[...]917)

(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

<lrg clss="large lg2" stl="font-size:111%"> <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)
lrg>

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


(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

(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>

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.”


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 collecting mythological, lss="trms">figurative givens seemingly quite distant from the “really” real
lsts> <lgc clss='lgc'>}lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> unsettling distances between myth and the everyday
lss="prgrph">-weave together episodic fragments in order to draw parallels (across domains of sense that cut across time) and corlss="trms">respondences across lss="trms">situations and characters
lss="prgrph">-lss="nms">Häxan deploys the lss="trms">techniques aslss="trms">sociated with Warburg's Mnemosyne and l clss="ppl">Bataillel>'s Documents for purposes of lss="trms">affectively emphasizing the dark, chaotic forces that lss="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurk under the smooth surface of the everyday
(lss="nms">Häxan's episodic structure <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc>)
<lsts clss="lsts lst1">•characters seemingly out of a dead lss="trms">past to live again
lsts> <lsts clss="lsts lst1">•draw the lss="trms">phenomenology of the hysteric
lsts> <lsts clss="lsts lst1">•draw the work's own contemporary time to the surface
lsts>

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

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


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


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

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

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


Protestant discourse against the Catholic Church in the 16th century <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> artists of the period extended the lss="trms">instrumentalization of slander through the production of proto-pornographic images of bishops, priests, and the pope engaged in myriad obslss="trms">cene acts <lgc clss='lgc'>--lgc>depicting<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> the emotional states and desires of the clergy

magical salves (considered particularly powerful and troubling by demonologists)

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

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


widely held set of beliefs regarding the “lss="trms">nature” or “essence” of women
Christina lss='trgt hghlght 1'href='?q=L'>Larner's assertion that witch trials were gender-related (but not by delss="trms">finition gender-lss="trms">specific)
<lgc clss='lgc'>--lgc>l clss="ppl">Baxstroml><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> ls clss='strcls'>*ls>women often came under suspicion of being witches because they were understood to be particularly susceptible to lust, avarice, and jealousy by their very lss="trms">nature <lgc clss='lgc'>[lgc><lgc clss='lgc'>~lgc> 16th century<lgc clss='lgc'>:lgc> ls clss='strcls'>**ls>women “lss="trms">naturally” susceptible to witchlss="trms">craftls clss='strcls'>***ls> <lgc clss='lgc'>+lgc> women were presumed to possess elements of the lss="trms">nature more than men<lgc clss='lgc'>]lgc> <lgc clss='lgc'>=/=lgc> Federici's understanding of witch-hunt as straight-forward instance of misogynyls clss='strcls'>*ls>
<lgc clss='lgc'>--lgc>Roper<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> ls clss='strcls'>*ls>one cannot approach witchlss="trms">craft or possession from a vantage point in the lss="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 experienced as suchls clss='strcls'>*ls>


(debates over) politics and evil
satan's malefic lss="trms">presence (in Dreyer's lss='trgt hghlght 1'href='?q=L'>Leaves)
ls clss='strcls'>*ls>a lss="trms">density of parallelismsls clss='strcls'>*ls>
Dreyer figures Satan as a problem of the lss="trms">present
“Bolsheviks violently engaged in revolutionary struggle<lgc clss='lgc'> = lgc>manifestation of a transcendental demonic power”

lss="trms">question of theodicy <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> God's seeming absence from the lss="trms">world

sleep-walking <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> enticing a nude female lss="trms">somnambulss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list out of her home into the forest, where she eventually kneels before a demon who embraces her

proving sexual lss="trms">relations with the devil <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> lss="trms">lss="trms">empirical evidence for satan's existence

(l clss="ppl">Benjaminl> > Christensen's art sets out) to conquer meaning


...so it is no stretch to suglss="trms">gest that...

subject and subtext



dreamtime of the 16h century
dreamtime of the witch


<lsts clss="lsts lst1">•Durer, Baldung, Cranach, artists at the dawn of the Reformation sought to relss="trms">present the void as a figure
lsts> <lsts clss="lsts lst1">•strategies by which Expressionist painting sought to externalize states of mind
lsts>
(l clss="ppl">Baxstroml> <lgc clss='lgc'>+lgc> l clss="ppl">Meyersl> emphasizing) how lss="nms">Häxan ls clss='strcls'>*ls>corlss="trms">responds with a variety of traditionsls clss='strcls'>*ls> without seeking to assimilate the film fully within one over another



stillness and fixity of tableau-like shot comlss="trms">position (Dreyer, Murnau, Christensen) <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> (the lss="trms">affect of) suffocating organization

l clss="ppl">Deleuzl>e summary of Expressionism<lgc clss='lgc'>:lgc> play of light and darkness, with the mixture of the two producing an effect that suglss="trms">gests either falling into the black hole or ascending towards the light <lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc> ls clss='strcls'>*ls>facels clss='strcls'>*ls> makes this lss="trms">affective power mobile

