[...]vlaue-in-context='lgc'>: value is conceived as something that is collectively co-created by multiple actors
='thdf'>for example in service-dominant logic an operant resource like ='strcls'>*brand vlaue='strcls'>* is one which is externally-based and dynamically determined in the context (cannot be own by a single actor) ='lgc'>='lgc'>--> ='strcls'>*="trms">consumers might co-derive ="trms">affective cognitive ="trms">social value in creating the brand but economic value that accrues as a result belongs entirely to the brand's shareholders='strcls'>* ='lgc'>[='lgc'>='lgc'>--> issue with fandom='lgc'>]
='thdf'>for example ='strcls'>*="trms">affective value='strcls'>*='lgc'>: when vlaue lies in the general sentiment of a ="trms">networked group of actors

(in ="trms">marketing's theory of value creation) the ='strcls'>*role of the ="trms">consumer='strcls'>* in the value creation process is now explicitly recognized and ="trms">articulated (incorporated) through compelling concepts such as cocreation, coproduction, ='strcls'>*prosumerism='strcls'>* ='lgc'>[an individual who both ="trms">consumes ='and'>& produces='lgc'>]
='at'>@="nms">apass collaborative environments

='lgc'>[="trms">consumer research='lgc'>]
recognizing the ways in which ="trms">consumers and ="trms">consumption are both productive and value-adding

Holbrook's topology of ="trms">consumer value
value is active='lgc'> = when it entails physical or mental manipulation of an object
value is reactive='lgc'> = when things are done by a product to the ="trms">consumer (objects act on ="trms">consumers to create value)

="large lg2" stl="font-size:112%">
xxxxxx

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="large lg22" stl="font-size:123%">
Hayles

(to take) a problem-based approach ='lgc'>='lgc'>--> taking a problem and looking for solutions ='lgc'>=/= investigating problematics (='lgc'><='lgc'>-- humanities ='lgc'>[and art='lgc'>])

what are the reward structures in artistic research='qstn'>? (the way a work is recognized and validated by the field)

post="trms">literacy
the future of human ='and'>& the future of ="trms">writing are entwined
meaning='lgc'> = resistance
to be human='lgc'> = to resist ="trms">techno-="trms">language

an informed ="trms">scientific-="trms">literate and humanistically educated public ='lgc'>==> democracy

="large lg18" stl="font-size:111%"> ="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

(mass media) cultural standing (and standard) of live performance
paradigm of televisual ='lgc'><='lgc'>--='not'>✕='lgc'>='lgc'>--> digital

(Auslander ="trms">historicizing) liveness ='lgc'>='lgc'>--> ="trms">historical (='lgc'>=/= ="trms">ontological)

ideology of authenticity (in live music)

at the level of cultural economy ='lgc'>='lgc'>--> theatre (live performance) ='lgc'>=/= mass media

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='lgc'>[why is contemporary art so reluctant to describe our experience of digitized life='qstn'>? ='lgc'>--Bishop='lgc'>='lgc'>-->='lgc'>] digital ='lgc'>='lgc'>~= ="trms">code (inherently alien to human perception) ='lgc'>='lgc'>--> a ="trms">linguistic model

="ppl">Guy ="ppl">Debord ='lgc'>='lgc'>--> (='strcls'>*physical and the ="trms">social were pitched against the virtual and the re="trms">presentational='strcls'>* ='lgc'>~ “subjective ='lgc'>=/= ="trms">technological” ='lgc'>='lgc'>-->) ="trms">social ="trms">relations today are not mediated by monodirectional media imagery ='lgc'>==>
="lsts lst1">•favor ="trms">intersubjective exchange and homespun activities (cooking, gardening, conversation) with the aim of reinforcing a ="trms">social bond fragmented by ="trms">spectacle
="lsts lst1">•desire for face-to-face ="trms">relations against the dis="trms">embodiment of the ="trms">Internet
="lsts lst1">•retro-="trms">craftiness
="lsts lst1">•fiddly collages
="lsts lst1">•tapestries
='lgc'>--assert='lgc'>='lgc'>--> subjectivity (='lgc'>+ tactility) ='lgc'>=/= impregnable surface of the screen

reformatting
trans="trms">coding
modulation of preexisting files ='lgc'>='lgc'>--> selection strategy ='lgc'>='lgc'>~='lgc'>~> meaningful recontextualization (of existing artifacts)

="trms">paranoid will to connect what cannot be connected
subjective rationales
arbitrary ="trms">systems (='lgc'>=/= established taxonomies)

vernacular forms of aggregation ='lgc'>='lgc'>--> everyone with a personal computer today has become a de facto archivist (storing and filing thousands of documents, images, and music files, ='lgc'>+ porn)

analog in appearance ='lgc'>+ digital in structure

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

eschatos='lgc'>: furthest, last (in ="trms">Greek)

theological ="trms">anthropology ='lgc'>='lgc'>--> the theory of the person


="large lg30" stl="font-size:114%"> ='qstn'>?how eschatological attitudes changed over time ='lgc'>+ how they hovered over human experience

millenarian expectation
='qstn'>?how year 1000 was perceived

="large lg26" stl="font-size:122%"> ="lsts lst1">•preoccupation with the time of Christ second coming
="lsts lst1">•="trms">natural and political disasters and upheavals ='lgc'>--sign='lgc'>='lgc'>--> denouncement of sacred ="trms">history


medieval='lgc'> = fear ='lgc'>+ passion (='lgc'>+ expectation) ='lgc'>==> eschatological ="trms">imagination

="large lg14" stl="font-size:120%"> escapology='lgc'>: significance of immanent (catastrophic) future ="trms">history

calculations of the end
="trms">demand for reform
monastic analysis

discourse against an identifiable moment of apocalypse

="lsts lst1">•antichrist
="lsts lst1">•whore of Babylon
="lsts lst1">•angelic pope

="large lg10" stl="font-size:133%"> un="trms">folding end of ="trms">history ='lgc'>[humbling of the mighty='lgc'>] ='lgc'>+ justice for the in="trms">articulate (oppressed) ='lgc'>[exhalation of the meek='lgc'>]

apocalyptic speculation about the enclosed unclean people of Gog and Magog

mystical ="trms">response
spasmodic irrationality

the fate of the individual at the moment of “personal death” ='lgc'>='lgc'>--> guilt culture (fear of damnation ='lgc'>==> life='lgc'> = ritual preparations for dying)

deathbed demons
hell in art
="trms">religious ="trms">anxiety
mechanism of ="trms">social control

