[...]ta of critical ="trms">position ='lgc'>[='at'>@="frds scrmbld"nttrm="Alice,Shariati">Ali; follow it in ="ppl">Marxism='lgc'>]='lgc'>:)
volitional human action modified by external forces

="frds scrmbld"nttrm="Alice,Shariati">Ali's tacit appeal to state secret, military secret ='lgc'>='lgc'>--> importance of low-level effects of sug="trms">gestion and influence in contemporary global culture (="frds scrmbld"nttrm="Alice,Shariati">Ali's ="trms">interest)
the role ‘sug="trms">gestion’ plays in a ="trms">society of ="trms">communication ='lgc'>='lgc'>--> the effects of='lgc'>:
="lsts lst1">•="trms">fashion
="lsts lst1">•="trms">mimesis
="lsts lst1">•mass psychology
="lsts lst1">•media-related contagions
='lgc'>+ influences of all kind ='lgc'>='lgc'>==> “="trms">oblige” us
='lgc'>}='lgc'>='lgc'>--> ='thdf'>the ='thdf'>assumption that attention can be controlled for ="trms">specific ends

(over a hundred years) underpinning institutional strategies has been the ="trms">position that ='strcls'>*human subjects have determinate psychological capacities and functions that might be susceptible to ="trms">technological management='strcls'>*

attention has been both='lgc'>: strategy of control ='and'>& locus of resistance and drift


(by the end of 20th century) the attentive subject is part of an ‘="trms">internalization’ of disciplinary imperative ='lgc'>='lgc'>--> individuals are made more directly ="trms">responsible for their own efficient or profitable utilization


="ppl">="ppl">Foucault's ="trms">society of discipline
="ppl">Guy ="ppl">Debord's ="trms">society of ="trms">spectacle

(="ppl">Guy ="ppl">Debord's) ='strcls'>*="trms">spectacle='lgc'>: a development of a ="trms">technology of separation='strcls'>*, ='lgc'>[multiple strategies of isolation='lgc'>] ='lgc'>='lgc'>--> (capitalism's restructuring of) ="trms">society without ="trms">community
='lgc'>+
(="ppl">="ppl">Foucault's) ='lgc'>[production of='lgc'>] docile bodies ='lgc'>~='lgc'>{ body='lgc'> = political force ='lgc'>}
='lgc'>+
(='lgc'><='lgc'>== Weber's) inner isolation of individual ='lgc'>[='lgc'><='lgc'>='lgc'>==> capita="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list ="trms">modernity='lgc'>]

management of attention is masscultural forms has to do (less with the visual contents and much more) with a larger ='strcls'>**strategy of the individual='strcls'>** ='lgc'>}='lgc'>='lgc'>-->
="trms">spectacle='lgc'>:
='lgc'>[='lgc'>--='not'>✕='lgc'>='lgc'>--> looking at images='lgc'>]
='lgc'>-='lgc'>-='lgc'>='lgc'>--> (construction of conditions that) individuate, immobilize, separate subjects
='lgc'>}='lgc'>='lgc'>==>
attention ='lgc'>='lgc'>--> operation of noncoercive forms of power

(="ppl">="ppl">Crary='lgc'>:) optical/="trms">technological objects ='lgc'>='lgc'>--> arrangement of bodies in space (='lgc'>--="trms">modernism='lgc'>='lgc'>--> ="trms">techniques of separation)

television ='lgc'>+ personal computer ='lgc'>='lgc'>--> anti-nomadic procedures (that fix and striate) ='lgc'>='lgc'>==> rendering bodies controllable and useful ='lgc'>+ simulation of choices and ="trms">interactivity
='lgc'>='lgc'>--> (Williams='lgc'>: a ="trms">technological and logic of) ='strcls'>*mobile privatization='strcls'>*

(through the assessment of the works of ="ppl">Deleuze and ="ppl">Guattari, and now popular ="trms">narratives) the ="trms">relation between human and machine is based on ="trms">internal, ="trms">mutual ="trms">communication, and no longer on usage or action (='lgc'>~ human operator linked to a machine as an exterior object) ='lgc'>[='lgc'>='lgc'>~/=='qstn'>? companion ="trms">species='lgc'>]


irresistible imperative of ="trms">communication ='lgc'>='lgc'>~='lgc'>~='lgc'>='lgc'>--> continuous effects of control

panoptic ="trms">techniques ='and'>& attentive imperatives (function reciprocally)

classical power='lgc'>:
="lsts lst1">•repression
="lsts lst1">•ideology
="lsts lst1">•
="trms">modern power='lgc'>:
="lsts lst1">•normalization
="lsts lst1">•modulation
="lsts lst1">•modelling
="lsts lst1">•='strcls'>*information that bear on='lgc'>:
="lsts lst2">◦="trms">language
="lsts lst2">◦perception
="lsts lst2">◦desire
="lsts lst2">◦movement
='lgc'>='lgc'>--> by way of microassemblages
(= ='strcls'>*subjectification='strcls'>*)

="prgrph">-the shape of absentmindedness in my performances is skewed by the attentive imperative of ="trms">modern subjectification='qstn'>? something unfocused, ='strcls'>**something ="trms">folds back against itself='strcls'>** ='lgc'>=/= “processing” a stream of heterogeneous stimuli (in film, radio, television, cyberspace)
="prgrph">-my audience felt an uncomfortable sense of their own inattentiveness (in my performances of the experience of dis="trms">sociation, of temporality incompatible with capita="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list patterns of flow). what is they are asking me is to give a stream of heterogeneous stimuli ='lgc'>='lgc'>--> ='strcls'>****how temporality is inhabited='strcls'>****


to diffuse (="trms">societies of ="trms">spectacle) into (a single) ="trms">integrated ="trms">society of ="trms">spectacle (='lgc'>='lgc'>==> separate, isolated, but not introspective individuals)


(film and television in competition with) ='strcls'>*daydream='strcls'>* ='lgc'>='lgc'>--> a domain of resistance ="trms">internal to any ="trms">system of coercion ='lgc'>[='qstn'>?='lgc'>]='lgc'>='lgc'>-->
(='qstn'>?is capitalism's contemporary arrangement allowing/playing an) oscillation between ="trms">spectacular attentiveness and the free play of subjective absorption
='lgc'>~ info/telematic ="trms">systems simulating the possibility of drift ='lgc'>='lgc'>==> modes of sedentarization
='lgc'>='lgc'>--> (="ppl">="ppl">Crary asks) how creative modes of trance, inattention, daydream, and fixation can flourish in the ="trms">interstices of these circuits='qstn'>? ='at'>@="frds scrmbld">Sven ...amid ="trms">technological forms of boredom ='lgc'>~ ='strcls'>*="trms">modern boredom='strcls'>* ='lgc'>[='lgc'>='lgc'>--> cognitive and perceptual synthesis. boredom is involved with the intensification of a sense of selfhood='qstn'>? ='lgc'>='lgc'>~='lgc'>~='lgc'>='lgc'>--> romantic (turned inside out='qstn'>?)='lgc'>]


='strcls'>*perception without awareness='strcls'>* (vilified in art and criticism)
='lgc'>--='qstn'>?='lgc'>='lgc'>--> automaticity='lgc'>: performance under conditions of divided attention

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

Manet='lgc'>: disengagement of perception from a model of ="trms">interiority
Manet's painting discloses some of the important recon="trms">figurations of the status of the observer (that had occurred by the middle of 19th century)

my ="ppl">Olearius video ="trms">figuratively re="trms">positions the observing subject outside of the term of which ="trms">system of vision='qstn'>?
="trms">world ="trms">present to the subject in ="trms">relations of reflection='qstn'>?

...three observers by the virtue of their unmediated, unobstructed self-="trms">presence

="large lg2" stl="font-size:111%"> ='lgc'>=/= ='strcls'>*romanticism='lgc'>: (maintained) resistance to externality='strcls'>*
='lgc'>[compare Manet's balcony with Goya's painting Majas on a Balcony='lgc'>]

(Manet's palette cor="trms">responding to) the luminous wavelengths of a new ="trms">technological life="trms">world...

Manet dramatizing (but not lamenting) the evaporation of a cohesive ="trms">world...
(finely assembled) architecture of solitude and separation ='lgc'>[...='lgc'>] in a space of a newly ="trms">modern individual autonomy


="trms">modernization of ="trms"nttrm="disturban">urban space ='lgc'>='lgc'>--> (crucial component of the) regime of perceptual adaptability


diagram='lgc'> = optical ="trms">system ='lgc'>--='qstn'>?='lgc'>='lgc'>--> ocular ='lgc'>[='lgc'>~ ='strcls'>*rationalizable spatial account of vision='strcls'>*='lgc'>] ='lgc'>='lgc'>--> vision as reflexive ='lgc'>: property of a subject figured as a ="trms">geometric point (='lgc'>=/= ambiguity and disorganization of ="trms">intersubjective ="trms">relations)
diagram ='lgc'>--='qstn'>?='lgc'>='lgc'>--> coherence
(vison, it is not a coin with double sides, it is rather a labyrinth ='lgc'>--="ppl">Lacan='lgc'>='lgc'>--> desiring subject ='lgc'>=/= point-to-point optical ="trms">system)


='strcls'>*palpable immediacy of a ="trms">modernized ="trms">presence='strcls'>* (='lgc'>='lgc'>--> to grasp and inhabit it, then dissolution into self-absorption)
(='qstn'>?="frds scrmbld">Sven plays with that) ='strcls'>*nebulous obscurity of ="trms">presence='strcls'>*

uncertain content of the ="trms">interior

(in Manet='lgc'>:) attentive='lgc'>: fluctuating ="trms">membrane, delicate pattern of ="trms">folding and un="trms">folding on to the ="trms">world
='lgc'>='lgc'>--> rhythm of opening and closing (this “="trms">social dispersion of ="trms">modernity” ='lgc'>[='lgc'>='lgc'>--> impassive autosufficiency of the individual observer='lgc'>] has become part of European subjectivity, it is good='lgc'>[='qstn'>?!='lgc'>], and i miss it in middle east post="trms">modernism)


Manet tentative splitting of='lgc'>:
="lsts lst1">•figural re="trms">presentational facts
="lsts lst1">•facts of autonomous pictorial substance
(='lgc'>='lgc'>--> now a European tradition)
(a movement towards “formlessness” very ="trms">different than eastern chaotic ="trms">imagination)

Manet's confident inattention to the object and its coherence


fastening together and grounding ="trms">narrative content


='lgc'>[Manet (and many other 1880 pa="trms">inters) ='lgc'>='lgc'>-->='lgc'>] problem of ='lgc'>[='strcls'>*='lgc'>]realism='lgc'>: a ="trms">question of tenuous ="trms">relation between perceptual synthesis and dis="trms">sociation
='lgc'>=/= ="trms">question of ="trms">mimesis

achieving a ='strcls'>*reality-effect='strcls'>* ='lgc'>='lgc'>~= to hold something together, to “contain” things, ='strcls'>***to ward of experiences of dis="trms">integration='strcls'>***
(the reality-effect is processed and achieved ="trms">differently in ="nms">Iran. how='qstn'>? how ="nms">iranian artists differ from the perceptual logic of ="trms">modernity='qstn'>?)

(='lgc'>[Elmira and ="frds scrmbld">Foad's='lgc'>] engagement with the) ambiguities of visual attentiveness

perceptual logic of ="trms">modernity (='lgc'>: two powerful tendencies at work)='lgc'>:
="lsts lst1">•='strcls'>*binding together of vision='strcls'>* ='lgc'>{an obsessive holding together of perception to maintain the viability of a functional real ="trms">world='lgc'>}='lgc'>='lgc'>--> sealed
="lsts lst1">•='strcls'>*dynamic of (psychic/economic) exchange='strcls'>* ='lgc'>{dynamic of flux/dispersal='lgc'>}='lgc'>='lgc'>--> barely contained


(Manet's) faciality (a site of pictorial effect)='lgc'>: casual a="trms">morphousness, a surface that no longer discloses ="trms">interiority or self-reflection
(within 19th ='lgc'>+ 20th century ="trms">modernity) face='lgc'>: (par excellence) the substance of expression of the signifier ='lgc'>--(D='lgc'>+G)='lgc'>='lgc'>--> ='strcls'>**capita="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list faciality='strcls'>** (exists to serve a signifying ="trms">formula)='lgc'>: the means by which the signifier takes control, the ways it organizes a certain mode of individuated subjectification and collective madness of a ='strcls'>*machine without any content='strcls'>* (="ppl">="ppl">Crary > ="ppl">Guattari)

="prgrph">-who returns to the more tightly bound order of faciality='qstn'>? when and why='qstn'>?
='lgc'>='lgc'>--> ="trms">articulated hierarchy of ="trms">socialized body
...relative ="trms">integrity of the face ='lgc'>='lgc'>--> a larger mode of conformity to a dominant reality
='at'>@="frds scrmbld">Geert
(="ppl">Deleuze and ="ppl">Guattari='lgc'>:) when head ceases to be ="trms">coded by the body ='lgc'>='lgc'>==> ‘face’ () ='lgc'>='lgc'>--> ‘body (='lgc'>+ head)’ ='lgc'>[='lgc'>~ multidimensional polyvocal corporeal ="trms">code='lgc'>] over="trms">coded by what we call the Face
(////we have to escape the face and facialization!)

indication of bodies in my peers projects in ="nms">apass='lgc'>:
="prgrph">-kinds of subduing and constrain necessary for the construction of an ='strcls'>*organized and inhibited corporeality='strcls'>* (='lgc'>='lgc'>--> ="frds scrmbld">Laura's project)
="prgrph">-="trms">instruments of domestication

fixed pictorial (='lgc'>='lgc'>--> a holding action) ='lgc'>='lgc'>--> ="trms">social organization


="large lg130" stl="font-size:119%">
study object of ="trms">="trms">empirical ="trms">sciences around 1880='lgc'>: perceptual field newly de="trms">composed into various abstract units of sensation ='lgc'>+ related possibilities of synthesis
='lgc'>+ newly invented nervous disorders (hysteria, etc.)
='lgc'>='lgc'>--> (busy with) fai="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lures of the ="trms">integrity of perception ='lgc'>='lgc'>--> disas="trms">sociated fragments ='lgc'>='lgc'>--> (impairment a="trms">symbolias='lgc'>:)
='strcls'>*agnosia='strcls'>*='lgc'>: inability to make any conceptual or ="trms">symbolic identification of an object ='lgc'>~ visual information experienced with a primal strangeness='lgc'>:
“perceptual field ='lgc'>--='not'>✕='lgc'>='lgc'>--> ="trms">pragmatic plasticity”
flat perception, no determination of depth object
='lgc'>}='lgc'>='lgc'>--> labelled as pathological ='lgc'>[='lgc'>=/= my amazon project='lgc'>--was a form agnosia='lgc'>:
="lsts lst1">•resistance to ="trms">consuming the ="trms">world in a productive or ="trms">social way
="lsts lst1">•rejection of habitual or conventional patterns of organized perceptual information='lgc'>]
="prgrph">-this is part of the ="trms">phenomenology of knowl="trms"nttrm="knowledge,Knowledge">edge='strcls'>***
de="trms">symbolization of perception ='lgc'>='lgc'>--> ="frds scrmbld">Foad

='lgc'>{for Janet:='lgc'>} attention='lgc'>: power of mental synthesis (='lgc'>~ the power of subject to form new perception, to have ="trms">memories)
='lgc'>{for ="ppl">Freud:='lgc'>} attention='lgc'>: dynamic activity of repression


“='lgc'>[a='lgc'>] ="trms">society recognizes itself and its own ="trms">positivity through the morbid and pathological forms it identifies and invents” (="ppl">="ppl">Crary ='lgc'>+ ="ppl">="ppl">Foucault)

subjectivity='lgc'>: provisional assembly of mobile and mutable components ='lgc'>='lgc'>--> attentiveness='lgc'>:
="lsts lst1">•conscious/voluntary ='lgc'>{task-oriented, higher behaviour='lgc'>}
="lsts lst1">•automatic/passive ='lgc'>{areas of habitual activity, daydreaming, reverie, ="trms">somnambulant states='lgc'>}


(the state of) the seated woman


='lgc'>[19th century regime of facility='lgc'>]
Clark's “face of ="trms">fashion” (= Manet's blanks), ="trms">fashion would keep one's face from any identity (='lgc'>='lgc'>==> ‘the look’='lgc'>: public, outward, blase, impassive, not bored, not tired, not disdainful, not quite focused on anything)
impersonality ='lgc'>='lgc'>-->(="ppl">Benjamin's ="trms">modernity='lgc'>:) public space in which, for the first time, individuals are ="trms">systematically habituated not to return the gaze of the other ='lgc'>[='lgc'>='lgc'>~='lgc'>-> “chi dadash!='qstn'>?” or “was guckst du='qstn'>?!"='lgc'>]
="prgrph">-for three centuries, the meaning of human face was explained in terms of ="trms">rhetoric of ="trms">language. in 19th century suddenly face occupies a precarious ="trms">position='lgc'>: it is belonging to a human being as a='lgc'>:
="lsts lst1">•physiological organism
="lsts lst1">•privatized, ="trms">socialized individual subject
='lgc'>--="ppl">Darwin='lgc'>='lgc'>--> split status of face='lgc'>:
="lsts lst1">•="trms">symptom of an organism's anatomical and physiological functioning
="lsts lst1">•the mark of the success or fai="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure of a process of self-mastery and control (in the ="trms">social construction of a normative individual)

="large lg26" stl="font-size:113%"> ='strcls'>*face='lgc'>: (sign of a disquieting) continuum between the somatic and the ="trms">social='strcls'>*


boarded on a trance

="large lg18" stl="font-size:102%"> (Bachelard='lgc'>:) reverie='lgc'>: irreality function ='lgc'>='lgc'>--> keep the psyche on the fringe of all the brutality of a hostile and foreign nonself (!)
='lgc'>--='not'>✕='lgc'>='lgc'>--> reality function ='lgc'>='lgc'>--> adapt to reality='lgc'>: to manufacture works which are realities

="trms">modern flirtation='lgc'>: refusal and the withdrawal of the self are fused with the ="trms">phenomenon of drawing attention to the self (in one indivisible act)
="prgrph">-="ppl">Simmel

="trms">Poetics of Reverie (by Bachelard) ='at'>@="frds scrmbld">Eszter


how ="frds">Sina works
(in my more recent works i play with) ='lgc'>[no='lgc'>] enactment of visual mastery
='lgc'>[no='lgc'>] ocular potency
="prgrph">-my ="trms">storytelling operates in a state of distraction, in which the stability of the ="trms">story begin to erode ='lgc'>='lgc'>==> breakdown of normative attentive ="trms">narratives ='lgc'>='lgc'>--> the audience finds themselves in a trancelike state ='lgc'>='lgc'>==> condition for mobile and transient synthesis
="prgrph">-i mobilize a set of as="trms">sociative chains that are part of a libidinal economy (that i am part of) ='lgc'>='lgc'>--> ='strcls'>*exceeding the binding logic of the work='strcls'>*


effectively
cross-eyed figure
sees
if anything at all
(it is a disunified field)
with two
disparate optical axes.
into the eclipse mental
the environment grows dim


attentive subject ='lgc'>--="ppl">Ricoeur='lgc'>='lgc'>--> part of the open state of the universe of signs ='lgc'>='lgc'>--> juncture of the ="trms">erotic ='and'>& the semantic