<lsts clss="lsts lst1">•(in Murnau) tableau <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> frees the viewer for introspection regarding lss="trms">nature in a kind of emotional, spiritual release <lgc clss='lgc'>=/=lgc> close-up (disruptive pathos)
lsts> <lsts clss="lsts lst1">•(in lss="nms">Häxan) tableau <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> grounds the uncontrollable forces at work on the faces of those confronted by the power of the witch (constituting a shot that is intensive <lgc clss='lgc'>=/=lgc> introspective)
lsts>

lss="nms">Häxan film <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> progressive unlss="trms">folding of the lss="trms">material lss="trms">world through the style of a lss="trms">lecture
lss="prgrph">-exploration of the lss="trms">wonders and “errors” of the lss="trms">past (with near-messianic belief in the perfectibility of man)
magnified form of realss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list cinema <lgc clss='lgc'>+lgc> rooted in a lss="trms">naturalss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list impulse <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> Christensen's witch is not only here now, it has always been here<lgc clss='lgc'>:lgc> “witch<lgc clss='lgc'> = lgc>a figure of lss="trms">nature”
lss="prgrph">-lss="nms">Häxan begins with woodcuts, drawings, and paintings that olss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginate from ls clss='strcls'>*ls>an act of touchls clss='strcls'>*ls> <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> haptic vision <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> to lss="trms">present lss="trms">figurative cliched givens <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> establish the ground
lss="prgrph">-seizes (the audience) and is seized (by the witch)
lss="prgrph">-seeing and touching ls clss='strcls'>*ls>virtual beingsls clss='strcls'>*ls> (such as devils)
<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigorously logical structure <lgc clss='lgc'>+lgc> expressing the tangible singularity of the power of the witch

ls clss='strcls'>*ls>(from) tales <lgc clss='lgc'>--lgc>to<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> theology <lgc clss='lgc'>--lgc>to<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> diagnosisls clss='strcls'>*ls>


“advancement” of lss="trms">natural knowllss="trms"nttrm="knowledge,Knowledge">edge <lgc clss='lgc'><<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>lgc> demonology


witch<lgc clss='lgc'>:lgc> a viral character


witch hunters's trial by water ls clss='strcls'>*ls>is not a “trial” but rather an experimentls clss='strcls'>*ls> (to identify evidence of evil's lss="trms">presence<lgc clss='lgc'><lgc clss='lgc'>--lgc>-lgc>in the absence of direct unmotivated proof) <lgc clss='lgc'>--lgc>operating<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> though a form of non-knowllss="trms"nttrm="knowledge,Knowledge">edge <lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc> mastery of nonsense
= ls clss='strcls'>***ls>a deep appreciation of (that might seem misguided to us)<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•cause-and-effect lss="trms">relations
lsts> <lsts clss="lsts lst1">•forces at work in the lss="trms">natural lss="trms">world
lsts> (<lgc clss='lgc'>=/=lgc> inlss="trms">difference to the truth, retreat into superstition)
<lgc clss='lgc'>~lgc>
<lgc clss='lgc'>[lgc>these<lgc clss='lgc'>]lgc> cases suglss="trms">gestive of and lss="trms">lss="trms">empirically linked to general laws. the case said something about the lss="trms">world, and once a case was established, it would splss="trms"nttrm="already,spread">read like a contagion (<lgc clss='lgc'>=/=lgc> proof of misogy or genocide as Federici asserts)


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

maleficium (of the witch <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> palpable<lgc clss='lgc'>:lgc> destructive weather magic, assault of farm lss="trms">animals, sickness, unexplained death, etc.)

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

(early lss="trms">modern period <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>) ls clss='strcls'>**ls>satan<lgc clss='lgc'> = lgc>the principal lss="trms">authority of the lss="trms">natural lss="trms">worldls clss='strcls'>**ls>, “master of the knowllss="trms"nttrm="knowledge,Knowledge">edge of lss="trms">natural properties and the lss="trms">techniques of their lss="trms">instrumentalization” <lgc clss='lgc'>=/=lgc> lss="trms">techniques of the healer <lgc clss='lgc'>=/=lgc> lss="trms">lss="trms">empirical lss="trms">instruments

(l clss="ppl">de Certeaul> observed that) every exercise of trained judgment is lss="trms">authorized through the <lgc clss='lgc'>[lgc>ls clss='strcls'>*ls><lgc clss='lgc'>]lgc>dark<lgc clss='lgc'>:lgc> ratifying force of theology
ls clss='strcls'>**ls>dark forces <lgc clss='lgc'>--lgc>ratify<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> all forms of lss="trms">natural expertisels clss='strcls'>**ls>

mastery of nonsense <lgc clss='lgc'>--lgc>driving<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> confirming the suspicion of witchlss="trms">craft<lgc clss='lgc'> = lgc>a form of non-knowllss="trms"nttrm="knowledge,Knowledge">edge <lgc clss='lgc'>==lgc>opens<lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> a gap in knowing (lss="trms">specifically, ‘who’)


