[...] and realize that there is nothing we can do to *save* ourselves, the sooner we can get down to the difficult task of *adapting*, with mortal humility, to our new reality. [=/= declare urgency]
-Scranton

hope =/= optimism
  |(?)       |(?)
saving =/= adopting
(the world) (to the world)


!!!☠️
[bleak mood]
(climate change -->) multi-leveled death:
•loss of a civilization
•irreversible death of difference (biodiversity)
•ultimate limit of the human project
•
=/= (modernity -->) secret belief that this civilization will last forever

(what could be opportunities for) **creative foreclosure** of the old world --> space for optimism ♥
--> ****preparing for an end without apocalypse**** [= foreclosure, @Goda and Sina dictionaryofapocalypse.com] ([curatorial?] organizing for the end of the world that is an escalated absolutizing commitment to divest justly) --> ****organizing without hope*** [=/=? death drive]

(we need دورویی) two-faced {<-- I think artists from Iran and former Soviet Union countries with *double consciousness* تجربه چندگانگی تجربه دوگانگی are good at *hopeless optimism* خوش بین ناامید}
1. acknowledge the unbounded unthinkabile incalculable nature of this new reality
2. a chance to experiment with organizational forms of justice, ethics, politics, reason (that are without precedent)


{(examining growing boundaries of) climate change ==> increasing category expansion ==> epistemologies cannot encompass climage change reality}--Campbell--> (we are) afforded a chance to ontologize it

speculative realism: a mode of commitment to a non-correlated reality --Campbell--> an organizational strategy ==> a mood --> bleak optimism


unthinkability: refusal to let framing occur

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

how mythology is being used in consumer research
[...]
[Tillotson and Martin offering various myth typologies to support theorists in evaluation of myth theories and appropriate integration of theoretical advancements in the field of consumer culture theory:] --> how consumer researchers have sailed though every discipline--from psychology, sociology, anthropology and cultural studies, to literary criticism, history and political economy...
myth has been understood in consumer research from five perspective:
•symbolic
•functionalist
•semiotic
•structuralist
•critical theory
•monomythic


Weber{ modern bureaucratization and intellectualization ==> disenchantment of the world }--> modern experience = rationalization and mythological mysticism ==> marketplace, *no institution has been more willing and able to respond to this (Weberian) desire for enchantment than the modern marketplace* ~=> ***normative preference for enchantment = consumption***
--problem--> *the market remains firmly in charge of myth of consumption, its rewards and its consequences* : marketplace mythology has increasingly become an all-encompassing construct of assorted descriptions and theoretical advancements including the sacred, extraordinary, symbolic and transcendental

myth: a way of organizing perceptions of realities


consumer culture theory

{[Mead & Blumer's] symbolic perspective of myth: how symbols are adorned with meaning and that affect social interaction --> symbolic myth research: verbal/nonverbal forms of communication, with an emphasis on how people behave in day-to-day circumstances in the context of socio-historical structure and ideological of their environment ==> “mythology = narrative” }=/= Joseph Campbell: “interaction with the symbolic ==> mythology”

•Freud's use of mythic stories as metaphors in psychoanalysis ==> (early) symbolic perspective
•Jung's archetype: embodiment beliefs/images ==collectively==> myth and religion }==> “mythology = extension of the collective unconscious into society”
•Blumer's social life: construction built up by the actor (=/= relationship of structures directing human life); ability to act toward oneself, ability to internally define themselves as objects [self with goal] as the symbols of their own actions
--McAdams--> personal myth: narrative storyline as a means to organize meaning in their lives --in--> context <==forms== historical, religious and state-influenced belief systems, culturally specific themes and ideology
}--> identity and society --responsible-for--> life story --negotiated--> personal myth as interpretive strategy
}==> concepts of ‘consumption’ and ‘identity’ in consumer culture theory

identity work =/= personal myth
[Velliquette + Murray + Creyer:] example of tattoo culture: private and public burrs physically with the attachment of personal meaning to physical marking of the skin and symbolically through the personal stories attached to public brands --> *individuals attach meaning to consumption* <== negotiating the cultural tensions <==throu== perception of self contrasted with the influence of institutional structures (race, class, gender, age) and ideological pressure }==> “meaning = dialectic of object and consumer”

