[...]nt
•traumatic realism
•(endangered ==>) survival: fighting for “your right against others”
•less-than ideal livable collaborations
•
•constructing interest (not that ‘you want to know’ --> historically crafted and naturalized modalities of “knowing more”)
•contingent (~ lure, abstraction, fragile [--> they create interested bodies]) =/=? analytical [--> they create disembodied subjects]

[poem can do all of these:]
/proposition --> right/wrong declaratives
/exposition --> systematic explanation
/disposition --> affective orientation ~~> attitude ==> perspectives ==> selves

poet [=/= archivist] can be responsible for the ‘remainders’ --> good at greeting =/= traumatic realism


(1) traumatic realism
(real understood as traumatic:) “shock ==> subject”
a way of figuring that fails to bring the inflicting force (of real) into the symbolic order ==> mime, miming: you bring it into the present literally over and over (re-present)
|
(2) atmospheric attunement
a way of being in the noise
labor-intensive process that stretches across imaginaries [such as travel, house, haunt] --> responding to ” “
actual affects of modes of living brought into being
intimacy with a world [visiting families in Alta]
|
(3) phantom arm
“social = present-absent” (=/= Star Trek's interculturalism) (=/= Lacan's subject: proper sense of absence and loss)
connectivity does not require physical contiguity
-force of piled-up phantom limps
-hum of the palce, dormant noise --> worlding of a place [<-- material and sensory labor of attending to it]
-hauntology =/= Archimedean certainty of presence --> a knowing consciousnes
-so, that lost arm/limb (original part of you) could have a chance of becoming companion species, and not a discarded phantom limb forever haunting the amputated you
|
(4) troubled stories
=/= clear-cut good stories about troubles
stories difficult to like:
•dirty, guilty, survivalist udyr? the evil horse? (we need more description of the evil horse)
Cinderella --> (not) the master of your house, of your name, of you
-sometimes it is not you who makes you


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

--Morris--> ghost problem --✕--> possbility of a politcal form
contingent politicization and the accidental in the Southeast Asia

theatrical acts of civil disobedience
democracy protestors
conjure the spirits of those who have been killed
political vengeance

(wherever there is) violence in Southeast Asia (even if this violence is merely the
force that possesses machinery) ==> ghosts
~=
(wherever there is) force that would oppose life (even and perhaps especially by resembling it) ==> ghosts

[the doxa of] {(no preparation) premature death / banished by disbelief ==> unhappy ghost, vindictive melancholy}[= *effect of context*]--in-->
•pulp novels
•secular humanist elite literature
•rumor
•folklore
•

(Morris points that) such specters are densest in the places where the accidents of modernity are most like to occur

*the death that is caused by another death*

technologization of life and death, movement and war --> *making one vulnerable to death* <== (often) a function of technology (technologization of life and death, movement and war, etc.)

*ghostliness (in Southeast Asia): an idiom with which to address issues about the difficult delineation of a boundary between the living and the dead* (=/= matter of improper burial)

if the dead cannot join the living, the living can die and thereby mingle with the already deceased ~-> fright

the location (where ghostliness arises) is not spatial but temporal (“something happened”)--> in a strange way, for the “occurrence” has no place in time ==> stop time and to displace other narratives (--> it has the structure of trace)
[@Marialena's summoning to life =/= (living) beings who can be summoned to death]
}~~?--> (Freud's) death drive (<== traumatic neuroses) + (Kantian conception of)
accident


(for Freud:) [*]consciousness: the form of a resistance to the world

unconscious is “timeless” : incapable of discerning order (in a Kantian sense)

trauma (=/= anxiety) ==> disables the pleasure principle but not the compulsion to repeat (which is typically a source of pleasure)
[*]trauma as precisely such a disturbance of time and of causal sequentiality

{earlier philosopher's analogy: substance (essentially unchanging) =/= accident (the name of that which metamorphoses over time) }=/={ Kant's analogy: accidents = the “particular ways” in which substance is determined to exist}
--Morris--> causality: a concept that responds to and covers over a gap in the human capacity to inhabit a world of accident
--Freud--> sudden, unexpected event incapacitates the psyche (and its maturation) to such an extent that it will relate to the world only as accidentally existing --> [*]accident/trauma: the experience of the occurrence as having no reason [--causality as a principle of understanding]

accident ~=&==>
•trauma
•condition of possibility of a political opening to the future (one whose form is not determined a priori)
•condition of possibility of en ethical opening to the future (without guarantee)
•
}--Morris--> *accident: the name of a certain kind of freedom*

(it is initially tempting to suggest:) ghosts: symptoms of trauma, particular form of a repetition compulsion, externalized and made public, (untimeliness of an event that robs it of the structure of causality within which it could be more properly interpreted), a form of neurosis =/= Morris's reading of Southeast Asia ghosts

•recognition does not stave off fear
•anxiety does not stave off trauma

reflective interpretation
narrativized interpretation
abstract interpretation

dissociation (in spirit possession) ==> (allows other individuals to witness) the loss of consciousness ==> memory traces of history become legible

(change the focus in trauma studies, a reorientation of perspective:)
missed encounter (~ wound) --to--> poorly anticipated encounter (~ accident)

(Caruth's argument:) **[*]trauma: a discourse that opens up ethical possibilities with its demand for a recognition of the need for historicization (of the relationship between destruction and survival)**

****(Morris as an anthropologist call for analysis of the accidental -->) to better comprehend *how history exceeds individual intentions* + how particular conceptions of history may enable more consequential action on the part of historical agents****
==> (to move from) affective symptoms of an overwhelming experience [@Hoda] --to--> the question of effectivity beyond representation
--> to construe an ethical relation to history--in terms of open relation to futurity [=/= an (impossible) mastery of the past]

every artist researcher should investigate:
•how anxiety is informing you
•how trauma is informing you

the question of the political understood as: (@Femke, OSP)
•the question of contingent factors
•the question of unexpected exposures
•the question of (relatively) unconscious processes
(and not of control)

neoliberal economic logics --> image of massness (=/= consciousness of one's collective interests) ==> condition the possibility of social action (movements characterized by a schema in which exposure to events leads to politicization) <-- an older genre of politicization narrative [~ individuals describe their encounter with social injustice, extreme poverty, or excessive violence and then recount a growing consciousness of the structures that produced them, #Robin Hood]

inadvertent and even accidental convergences ==?==> political movements in Southeast Asia (throughout the late 1980s and 1990s) --> (students who participated in antigovernment protests in Rangoon/Yangon in the late 1980) described their entry into the political sphere (less exposed to the object of social injustice, not in terms of an originally shared project, not a shared analysis, but rather) as the result of a situational convergence (from which an ideological project had yet to be fabricated)

(to understand) your relationship to the political as *subjection to force* (and hence) ~=> *the violation of subjectivity* (=/= acceding to a fuller subjectivity)

they were just there (summoned to events the nature of which they did not know in advance) --> *ephemeral mobilization*:
•by anonymous calls (precipitated objectless gatherings by cell phone messaging, an anonymous call of an ideologically vacant sort)
•ephemeral rumors
•without ideological commitment
•by curiosity (gathered only to find out why others were gathered)
•attraction to spectacle
•to consume, pornographically, the visceral images of police and military violence
•
--> the idea of participation loses its meaning

formation of a crowd
materialization of the state's force

ephemeral mobilization (which later sets the stage for politicization) is a familiar instrument of power

the group:
•(has a) monopoly on violence
•manifestation of a will to democracy (for example the way Iranian movements were read by international bodies)

ahistoricism of conspiratorial orientation --> “powerful but secret instrumentalities ==> temporary formations” --misses--> the transformations of social consciousness and political possibility

(to open to the thought of a world beyond you)

narratives of accidental politicization (~ movements emerging from crowds without ever becoming masses or classes)
--✕--> from the state
--✕--> from the transnational media + whose circuits the images of these convergences travel
--> an experience of immediacy (as the origin of politics =/= encounter with representations of the world), sudden activation of an immediate presence in the public sphere --> political conceived as itself being contingent

to resignify and reorient the problem of the political in terms of civilizational difference (rather than ideological, and hence economic, difference)


the so-called nocturnal sudden death syndrome

rapacious female specter
in the fear of being killed by this nearly limitless desire for female dead, men (Thai constructor workers in Singapore) started to paint their nails, attired themselves as women before going to sleep
[seek to accomplish in advance what is feared, emasculation]--> **mimesis of a crisis foretold**