(from) collective ='lgc'>--to='lgc'>='lgc'>--> individual
(from) temporal ='lgc'>--to='lgc'>='lgc'>--> atemporal or beyond time
(from) stress on spirit ='lgc'>--to='lgc'>='lgc'>--> sense of ="trms">embodied or re="trms">embodied self

(shift from) tamed death='lgc'>: a death expected and prepared for, experienced in ="trms">community ='lgc'>--to='lgc'>='lgc'>--> personal death='lgc'>: the moment of death as decisive accounting for an individual self

="large lg10" stl="font-size:105%"> purgatory='lgc'>: in-between time and space

afterlife ='lgc'>='lgc'>--> the concept of the (="trms">embodied) human person

somato="trms">morphic='lgc'>: separated soul ="trms">imagined as bodily
ordinary piety ='lgc'>='lgc'>-->
="lsts lst1">•significance of physical death
="lsts lst1">•spiritual value of somatic ="trms">phenomena (namely suffering)

the sense of an ending hovers over all spiritual ="trms">writing in the middle ages

eschatology of='lgc'>:
="lstsrd">1. resurrection='lgc'>: a sense of last things that focuses significance in the moment at the end of time when the physical body is reconstituted and judged
='lgc'>[='lgc'><='lgc'>-- arise from traditions with a much less immanent sense of “last things"='lgc'>]
='lgc'>--emphasis='lgc'>='lgc'>-->
="lsts lst2">◦time end
="lsts lst2">◦person ="trms">embodied
="lsts lst2">◦humanity collective
="lstsrd">2. immortality='lgc'>: the experience of personal death is the moment of judgement
="lstsrd">3. apocalypse ='lgc'>='lgc'>--> (coerces) ='strcls'>**what ="trms">matters is the here and now='strcls'>** ='lgc'><='lgc'>-- implying a political payoff
='lgc'>==> inflect and deepen the ="trms">literature (description of plague, visions of heaven and hell)

='lgc'>}='lgc'>='lgc'>--> three eschatology differ='lgc'>:
="lsts lst1">•what is the person fundamentally
="lsts lst1">•fate collective or individual
="lsts lst1">•how and whether time m="trms"nttrm="search">arches
="lsts lst1">•where the end is located
="lsts lst1">•


medical eschatology

eschatology (in the west) is perhaps the most paradoxical (and inconsistent) aspect of ="trms">religiosity
(traditions in which) earthly experience is a moment in an eternal dreaming

Islam, Judaism, ="frds scrmbld"nttrm="Christianson">Christianity are brooded over by the sense ='lgc'>[='strcls'>*='lgc'>]last things='lgc'>: a sense of the end ='lgc'>[soon or distant, individual or collective='lgc'>] contradicts itself (explodes itself) ='lgc'><== ='strcls'>*it looks for a moment that gives significance to the course of time by finally denying (erasing, ending) that to which it offers significance='strcls'>* ='lgc'>}='lgc'>='lgc'><='lgc'>--- western european middle ages utilizes and deepens this multi="trms">fold and contradictory tradition (='lgc'>=/= deny, impoverish)

(three types of awareness='lgc'>:)
="lstsrd">1- significance of dying and afterlife ='lgc'>='lgc'>--> space time of personal collective destiny
="lstsrd">2- apocalyptic time ='lgc'>='lgc'>-->
="lstsrd">3- eschatological ="trms">imagination ='lgc'>='lgc'>-->

purgation

purgatory time
="lsts lst1">•do pottery while you are in purgatory
="lsts lst1">•learn ice-skating while you are waiting in zamharir
="lsts lst1">•

='lgc'>{personal drama of death ='lgc'><='lgc'>='lgc'>--> progressive un="trms">folding of collective ="trms">history='lgc'>}='lgc'>='lgc'>--> ultimate dis="trms">position for individual soul and body ='lgc'>='lgc'>~='lgc'>~> ='thdf'>the notion of ='strcls'>***bliss after torment='strcls'>***

torment='lgc'>: individual glimpse of the end


="ppl">Augustine ='lgc'>='lgc'>--> the imperfect but not reprobate

suffering='lgc'>: means of salvation (of we join the agony of Chris on the cross)
pain in this life ='lgc'>: inevitable accompaniment to the corrupt body whose weakness and rottenness are indication of the approach of death

an era of exile ='lgc'>--promise='lgc'>='lgc'>--> a new exodus from human fai="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure and corruption

="large lg6" stl="font-size:107%">
='lgc'>[title='lgc'>]
beautitude

Bernard's heaven

painted ="trms">embodiedness of the blessed (='lgc'><='lgc'>-- problematic ='lgc'>+ powerful)

out of time heaven in which the soul is al="trms"nttrm="already,spread">ready body-shaped ='lgc'>='lgc'>--> somato="trms">morphic selves before judgement


apocalyptic moment ='lgc'>='lgc'>--> self-referentiality='lgc'>: when the ="trms">author reflects on the limits of their knowl="trms"nttrm="knowledge,Knowledge">edge and expression

(all) eschatological texts (="trms">poems) in some way reflect their status as ="trms">fiction ='lgc'>--assert='lgc'>='lgc'>--> their ="trms">nature as mediating and ="trms">contingent


xxxxxx

="brkr">
Trans-ing xeno- unsettles the oversimplified Others necessary for the production of stratification and disallowance, without in the process destroying ="trms">difference and the ethics of encounter.

the ="trms">ontological primacy of centers in general
the refracted image

myths of belonging as an ="trms">anthropocentric ="trms">narrative, one is worthy of personhood if she is placed in home.
='lgc'>[in the political and fantasy practices of the most in="trms">heritors of traditions of white (or not-white, the actual color is not the point) settler colonialism and its ="trms">ecologies, the introducing ="trms">species='lgc'>--in="trms"nttrm="cluster,club">cluding ourselves='lgc'>--are always bad ='lgc'>='lgc'>--> the extraordinary practice of disavowal (of the ‘creatures of the empire’ ='at'>#="ppl">="ppl">Haraway) ='lgc'>='lgc'>--> in="trms">heriting ='thdf'>the notion of ‘belonging’ and ‘not-belonging’ (in this tradition) disavowal is almost the only way you can “keep” belonging. and one of the ways you practice disavowal and belonging is to exterminate the other (feral pigs, etc.) who “really” don't belong.='lgc'>]
="lsts lst1">•(which) ='strcls'>*practices of belonging='strcls'>* (are not part of (whose='qstn'>?) dreaming='qstn'>?) ='lgc'>='lgc'>--> they always turn up in family ="trms">stories ='lgc'>{feral ='lgc'>=/= pest='lgc'>}
="lsts lst1">•how various kinds of ="trms">species can and cannot get on together='qstn'>?
="lsts lst1">•who should be killed and lived-with='qstn'>?
="lsts lst1">•(who exists only under the) ="trms">categories that come from the cunning of recognition ='lgc'>[="trms">categories of the traditional, of the subsistence food (ma'ash معاش), of the enacting of a culture in view of tourist public,='lgc'>]
="lsts lst1">•managed belongingness


