[...]ng”

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


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

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

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

="large lg2" stl="font-size:110%">
='strcls'>**medicalization of the invisible='strcls'>**

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

witch="trms">craft, faith healing, and demonic possession
Bibliotheque diabolique ='lgc'>='lgc'>--> case studies to de="trms">monstrate the precariousness of misre="trms">presentation and the consequences of ignorance ='lgc'>='lgc'>~= investigations collected by Charcot and his students in their studies of hysteria
="lsts lst1">•clarifying the link between witch="trms">craft and hysteria

="large lg10" stl="font-size:107%"> ='strcls'>*witch hunting and the exorcism of spirits in the 16th century (='lgc'>='lgc'>--> antiquated forms of inquiry) ='lgc'>='lgc'>~=='qstn'>?! clinical studies of nervous illness in the 19th century ='lgc'>='lgc'>--> conceptual scaf="trms">folding of the emergent ="trms">science='strcls'>*='lgc'>:
="lsts lst1">•fascination with the secondary visible effects of primary invisible forces
="lsts lst1">•long-term labor of ="trms">social ="trms">interpretation that required the mutation of old ="trms">categories and the creation of new ones

='lgc'>='lgc'>==> “witch='lgc'> = misdiagnosed”

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

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

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

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

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

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

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

="nms">Häxan's real object='lgc'>: the specter of sheer nonsense

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

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

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

="large lg1" stl="font-size:118%"> Christensen makes every effort to ="trms">craft a witch that is real to us ='lgc'>: ="trms">ontological fluidity of a cinematic image ='lgc'>='lgc'>==> “="nms">Häxan='lgc'> = word ='lgc'>+ image ='lgc'>+ thing”

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

="lsts lst1">•re="trms">spectable scholar indexes himself through his sources
="lsts lst1">•="trms">authoritarian first-person tenor ='lgc'>='lgc'>--> ="trms">instrumentally impersonal tenor
="lsts lst1">•establishing the X as a chapter within a much longer constellation of practices, discourses, traditions, and institutions

Kieckhefer ='lgc'>='lgc'>--> how the long ="trms">history of practical ="trms">natural magic was en="trms">folded into the ="trms">specificity of European witch="trms">craft in the late Middle Ages

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


Renaissance Hermeticism='lgc'>:
="trms">writings of Hermes Trimesgistus ='lgc'>='lgc'>='lgc'>~=> foundation for='lgc'>:
="lsts lst1">•Ficino's relatively mild ="trms">natural magic
="lsts lst1">•Pico della M="nms">irandola's ="frds scrmbld"nttrm="Christianson">Christian Caba="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list
="lsts lst1">•Agrippa's ="frds scrmbld"nttrm="Christianson">Christian magus
="lsts lst1">•Tommaso Campanella's (1568–1639) utopian City of the Sun
="lsts lst1">•="ppl">Bruno's full-blown Hermetic–Caba="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list (through the power of astrology and magic to bypass the Church altogether)
="lsts lst1">•

...rippling effects of the Hermetic–Caba="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list tradition ='lgc'>='lgc'>-->
="lsts lst1">•scrupulously mathematical astrology of Girolamo Cardano
="lsts lst1">•the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigorously ="trms">="trms">empirical studies of the ="trms">natural ="trms">world ="trms">demanded by ="ppl">Bruno's attempts to operate as a magus
='lgc'>}='lgc'>='lgc'>==> (paved the way for) ="trms">science of ="ppl">Newton and Copernicus ='lgc'>='lgc'>--> a new ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics to emerge

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

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


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

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



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

="nms">Häxan visually grounds itself in ="trms">citable evidence from the start
="lsts lst1">•cinema='lgc'>: (as an ="trms">instrument for “recording reality”) a vehicle for “telling the truth” about the ="trms">world ='lgc'>[in early 1920s='lgc'>]

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

="large lg14" stl="font-size:115%"> (1900) visual meaning-making machines that ="trms">demanded not only attention but belief (by ="trms">staging as real reenactments) ='lgc'>='lgc'>--> mutated the desire to see far-off contemporary events
="lsts lst1">•='lgc'>='lgc'>--> Attack on a China ="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)

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

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

='lgc'>--later ='lgc'>='lgc'>--> crypto-structura="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin myth that falsely re="trms">presented what “documentary” meant to pre-Griersonian filmmakers ='lgc'>='lgc'>==> “rea="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list” Lumiere ='lgc'>=/= the “fanciful” Melies

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


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

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

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

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



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

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

='strcls'>*the oscillating value of the non-="trms">fictive='strcls'>* (of its discrete artifacts)

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


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

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

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

Christensen formally constructing “the witch” through a cinematic iteration of metoposcopic ="trms">naturalism
(metoposcopy='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.)