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

Dominican order <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> aggressively promoting the cult of the virgin, to the status of the “perfect” woman <lgc clss='lgc'>{lgc>elevating the status of sexual lss="trms">neurosis to a virtue<lgc clss='lgc'>}lgc> <lgc clss='lgc'>=/=lgc> lustful credulous lss="trms">nature of common women (who were often aslss="trms">sociated with the temptations of Eve)


ls clss='strcls'>*ls>conflicted status of womenls clss='strcls'>*ls>
<lsts clss="lsts lst1">•in lss="nms">Häxan <lgc clss='lgc'>--lgc>through<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> sternly patrilineal visual motifs (condescension <lgc clss='lgc'>+lgc> bemusement <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> frail <lgc clss='lgc'>+lgc> hysterical)
lsts> <lsts clss="lsts lst1">•in lss="nms">ajayeb lss="trms">bestiary <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>
lsts>

(lss="nms">Häxan's) witch hunters act in lss="trms">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 lss="trms">world) were dedicated to investigating and verifying the claims <lgc clss='lgc'>[lgc>of the accused witch) <lgc clss='lgc'>=/=lgc> (mainstream depiction of inquisitors as) gullible, fanatical, overtly misogynistic

(during the witch craze) ls clss='strcls'>**ls>desire to believe <lgc clss='lgc'>=/=lgc> simple beliefls clss='strcls'>**ls>
despite the unbelievable scope of demonic power, the inquisitors must believe that what the young maiden is reporting is possible


ls clss='strcls'>****ls>important changes in the legal lss="trms">systems in europe well into the 14th century<lgc clss='lgc'>:lgc> 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 ls clss='strcls'>*ls>lss="trms">matters between the accused and accuserls clss='strcls'>*ls> <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> lss='thdf'>the idea that “crime” was a lss="trms">matter between lss="trms">society and the accused did not exist (<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> the lss="trms">presentday distinction between criminal and civil lss="trms">complaints meaningless)
raising a formal lss="trms">complaint required<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•the accuser to furnish proof of the allegation
lsts> <lsts clss="lsts lst1">•to submit to severe penalties agreed in advance if the judge was unconvinced of the lss="trms">complaint's merit
lsts> ls clss='strcls'>*ls>it was complex, expensive, and very risky to enter into this formal framework in order to address disputes or everyday injusticesls clss='strcls'>*ls> <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> most ordinary people did not do so, choosing instead to pursue local and less formal modes of redress

<lrg clss="large lg6" stl="font-size:127%"> 15th and 16th century <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> this procedure changed dramatically (with the emergence of the witch in europe)
<lsts clss="lsts lst1">•witch was understood as an lss="trms">agent of satan
lsts> <lsts clss="lsts lst1">•lss="trms">responsibility of civil and lss="trms">religious lss="trms">authorities to protect pious christians (from a power that would overwhelm the faithful regardless of their individual acts, intentions, or beliefs)
lsts>
inchoate suspicion (of the fearful, the resentful, the spiteful) <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> reporting <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> inquisitors (lss="trms">positioned as experts) <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> take this suspicion forward administratively <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> ls clss='strcls'>*ls>impersonal lss="trms">sociological sensels clss='strcls'>*ls> (<lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc> an lss='thdf'>example of Weberian rationalization)

to suspect someone of maleficium was not new <lgc clss='lgc'>--lgc>lss='not'>✕<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> (in witch accusations) lss="trms">authorities were now eager to act on suspicions in dependently


unresolved sexual desires <lgc clss='lgc'>+lgc> such passion would be redirected in pathological, lss="trms">perverse manner <lgc clss='lgc'>==lgc>lss="nms">Häxan<lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> witch accusations

the film emphasizes the crucial role sex played in discerning what constituted witchlss="trms">craft and its status as a knowable lss="trms">category of (malefic) human practice


<lrg clss="large lg6" stl="font-size:120%"> 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...

lss="nms">Häxan's tortured lss="trms">relation to “the truth”
the lss="trms">question of lss="trms">lss="trms">empirical certainty and reenactment haunts the status of the film as evidence

ls clss='strcls'>*ls>acting the ideal type breathes life into the emptied, cliched figurels clss='strcls'>*ls> <lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•Christensenrelying on the fact that the truth of the witch will take its most visible form by acting her out lss="trms">mimetically (<lgc clss='lgc'><lgc clss='lgc'>ld>~ld>lgc>=lgc> Christensen chooses to “play” satan using his idiom to breathe life into his witch)
lsts> <lsts clss="lsts lst1">•Flaherty knew that the lss="trms">visceral force of Nanook of the North depended on the felicity of his Inuit lss="trms">interlocutors reenacting themselves
lsts>
lrg>