•(Jung's archetype ==>) Joseph Campbell's monomyth: universally applicable narrative of mythology (like in Hollywood films about the hero's rites of passage --> experience of life in accordance with the phenomena of time)
myths/dreams find expression in symbolic form --> “participating in ritual == engaging myth”
}--> **consumer research as hero's journey** : Consumer Behavior Odyssey's travelling across America in a motorhome to learn about self, the world, and other people [@Jassme and Mia] --> transcendental knowledge of the American consumer ==> academic literature
(consumer Odyssey found that) ‘the journey’ holds a sacred status that transforms knowledge generation into new mythological epistemologies and opens up new doors to understanding (of consumption)
&
‘extraordinary experiences as rites of passage’ [--example: white water river rafting --> (emergent themes of) personal growth, communitas harmony with nature translated to other consumer experiences]

‘rites of passage’ [~= ‘monomyth']:
•separation [~= departure]
•transition [~= initiation]
•reintegration [~= return]

(river rafting ~=) ritual ~= enactment of myth

}--(Arnould & Price)--> narrative of service embodies the initiation of the journey
‘extraordinary experience' = event & *enchanted temporal period*

liminality: the threshold of a ritual where ambiguity and disorientation occurs before the ritual has been completed [Van Gennep, Turner]

[Dobscha and Foxman:] how a joyous activity is actually stressful and invokes *transcendent experiences of a mythic journey* --> ‘call to adventure’ in a chaotic retail setting rife with conflict [~= buying (the quintessential perfect) wedding dress at Filene]

consumers engage and overcome conflicts (by enacting power, achievement, and mastery ~ mythic agency) and cross the mythic threshold ==> transform consumption process into extraordinary event


Saussure's “words considered as signifiers to signs where meaning is held” & meaning is dependent on difference (and not on concepts outside language) --structuralism--> “myth = a form of speech that exists before ideas”
==> Strauss: [speech and remembrance ==>] pre-literary societies produce images and narratives that resembled nature and the meaning of the mind --> mythic narrative = embodied resolution of contradiction [=/= archives of achievements]
--Doja--> mythic structures: generalizable forms (common in all types of societies and universal categories of the human mind) ~ “collective structures ==> superstructures = myth”
Strauss: “myths operate in men's minds without their being aware of the fact”
[for example Mauss's gift: obligation of reciprocation = power-relationship creating a binary of giver and receiver ==reciprocity==> synthesis of the gift]

•Geertz's ‘thick description’ (--> an antidote, symbolic anthropology =/= technocratic, mechanistic means of understanding cultures and settings, exercise of bridging perceived binary oppositions and creating triadic arrays of meaning)
•Derrida's random movement of signifiers (=/= origin as a transcendental anchor to build signification, Strauss's concept of the exemplar model)

Saussure ==>
•Barthes: “myth = manifestation of ideological tendencies of cultures” --> distorts history, depoliticizes speech ==> “language of the bourgeoisie becomes the myth of universal truths, obscuring the power relations and blocking the perspective of power between class, race, gender and other marginalized people” --> perpetuate existing social conditions
=/= Peirce: systems of signification create discourses (~ practices create the meaning behind an individual's interaction with a sign)
}--> ‘advertisers and marketers use signs and symbols to create meaning surrounding their brands. consumers interpret these signs and symbols in different ways’

‘perspective theory’
naturalization of ideological assumptions and how consumers problematize those assumptions in creating individual identity (shared identity and symbolic significance through consumer narratives)
[Thompson and Haytko]

problematization --highlight--> ideological subtexts --formulate--> binary opposition --naturalization--> constructed consumption meaning

four major imaginaries within stock shows:
1. ‘symbolic freedom and independence of rancher life =/= commercial ranching’ ==> mythically relieve anxiety
2. ‘ove and respect for nature =/= need for food and control over nature’
3. ‘community =/= competitive realities of ranching life’
4. mythologising ‘family unification =/= male domination and female subordination’