In Jean ="ppl">Genet's portrayal of dusk (quoted by Minh-ha 1996:101-102), he captures the ambiguity of this ="trms">transitional time in the expression ‘entre chien et loup,’ between dog and wolf, that is, a time of day when one cannot be distinguished from the other, and he also describes it as ‘the hour of ="trms"nttrm="metaph,metamorph,metabol,metal">meta="trms">morphoses when people ‘half hope, half fear’ that a dog will become a wolf’ (our emphasis). This quotation exemplifies the ambiguously ‘unheimlich,’ ='lgc'>[...='lgc'>]


="large lg1" stl="font-size:120%"> security is never secure enough


Jesus knocks at your heart's door


="large lg30" stl="font-size:123%"> (="trms">history's or pig's) happy ending


absence of ambivalence (in ="trms">animals)

conditions of ad="trms">mission ='lgc'>-='lgc'>='lgc'>--> artistic, sexual, ="trms">natural ='strcls'>*selections='strcls'>*
tickets to power-holding cliques that control the resources


phantoms of non-destruction
or
phantoms of ‘constructed adequately’


pausing dogs
mixed messages
who is wanted for dinner='qstn'>?
the moment when the message is finally received ='lgc'>='lgc'>--> tech, magic, ethic, ="trms">morph

="trms">poetic ="trms">historiography

pivotal ="trms"nttrm="already,spread">reading of ancient Greece ='lgc'>='lgc'>--- out of day-dream fantasy


='lgc'>[="ppl">Rickels='lgc'>]
='strcls'>*beauty is ="trms">interested in action
(pure) beauty re-lingering on primary ="trms">narcissism, that's why beauty must be administrated, in proper doses.

(my) ="trms">animal-findings and fairy-tale as="trms">sociations

if dogs ="trms">communicate through their trainability cats redirect lines of ="trms">communication through play. the dog waits and watches, the cat looks and looks, which when is your turn to be looked at, can be therapeutic or unnerving.

meeting the cat half-way



='lgc'>[="ppl">Ingraham='lgc'>]
the house, passed over in ="trms">history, brings with it a great many d="trms"nttrm="danger,stranger">angers
architecture (never touches the object) is enchanted with object discourse
...all of us have been asked to “="trms">instrumentalize” architectural ='lgc'>[or art='lgc'>] theory ="trms">according to a particular building
="trms">material given a structure

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Q ='and'>& A ='qstn'>?, ="trms">interactivity, swarovski party, servants and robots ="trms">interacting with foreign bodies ='lgc'>='lgc'>--> feeling at home='qstn'>? ex="trms">cited... ='lgc'>='lgc'>--> disco without bouncers and borders without border check, spaces you can seamlessly in and out, labyrinthine

="large lg22" stl="font-size:119%"> i am generating some ="trms">vocabularies
parsite and parasitical, not all of them are predatory like the wolf



(Karen ="ppl">="ppl">Barad)
With all mirroring practices, biomimcry has built-in optics on the ="trms">geometry of distance from what which is other.


(="ppl">I="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigaray)
surprise (to be new)='lgc'>: not yet assimilated or disassimilated as known
our attention to that which is not yet (en)="trms">coded

="large lg34" stl="font-size:129%"> ="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

(something to consider, regarding the pigs and wolf ="trms">story, also an ="trms">interest for performances that happen in closed space;) there is a standard account that says ‘="trms">interiors’ and ‘="trms">interiority’ are linked, that the ="trms">articulation of ="trms">interior physical space enabled the development of certain kind of (initially bourgeois European) sense of subjective life='lgc'>--as something sheltered and enclosed.
='lgc'>=/= ="trms">interiority (subjectivity) is linked to the exterior ='lgc'>[="ppl">Sennett='lgc'>]

O='lgc'>-- still in the 15th century (when sex and sleeping was not ="trms">veiled under curtains) there was no cor="trms">relation between ='thdf'>the notion of privacy and the ="trms">interior
O='lgc'>-- in the mid 18th century (among European bourgeoisie) a new ideal of domesticity appeared which ="trms">dictates a new ="trms">interior space ='lgc'>='lgc'>--> separate room separate functions, segregation of domestic activities
O='lgc'>-- ="ppl">Rousseau='lgc'>: in the shelter of private domestic space subjectivity is set free (='lgc'>='lgc'>--> a ="trms">different kind of subjectivity (one which guards the self, something to be protected from the outside) is enabled by the development of the division of labor in ="trms">interior space) ='lgc'>[this is not merely architectural, it is also something about the clothing people wore='lgc'>: wearing ="trms">different clothes in family or in the realm of str="trms"nttrm="danger,stranger">angers. houses became warmer='lgc'>]

(="ppl">Simmel's) “="trms"nttrm="disturban">urban subjectivity”='lgc'>: street physical over-stimulation ='lgc'>==> wearing a mask, you show nothing to people, you are not there. and behind this mask there is the feelings you are having, and these sensations behind the mask are your subjectivity.
it is a reaction to being exposed to ="trms">difference and complexity
the subject is divided='lgc'>: neutral on the outside / stimulated in the inside

="large lg6" stl="font-size:103%"> (i don't want to become a camera)
observe (without ="trms">interacting)
observational cruising
='lgc'>[the standard account:='lgc'>] ="trms">interiority ='lgc'>='lgc'>~= reflexive detachment, reflexive withdraw

="trms">social media and exteriority

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

="ppl">Sennett, “3rd ="trms">world” SPeCo62Mz2Q ='lgc'>: condition in which centralized space or distributed ="trms">communication ="trms">networks are missing
="prgrph">-a public space that is officially organized
='strcls'>*parks='lgc'>: open space that are reserved for the public='lgc'>: “where informal economy wants to be but is banned”

