[...]without using “e” or only using a single vowel. or, first write with 3, then 2, then 1 vowel.

-the workshop is about: what other stories (of your object) are possible?
-in the workshop (I take a temporary position to) challenge others to re-tell the story of their ((epistemological) found) objects
-a ‘generative constraint’ might help opening up paths before you, away from our habits of storytelling
-it is about getting a feeling for the resistances and potentials of language in our (sometimes mundane) descriptive practices, “strange richness of missing the letters we need” (Kenney)

the metaphors are dormant in our routines of talking and noticing each other. how then, by traversing the routine, our “knowledge” and “community” took on new meaning, as they get a chance of being rearticulated in different languages (or differenlty infected literature)
~-?==> changing the system of classification (of thought)

-in a way the workshop is about an *approach* to knowledge generation (and not necessarily a rigorous critique nor directly evaluating the production of our knowledges)


***nothing is never merely a metaphor***

[some fables from science studies:]
•Emily Martin's egg/sperm story --> stories of atomism, distribution of agency, ----[The Egg and the Sperm: How Science Has Constructed a Romance Based on Stereotypical Male-Female Roles]
•Hayward's microscope --> tropes of natural history docu, ----[Enfolded Vision: Refracting The Love Life of the Octopus]
•Kenney/Haraway's origin/nature fable --> the omnipotence of the “origin” story in our descriptions and interactions with the natural world
•Scott Gilbert's immunological “bouncer” story =/= immune systems as inclusive agents of symbiosis
•Lynn Margulis: life (made possible) by “combat” [the survival fable that TV series “The 100” and “Kelile Demne” for instance is based on] --✕--> life by networking
•Haraway: the tale of “organism = a system of division of labor with executive functions” (==> extraction of wealth among us)
•Morton's causality-story
•brain/body story --> where the “move” came from?
•Sina's “standing on the shoulders of giants” --> knowledge/continuity, role of authority and humility in science ----[http://www.sinaseifee.com/giants.html]
•Sina's 3 little pigs --> architecture/tech/ echics of encounter --> story of the center and periphery ----[http://www.sinaseifee.com/pigs.html]
•“weapon fathered man” --> Kubrick's african genesis, technology + prehistory (in postwar period) “tool ==> man”
•
fables popular in apass:
•“a work [of art] should speak for itself”
•“the very last stage of the creative process is purely intuitive” --> when people say they stop “reading” or “knowing” when they want to create artwork
•“look really hard inside yourself for w[...]

[...]o parable)

objectivity = positioned rationality
=/= images of escape and transcendence of limits (filled in Hollywood and sci)

faithfulness of our accounts to a “real world” (no matter how mediated for us and no matter how complex and contradictory these worlds may be)

Sex is “resourced” for its representation as gender, which “we” can control

Situated knowledges require that the object of knowledge be pictured as an actor and agent
-which version of “realism” is she argueing for?

“[...] we are not in charge of the world. We just live here and try to strike up noninnocent conversations by means of our prosthetic devices, including our visualization technologies.”

in the rich feminist practice in science (more than anywhere else) passive categories of objects of knowledge are “activated”

The biological female peopling : When female “sex” has been so thoroughly retheorized and revisualized that it emerges as practically indistinguishable from “mind,” --> the ‘difference’ is theorized biologically as situational, not intrinsic, (at every level from gene to foraging pattern, thereby fundamentally changing the biological politics of the body.)
-(example: Emily Martin)


points in SK:
1-finite partial perspectives
2-split and contradictory self
3-objectivity (--> positioned rationality, object of knowledge as an actor, mutual and usually *unequal* structuring, it is about taking risks)


how and why Haraway as a feminist fights for a better Primatology?


(Barad on) Situated Knowledges: are not merely about knowing/seeing from somewhere (as in having a perspective) but about taking account of how the specific prosthetic embodiment of the technologically enhanced visualizing apparatus matters to practices of knowing
-(Haraway's) move from *optics* [a politics of positioning, in Situated Knowledges] to *diffraction* [an optical metaphor for the effort to make a difference in the world, in Modest_Witness]


Katie King: “apparatus of literary production”: a matrix from which “literature” is born.
...the “facticity” of biological discourse that is absent from literary discourse and its knowledge claims. ----> Are biological bodies “produced” or “generated” in the same strong sense as poems? (biological body ~= poem)
“material-semiotic actor”: the object of knowledge as an active, meaning-generating part of apparatus of bodily production

bodies as objects of knowledge are material-semiotic generative nodes.
“objects” do not preexist as such --> Their boundaries materialize in social interaction. Boundaries are drawn by mapping practices.


world =/= mother/matter/mutter
world ~= coyote (a figure of the always problematic, always potent tie between meaning and bodies.[...]