[symbolic perspective of mythology ==>] “narrative performance = ideology --> allowing people to act without logic, facts or values through illusion or myth” --> mythology: a storyline crafted by the process of individuals’ incorporation of symbolic resources provided through the marketplace, which then must be negotiated between the cultural contradictions and sphere of the dominant and public viewpoints


functionalism: each part of society is dependent on other parts of society ==> social cohesion
~ “whatever is happening in society is what is supposed to happen” --> “myth: a collective representation that empowers and supports social solidarity”
•Durkheim: “knowledge is socially constructed and the world exists through collected representations”
“personal desire =/= community obligation ==> mythology”

•Eliade: “myth = an account of a creation,” of that which ‘really’ happened --> religion

}--(Belk, Wallendorf, Sherry)--> sacred and profane consumption
•sacred consumption inherent in material objects that embody myth helps to develop social cohesion.
sonsumers resist commodification of cultural resources that in Eliade's view are the embodiment of myth
*consumers’ sacred creation*
[example: temporary consumption community Burning Man: synthesis of community and markets through the exchange of goods and creative acts of art and performance --> community narratives embodying mythological creativity as art and performance ‘construct a temporary cohesiveness']
functionalist perspective of social cohesion: “consumption = means of consumer conformity to culture” --> (cohesion perspective:) ***a positive feeling through the appropriation of creative agency and resistance to challenge the unreflexive consumption at the heart of the marketplace myth***

Barthes ==>
•critical theory: “myth = naturalising socially constructed and historical discourse” ~ dominant societal actors oppress subordinates by normalising markers of segregation and subordination --> the concern is to take the side of the oppressed's language and *emancipation*[= demythologising (dominant ideology)] <== Marx's ‘false consciousness’ (for example capitalist ideology conceals and naturalizes managerial power and implicit subordination of workers) --> either side of a power duality can become valorised
•Hegel: “mythology = ideology aesthetically expressed for easy adoption by society” --> “ideology = an imaginary map”; political breakdowns ==> ideologies become apparent (independent of mythology)
-(Murray and Ozanne:) meanings people attribute to social structures change more slowly than the structures themselves --> reality[= the meanings given to social structure and the objective structures] is contradictory <== *inconsistency between subject and object* (~ societies both create reality and are shaped by it)
}--> consumers as the oppressed class in postindustrial society
Thompson: natural health myth (based on ‘cultural creatives’: dominant consumer segment of natural medicine):
•*romantic ideology derived from technologies’ ill effects on humanity and nature --> nature is mythologized as a state of harmony, science and technology as forbidden knowledge
•*gnostic myth emerged from a desire of consumers to bridge technology and spirituality --> “the immune system is metaphorically rendered as a mysterious immaterial force, constituted by intricate mind-body connections and ephemeral energistic forces, which can be brought to practical ends through quasi-magical practices of holistic healing” [Thompson 2004]
}--> advertisers exploit these tensions as conflicting ideologies converge with reality
brand ==> a point of difference + oppositional meanings --> [for example the attraction of the coffee shops that don't personify the Starbucks hegemony ~] anti-hegemonic consumers hold strong preferences for decor that symbolises the counter-culture

(Thompson + Barthes ==> Kristensen, Boye, Askegaard:) how communities develop conceptualizations of right and wrong
*moral systems are inherently ideological* in order to emancipate consumers from these forces critical reflection must occur***
@constant and apass: ***consumers don't escape the market per se but instead reshape collective identity through counter-mythology***
(for example) hipster consumer's attempt to demythologize a consumption ideology in order to protect themselves from mainstream consumers or ‘followers’ (when followers encroach on inside values:) consumers demythologize their consumption practices ==allowing==> new avenues of consumption to occur in an emancipated state