='strcls'>*public space='lgc'>: (='at'>@="frds scrmbld">Selma on st.open project)
(21st century) ="trms">modern thought ='lgc'><='lgc'>-- ='strcls'>*two traditions of thinking about public realm='lgc'>:
="lstsrd">1- as a dialogical condition (of exchange, of political engagement) ='lgc'>='lgc'>--> ="ppl">Arendt ='and'>& ="ppl">Habermas; ='lgc'>-='lgc'>='lgc'>-->='lgc'>{a ="trms">communicative im="trms">material space='lgc'>} ='lgc'>: “more talk ='lgc'>==> more agreement, common understanding” ='lgc'>='lgc'>---='lgc'>[dialogic ='and'>& im="trms">material='lgc'>]
="lstsrd">2- as a space of ="trms">spectacle ='lgc'>='lgc'>--> (goes back to 19th century) ="ppl">Baudelaire's ‘individual passers-by’ watching something on the ="trms">fold (='lgc'>='lgc'>--> ='lgc'>[old ="trms">Greek idea of ="trms">spectacle:='lgc'>] “un="trms">folding of ="trms">narrative.” a ='thdf'>bad idea of ‘how people should be physically in space’ for example, a landscape architect that creates a scenography in a park ='lgc'>==> a witness in a s="trms">cene, watching as ="trms">spectator from out of a ="trms">situated identity in the ="trms">world), (not so new) ="trms"nttrm="disturban">urban sensibility and ="trms"nttrm="disturban">urban subject ="trms">matter; criticized by ="ppl">Guy ="ppl">Debord; ='lgc'>-='lgc'>='lgc'>-->='lgc'>{a theater with performers and ="trms">spectators, a very physical understanding of public space, ='lgc'>='lgc'>---='lgc'>[dramatic ='and'>& ="trms">material='lgc'>]='lgc'>}

="lstsrd">3- in="trms">="trms"nttrm="cluster,club">clusive ='lgc'>=/= ="trms">integrative
many of the ="trms">differences (culture, class, ="trms">religion, etc) that cities contain can't be reconciled ='lgc'>-='lgc'>='lgc'>--> how can I talk to you and not pressing a point of ="trms">integration, rather in="trms">="trms"nttrm="cluster,club">clusion='qstn'>? (where people feel provoked to ="trms">integrate, ="trms">integrieren, an inherently passive condition)
="prgrph">-always more parallel activities that don't form a ="trms">spectacle only but are also productive
='lgc'>='lgc'>---='lgc'>[in="trms">="trms"nttrm="cluster,club">clusive ='and'>& ="trms">synchronous='lgc'>]

='strcls'>***(in the public realm='lgc'>:) ="trms">integration ='lgc'><='lgc'>~='lgc'>-> ="trms">spectacle

public spaces must be much smaller ='lgc'>=/= gigantism of dramatized power of the politics in large scale public places
small ='lgc'>==> intensity (='lgc'>='lgc'>--> this i learned from Julia as well, create small spaces to show our art-works to each other, the intensity of that moment generative of desire)


(most public spaces have been designed by powers that want to use the very size of the public space as way to ='strcls'>*dramatizing their own power='strcls'>*)
="lsts lst1">•public space inspired by power
="lsts lst1">•public space inspired by wealth
="lsts lst1">•




the “stop” as an architectural project itself (='at'>@="frds scrmbld">Selma)
we argue, in our project st.open, that there should be many activities going on at once in public space, that public space should be ="trms">synchronous, productive as well as ="trms">spectacular

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

='strcls'>*the way we concentrate has a deeply ="trms">historical character='strcls'>*
="ppl">="ppl">Crary

looking at opera or television or driving,
we are in a dimension of contemporary experience that requires that we effectively cancel out or ex="trms"nttrm="cluster,club">clude from consciousness much of our immediate environment

="ppl">="ppl">Crary='lgc'>: how western ="trms">modernity since the 19th century has ="trms">demanded that individuals define and shape themselves in terms of a capacity for “paying attention”='strcls'>*** ='lgc'>='lgc'>--> disengagement from a broader field of attraction for the sake of isolating or focusing on a reduced number of stimuli

='lgc'>{ our lives='lgc'> = disconnected patchwork of stats ='lgc'>}='lgc'><== ="trms">dense and powerful remaking of human subjectivity in the West over the last 150 years

the so-called crisis of subject dis="trms">integration is diagnosed as a deficiency of “attention”

attentive norms and practices ='lgc'>==> ="trms">modern distraction


imperative of concentrated attentiveness within the disciplinary organization of labor, education, and mass ="trms">consumption
='lgc'>+
ideal of sustained attentiveness as a constitutive element of a creative and free subjectivity

a cultivated individual gazing (='lgc'>~ ="frds scrmbld">Jassem) on a great work of art or ="trms">nature
='lgc'>+
a factory worker concentrating on the performance of some repetitive task

='lgc'>='lgc'>--> institutional constructions of a productive and manageable subjectivity ='lgc'>+ purified ="trms">aesthetic perception
='lgc'>["='lgc'>+” ='lgc'>: inseparability='lgc'>]

='lgc'>==> experience of subjective autonomy (for example in ="frds scrmbld">Jassem)
='lgc'>+ ambivalent limits and fai="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lures of an attentive individual

19th century emergence of new ="trms">technological forms of ="trms">spectacle and recording




...set of terms and ="trms">positions that cannot be construed simply as ="trms">questions of opacity

vision is not an autonomous and self-justifying problem

(we have to rework the) forces of specialization and separation that allowed ='thdf'>the notion of visuality to become the intellectually available concept that it is today
(we should do that with all our ="trms"nttrm="already,spread">ready at hand concepts)

what is the genealogy of attention in Persian subjectivity='qstn'>?
="lsts lst1">•an ="trms">embodied subject is both the location of operations of power and the potential for resistance
="lsts lst1">•vision is only one part of a body capable of evading institutional capture

="trms">social economic re="trms">presentational shifts and practices
visual/auditory culture

...richer and more ="trms">historically determined notions of “="trms">embodiment”

="trms">spectator culture is not founded on the necessity of making a subject ‘see’ (="ppl">="ppl">Crary)
rather, individuals are isolated, separated, and inhabit time as disempowered.
counter-forms of attention are constituted as other temporalities and states (='lgc'>='lgc'>--> my ="trms">lectures, reverie)

for ="ppl">="ppl">Crary, “perception”='lgc'>: a way of indicating a subject definable in terms of more than the single-sense modality of sight

="lsts lst1">•fundamental absence at the heart of seeing
="lsts lst1">•impossibility of the perception of ="trms">presence
="lsts lst1">•impossibility of an unmediated visual access to a plentitude of being
="lsts lst1">•

="trms">historical ob="trms">literation of the possibility of thinking ='thdf'>the idea of ="trms">presence in perception

='strcls'>*attention='lgc'>: simulation of ="trms">presence, a ="trms">pragmatic substitute in the face of its impossibility

atemporal ="trms">nature of perception

='qstn'>? direct perceptual access to self-presdenceex

(newly) designated “pathologies” of attention and creative, intensive states of deep absorption and daydreaming

