (available to draw from)
="lsts lst1">•paradigm (to succeed another paradigm) ='lgc'>[='lgc'><='lgc'>-- to be careful as an artist, the fantasy of genesis='lgc'>]
="lsts lst1">•since the 19th century romantic complexity had been the more orthodox discourse
="lsts lst1">•since 1975 baroque complexity became the focus of ="trms">interest
='lgc'>}='lgc'>=/= new conception of reality
="lsts lst1">•romantic complexity ='lgc'>--favor='lgc'>='lgc'>--> stable structural ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphors (self-correcting cybernetic machine, Gaya, etc.)
="lsts lst2">◦criteria can be established (more easily) ='lgc'>='lgc'>--> delineate emergent wholes (='strcls'>*abstract criteria='strcls'>*)
="lsts lst1">•baroque complexity ='lgc'>--favor='lgc'>='lgc'>--> swarming individuals ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor (population of individuals in turbulent motion) ='lgc'>='lgc'>--> delineate emergent wholes (='strcls'>*="trms">situational criteria='strcls'>*)
="lsts lst2">◦conceptual problem of baroque='lgc'>: there may be higher level order, but what is it='qstn'>?
="lsts lst3">◾(it is not) stable patterns of ="trms">communication (='lgc'><='lgc'>== if patterns exists they are short-lived, individuals take part in several wholes rather than in one)
body='lgc'> = turbulent ="trms">phenomena par excellence
='strcls'>*****
='lgc'>--="ppl">Deleuze='lgc'>='lgc'>--> the very idea of “concept” is ="trms">different in baroque thinking ='lgc'>: ='lgc'>[='strcls'>*='lgc'>]concept='lgc'> = an allegory, a ="trms">narrative ='lgc'>=/= a ="trms">symbol of the ="trms">cosmos ='lgc'><='lgc'>-- romantic idea of concept='lgc'>: a ="trms">cosmological order that is grasped by the thinking subject
the uncertainty (of the ="trms">world) in the baroque case is ="trms">ontological ='lgc'>[='lgc'>=/= ="trms">epistemological ='lgc'>='lgc'>--> uncertainty is an effect of not knowing enough='lgc'>]
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(i say in ="nms">iran, instead of public jurnalism we need more) ='strcls'>*public ="trms">anthropology='strcls'>*
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(Stenger > ="ppl">="ppl">Stewart > vivid ="trms">pragmatics ='lgc'>='lgc'>~=)
(McCormack > ="ppl">="ppl">Stewart > radical) ='lgc'>[='strcls'>*='lgc'>]="trms">="trms">empiricism='lgc'>: if you walk in the woods ='lgc'>--encounter='lgc'>='lgc'>--> the unthinkable profusion of forms ='lgc'>='lgc'>--> ="trms">material-="trms">aesthetic registers of (mobile ='and'>& immobile flickering of) is and was (='lgc'>=/= sensory details described)
="lsts lst1">•='lgc'>[='strcls'>*='lgc'>]description='lgc'>: accidental glimpse of what ="trms">matters ='lgc'>+ what shifts its ="trms">matter in a moment of recognizable though unnamed and partial significance
tonal ="trms">differences
a spark of color
a modulation in tempo
half-patterned expressivity
='lgc'>--of='lgc'>='lgc'>--> a s="trms">cene teemingly ="trms">differentiated and marked by thresholds of ="trms">matter
when a tree is “charged and transfigured” by a violent sunset
="ppl">="ppl">Stewart ='lgc'>+ Dillard
a thing becomes a call to word
(Harman='lgc'>:) objects themselves, like voices or forms of ="trms">writing, have style
="ppl">="ppl">Stewart > Dillard's ="trms">causal logic of bizarre but ="trms">categorical predation='lgc'>:
a small frog perched precariously on a lily pad in a pond, its back end al="trms"nttrm="already,spread">ready strangely slumped in the water. Then it suddenly deflates
its skin “ruck, and rumple, and fall’ and then “formless as a pricked balloon, lay in floating ="trms">folds like blight scum on top of the water”
='lgc'>--sug="trms">gest='lgc'>='lgc'>--> its style
='lgc'>=/= exempla of a generality
='lgc'>=/= ="trms">embodiments of something
='strcls'>*points of precision='strcls'>* in moments, s="trms">cenes, forms, and states of ="trms">matter
an image synesthetically re="trms">membered ='lgc'>='lgc'>--> engineered bridges of the purely ="trms">social or thee purely ="trms">natural ="trms">imagine a flatly describable ="trms">world ="trms">composed of fully ="trms">present states of being