="trms">symbols, in their overloaded ="trms">semiotic banality, is where the ruse of desire is expressed

(a diagram='lgc'>:) parallel lines ='lgc'>='lgc'>--> a principle of nonconvergence ='lgc'>='lgc'>--> the binocularity of vision is not united or synthesized on a ="trms">specific plane or point ='lgc'>='lgc'>--> a spliting apart ='lgc'>: ='strcls'>*unreconciled binocular disparity='strcls'>* (='lgc'>--="trms">situates='lgc'>='lgc'>--> ="trms">difference and nonidentity within the midst of perception)
='lgc'>[='lgc'>=/= convergence (without which a normative attention would be impossible ='lgc'>='lgc'>==> ="trms">world of focused clarity)='lgc'>]


...as if a single object is seen by two nonreconciled eyes


seamless modulation of normative attention into a dispersed distraction ='lgc'>==='qstn'>?!='lgc'>='lgc'>==> (reassemblage and rebinding into the) ='strcls'>*repetitive laws of the unconscious='strcls'>*

...the image of conjugality and adultery ="trms">simultaneously
="prgrph">-fixed ="trms">position of limits

Bindung ='lgc'>='lgc'>--> ="trms">figuration of an adulterous liaison

='lgc'>[='strcls'>*='lgc'>]adultery (in the context of ="trms">modernization)='lgc'>: “a cynicism of forms,” merely another effect of a dominant ="trms">system of exchange (circulation and equivalence)
Tanner

='lgc'>[='strcls'>*='lgc'>]infidelity='lgc'>: capacity to de="trms">compose oneself into the p="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurality of distinctly ="trms">different essential tendencies, to detach the periphery from the center, and to make ="trms">interests and activities independent of their ="trms">integral ="trms">interconnection ='lgc'>[='lgc'>=/=='qstn'>? ='mywrk'>my work='lgc'>]
="ppl">Simmel

in Duchampian terminology='lgc'>: (Manet's painting In The Conservatory) blossoming bride and bachelor enmeshed in a verdant anticonjugal machine of perpetual nonfulfilment

cultural corrosion of conjugality ='lgc'><='lgc'>== (one of) larger dis="trms">integration of pre="trms">modern ="trms">positions (of male and female)='lgc'>:
="lsts lst1">•violent insertion of women into the process of commodity production

='strcls'>*labor and ="trms">society assume a mass character ='lgc'>='lgc'>==> “women='lgc'> = mass articles” ='and'>& lose='lgc'>:
="lsts lst1">•their “="trms">natural” qualities (female essence defined by the production of life)
="lsts lst1">•their ="trms">poetic aura

traditional ="trms">positions disrupted by the logic of exchangeability='strcls'>***


greenhouses in 19th century, extended the dwelling and bore witness to the expansion of the private sphere. greenhouse provided a place to stroll in all weathers
='lgc'>='lgc'>--> frozen temporality ='lgc'>='lgc'>='lgc'>~=> ="trms">memory and ="trms">history ex="trms"nttrm="cluster,club">cluded =(congealed ="trms">present)='lgc'>='lgc'>==> de="trms">historisized subjectivity

(fundamental) withdrawal of the possibility of ='strcls'>*="trms">gesture='strcls'>* ='lgc'>--="ppl">Agamben='lgc'>='lgc'>--> part of the particularly ="trms">modern fai="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure of ethos, of character
='lgc'>[="trms">gesture ='lgc'><='lgc'>='lgc'>-->='qstn'>? ethos='lgc'>]

incapa="trms">citation='lgc'>: r="trms">enunciation of ='strcls'>*potentia='strcls'>*='lgc'>[='lgc'>='lgc'>~= capacity for being ="trms">affected, any expansion of practical being ='lgc'><='lgc'>-- Spinoza='lgc'>]


smell of flowers='lgc'> = dis="trms">integrated product of their sexual ="trms"nttrm="metaph,metamorph,metabol,metal">metabolism ='lgc'><='lgc'>-- ="ppl">Freud


D='lgc'>+G becoming woman
='strcls'>*man='lgc'>: molar entity par excellence (='lgc'>=/= becomings are molecular), man constitutes the majority, the standard in which the majority is based='lgc'>: white, male, adult, rational ='lgc'>~ the average european, the subject of ="trms">enunciation
='at'>@="frds scrmbld"nttrm="Leonardo">Leo
(='lgc'>='lgc'>--> problematized by ="ppl">Grosz ='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="nms">ajayeb.net/='qstn'>?q=="ppl">Grosz='prcnt'>%2B="ppl">Deleuze='prcnt'>%2B="ppl">Guattari)


the perpetual self-invention of “free subjectivity” ='lgc'>--defining='lgc'>='lgc'>--> ="trms">modernity
cycle of de="trms">coding ='and'>& re="trms">coding ='lgc'>:
daring innovation ='lgc'>='lgc'>--> hyper="trms">anxious self-consolidation ='lgc'>='lgc'>--> renewed innovation ='lgc'>='lgc'>--> ...


Manet ='lgc'>=/= Caravaggio='lgc'>:
="lsts lst1">•intense optical contact
="lsts lst1">•tactile contact
="lsts lst1">•a reciprocal ="trms">system of investment in the transactional ="trms">nature of the encounter='lgc'>--infused with the ="trms">interplay of the ="trms">social, libidinal, and economic ="trms">difference

hands as='lgc'>:
="lsts lst1">•expression of individual consciousness (in Caravaggio)
="lsts lst1">•="trms">instrument of active ="trms">gesture (in Manet)


activity ='lgc'>='lgc'>~=='qstn'>? simulation of ="trms">gesture

pointing index finger
confirmation of the impossibility of a direct perception, impossibility of an attention that was an immediate possession of its object (='lgc'>='lgc'>--> ="ppl">Sa'di pointing out to the moon and his ="trms">lover...)='lgc'>='lgc'>--> every point of fixation is deferral
='lgc'>--='not'>✕='lgc'>='lgc'>--> (once='qstn'>?) functioned to denote a plane of transcendence


="trms">figuration of utopia ='lgc'>='lgc'>--> ="trms">simultaneous mapping out of death, absence, and ="trms">finitude of ="trms">historical subjectivity


="ppl">Peirce's (nonoptical operation of attentive consciousness ='lgc'>=/= ="ppl">Descartes) ='lgc'>='lgc'>--> impossibility of direct intuition, of ="trms">interpretive process
='strcls'>**cognition and perception could only occur indirectly='strcls'>**
index='lgc'>: exercising a real physiological force over the attention ='lgc'>-- mesmerized into its particular object of sense.
= ='strcls'>*everything that focuses the attention='strcls'>*, (everything that startles us into an index)
='lgc'>='lgc'>--> make something conceptually ="trms">present which is perceptually absent


installed economy of attraction(/distraction) ='lgc'>[in European cities, and its deviation in ="nms">Tehran ="trms">differences='lgc'>]


="trms">fashion works to bind attention ="trms">onto its own pseudo-unity

against the living, ="trms">fashion asserts the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rights of corpse and the sex appeal of the inorganic
(="ppl">Benjamin)
='lgc'>='lgc'>--> death drive

(supreme cult of the commodity='lgc'>:) ="trms">fashion='lgc'>: a blossoming forth into a luminous apparition of the new
='lgc'>[='lgc'>='lgc'>==>='qstn'>? withdrawal from ="trms">fashion='lgc'> = a strategy of freedom='lgc'>]

="ppl">Adorno='lgc'>: in the age of growing powerlessness of subjective spirit vis a vis ="trms">social objectivity, ="trms">fashion registers the alien ="trms">excess of objectivity in subjective spirit, which is painful yet all the same a corrective of the illusion that subjective spirit exist purely within itself. against its detractors, ="trms">fashion's most powerful ="trms">response is that it participates in the individual's impulse, which is saturated with ="trms">history. (“="trms">Aesthetic Theory” p316)

="large lg62" stl="font-size:101%">
(='qstn'>?what are my time's) rhythms of attentiveness


='strcls'>*mask='lgc'>: a means of mental survival

mask (of masculinity) ='lgc'>='lgc'>--> the ability to keep a secret ='lgc'>='lgc'>--> ='strcls'>*all secrets are (at the end) sexual='strcls'>*


='lgc'>[='lgc'>]should our artistic practices comment or be continuous with the (emerging) ="trms">world of ="trms">consumer culture='qstn'>? ='at'>#make a ="trms">fashion magazine with ="frds scrmbld"nttrm="Alice,Shariati">Ali and ="frds scrmbld">Janina='lgc'>: excursion into the stultifying and emancipatory effects of the ="trms">fashion commodity. discussion on='lgc'>: jewellery, decoration, women's bodies, show, ="trms">travel, glitter, ='lgc'>-='lgc'>-='lgc'>='lgc'>--> kaleidoscopic decom="trms">position and displacement of the glitter object
="prgrph">-="ppl">Mallarme's La Derniere Mode
='lgc'>='lgc'>==> luminosity of a single object is lost amidst its inde="trms">finite reflections on the multiplied and fractured surfaces adjacent to it
='strcls'>*insubstantial ="trms">world (of mode) aligned with (its own) ="trms">sublime disavowal of the immediate='strcls'>* (, an emptiness and ="trms">anxiety at the heart of this impossible ="trms">presence ='lgc'>='lgc'>--> “to be out of style='lgc'> = death”)
="lsts lst1">•its titular concept
="lsts lst1">•="trms">internal movement of its text


artisanal ="trms">craft


(repetitive forms of='lgc'>:)
primal intuition of absence
transcendental signifier of ="trms">religion
sacramental authenticity of antiquity


="large lg42" stl="font-size:120%"> (for Nietsche='lgc'>:) decadence='lgc'>: perpetual adaptability of ="trms">spectacular culture ='lgc'>='lgc'>~= (one loses one's power of) resistance against stimuli ='lgc'>[='lgc'>='lgc'>--> this is ="frds scrmbld"nttrm="Alice,Shariati">Ali ='lgc'>]
='lgc'>=/= existing capacities for action and living
(obsolescence, not the business of the ="trms">poet. ="ppl">Mallarme)
(the ="trms">question of resistance is weak. we must ask what are the emergent forms of life caused by that='qstn'>? ='lgc'>='lgc'>--> might be ="trms">interesting for ="frds scrmbld">Hoda)

(="nms">apass's own hoped-for ritual civic theater of the future)='strcls'>*

attention sustained and enhanced by the regular introduction of novelty ='lgc'>[...='lgc'>] means of simulating experiences of singularity and identity in the face of the processes of exchangeablity and equivalence
="prgrph">-="ppl">Guy ="ppl">Debord


for the hysteric='lgc'>: objects are too ="trms">present ='lgc'>='lgc'>--> ="trms">excess of ="trms">presence make re="trms">presentation impossible
(for ="ppl">Deleuze ="trms">history of painting has been about warding off hysteria='strcls'>*)


organization of perceptual binding and synthesis (taking place while Monet was working)


="large lg110" stl="font-size:131%"> determined by
="trms">different libidinal setup
other ="trms">category of perceptual dispersion
potential site of fixation


="ppl">Freud (='lgc'>+ Klinger) ='lgc'>='lgc'>--> inseparability of attention from dream process ='and'>& ="trms">aesthetic production

(="ppl">Freud is testing) psychical energy='lgc'> = mobile attention

='strcls'>***observer='lgc'> = a kinetic seeing body set in movement='strcls'>*** (to glide along undeterminated ="trms">social and durational ="trms">trajectories)

place='lgc'>: that ordinary ="trms">anxiety, the expectancy, the ="trms">sublimated precariousness of a ="trms">modernizing ="trms"nttrm="disturban">urban ="trms">world in which the individual is adrift on a smoothed-out surface devoid of any markers

='strcls'>*o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigins of ="trms">aesthetic sentiments='strcls'>*
of skating ='lgc'>='lgc'>--> movement of the body pleasurable to self and as="trms">sociated with the consciousness of gracefulnes, as in skating='lgc'>: movement of a kind that bring many muscles into harmonious action and strain none
(Spencer, Principles of Psychology)


='strcls'>*the facts of the case
Sachverhalten
the detective, collector, ="trms">consumer, and the fetishist (are same figures)
='lgc'>='lgc'>--> idea fixe
='lgc'>='lgc'>--> pathological disorders of attentiveness
='lgc'>[="trms">according to ="ppl">Freud='lgc'>] when attention isolates a particular content from a larger cognitive field, the act of dis="trms">sociation can be the initiation of a productive process
='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to Sherlock Holmes='lgc'>]


Weltpanorama
a 19th century attraction='lgc'>: sweeping ='strcls'>*comprehensive view='strcls'>*

stereoscopic peep show

a ="trms">consumer would pay to observe a mechanized series of photographic images

Fuhrmann ='lgc'>+ Daguerre='lgc'>: illusory three-dimensional s="trms">cenes whose reality-effects were augmented by concealed lighting and translucent painting

Kaiserpanorama ='lgc'><='lgc'>-- (a site ='lgc'>[in which the ='strcls'>*automation of perception='strcls'>* occurs='lgc'>] among many of) industrialization of visual ="trms">consumption
='lgc'>~ a space in which the physical and temporal alignment of body and machine cor="trms">respond to the rhythms of factory production (='lgc'>: the way novelty and ="trms">interruptions were introduced into assembly-line labor in order to prevent attention from veering into trance and daydream. -="ppl">="ppl">Crary) this is common to='lgc'>:
="lsts lst1">•precinematic devices in 1880s
="lsts lst1">•cinematic devices in 1890s
='lgc'>='lgc'>--> (fragmentation of perception inherent to the ="trms">apparatus ="trms">presented in terms of) ='strcls'>**a mechanically produced continuum that “="trms">naturalizes” the disjunctions='strcls'>**
(="ppl">="ppl">Crary asks='lgc'>:) by what logic of temporal sequence or spatial continuity does one move from the ="trms">interior of papal apartments in Rome to the Great Wall of China to the Italian Alps in 120-seconds ="trms">intervals='qstn'>?
='lgc'>[='lgc'>--='qstn'>?='lgc'>='lgc'>--> visual equivalence of political imperialism='qstn'>? slogans such as “Reisen durch die ganze Welt.” German colonialism of the 1880s ='lgc'>--Sternberger='lgc'>='lgc'>--> “the views from European windows had lost their depth, becoming part and parcel of the same panorama ="trms">world surrounding them and constituting a painted surface every where.” ='at'>#="ppl">Olearius; tourism ='lgc'>+ forms of visual ="trms">consumption='lgc'>]

Muybridge's 1879 work on sequential photography ='lgc'>='lgc'>==> atomized field ='lgc'>+ not “truthful” syntax ='lgc'>='lgc'>--> segmentation='lgc'>--opening='lgc'>='lgc'>--> ="trms">onto an abstract order of continuities and un="trms">interrupted circuits

="large lg6" stl="font-size:131%"> ...we are in a ="trms">specific ="trms">historical phase in the reduction of the time and cost of movement ='lgc'><='lgc'>='lgc'>==> circulating capital
='lgc'>}='lgc'>--="ppl">Marx='lgc'>='lgc'>--> “capital by its ="trms">nature drives beyond every spatial barrier” ='lgc'>='lgc'>==>
="lsts lst1">•creation of the physical condition of exchange
="lsts lst1">•creation of the means of ="trms">communication and transport
="lsts lst1">•='strcls'>*eradication of space by time='strcls'>*

instantaneity of vision from which space is deleted

vision compatible with the smooth space of the global ="trms">marketplace

uprooting of perception from any stable space-time coordination

the ="trms">history of capitalism is the ="trms">history of (effective operation of) overcoming obstacles of='lgc'>:
="lsts lst1">•anything with a permanent stable location (incapable of being inserted into circulation)
="lsts lst1">•anything that is part of a ="trms">code (traditional or established pattern of behaviour, resisting deployment in ="trms">networks of abstract ="trms">relations)


(images productive of labor usually end up ="trms">intermingling the re="trms">presentation of that land as a ='strcls'>*tranquil earthly paradise='strcls'>*)


an image='lgc'>: self-evident ="trms">presence of native workers on the coffee plantation; they remain invisible except as abstract components within flow of capital or as “="trms">naturalized” elements within an ="trms">imaginary landscape

an image='lgc'>: workers gathering and packing beans under midday clouds; a fraudulently homogenous and static image of elements (bodies and land) which have become quantified and exchangeable, part of an unstable ="trms">system ='strcls'>*incapable of immobilization='strcls'>*. it discloses the antinomic coexistence of living labor power (with its irreducible existential temporalities) and the tendency of capital to “circulation without circulation time.” the violence and ="trms">social devastation underlying this all over distribution of human being within the lush vegetation of an apparently pre="trms">modern landscape...