(subjective conception of vision ='lgc'>==>) ='strcls'>*attention='lgc'>: the means by which an individual observer can transcend those subjective limitations and make perception ‘its own’ ='lgc'>[&='lgc'>] the means by which a perceiver becomes open to control and annexation by external ="trms">agencies='strcls'>***

="trms">interrelated problem of perception and ="trms">modernization

="ppl">="ppl">Crary's development of the issue of attention is to ="trms">question the relevance of isolating an ="trms">aesthetically determined contemplation or absorption

general problem of perceptual synthesis and dis="trms">integrative possibilities of attention

optical verisimilitude

attention ='lgc'>='lgc'>--> tension ='lgc'>='lgc'>--> possibly of a fixation, of holding something in ="trms">wonder or contemplation, in which the attentive subject is both immobile and ungrounded

how can something o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginate in its op="trms">posite='qstn'>?
="ppl">Nietzsche

sudden emergence of model of subjective vision (in the 19th century)

complex and ="trms">contingent physiological makeup of the observer ='lgc'>==> vision is rendered faulty, even arbitrary

reality maintenance

aftershocks of apperception

fai="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure of a capacity for synthesis of conscious thought (named dis="trms">sociation) became linked in the 19th century with pathological psychosis
this label (of pathological dis="trms">integration) was evidence of a shift in the ="trms">relation of the subject to a visual field
='strcls'>*synthesis
="lsts lst1">•for ="ppl">Bergson='lgc'>: bind with creative forces of ="trms">memory
="lsts lst1">•for Dilthey='lgc'>: creative forms of fusion ="trms">specific to human ="trms">imagination
="lsts lst1">•for ="ppl">Nietzsche='lgc'>: endlessly creative and ="trms"nttrm="metaph,metamorph,metabol,metal">meta="trms">morphic and not constitutive of truth


the rise of psychological explanation within ="trms">epistemology


="ppl">Kant saw perception crowding in upon the soul

for Külpe attention was the very condition of thinking, consciousness not in the mercy of external impressions

the importance of attention to the conception of subjective time in ="ppl">Augustine and ="ppl">Husserl

(curiosity t="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riggered by) ="trms">wonder for ="ppl">Descartes

in 18th century='lgc'>:
="prgrph">-‘unified’ operation of mental life
="prgrph">-force of a sensation
="prgrph">-an effect of an event external to the subject
='lgc'>--='not'>✕='lgc'>='lgc'>-->
in 19th century, attention='lgc'>: an essential but fragile im="trms">position of coherence and clarity ="trms">onto the dispersed content of consciousness


running in the park, a motif of selfhood, of individual freedom, finality of the possibility of soul from the enduring experience of active, willed effort in ="trms">relation to the body
='lgc'>==> moi='lgc'>: a re="trms">pository of self-initiated (mental physical) activity and free will
="prgrph">-running in park/city='lgc'>: a ="trms">priori believe in the self
="prgrph">-your experience is yours

="lsts lst1">•attention
="lsts lst1">•judgement
="lsts lst1">•="trms">memory
="lsts lst1">•perception
="lsts lst1">•mediation

apperception ='lgc'>='lgc'>--> ="trms">nature of intuition ='lgc'>='lgc'>--> (a mobile and dynamic) conception of will ='lgc'>='lgc'>--> motor activity

19th century='lgc'>:
attention='lgc'> = will
character='lgc'> = unity
attention ='lgc'>==> mind ='lgc'>--='lgc'>{attention is plainly the essential condition of the formation and development of mind='lgc'>}, ="trms">systematic acquirement of knowl="trms"nttrm="knowledge,Knowledge">edge, for the control of passions and emotions
='lgc'>='lgc'>--> powerful accounts of the ="trms">nature of human subjectivity


practical or knowl="trms"nttrm="knowledge,Knowledge">edge ="trms">world of objects (the berlin ="trms">naturkunde museum)

attention became part of the ="trms">dense ="trms">network of institutional discourses/practices around which “the truth of perception was organised and structured”
not part of a “regime of power” rather part of a space in which new conditions of subjectivity were ="trms">articulated

19th century reconceptualization of attention='lgc'>: inevitable fragmentation of a visual field, an activity of ex="trms">="trms"nttrm="cluster,club">clusion, of rendering parts of a perceptual field unperceived ='lgc'>==>
="lstsrd">1. attention as expression of the conscious will of an autonomous subject, as free choice, part of that subject's self-constituting freedom
="lstsrd">2. attention as a function of biologically determined instinct, shaped our lived ="trms">relation to environment
="lstsrd">3. attentive subject could be produced and managed through the knowl="trms"nttrm="knowledge,Knowledge">edge and control of external procedures of stimulation='lgc'>: ="trms">technologies of attraction ='lgc'>[='lgc'>='lgc'>--> formative component of a ="trms">modernized mass visual culture (in the West)='lgc'>: strategies of engaging an attentive ="trms">spectator='lgc'>: comedians smirking at the camera, ="trms">gesturing conjurers in magic film ='lgc'>='lgc'>--> a cinema that displays its visibility, rupturing a self-enclosed ="trms">fictional ="trms">world for a chance to solicit the attention of the ="trms">spectator; Gunning 1990='lgc'>]

="ppl">Hegel's understanding of attention as “the beginning of education”

(rationalizing possibilities of) psychometrics
a site of quantification
='lgc'>==> subjective operations of repression and anesthetization ='lgc'>='lgc'>~='lgc'>~='lgc'>='lgc'>--> ="ppl">Freud

the model of an attentive human observer
compatible with ="trms">technical conditions, insignificant “="trms">interior” faculty, a set of effects that could be ="trms">measured externally
(="trms">technological transformation of physiology and psychology in the 19th century, development of electrophysiology ='lgc'>='lgc'>--> cultural ="trms">history of electricity)


behaviour with a ="trms">historical structure='lgc'>: a behaviour ="trms">articulated in terms of ="trms">socially determined norms and is part of the formation of a ="trms">modern ="trms">technological milieu

