[...] 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”


="large lg2" stl="font-size:110%"> (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'>}

(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)

="large lg1" stl="font-size:147%"> (="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'>]

="large lg3" stl="font-size:112%"> ='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'>-->

="large lg4" stl="font-size:111%"> 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


="large lg5" stl="font-size:148%"> (="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 [...]