Christensen seems to be offering a cure for the ls clss='strcls'>*ls>secularized christian blindnessls clss='strcls'>*ls> at the heart of ls clss='strcls'>*ls>lss="trms">positivist human lss="trms">sciencels clss='strcls'>*ls> <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> his audience is pulled in “through a lens of lss="trms">science <lgc clss='lgc'>=/=lgc> as misguided inquisitors”


working with ls clss='strcls'>*ls>lss="trms">figurative givens of witches and demonsls clss='strcls'>*ls> <lgc clss='lgc'>--lgc>lss="trms">formulate<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> visual thesis (about uncanny, mobile power)

etchings into a lss="trms">material
carving outlines into the image of figures that have been hiding in plain sight


beautifully lss="trms">composed tableau of the torture chamber
static plane of the tableau <lgc clss='lgc'>=/=lgc> sense depth signify an open or free space

totality of (depicted) violence <lgc clss='lgc'><<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>lgc> lss="trms">composed alterity of the slss="trms">cene's stylss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic corlss="trms">respondence between accused and inquisitor

(Christensen's lss="trms">method of) oscillating rhythm between tableau and face
lss="prgrph">-suppressing perspective and depth of field in favor of a continuous lss="trms">affective movement as expressed in the face
<lgc clss='lgc'>--lgc>l clss="ppl">Baxstroml><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss="nms">Häxan is not grounded in a setting here; it is grounded in the forms of life lss="trms">present in the shot

sense of corporeal alienation from herself <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> inhabit a script not her own <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> critical to the “success” of witchlss="trms">craft confessions

witch stereotype<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•lss="trms">Wild Ride
lsts> <lsts clss="lsts lst1">•pact with the Devil solemnized through sexual lss="trms">intercourse-
lsts> <lsts clss="lsts lst1">•cannibalism
lsts> <lsts clss="lsts lst1">•دیگ cauldron as the locus of the rite
lsts> <lsts clss="lsts lst1">•ls clss='strcls'>*ls>massed, coordinated, female lss="trms">nature of witchlss="trms">craftls clss='strcls'>*ls>
lsts>

judicial machinery of a witch trial required evidence of criminal acts that (by delss="trms">finition) could not be witnessed


<lrg clss="large lg6" stl="font-size:133%"> in lss="nms">Häxan
lss="prgrph">-the power of cinema to witness exceeds that of the witch hunter
lss="prgrph">-what it does is “worse” than lss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging the truth <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> it aligns itself (not with a concept of truth or the real but) with the power of the witch


(lss="nms">Häxan and many criminal lss="trms">story films) works through lss="trms">instruments of knowing rooted in the ls clss='strcls'>*ls>dynamics of the confessionls clss='strcls'>*ls>
lss='at'>#lss="nms">ajayeb lss="trms">storytelling

...lss="trms"nttrm="cluster,club">clumsily rendered, the wlss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riggling demons reflect an lss="trms">interesting set of variations to the witch stereotype, both lss="trms">ontologically and visually
(Maria giving birth to demon lss="trms">children)


Thomas Aquinas's theorization of the ls clss='strcls'>*ls>virtual bodiesls clss='strcls'>*ls> (of angels)
lss="prgrph">-angels do not need bodies for their sake but for ours <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> unlss="trms">natural couplings could produce lss="trms">children, but that the bodily essence of devils would rule out the possibility that these lss="trms">children would themselves be demons


16th century lss="trms">author primarily concern with Satan's ability to manipulate and lss="trms">pervert lss="trms">language (inlss="trms"nttrm="cluster,club">cluding lss="trms">erotic lss="trms">language)


lss="trms">wild flowing hair of the women <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> a common visual lss="trms">lss="trms"nttrm="metaph,metamorph,metabol,metal">metaphor for sexual promiscuity and disorder


images of cannibalss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic night witches were explicitly a demonological variation on long-standing popular conceptions

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

xxxxxx


lrg>
persistence of witchlss="trms">craft
how witchlss="trms">craft might still exist as more than just one of many choices available on a personal empowerment “menu”
lss="prgrph">-how rituals pertaining to magic came to be understood as a problem of knowllss="trms"nttrm="knowledge,Knowledge">edge

ls clss='strcls'>*ls>magic binds forces that would otherwise overflow lifels clss='strcls'>*ls>
a great subterranean need to “bind” forces that would otherwise exert themselves with impunity and without any greater explanation or meaning
<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> enacting a delss="trms">historification of a form of life that would otherwise be overwhelmed by the brutal timeliness of lss="trms">historical being
l clss="ppl">Baxstroml> > de l clss="ppl">Martinl>o, Janet

making the precarity of our lss="trms">presence an object of knowllss="trms"nttrm="knowledge,Knowledge">edge

(firm unlss="trms">questioning belief <lgc clss='lgc'>=/=lgc>) local doubt <lgc clss='lgc'>--lgc>sustins<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> witchlss="trms">craft (in Buli -Bubandt)
...face off with a persistent, seemingly eternal, spectral threat