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


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


transgressive approach to the archive='lgc'>:
="lsts lst1">•Gerhard Richter's Atlas, 2006
="lsts lst1">•Jean-Luc ="frds scrmbld"nttrm="Godard">Godard's ="trms">Histoire(s) du cinema, 1988
="lsts lst1">•Christensen's ="nms">Häxan
="lsts lst1">•Warburg’ Mnemosyne (="trms">presentation of a series of visual cliches and stereotypes, fragments which were most likely al="trms"nttrm="already,spread">ready familiar to the viewer ='lgc'>~ ="trms">figurative givens ='lgc'>='lgc'>==> ="trms">="trms">empirical evidence ='lgc'>+ media to conjure with)
="lsts lst1">•="ppl">Bataille's journal ‘Documents’ 1929–30 ='lgc'>='lgc'>--> seizes cliched objects and then ="trms">systematically empties them out in the course of its own expressions. ="ppl">Bataille and his contributors sought to defamiliarize the cliches, disturbing the placidly deceptive surface of the mundane in their fragmentary, juxtaposing ="trms">methods of critique and ="trms">presentation ='lgc'>=/= Warburg ='lgc'>+ Christensen collecting mythological, ="trms">figurative givens seemingly quite distant from the “really” real
='lgc'>}='lgc'>='lgc'>--> unsettling distances between myth and the everyday
="prgrph">-weave together episodic fragments in order to draw parallels (across domains of sense that cut across time) and cor="trms">respondences across ="trms">situations and characters
="prgrph">-="nms">Häxan deploys the ="trms">techniques as="trms">sociated with Warburg's Mnemosyne and ="ppl">Bataille's Documents for purposes of ="trms">affectively emphasizing the dark, chaotic forces that ="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurk under the smooth surface of the everyday
(="nms">Häxan's episodic structure ='lgc'>='lgc'>==>)
="lsts lst1">•characters seemingly out of a dead ="trms">past to live again
="lsts lst1">•draw the ="trms">phenomenology of the hysteric
="lsts lst1">•draw the work's own contemporary time to the surface


promiscuous='lgc'>: neither wholly artistic nor ="trms">scientific ='lgc'>=/=='qstn'>? hybrid artistic and ="trms">scientific

="trms">traverse steep slope between ="trms">past and future in the form of an event ='lgc'>=/= plot


inability to automatically ="trms">categorize ="nms">Häxan (or any work of art) ='lgc'><='lgc'>== ='strcls'>***formal strategy rooted in an ="trms">epistemic virtue='strcls'>***


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

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

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


cat feces and dove hearts boiled in the moonlight

stereotype of a debased and corrupted priest
object of the customer's ="trms">affections


="large lg3" stl="font-size:111%"> Protestant discourse against the Catholic Church in the 16th century ='lgc'>='lgc'>--> artists of the period extended the ="trms">instrumentalization of slander through the production of proto-pornographic images of bishops, priests, and the pope engaged in myriad obs="trms">cene acts ='lgc'>--depicting='lgc'>='lgc'>--> the emotional states and desires of the clergy

magical salves (considered particularly powerful and troubling by demonologists)

="nms">Häxan self-="trms">positioning as a ="trms">scientific investigation ='lgc'>+ constantly pull back from the dramatic outcomes of what ="nms">Häxan depicts

="nms">Häxan's de="trms">monstration of the power of the witch ='lgc'>=/= ="trms">paranoid delusions of witch- crazed villagers

="large lg4" stl="font-size:111%">
widely held set of beliefs regarding the “="trms">nature” or “essence” of women
Christina Larner's assertion that witch trials were gender-related (but not by de="trms">finition gender-="trms">specific)
='lgc'>--="ppl">Baxstrom='lgc'>='lgc'>--> ='strcls'>*women often came under suspicion of being witches because they were understood to be particularly susceptible to lust, avarice, and jealousy by their very ="trms">nature ='lgc'>[='lgc'>~ 16th century='lgc'>: ='strcls'>**women “="trms">naturally” susceptible to witch="trms">craft='strcls'>*** ='lgc'>+ women were presumed to possess elements of the ="trms">nature more than men='lgc'>] ='lgc'>=/= Federici's understanding of witch-hunt as straight-forward instance of misogyny='strcls'>*
='lgc'>--Roper='lgc'>='lgc'>--> ='strcls'>*one cannot approach witch="trms">craft or possession from a vantage point in the ="trms">present without granting some legitimate status to the ways in which the Devil and witches were not only asserted to be real but were[...]