[...]ugh the ability to test what is asserted to be real <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> a series of subjective trials subsumed within the rubric of “fieldwork”
ls clss='strcls'>*ls>presumptions<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•experiential dislss="trms">position of the analyst <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> understanding of a lss="trms">phenomenon other wise held to be lss="trms">imaginary and lss="trms">fictional
lsts> <lsts clss="lsts lst1">•witnessing and testimony <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> evidence as to the reality beyond the direct experience of the reselss="trms"nttrm="search">archer
lsts>
(<lgc clss='lgc'>[lgc>Malinowski updated and secularized a much older lss="trms">epistemology of<lgc clss='lgc'>]lgc> lss='trgt hghlght 1'href='?q=L'>Luther<lgc clss='lgc'>:lgc>) faith<lgc clss='lgc'> = lgc>a commitment to the relss="trms">presentation of a truth <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> Western lss="frds scrmbld"nttrm="Christianson">Christianity's own efforts to discern truth and the lss="trms">nature of the lss="trms">world


proliferation of witches in 15th century Europe

reassuring relief for the pious believer<lgc clss='lgc'>:lgc> force Satan (and his followers) from the shadows through an lss="trms">interpretive expertise over the concrete secondary manifestations of God's reality <lgc clss='lgc'>--lgc>lss='not'>✕<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> (most had no luxury to lss="trms">imagine) ls clss='strcls'>*ls>the embrace of life that the devil urges in binary oplss="trms">position to that of the goodls clss='strcls'>*ls>
<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> Devil lss="trms">interfering with the most intimate lss="trms">communications with the Divine
lss="prgrph">-how does one really know who is speaking when prayer is returnedlss='qstn'>?

<lrg clss="large lg2" stl="font-size:112%"> <lgc clss='lgc'>[lgc>for<lgc clss='lgc'>]lgc> the demonologists of the 15th and 16th century <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> “God must exist because Satan is lss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right in front of me!” <lgc clss='lgc'>:lgc> reality of witches <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> Satan
Institoris, Sprenger, Johannes Nider,
the name of the witch <lgc clss='lgc'><lgc clss='lgc'><lgc clss='lgc'>ld>~ld>lgc>=lgc>>lgc> sacrilegious and inhuman deeds (subject to verification)

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

<lrg clss="large lg6" stl="font-size:133%"> <lgc clss='lgc'>{lgc>for the inquisitor (witch hunter) it was never enough to simply “believe” <lgc clss='lgc'><<lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc>lgc> a lss="trms">narrative must be produced that at least partially satisfied the lss="trms">demands of evidence<lgc clss='lgc'>}lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> ls clss='strcls'>*ls>lss="trms">interrogation under torture<lgc clss='lgc'> = lgc>an experimental form of knowing in crisisls clss='strcls'>*ls>
lrg>
truth value of a nonsensical confession made sensible <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> human belief, action, and lss="trms">social practices

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

recognition of the struggle that lay at the heart of raising testimony to the status of the “really real” <lgc clss='lgc'>--lgc>l clss="ppl">Avitall><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> Griaule aggressively frames the slss="trms">cene 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 lss="trms">anthropologist)
ls clss='strcls'>*ls>fieldwork <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> knowllss="trms"nttrm="knowledge,Knowledge">edge of hauntings that is itself hauntedls clss='strcls'>*ls>

lss="trms">imaginative result of “I-witnessing”

ls clss='strcls'>*ls>paradoxical necessity of an expressive element within an objective test in lss="trms">relation to what would other wise be nonsensels clss='strcls'>*ls> is evident in many of the examples of 16th century visual culture <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss="nms">ajayeb lss="trms">bestiary


trial by ordeal
(illustrated in Eduard Fuchs)
the case<lgc clss='lgc'>:lgc> if the woman floats she is clearly able to conlss="trms">travene the lss="trms">nature and is therefore a witch or heretic; if she sinks, she has made no such pact with Satan
lss="prgrph">-procedural expertise <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> trial by water here functions as ls clss='strcls'>*ls>experiment as much as a punishmentls clss='strcls'>*ls> designed to reveal an other wise invisible truth

testimony <lgc clss='lgc'>+lgc> experimental results <lgc clss='lgc'>+lgc> expert inquisitorial lss="trms">interpretation <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> early version of the ‘case study’ (synthesized as evidence in service of accounting for variation that exceeded general laws regarding lss="trms">relations and lss="trms">phenomenon in the lss="trms">world)
l clss="ppl">Baxstroml> <lgc clss='lgc'>+lgc> l clss="ppl">Meyersl>