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

Rolley

an anatomical (not geographical knowllss="trms"nttrm="knowledge,Knowledge">edge, diabolical atlas) demonological understanding
lrg>
Renessancian lss="trms">world encounters <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> geo
<lgc clss='lgc'>[lgc>ls clss='strcls'>*ls><lgc clss='lgc'>]lgc>Renaissance<lgc clss='lgc'>:lgc> the age of demonology, the age of lss="trms">cosmographic revolution (<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss="trms">nature of lss="trms">causality)
lss="prgrph">-lss="trms">presence of the devil in geographical space
lss="prgrph">-comlss="trms">posite and cross-disciplinary lss="trms">network of nonhuman lss="trms">causality and transmedia lss="trms">writing <lgc clss='lgc'>[lgc>demonologists <lgc clss='lgc'>+lgc> lss="trms">cosmographers <lgc clss='lgc'>+lgc> lss="trms">travellers<lgc clss='lgc'>]lgc>
<lsts clss="lsts lst1">•demonology<lgc clss='lgc'>:lgc> identifiable shared discursive field <lgc clss='lgc'>-<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>lgc> lss='gtrw'>go to l clss="ppl">Baxstroml>
lsts> <lsts clss="lsts lst1">•demon <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> gunpowder (lss="trms">according to Rabelais and others) is the diabolical element amongst the classic tricolon<lgc clss='lgc'>:lgc> gunpowder, the nautical compass, and the printing press
lsts>
emergence of a lss="frds scrmbld"nttrm="Christianson">Christian lss="trms">science of the devil (in the medieval West) <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> liberation of demons (from supralunar to sublunar <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> into earthly realms)

Sabbat<lgc clss='lgc'>:lgc> an outpost of hell very much belonging to this lss="trms">world

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

ls clss='strcls'>*ls>finding ghost is what we are all here forls clss='strcls'>*ls>

...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 <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> i do what i am told<lgc clss='lgc'> = lgc>i do exactly what i want to do

lss="trms">anthropologist<lgc clss='lgc'> = lgc>i cannot directly “see” the demon or the spirit <lgc clss='lgc'>[lgc><lgc clss='lgc'>~lgc> what i am told to see, lss='at'>@lss="nms">apass lss='at'>#feedback<lgc clss='lgc'>]lgc>, but i am convinced that they are there


(lss="nms">ajayeb <lgc clss='lgc'>--lgc>lss='qstn'>?<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>) older practices of defining lss="trms">social facts and the discovery, lss="trms">interpretation, and delss="trms">finition of the lss="trms"nttrm="already,spread">read <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> (roots of the predislss="trms">position of research<lgc clss='lgc'>:lgc>) to sense, lss="trms">interpret, and eventually master forces that appear to be nonsensical and yet are held to be essential to the reality of everyday lss="trms">social life

<lgc clss='lgc'>[lgc>mad:<lgc clss='lgc'>]lgc> lss='thdf'>the notion of ls clss='strcls'>*ls>irrationalls clss='strcls'>*ls> as a privileged space in medical discourses (in France in the 19th century) <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> a mysterious and extra-lss="trms">social lss="trms">language that the rising medical profession could adapt to its own purposes

“nonsense” of the “native”

(l clss="ppl">Baxstroml>'s work on witch craze <lgc clss='lgc'>[lgc>in 16th century<lgc clss='lgc'>]lgc> <lgc clss='lgc'>--lgc>arguing<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>) the problem of establishing proof in reference to the invisible forces has durably shaped our modes of investigating human lss="trms">social and cultural life

<lgc clss='lgc'>[lgc>lss="nms">lss="nms">ajayebnameh <lgc clss='lgc'>=/=lgc><lgc clss='lgc'>]lgc>
lss="trms">social or cultural lss="trms">anthropology in the 21st century<lgc clss='lgc'> = lgc>(human lss="trms">sciences’ contemporary equivalent of the) ls clss='strcls'>*ls>old efforts to master the invisiblels clss='strcls'>*ls> <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc><lgc clss='lgc'>{lgc>test <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> felicitous information as to the “true” lss="trms">nature of obscure forces and their operations within lss="trms">lss="trms">empirical real-lss="trms">world contexts<lgc clss='lgc'>}lgc>

<lgc clss='lgc'>[lgc>lss="nms">ajayeb<lgc clss='lgc'>:lgc> (part of the lss="trms">histories of)<lgc clss='lgc'>]lgc> lss="trms">systematic, lss="trms">lss="trms">empirical investigation of strange events, singularities, miracles, and other types of staple lss="trms">phenomena <lgc clss='lgc'><lgc clss='lgc'>~lgc><lgc clss='lgc'>~lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>lgc> lss="trms">scientific lss="trms">method and the forms of knowllss="trms"nttrm="knowledge,Knowledge">edge that emerged as the foundation of an ensemble of ls clss='strcls'>*ls>lss="trms">sciences proper to humansls clss='strcls'>*ls> <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> yet has been unable to expel (the unprovable forces) considering the olss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigins and forms of human diversity