="large lg14" stl="font-size:117%"> (my period of abstract digital image glitch='lgc'>: play of machinic objectivity ='lgc'>='lgc'>-->) Muybridge's 1870s photograph of The Horse Motion ='lgc'>='lgc'>==> “='strcls'>*to be outside of='strcls'>* a syntactical and semantic organization that supported ="trms">historical ="trms">narrative”
="prgrph">-the machinic objectivity in play does not stake out a subjective ="trms">position from which a “this happened” or a sense of “having been there” could be authenticated’ ='lgc'>[='lgc'>=/= my later ="trms">lecture-performances='lgc'>]. they are instances of ='strcls'>*combinatorial logic='strcls'>* in which the individual images, although ostensibly part of a linear sequence and syntax ='lgc'>[='lgc'>='lgc'>--> the way Julia noted ‘adjacency’ in the way i was ="trms">presenting my image series='lgc'>], have a (‘newly’ in 19th century) ='strcls'>***autonomous, floating identity.='strcls'>*** their immobilization and groundlessness and mutable temporality is also the condition of their detachment from any binding continuities or ="trms">trajectories, in a ='strcls'>*de="trms">coding of perceptual experience='strcls'>*='lgc'>[='lgc'>='lgc'>--> also relevant for ="frds scrmbld">Foad's a="trms">historical “intuition"='lgc'>]. ='lgc'>{this is could be related to a deeper ="trms">relation with my youth's reality and its perceptions ='lgc'>=/= attachment to binding continuities and ="trms">trajectories are central to my recent work='strcls'>****='lgc'>}
='lgc'>='lgc'>==>
="lsts lst1">•rationalization and quantification of movement and time (='lgc'>='lgc'>==> mechanization of the body)
="lsts lst1">•posing p="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lural scattering of attention (='lgc'>='lgc'>--> ="frds">Sina)
="lsts lst1">•possibility of unforeseen perceptual synthesis (outside of any disciplinary imperatives ='lgc'>='lgc'>--> ="frds scrmbld">Foad)


Kaiserpanorama ='lgc'>='lgc'>--> industrialized sequence of disconnected images
Muybridge's work ='lgc'>='lgc'>--> repetitive but disjunct series

(="ppl">="ppl">Crary shows='lgc'>:) demise of the punctual or anchored classical observer begins in the early 19th century ='lgc'>='lgc'>--> a new unstable attentive subject (with a ='strcls'>*vision refigured as dynamic, temporal, com="trms">posite='strcls'>*) ='lgc'>='lgc'>==> ="trms">consumer/="trms">agent of/in synthesis of a proliferating diversity of reality-effects (='lgc'>='lgc'>='lgc'>~=> digital and cybernetic imperatives of our ="trms">present time)


invention
dissolution
creative synthesis

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

antimony='lgc'>: contra="trms">diction between two equally reasonable statements

the antinomic character (of my conceptual schema='lgc'>: ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigidity and banality, attention and dis="trms">integration,,, ='lgc'>='lgc'>==> ='strcls'>*an object outside its logical control='strcls'>*
="prgrph">-charged with antagonistic forces, like Seurat, my ="trms">lectures (since now 2018) negate a possibility of an attentive closure, even as it fervently attempts to generate its own ="trms">internal ="trms">formula for perceptual ="trms">presence and unity. like Seurat's Parade de Cirque, it operates in a ceaseless play of disclosure and concealment. ='lgc'>[is it time to change='qstn'>?='lgc'>])

Seurat preoccupation with non="trms">specific temporalities

(estrangement from) a dream of instinctual wholeness

harmonious sensory utopia

="prgrph">-my ="trms">lecture-performances constitute a provisional realm of freedom for an individual observer ='lgc'>[='lgc'>~ myself='lgc'>: a psychic, ="trms">social, ="trms">imaginary ="trms">position called being an ="nms">Iranian='lgc'>--='lgc'>] of a prismatic ="trms">past, coinciding with a proliferation of discourse ='lgc'>[='lgc'>='lgc'>~= shifting p="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurality of ‘centers'='lgc'>]
='lgc'>='lgc'>--> dream of subjective freedom ='lgc'>+ effects of power

perhaps ='mywrk'>my work is inseparable from (the consequences of the emergence of) ='strcls'>*models of subjective vision='strcls'>*

="prgrph">-use of optical mixture in ='mywrk'>my work.
how important is the retina (for any artist)='qstn'>? ='lgc'>='lgc'>-->(the ="trms">question of) the seeing body in all of its physiological ="trms">density ='lgc'>+ ambiguous ="trms">position of that body within conceptions of visuality
="lsts lst1">•chromatic or luminous effects on the body

physiological regime of visuality (beginning with Thomas Young and ="ppl">Goethe, developed by Johannes Müller, Helmholtz and others) ='lgc'>=/= renaissance-based pictorial order


collapse of ='strcls'>*camera obscura='strcls'>* model of vision ='lgc'>='lgc'>--> emergence of ='strcls'>*psychological optics='strcls'>*


1890s
construction of various nonreferential models of perception
='lgc'>+
="trms">pragmatic functions of an observing subject

='lgc'>='lgc'>--> status of vision and mind
='lgc'>='lgc'>--> ="trms">nature and value of sensation
='lgc'>='lgc'>--> re="trms">presentation of ="trms">social facts


central to many developments in the visual culture in the West in late 19th century='lgc'>: ='strcls'>*="trms">questions of perceptual and cognitive synthesis='strcls'>*


="trms">Gestalt theory ='lgc'>='lgc'>==> essential primacy and ethical value of the ‘whole’ ='lgc'>='lgc'>='lgc'>~=> an observer who perceives organized structures, who is marked by innate form-giving and form-apprehending capacities ='lgc'>='lgc'>--> an effort to endow human perception with an inherent meaningfulness, coherence, and even orderliness (amid its perceptual decom="trms">position within 20th century ="trms">spectacular culture) ='lgc'>='lgc'>~='lgc'>~='lgc'>='lgc'>-->='lgc'>[preparing for the perceptual logic of high capitalism:='lgc'>] it was not the attentive subject who identified form from a larger background, but rather the reverse, that “good” form had the capacity to produce attentiveness in a subject
(="trms">Gestalt theory was a dream of='lgc'>:)
the reciprocal affirmation of the unity of the individual subject ='and'>& the unified object of perception
='lgc'>[='lgc'>='lgc'>--> bisect visual filed into='lgc'>: significant “figure” and insignificant “background"='lgc'>]


impression ادراک/برداشت ='lgc'>=/= inference استنباط/استنتاج
(="ppl">Peirce='lgc'>:) color is not an impression, but an inference


(the last kind of) “="trms">natural” sign available to a visual artist


Seurat (like many others around that time) was testing the limits and possibilities of an observer attentive to a heterogeneity and ="trms">simultaneity of sensory ="trms">data
='lgc'>[="trms">specifically:='lgc'>] how an irreducible p="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurality of luminous information could be organized and perceived coherently ... rearranged and made exchangeable


='at'>@="frds scrmbld">Laura='lgc'>: ='strcls'>*designated bodies='strcls'>* (are never permanent='lgc'>[!!='qstn'>?='lgc'>])
="prgrph">-is she actually busy with destiny and destined bodies='qstn'>? (for ="frds scrmbld">Laura='lgc'>:) design='lgc'> = destiny
="prgrph">-is she going to redesignate='qstn'>? how can she not='qstn'>? if she believes that the designated bodies are al="trms"nttrm="already,spread">ready on a fixed destiny or destination
='lgc'>[designate='lgc'>: appointed or made clear which place or direction spatially or ="trms">figuratively. related to ='strcls'>*design ='lgc'>='lgc'>--> destine='strcls'>*='lgc'>]


early 1890s
the time when western ="trms">science accepts the notion “that there might be several ways to re="trms">present the same fact” ='lgc'>[='lgc'>='lgc'>--> elephant parable ='lgc'>=/= ="trms">situated knowl="trms"nttrm="knowledge,Knowledge">edges='lgc'>]

1850s and 1860s
construction of models of the reflex functioning of the human nervous ="trms">system ='lgc'>='lgc'>--> ="trms">nature of human ="trms">response to external stimulation


dynamogenesis (='lgc'>~ every state of consciousness tends to realize itself in an appropriate muscular movement)
vision reformed in 19th century='lgc'>: nonoptical modal of attentive subject, not the one who sees, rather, the subject is the one who is susceptible to psychomotor induction
(what was once figured as visual re="trms">presentation are now) the abstract and quantified reactions of the body as a com="trms">posite set of physical ="trms">systems
='lgc'>--Fere='lgc'>='lgc'>--> ="trms">instrumental relocation of vision (from a dis="trms">embodied and punctual ="trms">system of images) to an ="trms">interplay of forces and motor reactions (in which re="trms">presentation is irrelevant)
='lgc'>[this is inseparable from the larger project of ="trms">scientific amelioration of collective emotional hygiene of the 19th century='lgc'>]
='lgc'>='lgc'>--> ='strcls'>*sensation='lgc'>: part of a sequence of events (in which the end point is not an inner state, such as='lgc'>: knowl="trms"nttrm="knowledge,Knowledge">edge, cognition, perception, rather='lgc'>:) it is that which culminates in movement

some of the 1850s rationalizing ambitions (of widesp="trms"nttrm="already,spread">read philosophical and ="trms">scientific conceptualization of a fundamental ="trms">relation between sensation and motor behaviour) indirectly informs Seurat's work ='lgc'>--proposing='lgc'>='lgc'>-->='lgc'>{ sensory stimuli ='lgc'>='lgc'>==> motor expression (in the perceiver) ='lgc'>}='lgc'>='lgc'>--> (the ="trms">question of) ='strcls'>**human ="trms">response based on bypassing of conscious thought altogether='strcls'>**

(very important for ="nms">iranian artists='lgc'>: the ="trms">question of the ='strcls'>*rational mind of an observer='strcls'>* and intellectual construction directed to that ='lgc'>='lgc'>--> status of a conscious observer)
="prgrph">-producing effects involuntary in the observer
="prgrph">-(="frds scrmbld">Foad and ="frds">Sina engaging with an) ex="trms">="trms"nttrm="cluster,club">clusively optical consciousness of the individual human subject ='lgc'>[='lgc'>='lgc'>--> can we go beyond that='qstn'>? to which philosophical ="trms">sensual ethics of bodily awareness ="frds scrmbld">Foad and ="frds">Sina are optically bind to='qstn'>? which anti-optical ="trms">aesthetic ="trms">positions are available to us='qstn'>?='lgc'>]
="lsts lst1">•="frds scrmbld">Foad's neoimpressionist='lgc'>: implication of total organic resonance ='lgc'>='lgc'>==>='lgc'>{ from organic activity of perception ='lgc'>--to='lgc'>='lgc'>--> transforming physical existence ='lgc'>}
="lsts lst1">•="frds">Sina's Einfuhlung='lgc'>: mode of intense perceptual absorption in which lines and forms are experienced as catalysts for vitalization of the ="trms">imagination


Seurat ='lgc'>='lgc'>--> dream of a fully unalienated instinctual ="trms">aesthetic gratification ='lgc'>--through='lgc'>='lgc'>--> quantifiable and manageable economy of ex="trms">citation (within an organized and controllable body)

biological romanticism

="trms">anxiety of overstimulation ='lgc'>='lgc'>--> power of sug="trms">gestion


="large lg98" stl="font-size:103%"> attention ='lgc'>='lgc'>--> ="ppl">Nietzsche's reality of drives ='lgc'>='lgc'>--> ="ppl">Freud's libidinal body (='lgc'>=/= physiological body) ='lgc'>='lgc'>--> ='strcls'>*drives (='lgc'>=/= instincts) not tied to ="trms">specific conditions of satisfaction, are subsumed to an open-ended ‘plasticity’ (susceptible to substitution)
drive constantly misses its aim


(for Seurat, Fere, ="ppl">Nietzsche='lgc'>:)
art='lgc'> = physics (='lgc'>=/= ="trms">semiology) ='lgc'>: the ="trms">question of meaning in art was not about re="trms">presentation but a ="trms">relation of forces ='lgc'>='lgc'>--> for Seurat color was not something accessible as a sign to a sovereign gaze but was an ="trms">interpretation made by the body

(both Seurat ='lgc'>[in his painting='lgc'>] and ="ppl">Nietzsche ='lgc'>[in will to power='lgc'>] have felt that there was) an extreme calm in certain ='strcls'>*sensations of rapture='strcls'>* ='lgc'>~ extra retardation of the feeling of time and space ='lgc'>='lgc'>--> the classical style is essentially a re="trms">presentation of this calm, simplification, abbreviation, concentration ='lgc'>}='lgc'>='lgc'>--> (='qstn'>?="frds">Sina's paintings) logical and ="trms">geometrical simplification ='lgc'><='lgc'>== enhancement of strength='strcls'>*!


a lot of artists are still busy with='lgc'>:
stimulus-="trms">response mechanisms
='strcls'>**="trms">techniques for the external management of ="trms">aesthetic ="trms">response='strcls'>** ='lgc'>='lgc'>--> quantifiable emotional engineering
='at'>@="frds scrmbld">Eszter directly
(the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigins of this discourse lies in 19th century automatic behaviour and nervous ="trms">response, ="trms">nature of mass subjectivity and desire for ="trms">social ="trms">integration, and since Seurat in visual art)
='lgc'>[='strcls'>*='lgc'>]="trms">spectator='lgc'>: a being that is acted apon
(does the artist want the ="trms">spectator “obey” a predetermined program of effects='qstn'>? specially in theater... even if we say this subject ='lgc'>[hypothetical individual observer='lgc'>] is a creative inventive affirmative body ='lgc'>--still='lgc'>='lgc'>--> pre="trms">supposing ='strcls'>**a subject that is a unity with a conscious will to be overcome='strcls'>** ='lgc'>='lgc'>~='lgc'>-> ="trms">method)

putting a little onlooker at the bottom of my paintings ='lgc'>='lgc'>-->='qstn'>? potential objects of ="trms">techniques for the control and management of perception and attention
(what are ="frds scrmbld">Foad's such objects='qstn'>?)

="large lg34" stl="font-size:127%"> ='lgc'>}='lgc'>='lgc'>--> the ="trms">question of ='strcls'>*how a sensory ="trms">world is dismantled, synthesized, and re="trms">presented (='lgc'>~ my paintings) is inseparable from the problem of how a ="trms">world of objects, individuals, and ="trms">social ="trms">relations (='lgc'>~ my performances) organizes itself='strcls'>*

what concerns Seurat (in ="trms">different terms of color image or human figures) is a ='strcls'>***tension between cohesion and dis="trms">integration='strcls'>*** (='lgc'>='lgc'>--> that has been also my constant ="trms">aesthetic concern)
='lgc'>--this is evident in ='mywrk'>my work='lgc'>:
='lgc'>[='strcls'>*my paintings busy with='lgc'>] ="trms">questions of how diverse stimuli become tentatively “bound” into a coherent constellation
='lgc'>[='strcls'>*my performances busy with='lgc'>] ="trms">questions of how contents referring to a ="trms">social ="trms">world are fused or ="trms">integrated into a ="trms">network of ="trms">relations

="large lg18" stl="font-size:100%"> (in ='mywrk'>my work) experimenting with='lgc'>:
="lsts lst1">•the unity of subjective experience (myself performing under influence, mad ="trms">lectures, ="trms">excessive synthesis, pathological and disruptive ="trms">storytelling)
="lsts lst1">•="trms">integrity of ="trms">social institution and processes (the loci and conditions of us coming together, space of art)
='lgc'>=/= ="trms">social tranquility ='lgc'>='lgc'>--> economic productivity
='lgc'>=/= ="trms">social fantasy of “solidarity” ='lgc'>='lgc'>--> health and functional unity, individuals transformed into “="trms">social beings”

in a way most of us artists unconsciously in some way in an utopian projection of a sensory wholeness and fulfillment
(dream of) fabricators of powerful ="trms">imaginary ="trms">social ="trms">figurations

Durkheim and Seurat's ="trms">question of ="trms">social ='and'>& sensory='lgc'>: from what viewpoints significant manifestation of organization become apprehensible


my paintings
="lsts lst1">•(unstatistical) distribution of isolated and ="trms">categorized units ='lgc'><='lgc'>== additive principle of formal adjacency ='lgc'><='lgc'>-- (my belief='lgc'>:) depleted atomic ="trms">relations ='lgc'>[should='lgc'>] predominate beneath the spurious appearance of ="trms">social concord ='lgc'>[in my ="trms">world='lgc'>: ="nms">Iran='lgc'>]
='lgc'>}='lgc'>='lgc'>-->='qstn'>? ho="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic mode of as="trms">sociation (='lgc'>=/= my performances) ='lgc'>='lgc'>-->='qstn'>? desire for (="trms">modern forms of) cohesion (in the absence of inflexible forms ='lgc'>[='lgc'>~ dis="trms">integration of the mechanical solidarity of tradition, ="trms">religion, myth, consanguinity='lgc'>]) ='lgc'>='lgc'>-->='qstn'>? wanting an ='strcls'>*o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal solidarity='strcls'>* (='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to the image of the ‘harmonious vision of industrial ="trms">society’ in my early paintings, self-regulating landscapes of feedback loops ='lgc'>='lgc'>--> ='strcls'>*state of equilibrium='strcls'>* that i wanted to achieve in the painting not ="trms">symbolically)

(i prefer ='strcls'>*pseudo solidarity='strcls'>*)

emergence of aggregates
manifestations of complexities

(this is happening in)
late 19th century is also the age of attempting to validate a relatively stable and domesticated image of the dynamism and destructiveness of capital

="trms">modernity ='lgc'>='lgc'>--> state of harmonious equilibrium ='lgc'>='lgc'>--> ="trms">interaction in ="trms">relation of agreement and ="trms">mutuality ='lgc'>='lgc'>--> new set of moral imperative ='lgc'>='lgc'>--> ='strcls'>*solidarity='strcls'>*='lgc'>: the duty to become a “="trms">social being” (='lgc'>~ to become ="trms">socialized in ="trms">relation to a wide range of institutions)


anomie='lgc'>: breakdown of an organized set of connections and adjacencies, deranges a normally regulated flow of ="trms">communication and feedback (='lgc'>=/= solidarity) ='lgc'>}='lgc'>='lgc'>--> thermodynamic framework

anomie (used to be) a celebrated passage is when the individual worker is no longer the living cell moved by continual contact with neighboring cells (='lgc'>=/= now in late liberal capitalism anomie is the mode of labor)

anomie (in thermodynamic framework) describes a statistical distribution of elements in which insufficient contact or adjacency prevents the flow of messages our information within the ="trms">system as a whole. ="trms">systemwide increase of local zones of dis="trms">sociation and dis="trms">integration ='lgc'><='lgc'>-- Durkheim



(Durkheim was ="trms">writing at the time of) crisis of ="trms">social cohesion within a ="trms">transitional period ='lgc'>='lgc'>==> a ="trms">systematic ="trms">response was being shaped (foreshadowed in several of Seurat's major works) -='strcls'>*-='strcls'>*-='strcls'>*='lgc'>='lgc'>--> the making of a ="trms">society whose effective unity was founded on the ubiquity of ='strcls'>*="trms">spectacular ="trms">consumption through mass media and ="trms">technologies of illusion='strcls'>*
if ='strcls'>*="trms">religion='strcls'>* was the key “collective re="trms">presentation” (in Durkheim pre="trms">modern mechanical solidarity) ='lgc'>='lgc'>--> ='strcls'>*="trms">spectacle='strcls'>* was to become the primary simulation of cohesion and unification within 20th century ="trms">modernity='strcls'>****
='lgc'>='lgc'>--> (="ppl">Debord='lgc'>:) capitalism's solidarity='lgc'>: unity of subjects in their very separatedness

="large lg14" stl="font-size:104%">
(="ppl">="ppl">Crary >) Seurat's entire visual output='lgc'>: ='lgc'>[="trms">systematic movement between:='lgc'>]
="lsts lst1">•large engineered re="trms">presentation of ="trms">social collectivities (='lgc'>~ crowds)
="lsts lst1">•images of isolation and separation

“='lgc'>[...='lgc'>]the unity of his optical aggregates was always an ephemeral subjective construction that never objectively modified the abstract and segmented status of his dots, so his assembling of provisional ="trms">social aggregates never alters the obdurately insular character of their individual human character.”

Seurat stakes out a darker and more skeptical ="trms">position than Durkheim about the possibility of ='strcls'>*="trms">positive knowl="trms"nttrm="knowledge,Knowledge">edge of “="trms">social reality”='strcls'>* ='lgc'>='lgc'>--> his works are determined by a sense of ='strcls'>**impalpability and evanescence of the ="trms">social itself='strcls'>**


(what is my “="trms">sociology” in ='mywrk'>my works='qstn'>?)


='lgc'>{ great ="trms">social catastrophes of the 19th century ='lgc'>+ accumulated bourgeois ="trms">anxiety over the disorders of revolution (1848 and 1871) ='lgc'>}='lgc'>='lgc'>==> (emergence of French 1890s of) “="trms">science” of ="trms">sociology


let's stop mourning about the earlier model of political theater being displaced by by the ="trms">modernized forms of ="trms">spectacle (='lgc'>='lgc'>--> my critic on Kurzgesagt is outdated='qstn'>?)