(critical theorists:) **market = arena of domination and power struggle**
==> consumerism can be enslaving and manipulative mythology crafted by the ruling class, can be overcome through resistance and demythologizing ==> ***emancipation = (a form of) new consumption arenas (that hold a favourable power dynamic for consumers)***

mythology --> consumer resistance, emancipation and identity projects

neoliberalism:
•community-based meaning of goods
•individuals (able of) attaching meaning to objects in their own self-expressive way

mythology research: shifted from ‘myth as organizational cohesion’ to ‘understanding agency and emancipatory consumption practices in oppressive situations’

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

with Ereshefsky
how to do scientific metaphysics?
•conduct piecewise and local metaphysics (not universalist metaphysics, not science fiction)
•balance naturalism and normativity
◦naturalism --> learn about different scientific practices that have different aims
◦normativity --> evaluate how well those practices achieve those (epistemic and pragmatic) aims
•


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

filial piety --> family formation + consumption behaviours (in Asian context)
(public policymakers and) social marketers addressing family dissatisfaction

understanding family identity has important implications for consumption --western-->
•how meal consumption helps to maintain family bonds
•how home-made meals are useful in constructing and communicating family identity (@apass, Leo, Sarah, food-ing, ‘formulations of family identity ~=!? collective’)
•how families preserve identity through the transfer of inalienable possessions
•how families navigate complex consumption choices such as involving parenthood
•


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

(Campbell + Saren -->) [*]posthumanism: an aesthetic (not just an epistemology) that blends:
1. the primitive
2. technology
3. horror

[*]metamorphosis: (an engine that encourages the viewer) to recognize life not as being, but as perpetual becoming =/= (liberatory promises of) ‘flow’

(each articulating opposing fantasies of posthumanism:)
morphing =/= mutating

primal technology

proto-atavism نياکان گرايى --> ***multiple paradigms of life exist on the peripheries of humanist life***

Campbell --> a posthuman biology (an ethical imperative that in a technological age, that life is not just life)


Golem --> perennial horror in western imagination
Jewish psalms of the 6th century
formation of life (golmi: unformed limb) <==emanate== mother's womb & nonhuman earth itself
--exemplifies--> how *western humanist versions of technology tend to create a master-servant dialectic* (master-slave) and anything that threatens this divide invokes horror
(roots embedded in the Romantic tradition:)
•“frankenfood” (mash up original and unexpected food combinations, genetically modified crops)
•genetic engineering technologies
•“revenge of nature”
•“nature out of control” leitmotif
•
*since antiquity (in the west) technology has been simultaneously imbued with magic and rationality, evil and redemption, trickery and transparency [---> go to Baxstrom + Meyers Realizing The Witch]

Descartes: the philosopher who provided the western imagination with the most enduring model of the human --> preoccupation with mechanism as something that pervaded machines, bodies and animals but never the non-material, spiritual realm of the mind

*eschatological significance attached to technology*
schizoid stance, alternating between the technophobic and the technophilic (--> expressed in avant-garde): Dadaism, Futurism, Cubism, constructivism)
•technocs aestheticized and fetishized: world expos such as the Crystal Palace, garden cities, the cite industrielle, Citta Nuova, the Werknund, etc.
•military machinery of first world war which alienated human life while at the same time making the human inhuman

*technology as revold*
imagined as rebellious and repellent
(human civilization) haunted by the temptation of a reverse evolution which coexists in it with the potential for progress
--> *techno-anxiety: potential infallibility of the technological

(teratology, wider context of studies on monsters)
logic of contemporary technoculture --trope-->
•primitive
•technology
•horror


(Campbell drawing from a larger) intertextual repertoire consisting of advertising, film, and other images in visual culture
--> aesthetic conflation of the primitive, technology, and horror points to three new concepts:
•metamorphing: {<<--** exactly my problem with Manning's process philosophy}
◦(a logic of) ***identity as constant becoming***
◦***emphasis on flow*** (as a necessary way to understand process)
•primal technology =/= (humanist and pervasive) concept of technology as modern, progressive, clean, nonalive
•proto-atavism: evolutionary traits from the future can exist in the present (=/= atavism: evolutionary traits from the past can exist in the present) []
==> type of posthuman biology conception of life