<lgc clss='lgc'>[lgc>ls clss='strcls'>*ls><lgc clss='lgc'>]lgc>lss="trms">anthropology<lgc clss='lgc'>:lgc> the desire to credibly master nonsense

<lgc clss='lgc'>[lgc>with lss="nms">ajayeb studies i am learing to be<lgc clss='lgc'>]lgc> able to argue for a lss="trms">world below the threshold of perception (of medicine, biology, physics <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> defined their lss="trms">relation to the nonsensical via a ls clss='strcls'>*ls>visibility to comels clss='strcls'>*ls> <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> <lgc clss='lgc'>[lgc>lss="trms">embodied in new lss="trms">technologies:<lgc clss='lgc'>]lgc> photograph, microscope, telescope)

l clss="ppl">Deleuzl>e <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> when lss="trms">writing of lss="trms">communication between heterogeneous lss="trms">systems <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> <lgc clss='lgc'>[lgc>we must pay attention to<lgc clss='lgc'>]lgc> what is this lss="trms">agent, this force which ensures lss="trms">communicationlss='qstn'>? (<lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc> role of lss="trms">difference and resemblance)

forensic lss="trms">anthropology

<lgc clss='lgc'>[lgc>title<lgc clss='lgc'>]lgc>
lss="trms">imaging and lss="trms">imagining lss="trms">technologies


the confusion of the lss="trms">lss="trms">empirical (knowllss="trms"nttrm="knowledge,Knowledge">edge lss="trms">traversed by our everyday observations, sensations, passions) and the transcendental (construction of an ideal knower, now it is the queer) in lss="nms">apass

figure of man foundational to the human lss="trms">sciences <lgc clss='lgc'>[lgc>did not exist in classical thought <lgc clss='lgc'>~lgc> lss="nms">ajayeb<lgc clss='lgc'>]lgc> <lgc clss='lgc'>--lgc>move-to<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss="trms">lss="trms">empirically institute the experience, witnessing, and testimony of an individual human subject<lgc clss='lgc'> = lgc>ls clss='strcls'>*ls>the central linking relay between evidence, judgement, and the realls clss='strcls'>*ls> <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> the ability of a human being alone to serve as the sole source of evidence in an investigation of “the real” (lss='at'>#feedback) <lgc clss='lgc'>[lgc><lgc clss='lgc'>=/=lgc> Gilgamesh<lgc clss='lgc'>]lgc>
(in Qazwini's lss="nms">lss="nms">ajayebnameh the testimony of an individual human subject is ambiguous)

(l clss="ppl">Baxstroml> <lgc clss='lgc'>+lgc> l clss="ppl">l clss="ppl">Foucaultl>l>) ls clss='strcls'>*ls>insist on rooting our form of knowllss="trms"nttrm="knowledge,Knowledge">edge in the figure of the human being and the human being alone <lgc clss='lgc'>--lgc>yet<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> our gaze is continually drawn to a host of beings and lss="trms">phenomena (the witch, the spirit, the shaman, etc.) that cannot properly be enlss="trms">folded back within this figurels clss='strcls'>*ls>


lss="trms">fabled delss="trms">finition (lss='at'>@lss="nms">apass lss="trms">relationship with defining)

lss="trms">fable of lss="trms">anthropology (a dislss="trms">position with regard of the lss="trms">interlocutor other as truly “other”) <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>
“This goal is, briefly, to grasp the native's point of view, his lss="trms">relation to life, to realise his vision of his lss="trms">world. We have to study man, and we must study what concerns him most intimately, that is, the hold which life has on him. In each culture, the values are slightly lss="trms">different; people aspire after lss="trms">different aims, follow lss="trms">different impulses, yearn after a lss="trms">different form of happiness. In each culture, we find lss="trms">different institutions in which man pursues his life-lss="trms">interest, lss="trms">different customs by which he satisfies his aspirations, lss="trms">different lss="trms">codes of law and morality which reward his virtues or punish his defections. To study the institutions, customs, and lss="trms">codes or to study the behavior and mentality without the subjective desire of feeling by what these people live, of realising the substance of their happiness—is, in my opinion, to miss the greatest reward which we can hope to obtain from the study of man.” -George Stocking


...the field-worker must, under the siglss="trms">nature of lss="trms">science, achieve the cultivated, sensed point of view of the other
lss='at'>@lss="nms">apass lss='at'>#feedback (a privileged lss="trms">relation with the unknown <lgc clss='lgc'>[lgc>of the other artist to whom one gives feedback<lgc clss='lgc'>]lgc>)


(l clss="ppl">Baxstroml><lgc clss='lgc'>:lgc>) witch hunt<lgc clss='lgc'> = lgc>experiential engagement with nonsense

