[...]assed 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 lg2" stl="font-size:111%"> 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

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(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

(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

="large lg1" stl="font-size:144%"> ="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”

="large lg3" stl="font-size:112%"> ='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">•

="large lg4" stl="font-size:110%">


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

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="large lg5" stl="font-size:138%"> ='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 functio[...]