[...]tentiveness 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)


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


conceptualizer of a new economic and social space base[...]