(for Seurat='lgc'>:) ='strcls'>*art work='lgc'> = soli="trms">citation of attention='strcls'>*

play of attraction and absence (in ="frds">Sina and ="frds scrmbld">Foad's work)='lgc'>:
a visual or performative work designed around the cancellation and suspension of what it promises

="large lg74" stl="font-size:103%"> Seurat ='lgc'>='lgc'>--> (="frds">Sina and) ="frds scrmbld">Foad's ob="trms">literation of the scenographic conditions of the work even as he simulates their persistence

Seurat ='lgc'>='lgc'>--> ='mywrk'>my work has always been scenic, ="trms">positioning its viewers before an apparently ="trms">stagelike space ='lgc'>[without orthogonal guides ='lgc'>='lgc'>==> assemblage of disjunct planner elements='lgc'>]
my (painting before and even more now) mimics a classical theatrical space, and (in play with that) at the same time it establishes an illusory ="trms">world extending away from the ="trms">spectator (collapsing that “="trms">stage,” dramatically sealing off possible avenues of entry into the work for our eyes) ='lgc'>==='qstn'>?='lgc'>='lgc'>==> a ="trms">world related to the viewer's own point of view

deliberate archaism
(='lgc'>='lgc'>--> medieval mystery plays)
closed-off antiscenic space ='lgc'>='lgc'>--> forms of popular display (shadow figure, puppet theatre,) that only simulate or evoke the “cube” of theatrical space


to be careful with ='strcls'>*grid='strcls'>*
='lgc'>[='strcls'>*='lgc'>--="trms">stories that the grid tells='lgc'>--='strcls'>*='lgc'>]
(="ppl">="ppl">Crary > Krauss='lgc'>:) by its very abstraction, grid conveys one of the basic laws of knowl="trms"nttrm="knowledge,Knowledge">edge='lgc'>: ='strcls'>*punctuality='strcls'>* ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="nms">apass psychological optics and image of knowl="trms"nttrm="knowledge,Knowledge">edge incorporated in ="trms">presentation of projects, ='at'>#workshop on topology='lgc'>] ='lgc'>='lgc'>--> the separation of the perceptual screen from that of the “real” ="trms">world
='lgc'>[='strcls'>*='lgc'>]grid='lgc'>: (19th century) emblem of the infrastructure of vision ='lgc'>='lgc'>--> becoming an increasingly insistent and visible feature of neo-impressionist painting
(='lgc'>='lgc'>~/= ="ppl">="ppl">Crary is hesitant to characterize Seurat's flatness structurally as grid)
="prgrph">-tabular field with rows and columns making impossible a point to point (= punctual) ="trms">relation between ="trms">spectator and image

(="ppl">Martin Jay='lgc'>:) two scopic regimes='lgc'>:
="lsts lst1">•metric and homogenous tableau loosely synonymous with classical space
="lsts lst1">•decentered and destabilized perceptual regime with its mobile and ="trms">embodied observer

="large lg126" stl="font-size:132%"> the evocation of a scenographic setup in Seurat (Parade de cirque) is a ="trms">veil over the desiccated, nonhomogenous, and additive construction of the work


frontality and unity of framing (of “primitive” cinema...)


='lgc'>[='qstn'>?do we need to='lgc'>] (in an illusionist mode) satisfy the principle of unitary organization of the scenic space


(how should you be concerned with ='lgc'>[public record='lgc'>] of your intellectual and ="trms">aesthetic formations='qstn'>?)



Seurat's Parade de cirque ='lgc'>=/= ="frds scrmbld"nttrm="Leonardo">Leonardo's Last Supper
(Seurat broke free from ="frds scrmbld"nttrm="Leonardo">Leonardo, and i should from Seurat)

both of these paintings are concerned with the revelation of a mystery='lgc'>:
="lsts lst1">•="frds scrmbld"nttrm="Leonardo">Leonardo='lgc'>: the mystery of ="frds scrmbld"nttrm="Christianson">Christian sacrifice as it coincides with a lucid apprehension of in="trms">finite extension
="lsts lst1">•Seurat='lgc'>: the “mystery” of the disenchanted and quantitative order of capita="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list exchange (and its overturning of homogeneity and legibility of space)

witness to='lgc'>:
="prgrph">-holy ="trms">communion -="frds scrmbld"nttrm="Leonardo">Leonardo
="prgrph">-rituals intrinsic to ="trms">modernity -Seurat

="large lg1" stl="font-size:142%"> in terms of orthogonal illustrated in ="frds scrmbld"nttrm="Leonardo">Leonardo is precisely what Seurat dismantles in Parade de Cirque

the ="trms">question of value
movement of abstract quantities
(transactional dimensions of Seurat's work)

lost transparency='lgc'>:
how the use of money within ="trms">modernity transformed the ="trms">social character of exchange ='strcls'>***from something ="trms">interpersonal to an anonymous transaction='strcls'>*** at the distance (='lgc'>='lgc'>--> Reza's hold-up of values, the dream of ="trms">interpersonal transaction and resistance of anonymity and distance)
='lgc'>[the problem that all artists have with money ='lgc'>--="ppl">Simmel='lgc'>='lgc'>-->='lgc'>] ='strcls'>*a ="trms">priori equivalence of price (for all commodities) ='lgc'>='lgc'>==> eliminate='lgc'>:
="lsts lst1">•deliberations and examinations of the buyer
="lsts lst1">•effects and elucidations of the seller
='lgc'>='lgc'>==> quick and in="trms">different economic transaction

“selling tickets”='lgc'>: accumulated ="trms">social experience of separation='lgc'> = ='strcls'>*depersonalized exchange='strcls'>* (='lgc'>='lgc'>--> that which many artists are dealing with as a problem)
='lgc'>--Gouz='lgc'>='lgc'>--> ='lgc'>[='strcls'>*='lgc'>]capitalism='lgc'>: ='strcls'>*dis="trms">affection of value='strcls'>* (the libidinal, the ="trms">intersubjective, the semantic are completely divorced from the economic ="trms">relation ='lgc'>='lgc'>==> economic sector ='lgc'>=/= semantic ="trms">affective investment)

Seurat's meditation on the emptiness of a ="trms">modern ="trms">relation of display and ="trms">consumption

cost of ad="trms">mission at two ="trms">different rates='lgc'>:
="prgrph">-="frds scrmbld"nttrm="Leonardo">Leonardo='lgc'>: head of Jesus at the vanishing point of the window opening ="trms">onto in="trms">finite celestial space (='lgc'>='lgc'>--> regime of signs that possess intrinsic value ='lgc'>=/=)
="prgrph">-Seurat='lgc'>: price tag, grid space (='lgc'>='lgc'>--> regime of signs that are ="trms">symbols of value)


='lgc'>[='strcls'>*='lgc'>]scenic='lgc'>: determined by the ="trms">position of an (depicted) observer

="large lg86" stl="font-size:111%">
ubiquity of the subjective experience of “shopping” ='and'>& its construction as ="trms">spectacle

‘price tag’='lgc'>: (one of the vanishing points of ="trms">modernity,) the draining away of the illusion of reference or stability

="trms">Poe's str="trms"nttrm="danger,stranger">anger itinerary, a paradigmatic ="trms">articulation of ="trms">modern loneliness
“at no moment did he see that i watched him. he entered shop after shop, priced nothing, spoke no word, and look at the object with a vacant stare.”

process of circulation and convertibility
simulation inherent in the ="trms">literal ="trms">spectacle inseparable from the “semblance”(='lgc'>~ price tag)

(="ppl">Marx='lgc'>:) ‘price tag’='lgc'>: the ="trms">symbol of itself
“only fleeting, a reality destined constantly to disappear, to be suspended, not to be count as a de="trms">finitive realization but always only as an ="trms">intermediate, mediating realization. ='lgc'>[...='lgc'>] it exists, therefore, in so far as it remains in this constant movement ='lgc'>[...='lgc'>] its reality is not that it is the price but that it re="trms">presents it, is its re="trms">presentative='lgc'>--the ="trms">materially ="trms">present re="trms">presentative of the price, this of itself, and as such, of the exchange value of commodities.”


(we should ask the ="trms">question of “="trms">symbolism” at each age again and ="trms">differently)


(Brian Rotman='lgc'>:) an iso="trms">morphism (emerged in renaissance) between='lgc'>:
="lsts lst1">•vanishing point in visual re="trms">presentation
="lsts lst1">•use of zero in computation
="lsts lst1">•abstract money in economic exchange

='lgc'>[='strcls'>*='lgc'>]vanishing point='lgc'>: a figure of the coincidence of the transcendent ='and'>& the ="trms">="trms">empirical
='lgc'>[Panofsky='lgc'>: perspective as ="trms">symbolic form='lgc'>: perspective in transforming the ‘ousia’ (reality) into ‘phainomenon’ (appearance), seams to reduce the divine to a mere subject ="trms">matter for human consciousness; but for that very reason, conversely, it'd expands human consciousness into a vessel for the divine='lgc'>]
='lgc'>='lgc'>--> an in="trms">finity not only prefigured in god, but indeed actually ="trms">embodied in ="trms">="trms">empirical reality ='lgc'>='lgc'>--> ='strcls'>****in Last Supper the miraculous becomes the direct experience of the beholder, in that the super="trms">natural events in a sense erupt into his own, apparently ="trms">natural visual space='strcls'>****

effects of vanishing point

(in all my image assemblages there is a ="trms">system of fluid ="trms">relations in which subjectivity is ="trms">imagined ='lgc'>[not in terms of coincidence with a quantifiable point of view='lgc'>])='lgc'>='lgc'>--> in every image and diagram subjectivity (='lgc'>~ identity and reference) is ="trms">imagined in a ="trms">system of ="trms">relations ='at'>@="frds scrmbld">Eszter's binding order

zero
primal image of nothingness
="lsts lst1">•kabbalah
="lsts lst1">•the egg
="lsts lst1">•oroboros
="lsts lst1">•

my issue with contemporary ritual practices in the arts is that they are based the ="trms">symbolic privileging of the معنوی noumenal ='lgc'>=/= ="trms">phenomenal
(rituals that artists practice today, ="frds scrmbld"nttrm="Leonardo">Leonardo's Last Supper='lgc'>:) ="trms">symbolic opening to a noumenal ="trms">world ='lgc'>=/= facade of appearance and semblance
(='lgc'>=/=='qstn'>? coalescence, knowl="trms"nttrm="knowledge,Knowledge">edge and diversity work, etc.)
i can't insist enough (learning from Seurat) that the foreclosure of the noumenal ="trms">world (the true ="trms">world) is inseparable from the fragility and insubstantiality of the apparent ="trms">world
(shabah az sanaat joda nist شبه و صنع)


a residue of an earlier ="trms">social ="trms">world (in which the sacred, the occult, and artmaking were much more closely tied together)
...Egyptian priest, medieval magus, Babylonian snake charmer, headsman or executioner,

sug="trms">gestion of magician ='lgc'>='lgc'>--> emblematic of a ="trms">modernized order of ="trms">spectacle ='lgc'>='lgc'>--> mass management of attentiveness ='lgc'>+ its commodification ='lgc'>: ='strcls'>*rationalized magic of a ="trms">technology of attraction='strcls'>* (that conceals its synthetic construction)

op="trms">position of charismatic and bureaucratic domination

Weber's “="trms">routinizatiom"='lgc'> = castration of charisma (='lgc'>='lgc'>==> permanent institutional structures)
prophetic/oracular individual (has seen the extinction of his ="trms">society) ='lgc'>[='lgc'>==implying='lgc'>='lgc'>==> an unstable domination='lgc'>] ='lgc'>=/= administrated and rationalized order of a money economy

priestly status of ="frds scrmbld">Elen in her performances implying an pathos and ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics of distance (and dismantling it='qstn'>?)

be careful with this liminal ="trms">positions='lgc'>:
="lsts lst1">•activation of a broken collective ="trms">memory
="lsts lst1">•im="trms">position of ="trms">modern oblivion on the other


="trms">presenting music='lgc'>:
="trms">socialized activity, indicating the ='strcls'>*superficial appearance of a collective reception='strcls'>*
immediacy of an audience
“physicality of music making itself” ='lgc'>--Leppert='lgc'>='lgc'>--> the sight of the body's labor to produce sound
19th century ideal of a musical performer as a quasi-sexual virtuoso

performing music ='lgc'>='lgc'>--> sug="trms">gestion of collective participation ='lgc'>--evoke='lgc'>='lgc'>--> harmonic ="trms">relationships and pre="trms">modern mysteries ='lgc'>[implicit in music and ="trms">geometrical forms (even as they are collapsed into ="trms">modern abstraction and the image of a fully administrated ="trms">world)='lgc'>]
='at'>@="frds scrmbld"nttrm="Alice,Shariati">Ali, KHM sound department

...remnant of what once might have the living Dionysian reality (of the antique chorus)


='strcls'>*score='strcls'>* (coming from the boredom of a third-rate military music band after 1850 in Europe) aligned with the rationalizing imperatives of industrial production='lgc'>: hierarchically ranked states ='strcls'>*executing an external algorithm='strcls'>* ='lgc'>='lgc'>~= partition='lgc'>: allocating its parts
='lgc'>[='strcls'>*='lgc'>]score='lgc'>: the image of programmed labor in our ="trms">society (='at'>@="frds scrmbld">="frds scrmbld">Lilia) ='lgc'>='lgc'>--> logic of combination


="prgrph">-in ="nms">apass i have been fighting against artists ambivalent characterization of themselves. i want my peers particular ="trms">figuration of ="trms">measurement, quantities, and ratios of their diagnosis of crisis of value and of devaluation of life and the ="trms">world (when they perceive as such... negation and inversion)


(="ppl">Aristotle's ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics ='lgc'>='lgc'>==>) Pythagorian='lgc'>: art='lgc'> = harmony='lgc'> = analogy between op="trms">posites
='lgc'>='lgc'>~='lgc'>~='lgc'>='lgc'>--> ='strcls'>**="trms">social project of reconciliation through the use of ="trms">aesthetic forms='strcls'>** (from the 4th century and still popular today)='lgc'>='lgc'>--> “training of the people begins with the senses” ='lgc'>: music and rhythm from which came healing of human temperaments and passions

Pythagoranism='lgc'>: number ='lgc'>=/= in="trms">finite
="lsts lst1">•in="trms">finite='lgc'> = void of knowl="trms"nttrm="knowledge,Knowledge">edge, limitless and undetermined
="lsts lst1">•number='lgc'> = rational limit and determination

Pythagorean ='lgc'>=/= pre="trms">modern mystic values
='strcls'>*some of the great disenchanters at the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of ="trms">modern western ="trms">science are deeply Pythagorean='lgc'>:
='strcls'>***number is the essence of reality ='lgc'>==today='lgc'>='lgc'>==> “="trms">nature must be studied quantitatively” (='lgc'>=/= ="nms">ajayeb's quality of descriptive ="trms">nature of the ="trms">world)
...and appeal to mathematics in artmaking still comes from the hope of establishing clear and distinct ideas, which as such are necessarily true

Pythagorean primal ="trms">cosmogenic principle='lgc'>: breath ='lgc'>='lgc'>--> repression's binary rhythm of inhaling and exhaling, the ="trms">mutual ="trms">interaction of contraries (like sex) ='lgc'>: the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal generative force
(the union of the limited and the unlimited) ='lgc'>='lgc'>--> still operating today in the year 2018


theories of dynamogeny on ="nms">iranian traditional music radif, that certain musical proportions poses cheerful or bitter qualities, influence the person's emotional state
to transcend from quantitative number of dastgah ='lgc'>--to='lgc'>='lgc'>--> a mysterious qualitative dimension of ="nms">pardeh


(="ppl">="ppl">Crary's) Seurat's anarchism='lgc'>: (painting of the) ="trms">world of mere ="trms">="trms">empirical ="trms">relations, cut off from the in="trms">finite (loss of the vanishing point) and from the light of either sun or moon (gaslight illuminates the s="trms">cene)


="frds scrmbld"nttrm="Leonardo">Leo's primitive ="trms">communism


pictorial generation of meaning


the keystone of ="frds scrmbld">Foad's ="trms">technique='lgc'>:
purity of the spectral element


(Burgin >) fantasy='lgc'>: an arrest that domesticates the unruly movements of desire ='lgc'>='lgc'>--> it takes on hieratic and tableau-like forms ='lgc'>: phantasmatic ="trms">figuration


='strcls'>*reconciliation='strcls'>*
(a formal idea, of) abstract functionings of binary op="trms">positions ='lgc'>{typographical distribution of energy='lgc'>}
='lgc'>=/= elevation in terms of “op="trms">posites” or “contraries” (colors, lines, forces, sexes, numbers)

="trms">technocratic dream of a quantifiable harmony that a machinic ="trms">world installs or restores ='lgc'>='lgc'>--> ='strcls'>*ataraxie='strcls'>*='lgc'>: emphatically reduction of tensions into zero ='lgc'>--Seurat='lgc'>='lgc'>--> homeostasis ='lgc'>='lgc'>--> preindividuated unity ='lgc'>: theater of equilibrium ='lgc'>='lgc'>==> erasure of both individual and ="trms">historical temporality
(Nattiez='lgc'>:) the illusion that humanity could reach a stable point ='lgc'>[...='lgc'>] at which time can be arrested. it is for this reason that androgyny and death so often appear together='lgc'>: ="trms">social utopias end in massacres and that the structura="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list utopias of an allembracing explanation of mankind reducible to torrents of binary op="trms">positions result in “nothingness”

="ppl">Freud's nirvana principle='lgc'>: to remove ="trms">interval tension due to stimuli (='lgc'>='lgc'>--> death instinct)


="frds">Sina='lgc'>:
(painted and visible philosophy)
in my image assemblages what are and how they work='lgc'>:
="lsts lst1">•="trms">mimes of meaning
="lsts lst1">•full of graphic ="trms">gestation
="lsts lst1">•figural groupings
="lsts lst1">•architecture
="lsts lst1">•com="trms">positional thinking
what ="trms">sorts of structural ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rightness do my image assemblages make inevitable='qstn'>? (innocently indicating the sweet source of truth)
or, what kinds of ="trms">geometric simplicities (purity of form and efficiency of expression) does it betray='qstn'>?
what is the ‘status of idea’ in there='qstn'>?
what are the allegorical abstractions='qstn'>? (in ="ppl">Sohrevardi image='lgc'>: the mediation between heaven and earth) (horizons, vanishing points, grids, orthogonals, heavenward movements, ="trms">gestures, axis or axiomatic ="trms">geometry,,,)
='lgc'>[my performances are teachings on how to ="trms"nttrm="already,spread">read the figural ="trms">language of my image assemblages (='qstn'>?)='lgc'>]
the particular ="trms">geometry of pictorial structure in my image assemblages testifies to which truth='qstn'>?
which pictorial realizations (knowl="trms"nttrm="knowledge,Knowledge">edge of things) do they epitomize='qstn'>?
which ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical polarities ="trms">translated into ="trms">geometric contrasts='qstn'>? (="trms">integral part of revealed truth) ='lgc'>[or that there is a or no central truth...='qstn'>?='lgc'>]
which allusions ground the abstract truth of the image in a certain reality='qstn'>?
(='lgc'>='lgc'>='lgc'>----David Rosand's) Raphael='lgc'>: theological truth ='lgc'><='lgc'>='lgc'>--> axiomatic ="trms">geometry (='lgc'>~ congruence of simple structures) ='lgc'>='lgc'>--> divinity of the circle
super="trms">natural status of the form, reaffirmed by gold (='lgc'><='lgc'>-- an archaic and discounseled ="trms">technique) ='lgc'>='lgc'>==> ='strcls'>*put ‘form’ beyond the reach of pictorial illusion and beyond the realm of ="trms">nature='strcls'>*
='strcls'>*pictorial truth sometimes lies in the pa="trms">inter's choice in working on the surface='strcls'>* (acknowledging the powerful claims of the axis of the field and the determining control of its shape, recognizing the dialectic of circle and square, the signifying tension between picture plane and orthogonal recession, etc.) ='lgc'>='lgc'>--> in the case of Raphael='lgc'>: theology becomes a commentary on painting ='lgc'>: pictorial structure (directly ="trms">semiotic and not ="trms">mimetic)='lgc'> = meaning