(lss="nms">ajayeb's) individual cases<lgc clss='lgc'>:lgc> an effective strategy in providing analytic (and lss="trms">lss="trms">empirical) purchase for lss="trms">phenomenon that were other wise invisible to even the discerning eye of the expert <lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc> ls clss='strcls'>**ls>to move away from a reliance on lss="trms">lss="trms"nttrm="metaph,metamorph,metabol,metal">metaphysicsls clss='strcls'>**ls>


ls clss='strcls'>**ls>medicalization of the invisiblels clss='strcls'>**ls>

possession
set the lss="trms">stage for the explicit medicalization of the mobile invisible forces that experts had been struggling to master, explain, and take lss="trms">measures against <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> a new mode that was equally ls clss='strcls'>*ls>didactic and forensicls clss='strcls'>*ls> (as the theological frameworks deployed by inquisitors and the exorcise of demons by Church)

witchlss="trms">craft, faith healing, and demonic possession
Bibliotheque diabolique <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> case studies to delss="trms">monstrate the precariousness of misrelss="trms">presentation and the consequences of ignorance <lgc clss='lgc'><lgc clss='lgc'>ld>~ld>lgc>=lgc> investigations collected by Charcot and his students in their studies of hysteria
<lsts clss="lsts lst1">•clarifying the link between witchlss="trms">craft and hysteria
lsts>
<lrg clss="large lg6" stl="font-size:135%"> ls clss='strcls'>*ls>witch hunting and the exorcism of spirits in the 16th century (<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> antiquated forms of inquiry) <lgc clss='lgc'><lgc clss='lgc'>ld>~ld>lgc>=lgc>lss='qstn'>?! clinical studies of nervous illness in the 19th century <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> conceptual scaflss="trms">folding of the emergent lss="trms">sciencels clss='strcls'>*ls><lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•fascination with the secondary visible effects of primary invisible forces
lsts> <lsts clss="lsts lst1">•long-term labor of lss="trms">social lss="trms">interpretation that required the mutation of old lss="trms">categories and the creation of new ones
lsts>
<lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> “witch<lgc clss='lgc'> = lgc>misdiagnosed”

epilepsy, the sacred disease, erroneously perceived as resulting from hostile magic
<lgc clss='lgc'>=/=lgc> hysteria (hold a special place in the moral lss="trms">imaginary)
lrg>
the special susceptibility of women to witchlss="trms">craft mirrored the “feminine weakness” aslss="trms">sociated with the hysteric, exacerbated by low lss="trms">social status
lss="prgrph">-in countless accounts of possession, we find descriptions of demons speaking through the mouths of girls
<lgc clss='lgc'>[lgc>l clss="ppl">Baxstroml> <lgc clss='lgc'>+lgc> l clss="ppl">Meyersl> <lgc clss='lgc'>=/=lgc> Federici's flat analysis of witch hunt as the tool of subjugation of the local population or of woman by men<lgc clss='lgc'>]lgc>

tableau vivant <lgc clss='lgc'>--lgc>into<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> tableau clinique <lgc clss='lgc'>--lgc>into<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> tableau critique

hysterical reliving of the olss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal lss="trms">symptom <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> reframed trauma<lgc clss='lgc'>:lgc> an attempt to suspend the two temporalities (real and relss="trms">imagined) in the same image
lss='at'>@lss="frds scrmbld">Hoda

one element of fascination with hysteria was its “look” <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> hysteria's lss="trms">aesthetic link to forms of possession

possession <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> aneasthesias, amnesias, subconscious acts, lss="trms">somnambulisms, fixed ideas

a scaflss="trms">folding<lgc clss='lgc'>:lgc> conceptually arranged chasm between outer and inner states <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc>
<lsts clss="lsts lst1">•exorcists building on the lss="trms">techniques of inquisitors and witch hunters <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> possession acts as the bridge across this chasm
lsts> <lsts clss="lsts lst1">•lss="trms">neurologists and psychologists construct the same
lsts> <lgc clss='lgc'>--lgc>lss='not'>✕<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> (Malinowski's) lss="trms">anthropologists<lgc clss='lgc'>:lgc> fieldworkers as truth-tellers returning from the dark corners of the real (the witches are no longer explicitly the target of the inquiry)