(khwan)
a thread of unspun cotton tied about the wrist --to--> prevent the dissipation of one's vital essence

(mostly men's) satisfaction of commodity desire --entails--> absence from home

woman's work in technology and textile manufacturing and in the tourism sector (whether as service worker or prostitute) --> is deemed lamentable, even contemptible, but still tolerable

anxiety over lost male potency ==?==> widow ghost

the queen had a dream (that all the men in Thailand had vanished)
--> anxiety expressed as *extreme anticipation* (and not as an opposition to the feared object)
-the phenomena materializes what they seek to differ and mime (the force thday the want to stave off)

collective spirit possession

periods of commodification --> waves of witchcraft (traversed Thailand in 1905)

•episodes of disruption
•social crisis
•economic transformation
•attended reordering of social relations (including those of class and gender)
•

(khwan) rite: a try to evade loss by soliciting misrecognition (on the part of the ghost), but they cannot cover over the fact of an already existent loss

working as a repetition compulsion --> the widow ghost (بختک bakhtak?) as an example of death drive
(waking up nightly having felt themselves robbed of breath and speech)
--Mills+Morris--> capital (not war) as the source of this trauma

trauma that arises in war ~/= injury that is the function of insertion into new and painful economic structures

mastering the wounds produced by capital, depend on:
•not the production of cathartic discharge through aberration or historisization through narrative
•on some kind of socialization or collectivization through which the source of injury can be addressed

(تقدم anteriority =/= causality عليت)

*discernment of cause is precisely the domain of political analysis*
|
in a history that is experienced as the space of contingency, or accident, symptoms are likely to be recognized as cause (<== the order of anteriority is no longer distinguished from causality)
|
older patriarchal orders might reassert their values

young people being possessed by crowds and then escaping that possession --> the labor to discern other possibilities in relation to the accidental...


accidental encounter as the basis of politicization --reiterates-transforms--> narrative of ghostly encounters ~=reveals==> *a fundamental but ultimately inexplicable antithesis exists* (between the way things exists and the possibility that they might be otherwise)

the “accident” makes visible the contingencies of everyday existence

[*]ghost: materialization of the spectral possibility of being absolutely otherwise (we give it a name “death” or “fiction”) and negates it by assuming a material form

...the ethical impulse constantly:
•risks disappearing into a mere chance affair
•risks disappearing in a rule

(Morris -->) spirit possession ==> *an individual learns to contain the effects of lost consciousness* (hence a certain kind of death)--by regularizing it and by surrendering her to his body to a voice that comes from without, almost always in the form of a commandment
*a mode of absolute comformity* --expresses--> desire =/= interest [Marx diagnosis: (how) the ‘interest’ of power appears as the ‘desire’ of the ones who are disenfranchised]
--> simulacrum of a dialogue, reciprocal sociality in a theater where the spirits respond to the questions of mortals
[crowds split between a desire to be in the place of power and an interest in its overthrowing]

the medium: always one called to her task, one who cannot refuse the demands made on her by a ghostly power. in her, power becomes visible.
-and is personal (in form of commandment--and not rule of law)
-the medium, in submitting, keeps alive *a memory of power before the bureaucratization of state*

young inmates entering into insurgent movement largely on the basis of contacts with older ideologues (with whom they had contact solely because they were incarcerated in spaces reserved for political prisoners

consciousness as reason --> double sense of being unmoored from explanatory and thus causal logics rooted in the idea of interest and expressed as a faith in the liberatory capacity of knowledge

bearers of popular political agency

mediatized neoliberalizing world

(identification with middle classness [its universal interests] -->) aspiring to classlessness

spirit mediums dressing themselves in the costumes of ancient priests

inadvertent and accidental politicization ~=> an awkward form --> opening to the liberation of the political from historical determination and its various teleologies

the fall of Soviet socialism ==>
•disorientation of structures within which opposition to the injustices of the capitalism could be articulated
•more ethical conception of democracy


(rethinking the conditions of) posibility for political organization (and political forms)

-(let's not) programmatic politics --reverting--> to a parodic reinstantiation of older oligarchic forms
-(let's not) reduction of accidental to trauma [~= incapacity to speak]

crowd: a context in which one can become subject to powers that exceed one --> for which spirit possession offers a normative form

the crowd lends people an instrument by which they can become audible (to the extend that they lose their own particular voice) ~= the medium lends a body to the spirit who can speaks in a voice from elsewhere

[*]crowd: a mode of the (political) sublime : one dies as a subject to be recognized as a citizen(= one who has a voice)

*sorcery: the translation of one fact into the form of another*

an antecedent rendered as cause

when we say something needs retrospection, it means narration (that allows the accidental to appear as that which will recur, not an anxious anticipation, but *a resolute commitment to an ethics of the event) =/= retrospection structured only by the question of origin (--> an approach to *curing trauma*)

(sustainable forms of) social good and distributive justice

ghosts ~= signs of reason's failure
•failure =/= absence of rational faculties
•[*]reason: that which arises to transcend a kind of being that would live only in the mode of the accidental

Morris's ‘giving up ghosts’ --> ***an acknowledgment of the accidental ground on which reason enacts the enabling violence of its regulative ideals***
-*enabling violence* --{trauma =/= accident}--> accidental events (such as the convergence of a crowd in a street in Bangkok) can precisely be rendered as the “ground” of socially transformative politics and institutional interventions (without original motivations)

(?what is at stake in elaborating the relationship between [Derrida's]:)
•grounding --> gesture of rational calculation and decision making
•running ground --> moment of accident when the boat touches bottom and is immobilized

(we can never) guarantee its own effectivity
(cannot know that if it is effect or cause)

([can we ever?] resist) melancholy eschatology


(?) the gesture of politicization must be made repeatedly---often in situations that arise as though accidentally

...how the experience of the political as accidental (in popular mobilization during the 1990s) was also (at least partly) written into the interior of another discourse about the impossibility of change [~ neoliberalism's triumph and the end of history]

binarism of the war on terror resignifies older more disparate conflicts, and cultivates subjects who conceive of the political in these narrow oppositional terms --> to define the political as opposition between friends and enemies

***power always works by claiming that the future is already determined by a past narrated from its perspective*** (<-- that is why my work is about the past) --> [my work:] *learning to think otherwise about both the past and the future*

(the failure of political imagination in only speculating about the future)

*(the basis of) the political: transcendence of the accidental*

Morris shows how the potential force of the political depends on the recognition that it is not merely that which can be relegated to the past

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

(Bubandt > Morris > in Buli, North Maluku in Indonesia) witchcraft: ambivalent aporia, the interminable problem of life ~= empty seashell (shell in which there might or might not be an occupant, provides the de-sexualized figure for doubt that saturates the consciousness of those who inhabit the world of witchcraft, an internally split subject)

anthropology of witchcraft
--✕--> charges of residual exoticism by reading witchcraft phenomena as sites at which the transformations of modernity are mediated and made available for resignification
-to displace (witchcraft) into the domain of representation --> capacity to resignify the historical real

lethal violence at Marikana (South Africa, August 2012) --> muti magic was a not matter of resurgent tradition (for the black South African analysts), rather, magic was a visceral, strategically instrumentalizable, and absolutely lethal power. the kind that enables people to go to war, the kind that operates at the point where language fails (--?--> the use of poetic mystical enchantment in Iran-Iraq war for sending young soldiers to the battle fields)

witchcraft only becomes visible in the moment of accusation, as a retrospective effect of oracular diagnosis (Evans-Pritchard)
(...no one is sure that he has indeed heard a witch)--Bubandt--> witchcraft: a condition of doubt (=/= a system of belief)
--✕--> Morris questions: doubt =/=? belief

Morris asks --> doubt:
•whether illness is caused by witchcraft?
•whether one's neighbor is a witch?
•*whether one is oneself a witch?*

in Buli (=/= The Magicians TV series, Harry Potter film version of magic):
•witchcraft does not explain the world
•witchcraft is not an alternative mode of reasoning
•witchcraft does not permit anyone to control the forces (that assault and wound human being)
•witchcraft provides neither certitude nor escape from the anxieties that death bears for the living

(the interiority of the other is unknown and unknowable ==>)
[*]witchcraft ==provides==>
•an idiom in which the world's very immunity to explanation is affirmed (often with violent and terrifying consequence)
•figures and narrative forms in which to address (also reproduce) the opacity and ambivalence of sociality

[context:]
the other (like the empty seashell) is unknowable, though we must engage others and seek recognition from them to escape solitude and death [...] in forms of giving and reciprocation that demand generosity but that are also likely to provoke avarice --emerge--> witchcraft: a relentless question about appearances and the problem of knowing what they disclose

doubling of genitalia and mouth in Buli dream imagery

(marriage: to manage witchcraft)
tradition “establishes the ideal format for conviviality” ==ensuring==> sexuality and consumption are made the basis of sociality =/= witchcraft (as a perversion of marriage)

in Buli (against mistranslation or misrecognition of the foreign modern):
•Christian missionization (19th and early 20th century, and again in the 1930s)
•modernist developmentalism and statism under Suharto
•technologization associated with natural resource-based capitalism
}--scenario--> effort to become modern ==> enter an order of truth and knowledge (=/= dissimulation and doubt)

valorization of reciprocity (in Halmahera)

Morris asks: is not the coimbrication of doubt/belief precisely what the discourses of the Enlightenment science, namely knowledge through revelation of what is, promised to replace?

