[...]discourses of the human sciences of the 19th century and early 20th century
•are not the same today


@apass:
1. the general tendency to remain an artist ~ a myth, an effect, a warrior
2. to make anomaly the law عمومیت استثنا


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

***interrogation under torture = an experimental form of knowing in crisis*** [#styles of knowing]
confession -->{ *status of witnessing = a form of truth* }~-> Boyle's New Experiments 1660 revolutionized practical experimental procedures in the laboratory (for gernerations to come...)
•experiments such as the trial by water demonstrates a deep (if not misguided) *appreciation of cause-and-effect relations* relative to the invisible forces at work in the natural world (=/= indifference to the truth, retreat into superstition) ~=> rendering of such procedures in expressive works of *art* (indispensable to nascent protoscience --today--> an essential element of science's ability to express truth)


_+***'`~~/!=-~>

***the logic of gathering evidence***
(fundamental assumption of anthropology:)
[asserted by Levy-Bruhl:] ontological difference between the nonsensical world of “primitives” and the science of Western research ==> *“natives” could not (or would not) produce a “proper” explanation of the forces around them or their own beliefs and motivations in relation to these forces* (==> testimony + experience became essential tools for ethnographers)
--> ***encounter between researcher and subject*** [was never that of good faith intercultural sharing] ==constituted==> a series of severe tests (by which the researcher could gather necessary empirical evidence in order to make a felicitous truth statement regarding what was “really” at play)
}--> the nonsense to be mastered shifted from the demonic (~ incredible forces at play for the inquisitor ديوى) --to--> ديوانه the misguided tall tales fo the native
---->{this is relevant for artistic research environment, encounter/friction between different styles of knowing
#feedback: mastering the nonsense of the other artist-researcher
@apass, research presentation: misguided tall tales artists tell themselves}

[#feedback as passion]
Avital --> a passion or experience without mastery, without subjectivity, testimony, as passion, always renders itself vulnerable to doubt
([?can we think of] artistic feedback as a) *scene of ethnographic encounter* --> 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 ethnographer)
--> (in this context) fieldwork ==> knowledge of hauntings + other nonsense that is itself haunted ~-> what gives testimony its power of fact {--Derrida--> if testimony truly resolves as certainty or mere information, it would lose its function as testimony --> testimony must allow itself to be haunted}--> [*]testimony: visualization of what cannot normally be seen

[my misunderstanding of ethnography ==> my approach to giving and receiving feedback --> the workshop i gave ‘little fables of practice'] *(your) ‘fact’ must allow itself to be parasitized by precisely what it excludes from its inner depths, of being a fable*

the picture of researcher's humanity (@Sana):
•researcher = detective, examining magistrate دادرس
•crime = fact
•guilty = interlocutor (in reality they guide you into [often organized] labyrinths)
•inquest = strategic operation

**the imaginative results of “I witnessing”**
@apass [what we do mainly is] witnessing eachother's works and mode of existence
+ paradoxical necessity of an expressive element


testimony + experimental results + expert inquisitorial interpretation ==> (an early versoin of) ‘case study’ ==> formation of ‘general law’

*inquisitorial strategies* (developed in the human sciences from the 19th century onward): جزء به کل ”(close analysis of) salient individual cases ==> hidden tendencies visible” [--> and is abused in storytelling]

[in both science and art] seeking to move away from *reliance on metaphysics* to a *reliance on verifiable details* (in their own expressions)


acknowledging satan's unquestioned power <--doubt--> truth-value of statements made by unlearned witnesses


*possession* (confessions of another sort)
confessions that were not ‘procured’ [ritualized torture of the witch trial to generate evidence] but rather ‘volunteered’ and ‘enacted’ (without the aid of inquisitor)
<== individual turmoil (=/= juridical manipulation)
==> medicalization (of the invisible forces) --> (a new mode) *didactic & forensic*

17th century --> a shift in the empirical approach to invisible forces


clinical hysteria --> fascination with a power that (by definition) destabilizes binaries such as inner/outer

@Pierre, apass? #feedback
****symptomology: discovering without learning****
--> physicians in relation to haunted nun, mobilized by attention, considers the deployment of a knowledge in the new and visible form of an appearing [of the other's nonsenses (~ artwork --> the object of feedback: an inconsistent invisible object of inquiry renamed and reimagined by the feedback)]


Charcot [in his storied career of the father of modern neurology] dealing with relations between religious ecstasy, magic, witchcraft, and “nervous disease” <-- great doctor's decision to compile <-- discernible