[...]es for their sake but for ours --> unnatural couplings could produce children, but that the bodily essence of devils would rule out the possibility that these children would themselves be demons


16th century author primarily concern with Satan's ability to manipulate and pervert language (including erotic language)


wild flowing hair of the women --> a common visual metaphor for sexual promiscuity and disorder


images of cannibalistic night witches were explicitly a demonological variation on long-standing popular conceptions

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

xxxxxx



persistence of witchcraft
how witchcraft might still exist as more than just one of many choices available on a personal empowerment “menu”
-how rituals pertaining to magic came to be understood as a problem of knowledge

*magic binds forces that would otherwise overflow life*
a great subterranean need to “bind” forces that would otherwise exert themselves with impunity and without any greater explanation or meaning
--> enacting a dehistorification of a form of life that would otherwise be overwhelmed by the brutal timeliness of historical being
Baxstrom > de Martino, Janet

making the precarity of our presence an object of knowledge

(firm unquestioning belief =/=) local doubt --sustins--> witchcraft (in Buli -Bubandt)
...face off with a persistent, seemingly eternal, spectral threat

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

Rolley

an anatomical (not geographical knowledge, diabolical atlas) demonological understanding

Renessancian world encounters ==> geo
[*]Renaissance: the age of demonology, the age of cosmographic revolution (--> nature of causality)
-presence of the devil in geographical space
-composite and cross-disciplinary network of nonhuman causality and transmedia writing [demonologists + cosmographers + travellers]
•demonology: identifiable shared discursive field ---> go to Baxstrom
•demon --> gunpowder (according to Rabelais and others) is the diabolical element amongst the classic tricolon: gunpowder, the nautical compass, and the printing press

emergence of a Christian science of the devil (in the medieval West) --> liberation of demons (from supralunar to sublunar --> into earthly realms)

Sabbat: an outpost of hell very much belonging to this world

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

*finding ghost is what we are all here for*

...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 --> i do what i am told = i do exactly what i want to do
[...]

[...]alised)

early alternative approaches to creating picture that were true to nature, but not objective in the mechanical sense


atlases habituate the eye, they are perforce visual


(contrast to the scientific visual forms of photography where one is on the right place at the right time with the right equipment) the Kinect's total randomness

one problem of atlases is that they have to decide what nature is
they all have to solve the problem of choice: which objects should be presented and from which viewpoint (Kinect choosing mechanism and arbitrariness?) (can we not choose what nature is when we are at it? and when we are at nature?)


rejection of aesthetics (but what seduction exactly betrays? or what does it make accurate?)


average (is truth to nature?)


asceticism of noninterventionist objectivity


“straight photography” is above all a signature of a particular scene, a specific and localized representation only awkwardly adaptable to a mosaic composition from different individuals (Zeiss-lens-camera images)

how scientists deployed mechanical means to police the artist


(for Martin Kusch - objectivity and historiography) truth-to-nature had its rationale in enlightenment sensationalist psychology, with its conception of the self as fragmented, passive, and excessively receptive.
--> to be true to nature was actively to select and interpret sensations and in that way bring them under epistemic control.
--> representation in nanofacture, image is used to actually engineer the whole thing. making and seeing coincide.


eliminating judgment
the device would remove the process of abstraction from the artist's pen

what characterized the creation of late 19th century pictorial objectivity was self-surveillance
<br /> (note of Geppetto, Younus, Pinocchio)

personal equation: a systematic error correction


to produce reliable images


While in the early nineteenth century, the burden of representation was supposed to lie in the picture itself, now it fell to the audience. The psychology of pattern recognition in the audience had replaced the metaphysical claims of the author. Mistrusting themselves, they assuaged their fear of subjectivity by transferring the necessity of judgment to the audience.


(Grashey's) police metaphor was entirely appropriate. Not only was the history of late-nineteenth-century photography thoroughly bound up with the history of crime control, the x-ray photography itself was increasingly finding its way into court.

scientific evidence

legal evidence

at issue was, once again, the shifting border between judgment and mechanization, between the poss[...]