(Bubandt's assumptions in Kant/Morris terms:)
•doubt <== anxiety, fear, suspicion, rage (--> affective dimension)
•doubt <== an incapacity to transcend the aporia that defines the relation between the empirical and the transcendental (--> epistemological dimension)

“I have never seen a cannibal witch” --> anthropology's epistemological conundrum (an a priori postulate) --Kant--> an irreducible impasse between the empirical and the transcendental, of the incapacity of sensory experience (intuition) to provide the basis of absolute knowledge (=/= merely general knowledge)

Foucault --> intuition cannot ground knowledge of the absolute ~=> knowledge of individual human beings and their empirical histories cannot provide knowledge of “the human”

Evans-Pritchard --> witchcraft satisfies the demands for an explanation of the singular event: this death, of this individual, in this moment (not death in general)
~-> for Bubandt, witchcraft: reproduction and valorization of this aporia (between the transcendental and the empirical)

James Siegel naming the witch (not only a political history but an investigation into the entire history of anthropological discourse on witchcraft and sorcery)
-he links the crisis of recognition brought on by the collapse of an authoritarian state that *had appropriated for itself the function of recognition*, to the rise of witchcraft accusations, to efforts to name a witch --> witches and not witchcraft were seen to proliferate after the fall of Suharto
•how the labor to designate the source of a menace that exceeds the empirical and that fails to explain the singular is inevitably failed
•the misrecognizing belief that eliminating witches could eliminate witchcraft

discern death drive in the very place that there is an effort to escape death

{ radical empiricism = close reading }==> attentive listening

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

https://www.journals.uchicago.edu/doi/full/10.1086/689012

(two competing conceptions and aspirations,) two paradigms of communication:
•an ideal public sphere that recognizes the task of mediation but also requires its effacement
•to bypass mediation through apparently immediate forms of speech that range from visual slogans to messianic utterances that can be heard even by the dead (--> frustrated by deferral)

Morris: the social scene is technologically heterogeneous ==> epochal and ontological schemata of mediatic displacement must thus be rethought

structure: an eruption of the mediaticity of the medium onto the horizon of reflexive consciousness (Kittler)

(in still decolonizing nations) the function of mediation has implicitly emerged as an agonistic exchange about the very possibility of exchange (not of deliberation) --> possibility of political representationalism

..stranded in its imaginary between the twin phantasms of the mining town in postapartheid South Africa

aspiring to a radical openness and threatened by it...
limits and the contradictions of democratic consciousness

environment as a monstrous hybrid of statistical hysteria and narrative compulsion as well as real violence (that takes its shape under conditions of largely racialized economic inequality)

[i have been working and listening to that which] call our attention to ***other spaces, identities, and structures of obligation*** (=/= defensive strategies)

cell phones
•technological mediums of absent voices
•lighting up, buzzing, or ringing
•ciphers of a profane immanence
•fetishes in which are concealed the histories of mining and labor elsewhere
•promise contact with elsewhere + obstacles to the desire for full presence and the performative power of words ==> frustrated desire

a public whose membership cannot be known in advance--even when exclusionary limits are constitutive of its domain --> [*]public sphere: social formations enabled by technomedia phenomena (=/= spaces of rational deliberation and consensus making--as in liberal political theory, public sphere characterized by deliberative processes)
*scenes of overhearing* --> public speaking makes that overhearing its goal

“migrant pirates of deindustrialization” (speak only to threaten) --> liberal opposition between language and violence ~~--> the rhetorical grace appropriate to leadership (inauguration speech of Obama, his charisma emanated from his identification with a righteous struggle --> *his being more than himself* [<-- young artist selflessness syndrome in aspiration with the right politcal cause])
zamazamas’ illiteracy, not eligible for a public sphere that depends on literacy. for without literacy, they cannot submit to the law. *defined in its essence by legality* (sustained by a desired opposition between language and violence)

a signature (sign your own name): a form of writing recognizable across all (mainly romanized) languages and is the ideal condition of possibility of recognition from within its constitutional order

mimic the address of someone wit charisma (~= authority)


(Morris on) mediaticity of speech (and not merely of media technologies)

Morris reading of a scene (of quotidian exchange) in HIV/AIDS NGO office: a metonym and a metaphor for a kind of South African public sphere that aspires to inclusiveness but is terrorized by its incapacity to know what that opens it up to
•arms itself against potentially aggressive others
•narratives of violence work *to reinforce the sense of necessity* (for a general securitization)
•work in the mode of a **negative meritocracy** (= those who would violate the rights of others are to be excluded, but no others --but--> how to know in advance who has perpetrated or intends to perpetrate such a violation?)

...in the shadow of communicational technology's fashion industry
...bountiful banality of the technologies and artifacts of mass reproducibility

[...] --> lithography --(superseded by)--> photography --(gives way to)--> cinema --(transformed by)--> sound technology --(displaced by)--> integrated and multiplatform digital media --> [...]
(teleological fantasy:) ontologized in epochal schema (these sequences become something more and different) --> analog media are said to be displaced by digital media ==> logic of representation gives way to that of information
=/= (Morris questioning) the conflation of media with mediation, which is itself symptomatic of both a technological determinism and an effort to ontologize technology --> a crises of mediation (not media): the communicative aspiration and the presumptive unity of medium and message in language are brought to their limit (--> media technologies play a role in this drama, but they do not explain it. @OSP & Femke)

-women's understanding of improper English of Zuma's speech: a communicational fail that (from their perspective) is associated with illegality, corruption, and violence

(not to embrace) the kind of logocentric historiography that imagines literacy to constitute a secondary mediation of a primal and autoaffective orality

witches: *technicians of a speech* in which the identity between word and world reaches its maximal extent, when the mere utterance of a spell (even when that utterance is nonverbal) is thought to cause things to happen

zamazama's literacy: the means for communication across difference ==> the mastery of mediation and thus its effacement (=/= signify the secondary mediation of a primary orality)

...a society that is being reconstituted around a commitment to constitutional multilingualism and democratic proceduralism

rituals of governmentality
delay and deferral

fantasy of immediacy -->
•messianic movements
•direct-action politics
•various kinds of violence
•
}==> language
•hollowed out of ambiguity
•pried away from subjectivity
•instrumentalized in slogans and catchphrases (from obsolescent ideological programs)

*violent drive to immediacy* (~= direct-action politics)

(more than) the leakage of affect into a ritually rationalist space

transmission and identification needs and secures the appearance of their exteriority

slogan --> traverse the gap between word and deed, convert the difficult tasks of education and redistribution into the clarion call ~-> pop songs (anyone can utter these words and in so doing find themselves enthralled by the strange sensation of speaking someone else's words and simultaneously experiencing them as one's own)
*slogan: a deeply reified speech (at once vacuous and overfull) at the point were the boundary between language and thing threatens to dissolve -->
•(its communicative function:) *solicitation of identity among speakers*
•(its primary signification:) the fact of *collective utterance* (=/= dialogism)
[*]slogan: literalist response to the mundane crises of mediation (in a political rally) [reduced to the most instrumental dimension]

the awkward trace of dubious literacy (in miners message inscribed on the placard) --> resistance into the communicative process
who/what speaks?
(case of EFF:)
•pidgin, minimal and unambiguous message borders on telegraphic code (men miners)
•typographically standardized form, graphical form of a chant (women demo) --> vocalization of a slogan that anyone can speak ==> resignification and redeployment