•weyer --> appealed to people's better nature and reason
•Bourneville --> appealed to an appraisal of history in service of a project on modernity
}--> to demonstrate the precariousness of interpretation & the consequences of ignorance
}--> (errors of) demonologists and exorcists rooted in (what was characterized as) the mistaken conceptualization of their object of investigation

now antiquated *forms of inquiry* --> 16th century's witch-hunting and exorcism of spirits ~/= 19th century's clinical studies of nervous illness <-- conceptual scaffolding of the emergent science (by Charcot and his students) --> *visible effects of primary invisible forces* involved a *long term labor of social interpretation* that required the mutation of old categories and the creation of new ones...
}==> (19th century's new definition of the) witch: misdiagnosed hysterics of the middle ages <--{ susceptibility of women to witchcraft <== “feminine weakness” }

physical signs of witchcraft recorded centuries earlier --> detailed indexing of symptoms such as:
•religious ferver and stigmatization
•psychosomatic indicators such as blue edema or swelling with local cyanosis and hypothermia and autographic skin (that would appear intensely red after touch)


primitive practices ==> the word “medicine” (derived from the name Medea: the mother of witchcraft)

•epilepsy --> the sacred disease ([perceived] to result from hostile magic --rethought--> to result in terms of individual physiological disorder)
•hysteria [from the greek “uterus"] --> hold a special place in the moral imaginary

indigent madwoman: in the 17th century nearly 10000 women (destitute women, the insane, “idiots,” epileptics, and Parisian society's “least favored classes” [---> go to Foucault]) were kept in La Force prison, a second Bastille, in Paris
=/= the nuns and devoted female members of the church, who raised special concern when they were “possessed” by unexplained forces of demonic or neurologic origin


***(Ulrich Baer > Baxstrom:) Charcot ==> transformation of *tableau vivant* --to--> *tableau clinique* : a hysterical reliving of the original symptom and reframed trauma that attempted to suspend the two temporalities (real + imagined) in the same image***
[Sina ==> --to--> *tableau critique* : ??]
--> Freud and Breuer's efforts (in “reliving” with hypnosis) to isolate the mechanisms of hysteria


Acta Sanctorum [---> go to Attar's tazkirat ~ hagiography]
countless early descriptions of entities speaking through the mouths of girls and of the manifestation of “external signs” in the possessed @Bryana

(associated with) possession:
•anesthesias
•amnesias
•subconscious acts
•somnambulisms
•fixed ideas
•


***conceptually arranged abyss between outer and inner states ==> *literal mastery of nonsense* ==> gaining empirical purchase over forces openly acknowledged to be invisible and insensible in themselves***
•the exorcists (building upon the techniques of inquisitors and witch-hunters) take on possession acted as the *bridge across this abyss*
•the neurologists and psychologists draw unknowable forces out of the inner voids via the *symptom* --Malinowski--> witches, spirits, demons acting as middlemen and guids (=/= explicit target of inquiry) in the field of worker's journey to the dark cornerss of the real
----> (Baxstrom's anthropological insight is useful in artistic feedback, for) in apass: (we use exorcist technique + clinical symptomology) to bridge across the abyss between the artwork and artist (~ the enunciation and enunciator) --Sina--> ‘enunciation is the guide to an enunciator’ #feedback


Levy-Bruhl's haughty binarized “us and them” (his focus on “the primitive” as a category of social analysis and his insistence upon an unbridgeable epistemic gap) --> darker history of human sciences: an embarrassing historical curiosity... *an unsunstainable position* --Baxstrom--> Levy-Bruhl lost his position in th canon because the logic of his arguments regarding the forces that shaped the life-worlds of non-western people denied the possibility of a field researcher's being able to assume the *point of view* of the native in the bold manner that Malinowski declared was not only possible but actually the highest aspiration for anthropology [--> also the aspiration for critical feedback?]


(counterepistemological) Levy-Bruhl =/= Malinowski --> ([*]feedback: an art of engagement informed by critical relatedness and) **anthropological expertise grounded in the careful cultivation of a *sympathetic knowledge of the other* as a way of empirically knowing that other** : *method of sympathetic association*

in apass --> the laboratory of the times located in the person of the researcher himself

grounded Levy-Bruhl's science in the real <== he rejected a focus on a knowable singular subject in favor of a science based on the ability to detect and interpret the invisible forces that worked to produce a particular “mentality” [of the artist in the case of bad feedback]
(Levy-Bruhl's mistake:) systematic interrogation and illumination of mobile invisible forces that produced beings wholly unlike us =/={ method of sympathetic association --> participant observation: the felicity of evidence produced through the qualitative experiential methodological instruments [--> comes to define the modes of critical relatedness in apass]