Malinowski <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> how can the invisible be forced into visibility or sensibilitylss='qstn'>? <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc>
<lsts clss="lsts lst1">•connect the study of diverse human lss="trms">social practices to the seemingly nonsensical lss="trms">worlds of gods, spirits, and witches that were offered as explanations
lsts> <lsts clss="lsts lst1">•countering hierarchical and polygenetic theories of diversity
lsts> <lsts clss="lsts lst1">•appropriate lss="trms">lss="trms">empirical tests in the face of the doubled, impossible object of knowllss="trms"nttrm="knowledge,Knowledge">edge
lsts>
ls clss='strcls'>*ls>lss="trms">method<lgc clss='lgc'> = lgc>cultivated ability to lss="trms">craft experience and testimony into a “sensible” explanation of what otherwise would simply be ruled out as “nonsense”

15th century Europe ecclesiastical crisis<lgc clss='lgc'>:lgc>
<lsts clss="lsts lst1">•demons going viral (the viral proliferation of demonic power beyond the grasp of human intuition and thought)
lsts> <lsts clss="lsts lst1">•proliferation of witches (within the general population)
lsts> <lgc clss='lgc'>}lgc><lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> growing power of Satan on earth <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> (sign of impending) apocalypse
<lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> growing fear and great doubt <lgc clss='lgc'>[lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> like today!<lgc clss='lgc'>]lgc>

Malleus Maleficarum (on witchlss="trms">craft, a revolution in early middle ages) <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>
<lstsrd clss="lstsrd">1. local lss="trms">relation between investigative procedures
lstsrd> <lstsrd clss="lstsrd">2. constitution of evidence
lstsrd> <lstsrd clss="lstsrd">3. assertion of a fact
lstsrd> <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> expertise in lss="trms">matters real but invisible

16th century notions of the lss="trms">positive element of seeing witches, sorcerers, and Satan himself

God's apparent absence ls clss='strcls'>*ls>in times of great change and strifels clss='strcls'>*ls> <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> an ls clss='strcls'>*ls>lss="trms">interpretive expertisels clss='strcls'>*ls> over the concrete, secondary manifestation of God's reality (was reassuring) <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> a relief to the pious believer <lgc clss='lgc'>:lgc> “God's embrace of life <lgc clss='lgc'>=/=lgc> devil's embrace of life” <lgc clss='lgc'>=/=lgc> Heretics managed God's absence without that oplss="trms">position (a luxury to lss="trms">imagine such a lss="trms">world was denied to most of the people in that period, also denied to the lss="trms">modern subject of the secular lss="trms">present)

how does one know who is really hearing the prayers <lgc clss='lgc'>[lgc>of the faithful<lgc clss='lgc'>]lgc>lss='qstn'>?
devil overhearing and lss="trms">interfering with even the most intimate lss="trms">communications


inquisitor <lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc> 16th century lss="trms">questions of theology (in a lss="trms">world where the lss="trms">trappings of belief are everywhere but there is no incontrovertibly visible evidence of god's...)


demonologists of the 15th and 16th century were not sure about<lgc clss='lgc'>:lgc>
god
man
witch<lgc clss='lgc'>:lgc> the lss="trms">abyss between god and man<lgc clss='lgc'> = lgc>a kind of proof, a reassurance that the evil of the lss="trms">world can be explained (through the various iterations of satan's power)

demonologist <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 ot me!”


ls clss='strcls'>***ls>desire to believe <lgc clss='lgc'>=/=lgc> (simple) beliefls clss='strcls'>***ls>
<lsts clss="lsts lst1">•<lgc clss='lgc'>[lgc>'desire to believe’ and ‘belief'<lgc clss='lgc'>]lgc> were not the same during the time of the witch craze
lsts> <lsts clss="lsts lst1">•were not the same in the fast-evolving discourses of the human lss="trms">sciences of the 19th century and early 20th century
lsts> <lsts clss="lsts lst1">•are not the same today
lsts>
<lrg clss="large lg26" stl="font-size:130%">
lss='at'>@lss="nms">apass<lgc clss='lgc'>:lgc>
<lstsrd clss="lstsrd">1. the general tendency to remain an artist <lgc clss='lgc'>~lgc> a myth, an effect, a warrior
lstsrd> <lstsrd clss="lstsrd">2. to make anomaly the law عمومیت استثنا
lstsrd>

hearing the name of the witch <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> subject to stict verification
demonologists and inquisitors at this time desired proof <lgc clss='lgc'><<lgc clss='lgc'>--lgc>lgc> viral proliferation of the witch came to provide that proof