(public sphere avowes) necessity of mediation but also of its effacement =/= short circuiting to which the slogan aspires with language that is stripped of ambiguity


messianism: the drive to transcend mediation altogether

(Jassem's mode of) explaining what had happened with all the art of a storyteller and truly Spartican authority
-[Spartan athlete: marked by simplicity, frugality, or avoidance of luxury and comfort]


(leftist activist:) those who claim better representational capacities (because the representative function has been confused with a governing function) + aspiration for something beyond this representation

performance of moral righteousness

exclusion at the threshold of liberation

unconscious mythopoetic structures

insistence on being clandestine = claim of importance

offering oneself in the role of “leader” in the pursuit of immediacy

strike as an ecstatic experience of collectivity and self-presencing =/= self-representation, mediation


Marx's view of the role of the individual in history, in his Eighteenth Brumaire, that *the identity of the workers’ interests does not automatically become the basis of a sense of community* --> workers are blocked in their capacities for self-representation ==> ***eloquent appropriation of the workers’ possible but interrupted capacity for self-representation***
~~> messianism & sublime

(in liberal electoral democratic order:) “having a voice = the mark of political subjectivity” --> (a very bad definition of) power: making oneself heard and heard in a manner to which others must respond

(sensation of presence and immediacy heightened in) face-to-face --> transcendent experience of communication --> that “there be no loss or dissipation between speaking and being heard”

(messianic utterance of) slogan <--> immediacy
-->? banishing ambiguity at the expensive of signification

aspiration to immediacy + communicative fullness --> simple *oppositional corrective*
a substantialized, corporealized figuration of power vs. EFF make themselves into pure proxies

(pedagogy, a horrible and wrong idea of) “perfect transmission of intention ==> production of consensus”

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

[explosion of accuracies]

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

after death there is:
•rumer
•afterlife
•


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

(Nicholas Shapiro shows in his research on) people in ordinary toxic homes: *their apprehension of conventionally insensible domestic chemical exposure was informed by sustained attention to barely perceptible alteration of somatic function and atmosphere*

(Sloterdijk, Latour, Anderson, Berlant, Stewart, Shapiro) to explain body's relation to the world --> ancillary process of being a living body as:
•becoming sensitive
•embodying atmospheres
•somatically judging environments
•becoming corporeal aware of nonhumans
•protracted low-level encounter with domestic chemicals --accumulate--> *chemical sublime* <== (indistinct and distributed harm of) late industrial material ecologies (=/= enlightenment sublime: spectacle material threat with transcendence of immaterial reason)

silent and invisible microemissions accrue within the envelope of the home --> residents reckon with how their homes are decomposing into them as they decompose in their homes

somatic work of the chemically concerned is enmeshed with an *apprehension of their own bodies that is simultaneously sensuous and epistemological* (~ “bodily knowledge” situated within a process of “bodily reasoning” that tempers not just what one knows but what one becomes with or is estranged from [=/= forensic architecture notion of knowledge])

‘sustained bodily reasoning ==> chemical sublime’
Shapiro + Kim Fortune --> call for ways to differently know and reimagine our ongoing late industrial present, which is marked by deteriorating sociotechnical systems and economic, climate, and infrastructural instability


**somatic susceptibility and epistemic capacity** common to human life --(informed by nonhuman life)--> molecular and relational appreciation --Shapiro--> domestically exposed (the ‘chemically wounded’ attuning to their own effects and affects ~ discerning the barely perceptible constituents of their environment [=/= “deviant agents,” diagnosed, resistors]


toxic = potency --implicate--> vulnerability of a living body

years of exposure --> biochemically magnified effects --> semiotically enflamed

somatic cognizance

(Shapiro on affect and phenomenological studies of environmental exposure -->) formaldehyde indicators and agents of social abandonment and precarity

(growing literature on) the body as existential, pedagogical, and ethical grounds of (cultures of) science

Shapiro: “how can expanding the avenues and temporality of sensing yield an appreciation of what many of us are abbreviating from our own sense of the world?”

Shapiro ethnographically elucidates the *somatic mode of attention*
--> bodies are sites for both actively absorbing the world and being put into motion by its constituent medley of humans and nonhumans

-becoming with (Haraway)
-orienting toward (Ahmed)
-bodily reasoning (Shapiro): the dynamic process through which knowledge of individual spaces of chronic exposure is somatically attained

women's accounts of self-monitoring for bodily dysfunctions (--> feminization of body care)
[Shapiro discovered] men's active indifference to slight somatic abnormalities (rejecting the possibility that their bodies wear permeable --> masculine self-image)


olfaction --> take displeasing scents as primary indicators of environmental contamination
--but--> smell recede from perception over time as they become incorporated into new senatorial norms (sensitivity down-regulates in a process of olfactory adaptation)


microscopic encounters --sensed--> less nameable and more diffuse sensory practices

exposure: an affective space, at the limit of the phenomenal, the somatic proceeds and then is entangled with the rational


sublime (in chemistry): transform from solid to gas bypassing the intermediate liquid form

*nuclear sublime*
weapons scientists felt the blast bore into the being, into their faces, register of the power of the bomb
spectacular, brutal, and lightening-fast sensorial pummeling, tossing them to the ground
=/=
*chemical sublime*
formaldehyde sedate speed of chemical off-gassing and the regular human breathing; (not signalled by overwhelming sensory stimuli rather) indicated by a thickening veil of indistinction as perceptual faculties became occluded
...the bodywork employed to apprehend the qualities of indoor air

(Masco & Kant's privileging of) sublimity's correlation with public, spectacular, and violent events =/= (Shapiro's sublimity:) *profundity and density of widespread, private, indistinct, chronic, and fragmented phenomena*

chemical sublime = انباشت استدلالهای جسمانی accrual of bodily reasoning
irritations --> agitations ==> attenuate the effects of vast toxic infrastructure


(masco nuclear) sublime ==translate==> resounding ethical call
chemical sublime ==> ?

...industry's mobilization of law, science, capital


Shapiro: we must look at how the sublime has brokered relations between exposure and the status quo since at least down of the enlightenment

(quintessential of enlightenment project) Kant's sublime: the immensity/might first overwhelms our imaginative capacity (or indicating the fragility of human body yielding a sense of helplessness and distress) then this feeling is countered and ultimately overcome by reassuring one's self of power of the mind ==> reason sets humanity apart and above the physical world
[*]sublime: *internal turmoil and sensuous displeasure is elevated into the delight and superiority of reason* --> humanity's continued progressing

(Shapiro + Gene Ray: ideological function of the aesthetic category of the) sublime within Kant's critical system is anxiously bound up with deep *metaphysical optimism*

formulation of sublime:
•form (space, time, and intensity) of exposure
•the relation between the supersensible (mind) and the sensible (matter)
•orientational movement (from without to within or vice versa)
•political reckoning

*bodily reasoning =/= object (of sublime) held at a distance
*sublimation of toxicity =/= mental mastery (over perceived threats)
*amplify =/= extinguish (the tensions, agitations, dissident potentiality of large-scale hazards)
*coalescing of underrecognized disturbances =/= compensation
*beginning of a confrontation =/= resolution

foil of human triumph: “transforming the worst into the best” <-- not possible anymore
...~->? potentiality of living otherwise (---> go to Tsing's contaminated diversity, Chen's queer toxicity)


...in these spaces where *enduring and knowing* are coterminous, the feeling of a living dead seeped into the margins of life for those with even minimal symptoms


(chemical phenomenology)
molecular cohabitants who physically hold our world together also encourage our unravelling*** [Shapiro] becoming a pupil of the air [Sloterdijk] is to attune to the aerostolized material culture and more-than-human semiotics [Kohn] within which one is immersed
***


chemical sublime (does not merely refigure a form of sublime in philosophical discourse but) poses an alternative **schema of eventfulness** (or call to action)

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

[title]
kulturgeist

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

Zizek - Organs without Bodies. Deleuze and Consequences

(i am still at the title:) in your efforts to make ‘body without organ’ (the emergent, non-hierarchical, inclusive, flexible, smart, liquid good object) you might end up creating ‘organ without body’ (monstrous, hierarchical, authoritative, soulless, archaic bad object)

functional specificity of organs =/= to release the decoded and deterritorialized flows of [*]desire: a process of production without reference to any exterior agency (--although--> ‘fascism = desire’)]

an example of body without organ is the ‘ocean’ for Marialena
(for Marialena) ocean [~=? fluid women] (an unstratificated, non-coded flow, sex organs sprout everywhere, no organ is constant as regards either function or position) =/= (male fantasies of) armored body