(since 15th century) investigators ==> staking one's claim to the real on the mastery of those forces that relentlessly elude a plain direct visibility or sensibility ~~--> human sciences


*we still hunt ghosts, fueled by a desire operationalized in a method of being close enough to something to sense it, because our form of mastery demands a closeness to things unseen, unprovable, indeed ‘nonsensical,’ yet unquestionably ‘there’* -Baxstrom

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

Despret on Derrida's animal
the act of being seen by an animal ==> Derrida groups together on the end hand “scientists and philosophers =/= prophets and poets”
{ Bateson, Goodall, Bekoff, Smuts, and many others have met the gaze of the living diverse animals and in response undone an redone themselves & their sciences =/= Derrida }--Haraway--> why did Derrida leave unexamined the practices of communication outside the writing technologies he did know how talk about? ==> philosopher (speak in the absence of animal) =/= theoreticians (speak face to face with the animal) =/= scientists
•Derrida's original positioning: to speak (starting) from [~ a partir de] a real animal and not about animality [being animal] : to speak in the animal's presence and not in its absence --> this [this way of talking about animal is against his philosophical tradition] is not particularly original, it is part of the very game of philosophy: *to fight with ancestors and contemporaries [~=? recalcitrance تمرد tamarod] about great and noble ideas* (to denounce inequality and violence)

maintaining distance is a characteristic of the episteme of the French philosophical tradition

the topic of animal in French tradition:
•the animal can be a topic of philosophy if it is called up as a figure of otherness (or a figure of deprivation) [--> is that why i started to work and think about animal fables after i moved to germany? because i became identifiable as deprived other? and reading about the naming and denunciation of philosophical violence towards the animal became a proxy for philosophical violence towards myself as a foreigner?]
•animal as ancient ancestor (a search for difference with appeal)
•
}--> **as a figure caught up in theoretical and abstract issues** (a philosophical animal) --> animots: paper animals, abstract inexistent animals
=/= Derrida taking up the topic of the animal ==> to oppose a certain humanist hegemony, denouncing philosophical violence towards the animal
•Derrida's rejection of philosophical game par excellence (the game that deals with representations, framework of representation)



♥ the parable of the twelfth camel
An old man, sensing his impending death, called to his side his three sons, to share with them the little he still owned. He said to them: my sons, I have eleven camels. I bequeath half of them to the oldest, a quarter to the second son, and to you, my youngest, I give a sixth. Upon the father's death, the sons found themselves quite perplexed: how to divide their inheritance? A war over the division of goods seemed inevitable. With no apparent solution, the sons went to a neighbouring village to seek advice from an old sage. The old man thought awhile and then shook his head: I cannot resolve this problem. The only thing I can do for you is to give you my old camel. He is not very obedient and often does as he pleases. I don't know if you can use him but I think he may help you divide your inheritance. The sons brought the old camel back with them and divided up the inheritance: the first then received six camels, the second three and the youngest two. This then left the camel of the old sage, which they could return to his owner.

        ,     ,
‘'’ ‘'’   ‘'’   ‘’

this parable reveals particular and essential dimension of all forms of inheritance:
•[Despret:] they place us in a position of obligation --> to work out
•[Sina:] they had to go to the foreign to figure out their inheritance


the sons have to work out the *position of obligation*

*****inheritance (passed on as something that appears impossible) as such requires you to *start from* [=/= about, concerning, with] this inheritance
•“start from” implies precisely the fact of remaining obligated to that *from* which we speak, think, or act [~ learn from & create from events]
•“being obligated” implies learning to do, speak, act, decide, not about these events, not concerning them, not facing or against them, but from them
==> you are bound : *you honor the terms of the problem* (such as it is posed along with its contradictions ~ fubar)
==> (help you to) resist the common sense (or less common sense) solutions


[*]inheriting: an act that demands thought and commitment, an act that calls for our transformation by the very gift of inheriting --> my work on ajayeb, you start from ajayeb (better than “coughing”?)


Despert in reading Derrida through Haraway --> studying the way in which scientists were beginning to respond to their animals & becoming attentive to the animals’ responses in trun

[Sina + Despret + Haraway] ***to inherit is an act that demands a transformation on the part of the inheritor***

the importance of transforming that which is transmitted to us


thinking from animals
(Despret working on) the meaning of ”(starting) from” [a partir de]
•for philosophers: to depart from animals, to leave them as quickly as possible and never to return ==> “animal = text & pretext” : its function is to provide a reason for going (partir) elsewhere [<-- i have done this]


getting involved --to--> martyrdom


author-turned-ethologist --> classic genres of ethological literature

(a matter of) *performing through narration the passing obligation that is [...]