[...]nry ='lgc'>='lgc'>--> ='thdf'>the idea that in west we have ="trms">technologies so advanced we achieve absolute vision)
="lsts lst1">•Balsamo ='lgc'>='lgc'>--> cosmetic surgery (='lgc'>~= new visualization ="trms">technologies) ='lgc'>='lgc'>==> new forms of dominance ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to Kardashians TV shows='lgc'>], ='strcls'>*replacing the male gaze with a normative dis="trms">embodied ="trms">technical gaze
="lsts lst1">•="ppl">="ppl">Haraway ='lgc'>='lgc'>--> ="trms">technocratic gaze
="lsts lst1">•Strafford ='lgc'>='lgc'>--> (starting in enlightenment) ='strcls'>*automated spectralization='strcls'>* (in visual ="trms">presentation of the ="trms">world) ='lgc'>='lgc'>--> the intention and purpose of the gaze became medicalized and ="trms">technologized ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to cartography='lgc'>]
="lsts lst1">•
='lgc'>}='lgc'>='lgc'>--> (from ="trms">techno="trms">science to feminism) theorists have noticed a ='strcls'>*splicing='strcls'>* of direct and tactile human perception of reality with another reality, one that is mediated and ="trms">technical ='lgc'>==produce='lgc'>='lgc'>==> a new reality that negotiates the individual's knowl="trms"nttrm="knowledge,Knowledge">edge of the universe in diverse and complex ways (='lgc'><='lgc'>-- not catastrophic ='lgc'>=/= Hörl)


(time of) intellectual and artist upheaval ='lgc'>='lgc'>==> new and surprising modes of ="trms">imagining the human


1950s concept of cybernetics constituted a fundamental change in thinking about control, ="trms">communication, information, life itself (='lgc'>+ new ="trms">language of feedback, auto="trms">poiesis, cellular automata, neural net)

1990s
computers ='lgc'>+ information ='lgc'>='lgc'>--> cybernetic theory='lgc'>: (stressed that) information patterns are more important in understanding organisms than ="trms">materiality
='strcls'>*cybernetic view of the ="trms">world ='lgc'>='lgc'>--> information ="trms">coded in pattern ='and'>& randomness ='lgc'>=/= ="trms">material absence ='and'>& ="trms">presence='strcls'>*
="lsts lst1">•(both) human and ="trms">technological='lgc'> = informational entities
="lsts lst1">•human='lgc'> = cyborg='lgc'>: (human conceived as) cybernetic organism

="large lg2" stl="font-size:112%"> ='lgc'>[='qstn'>?how='lgc'>] discourses (="trms">narratives ='lgc'>+ ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphors ='lgc'>+ ="trms">symbols) of ="trms">science and ="trms">technology ='lgc'>--="ppl">Campbell='lgc'>='lgc'>--> use in advertisement to create meaning

='strcls'>**="trms">technological ="trms">imagination ='lgc'>--seize='lgc'>='lgc'>--> ="trms">social ="trms">imagination='strcls'>**
always reinforcing the ='strcls'>*awesome power of ="trms">technology to capture reality='strcls'>* (objectively ='lgc'>+ without any ="trms">agenda)
="lsts lst1">•movie Fantastic Voyage 1966 ='lgc'><='lgc'>--Dijck='lgc'>-- fascination with envisioning the body from a ="trms">different perspective
="lsts lst1">•status of foetus (float in black and white) ='lgc'><='lgc'>--="ppl">="ppl">Haraway='lgc'>-- meanings whose legitimacy comes from ="trms">technological ="trms">systems of perception
="lsts lst1">•='lgc'>[computer-generated images ='lgc'>=/=='qstn'>?='lgc'>] camera-generated images ='lgc'><='lgc'>--Cartw="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right='lgc'>-- (paradox of) camera's role in capturing the real ='lgc'>+ camera's capacity to evoke emotion and ="trms">present a sense of the unattainable ='lgc'>~= (to appear to be at once) both ='strcls'>*magical='strcls'>* ='and'>& ='strcls'>*truthful='strcls'>* ='lgc'>==introduce='lgc'>='lgc'>==> new subjectivities into ="trms">marketplace

mediation of visual ="trms">phenomena through the eye of ="trms">technology ='lgc'>='lgc'>~=> new sets of truths (about the body, environment, etc.) ='lgc'>--often='lgc'>='lgc'>--> a ='strcls'>**dis="trms">embodied ="trms">technological gaze looks at the body='strcls'>**


advertisement becomes more highly finished, ="trms">excessively produced, artificialized ='lgc'>='lgc'>--> a ="trms">technological gaze is found in the discourse of advertising ='lgc'>='lgc'>--> ="trms">scientized ='and'>& ="trms">technologized images celebrate a particular view of ='strcls'>***life as information='strcls'>***

="large lg1" stl="font-size:147%"> ="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

="trms">nature='lgc'> = figures ='lgc'>+ ="trms">stories ='lgc'>+ images (='lgc'>~= topos, commonplace)

paying attention to ="trms">nature like a ="trms">child ='lgc'><='lgc'>-- ="ppl">="ppl">Haraway

='lgc'>[='strcls'>*='lgc'>]="trms">trope='lgc'>: a verse ="trms">interpolated into a liturgical text عبادات to embellish or amplify its meaning

="trms">language ='lgc'>='lgc'>--> ="trms">material-="trms">semiotic flesh

liturgical possibilities of ="trms">nature
="lsts lst1">•="frds scrmbld"nttrm="Christianson">Christian liturgical year
="lsts lst1">•Zaratusztrian nowruz
="lsts lst1">•star wars ='lgc'>--='qstn'>?='lgc'>='lgc'>--> practice of turning ="trms">tropes into ="trms">worlds ='lgc'>[='lgc'>='lgc'>--> war of imagess='lgc'>]
="lsts lst1">•war of words
="lsts lst1">•