(Deleuze and Guattari suggest) dismantling of the organism (~ molar organic body) ==>
•hypochondriac body (suffering from imaginary symptoms)
•paranoid body
•schizo body
•drugged body
•masochist body <-- my favourite
•
}--> these are all about the body from the point of view of its *potential* [=/=? method]
}--> we are at (an anthropological / psychoanalytic discourse of) excess and transgression --Artaud-->{ organs: functional articulations forced on the body }==> separation, determination, representation

body without organ =/= body image http://ajayeb.net/?q=body+image

-what feminist theory has to say about that? --Irigaray--> is not the body without organs women's own historical condition?
...the machinic, the inorganic, as well as the notions of loss of self, dispersion, and fluidity are all too familiar to women
(and to non-western subjects, i would say. Tasavof has been advocating body without organ within the context of mysticism in Iran)

are Deleuze and Guattari “cyberpunks, constructing fictions of terminal identity in the nearly familiar language of a techno-surrealism”? ~-> (to dissolve the body ==>) will to regain the world <~~--> [death of the auratic object ==> subject: a condemned and useless vestige alongside the simulacra that precede and envelope it]

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

(?we need) political metamorphosis

the tensions between:
[*]artist's “special task” (to oppose intellectual divisions) {(art of) forming, inventing, fabricating concepts (<== Deleuze and Guattari), (a “task” that) proceeds with a plane of immanence (or consistency) ~= self-referential (=/= referential) --> syntagmatic (word associations)}
and: [*]the increasing difficulty to ask questions (as a result of the constant increase in the specialization of the knowledges --> science) {propositions in discursive systems, (a “task” that) proceeds with a plane of reference --> paradigmatic (a worldview) ==>? to *confront chaos* ~= to provide chaos with reference points [<-- artists need to learn this]}****

(my work in lecture-performance: to provide chaos with reference points)

Barad, Stengers, <== stable foundations of physics had broken up and it is time for science to become philosophical

science becomes philosophical philosophy becomes artistic art becomes anthropological anthropology becomes poetic poetry becomes biological biology becomes archaeological archaeology becomes speculative speculation becomes scientific science becomes aesthetic aesthetics becomes adventurous adventure becomes rigorous rigor becomes Iranian Iran becomes German Germany becomes Arabic Arab becomes Egyptian Egypt becomes animalistic animal becomes fabulous fable becomes political politics becomes...

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

(Baxstrom + Meyers highlight a productive gap between intent & outcome in) Christensen making a case of witchcraft (in his pioneering, bizarre, and lavish project of Häxan):
•misidentified nervous disease
•incompatibility of superstition and religious fanaticism with modernity and science
•bringing “errors of belief” in the 15th and 16th centuries into our view

living cinematic tableau, Häxan's excess =/= socially constrained thinking, discursive mode of analysis

Christensen's thesis concerned/gripped with abnormalities, events, and causes ==provide==> diagnosis
(like Favret-Saada) he was an un-witcher at once caught & catching

witch =? epiphenomenon

(to bring the ajayeb to life “objectively” is nonsense)

[Häxan = spectacle + argument ==> *to make nature speak*] drove efforts to locate & combat witches, and it served to shape similar aporias between *sense & distance* imbricated in:
•the invention of modern hysteria in the 19th century
•the “discovery” of the “native's point of view” by anthropologists in the early 20th century

for Christensen: “witchcraft = unrecognized manifestations of clinical hysteria and psychosis”

excessiveness of Häxan's reenactment --> construct the witch's material, invisible, mobile force
(Häxan's objectivity) had no expectation that the real will simply “speak for itself”

Häxan's reception in the 1920s --> to energize a negative, conceptually dogmatic discourse that formed and hardened cinematic taxonomies [particularly the division between “documentary” (nonfiction) and “feature” (fictional) films]

experimentation + evidence making

sexual intercourse, cannibalism, cauldron --solemnize--> pact with the devil

evidentiary thinking

elaborated visualization of the witch stereotype

--> complex nature of *sensual explorations of the flesh* through masochism and exorcism

demonic influence
genres of transfiguration and metamorphosis

Christensen shows how those who were once identified as witches are now the objects of medical and social concern in modern life --> shows the potency of her various forms over time


--> Baxstrom + Meyers
(my work on ajayeb is based on that) [there is a largely] unacknowledged historical tendency and predisposition within the human sciences with roots in much older practices of:
•defining social facts
•discovery, interpretation, production of the real itself
[such as bestiary]

method that allows the researcher to sense
interpret and master forces that appear to be nonsensical (yet held to be present: held to be essential to the reality of everyday social life) --> an epistemological concern

privileged space of the irrational in medical discourses in 19th century: (Jonathan Strauss -->) irrationality (nonsense) was a legitimizing force for medicine in that the very incomprehensibility of the mad created a mysterious and extra-social language that the rising medical profession could adapt to its own purposes

“nonsense” of “the native” [--> my start-up engine in Islam lecture series, a privileged site of mysterious incomprehensibility allowed me to to form the methodological basis for a fieldwork for unknown forces of irrational life in distant societies...]

*anthropology: (a distinct human science from the desire to credibly) master nonsense*
(Baxstrom + Meyers)

anthropologists claiming to have assumed the “point of view” of another (~ fieldworker must achieve the cultivated sensed point of view of another) --> distillation of method & disposition (?) <-- when confronted with the question “who are you?” and “what do you do?”
(according to Malinowski: this) privileged relation to the unknown must emerge through the ability to test what is asserted to be real --> a series of subjective trials subsumed within the rubric of “fieldwork”
*presumptions:
•experiential disposition of the analyst ==> understanding of a phenomenon other wise held to be imaginary and fictional
•witnessing and testimony ==> evidence as to the reality beyond the direct experience of the researcher

([Malinowski updated and secularized a much older epistemology of] Luther:) faith = a commitment to the representation of a truth --> Western Christianity's own efforts to discern truth and the nature of the world


proliferation of witches in 15th century Europe

reassuring relief for the pious believer: force Satan (and his followers) from the shadows through an interpretive expertise over the concrete secondary manifestations of God's reality --✕--> (most had no luxury to imagine) *the embrace of life that the devil urges in binary opposition to that of the good*
--> Devil interfering with the most intimate communications with the Divine
-how does one really know who is speaking when prayer is returned?

[for] the demonologists of the 15th and 16th century --> “God must exist because Satan is right in front of me!” : reality of witches ==> Satan
Institoris, Sprenger, Johannes Nider,
the name of the witch ~=> sacrilegious and inhuman deeds (subject to verification)

*inquisitors believed that what was reported to them was possible* (still they desired proof) <== interweaving of learned demonology into the fabric of a dominant theology (<-- sovereignty of God ratified primarily through the worldly evidence of Satan) + invisibility of the spiritual world was expressed as an essential given

{for the inquisitor (witch hunter) it was never enough to simply “believe” <==> a narrative must be produced that at least partially satisfied the demands of evidence}--> *interrogation under torture = an experimental form of knowing in crisis*

truth value of a nonsensical confession made sensible --> human belief, action, and social practices

ethnographic style of early French ethnographers --> **learning truth from lie** was essential to representing the “primitive” reality in order to interpret it in its true picture
-Marcel Griaule's approach to fieldwork: “The crime is the fact, the guilty party the interlocutor, and accomplices are all the members of this society. [...]the abundance of pieces of evidence serving to convict appear to facilitate the inquest, but in reality they guide it into labyrinths--labyrinths that are often organized. [...]The inquest must be treated like a strategic operation.”
--> nonsense to be mastered had shifted from the demonic, incredible forces at play for the inquisitor to the misguided tall tales of the native interlocutor [--> same mistake that Federici does in her book Caliban and the Witch. Federici, in search of the manifestations of misogyny, aggressively frames the scene of a feminist encounter with witch-hunt as a kind of antagonistic trial of social organization of the Middle Ages in transition to early capitalism... a mode of attention that is equally didactic and forensic as the witch inquisitors]

recognition of the struggle that lay at the heart of raising testimony to the status of the “really real” --Avital--> Griaule aggressively frames the scene of ethnographic encounter itself as a kind of antagonistic trial (whereby the ghosts and gods of the natives are forced out of the shadows and made concretely apparent to the senses of the anthropologist)
*fieldwork ==> knowledge of hauntings that is itself haunted*

imaginative result of “I-witnessing”