<lrg clss="large lg1" stl="font-size:147%"> lss="nms">Häxan's real object<lgc clss='lgc'>:lgc> the specter of sheer nonsense
lrg>
hunt (even in objective lss="trms">scientific mastery) <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> fueled by a desire operationalized in a lss="trms">method of being close enough to something to sense it

lrg>lbrkr stl="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................lbrkr>

(lss='qstn'>?every time we have to) show how ls clss='strcls'>*ls>the word (that we are using) relates to meaningls clss='strcls'>*ls>

Christensen makes every effort to lss="trms">craft a witch that is real to us <lgc clss='lgc'>:lgc> lss="trms">ontological fluidity of a cinematic image <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> “lss="nms">Häxan<lgc clss='lgc'> = lgc>word <lgc clss='lgc'>+lgc> image <lgc clss='lgc'>+lgc> thing”

metoposcopy<lgc clss='lgc'>:lgc> 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 <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> a proto-cinematic theory of the lss="trms">relation between image and thought if ever there was one

<lsts clss="lsts lst1">•relss="trms">spectable scholar indexes himself through his sources
lsts> <lsts clss="lsts lst1">•lss="trms">authoritarian first-person tenor <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss="trms">instrumentally impersonal tenor
lsts> <lsts clss="lsts lst1">•establishing the X as a chapter within a much longer constellation of practices, discourses, traditions, and institutions
lsts>
Kieckhefer <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> how the long lss="trms">history of practical lss="trms">natural magic was enlss="trms">folded into the lss="trms">specificity of European witchlss="trms">craft in the late Middle Ages

Christ in lss='trgt hghlght 1'href='?q=L'>Limbo <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> Christensen's parallel editing <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> moving relss="trms">presentation of a terra-centered universe <lgc clss='lgc'><<lgc clss='lgc'>~lgc><lgc clss='lgc'>~lgc>lgc> elaborate lss="trms">wonders found in baroque wunderkammer (meticulously assembled by the German elite)


Renaissance Hermeticism<lgc clss='lgc'>:lgc>
lss="trms">writings of Hermes Trimesgistus <lgc clss='lgc'><lgc clss='lgc'><lgc clss='lgc'>ld>~ld>lgc>=lgc>>lgc> foundation for<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•Ficino's relatively mild lss="trms">natural magic
lsts> <lsts clss="lsts lst1">•Pico della Mlss="nms">irandola's lss="frds scrmbld"nttrm="Christianson">Christian Cabalss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list
lsts> <lsts clss="lsts lst1">•Agrippa's lss="frds scrmbld"nttrm="Christianson">Christian magus
lsts> <lsts clss="lsts lst1">•Tommaso Campanella's (1568–1639) utopian City of the Sun
lsts> <lsts clss="lsts lst1">•l clss="ppl">Brunol>'s full-blown Hermetic–Cabalss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list (through the power of astrology and magic to bypass the Church altogether)
lsts> <lsts clss="lsts lst1">•
lsts>
...rippling effects of the Hermetic–Cabalss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list tradition <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>
<lsts clss="lsts lst1">•scrupulously mathematical astrology of Girolamo Cardano
lsts> <lsts clss="lsts lst1">•the lss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigorously lss="trms">lss="trms">empirical studies of the lss="trms">natural lss="trms">world lss="trms">demanded by l clss="ppl">Brunol>'s attempts to operate as a magus
lsts> <lgc clss='lgc'>}lgc><lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> (paved the way for) lss="trms">science of l clss="ppl">Newtonl> and Copernicus <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> a new lss="trms">lss="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics to emerge

attacks on Renaissance magic and the Hermetic–Cabalss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list tradition (that lss="trms">authorized witch) <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> anti-witch treatises

(case of Giordano l clss="ppl">Brunol>'s execution <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> Hermetic magic and Cabalism) how in the 16th century<lgc clss='lgc'>:lgc> “superstition<lgc clss='lgc'> = lgc>crime”