(always='qstn'>?) ='strcls'>*faithfuls need their o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginals='strcls'>*


in Helmholtz's 1856 comprehensive account of human vision, the eye emerges ='strcls'>*empathically embedded in the thinness and opacity of the body='strcls'>*
eye (='lgc'>=/= a marvelous ="trms">apparatus) ='lgc'>: an ="trms">apparatus with built-in aberrations, proneness to error, and inconsistencies in is processing of visual information ='lgc'>='lgc'>--> entoptical ="trms">phenomenon ='lgc'>--James='lgc'>='lgc'>--> subjective optical sensation='lgc'>: ='thdf'>example of selective attention ex="trms"nttrm="cluster,club">cludes from consciousness sensations that are ='strcls'>*nonreferential='strcls'>* (= irrelevant to the knowl="trms"nttrm="knowledge,Knowledge">edge about the ="trms">world)
(='lgc'>='lgc'>~= Ernst Mach's sight phantasms)

arborescent ="trms">vocabulary of the ="trms">scientific ="trms">literature on the eye in the 1880s

='strcls'>*new diagram of the eye='lgc'>: photoreceptors in the human eye are placed at the back of retina, behind the blood vessels (that ="trms">literally ="trms">intervene seeing) ='lgc'>--Seurat='lgc'>='lgc'>--> inseparable mix of an abstract mathematically constructed ='and'>& a physiological perception more subjectivity determined, “domain of vision has been ="trms">integrated Iin the field of desire” (="ppl">Lacan), “phantasmatic events that occur on the surface of the bodies” (="ppl">="ppl">Crary)
='lgc'>=/= older diagram of the eye='lgc'>: the ideal unobstructed functioning of camera obscura ='lgc'>='lgc'>--> ‘s="trms">cene of re="trms">presentation’

‘dream of immediacy’ ='lgc'>--to='lgc'>='lgc'>--> (Seurat's refusal of scenography ='lgc'>='lgc'>==> nondisclosure ='lgc'>~) fantasy of a theatre without re="trms">presentation

="ppl">Rousseau's affirmation of ='strcls'>*political self-sovereignty='strcls'>* in the ‘festival’='lgc'>: a ="trms">stage which ="trms">presents nothing to the sight ='lgc'>--="ppl">Derrida='lgc'>='lgc'>--> a place where the ="trms">spectator, ="trms">presenting himself as ="trms">spectacle, will no longer be seer or voyeur ='strcls'>*** (='lgc'><='lgc'>-- what i learned from Phill) ='lgc'>='lgc'>==> ="trms">presence will be full as the intimacy of a self-="trms">presence, as the sentiment of self-proximity, of self-sameness


="ppl">Lyotard='lgc'>: theatrically ="trms">fold ='lgc'>='lgc'>--> a box closed upon itself ='lgc'>='lgc'>--> only those to appear on the ="trms">stage which come from what will be known as the ‘exterior’

='strcls'>*zero='lgc'>: the sign of the empty center, the place where everything is ="trms">supposed to be visible and intelligible ='lgc'>: the place of knowl="trms"nttrm="knowledge,Knowledge">edge ='lgc'>='lgc'>--> god, organized body, ="trms">society, capital, the ego, platonic forms, etc.

="ppl">Grosz='lgc'>: construction of ="trms">embodied subjectivity ='lgc'>='lgc'>--> mobius strip (a 19th century invention), inflection of mind and body to one another through a kind of twisting or inversion ='lgc'>='lgc'>--> rethinking ="trms">relations of the inside and the outside of the subject psychical ="trms">interior and corporeal exterior)
="prgrph">-sides of the mobius strip are not fundamental identities, the drift from one to the other side is uncontrollable

currents
and surfaces of this body
is coalescence of energy into phantasms
deceptive semblance
of a theater of re="trms">presentation

="frds scrmbld"nttrm="Alice,Shariati">Ali's speech (and ="frds scrmbld">Jassem)='lgc'>: تاثیر گذاشتن (making what one knows into an effect on audience)
='lgc'>=/=
="frds">Sina's speech='lgc'>: به صورت موضوع درآوردن
(making what one guesses into a subject of discussion to be rethought)

irreducible com="trms">posite of properties belonging to the observer

perspective='lgc'>: transforming psychophysiological space into mathematical space ='lgc'>='lgc'>==> sum of all parts of space and its contents are absorbed into a single ‘quantum continuum’
="prgrph">-Panofsky perspective as ="trms">symbolic


="large lg98" stl="font-size:123%"> analysis of sensation
“one coherent mass of sensations”
(Mach's legitimate and functional) ="trms">scientific impressionism

='strcls'>*="trms">modernization (and rationalization) of perceptual (and ="trms">aesthetic) ="trms">response='strcls'>* ='lgc'><='lgc'>-- preoccupation of Seurat, Eisenstein, Moholy-Nagy, Schoenberg


(="ppl">="ppl">Crary > Chastel > Seurat's ="trms">method was) a research into ="trms"nttrm="search">archetypal forms (lines, colors, directions) which answered to a double and deliberately compound ambition, at once ='strcls'>*****archaic regression and ="trms">scientific reduction='strcls'>***** ='lgc'>[='lgc'><='lgc'>-- this describe ='mywrk'>my work!='lgc'>] the artist/pa="trms">inter's operations set up a meeting point between ='strcls'>*an ancient hieratic art and the rationalized discipline of the future='strcls'>* ='lgc'>[= ='mywrk'>my work on ="nms">ajayeb='lgc'>] ='lgc'>='lgc'>--> culturally reactionary component of my projects, progressive and regressive at once, (="trms">past and future)
='lgc'>=/= Meyer Schapiro's Seurat='lgc'>: an enlightened politically progressive artisan-artist embracing ="trms">science and ="trms">technological paradigms in the ="trms">interests of ='strcls'>*forging an image of a nonhierarchical ="trms">social ="trms">world='strcls'>* ='lgc'>[='lgc'><='lgc'>-- an uncritical stance towards “="trms">science” and “="trms">technology,” approaching “the rationality of ="trms">method” (in Seurat) as a final locus of meaning ='lgc'>=/= the site of powerful and unresolved contra="trms">dictions='lgc'>]='strcls'>****

="prgrph">-can our ="trms">modern practices be constituted without reinventing its ="trms">relations to the ancient='qstn'>?

troublesome ambivalence of Pythagoreanism='lgc'>: part of an animistic pre="trms">modern magical ="trms">world view yet deeply embedded in the essential ='thdf'>assumption of ="trms">modernity that all of ="trms">nature is understandable in terms of numbers (-Bloch, ="trms">modernism='lgc'>: quantitative side with ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics proper strictly ="trms">scientific ='lgc'>=/= figural-qualitative ="trms">symbolic side)
... ='lgc'>='lgc'>--> Seurat's unresolvable problem='lgc'>: to think ="trms">simultaneously ='thdf'>the idea of universality in terms of ="trms">aesthetic absolute and the inescapable universality of ="trms">modern exchange and calculation
='lgc'>='lgc'>--> (Norman Brown='lgc'>:) the money complex, archaic or ="trms">modern, is inseparable from ="trms">symbolism, and ='strcls'>*="trms">symbolism is (not the mark of rationality, as ="ppl">Simmel thought, but) the mark of sacred='strcls'>* ='at'>@="frds scrmbld">Luiza's diagrams ='lgc'>[='lgc'>='lgc'>--> this is important for ="nms">apass, “="trms">aesthetic experience occurs within, not above, the op="trms">position of the ="trms">symbolic and the economy, and within the lived conflict between self-activity and reification” -Brenkman='lgc'>]
='lgc'>='lgc'>==> undialectical disjunction of sacred and secular


silent reflective monk

mechanical assemblage of never quite ="trms">integrated elements

Seurat's texture of work ='lgc'><='lgc'>== an intuition of the loss of art's immediacy ='lgc'>='lgc'>--> shift of (what might have been) contemplation into mere attentiveness

(="ppl">="ppl">Crary) Seurat concretizes the ='strcls'>*="trms">modern dilemma of the disappearance of aura='strcls'>*
...bringing into the work the forms of rationalization that eradicated aura in the first place ='lgc'>='lgc'>--> appearance is privileged over essence, and ="trms">technological rationality is deployed in the service of appearance

negotiating rapture

(="nms">ajayeb ='lgc'>='lgc'>~/=='qstn'>?) to produce a dialectic image='lgc'>: to criticize ="trms">modernity (='lgc'>~ foregrounding of the aura) through an act of ="trms">memory, and at the same time, to criticize archaism (='lgc'>~ nostalgia for the aura) through an act of essentially ="trms">modern invention (substitution and designification)


color...
how forms of ‘synthesis’ (optical mixture, purely additive and accumulative functions of industrialized procedures) produce ‘qualitative’ change (pre-bourgeois non-quantitative connection to ="trms">nature, for which color did not exist as an autonomous experience or as a separate and specialized ="trms">science)

Seurat='lgc'>: surface fascinations consequences of a disappointment at the impossibility of immediacy and the ="trms">historical inaccessibility of the dream of the ritual/magical practice of art ='lgc'>='lgc'>--> Seurat's work's exhaustive denial of ="trms">presence ='lgc'>='lgc'>==> (another kind of immediacy='lgc'>:) the ='strcls'>***fusing of image and eye='strcls'>*** ='at'>@="frds scrmbld">Foad
='lgc'>=/= art as a medium for disclosing essential truths
='lgc'>=/= redemptive optimism

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

a desiring ="trms">system dependent on operations of rebinding and immobilization

the problem of ='strcls'>*con="trms">trapposto='strcls'>* ='lgc'>[and ='strcls'>*chiaroscuro='strcls'>* (contrast of colors)='lgc'>]='lgc'>:
a Renaissance ideal, invoking a ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical dualism that found expression in ="trms">rhetorical devices of contrast and antithesis ='lgc'>--sumbsumed='lgc'>='lgc'>--> within the ='strcls'>*larger ideal of op="trms">position='strcls'>*

con="trms">trapposto could be decorative or structural, justified by its vividness, the clarity with which art could bring op="trms">posites into harmony

classical image (of the body) as an expression of a self-determining balance of ="trms">internal forces



“authentic images” seem capable of action, seem to posses dynamis (super="trms">natural power)



Universal Ex="trms">position of 1889 ='lgc'>+ ="trms">international congresses of hypnosis='lgc'>:
="lsts lst1">•rationalizing ideological imperatives (concertized in the actual organization and layout of the Ex="trms">position ='lgc'>='lgc'>--> rooted in the enlightenment's faith in man's limitless potential for mastery of his environment)
="lsts lst1">•hypnosis optimistically as the most effective entry into (previously inaccessible) territories and processes of human psychic life (and hopefully mastering this terrain)
="lsts lst1">•extensive ="trms">presentation of colonial people and lifestyle as objects of ="trms">spectacle in the 1889 Ex="trms">position (simulated villages inhabited by Congolese, Javanese, New Caledonians, Senegalese, and others) ='lgc'>='lgc'>--> became contents of an ="trms">imaginary immortal space, contents that were seemingly assimilable into the rationalizing taxonomy of the ex="trms">position's organizational schema ='lgc'>[='lgc'>=/= ="frds scrmbld">Steven's schema in ="nms">apass='lgc'>]
='strcls'>*both hypnosis (with its profoundly indecipherable trance states) ='and'>& ="trms">material life of colonial people (primitive cultures with their singular forms of exchange, of value and power ="trms">relations) took on an exhibitionary existence at the threshold of their marginalization, assimilation, or disappearance ='lgc'>='lgc'>--> (the unassimilable in both was) temporally refigured as the survival (or simulation) of an earlier ="trms">stage of development (as a lower, regressive, or ="trms">childlike state of mind or culture) ='lgc'>[='lgc'>='lgc'>--> radically irreconcilable with dominant forms of western rationalism='lgc'>]

(for western rationality) hypnosis='lgc'>:
="lsts lst1">•influence without any logical foundation
="lsts lst1">•production of an illusory ="trms">relation to the ="trms">world
='lgc'>[='lgc'>='lgc'>--> similar to ="frds scrmbld">Foad's modality of freedom, wakefulness, and ='thdf'>the notion of the intoxicated masses='lgc'>: loss of mastery, of ability to make decisions and reflect ='lgc'>='lgc'>==> the assertion that “hypnotic experience is formless” (='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="ppl">Nancy)
='strcls'>*="trms">spectacle domination over passivity='strcls'>*
="frds scrmbld">Foad='lgc'>: inner or subjective reality of a psychic state which could in fact involve residence and evasion of external ="trms">authority='lgc'>]
='lgc'>=/= state of trance (as in other cultures) whether individual or collective conceived as an opening up or sharing

the 19th century exhibitions were part of a ="trms">world in which people were beginning to live as tourists or ="trms">anthropologists, addressing an object-="trms">world as the endless re="trms">presentation of some further meaning or reality
='lgc'>==="ppl">="ppl">Crary='lgc'>='lgc'>==> reality='lgc'>: that which ="trms">presents itself as an exhibit before an observer

(Seurat's Parade de Cirque='lgc'>: ...a ="trms">figuration of ="trms">social territory where) ="trms">techniques of fascination and attraction, of appearance and semblance, have the capacity to overpower an observer or audience

(شهر بازی fairground kinesthetic experiences,  such as='lgc'>:) ='strcls'>*merry-go-round='strcls'>*='lgc'>: a fragmentary and mechanical recuperation of carnival energies ='lgc'>='lgc'>--> controlled circumstances inciting of dynamogenic bodily sensation
&
cinema later would radically displace survivals of pre="trms">modern forms like the circus ='lgc'>[='lgc'>='lgc'>--> look at Hollywood today 2018='lgc'>]

="trms">different modes of regression and fantasy

='strcls'>***late 19th century shift from “viewing machine” to “vertigo machine”

19th century's ="trms">inter="trms">relations between='lgc'>:
="lsts lst1">•photography
="lsts lst1">•hypnosis (both medically and mythically)
="lsts lst1">•cinema
="lsts lst1">•psychoanalysis
='strcls'>*strong ="trms">epistemological con="trms">figurations='strcls'>* ='lgc'>='lgc'>==> a new place of subject (in western culture) linked to formation of certain images of='lgc'>:
="lsts lst1">•time
="lsts lst1">•="trms">past
="lsts lst1">•="trms">memory


(for Brown Sequard) collective effect of acts of inhibition and dynamogeny ='lgc'>='lgc'>==> hypnotism ='lgc'>==(Charles Henry)='lgc'>='lgc'>==> de="trms">monstrating that perception is fundamentally unconscious (consisting of involuntary ="trms">responses to stimuli) ='lgc'>==Seurat='lgc'>='lgc'>==> ='strcls'>*indistinction between the automatism of a hypnotized subject and the perceptual experience of a so-called normal subject='strcls'>* ='lgc'>--="frds scrmbld">Foad='lgc'>='lgc'>--> ='lgc'>[="trms"nttrm="already,spread">reading people in a contemporary ="trms">social ="trms">phenomena of sug="trms">gestion and ="trms">somnambulism (='lgc'>~ sleep-walking):='lgc'>] a bypassing of intellectual process (such as reason and judgement) in an attentive ="trms">spectator
="prgrph">-='lgc'>{my discussion with ="frds scrmbld">Foad was perhaps about the ="trms">question of ="trms">social justice (= sufferings and causes are constant and self-evident, singularized principle of value ='lgc'>[="trms">social injury='lgc'>] located in a particular product ='lgc'>[political processes leading to ="trms">social injustice='lgc'>]) and/against thinking with assemblages (= contextual ="trms">relational uncertain concept of the ="trms">social of things and people as ="trms">system of objects, in which nothing merely rules itself or others, emphasizing heterogeneity and process)... finally saying that ="nms">Tehran is a ="trms">relational heterogeneous uncertain ="trms">system ='lgc'>[="frds">Sina='lgc'>] and not a destined coerced programmed doom-object ='lgc'>[="frds scrmbld">Foad='lgc'>]. ="trms">question='lgc'>: can we oppose the ideas of suffering and injustice and their expressions as essential qualities in the context of ="nms">Tehran='qstn'>? what conceptual hybrids or precarious collectives are ethically available or necessary to think with='qstn'>? can injustice and suffering as target of analysis be investigated not as concrete evident necessities ='lgc'>[stable essences, as something to defend or fight against='lgc'>] but as distributed changing and changeable always in process, in the contemporary ="nms">Tehran (specially if you are the one who is suffering)='qstn'>?
="prgrph">-my family dining table='lgc'>: space of arrangement of practices of objects of...
="prgrph">-this discussion for me was about the ="trms">categories and classifications that we rely on to investigate the ="trms">world.='lgc'>}

='lgc'>='lgc'>--> ="ppl">Bergson='lgc'>: “in the processes of art we shall find, in a weakened form, a refined and in some ="trms">measures spiritualized version of the processes commonly used to induce the state of hypnosis ='lgc'>[...='lgc'>] an effect of the same kind by the fixity which they suddenly impose upon life, and which a physical contagion carries over to the attention of the ="trms">spectator.”