*paradoxical necessity of an expressive element within an objective test in relation to what would other wise be nonsense* is evident in many of the examples of 16th century visual culture --> ajayeb bestiary


trial by ordeal
(illustrated in Eduard Fuchs)
the case: if the woman floats she is clearly able to contravene the nature and is therefore a witch or heretic; if she sinks, she has made no such pact with Satan
-procedural expertise --> trial by water here functions as *experiment as much as a punishment* designed to reveal an other wise invisible truth

testimony + experimental results + expert inquisitorial interpretation ==> early version of the ‘case study’ (synthesized as evidence in service of accounting for variation that exceeded general laws regarding relations and phenomenon in the world)
Baxstrom + Meyers

(ajayeb's) individual cases: an effective strategy in providing analytic (and empirical) purchase for phenomenon that were other wise invisible to even the discerning eye of the expert <-- **to move away from a reliance on metaphysics**


**medicalization of the invisible**

possession
set the stage for the explicit medicalization of the mobile invisible forces that experts had been struggling to master, explain, and take measures against --> a new mode that was equally *didactic and forensic* (as the theological frameworks deployed by inquisitors and the exorcise of demons by Church)

witchcraft, faith healing, and demonic possession
Bibliotheque diabolique --> case studies to demonstrate the precariousness of misrepresentation and the consequences of ignorance ~= investigations collected by Charcot and his students in their studies of hysteria
•clarifying the link between witchcraft and hysteria

*witch hunting and the exorcism of spirits in the 16th century (--> antiquated forms of inquiry) ~=?! clinical studies of nervous illness in the 19th century --> conceptual scaffolding of the emergent science*:
•fascination with the secondary visible effects of primary invisible forces
•long-term labor of social interpretation that required the mutation of old categories and the creation of new ones

==> “witch = misdiagnosed”

epilepsy, the sacred disease, erroneously perceived as resulting from hostile magic
=/= hysteria (hold a special place in the moral imaginary)

the special susceptibility of women to witchcraft mirrored the “feminine weakness” associated with the hysteric, exacerbated by low social status
-in countless accounts of possession, we find descriptions of demons speaking through the mouths of girls
[Baxstrom + Meyers =/= Federici's flat analysis of witch hunt as the tool of subjugation of the local population or of woman by men]

tableau vivant --into--> tableau clinique --into--> tableau critique

hysterical reliving of the original symptom --> reframed trauma: an attempt to suspend the two temporalities (real and reimagined) in the same image
@Hoda

one element of fascination with hysteria was its “look” --> hysteria's aesthetic link to forms of possession

possession --> aneasthesias, amnesias, subconscious acts, somnambulisms, fixed ideas

a scaffolding: conceptually arranged chasm between outer and inner states ==>
•exorcists building on the techniques of inquisitors and witch hunters --> possession acts as the bridge across this chasm
•neurologists and psychologists construct the same
--✕--> (Malinowski's) anthropologists: fieldworkers as truth-tellers returning from the dark corners of the real (the witches are no longer explicitly the target of the inquiry)

Häxan's real object: the specter of sheer nonsense

hunt (even in objective scientific mastery) --> fueled by a desire operationalized in a method of being close enough to something to sense it

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

(?every time we have to) show how *the word (that we are using) relates to meaning*

Christensen makes every effort to craft a witch that is real to us : ontological fluidity of a cinematic image ==> “Häxan = word + image + thing”

metoposcopy: the expression of reasoning was to be found on the face, (dating back to Girolamo Cardano and the Renaissance) the operation of reason as the weaving together of images in the mind --> a proto-cinematic theory of the relation between image and thought if ever there was one

•respectable scholar indexes himself through his sources
•authoritarian first-person tenor --> instrumentally impersonal tenor
•establishing the X as a chapter within a much longer constellation of practices, discourses, traditions, and institutions

Kieckhefer --> how the long history of practical natural magic was enfolded into the specificity of European witchcraft in the late Middle Ages

Christ in Limbo --> Christensen's parallel editing ==> moving representation of a terra-centered universe <~~ elaborate wonders found in baroque wunderkammer (meticulously assembled by the German elite)


Renaissance Hermeticism:
writings of Hermes Trimesgistus ~=> foundation for:
•Ficino's relatively mild natural magic
•Pico della Mirandola's Christian Cabalist
•Agrippa's Christian magus
•Tommaso Campanella's (1568–1639) utopian City of the Sun
•Bruno's full-blown Hermetic–Cabalist (through the power of astrology and magic to bypass the Church altogether)
•

...rippling effects of the Hermetic–Cabalist tradition -->
•scrupulously mathematical astrology of Girolamo Cardano
•the rigorously empirical studies of the natural world demanded by Bruno's attempts to operate as a magus
}==> (paved the way for) science of Newton and Copernicus --> a new metaphysics to emerge

attacks on Renaissance magic and the Hermetic–Cabalist tradition (that authorized witch) ==> anti-witch treatises

(case of Giordano Bruno's execution --> Hermetic magic and Cabalism) how in the 16th century: “superstition = crime”


(Christensen attributing) --> Hortus deliciarum, a largely cohesive image of hell to a period when the nature of hell's location and “topography” was a subject of fierce theological debate
-he strategically ignores debates and alternate conceptions of damnation that existed in the 15th and 16th centuries in Europe

[that which you choose] works to amplify affect more than further analysis (--> such as Christensen's attempt to heighten the fiery terror of the scene by billowing smoke ==> عام generic explanation)



...a palpable sexual dimension crepting into Christensen's thesis <-- images of women “sneaking away” to attend Sabbats

Häxan visually grounds itself in citable evidence from the start
•cinema: (as an instrument for “recording reality”) a vehicle for “telling the truth” about the world [in early 1920s]

when documentary was not yet documentary -- fiction wasn't fiction yet either --Chanan-->{
moving pictures = visual tidbits لقمه چرب ونرم
made no demands on literacy (==> spread easily)
whe world on the screen remained anecdotal (and predominantly iconic)
practically inarticulate (in terms of public discourse)}

(1900) visual meaning-making machines that demanded not only attention but belief (by staging as real reenactments) --> mutated the desire to see far-off contemporary events
•--> Attack on a China Mission Station (1900), Hunting Big Game in Africa (1907), and With Captain Scott, R.N., the South Pole (1912), The Battle of the Somme (1916) and With Our Heroes at the Somme (Bei unseren Helden an der Somme, 1917)

(Baxstrom + Meyers) question of mimesis
-what is the relation between a fragmentary visual artifact drawn “from life” and the truth value of any such fragments?
-what sorts of filmmaking practices can felicitously mimic life as such?

[for example in Curtis's In the Land of the War Canoes] status of reenactment ==> prevailing standards of expressing the real

--later --> crypto-structuralist origin myth that falsely represented what “documentary” meant to pre-Griersonian filmmakers ==> “realist” Lumiere =/= the “fanciful” Melies

}--> *gap between witnessing and the real* in Europe (this question of evidence occupied inquisitors and theologians long before the invention of cinema)


preparing viewers for the “diegetic absorption”
(telling of a story by a narrator) diegesis =/= mimesis

the strategy of “reimaging” is methodological and intentional (in the opening minutes of the film Häxan) --> (in European terms, for a very long time:) “knowledge = recitations of the known”

+ creation of new images --> constituting its own evidence for what is at stake
(Christensen designating) **techniques of presentation rather than simple content**

****the “truth” gained by the reproduction of archival images**** <==through== their mobility in the context of their new use
--> (similar to Farocki) Christensen empties out such visual artifacts, expressing through their preestablished frame a meaning that was hidden and resisted



(Baxstrom + Meyers carefully treating the) methodological element of Christensen's image-making practices --in--> Häxan's depiction of the violent moral disorder of the Wild Ride of the witches to their Sabbats

(16th century) Wild Ride: a standard element of both demonological and popular literary accounts of the activities of witches, folding:
•older legends of wild hunters
•restless travels of the dead at night
•tales of the Furious Horde (a super natural band that was not originally associated with witchcraft)
•twisted chaos of the deep forest
Canon Episcopi regarding the power of demonic illusion to deceive women into imagining that they could travel great distances at night, often in the company of the goddess Diana
}--> conjoining of witch image to demonological discourse [<-- an empirically verifiable invention in the late medieval period and the Renaissance]

*the oscillating value of the non-fictive* (of its discrete artifacts)

hybrid human–animal creatures with each “natural” species being traceable within the complete appearance of the demonic creature


(coming into contemporary performance art -->) figures from antiquity:
•Saturn @Ale
•Circe @Bryana (changing men into beasts, games of chance, gambling, tricks, slight of hand, illusion, hybrid animal–human forms of the demons dancing around the “grandmother” with surprisingly young and beautiful appearance --melancholy--> general sense of sexual and societal disorder swirling around a placid, passive female protagonist) + empirical strain of the discourse of the witch
•Sabbat @Jassem
•
-->

pact of the witch
obsessed state of the hysteric
interplay of face and tableau

(Warburg's assertion that) donning a mask constitutes an active attempt “to wrest something magical from nature through the transformation of the person”
[putting on a mask --> transformation of the person --> obtaining omething magical from nature]

Christensen formally constructing “the witch” through a cinematic iteration of metoposcopic naturalism
(metoposcopy: a form of divination in which the diviner predicts personality, character, and destiny, based on the pattern of lines on the subject's forehead.)