<lrg clss="large lg3" stl="font-size:110%"> ls clss='strcls'>***ls>lss="trms">interrogation under torture<lgc clss='lgc'> = lgc>an experimental form of knowing in crisisls clss='strcls'>***ls> <lgc clss='lgc'>[lgc>lss='at'>#lss="trms">styles of knowing<lgc clss='lgc'>]lgc>
confession <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc><lgc clss='lgc'>{lgc> ls clss='strcls'>*ls>status of witnessing<lgc clss='lgc'> = lgc>a form of truthls clss='strcls'>*ls> <lgc clss='lgc'>}lgc><lgc clss='lgc'><lgc clss='lgc'>~lgc>->lgc> Boyle's New Experiments 1660 revolutionized practical experimental procedures in the laboratory (for gernerations to come...)
<lsts clss="lsts lst1">•experiments such as the trial by water delss="trms">monstrates a deep (if not misguided) ls clss='strcls'>*ls>appreciation of cause-and-effect lss="trms">relationsls clss='strcls'>*ls> relative to the invisible forces at work in the lss="trms">natural lss="trms">world (<lgc clss='lgc'>=/=lgc> inlss="trms">difference to the truth, retreat into superstition) <lgc clss='lgc'><lgc clss='lgc'><lgc clss='lgc'>ld>~ld>lgc>=lgc>>lgc> rendering of such procedures in expressive works of ls clss='strcls'>*ls>artls clss='strcls'>*ls> (indispensable to nascent protolss="trms">science <lgc clss='lgc'>--lgc>today<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> an essential element of lss="trms">science's ability to express truth)
lsts>lrg>

_<lgc clss='lgc'>+lgc>ls clss='strcls'>***ls>'`<lgc clss='lgc'><lgc clss='lgc'>~lgc><lgc clss='lgc'>~lgc>/!=-lgc><lgc clss='lgc'><lgc clss='lgc'>~lgc>>lgc>

ls clss='strcls'>***ls>the logic of gathering evidencels clss='strcls'>***ls>
(fundamental lss='thdf'>assumption of lss="trms">anthropology<lgc clss='lgc'>:lgc>)
<lgc clss='lgc'>[lgc>asserted by lss='trgt hghlght 1'href='?q=L'>Levy-Bruhl:<lgc clss='lgc'>]lgc> lss="trms">ontological lss="trms">difference between the nonsensical lss="trms">world of “primitives” and the lss="trms">science of Western research <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> ls clss='strcls'>*ls>“natives” could not (or would not) produce a “proper” explanation of the forces around them or their own beliefs and motivations in lss="trms">relation to these forcesls clss='strcls'>*ls> (<lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> testimony <lgc clss='lgc'>+lgc> experience became essential tools for ethnographers)
<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> ls clss='strcls'>***ls>encounter between reselss="trms"nttrm="search">archer and subjectls clss='strcls'>***ls> <lgc clss='lgc'>[lgc>was never that of good faith lss="trms">intercultural sharing<lgc clss='lgc'>]lgc> <lgc clss='lgc'>==lgc>constituted<lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> a series of severe tests (by which the reselss="trms"nttrm="search">archer could gather necessary lss="trms">lss="trms">empirical evidence in order to make a felicitous truth statement regarding what was “really” at play)
<lgc clss='lgc'>}lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> the nonsense to be mastered shifted from the demonic (<lgc clss='lgc'>~lgc> incredible forces at play for the inquisitor ديوى) <lgc clss='lgc'>--lgc>to<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> ديوانه the misguided tall tales fo the native
<lgc clss='lgc'>-<lgc clss='lgc'>-<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>lgc>lgc><lgc clss='lgc'>{lgc>this is relevant for artistic research environment, encounter/friction between lss="trms">different lss="trms">styles of knowing
lss='at'>#feedback<lgc clss='lgc'>:lgc> mastering the nonsense of the other artist-reselss="trms"nttrm="search">archer
lss='at'>@lss="nms">apass, research lss="trms">presentation<lgc clss='lgc'>:lgc> misguided tall tales artists tell themselves<lgc clss='lgc'>}lgc>
lrg>
<lgc clss='lgc'>[lgc>lss='at'>#feedback as passion<lgc clss='lgc'>]lgc>
l clss="ppl">Avitall> <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> a passion or experience without mastery, without subjectivity, testimony, as passion, always renders itself vulnerable to doubt
(<lgc clss='lgc'>[lgc>lss='qstn'>?can we think of<lgc clss='lgc'>]lgc> artistic feedback as a) ls clss='strcls'>*ls>slss="trms">cene of ethnographic encounterls clss='strcls'>*ls> <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> a kind of ls clss='strcls'>*ls>antagonistic trialls clss='strcls'>*ls> (whereby the ghosts and gods of the natives are forced out of the shadows and made concretely apparent to the senses of the ethnographer)
<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> (in this context) fieldwork <lgc clss='lgc'><lgc clss='lgc'>==lgc>>lgc> knowllss="trms"nttrm="knowledge,Knowledge">edge of hauntings <lgc clss='lgc'>+lgc> other nonsense that is itself haunted <lgc clss='lgc'><lgc clss='lgc'>~lgc>->lgc> what gives testimony its power of fact <lgc clss='lgc'>{lgc><lgc clss='lgc'>--lgc>l clss="ppl">Derridl>a<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> if testimony truly resolves as certainty or mere information, it would lose its function as testimony <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> testimony must allow itself to be haunted<lgc clss='lgc'>}lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> <lgc clss='lgc'>[lgc>ls clss='strcls'>*ls><lgc clss='lgc'>]lgc>testimony<lgc clss='lgc'>:lgc> visualization of [...]