[...]y 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.]
•(which) *practices of belonging* (are not part of (whose?) dreaming?) --> they always turn up in family stories {feral =/= pest}
•how various kinds of species can and cannot get on together?
•who should be killed and lived-with?
•(who exists only under the) categories that come from the cunning of recognition [categories of the traditional, of the subsistence food (ma'ash معاش), of the enacting of a culture in view of tourist public,]
•managed belongingness


In Jean Genet's portrayal of dusk (quoted by Minh-ha 1996:101-102), he captures the ambiguity of this 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 metamorphoses when people ‘half hope, half fear’ that a dog will become a wolf’ (our emphasis). This quotation exemplifies the ambiguously ‘unheimlich,’ [...]


security is never secure enough


Jesus knocks at your heart's door


(history's or pig's) happy ending


absence of ambivalence (in animals)

conditions of admission ---> artistic, sexual, natural *selections*
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?
the moment when the message is finally received --> tech, magic, ethic, morph

poetic historiography

pivotal reading of ancient Greece --- out of day-dream fantasy


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

(my) animal-findings and fairy-tale associations

if dogs communicate through their trainability cats redirect lines of 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



[Ingraham]
the house, passed over in history, brings with it a great many dangers
architecture (never touches the object) is enchanted with object discourse
...all of us have been asked to “instrumentalize” architectural [or art] theory according to a particular building
material given a structure

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

Q & A ?, interactivity, swarovski party, servants and robots interacting with foreign bodies --> feeling at home? excited... --> disco without bouncers and borders without border check, spaces you can seamlessly in and out, labyrinthine

i am generating some vocabularies
parsite and parasitical, not all of them are predatory like the wolf



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


(Irigaray)
surprise (to be new): not yet assimilated or disassimilated as known
our attention to that which is not yet (en)coded

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

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

O-- still in the 15th century (when sex and sleeping was not veiled under curtains) there was no correlation between the notion of privacy and the interior
O-- in the mid 18th century (among European bourgeoisie) a new ideal of domesticity appeared which dictates a new interior space --> separate room separate functions, segregation of domestic activities
O-- Rousseau: in the shelter of private domestic space subjectivity is set free (--> a 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 interior space) [this is not merely architectural, it is also something about the clothing people wore: wearing different clothes in family or in the realm of strangers. houses became warmer]

(Simmel's) “urban subjectivity”: street physical over-stimulation ==> 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 difference and complexity
the subject is divided: neutral on the outside / stimulated in the inside

(i don't want to become a camera)
observe (without interacting)
observational cruising
[the standard account:] interiority ~= reflexive detachment, reflexive withdraw

social media and exteriority

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

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

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

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

***(in the public realm:) integration <~-> spectacle

public spaces must be much smaller =/= gigantism of dramatized power of the politics in large scale public places
small ==> intensity (--> 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 *dramatizing their own power*)
•public space inspired by power
•public space inspired by wealth
•




the “stop” as an architectural project itself (@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 synchronous, productive as well as spectacular

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

*the way we concentrate has a deeply historical character*
Crary

looking at opera or television or driving,
we are in a dimension of contemporary experience that requires that we effectively cancel out or exclude from consciousness much of our immediate environment

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

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

the so-called crisis of subject disintegration is diagnosed as a deficiency of “attention”

attentive norms and practices ==> modern distraction


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

a cultivated individual gazing (~ Jassem) on a great work of art or nature
+
a factory worker concentrating on the performance of some repetitive task

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

==> experience of subjective autonomy (for example in Jassem)
+ ambivalent limits and failures of an attentive individual

19th century emergence of new technological forms of spectacle and recording




...set of terms and positions that cannot be construed simply as questions of opacity

vision is not an autonomous and self-justifying problem

(we have to rework the) forces of specialization and separation that allowed the notion of visuality to become the intellectually available concept that it is today
(we should do that with all our ready at hand concepts)

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

social economic representational shifts and practices
visual/auditory culture

...richer and more historically determined notions of “embodiment”

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

for Crary, “perception”: a way of indicating a subject definable in terms of more than the single-sense modality of sight

•fundamental absence at the heart of seeing
•impossibility of the perception of presence
•impossibility of an unmediated visual access to a plentitude of being
•

historical obliteration of the possibility of thinking the idea of presence in perception

*attention: simulation of presence, a pragmatic substitute in the face of its impossibility

atemporal nature of perception

? direct perceptual access to self-presdenceex

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

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

interrelated problem of perception and modernization

Crary's development of the issue of attention is to question the relevance of isolating an aesthetically determined contemplation or absorption

general problem of perceptual synthesis and disintegrative possibilities of attention

optical verisimilitude

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

how can something originate in its opposite?
Nietzsche

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

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

reality maintenance

aftershocks of apperception

failure of a capacity for synthesis of conscious thought (named dissociation) became linked in the 19th century with pathological psychosis
this label (of pathological disintegration) was evidence of a shift in the relation of the subject to a visual field
*synthesis
•for Bergson: bind with creative forces of memory
•for Dilthey: creative forms of fusion specific to human imagination
•for Nietzsche: endlessly creative and metamorphic and not constitutive of truth


the rise of psychological explanation within epistemology


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 Augustine and Husserl

(curiosity triggered by) wonder for Descartes

in 18th century:
-‘unified’ operation of mental life
-force of a sensation
-an effect of an event external to the subject
--✕-->
in 19th century, attention: an essential but fragile imposition of coherence and clarity 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 relation to the body
==> moi: a repository of self-initiated (mental physical) activity and free will
-running in park/city: a priori believe in the self
-your experience is yours

•attention
•judgement
•memory
•perception
•mediation

apperception --> nature of intuition --> (a mobile and dynamic) conception of will --> motor activity

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


practical or knowledge world of objects (the berlin naturkunde museum)

attention became part of the dense 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 articulated

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

Hegel's understanding of attention as “the beginning of education”

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

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


behaviour with a historical structure: a behaviour articulated in terms of socially determined norms and is part of the formation of a modern technological milieu

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