(Avital) scientific imperative (the demand in the 19th century for an epistemological reliable inquiry in the nature of things) <-- fascination for the freak and the occult <-- on the way to technology


(Baxstrom + Meyers > Philippe Alain-Michaud on Warburg) “in Mnemosyne, photographic reproduction is not merely illustrative but a general plastic medium to which all figures are reduced before being arranged in the space of a panel. In this way, the viewer participates in two successive transformations of the original material: different types of objects (paintings, reliefs, drawings, architecture, living beings) *are unified through photography* before being arranged on the panel stretched with black cloth. The panel is in turn *rephotographed in order to create a unique image*, which will be inserted into a series intended to take the form of a book. The atlas, then, does not limit itself to describing the migrations of images through the history of representation: it reproduces them. In this sense, it is based on a cinematic mode of thought, one that, by using figures, aims at not articulating meaning but at producing effects.”


transgressive approach to the archive:
•Gerhard Richter's Atlas, 2006
•Jean-Luc Godard's Histoire(s) du cinema, 1988
•Christensen's Häxan
•Warburg’ Mnemosyne (presentation of a series of visual cliches and stereotypes, fragments which were most likely already familiar to the viewer ~ figurative givens ==> empirical evidence + media to conjure with)
•Bataille's journal ‘Documents’ 1929–30 --> seizes cliched objects and then systematically empties them out in the course of its own expressions. Bataille and his contributors sought to defamiliarize the cliches, disturbing the placidly deceptive surface of the mundane in their fragmentary, juxtaposing methods of critique and presentation =/= Warburg + Christensen collecting mythological, figurative givens seemingly quite distant from the “really” real
}--> unsettling distances between myth and the everyday
-weave together episodic fragments in order to draw parallels (across domains of sense that cut across time) and correspondences across situations and characters
-Häxan deploys the techniques associated with Warburg's Mnemosyne and Bataille's Documents for purposes of affectively emphasizing the dark, chaotic forces that lurk under the smooth surface of the everyday
(Häxan's episodic structure ==>)
•characters seemingly out of a dead past to live again
•draw the phenomenology of the hysteric
•draw the work's own contemporary time to the surface


promiscuous: neither wholly artistic nor scientific =/=? hybrid artistic and scientific

traverse steep slope between past and future in the form of an event =/= plot


inability to automatically categorize Häxan (or any work of art) <== ***formal strategy rooted in an epistemic virtue***


***(in later Middle Ages) practices such as persecuting witchcraft to meditating on Christ = techniques (of sorting operation) to draw distinctions among visual phenomena, differentiating, say, physical objects from fantasies, dreams, and diabolical or artful deceptions
<--artist-- image-makers specialized in manipulating one thing (their materials) in order that a viewer should see something else ~ *to make something invisible visible* [<-- this is always ideological, and is very common in art]
(#testing) the objective knowledge possessed by the uncanny (in witch's pathological language of diabolic proofs) ==> witch must be experienced in her own milieu, a satanic biome, her state in nature

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

typical in 17th century: tacit mutuality of word & image
-artists habitually gave their paintings titles, mottoes, tags and quotations, and their works abound in literary allusions
-explicit interleaving of the verbal and visual


cat feces and dove hearts boiled in the moonlight

stereotype of a debased and corrupted priest
object of the customer's affections


Protestant discourse against the Catholic Church in the 16th century --> artists of the period extended the instrumentalization of slander through the production of proto-pornographic images of bishops, priests, and the pope engaged in myriad obscene acts --depicting--> the emotional states and desires of the clergy

magical salves (considered particularly powerful and troubling by demonologists)

Häxan self-positioning as a scientific investigation + constantly pull back from the dramatic outcomes of what Häxan depicts

Häxan's demonstration of the power of the witch =/= paranoid delusions of witch- crazed villagers


widely held set of beliefs regarding the “nature” or “essence” of women
Christina Larner's assertion that witch trials were gender-related (but not by definition gender-specific)
--Baxstrom--> *women often came under suspicion of being witches because they were understood to be particularly susceptible to lust, avarice, and jealousy by their very nature [~ 16th century: **women “naturally” susceptible to witchcraft*** + women were presumed to possess elements of the nature more than men] =/= Federici's understanding of witch-hunt as straight-forward instance of misogyny*
--Roper--> *one cannot approach witchcraft or possession from a vantage point in the present without granting some legitimate status to the ways in which the Devil and witches were not only asserted to be real but were experienced as such*


(debates over) politics and evil
satan's malefic presence (in Dreyer's Leaves)
*a density of parallelisms*
Dreyer figures Satan as a problem of the present
“Bolsheviks violently engaged in revolutionary struggle = manifestation of a transcendental demonic power”

question of theodicy --> God's seeming absence from the world

sleep-walking --> enticing a nude female somnambulist out of her home into the forest, where she eventually kneels before a demon who embraces her

proving sexual relations with the devil ==> empirical evidence for satan's existence

(Benjamin > Christensen's art sets out) to conquer meaning


...so it is no stretch to suggest that...

subject and subtext



dreamtime of the 16h century
dreamtime of the witch


•Durer, Baldung, Cranach, artists at the dawn of the Reformation sought to represent the void as a figure
•strategies by which Expressionist painting sought to externalize states of mind

(Baxstrom + Meyers emphasizing) how Häxan *corresponds with a variety of traditions* without seeking to assimilate the film fully within one over another



stillness and fixity of tableau-like shot composition (Dreyer, Murnau, Christensen) ==> (the affect of) suffocating organization

Deleuze summary of Expressionism: play of light and darkness, with the mixture of the two producing an effect that suggests either falling into the black hole or ascending towards the light <-- *face* makes this affective power mobile

•(in Murnau) tableau --> frees the viewer for introspection regarding nature in a kind of emotional, spiritual release =/= close-up (disruptive pathos)
•(in Häxan) tableau --> grounds the uncontrollable forces at work on the faces of those confronted by the power of the witch (constituting a shot that is intensive =/= introspective)


Häxan film --> progressive unfolding of the material world through the style of a lecture
-exploration of the wonders and “errors” of the past (with near-messianic belief in the perfectibility of man)
magnified form of realist cinema + rooted in a naturalist impulse --> Christensen's witch is not only here now, it has always been here: “witch = a figure of nature”
-Häxan begins with woodcuts, drawings, and paintings that originate from *an act of touch* ==> haptic vision ==> to present figurative cliched givens ==> establish the ground
-seizes (the audience) and is seized (by the witch)
-seeing and touching *virtual beings* (such as devils)
--> rigorously logical structure + expressing the tangible singularity of the power of the witch

*(from) tales --to--> theology --to--> diagnosis*


“advancement” of natural knowledge <--> demonology


witch: a viral character


witch hunters's trial by water *is not a “trial” but rather an experiment* (to identify evidence of evil's presence---in the absence of direct unmotivated proof) --operating--> though a form of non-knowledge <-- mastery of nonsense
= ***a deep appreciation of (that might seem misguided to us):
•cause-and-effect relations
•forces at work in the natural world
(=/= indifference to the truth, retreat into superstition)
~
[these] cases suggestive of and empirically linked to general laws. the case said something about the world, and once a case was established, it would spread like a contagion (=/= proof of misogy or genocide as Federici asserts)