[...]motive reflected in child's fanatical loyalty to the parent
(the very lonely person who hungers for someone to share her or his private emotional experiences and distorted views of the world) --> “tried out” her paranoid ideas on him (!!**)
[==> chronic schizophrenia]

our immediately and vividly real parent-image ==> a libidinally cathected reality

(to get free from) our magically ‘close,’ magically ‘mutually understanding,’ two-against-the-world relatedness with the parent

infantile-omnipotent relatedness between:
•the ‘sickest’ least mature areas of the parent's personality
•the patient's personality
==Searles==> obstacle to the patient's becoming well

transference development: therapist inevitably becomes deeply immersed in the subjective experience of magical closeness and shared omnipotence with the patient

(offered to the patient in childhood by the parent:) the *lure* to share the delights of being ‘crazy’ along with the parent


or:
(?Jassem or Sina's motive and genuine effort of) making the other person crazy (~ to weaken their personal integration ~ to diminish the area of ego's competency) <~/?=> *making the other person present* (Martin Buber) --> fostering of the other person's intra-personal and interpersonal integration or self-realization, (an effort to) to help the other person [seen as a child to become mature?] toward better integration ~ love

[for Guattari, the problem is not to reach an integrated ego, but to constantly change the composition ==> to unblock the situation (reactive assemblages causing paranoia) ==> to be able to do something else ~=> to become someone else]
[how to learn your way out of philosophy as philosopher ~= *to apprehend what you know* in a creative way]

loving relatedness --> responding to the wholeness of the other person (relating to a small child or to a psychiatrically ill adult, and so on)

}--> (which is fundamentally) a parental disposition [and the offspring might represent a miscarriage of the parent's wish]
-the problem is that you cannot always know the precise ego-capacities of the other person
-your interventions could be ill-timed or ill-attuned ==> disintegrating effect


questions regarding the processes of feedbacking in apass: to help the other person (not to become aware of truth about themselves or their work, rather) to construct figures about themselves and their relationships with others, figures which could provide the basis for rapid ego-growth and personality-integration. but sometimes it is too fast, the ego regresses, and it becomes an experience of developing psychosis

pathological defense:
•delusions
•hallucinations
•depersonalization
•

skilfully dosed and skilfully timed increments in psychothe[...]

[...] space, and (in play with that) at the same time it establishes an illusory world extending away from the spectator (collapsing that “stage,” dramatically sealing off possible avenues of entry into the work for our eyes) ==?==> a world related to the viewer's own point of view

deliberate archaism
(--> medieval mystery plays)
closed-off antiscenic space --> forms of popular display (shadow figure, puppet theatre,) that only simulate or evoke the “cube” of theatrical space


to be careful with *grid*
[*--stories that the grid tells--*]
(Crary > Krauss:) by its very abstraction, grid conveys one of the basic laws of knowledge: *punctuality* [---> go to apass psychological optics and image of knowledge incorporated in presentation of projects, #workshop on topology] --> the separation of the perceptual screen from that of the “real” world
[*]grid: (19th century) emblem of the infrastructure of vision --> becoming an increasingly insistent and visible feature of neo-impressionist painting
(~/= Crary is hesitant to characterize Seurat's flatness structurally as grid)
-tabular field with rows and columns making impossible a point to point (= punctual) relation between spectator and image

(Martin Jay:) two scopic regimes:
•metric and homogenous tableau loosely synonymous with classical space
•decentered and destabilized perceptual regime with its mobile and embodied observer

the evocation of a scenographic setup in Seurat (Parade de cirque) is a veil over the desiccated, nonhomogenous, and additive construction of the work


frontality and unity of framing (of “primitive” cinema...)


[?do we need to] (in an illusionist mode) satisfy the principle of unitary organization of the scenic space


(how should you be concerned with [public record] of your intellectual and aesthetic formations?)r />


Seurat's Parade de cirque =/= Leonardo's Last Supper
(Seurat broke free from Leonardo, and i should from Seurat)

both of these paintings are concerned with the revelation of a mystery:
•Leonardo: the mystery of Christian sacrifice as it coincides with a lucid apprehension of infinite extension
•Seurat: the “mystery” of the disenchanted and quantitative order of capitalist exchange (and its overturning of homogeneity and legibility of space)

witness to:
-holy communion -Leonardo
-rituals intrinsic to modernity -Seurat

in terms of orthogonal illustrated in Leonardo is precisely what Seurat dismantles in Parade de Cirque

the question of value
movement of abstract quantities
(transactional dimensions of Seurat's work)

lost transparency:
how the use of money within modernity transformed the social character of exchange ***from som[...]