1879, Wundt's psychology laboratory in Leipzig, one of the practical and discursive spaces within ="trms">modernity in which human beings “problematized what they are.” ="ppl">="ppl">Foucault/
(Wundt's account defined attention ='lgc'>[= will='lgc'>] as one of the highest ="trms">integrative functions ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ='at'>#="trms">integrative in ="ppl">Sennett='lgc'>], its essential role in producing an effective unity of consciousness)


part of the cultural logic of capitalism ="trms">demands that we accept as ="trms">natural switching our attention rapidly from one thing to another ='lgc'>='lgc'>--> (capitalism as a) regime of reciprocal attentiveness and distraction


conceptualizer of a new economic and ="trms">social space based on the quantification and distribution of energy='lgc'>:
="lsts lst1">•Wener von Siemens
="lsts lst1">•Lord Kelvin='lgc'>: globalization of telegraphic ="trms">communication and subsequently in the commodification and ="trms">marketing of electric power (in England) ='lgc'>[telegraph='lgc'>: a ="trms">world of anonymous, decontextualized information; moved ="trms">history into the background and amplified the instant and ="trms">simultaneous ="trms">present/person='lgc'>]
="lsts lst1">•Edison='lgc'>: ="trms">transition to centralised corporate capitalism (in late 19th century)='lgc'>: his role in the emergence of a new ="trms">system of quantification and distribution, a ="trms">system for trans="trms">mission and reception as abstract processes, ways in which a space of ="trms">consumption and circulation could be dynamized/activated ='lgc'>='lgc'>--> ="trms">social field of individual subjects could be arranged into increasingly separate and specialized units (of ="trms">consumption)
“Edison was a ho="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic conceptualizer and determined solver of the problems as="trms">sociated with the growth of ="trms">systems” (="ppl">="ppl">Crary > Hughes)
Edison is paradigmatic='lgc'>: ='strcls'>*the indistinction between information and visual images, and the making of quantifiable and abstract flow into the object of attentive ="trms">consumption. his grasp of some of the ="trms">systemic features of capitalism (in 1880s and 1890s) underscores the abstract ="trms">nature of the products he “invented”. his work is inseparable from the continual manufacturer of new needs and the consequent restructuring of the ="trms">network of ="trms">relations in which such products would be ="trms">consumed='strcls'>* ='lgc'>='lgc'>--> other participants in the same ="trms">historical project of perpetual rationalization and ="trms">modernization='lgc'>: Steve Jobs, Bill Gates, Andrew Grove, etc.

(kinetoscope and phonograph logic='lgc'>:) the structuring of perceptual experience in terms of a solitary rather than a collective subject ='lgc'>='lgc'>--> today's computer screen as the primary vehicle for the distribution and ="trms">consumption (of electronic commodities)

(late 20th century) management of attention ='lgc'><='lgc'>-- capacity of an observer to adjust to continual repatterning of the ways in which a sensory ="trms">world can be ="trms">consumed
='at'>@="frds scrmbld">Hoda


ADD
dubious classification of an attentive deficit disorder ='lgc'>='lgc'>--> durability of attention (posed as ='lgc'>[implicitly='lgc'>] ="trms">natural function) as a normative ="trms">category of institutional power
="prgrph">-="trms">social construction of illness
="prgrph">-now ADD is not linked to any weakness of the will
="prgrph">-in adults='lgc'>: any economic shortcoming or ="trms">social insecurity is now understandable in terms of a fai="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure to apply oneself attentively to the ideologically determined standards of performance and “achievement”
='lgc'>='lgc'>--> in a culture that is so relentlessly founded on a short attention span, on the logic of the nonsequitur, on perceptual overload, on the ="trms">generalized ethic of “getting ahead,” on the celebration of aggressiveness, (="ppl">="ppl">Crary poses that it is nonsensical to pathologize attention in this culture, a double bind, in which the individual is caught between subjective dislocations of ="trms">modernization and imperative for institutional discipline and productivity)


(Miller ='at'>@="frds scrmbld">Zoumana) ...the unconscious as part of a ="trms">system in which ‘automatic’ behaviour was reciprocally ="trms">intertwined with the changing needs of conscious activity, in="trms"nttrm="cluster,club">cluding attention. in contrast to the custodial ="ppl">Freudian ="trms">interpretation, many 19th century psychologists saw the unconscious as “actively generating the processes which are ="trms">integral to ="trms">memory, perception, and behaviour. its contents are inaccessible not, as in psychoanalytic theory, because they are held in strenuously preventive detention but, more ="trms">interestingly, because the effective implementation of cognition and conduct does not actually require comprehensive awareness.

="ppl">Darwin='lgc'>: a certain kind of reactive attention was believed to be an essential part of human biology, ="trms">systematic ="trms">response to novel stimuli (visual, olfactory, or auditory)
="prgrph">-an attentive observer might appear motionless
="prgrph">-an ideo-motor ="trms">network of forces ='lgc'>='lgc'>--> that which immobilizes


(the structural psychology of) as="trms">sociationism (theories of knowl="trms"nttrm="knowledge,Knowledge">edge)

institutional discourse
="trms">techniques of the subject

attention (='lgc'>='lgc'>~= will) ='lgc'>='lgc'>~/= consciousness
(noncoincidence of attention with consciousness)
='lgc'><='lgc'>-- ="trms">modern shift to semantic and ="trms">semiotic frameworks of analysis
(from ="trms">epistemology ='lgc'>--to='lgc'>='lgc'>--> hermeneutics ='lgc'>: ="ppl">Mallarme, ="ppl">Nietzsche, ="ppl">Peirce, ="ppl">Wittgenstein, ="ppl">Heidegger ='lgc'>='lgc'>--> the ="trms">question of how a subject is provisionally constructed through ="trms">language and other ="trms">systems of ="trms">social meaning and value ='lgc'>='lgc'>--> termination of various analysis of consciousness ='lgc'>='lgc'>--> ="trms">epistemological crisis


observer (once understood in terms of the essential subjectivity of vision) ='lgc'>==> attention became constitutive (and destabilizing) component of perception


unmediated givenness of sense ="trms">data ='lgc'>--='not'>✕='lgc'>='lgc'>--> cognition

="trms">community of ="trms">interpretation ='lgc'>: a shifting and ="trms">intervening space of ="trms">socially ="trms">articulated psychological functions, institutional imperative, and a wide range of ="trms">techniques, practices, and discourses relating to the perceptual experience of a subject in time ='lgc'>='lgc'>--> forms of exteriority in ="trms">modernity's account of perception


eschatological dream of 19th century ='lgc'>: “to make this knowl="trms"nttrm="knowledge,Knowledge">edge of man exist so that man could be liberated by it from his alienation, liberated from all the determinations of which he was not the master” ='lgc'>='lgc'>--> one made of man an object of knowl="trms"nttrm="knowledge,Knowledge">edge so that man could become subject of his own liberty and of his own existence
="prgrph">-="ppl">="ppl">Foucault
exercise of a sovereign and attentive will ='lgc'>[we see this in ="ppl">Olearius='lgc'>] ='lgc'>='lgc'>--> claiming subject's self-possession ='lgc'>='lgc'>--> conscious organizer of that perceptible ="trms">world ='lgc'>='lgc'>--> master