Flaherty ==> a certain truth regarding the total social environment : force of Nanook's life not only provides empirical evidence as to his mode of living but also allows for a refl ection on “nature”, “humanness”, “modernity” rooted in the haptic qualities of Flaherty's images

maleficium (of the witch --> palpable: destructive weather magic, assault of farm animals, sickness, unexplained death, etc.)

saturn's mythological violence <--> satan
the idea that saturn serves as patron to social outliers: the poor, elderly, disabled, criminals, jews, cannibals, magicians, witches

(early modern period -->) **satan = the principal authority of the natural world**, “master of the knowledge of natural properties and the techniques of their instrumentalization” =/= techniques of the healer =/= empirical instruments

(de Certeau observed that) every exercise of trained judgment is authorized through the [*]dark: ratifying force of theology
**dark forces --ratify--> all forms of natural expertise**

mastery of nonsense --driving--> confirming the suspicion of witchcraft = a form of non-knowledge ==opens==> a gap in knowing (specifically, ‘who’)


line of accusation that was quite common in the early modern period --> “the desperate search for the cause of what was other wise an unexplained illness or misfortune was frequently the catalyst for specific witchcraft accusations between friends, acquaintances, and often between family members themselves”
16th century --> this violence now bore the sanction of both secular and religious institutions (<== peasant complaints of maleficium زيان <== human beings have been suffering misfortune, illness, and death long before the power of the witch was felt during this time)

Dominican order --> aggressively promoting the cult of the virgin, to the status of the “perfect” woman {elevating the status of sexual neurosis to a virtue} =/= lustful credulous nature of common women (who were often associated with the temptations of Eve)


*conflicted status of women*
•in Häxan --through--> sternly patrilineal visual motifs (condescension + bemusement --> frail + hysterical)
•in ajayeb bestiary -->


(Häxan's) witch hunters act in accordance with their own procedures for investigating truth and falsehood and not simply out of malice, fear, or stupidity

the inquisitor priest/friar (within the realm of their own assumptions about the world) were dedicated to investigating and verifying the claims [of the accused witch) =/= (mainstream depiction of inquisitors as) gullible, fanatical, overtly misogynistic

(during the witch craze) **desire to believe =/= simple belief**
despite the unbelievable scope of demonic power, the inquisitors must believe that what the young maiden is reporting is possible


****important changes in the legal systems in europe well into the 14th century: proffering a formal indictment against another individual required the plaintiff to submit to an accusatory form of criminal procedure. (derived from Roman law) this procedure presumed such offenses as *matters between the accused and accuser* ==> the idea that “crime” was a matter between society and the accused did not exist (--> the presentday distinction between criminal and civil complaints meaningless)
raising a formal complaint required:
•the accuser to furnish proof of the allegation
•to submit to severe penalties agreed in advance if the judge was unconvinced of the complaint's merit
*it was complex, expensive, and very risky to enter into this formal framework in order to address disputes or everyday injustices* ==> most ordinary people did not do so, choosing instead to pursue local and less formal modes of redress

15th and 16th century --> this procedure changed dramatically (with the emergence of the witch in europe)
•witch was understood as an agent of satan
•responsibility of civil and religious authorities to protect pious christians (from a power that would overwhelm the faithful regardless of their individual acts, intentions, or beliefs)

inchoate suspicion (of the fearful, the resentful, the spiteful) --> reporting --> inquisitors (positioned as experts) --> take this suspicion forward administratively --> *impersonal sociological sense* (<-- an example of Weberian rationalization)

to suspect someone of maleficium was not new --✕--> (in witch accusations) authorities were now eager to act on suspicions in dependently


unresolved sexual desires + such passion would be redirected in pathological, perverse manner ==Häxan==> witch accusations

the film emphasizes the crucial role sex played in discerning what constituted witchcraft and its status as a knowable category of (malefic) human practice


a great deal of demonological thinking was devoted to justifying the fact that civil and Church officials, despite their fears, by and large were not bewitched


following satan's idiom...

Häxan's tortured relation to “the truth”
the question of empirical certainty and reenactment haunts the status of the film as evidence

*acting the ideal type breathes life into the emptied, cliched figure* :
•Christensenrelying on the fact that the truth of the witch will take its most visible form by acting her out mimetically (~= Christensen chooses to “play” satan using his idiom to breathe life into his witch)
•Flaherty knew that the visceral force of Nanook of the North depended on the felicity of his Inuit interlocutors reenacting themselves




Christensen seems to be offering a cure for the *secularized christian blindness* at the heart of *positivist human science* --> his audience is pulled in “through a lens of science =/= as misguided inquisitors”


working with *figurative givens of witches and demons* --formulate--> visual thesis (about uncanny, mobile power)

etchings into a material
carving outlines into the image of figures that have been hiding in plain sight


beautifully composed tableau of the torture chamber
static plane of the tableau =/= sense depth signify an open or free space

totality of (depicted) violence <--> composed alterity of the scene's stylistic correspondence between accused and inquisitor

(Christensen's method of) oscillating rhythm between tableau and face
-suppressing perspective and depth of field in favor of a continuous affective movement as expressed in the face
--Baxstrom--> Häxan is not grounded in a setting here; it is grounded in the forms of life present in the shot

sense of corporeal alienation from herself --> inhabit a script not her own --> critical to the “success” of witchcraft confessions

witch stereotype:
•Wild Ride
•pact with the Devil solemnized through sexual intercourse-
•cannibalism
•دیگ cauldron as the locus of the rite
•*massed, coordinated, female nature of witchcraft*


judicial machinery of a witch trial required evidence of criminal acts that (by definition) could not be witnessed


in Häxan
-the power of cinema to witness exceeds that of the witch hunter
-what it does is “worse” than rigging the truth --> it aligns itself (not with a concept of truth or the real but) with the power of the witch


(Häxan and many criminal story films) works through instruments of knowing rooted in the *dynamics of the confession*
#ajayeb storytelling

...clumsily rendered, the wriggling demons reflect an interesting set of variations to the witch stereotype, both ontologically and visually
(Maria giving birth to demon children)


Thomas Aquinas's theorization of the *virtual bodies* (of angels)
-angels do not need bodies for their sake but for ours --> unnatural couplings could produce children, but that the bodily essence of devils would rule out the possibility that these children would themselves be demons


16th century author primarily concern with Satan's ability to manipulate and pervert language (including erotic language)


wild flowing hair of the women --> a common visual metaphor for sexual promiscuity and disorder


images of cannibalistic night witches were explicitly a demonological variation on long-standing popular conceptions

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

xxxxxx



persistence of witchcraft
how witchcraft might still exist as more than just one of many choices available on a personal empowerment “menu”
-how rituals pertaining to magic came to be understood as a problem of knowledge

*magic binds forces that would otherwise overflow life*
a great subterranean need to “bind” forces that would otherwise exert themselves with impunity and without any greater explanation or meaning
--> enacting a dehistorification of a form of life that would otherwise be overwhelmed by the brutal timeliness of historical being
Baxstrom > de Martino, Janet

making the precarity of our presence an object of knowledge

(firm unquestioning belief =/=) local doubt --sustins--> witchcraft (in Buli -Bubandt)
...face off with a persistent, seemingly eternal, spectral threat

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

Rolley

an anatomical (not geographical knowledge, diabolical atlas) demonological understanding

Renessancian world encounters ==> geo
[*]Renaissance: the age of demonology, the age of cosmographic revolution (--> nature of causality)
-presence of the devil in geographical space
-composite and cross-disciplinary network of nonhuman causality and transmedia writing [demonologists + cosmographers + travellers]
•demonology: identifiable shared discursive field ---> go to Baxstrom
•demon --> gunpowder (according to Rabelais and others) is the diabolical element amongst the classic tricolon: gunpowder, the nautical compass, and the printing press

emergence of a Christian science of the devil (in the medieval West) --> liberation of demons (from supralunar to sublunar --> into earthly realms)

Sabbat: an outpost of hell very much belonging to this world

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

*finding ghost is what we are all here for*

...nagging mischief they cause can turn deadly
violently jerks the body of the medium around
occasionally threatening or attacking onlookers

“keep filming” one of the old women whispers behind me --> i do what i am told = i do exactly what i want to do

anthropologist = i cannot directly “see” the demon or the spirit [~ what i am told to see, @apass #feedback], but i am convinced that they are there

[...]