[...]r (of the text that follows)


the triumph of death (but with a happy end for the deceased) # Adventure Time

“that which i wish for is not mortal” (Duke's motto)
“virtue lives on after the funeral rites”

his home, name, heraldry, figure, allows the viewer to grasp the entire span of the deceased's life (and death) *at a single glance*

horn of plenty

cupid is astride (with a leg on each side of)
astrilized

*winged sphere*
winged fame trumpets the deceased's accomplishments

christian mastery over the infidel--who is blinded to the true faith

a group of international admirers


**methods used in Europe to disseminate information about foreign people** during the early modern era:
•Flugblatt (broad-sheet or broadside, 14th century), a medium directed at the illiterate classes (that needed visual cue) [included: news about battles, astrological prediction, sighting of comet, birth of a monstrous creature (animal or human), execution of a famous criminal, tales of witches, devils, religious or political propaganda]
Flugblatt counterparts:
◦Flugshrift (flying writ, flying pamphlet), popularized by Martin Luther, four pages with woodcut gracing, for audience with ability and leisure to read longer tracts
•illustrated costume book. with Mannerist strapwork, grotesque, garlands, allegorical personifications; in scenes representing the original reason why humans need to wear clothing
•(Norbert when he uses “we” in his language) --> *author*: active, nude, individual with his scissors, not dressed for battle, who will actively clothe the other figures ... [in frontispiece to Hans Weigel's Trachtenbuch the personifications of the non-Europeans are all prepared for battle] (male warriors in female continents [continents are usually represented by female figures, derived from biblical and classical sources such as Roman coins]) {Amerindian's headdress once was removed from its original ethnographic context, “decontextualized,” and then “recontextualized in a different setting --> europeans might have thought that it was a skirt. the reverse is the story of shalite شلیته?}

mid 16th century also saw the development of the periodical newssheet (adapted from broadside)
consisting of image and text--work together in order to provide meaning for the design --> view needed to combine ==> a composing/composer subjectivity

allegorical putti (symbolizing industry)
inscription at their feet
flora beside each of them

Olearius's frontispiece for Orientalischen Reise:
•mixture of realistic and fantastic
•illusionistic cloths denote a process not only of uncovering, but of discovery as well (theatrical curtains pulled back to reveal the true subject: the paradisical scene of “natives”) [the s[...]

[...]closure, @Goda and Sina dictionaryofapocalypse.com] ([curatorial?] organizing for the end of the world that is an escalated absolutizing commitment to divest justly) --> ****organizing without hope*** [=/=? death drive]

(we need دورویی) two-faced {<-- I think artists from Iran and former Soviet Union countries with *double consciousness* تجربه چندگانگی تجربه دوگانگی are good at *hopeless optimism* خوش بین ناامید}
1. acknowledge the unbounded unthinkabile incalculable nature of this new reality
2. a chance to experiment with organizational forms of justice, ethics, politics, reason (that are without precedent)


{(examining growing boundaries of) climate change ==> increasing category expansion ==> epistemologies cannot encompass climage change reality}--Campbell--> (we are) afforded a chance to ontologize it

speculative realism: a mode of commitment to a non-correlated reality --Campbell--> an organizational strategy ==> a mood --> bleak optimism


unthinkability: refusal to let framing occur

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

how mythology is being used in consumer research
[...]
[Tillotson and Martin offering various myth typologies to support theorists in evaluation of myth theories and appropriate integration of theoretical advancements in the field of consumer culture theory:] --> how consumer researchers have sailed though every discipline--from psychology, sociology, anthropology and cultural studies, to literary criticism, history and political economy...
myth has been understood in consumer research from five perspective:
•symbolic
•functionalist
•semiotic
•structuralist
•critical theory
•monomythic


Weber{ modern bureaucratization and intellectualization ==> disenchantment of the world }--> modern experience = rationalization and mythological mysticism ==> marketplace, *no institution has been more willing and able to respond to this (Weberian) desire for enchantment than the modern marketplace* ~=> ***normative preference for enchantment = consumption***
--problem--> *the market remains firmly in charge of myth of consumption, its rewards and its consequences* : marketplace mythology has increasingly become an all-encompassing construct of assorted descriptions and theoretical advancements including the sacred, extraordinary, symbolic and transcendental

myth: a way of organizing perceptions of realities


consumer culture theory

{[Mead & Blumer's] symbolic perspective of myth: how symbols are adorned with meaning and that affect social interaction --> symbolic myth research: verbal/nonverbal forms of communication, with an emphasis on how people behave in day-to-day circumstances in the context of socio-historical structure a[...]