(let's have atavism instead of activism)

Campbell --> *critique the almost universal celebration of flow in contemporary philosophical thought* {<-- yes yes! thank you! ♥}


primitive: a site of primordial simplicity ~= originary unity }<== history of technology <--(told from a western lens)-- gradual progression and sophistication of the technical (for example Black Panther film)
-the presence or absence of specific technologies has often been read as a marker of cultural ‘backwardness’ <== “technology = something that comes from the West (rich-world technologies) and does something to other people in other places such as the “third world” (a well-intentioned framework that denies both agency and contemporaneity to the ‘other’ --> for example Eliasson's Little Sun)

technological progress is not a force unique to modern ‘civilized’ society; it is intimately bound with art and antiquity
•Heidegger (seeks the origin of technology in ancient Greece) --> technology referred to the ways in which realities are brought into the world, a mode of unconcealing reality (hervorbringen) [=/= mere means or instrument]
+ every unconcealment of reality is also by necessity a concealment of another reality
*poiesis: bring hither out of concealment forth into unconcealment* --> techne = tech + art

paleolithic hunters (so-called primitive societies) have been shown to have been affluent and technologically advanced

technological primitivism, as aesthetic in subcultures of high-technology, incorporating into their philosophies icons of: shamanism, esotericism, hermeticism, the occult, mythology
=/= my ajayeb.net


horror in commercial images (Campbell's investigation =/= fear appeals that act to discourage or warn)
horror (like primitive) is a historically specific form =/= an eternal constant (~ whay is horrific today might be completely unhorrific tomorrow --> for example ajayeb's horror)
horror = science fiction + primitivism

liberatory/avant-garde horror
female-as-victim
female-as-horror
--> apparatus of phallogocentrism
--Campbell--> *horror works to produce figures that contain within them an overflow of contradictory signs*


20th century high-tech machines induce horror : depiction of *technology out of control* inducing horror in the humanist consciousness (for example Black Mirror TV series)
(both primitive & technical) borderline figures of contemporary culture: replicants, androgynes, zombies, androids, posthumans, avatars, clones, undead
}--> *almost-not-quite ontologies* <-- displacing the unitary subject of classical humanism <== {new processes and quasi objects} <==create== ***{globalization, questions of history, social change, political movements, collapse of communism, fundamentalism, feminism, post-communist nationalism, global immigration flows, transnational projects such as human genome, digital human}***

•mothers
•machine: the scientific, political and discursive field of technology
•monster: emblematizes the history and philosophy of the biological sciences + their relation to difference and different bodies

enlightenment ==> a comprehensive philosophical and scientific discourse of positioning “people of color, native australians, females, slaves (+ scaipods, cynocephali, tailed men, giants) = nearly-human =/=liberal human subject (white male)
-in the interstices between humans and apes, there was plenty of space to locate speculative or imaginary creatures: *similititudines huminis* (beast-men, monsters with human resemblances, degeneracy)


posthuman
•celebratory declaration of the end of humanity as we know it
•heralding an era of:
◦human being will be superseded by technical being (+ ironically promissing to vouchsafe human being for eternity)
◦(liberatory seeks to) displace the arrogance of the human (as the ultimate and sole authorities of meaning)
•replete with ideological positions (ranging from horrific to hopeful)
•concerned with deconstruting the human as an ancient concept [~?~> dissatisfied and alienated by nature]

ectogenetic foetus (growth of an organism in an artificial environment)
surrogate mother جایگزین
pregnant man {in the fear-fantasy of miscegenation

(crossing:)
animal
  human
inanimate
   technologies
    }==> horror (accompanying the posthuman)



[title]
monstrous logic of ajayeb

monstrous =/= neat categories

teratology
in a wider context of studies of monsters
written texts (not only physical manifestations) ~ defy canonical categories

[*]gothic: (not only a genre,) any type of text that makes coherent interpretation fail*** <== text suffers from an overload of contradictory meanings which make it literally fall apart at the seams