...the wind forms blades in the sea like lines on a page
description='lgc'>: an approach to an ungraspable thing ='lgc'>='lgc'>--> de="trms">literalizing
remainders
(distributed gap between residents’ reports and police determinations='lgc'>:) ='lgc'>[examples of semi-events (half-witnessed):='lgc'>]
="lsts lst1">•a d="trms"nttrm="danger,stranger">angerous-looking ="trms">animal moving about on a man's property turned out to be a black plastic trash bag blowing in the wind
="lsts lst1">•threatening graffiti on a lawn were markings made by phone company employees
="lsts lst1">•a strange noise was wind in the trees
="lsts lst1">•a report of a man licking the locks on doorways of apartments on North Pleasant Street (='lgc'>='lgc'>--> sug="trms">gestion of this licking everywhere remained)
="lsts lst1">•a blood-soaked g="trms">love on the ground outside the DB Mart was a pink g="trms">love (='lgc'>-- establish='lgc'>='lgc'>--> pattern of possible hands in roads)
="prgrph">-
='lgc'>--="ppl">="ppl">Stewart='lgc'>='lgc'>--> ='strcls'>**an ="trms">staging ground for people's perceptive='strcls'>** ='lgc'>='lgc'>--> ='strcls'>**attention to the weird possibilities emergent in the ordinary='strcls'>**
='lgc'>='lgc'>==> ='strcls'>*mysterious patterns with precise details='strcls'>* ='lgc'>[= ="nms">ajayeb='lgc'>] ='lgc'>='lgc'>--> (bring into relief) a background, a zone, a ="trms">worlding in which things become perceptible (in a weirdly rea="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list way)
='lgc'>[explanation ='lgc'>=/=='lgc'>] str="trms"nttrm="danger,stranger">anger faithfulness to the spirit of the unnamed thing they witnessed ='lgc'>='lgc'>==> moved to make a report (something is a little off)
(if there is grounding it is grounding in) ="trms">world's variegated ="trms">poesis ='lgc'>='lgc'>--> (='lgc'>[='strcls'>*='lgc'>]description='lgc'>:) to make room (='lgc'>[for its='lgc'>] emergence ='lgc'>--into='lgc'>='lgc'>--> theory)
A walker with a ="trms">routine gets used to the little apparitions of something throwing together in his or her vicinity
(="trms">questions of points of contact='lgc'>:) what to do with your eyes='qstn'>?
(='lgc'>[against='qstn'>?='lgc'>] ="trms">positionality of) ="trms">writing from the ground
(="trms">memory of a city='lgc'>:) a contact ="trms">aesthetic of ="trms">histories and rogue ="trms">trajectories set in motion by every object encountered
harshly half-formed ="trms">world
germinal ="trms">aesthetics
channels of autonomous objects lay down stakes and swerve at points of contact with the itineraries of other things ='lgc'>==create='lgc'>='lgc'>==> a distributed zone of ='strcls'>*robust realism='strcls'>*
the real (of X)='lgc'>: transversal arrays of qualities or activities (like musical refrains) give order to ="trms">materials and ="trms">situations, human bodies and brains in="trms"nttrm="cluster,club">cluded, as actions undertaken act-back to shape muscles and hone senses
(to sharpen) rea="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list attention to things
='lgc'>[='strcls'>*='lgc'>]life='lgc'>: ="trms">ontological entertainment
unfulfilled ="trms">systems littered the kitchen
tangent to an elsewhere
gleamingly restored eighteenth-century perfections ='lgc'><='lgc'>-- ="nms">Cinderella's mansion
...of autonomous objects lying around...
a zone of randomly abandoned X
against the background of nothing
="trms">visceral avoidance
pretty and fresh as blueberry pie
townies (how i am not a townie where i live)
="lsts lst1">•townie='lgc'>: loyalty to the expressivity of things
="trms">sociality of a wedding party (filled with roles and dressings)
crazy ricochet..
perfectly ordinary...
...long-ago layered over the wood (necrotic غانقرايايا)
“expressivity sliced through ="trms">matter, word, and action, locking them together in a harshly half-formed ="trms">world”
="trms">writing ="nms">Cinderella diaries ='lgc'>='lgc'>--> ="trms">questions of realism
[...]