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

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


<lrg clss="large lg14" stl="font-size:133%">
...a palpable sexual dimension crepting into Christensen's thesis <lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc> images of women “sneaking away” to attend Sabbats

lss="nms">Häxan visually grounds itself in lss="trms">citable evidence from the start
<lsts clss="lsts lst1">•cinema<lgc clss='lgc'>:lgc> (as an lss="trms">instrument for “recording reality”) a vehicle for “telling the truth” about the lss="trms">world <lgc clss='lgc'>[lgc>in early 1920s<lgc clss='lgc'>]lgc>
lsts>
when documentary was not yet documentary <lgc clss='lgc'>--lgc> lss="trms">fiction wasn't lss="trms">fiction yet either <lgc clss='lgc'>--lgc>Chanan<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc><lgc clss='lgc'>{lgc>
moving pictures<lgc clss='lgc'> = lgc>visual tidbits لقمه چرب ونرم
made no lss="trms">demands on lss="trms">literacy (<lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> splss="trms"nttrm="already,spread">read easily)
whe lss="trms">world on the screen remained anecdotal (and predominantly iconic)
practically inlss="trms">articulate (in terms of public discourse)<lgc clss='lgc'>}lgc>

(1900) visual meaning-making machines that lss="trms">demanded not only attention but belief (by lss="trms">staging as real reenactments) <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> mutated the desire to see far-off contemporary events
<lsts clss="lsts lst1">•<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> Attack on a China lss="trms">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)
lsts>
(l clss="ppl">Baxstroml> <lgc clss='lgc'>+lgc> l clss="ppl">Meyersl>) lss="trms">question of lss="trms">mimesis
lss="prgrph">-what is the lss="trms">relation between a fragmentary visual artifact drawn “from life” and the truth value of any such fragmentslss='qstn'>?
lss="prgrph">-what lss="trms">sorts of filmmaking practices can felicitously mimic life as suchlss='qstn'>?

<lgc clss='lgc'>[lgc>lss='thdf'>for example in Curtis's In the lss='trgt hghlght 1'href='?q=L'>Land of the War Canoes<lgc clss='lgc'>]lgc> status of reenactment <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> prevailing standards of expressing the real

<lgc clss='lgc'>--lgc>later <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> crypto-structuralss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list olss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin myth that falsely relss="trms">presented what “documentary” meant to pre-Griersonian filmmakers <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> “realss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list” lss='trgt hghlght 1'href='?q=L'>Lumiere <lgc clss='lgc'>=/=lgc> the “fanciful” Melies

<lgc clss='lgc'>}lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> ls clss='strcls'>*ls>gap between witnessing and the realls clss='strcls'>*ls> in Europe (this lss="trms">question of evidence occupied inquisitors and theologians long before the invention of cinema)


preparing viewers for the “diegetic absorption”
(telling of a lss="trms">story by a lss="trms">narrator) diegesis <lgc clss='lgc'>=/=lgc> lss="trms">mimesis

the strategy of “relss="trms">imaging” is lss="trms">methodological and intentional (in the opening minutes of the film lss="nms">Häxan) <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> (in European terms, for a very long time<lgc clss='lgc'>:lgc>) “knowllss="trms"nttrm="knowledge,Knowledge">edge<lgc clss='lgc'> = lgc>relss="trms">citations of the known”

<lgc clss='lgc'>+lgc> creation of new images <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> constituting its own evidence for what is at stake
(Christensen designating) ls clss='strcls'>**ls>lss="trms">techniques of lss="trms">presentation rather than simple contentls clss='strcls'>**ls>

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



(l clss="ppl">Baxstroml> <lgc clss='lgc'>+lgc> l clss="ppl">Meyersl> carefully treating the) lss="trms">methodological element of Christensen's image-making practices <lgc clss='lgc'>--lgc>in<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss="nms">Häxan's depiction of the violent moral disorder of the lss="trms">Wild Ride of the witches to their Sabbats

(16th century) lss="trms">Wild Ride<lgc clss='lgc'>:lgc> a standard element of both demonological and popular lss="trms">literary accounts of the activities of witches, lss="trms">folding<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•older legends of lss="trms">wild hunters
lsts> <lsts clss="lsts lst1">•restless lss="trms">travels of the dead at night
lsts> <lsts clss="lsts lst1">•tales of the Furious Horde (a super lss="trms">natural band that was not olss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginally aslss="trms">sociated with witchlss="trms">craft)
lsts> <lsts clss="lsts lst1">•twisted chaos of the deep forest
lsts> Canon Episcopi regarding the power of demonic illusion to deceive women into lss="trms">imagining that they could lss="trms">travel great distances at night, often in the company of the goddess Diana
<lgc clss='lgc'>}lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> conjoining of witch image to demonological discourse <lgc clss='lgc'>[lgc><lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc> an lss="trms">lss="trms">empirically verifiable invention in the late medieval period and the Renaissance<lgc clss='lgc'>]lgc>

ls clss='strcls'>*ls>the oscillating value of the non-lss="trms">fictivels clss='strcls'>*ls> (of its discrete artifacts)