1880s and 1890s is exactly the time where many ="trms">different discourses considered the ways in which external forces and procedures could influence or control both individual and collective subject
="prgrph">-common in French ="trms">sociological thinkers (Durkheim, Tarde, Le Bon)='lgc'>: the primal fact of ="trms">social life is some ="trms">system of control or coercion that is imposed on the individual ='lgc'>{for example Tarde='lgc'>: “stupefied and feverish beings ='lgc'>[in='lgc'>] magical charm of their environment ='lgc'>[...='lgc'>] it is always more fatiguing to think for oneself ='lgc'>[...='lgc'>] man lives in an animated environment ='lgc'>[...='lgc'>] he gradually refrains from all intellectual efforts ='lgc'>[...='lgc'>] his mind becomes stultified and more and more ex="trms">cited ='lgc'>[= ="trms">somnambu="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic='lgc'>] characteristic of many city dwellers ='lgc'>[...='lgc'>]"='lgc'>}

the audience in many artworks still today has the sign of the distracted crowd (جمعیت خواب)

(“man without qualities” =) de-individualized='lgc'> = sug="trms">gestible, hypnotizable

(Fried='lgc'>:)
anti-rococo French painting='lgc'>: a painting had to first attract (call to someone) and then to arrest (bring him to a halt in front of itself) and finally to enthral (hold him there as if spellbound)='lgc'> = the ="trms">modernizing ="trms">instrumentality that is fulfilled in cinema today

for Tarde='lgc'>:
“="trms">social existence='lgc'> = ="trms">somnambulism"='lgc'>[= heightened receptivity to sug="trms">gestion, individuals apt to imitate one another='lgc'>] ='lgc'>='lgc'>==> “="trms">social='lgc'> = (a form of) dream”
='lgc'>='lgc'>--> hypnotic aspect of the life of crowds
="lsts lst1">•“="trms">intercerebration”='lgc'>: one brain fascinates the other
="lsts lst1">•“="trms">fashion's sug="trms">gestibility”='lgc'>: half-conscious observation and mere physical proximity produce a functional ="trms">social homogeneity
="lsts lst1">•“fascination”='lgc'>: a genuine ="trms">neurosis, a kind of polarization of ="trms">love and faith  ='lgc'>='lgc'>--> effects of obedience and imitation
="lsts lst1">•“attention”='lgc'>: transformation of sensation by effort and desire ='lgc'>='lgc'>--> the desire for an increase in personal believe
="lsts lst1">•“plateau”='lgc'>: a flexible figure for ="trms">natural, ="trms">social, and statistical processes and events (in="trms"nttrm="cluster,club">cluding desire) ='lgc'>[='lgc'>--='qstn'>?='lgc'>='lgc'>--> ="ppl">Deleuze and ="ppl">Guattari's plateau='lgc'>]

Le Bon='lgc'>:
“="trms">social='lgc'> = a particular modality of perception,” as a ="trms">specific ="trms">social arrangement that conditions the limits of perceptual experience
(="trms">modern) crowd='lgc'>: a viewing machine capable of generating “collective ="trms">hallucinations,” a place for ="trms">consumption of illusion, (with a “psychological unity” that occupies spatially remote locations,)
="lsts lst1">•“observation”='lgc'>: a cognitive model predicated on workable notion of objective reality (a classical ="trms">epistemological model) that begins to corrode within a field saturated by illusion, ="trms">hallucination, and whole industries of simulation
="prgrph">-individual subsumed in crowd is incapable of observation ='lgc'>='lgc'>--> ="trms">modern ="trms">spectacular culture (to be ="trms">articulated 7 decades later by ="ppl">Guy ="ppl">Debord

the crowd (in Le Bon) is a ="trms">generalized site on which the accumulated d="trms"nttrm="already,spread">read and hope as="trms">sociated in the 19th century with ="trms">social insurrection collapse into am abstract countless mass ="trms">onto which dream ="trms">imaginary of any ="trms">sort can be projected
="prgrph">-="ppl">="ppl">Crary

19th century ‘crowd psychology’ ='thdf'>assumption that attention has no necessary connection to objective optical observation of the ="trms">world ='lgc'>='lgc'>--> ='strcls'>*crowd='lgc'>: drift toward a more primitive order of consciousness='strcls'>*
="prgrph">-withdrawal from surroundings and refocusing on some real or ="trms">symbolic figure
='lgc'>='lgc'>--> theatrical con="trms">figuration='lgc'>: means for controlling crowds ='lgc'>='lgc'>--> (La Bon's) image of theater exceeding its older place within models of ="trms">mimetic ="trms">relation ='lgc'>--to='lgc'>='lgc'>--> new effects of subjectification


Wagner's volkish homogeneity ='lgc'>='lgc'>--> uniform modes of perception and ="trms">response ='lgc'>='lgc'>--> (problem of) ="trms">community formation

Wagner's optical ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor (="trms">community could see itself reflected in the mirror of tragedy) of theatrical existence ='lgc'>='lgc'>--> ='strcls'>*sense of vision serves to reinforce one's place within the ="trms">social whole='strcls'>*
='lgc'>[='lgc'>='lgc'>--> when i look at Brussels from the 14th floor...='lgc'>]

Wagner's cultural program for ="trms">social re="trms">integration and his belief in the transformative effects of the collective experience of music drama preformed and produced as a ritual ="trms">communal event

(typical 19th century ='lgc'>='lgc'>--> debates about the effects of mass culture ='lgc'>--="trms">articulated='lgc'>='lgc'>--> “distraction ='lgc'>=/= self-conscious contemplative perception” ='lgc'>='lgc'>-->) Wagner's deploying the ="trms">pervasiveness of ='strcls'>*distracted modes of cultural ="trms">consumption='strcls'>* ='lgc'>='lgc'>==> “higher (deeply attentive ='lgc'>--advocated='lgc'>='lgc'>--> purified and ethically superior perceptual engagement) ='lgc'>=/= lower (distracted)” forms of ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listening
="prgrph">-his dissatisfaction with traditional theatre that had allowed or encouraged audiences to look at each other at the diverse ="trms">social texture of the theatre

an attentive, absorbed public (unthinkable in the 18th century ='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="ppl">Sennett)

(still we are suffering ='lgc'>='lgc'>-->) ='lgc'>[to have='lgc'>] ='strcls'>*control over the attentiveness of an audience='strcls'>* to subordinate it to the will of the artist ='lgc'>='lgc'>==> generate a ='strcls'>*collective state of reception='strcls'>* (worthy of an art with such ="trms">social aspiration ='at'>@="frds scrmbld">Hoda, ="frds scrmbld"nttrm="Alice,Shariati">Ali , ="frds">Sina, ='lgc'>--to which extent my mysticism in art was about my ideas about ="trms">spectators incapacity for attention in contemporary ="nms">Tehran='qstn'>?)

19th century theatre ='lgc'>--(transform into)='lgc'>='lgc'>--> ='strcls'>***construction of visibility='strcls'>*** (structure the ="trms">spectators perceptual experience)

“collective act of seeing ='lgc'>='lgc'>==> semblance of a ="trms">community”

="large lg82" stl="font-size:104%"> (phantasmagoric character of his work) Wagner='lgc'>:
="lsts lst1">•eliminating lateral views ='lgc'>='lgc'>==> frontal engagement
="lsts lst1">•near-complete darkness ='lgc'>='lgc'>==> preventing peripheral distraction
="lsts lst1">•lowering the orchestra out of sight
='lgc'>='lgc'>--> ="trms">systematic concealing and mystification of the process of production
='lgc'>='lgc'>--> (Wagner stands for) will to mastery over all aspects of the ="trms">spectacle ='lgc'>==allow='lgc'>='lgc'>==> calculated production of states of regression, fascination, dream (="trms">synchronized sound ='lgc'>='lgc'>--> cinema's attentiveness half a century later)
="prgrph">-control over emotional ="trms">response
="prgrph">-remaking of ="trms">spectator experience
="prgrph">-production of dreamlike clairvoyant

(-can theater ="trms">stage be a place of distraction='qstn'>? again)

intelligible ="trms">relation of distance between viewer and illusory s="trms">cene
='lgc'>='lgc'>--> the way diorama commanded visual attention

in my ="trms">stage design drawings from 2009='lgc'>:
="lsts lst1">•standardized perspectival expectations
="lsts lst1">•metric ="trms">relations
="lsts lst1">•="trms">position of ="trms">spectator
="lsts lst1">•luminous detached rectangle
="prgrph">- 

Wagner's Ring cycle='lgc'>: the last expression of a 19th century fantasy of the recuperation of tragedy and myth ='lgc'>~ the dream that culture could make whole what capitalism has broken ='lgc'>--="ppl">="ppl">Crary='lgc'>+="ppl">Lacoue-Labarthe='lgc'>='lgc'>--> ='lgc'>[disturbing conviction/dream:='lgc'>] in an age where transcendence is undone, (the vacations of) art can recover an ancient destination and establish the type of mythological figure (in which humanity or a people could recognize itself)


="prgrph">-verisimilitude='lgc'>: the quality of seeming to be true, gloss, semblance


com="trms">posite ="trms">imaginary of the 19th century

______________


crowd
theater
phantasmagoria

="ppl">="ppl">Crary ='lgc'>='lgc'>--> Seurat's Parade de Cirque='lgc'> = disclosure of ='strcls'>*the absence at the heart of ="trms">modern ="trms">spectacle and perception='strcls'>*

vivid opening into a light-filled action-filled arena

='at'>@="nms">apass, a common way of criticism='lgc'>:
="lsts lst1">•='strcls'>*evoke, then withhold='strcls'>*
(fir example='lgc'>: evoke ‘entertainment commodity’ but withhold it. ="frds scrmbld">Laura, ="frds scrmbld"nttrm="Alex,Alert,Aleph,Alessi">Ale ,)
="lsts lst1">•='strcls'>*invest, and dismantle='strcls'>* (we are invested in what we dismantle)
="lsts lst1">•='strcls'>*desolation of older s="trms">cenes of re="trms">presentation='strcls'>* ='at'>@="frds">Sina

="ppl">="ppl">Crary on Seurat Cirque ='lgc'>='lgc'>--> investigation of the conditions under which a subject could be activated as an attentive perceiver
(forensic ="trms">aesthetics ='lgc'>='lgc'>--> conditions under which a subject could be arrested as a witness)
(="frds">Sina ="nms">ajayeb ="trms">bestiary ='lgc'>='lgc'>--> conditions under which a subject could be contested as a knowing ="trms">agent)

“frame='lgc'>: an isolating ="trms">agent” (='lgc'><='lgc'>== Wagner ='lgc'>~ to make an ='strcls'>*autonomous and luminous field of attraction='strcls'>* with a deliberately ambiguous spatial identity)
='lgc'>='lgc'>--> explicit r="trms">enunciation of the classical (and early ="trms">modern) status of the image
='lgc'>=/= as a windowlike plane ="trms">intersecting a cone of vision
='lgc'>=/= as a flat plane covered with colored patches

(Seurat's optics='lgc'>:) ='strcls'>***images apparitional value='strcls'>*** ='lgc'><='lgc'>== effect of image's detachment from a broader visual field (='lgc'>=/= diaroma and stereoscop)
='lgc'>='lgc'>--> 19th century optical experiences that severed the image from any continuous or intelligible ="trms">relation to the ="trms">position of the observing objects
(='lgc'>=/= Wagnerian ="trms">aesthetics)
='lgc'>='lgc'>--> ='strcls'>*collective visual experience='strcls'>* ='lgc'>='lgc'>~='lgc'>~='lgc'>='lgc'>--> precinematic forms of moving images

(='at'>@="nms">apass='lgc'>: hand drawing is not about being “="trms">trapped in older artisanal modes of production” ='lgc'>--='qstn'>?='lgc'>='lgc'>--> “performance ='lgc'>=/= projection”)

to assess (the ="trms">relationships between)='lgc'>:
="lsts lst1">•your own ="trms">technological products
="lsts lst1">•makeup of your audience
="lsts lst1">•economical realities of the ="trms">marketplace
='lgc'>}='lgc'>='lgc'>==> inventor of 19th century (Raynaud, Edison, )
='lgc'>='lgc'>--> modify your machines in terms of='lgc'>:
="lsts lst1">•performance
="lsts lst1">•shifting audience needs (and possibilities)

phantasmagoric='lgc'>: occultation of production by means of the outward appearance of the product (creating an experience for a solitary and immobile ="trms">spectator)

(spectral) atopic image='lgc'>: ="trms">literally not there

shimmering ='lgc'>='lgc'>--> effect of detachment from the environment

Reynaud's projected moving images ='lgc'>='lgc'>--> elastic and reversible temporalities (that had little to do with Lumieres's “real time”)

Cheret's posters (joyful ="trms">modern women, advertisement for cosmetics, lighting fixtures, department stores, ballets, and so on) ='lgc'>='lgc'>--> a ="trms">technology of attention ='lgc'>+ a ="trms">specific ornamental re="trms">presentation of commodity culture
(='lgc'>='lgc'>--> practical functionings of ="trms">consumption culture in the 1870s) ='at'>@OSP
='strcls'>*Cheret's “personal style” in graphic design='lgc'> = an abstract luster جلوه a decorative ="trms">formula that could be applied promiscuously to any possible object of ="trms">consumption='strcls'>* ='lgc'>=/= Seurat's dream of universal style

='strcls'>****rich textures of entertainment and visual ="trms">spectacle='strcls'>****

="prgrph">-which range of optical ="trms">apparatuses are available for public ="trms">consumption now='qstn'>?
='lgc'>[in 1880s='lgc'>: peep show, magic lantern, shadow theater, large-scale stethoscope, zeo="trms">tropes, etc.='lgc'>]

my links with Seurat ='lgc'>='lgc'>--> his ="trms">interest in='lgc'>:
="lsts lst1">•contemporary popular visual culture
="lsts lst1">•perceptual ="trms">modernization
="lsts lst1">•

="ppl">="ppl">Crary's ="trms"nttrm="already,spread">reading of Seurat's cirque='lgc'>: new experience of form deployed in time ='lgc'>='lgc'>--> kinematic (='lgc'>=/= semantic, iconographic significance of the clown and acrobat in the painting) ='lgc'>='lgc'>--> ='strcls'>*the illusion of movement='strcls'>*
beginning with the phenakistoscope and zoe="trms">trope in the 1830s ='lgc'>--through='lgc'>='lgc'>--> innumerable optical devices all the way into 1890s ='lgc'>='lgc'>--> endlessly fascinating and repetitive ='lgc'>='lgc'>--> sites of attentiveness (='lgc'>='lgc'>~= attraction)

='lgc'>{ Seurat ='lgc'>+ Reynaud ='lgc'>+ Edison (='lgc'>~ producers of the ='strcls'>***machines of the visible='strcls'>***, allowing the constructed and synthetic ="trms">nature of machine vision to coincide with their own rationalization of perceptual process) ='lgc'>+ forms of machinic vision developing through 1880s ='lgc'>}='lgc'>='lgc'>--> (examples of an emerging) ='strcls'>*****industrial art='strcls'>***** ='lgc'>: from ='strcls'>*artisanal practices='strcls'>* ='lgc'>--to='lgc'>='lgc'>--> standardizing industrial modes of image-making

="ppl">="ppl">Crary ="trms"nttrm="already,spread">reading Seurat without isolating him from the effects of what Raynaud, Edison and many others (Muybridge, Fuhrmann,) were developing through out the 1880s

='lgc'>{ the audience in Seurat's painting='lgc'> = the audience of the static backgrounds used in Reynaud's machines ='lgc'>}='lgc'>='lgc'>--> the unchanging, unreflective, even unseeing ="trms">nature of ="trms">modern ="trms">spectatorship ='lgc'>: ='strcls'>*a crowd of ="trms">spectators permanently in place, installed as a fundamental component of the ="trms">social ="trms">world='strcls'>* (in which the ="trms">specific content displayed to them is the ="trms">matter of absolute inconsequence)

shadow show
clown as magician-engineer who with his ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right hand opens the curtains ="trms">onto an illuminated and abstractly assembled plane of visual stimulation

(Seurat were disclosed to the) congruence of an im="trms">material, atopic and evanescent image with powerful reality effects and ="trms">techniques of attraction

="trms">techniques of perceptual ="trms">modernization ='lgc'>--constituting='lgc'>='lgc'>--> an autonomous space of invention ='lgc'>='lgc'>--> imposing its own constructed visions and truths on viewers

(="ppl">="ppl">Crary shows how) the mechanization of vision had no intrinsic link to objectivity, but rather to new capacities for simulation, illusion, conjuration

(my paintings='qstn'>? ...early) dreams of an impossible and inhuman vision, of a desire for perceptual ubiquity exceeding the spacial and temporal limits of human faculties ='lgc'>--='qstn'>?='lgc'>='lgc'>--> remake the self into a sovereign eye would create and impose its own truths
="prgrph">-the horses of Gericault and Seurat, in their airborne oneiric ="trms">trajectories, incarnate a deeper truth of the body='lgc'>: they become abstract correlates of psychological and kinetic ="trms">response to perceived movement ='lgc'>='lgc'>--> ideomotor experience (='lgc'>=/= truth of mechanical spatial movement)
(='lgc'>='lgc'>--> ="nms">ajayeb description movement ="trms">animal in motion)

='strcls'>***="trms">animal is arrested ='lgc'>='lgc'>--> ="trms">presence is not directly accessible to human vision, but can only be the product of ="trms">technical procedures of simulation='strcls'>*** ='lgc'>='lgc'>--> “="trms">nature='lgc'> = scenographic space” (='lgc'>--collapse='lgc'>='lgc'>--> precondition for the impossible unseeable apparition specter ='lgc'>--Seurat='lgc'>='lgc'>--> ="trms">spectacle)

phantasmal homeostasis
detemporalization of experience

management of attention ='lgc'><='lgc'>='lgc'>--> ="trms">techniques of attraction

(="frds scrmbld">Foad and) Seurat's efforts (in Cirque)='lgc'>: abstract conceptualization of perceptual experience

(possibility of ="trms">spectacle)
differed
displaced
denied
(image of ="trms">spectacle)
derealized
drained of ="trms">presence

='strcls'>*attentiveness of an observing subject='strcls'>*='lgc'> = site of increasingly specialized operations of power

...a twilight state of restricted consciousness ='lgc'>='lgc'>==> (Durkheimian solidarity ='lgc'>='lgc'>--> what is at stake is that) the autonomy of the individual is reduced

='lgc'>--="ppl">="ppl">Crary='lgc'>='lgc'>--> importance of Seurat's work ='lgc'>: to have intuited ='strcls'>**how the collapse of scenic space allowed new ="trms">imaginary ="trms">figuration of immediacy='strcls'>** (of a regressive unity based on a corporeal engagement of the ="trms">spectator) ='at'>@="frds scrmbld">Esther, ="nms">apass, OSP, ="frds scrmbld">Femke

Seurat sensed something fundamental about the industrialization of contemplation (='lgc'>='lgc'>--> now fully matured in Hollywood cinema) ='lgc'>+ (he anticipated, like Wagner) the ='strcls'>*effects of a phantasmatic luminous image on which essence had been displaced by appearance='strcls'>*

="large lg34" stl="font-size:127%"> (you can still) escape into the psychological time (but don't erase the sense of the obdurate ="trms">historical conditions out of which your dreams of equilibrium emerges)

Seurat's resisted the temptation of the phantasmagoric and of myth (='lgc'>=/= Wagner)
(='lgc'>='lgc'>--> are we the hairs of Seurat='qstn'>?)
="lsts lst1">•exposure of ="trms">technical premises
="lsts lst1">•subversion of any stable “formation” (or ="trms">Gestalt, on which the al="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure of the myth depends)
='lgc'>--Buchloh='lgc'>='lgc'>--> ='strcls'>***avant-garde='lgc'>: a continually renewed struggle over the de="trms">finition of cultural meaning, the discovery and re="trms">presentation of new audiences, and the development of new strategies to counteract and develop resistence against the tendency of the ideological ="trms">apparatuses of the culture industry to occupy and control all practices and spaces of re="trms">presentation='strcls'>*** (='lgc'>='lgc'>--> ='thdf'>that is why i am ="trms">interested in Walt Disney and Hollywood and Qur'an)
='lgc'>='lgc'>--> ='strcls'>*to produce incompatibilities='strcls'>* (as an artistic strategy, visual or ="trms">epistemic and otherwise; to make opacity, hostility to virtuosity and expressionism, )

your work could be adjacent to ____
but not identical to ____

your work might be built out if mechanisms for the production of subjective ="trms">response ='lgc'>--but='lgc'>='lgc'>--> it is never reducible to them
='at'>@OSP, ="frds scrmbld">Femke



Cezanne ='lgc'>='lgc'>--> (nonoptical) art of attention
music ='lgc'>='lgc'>--> a mode of experience ='lgc'>=/= an art of time

(unstable status of an apprentice observer in 1900s) Cezanne='lgc'> = reinvention of synthesis (='lgc'>=/= Manet and Seurat's strategies of binding, homeostasis, fixation)