(Derrida:) monster: *species of the nonspecies* = as-yet unnameable which is proclaiming itself --> make people turn their eyes away
-the figure of the monster embodies a means of thinking otherwise
-event of the Derridean text signalling a rupture with the discourses in which it is gestated
--Campbell--> both Derrida and Darwin were engaged in the *practice of revealing monstrosity to the world*


***contemporary Iran = postmodern gothic***
آخوند‎ akhoond: social imaginary of post-industrial society producing teratological monstrous formations <== their technological character transgresses conventions of taxonomical description --Braidotti--> cyber-teratological (fascinatino with grotesque + technological)
-what are the non-unitary subjectivities in Tehran today? (monster = horror + marvel)

monster =/= demonstrate, de-monstrate <-- vision + monstrosity
*monster: sites of otherworldliness* --used--> teratoscopy

1- Greek and Roman --> race of monsters: ethnic entity horrific & fantastic
2- baroque and enlightenment --> began to produce a scientific, wondrous, fantastic, rare, entertaining --(such as: madmen and dwarfs and other marvels participated in the life of his or her town and enjoys certain privileges [...] jesters and fools can transgress social conventions and do things that “normal” human beings cannot afford -Braidotti)
3- genetic turning point in the post-nuclear era --> cybernetic teratology: effects of toxicity and environmental pollution ==> new monsters [--> Tsing]


experience of the world of high-technology

artifacts of visual culture, (TV advertisements) dealing with the tropes of the primitive, technology, horror:
(these artifacts connote دلالت ضمنى long histories of techno-mytho-political dramas)
•Audi spider; where Audi is likened to a preditor, ensnaring, devouring its rivals; Vorsprung durch Technik written in gothic-style jagged, suspended cobwebs {<-- Ridley Scott's alien's technology as dirty; a lair swathed in a thick cobweb-like substance --> *technology as life* <== the dirt and dampness of *dirty technology* suggest an animate, sweating, breathing life-force [~ an aesthetic]} --> horror <== damp dark leaking space containing moulding cocoons of spider --Campbell--> motivation, goals or logic of this life form cannot be recovered within the economy of the human (=/= clean cold untouched technological artefact)
◦***technology covered in its own dirt --implies--> life --implies--> disorganization --implies--> disintegration of borders between ‘us’ (bounded) and ‘them’ (unbounded) --implies--> loss of control
◦ajayeb-e spider // links the world (of primitive + high-technology), its metamorphosis into automobile ==> its multiple and contradictory genealogy; sight of spider --Freud--> induce crisis of neurotic anxiety (arguing that this fear comes from an unconscious association of the spider with the image of the phallic mother and the web --> threatens to engulf us --> mpnstrous feminine, Ridley Scott's alien = technologized embodiment of the phallic mother)
◾ancient activity of weaving [computer emerges out of the history of weaving; the first computers were based on the logic of the loom, quintessence of women's work (Plant, Babbage, Campbell)] --> *contemporary technoculture is an era of insectophilia* (love of insects and arachnids, spiders ants bees worms etc.)<== these insects embody the logic of high-technology which values decenterdness, microprocessing, and swarm intelligence. colonies, swarms, teems ==acts==> *metaphor & epistemology & ontology* to understand decenterdness, rhizomaticity, distribution and microprocessing ==> *insect aesthetic* [#use the term collapse as marketing storytelling, divided entities now mixed with eachother to induce mixed feelings in the audience --> chimera in advertisement]
◽matrix, from the latin ‘mater' = womb, the term matrix possessing the potential to nurture & to trap (---> go to Matrix film series)
◽Arachne: a younge woman, was so skilful at weaving that she was rash enough to challenge the goddess Athene to a contest. she was transformed into a spider and was doomed to weave forever
•Nike mutant foot; to convey the feeling that running with these shoes is like running in bare feet (--> chimera?); the mutant foot evokes a worn and labored transition from human to posthuman which leaves behind traces of pain; ‘foot of the future’ contains within it the supplement of its embodied visceral human existence, a potent reminder of the human within the posthuman. Nike mutant foot *suffers from origin horror* (= no secure telos of origin which can link back to a primary source of either technology or organicism) we cannot trace it back to an originary ideal category of existence ==> it horrifies
•Nissan pathfinder; shape-shifting technology, moves between the animal and technical --> *automobile metamorphoses without any trace of its metamorphosis* (it bears no marks, scatches, dents, damage); mighty industrialized rendering (transformers film series) --> (an X-Men fantasy:) a future world of *ontological mobility* : entities are not fixed, their morphing into other entities is not painful, but a natural instantaneous reaction to their environment [=/= ajayeb]
•BBC digital faces; a giant disembodied head that roams across hilly countryside ~ *an affront to a humanist sensibility of integral bounded being*; filled with tiny selves --> genealogy of monstrous and mythical forms (Matrix 3rd episode the machine face) --> *visualization of the idea that the self possesses no central consciousness* [<-- posthuman: all mental thought, all consciousness and spirit, can be attributed to the operation of micro-material processes distributed in autopoitic (~ self-creating) body] /ERG website