(agonistic fields='lgc'>:)
military combat
sexual domination
security maintenance
="trms">market strategy

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="brkr">
(="trms">techniques of the observer - september 9, 2012)
="lsts lst1">•What is the ="trms">relation between the de="trms">materialized digital imagery of the ="trms">present and the so-called age of mechanical reproduction='qstn'>?
="lsts lst1">•ongoing abstraction of vision - Problems of vision
="lsts lst1">•transformation in the makeup of vision
="lsts lst1">•="trms">history of art ='lgc'><-> ="trms">history of perception='qstn'>?
="lsts lst1">•onlooker (Zuschauer)
="lsts lst1">•="trms">historically important functions of the human eye ='lgc'>='lgc'>==> medical, military, and police hierarchies
="lsts lst1">•Most of the ="trms">historically important functions of the human eye are being supplanted by practices in which visual images no longer have any reference to the ="trms">position of an observer in a “real,” optically perceived ="trms">world.
="lsts lst1">•where abstract visual and ="trms">linguistic elements coincide
="lsts lst1">•avoid mystifying it by recourse to ="trms">technological explanations (this was my mistake!)
="lsts lst1">•an observer is more importantly one who sees within a prescribed set of possibilities, one who is embedded in a ="trms">system of conventions and limitations.
="lsts lst1">•="trms">measurable in terms of objects and signs
="lsts lst1">•newly constituted human ="trms">sciences in regulating and modifying the behavior of individuals.
="lsts lst1">•it was through these disciplines that the subject in a sense became visible
="lsts lst1">•passage from the ="trms">geometrical optics of the seventeenth and eighteenth centuries to physiological optics
="lsts lst1">•to expose the idio="trms">syncrasies of the “normal” eye
="lsts lst1">•Retinal afterimages, peripheral vision, binocular vision, and thresholds of attention
="lsts lst1">•outcome of a complex remaking of the individual as observer into something calculable-and regularizable and of human vision into something ="trms">measurable and thus, exchangeable.
="lsts lst1">•standardization of visual imagery
="lsts lst1">•in the amphitheatre / on the ="trms">stage / in the Panoptic machine
="lsts lst1">•dis="trms">sociation of touch from sight ='lgc'>='lgc'>==> “separation of the senses” and industrial remapping of the body in the nineteenth century
="lsts lst1">•unloosening of the eye from the ="trms">network of referentiality incarnated in tactility ='lgc'>='lgc'>==> fitted for the tasks of “="trms">spectacular” ="trms">consumption
="lsts lst1">•Perception for ="ppl">Benjamin was acutely temporal and kinetic;
="lsts lst1">•a mobile ="trms">consumer of a ceaseless succession of illusory commodity-like Images.
="lsts lst1">•Machines are ="trms">social before being ="trms">technical
="lsts lst1">•desiring machines
="lsts lst1">•The paintings of J-B. Chardin are lodged within these same ="trms">questions of knowl="trms"nttrm="knowledge,Knowledge">edge and perception His still lifes, especially, are a last great ="trms">presentation of the classical object in all its plenitude, before it is sundered irrevocably into exchangeable and ungrounded signifiers or into the pa="trms">interly traces of an autonomous vision.
="lsts lst1">•that the very process of becoming tired was in fact perception. “When the eye fixes itself on a single color...
="lsts lst1">•the clear eye of the ="trms">world
="lsts lst1">•The more ="ppl">Schopenhauer involved himself in the new collective knowl="trms"nttrm="knowledge,Knowledge">edge of a fragmented body ="trms">composed of separate organic ="trms">systems, subject to the opacity of the sensory organs and dominated by involuntary reflex activity, the more intensely he sought to establish a visuality that escaped the ="trms">demands of that body.
="lsts lst1">•the physiological makeup of the subject as the site on which the formation of re="trms">presentations occurs.
="lsts lst1">•Of these only the cerebrum, together with the sensory nerves attached to it, and the posterior spinal nerve fascicles are intended to take up the motives from the external ="trms">world. All the other parts, on the other hand, are intended only to transmit the motives to the muscles in which the will directly manifests itself. (="ppl">Schopenhauer)
="lsts lst1">•It is knowl="trms"nttrm="knowledge,Knowledge">edge that ="trms">Simultaneously provided ="trms">techniques for the external control and domination of the human subject and was the emancipating ground for notions of subjective vision within ="trms">modernist art theory and experimentation.


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bad visual ="trms">systems

="trms">narcissism as a cultural practice (that also motivates and steers ="trms">technological inventions)

accelerationism
(Accelerationism may also refer more broadly, and usually pejoratively, to support for the deepening of capitalism in the belief that this will hasten its self-destructive tendencies and ultimately eventuate its collapse.)

Selfie
seems to me the perfect example for this sub="trms">mission of the unconscious to the globalized machine


latest theoretical buzzwords

="large lg3" stl="font-size:110%"> control over the ="trms">interpretation of the ="trms">world

circulation of the global image machine

tree-made paper

who are (not) allowed (not) to have a body='qstn'>?

="large lg4" stl="font-size:110%"> all forms of knowl="trms"nttrm="knowledge,Knowledge">edge claims,

acting on the ideological doctrines of dis="trms">embodied ="trms">scientific (cinematic) objectivity

all seem just effects of delayed render algorithms in the play of signifiers in a virtual force field

space of simulations

not giving up to the ="trms">paranoid ="trms">science ="trms">fiction

="large lg5" stl="font-size:162%"> getting to know the ="trms">world effectively by practising the ="trms">sciences

tool[...]