="ppl">="ppl">Crary highlighting the highly contested ="trms">nature of the ="trms">questions of attention (possibly of pure perception, ="trms">presence, etc. in 1890s) ='lgc'>='lgc'>--> recreation of attentive ="trms">presence amid the impact of new conceptualizations and organizations of motion, ="trms">memory, temporality (='lgc'>+ emerging ="trms">technological arrangements)

='lgc'>[one of many sites in the late 19th century where a crisis in perception is diagnosed:='lgc'>]
Cezanne ='lgc'>+ ="ppl">Husserl='lgc'>: attempt to bypass the accumulated cultural and commonsense assumptions about the ="trms">world as it appears in consciousness (="trms">heritage of ="trms">phenomenology ='lgc'>='lgc'>--> ="frds">Sina, ="frds scrmbld">Foad... ='lgc'>='lgc'>~='lgc'>~> and ="trms">fable of the artist='lgc'>:)
="lsts lst1">•Cezanne ='lgc'>='lgc'>--> forgetting everything and make an image of what you see ='strcls'>*beneath the imposed order of humanity='strcls'>* (19th century preoccupation with “innocent vision” ='lgc'><='lgc'>== to be completely estranged from the ="trms">world ='lgc'><='lgc'>-- ="ppl">Schopenhauer) ='lgc'>='lgc'>==> access to things-in-themselves
="lsts lst1">•="ppl">Husserl ='lgc'>='lgc'>--> pure form of consciousness ='strcls'>*stripped of all accretions of habit and ="trms">socialization='strcls'>* ='lgc'>='lgc'>==> “seeing essences”
='lgc'>='lgc'>--> their work challenged (sought to exceed) features of perception that ="trms">apparatuses (of production and ="trms">consumption) regulated and standardized

="ppl">Husserl
attempt of description of objectivists in a certain atemporal fixedness ='lgc'>=/=='lgc'>{attention='lgc'>: heightened awareness of a narrowed or focused range of perception, operation of selection, ="trms">question of existence of content in consciousness, empathic function which belongs in the sense of intuitional experience ='lgc'>='lgc'>~= psychophysical, as="trms">sociationist, sensationa="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list, atomistic accounts of perception and cognition ='lgc'>='lgc'>==> how re="trms">liable and consistent the knowl="trms"nttrm="knowledge,Knowledge">edge about the ="trms">world is possible ='lgc'>+ (classical model of vision='lgc'>:) privileged point of view of a perceiving subject from which the objectivity of the ="trms">world could be apprehended='lgc'>}
issue of cognitive and perceptual synthesis
="lsts lst1">•to resecure an unconditional basis for logic and ="trms">science
="lsts lst1">•to escape from refined habitual patterns of perception inherent in various aspects of rationalization and compassion of experience in 1890s and 1900s (='lgc'>='lgc'>--> dynamic, kinetic, distracted texture of ="trms">modern sensory life ='lgc'>='lgc'>==> attention='lgc'>: malleable entropic force susceptible to fatigue, distraction, and external management)
="lsts lst1">•to quest for the logic of meaning ='lgc'>='lgc'>==> primordial oneness of consciousness
='lgc'>-='lgc'>-='lgc'>='lgc'>--> (for ="ppl">Husserl) attention appears and appertains in the possibility of an ='strcls'>*impersonal, preindividual, transcendental sphere free of anything ="trms">="trms">empirical, of anything spatiotemporal='strcls'>* ='lgc'>='lgc'>==> attention='lgc'>: intentional act with an absolute structure, quasi-machine searchlight for an unwavering mode of looking at the act of looking
='lgc'>--="ppl">="ppl">Crary='lgc'>='lgc'>--> amid the dynamic dissolution of ="trms">modernization (a ="trms">world in which previously stable meanings, signs, ="trms">social ="trms">relations were being uprooted, made exchangeable, and put into circulation) ="ppl">Husserl proposes ='lgc'>[in a hopeless quest='lgc'>] a monolithe ="trms">technique of attention (to discern a halo of absolute authenticity around every object or ="trms">relation) to determine the universal structure of (the authenticity of) subjective life="trms">world ='lgc'>[unable to go beyond ‘pre-cinematographic conditions’ (='lgc'>~ movement thought only from the anchorage of a static “pose”)='lgc'>]
 ='lgc'>--Varela='lgc'>='lgc'>--> ="ppl">Husserl's (='lgc'>+ MerleauPonty) turn towards experience (the “things themselves”) was entirely theatrical ='lgc'>: lacked any ="trms">pragmatic dimension ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="ppl">="ppl">Despret, ="ppl">="ppl">Stewart='lgc'>]

what Cezanne did seek to “suspend” (to forget)='qstn'>?

(sensitivity to) perceptual experiences that had been ignored, marginalized, or incompatible (='lgc'>='lgc'>==> un="trms">articulated)='lgc'>--within='lgc'>='lgc'>--> organization of knowl="trms"nttrm="knowledge,Knowledge">edge about vision
='lgc'>}='lgc'>='lgc'>==> (Cezanne's) “attention to anomalous='strcls'>* ='lgc'>='lgc'>--> ='strcls'>***engage a discordant exterior='strcls'>*** (that takes a hold on your recognizable ="trms">world) ='lgc'>[='lgc'><='lgc'>-- our ="trms">heritage in art='lgc'>]

Cezanne='lgc'>: “perception='lgc'> = process of its formation” ='lgc'>: confronting and inhabiting the instability of perception ='lgc'>=/= recording the evanescent appearances of the ="trms">world

(Cezanne ='lgc'>+ Manet's discovery='lgc'>:) looking at one thing
=X='lgc'>=> fuller and more in="trms">="trms"nttrm="cluster,club">clusive grasp of its ="trms">presence (='lgc'>~ rich immediacy)
='lgc'>='lgc'>==> perceptual dis="trms">integration and loss, breakdown as intelligible form ='lgc'>='lgc'>==> invention and discovery of previously unknown ="trms">religions and organizations of forces

dissolution inherent in attentiveness ='lgc'>==support='lgc'>='lgc'>==> (Cezanne's) radical de="trms">symbolization of the ="trms">world ='lgc'>+ perpetually modulating set of ="trms">relations between the exterior and sensations

Cezanne attentive to='lgc'>:
="lsts lst1">•activity of the eye
="lsts lst1">•visual sensation
="lsts lst1">•myriad intricacies of subjective vision
="lsts lst1">•(physiological) limitations of sensory experience
="lsts lst1">•the body (its pulsation, temporalities, ="trms">intersection of that body with a ="trms">world of ="trms">transitions, of events, of becomings)
="lsts lst1">•discontinuous com="trms">position of visual field (to its “concentric” format)

19th century ="trms">scientific research ='lgc'>='lgc'>==>
="lsts lst1">•comprehensive account of human perception
="lsts lst1">•disjointed ="trms">nature of the visual field
="lsts lst1">•central area of retina='lgc'>: photoreceptor cells
="lsts lst2">◦peripheral area of retina='lgc'>: sensitive to movement
="lsts lst1">•subjective visual field ='lgc'><='lgc'>== complex aggregate processes of the eye movement (“short fast jumps” ='lgc'>=/= instantaneous intake of an image) ='lgc'>='lgc'>--> a new psychological model of the human subject

acuity did not cor="trms">respond strictly to localized anatomy but rather was the product of a dynamic ="trms">relation of fovea and periphery as well as external luminous factors

hearing='lgc'>: aggregate perpetual process

Wundt's optical model (polarity between='lgc'>:)
="lsts lst1">•Blickfeld='lgc'>: field of consciousness
="lsts lst1">•Blickpunkt='lgc'>: focus of consciousness (where apperception occur) ='lgc'>='lgc'>~= attention

='lgc'>=/=
Locke, ="ppl">Descartes, ="ppl">Leibniz
consciousness='lgc'> = camera obscura

apperception='lgc'>: focalization of some content in consciousness ='lgc'>='lgc'>==> structure experience

='lgc'>--="ppl">="ppl">Crary='lgc'>='lgc'>--> what is at stake (with Wundt) is a cognitive modality part of a larger ='strcls'>***="trms">modern process of decentering='strcls'>***

(='lgc'>+ James ='lgc'>='lgc'>-->) a ="trms">question of the primacy of ‘="trms">transitive’ states in which the shifting fringes of perception were constitutive features of psychic “reality”


="trms">modernization of perception
center ='lgc'>=/= periphery
dispersed functioning of sensory ="trms">response

(how in 19th century capacities of human eye was made into='lgc'>:)
="lstsrd">1. architectural model of ='strcls'>*panorama='strcls'>*='lgc'> = permanent activation of optical periphery ='lgc'>+ no stable center of focused attentiveness
="lstsrd">2. ='strcls'>*stereoscope='strcls'>*='lgc'> = decisive ex="trms">="trms"nttrm="cluster,club">clusion of the periphery ='lgc'>+ 3D image hypertangiblity (='lgc'><='lgc'>-- our model of visual ="trms">consumption)
='lgc'>}='lgc'>='lgc'>==> loss of ='strcls'>*consistent and coherent ="trms">relations of distance between image and observer='strcls'>* ='lgc'>[='lgc'><='lgc'>-- this lost consistency is now in 2020 what everyone in art is busy with or to reactivate='lgc'>]


...having the fixed eye many disconnected areas of the visual field at once='lgc'> = continual beginning at a new center='lgc'> = Cezanne ='lgc'>='lgc'>~= ='strcls'>*radical rethinking the ="trms">nature of ='lgc'>[='strcls'>*='lgc'>]synthesis='lgc'>: rhythmic coexistence of radically heterogenous and temporally dispersed elements='strcls'>*

...a subjective immobilization
seeking to enter into the ="trms">world's ceaseless movement of destabilization (='lgc'>=/= holding together the content) ='lgc'>='lgc'>==> a more intensive recreation of a subjective ="trms">interface with the ="trms">world (='lgc'>=/= reverie, disas="trms">sociation)
='lgc'>}='lgc'>='lgc'>-->
="lsts lst1">•every object's identity is swallowed up in ="trms">difference
="lsts lst1">•='strcls'>*vision='lgc'>: veritable theater of ="trms"nttrm="metaph,metamorph,metabol,metal">meta="trms">morphosis and permutations='strcls'>*

(Cezanne reexamining the com="trms">position of the visual ="trms">world ='lgc'>='lgc'>==>)
fanatical attentiveness to the ="trms">data of sense ='lgc'>='lgc'>==> dissolution of unity, destabilization of objects ="trms">onto flux, dispersion, displaced the body to the ="trms">world, into a stream of change, of time, ='strcls'>*undoing the immediacy of the ="trms">world='strcls'>* ='lgc'>[='lgc'><='lgc'>-- my reexamination of the com="trms">position of the ="trms">epistemological ="trms">world of ="trms">fables in West Asia, ='mywrk'>my work's ="trms">relationship with knowl="trms"nttrm="knowledge,Knowledge">edge is like that. to gain control of myself in the midst of moving concepts, the circulation of concerns, jumble of paths and knots, whirlpool of velocities, and recourse to my capacity for forgetting...='lgc'>]

perceptual consistency is a phantom

(="ppl">="ppl">Lucretius='lgc'>:) ='lgc'>[='strcls'>*='lgc'>]="trms">world='lgc'>: in="trms">finite Cascades of self-="trms">differentiation

="prgrph">-the ="trms">question is='lgc'>: how to make ="trms">aesthetic constructions ='lgc'>[the task of the artist='lgc'>] (if the ="trms">world is so fragile)='qstn'>?

="prgrph">-how to go back and forth between attention and reverie='qstn'>?

perplexity of the eye (related to a deeper and ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical perplexity)
an imageless vision
...a mind for which no visible form is visible enough


the fixed and monocular eye has been posed (in recent theatrical ="trms">writing) as the formative element of classical ="trms">system of re="trms">presentation ='strcls'>**functioning to arrest duration and change in order to achieve a conceptual matey mastery of ="trms">phenomena='strcls'>** ='lgc'>{='lgc'>='lgc'>==> ="trms">zoocentric ="trms">animal anatomy ='lgc'>=/= ="nms">ajayeb='lgc'>}
='lgc'>--='not'>✕='lgc'>='lgc'>--> (="ppl">="ppl">Crary's sug="trms">gestion that) ='strcls'>***the fixed immobile eye is what annihilates the “="trms">naturalness” of the ="trms">world='strcls'>*** (disclosing the provisional and fluid ="trms">nature of visual experience) ='lgc'>=/= mobile glancing eye is what preserves the preconstructed character of the ="trms">world

="lsts lst1">•moving eye ='lgc'>='lgc'>--> habitually familiarly caresses objects (extracting previously established ="trms">relations among them)
="lsts lst1">•fixed eye ='lgc'>='lgc'>--> (immobile eye t="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riggers a ferment of activity ='lgc'>='lgc'>==>) trance and perceptual dis="trms">integration ='lgc'>='lgc'>--> dissolving the physiognomy of the everyday ="trms">world ='lgc'>[='lgc'>='lgc'>='lgc'>~=>='qstn'>? ="trms">bestiary's perceptual uncanniness='lgc'>]

fixed truth-taking stare ='lgc'>='lgc'>==> perceptual uncanniness

='thdf'>the idea of un undistorted o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal perception ='lgc'>='lgc'>==> objects in some accessable state available for objective comparison and evaluation

fixation sets the ="trms">world in motion
visual field begin vibration and oscillating
chromatic instability

the physiological ="trms">apparatus (our bodies) incapable of stability ='lgc'>=/= the aim of stabilizing the ="trms">world to look at it analytically


perceptualism='lgc'>: ='thdf'>the idea that (artists, cultures, etc.) expressions in varying degrees involves the transcription of the ="trms">world “as it appears” to them

Cezanne ='lgc'>='lgc'>==> understanding of the ="trms">world (as processes of becoming) that doesn't possess a ='strcls'>*premade ="trms">integrity='strcls'>* (='lgc'>='lgc'>--> ="trms">world of ="nms">ajayeb is full of premade ="trms">integrities)


reckon ='and'>& calculate
='lgc'>--='not'>✕='lgc'>='lgc'>--> (="ppl">Nietzsche's) formless un="trms">formulable ="trms">world of the chaos of sensation
='lgc'>--='not'>✕='lgc'>='lgc'>--> (Cezanne's) continual emergence and dis="trms">integration of constellations (of ="trms">relationships ='lgc'>+ self)



production (of other kinds) of fixed vision (amid the increasing awareness of the ="trms">transitive and unstable ="trms">nature of perception)='lgc'>:
="lsts lst1">•="trms">modern psychology (late 19th century)='lgc'>: how to incorporate the vagaries and unpre="trms">dictability of subjectivity into a set of constants ='lgc'>='lgc'>--> quantify subjective perceptual experience ='lgc'>[='lgc'><='lgc'>-- ="trms">question of artistic feedback='lgc'>: how to perceptually isolate stimuli='qstn'>? how to temporally control one's exposure='qstn'>?='lgc'>]
="lsts lst1">•tac="trms">histoscope (mid 1880s='lgc'>--search for elemental unit of attentive behavior)='lgc'>: ='thdf'>the idea of instantaneous perception, mechanically producted “="trms">presence” ='lgc'>--="ppl">="ppl">Crary='lgc'>='lgc'>--> fantasy of a descrete quantifiable perception detached from the lives dynamics of the body ='lgc'>+ ='thdf'>the idea that pure nonsense reveals ="trms">specific aspects of attention that hermeneutics could not conceive ='lgc'>{based on naive realism (ignoring the existence of transient iconic ="trms">memory) pre="trms">supposing='lgc'>:
1- the subject's visual experience directly mirrors the stimulus pattern
2- the subject's visual experience begins when the pattern is first exposed and terminates when it is turned off
="lsts lst1">•Muybridge's machine ='lgc'>='lgc'>==> reconstruct appearances through the production of consecutive images
="lsts lst1">•

tac="trms">histoscope (nonconsecutive visual stimuli) ='lgc'>='lgc'>--> how within the context of ="trms">technological ="trms">modernization, faster mechanical speeds are reciprocally related to new bodily forms of stasis (='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="ppl">Virilio)
="lsts lst1">•chronometric device='lgc'>: ="trms">measurement of ="trms">relation time

='lgc'>}='lgc'>='lgc'>--> the break or ="trms">interrupting of vision becomes the primary element within perceptual experience, rather than a visual continuum that maintains the cohesiveness of the ="trms">world

='lgc'>}='lgc'>='lgc'>==> ='strcls'>*possibility of pure sensation without perception='strcls'>*


“mental test”
detailed psychometrics of individual performance and behavior ='lgc'>--preoccupied='lgc'>='lgc'>--> features of a ="trms">generalized consciousness

20th century behaviorism ='lgc'>='lgc'>--> abandonment of ="trms">interest in any ="trms">internal or introspective experience (in favor of ="trms">data resulted from objective external controlled observation)
 ='lgc'>==Cattel='lgc'>='lgc'>==> application of ="trms">systematized knowl="trms"nttrm="knowledge,Knowledge">edge to the control of human ="trms">nature
='lgc'>--="ppl">="ppl">Crary='lgc'>='lgc'>--> ='strcls'>**accommodation of subjective life to machine operations='strcls'>** (='lgc'>+ speeds, temporalities)



new objective ="trms">world='lgc'>: de="trms">composed into autonomous and abstract stimuli (='lgc'>+ machine rythmes that differed dramatically from those of the body) ='lgc'>='lgc'>==> re="trms">positioning of the perceiver (='lgc'>+ motor ="trms"nttrm="already,spread">readiness) ='lgc'>}='lgc'>='lgc'>-->
="lsts lst1">•new patterns of production
="lsts lst1">•="trms">spectacular ="trms">consumption

='strcls'>*machinic ="trms">interface is the body='strcls'>* ='lgc'>='lgc'>==> related temporal shaping of everyday life

computer ='lgc'>='lgc'>==> psychic field of expectant attentiveness ='lgc'><='lgc'>--within='lgc'>-- one inevitably trains one self to maximize the speed of ="trms">response to ="trms">specific commands and functions (and derive at least one satisfaction from these habitual operations of mechanical facility)

='lgc'>}='lgc'><='lgc'>--="ppl">="ppl">Crary='lgc'>-- ="trms">epistemic shift in 20th century to theorise of subjective vision


instantaneity='lgc'>: unproblematic ="trms">presentness of vision

Helmholtz (discovery of slow speed of nerve trans="trms">mission) ='lgc'>='lgc'>==> “="trms">present state” of perception is deployed within a temporally extended physiological set of events


19th century ='lgc'>--="ppl">="ppl">Foucault='lgc'>='lgc'>--> the essence of human life ceased to be something re="trms">presentable in the tabular space of classical re="trms">presentation ='lgc'>=/= human life understood in terms of it's existence in time, of functions and energies that un="trms">folded and developed outside the ='strcls'>**immediacy of classical visibility='strcls'>**