metamorphing
critique of becoming (of consumer)

Cartesian (human logic of a world of fixed entities) =/= posthumanism (polymorphic unfixity, articulating a logic of identity as decentered and in the state of transition)

mutating =/= morphing (universally regarded as positive, apolitical <-- in poststructural theory)--> imagined technological posthumanism which cruises effortlessly and seamlessly through ontologies [like T1000 in Terminator]
digital morphing is a common production device in contemporary visual culture (transformers, X-Men <-- to resist that in our web designs)

morphing =/= ontological fixity
•how technology does not oppose nature, but stimulate it (Nissan pathfinder)
•how the morph causes a radical splintering of consciousness (BBC digital faces)
•how morph is the a visualization not of being, but of becoming
--> *flow, universally coded as positive* (sensibility of process and flux considered liberatory)
--> a logic of quick-change (embedded in entertainment and computer industries)


high-technology embodiments:
•cyborg
•foetus
•ecosystem
•database
•genome
•cellular automata
•insects
•


morphing =/= mutating: the visceral, painful, embodied experience that results from ontological boundary clashes
mutating into otherness =/= morphing into otherness
(pain of the flow -->) ***mutation is a concept that stops the flow***

(utopian:) technological imaginary portraying a simple and painless ascent into a silicon existence

chimera: (a term biotechnological discourse uses to refer to) the evolution of elements that do not belong together
[in greek mythology, a savage beast part lion part goat part snake =/= natural order]


•(Iron Man's definition of) technology: an instrument which accords the human with a gradual ascend towards increasing civilization, linear progress and power over her or his environment
•(Black Mirror's definition of) technology: paradoxical scene, a primal instinctual force


(my ajayeb =/=) technological primitivism: (aesthetic that is produced by) the ways “primitive” icons are used in discourses of high technology
technological merges into the mythological
ancient merges with the modern
•eXistenZ film 1999, a high-tech-primitive blend of amphibian eggs and synthetic DNA
portrayal of a symbolically resonant ancient life-source + form of a technical life-source


(Campbell suggesting) atavism: how supposedly primitive evolutionary traits which had disappeared generations ago reappear in contemporary human or animal life
-traits of a former time but still exist in the present
*proto-atavism: (exhibiting of) future evolutionary traits in the present ==> collapsing the quality of linear time [~=? my sleep-walking] (=/= human approaching a state of technological perfection through an orderly ascent of increasing complexity and sophistication)
--> technological progress = nonlinear, punctuated, multiple [<-- used in marketing today]
proto-atavism --argument--> that multiple paradigms of life exist on the peripheries of humanist life ==Campbell==> (how) *human life: a cacophony of co-existing interacting states of past present future existences with no recourse to a single reassuring origin* (=/= singular progression)


(like animal rumors in old bestiaries ajayeb in a story-starated world) found telegram videos and internet pic used in my image assemblages --> (found images which make it difficult to trace their lineage) in an imag[...]