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

<lrg clss="large lg6" stl="font-size:112%">
(coming into contemporary performance art <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>) figures from antiquity<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•Saturn lss='at'>@lss="frds scrmbld"nttrm="Alex,Alert,Aleph,Alessi">Ale
lsts> <lsts clss="lsts lst1">•Circe lss='at'>@lss="frds scrmbld">Bryana (changing men into lss="trms">beasts, games of chance, gambling, tricks, slight of hand, illusion, hybrid lss="trms">animal–human forms of the demons dancing around the “grandmother” with surprisingly young and beautiful appearance <lgc clss='lgc'>--lgc>melancholy<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> general sense of sexual and lss="trms">societal disorder swirling around a placid, passive female protagonist) <lgc clss='lgc'>+lgc> lss="trms">lss="trms">empirical strain of the discourse of the witch
lsts> <lsts clss="lsts lst1">•Sabbat lss='at'>@lss="frds scrmbld">Jassem
lsts> <lsts clss="lsts lst1">•
lsts> <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>

pact of the witch
obsessed state of the hysteric
lss="trms">interplay of face and tableau

<lrg clss="large lg3" stl="font-size:110%"> (Warburg's assertion that) donning a mask constitutes an active attempt “to wrest something magical from lss="trms">nature through the transformation of the person”
<lgc clss='lgc'>[lgc>putting on a mask <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> transformation of the person <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> obtaining omething magical from lss="trms">nature<lgc clss='lgc'>]lgc>
lrg>
Christensen formally constructing “the witch” through a cinematic iteration of metoposcopic lss="trms">naturalism
(metoposcopy<lgc clss='lgc'>:lgc> a form of divination in which the diviner predicts personality, character, and destiny, based on the pattern of lines on the subject's forehead.)

(l clss="ppl">Avitall>) lss="trms">scientific imperative (the lss="trms">demand in the 19th century for an lss="trms">epistemological relss="trms">liable inquiry in the lss="trms">nature of things) <lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc> fascination for the freak and the occult <lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc> on the way to lss="trms">technology

lrg>
(l clss="ppl">Baxstroml> <lgc clss='lgc'>+lgc> l clss="ppl">Meyersl> > 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 olss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal lss="trms">material<lgc clss='lgc'>:lgc> lss="trms">different types of objects (paintings, reliefs, drawings, architecture, living beings) ls clss='strcls'>*ls>are unified through photographyls clss='strcls'>*ls> before being arranged on the panel stretched with black cloth. The panel is in turn ls clss='strcls'>*ls>rephotographed in order to create a unique imagels clss='strcls'>*ls>, which will be inserted into a series intended to take the form of a lss="trms">book. The atlas, then, does not limit itself to describing the migrations of images through the lss="trms">history of relss="trms">presentation<lgc clss='lgc'>:lgc> it reproduces them. In this sense, it is based on a cinematic mode of thought, one that, by using figures, aims at not lss="trms">articulating meaning but at producing effects.”

<lrg clss="large lg4" stl="font-size:112%"> lrg>
transgressive approach to the archive<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•Gerhard Richter's Atlas, 2006
lsts> <lsts clss="lsts lst1">•Jean-lss='trgt hghlght 1'href='?q=L'>Luc lss="frds scrmbld"nttrm="Godard">Godard's lss="trms">Histoire(s) du cinema, 1988
lsts> <lsts clss="lsts lst1">•Christensen's lss="nms">Häxan
lsts> <lsts clss="lsts lst1">•Warburg’ Mnemosyne (lss="trms">presentation of a series of visual cliches and stereotypes, fragments which were most likely allss="trms"nttrm="already,spread">ready familiar to the viewer <lgc clss='lgc'>~lgc> lss="trms">figurative givens <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> lss="trms">lss="trms">empirical evidence <lgc clss='lgc'>+lgc> media to conjure with)
lsts> <lsts clss="lsts lst1">•l clss="ppl">Bataillel>'s journal ‘Documents’ 1929–30 <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> seizes cliched objects and then lss="trms">systematically empties them out in the course of its own expressions. l clss="ppl">Bataillel> and his contributors sought to defamiliarize the cliches, disturbing the placidly deceptive surface of the mundane in their fragmentary, juxtaposing lss="trms">methods of critique and lss="trms">presentation <lgc clss='lgc'>=/=lgc> Warburg <lgc clss='lgc'>+lgc> Christensen clsts>[...]