(="ppl">Nietzsche='lgc'>:) “i am free” ='lgc'>==> “he must obey” ='lgc'>}='lgc'>='lgc'>--> the inward certainty that obedience will be rendered ='lgc'>='lgc'>-->='lgc'>{ ='strcls'>*ex="trms">="trms"nttrm="cluster,club">clusively='lgc'>: (the unconditional evaluation that) ‘this and nothing else is necessary now’

co-="trms">presence of the ="trms">world (can never be guaranteed ='lgc'>[by ="trms">scientific psychology='lgc'>])
='lgc'><== attentiveness is continuous with distraction, reverie, dis="trms">sociation, trance,

='at'>@="nms">apass, work on attention is so ="trms">interesting because it is part of the ="trms">history of modality of contemplation about processes and activities of the body


the neo-="ppl">Kantian legacy of a dis="trms">interested ="trms">aesthetic perception ='lgc'>--desire='lgc'>='lgc'>--> to escape bodily time (and its vagaries)
="lsts lst1">•(="ppl">Hume's) artist='lgc'>: someone in whom “="trms">nature has forgotten to attach their faculty for perception to their faculty for action” (='lgc'><='lgc'>-- sounds familiar='qstn'>? “free” artistic perception)
="lsts lst1">•(for Roger Fry='lgc'>:) “="trms">imaginative life” is about contemplation disconnected from the possibility of action (='lgc'>=/= instinctive reactions to sensible objects and their accompanying emotions ='lgc'>='lgc'>~= ="trms">animal)='lgc'>}='lgc'>='lgc'>--> a bad ="trms">fable
="trms">modernist art='lgc'>: ='strcls'>*timeless perception='strcls'>* ='lgc'>[formal conditions of the possibility of vision, pure form operates as a principle of structure, Krauss outlines how temporality is ex="trms"nttrm="cluster,club">cluded='lgc'>] ='lgc'>=/= mundane or quotidian forms of seeing or ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listening ='lgc'>[the object bounded by its c="trms">ontours, spurred/hated by ="trms">modernism='lgc'>]


whenever we try to look at or ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listen to one thing for too long the attention (containing within itself the conditions for its own dis="trms">integration) inevitably reaches a threshold at which it breaks down='lgc'>[='lgc'><='lgc'>-- a game i used to play as a ="trms">child, playing with attention and distraction, mutating myself into a state of trance or autohypnosis, absorbed, diverted, nebulous ='lgc'>=/= ="trms">socially adaptive subject='lgc'>] ='lgc'>='lgc'>--> ='strcls'>*perceptual identity='strcls'>* (of its object) begins to deteriorate (& paralysis of will='qstn'>?) ='lgc'>[_='thdf'>that is why in ="trms">spectacle visual regimes the duration of perception must be regulated in short ="trms">intervals='lgc'>]

attention is thermodynamic ='lgc'>: a given force could assume more than ine form
partial sleep ='lgc'><='lgc'>='lgc'>--> abnormal fixation


(i am cautious at every turn to capture my own) ='strcls'>*experience of distraction='strcls'>* is part of ="nms">ajayeb studies. because it has to do with modes of attention and its persian ="trms">history

perception is a dream

(an account of) ='lgc'>[='strcls'>*='lgc'>]="trms">modernity='lgc'>: a process of fragmentation and destruction in which pre="trms">modern forms of wholeness and ="trms">integrity were irretrievably broken up or degraded through ="trms">technological, ="trms"nttrm="disturban">urban, and economic reorganization
='lgc'>==> a “decay” in the capacity for perception ='lgc'>[='lgc'><='lgc'>-- to be careful in working for ="nms">ajayeb not to romanticize (elitist and regressive fantasy of ="trms">communal ="trms">relations in) pre="trms">modern modalities of looking/="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listening as richer, deeper, or more valuable ='lgc'>:
="trms">modern ="trms"nttrm="disturban">urban life as “swift and continuous shift of external and ="trms">internal stimuli” ='lgc'>=/= pre="trms">modern's “slower, more habitual, more smoothly flowing rhythm of the sensory-mental phase"='lgc'>]

(sensory mental schema)


understanding of distraction within a larger deterioration of experience

="prgrph">-distraction (not as a product of decay or ="trms">anthropy, rather) as a mean to overcome bankruptcy of bourgeois ="trms">aesthetic (late 19th century)='lgc'>:
="lsts lst1">•="ppl">Benjamin='lgc'>: absorbed contemplation purified of the ="trms">excess stimuli of ="trms">modernity
="lsts lst1">•="ppl">Adorno='lgc'>: distraction as regression='lgc'>: perception that is “arrested in the infantile ="trms">stage” ='lgc'>=/= “deep concentration”
="lsts lst1">•="ppl">Rilke='lgc'>: authentic attention as precious and rare survival of the lost ideal of artistic absorption in work now exiled to the margins of mechanized and ="trms">routinized ="trms">world
="lsts lst1">•Rodin='lgc'>: gazing of the handworker
="prgrph">-
='lgc'>}='lgc'>='lgc'>--> “reception in a state of distraction”, (='lgc'><== absorption is psychologically grounded perception) ='lgc'>=/= ="ppl">="ppl">Crary arguing that attention and distraction ceaselessly flowing into one another on the same continuum (of ="trms">social field)



='lgc'>[tales of understanding='lgc'>]-='strcls'>*
="lsts lst1">•what are the cognites of ‘contemplation’ (in german or ="trms">farsi)='qstn'>?
the theological resonances of this latinate word ='lgc'>='lgc'>--> contemplation='lgc'>: viewing/considering with continued attention; going into the temple, into the sphere of the holy, into the deep roots of things, into their creative ground


(to oppose) contemporary modes of distraction
="trms">modern forms of ="trms">interiority, absorption, psychic isolation

Riegl's dream of a ="trms">world in which art would be inseparable from an ="trms">imaginary democratic harmony of individual and ="trms">community (='lgc'>=/= ="nms">harem)

collective attention (central attentive mass audience, 1900) ='lgc'>: cinema

rational attention='lgc'>: attention linked to thought, one's telescope on object

(for ="ppl">Nietzsche='lgc'>:) attention='lgc'>: possibility of an absorption ='lgc'>==> forgetting ='lgc'>='lgc'>--> life-affirmative ='lgc'>}='lgc'>='lgc'>--> “focusing on the ="trms">present moment”

final virtue of ="trms">modern man='lgc'>: ='strcls'>*="trms">presence of mind='strcls'>* ='lgc'>--="ppl">Nietzsche='lgc'>='lgc'>--> necessary part of the (="trms">cosmopolitan) individual's functioning within a ="trms">modern ="trms">world of economic facts and qualities ='lgc'>='lgc'>--> ="trms"nttrm="already,spread">ready at ="trms">response to the machine, af="trms">finity with the ="trms">technical, athletic political (='at'>#="trms">integration tale)
='lgc'>='lgc'>--> the (="trms">serious) ="trms">modern soul is directed towards the news, focusing on the ="trms">present, to employ the moment (='at'>#="trms">presentism ='at'>#="trms">past-studies)
="lsts lst1">•="trms">fable of “to be at the ="trms">present moment”
="lsts lst1">•="trms">fable of “to adapt yourself”

perceptual acceleration of ="trms">modernized ="trms">social field (work ='lgc'>+ leisure) ='lgc'>==> new ='strcls'>*="trms">cosmopolitan individual='strcls'>* (who receives signals from many fars and nears, ="trms">="trms">equipped to ‘attend’ to messages and participate in their circulation ☆ ='at'>#face="trms">book='qstn'>? ='lgc'>='lgc'>--> diffuse ="trms">anxiety of the other-directed person ='lgc'>: gyroscope ='lgc'>='lgc'>--> radar)

="ppl">Arendt='lgc'>:
="trms">modernity='lgc'>: fabricating rendered meaningless ='lgc'>=/= contemplation='lgc'>: beholding the truth

‘life='lgc'> = being’ ='lgc'>==> ‘contemplation='lgc'> = truth’


="ppl">Heidegger ='lgc'>='lgc'>--> characterization of ="trms">Greek's primordial self-disclosing look ='lgc'>==> makes ="trms">presence possible ='lgc'>+ glaring predatory look ='lgc'>--of='lgc'>='lgc'>--> ="trms">modern subjects='lgc'> = objects of conquest


dystopian ="trms">story='lgc'>: a promising outburst (always of human) activity ='lgc'>[such as ="trms">science or exploration or artificial intelligence, etc.='lgc'>] that leads in the most deadlines sterile passivity ='lgc'>[such as alien predation, industrialisation of mind, global contamination, etc.='lgc'>]
(theatricalization of ="trms">scientific mistake in the Handmaid TV series='lgc'>: ="trms">scientific human progress failing ='lgc'>==> abolishing the distinction between private and public consciousness ='lgc'>}='lgc'><='lgc'>-- optics of ="trms">narcissistic scepticism ='lgc'><== psychological shock of the temporality of process)


19th century='lgc'>: ="ppl">Schopenhauer's early grasp of the link between attention and perceptual dis="trms">integration
(for ="ppl">Schopenhauer='lgc'>: ='lgc'>[cognitive chaos of='lgc'>] cultural ="trms">modernity='lgc'>:) temporality ='lgc'>==> subjective anguish


='lgc'>[title='lgc'>]
the timing of intellect

(how come usually intellect does not have time='qstn'>? leaps out of time)


(chaotic successiveness of) perceptions are rendered intellectually coherent ='lgc'>--(="ppl">Schopenhauer)='lgc'>='lgc'>--> (unmotivated movement of the) will holds them together ='lgc'>='lgc'>~= body='lgc'>: will's most immediate objectified form
='lgc'>}='lgc'>==> (="trms">modernism's) looking='lgc'>: a purified perception suspended from time and the body's economy


telegram, Face="trms">book
extremely heterogeneous mixture of fragments of re="trms">presentations of every kind constantly crossing one another
="prgrph">-ceaseless pulsing and animations of the body ='lgc'>='lgc'>--> temporality of the bodies in ="nms">Tehran
='lgc'>--='not'>✕='lgc'>='lgc'>--> possibility of subjective reflection (in a ="ppl">Cartesian sense) ='and'>& as="trms">sociation of discrete elements


distraction ='lgc'><='lgc'>--sug="trms">gesting='lgc'>='lgc'>--> ="trms">sublimation


(from ="ppl">Descartes to ="ppl">Kant) consciousness/cogito='lgc'> = ground of knowl="trms"nttrm="knowledge,Knowledge">edge and certitude (= self-="trms">present subject) ='lgc'>--='not'>✕='lgc'>='lgc'>--> (="ppl">Schopenhauer recognizing) ending the un="trms">questioned foundational ="trms">priority of consciousness ='lgc'>==> attention (emerges as a problem)


broken attention
(idea for video documentation='lgc'>: a lagging mirror attached in front of the camera's lenses)



(a ="trms">fable)

looking out the window
perceive a landscape
light of consciousness
distribute over the landscape
then i try
to apprehend a single tree branch
the consciousness that the rest of the landscape was deployed then fades
diminishes into as="trms">sociational debris
into disappearance of re="trms">presentations

real nexus of psychic life
permeated colored enlivened feelings
distribution of feelings
the gradual un="trms">folding
efforts of attention
are forms of volitional activity
impulsive energy to individual imagery
permit them to fade away
therefore, the tree branch, the window, is a process

Dilthey


in ="ppl">Peirce='lgc'>:
='lgc'>[='strcls'>*='lgc'>]attention='lgc'> = anti-optical act of selection ='lgc'>[='lgc'>=/= (in traditional ="trms">epistemological thought) singling out a contemplative object='lgc'>], “the power by which thought at one time is connected with and made to relate to thought at another time”
='lgc'>--='not'>✕='lgc'>='lgc'>--> ='strcls'>*firstness='lgc'>: self-immediacy, absolute ="trms">presence (before synthesis and ="trms">differentiation) ='lgc'>~ nonreferenciality (='lgc'>=/= perception, attention ="trms">consumed/constituted in time ='lgc'>='lgc'>~= continuous quantity='lgc'> = ='strcls'>*secondness)


using a more act-oriented term “thought” instead of “consciousness”

dis="trms">sociation
anaesthesia
="trms">hallucination
multiple selves
='lgc'>--James='lgc'>='lgc'>--> temporal model of mind='lgc'>: ‘stream’
(='lgc'>=/= scenic model of mind)
='lgc'>[this was part of a larger institutional field in which ="trms">scientific psychology generally was abandoning ‘elemental’ conceptions of consciousness in favour of operational or functional models='lgc'>]
='lgc'>==> observer='lgc'>: an artist confronted with the primordial chaos of sensation ='lgc'>='lgc'>--> (ethics of) overlapping common choices (made of autonomous subjects ='lgc'>[='lgc'>='lgc'>--> you can see James seeking to lessen the shock of recent works in ="trms">science and psychology for an American middle-class ="trms"nttrm="already,spread">readership='lgc'>])
(William James='lgc'>:) irreducible p="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurality of experience ='lgc'>==> (think in terms of) fluidity and immobilization



='mywrk'>my work is usually unformed and informal='lgc'>: a speaking properly in terms of irradiated strata, an aggregate


emergence of increasingly powerful ="trms">technologies and inst[...]