='strcls'>*the conditioned reflex='strcls'>*
a ="trms">chimerical notion of the western ="trms">imagination in the 20th century

reflex (central cerebral process, onset of stimulus ='lgc'>='lgc'>==> preparation of motor ="trms">response)
="lsts lst1">•one of the ways in which attention was ="trms">positioned within knowl="trms"nttrm="knowledge,Knowledge">edge of human behavior
='lgc'>==producing='lgc'>='lgc'>==> new forms of sensory experience outside of (various myth of) organic wholeness of subjectivity (='lgc'>='lgc'>--> distinction between “="trms">natural” ='and'>& “artificial” sensation ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ='mywrk'>my work in WIELS ="trms">bestiary characters='lgc'>: what was individual experience in middle ages='qstn'>?='lgc'>])
="lsts lst1">•practical recon="trms">figuration of behavior ='lgc'>+ possibility of external ="trms">intervention and control
='lgc'>=/= Dewey's (galvanic image of) subject in a perpetual sensory ="trms">interface with the ="trms">world='lgc'> = un="trms">interrupted mass motion ='lgc'>='lgc'>--> unity of activity ='lgc'>='lgc'>-->='lgc'>{='strcls'>*continuity='strcls'>* ='lgc'>==sustain='lgc'>='lgc'>==> an ideal of unity and wholeness ='lgc'>=/= dis="trms">integration of individual experience, ='strcls'>*disconnected ="trms">nature of reality='strcls'>*='lgc'>}

(domain of experience in ="trms"nttrm="disturban">urban capita="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list life="trms">world='lgc'>:)
="lsts lst1">•industrial production
="lsts lst1">•="trms">spectacular condonation
="lsts lst1">•="trms">technological ="trms">modernization
="lsts lst1">•rational, ="trms">social, managerial control

(apperceptive experience of) anticipation, ="trms">memory, and preparation for future actions

(halfway ="trms">modernist Dewey didn't consider) breaks in perception might also have the capacity for ='strcls'>*revivifying or expanding the limits of thought or cognitive awareness='strcls'>* ='lgc'>[='lgc'><='lgc'>-- and today 2020 many don't consider our contemporary media culture has this capacity='lgc'>]
='lgc'>='lgc'>--> what if our fragmented ="trms">nature is one of the forms the discontinuous ="trms">nature of reality can be apprehended='qstn'>?

celestial camera obscura

Dewey was deeply ="trms">interested in practical ways of mind-body unity
rhythm, eurhythmy
alexander ="trms">technique


unwavering model of pure contemplation
“pure knowing subject='lgc'> = forget your own personality, lose oneself in perception"='lgc'> = clear eye of the ="trms">world (="ppl">Schopenhauerian model of knowing in Doctor Strange movie, seeing the ="trms">world directly and leave entirely one's own ="trms">interests, the pre="trms">modern idea of ='strcls'>*perception='lgc'> = ="trms">presence='strcls'>*)



="ppl">Bergson (='lgc'>+ Cezanne) ='lgc'>='lgc'>--> deepest forms of perception are mixed and com="trms">posite

(in ="trms">Matter and ="trms">Memory) ="ppl">Bergson='lgc'>: establish a model of perception ='lgc'>=/= ="trms">routinized and reified forms of perceptual experience within western ="trms"nttrm="disturban">urban and ="trms">scientific culture of the late 19th century

='lgc'>[='strcls'>*='lgc'>]externality='lgc'> = dream of inhuman immediacy='lgc'>: a vision of ="trms">matter both immediate and instantaneous
='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to Lucy movie primordial and fundamental act of perception

="ppl">Bergson (='lgc'>+ Dewey's ideal of coordination)
(the role of the) ='strcls'>*body='lgc'>: reproduce in action the life of the mind='strcls'>*
(the role of the) ='strcls'>*mind='lgc'>: hindering the thought from being lost in dream, an organ of ‘attention to life’
='lgc'>='lgc'>--> how ="trms">memory and perception ="trms">interpret each other
='strcls'>*="trms">memory coincides (diverge, ="trms">intersect) with the “="trms">present” perception='strcls'>*
='lgc'>{ ='lgc'>[='strcls'>*='lgc'>]determine='lgc'>: the more habitual and repetitive one's perceptual ="trms">response to one's environment ='lgc'>='lgc'>==> the less autonomy and freedom characterize that individual experience ='lgc'>}='lgc'>='lgc'>--> creativity='lgc'> = (zone of) indetermination

='lgc'>--again='lgc'>='lgc'>--> ="ppl">Bergson (disturbed by new arrangement of ="trms">spectacular ="trms">consumption posed as novelty within a mass ="trms">society ='lgc'>='lgc'>==> redundancy and habit ='lgc'>+ decay of traditional forms of collective ="trms">memory) his work is a ="trms">response to='lgc'>:
="lsts lst1">•general standardization of experience
="lsts lst1">•automation of perceptual ="trms">response
(='lgc'><='lgc'>--="frds">Sina='lgc'>-- typical problem of life-philosophers lebensphilosophie at the turn of the century reaction to the “intrusion of the mechanical”)

='strcls'>*preconditions of a free and autonomous subject='strcls'>* ='lgc'>+ ='strcls'>*end="trms"nttrm="danger,stranger">angered (coherent) ="trms">system of meaning='strcls'>*

(weak evolutionary assumptions of ="ppl">Bergson's elaboration of) human subject (= the most developed organism)='lgc'> = potential (for indetermination)='lgc'> = escape from a ="trms">relationship of constraint and necessity in one's lived milieu ='lgc'>[='lgc'>=/= ="trms">animal='lgc'>]


Helmholtz (research on physiological optics) ='lgc'>='lgc'>==> غیر واقعی nonveridical status of vision (and perception) ='lgc'>='lgc'>~= there is no direct cor="trms">respondence between sense experience and objects in the ="trms">world ='lgc'>='lgc'>==>
="lsts lst1">•uprooting='lgc'>: rationalization and ="trms">instrumentalization of senses (='lgc'>='lgc'>--> ="trms">technical prostheses)
="lsts lst1">•displacing='lgc'>: reterritorializing of perception

Helmholtz (='lgc'>='lgc'>~/= ="ppl">Bergson) committed to expanding and optimizing the productive functioning of ="trms">socioeconomic ="trms">world (of imperial Germany) ='lgc'>='lgc'>--> vision of capita="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list industrialization (exchangeability, convertibility, etc.)

Helmholtz's ="trms">ontology ='lgc'>='lgc'>--> physics
Helmholtz's ="trms">epistemology ='lgc'>='lgc'>--> ="trms">semiotics='lgc'>: re="trms">presentational and quasilogical order of signs


(Helmholtz ='lgc'>+) ="ppl">Bergson's attention='lgc'>:
="lstsrd">1. condition of relative motor arrest (Ribot)
="lstsrd">2. gives up the useful effect of ="trms">present perception
="lstsrd">3. backward movement of the mind

="ppl">Bergson's attention='lgc'>: a binding together of reality to ward off both perceptual and psychic dis="trms">integration


endosmosis='lgc'>: process of remaking an object of perception

="ppl">Deleuze's attention='lgc'>: gives back to duration its true characteristic... a very special coexistence (='lgc'>=/= succession), a ="trms">simultaneity of fluxes, in which the body was always implicated ='lgc'>='lgc'>--> “freedom='lgc'> = awareness of that coexistence”,


“reality function”
(psychic='lgc'>+) sensorimotor grounding in the reality

in early 20th century ='lgc'>='lgc'>--> clinic designation of a condition called “the feeling of unreality” ='lgc'>: fai="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure of an apperceptive attention ='lgc'>: when ="trms">present impressions do not link up with ="trms">memory as="trms">sociation ='lgc'>='lgc'>==> sense of unfamiliarity of the ="trms">present objects


='strcls'>*(inconsistent and ="trms">anxious treatment of) ="ppl">Bergson sketching out the marvels of a multidimensional perception='strcls'>* (capable of apprehending and creativity engaging the immanence of the ="trms">past and ="trms">present) ='lgc'><='lgc'>-- fantast of artistic research
='lgc'>='lgc'>---="ppl">="ppl">Crary='lgc'>='lgc'>--> for ="ppl">Bergson attention is one that does not waver, oscillate, or drift in and out of focus ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="ppl">Avital ="trms">drug='lgc'>] ='lgc'>='lgc'>--> his privileging of fusion, ="trms">interpenetration, and continuity does not apply to borderline states='lgc'>: insanity, dreaming, etc. piercing forms of nonspatialized experiences='lgc'>: dreamwork, trance, forms of hypnagogic visions (='lgc'>='lgc'>==> powerful penetration of the ="trms">present by ="trms">memory)

="ppl">Bergson's indetermination='lgc'>: a human attentive concentration, an abortion that would never lose its conscious connection to the willed activity of the body (='lgc'><='lgc'>-- fantasy of wakeful critical subject) ='lgc'>=/= (="ppl">="ppl">Crary's well argued) indetermination encompassing fluctuations in and out of trancelike states in which disas="trms">sociated ="trms">phenomenal might occur


="ppl">Bergson's work is typical of his period ='lgc'>='lgc'>--> ='strcls'>***great fear of perceptual behavior that is either passive or automatic='strcls'>***
='lgc'>}='lgc'>--="trms">historically='lgc'>='lgc'>--> construction of various forms of automatic perception in cinema, recorded sound, and other ="trms">technological attachments ='lgc'>='lgc'>==> ='thdf'>the idea of ='strcls'>**premade images ="trms">consumed passively='strcls'>** (...depreciation of experience when individual ="trms">memory images are stiffened into ="trms"nttrm="already,spread">ready-made things)

(for ="ppl">Bergson, Janet, ="frds scrmbld">Foad, and many others='lgc'>:) automatic behavior ='lgc'>='lgc'>==> dissolution of ego boundaries (in which the individual will cease to exert itself), contraction of personality, scattering of the self

drift
reverie
trance
dream

='strcls'>**="ppl">Bergson's work='lgc'> = re="trms">fashioning of the ="ppl">Rousseauian conviction of the truth and authenticity of (inner) subjective experience, without grasping how that experience is determined by forces external to the subject='strcls'>**
='lgc'>--trying='lgc'>='lgc'>--> to overcome the degradation and devaluation of experience within a ="trms">modernizing culture founded on amnesia and obsolescence='lgc'> = collaptof auratic perception

='lgc'>--="ppl">="ppl">Crary='lgc'>='lgc'>--> ="ppl">Bergson and others could not see the ways in which ='strcls'>*****capitalism itself was a nonfixable duree, a nonre="trms">presentable variation ='lgc'>='lgc'>==> an endless chain of dislocations and destabilizations ='lgc'>='lgc'>==> its own virtual realm of novelty='strcls'>*****

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(Cezanne and ="frds">Sina's attraction to) rock motifs
various spl="trms">intering and dispersal of rocks
="trms">intermingled with ruins of man-made stone structure
(rock's) precarious status as object

rock='lgc'> = (incarnated) resistance to drift and entropy ='lgc'>:
forces of gravity
geological erosion
inexorable dis="trms">integration of substance
...


(='qstn'>?like many artists i am looking for incarnations too, for) procedures of binding ='lgc'>: transformed re="trms">presentational logic
='strcls'>*operation of fixing, of fastening, within a ="trms">world in which ="trms">position no longer has its former meanings='strcls'>*

="trms">interpretation of tentatively scenic spaces

(BOZAR ="nms">Tehran tree project)
="lsts lst1">•flickering screen of sky and trees
="lsts lst1">•one stone lies nested or w="trms"nttrm="knowledge,Knowledge">edged within the embrace of another element
='lgc'>='lgc'>--> (logic of the ='lgc'>[phantom='lgc'>]) limbs

="trms">eroticized enclosure (seek to grasp and be grasped) ='lgc'>--becomes='lgc'>='lgc'>--> diagram of perception (seek to envelope and be enveloped)

Cezanne's discovery='lgc'>: any attempt to stabilize perception ='lgc'>='lgc'>==> dis="trms">integration and transformation

="lsts lst1">•Cezanne ='lgc'>='lgc'>--> dispersed perceptual processes
="lsts lst1">•="ppl">Freud ='lgc'>='lgc'>--> dispersed psychic processes ='lgc'>{perception='lgc'> = ="trms">interface of the nervous ="trms">system with the ="trms">world <='lgc'>=='lgc'>~ ="trms">interface between consciousness and the stored stimuli of wishes, ="trms">memories, anticipations='lgc'>}

(mid 1890s) ="ppl">Bergson ='lgc'>+ ="ppl">Freud ='lgc'>='lgc'>==> sustained and o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal consideration of the anti-optical functioning of subjectivity perceptual experience as a nondirectional, acentric, multitemporal event
='lgc'>='lgc'>--> empathic decentering of the observer
='lgc'>+ (widesp="trms"nttrm="already,spread">read) practical and discursive remaking of the observer as subject, vision is no longer a distinct and isolable ="trms">phenomenon


="ppl">Freud ='lgc'>='lgc'>--> psyche='lgc'> = a perpetually available innocence ='lgc'>+ in="trms">finite reserve of traces
='strcls'>*perception arouse ="trms">interest on the account of their possible connection with the object wished for='strcls'>* ='lgc'>: ‘perception='lgc'> = ="trms">question of ="trms">internal ex="trms">citation’

Cezanne ='lgc'>--(in Pineapple and Rocks)='lgc'>='lgc'>--> coexistence (continuity) of='lgc'>:
="lsts lst1">•an attentiveness that is bound (cathected) ="trms">onto established (facilitated) patterns ='lgc'>[= one's own ="trms">history ='lgc'>+ its fixation='lgc'>]
="lsts lst1">•a perception of ="trms">animality and novelty ='lgc'>[= relaxation of grip, musical, (="ppl">Deleuze and ="ppl">Guattari's) ='strcls'>*anti="trms">memory='strcls'>* ='lgc'>=/= atemporal forgetting='lgc'>]


vertigo='lgc'>: auto-movement of chaos

“Cezanne's work='lgc'> = model of a nonhuman perception” ='lgc'>: (="trms"nttrm="already,spread">reading of Cezanne as) austere project of formal ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigor, performed on some remote plane of ="trms">aesthetic production; an enterprise tragically detached from an engagement with the ="trms">social contra="trms">diction of his time ='lgc'>=/= (="ppl">="ppl">Crary's ="trms"nttrm="already,spread">reading of) Cezanne coinciding ="trms">historically with new perceptual ="trms">technologies ='lgc'>='lgc'>--> new ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphoric possibilities

accumulated experience ='lgc'>--basis='lgc'>='lgc'>--> radical depersonalization ='lgc'>--intuit='lgc'>='lgc'>--> creative forces of chaos (in your own provence)

='strcls'>**Cezanne's ="trms">imaginative re="trms">figuration of himself as machine='lgc'> = ="trms">translate automatically='strcls'>** ='lgc'>='lgc'>==> release from grounded condition of human perception ='lgc'>: to become an ="trms">apparatus='lgc'> = implacability apprehend a ="trms">world outside of the terms (that the artist wants out) ='lgc'>='lgc'>==> novelty (='lgc'>='lgc'>~= to overcome the gravity of one's own ="trms">interiority) ='lgc'>--Cezanne='lgc'>='lgc'>--> primordial image (of irreducible formlessness, of ='strcls'>***="trms">world in process without horizon='strcls'>***, without ="trms">position, of slowly vibrating colors...) ='lgc'>[='lgc'><='lgc'>-- ='strcls'>*="trms">apparatus becoming='strcls'>* is now the cliche of contemporary artist='lgc'>]

glow of a geological dawn
archaic ='lgc'>+ inert
Precambrian
deterritorializing processes of capitalism (='lgc'>+ its imperatives of perpetual renovation) ='lgc'>='lgc'>--> (its compatible) uprooted nonorientable subject

="trms">nature experienced as vibrations, animations, chromatic re="trms">verberation (='lgc'>+ seeking a “logic” to clarify its un="trms">folding)

hideous sign of progress (for Cezanne='lgc'>: electric light, cinema, )

artistic ="trms">modernism ='lgc'><='lgc'>==="ppl">Adorno='lgc'>== (the fact that) the most advanced procedures of ="trms">material production and organization are not limited to the sphere in which they o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginate (='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to incarnation)

demotivated subjectivity
wants something that is neither optical nor mechanical nor intellectual ='lgc'>='lgc'>==> substitute a mode of consciousness that is predominantly intuitive ='lgc'>: the awareness of touch


="trms">historical adjacency (='lgc'><='lgc'>-- ="ppl">="ppl">Crary's knowl="trms"nttrm="knowledge,Knowledge">edge ="trms">zoom)

='strcls'>*late work of Cezanne (in spite of apparent ="trms">social isolation of its production)='lgc'> = a site where ="trms">modernization of subject occurs (of late 19th century)='strcls'>* ='lgc'>='lgc'>--> dynamization of perception (occurring in many ="trms">different domains around the year 1900 ='lgc'>--introducing='lgc'>='lgc'>--> new ="trms">techniques of vision)

Cezanne ='lgc'>=/= contemplative distance
Cezanne ='lgc'>=/= perceptual autonomy
Cezanne='lgc'> = nervous ="trms">system ="trms">interfacing with (a continually transforming) external environment
Cezanne='lgc'> = an ='thdf'>example of a contemporary conceptualization of reality (as a dynamic aggregate of sensations)

='lgc'>='lgc'>--> emerging industries of ="trms">spectacle


(fundamentally distinct) machinic visual ="trms">technologies ='lgc'>--="ppl">Deleuze='lgc'>='lgc'>--> cinema ='lgc'>=/= previous ="trms">historical forms of simulation (some continuous western mode of re="trms">presentation, with its o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigins in Renaissance), re="trms">present the ="trms">world
cinema ='lgc'>--constitutes='lgc'>='lgc'>--> ='strcls'>*an autonomous ="trms">world='strcls'>* made up of breaks and disproportions, deprived of all centers, addressing itself as such to viewers who are in themselves no longer the center of their own perception

percipiens
percipi

nonselectivity of cinema eye ='lgc'>=/= texture of human attentiveness

cinema='lgc'> = fusion='lgc'> = dream of the functional ="trms">integrity of the ="trms">world

film='lgc'> = validation of the authenticity of the perceptual disorientation

='lgc'>}='lgc'>--='not'>✕='lgc'>='lgc'>--> ="ppl">="ppl">Crary's analysis of Edison's train robbery s="trms">cene ='lgc'>: serial recon="trms">figuration of a kinesthetic constellation of moving forces (='lgc'>+ additional ="trms">system of movements and forces='lgc'>: bodies, bullets, explosion) ='lgc'>=/= ="trms">question of mobile point of view

Cezanne ='lgc'><='lgc'>='lgc'>--> cinema camera ='lgc'>--Dziga='lgc'>='lgc'>-->
i am a mechanical eye
i, a machine, show you the ="trms">world as only i can see it
now and forever, i free myself from human immobility
i am in constant motion, i draw near, then far away objects, i crawl under, i climb ="trms">onto them... i plug and soar together with plunging and soaring bodies
now, i, a camera, fling myself along their resultant maneuvering in the chaos of movement, recording movement, starting with movement of the most complex combinations


Sherrington ='lgc'>='lgc'>--> stimuli in the external ="trms">world are selected and ="trms">fashioned by the organism
='lgc'>=/= Pav="trms">lov='lgc'>: stimuli='lgc'> = alien shocks encountered and ="trms">responded to
='lgc'>=/= ="ppl">Cartesian res extensa, res cogitans
“the great physical process of attention”
inhibition='lgc'>: an active process
anticipatory behavior
exploratory locomotor behavior
“="trms">integrative function” of nervous ="trms">system ='lgc'>='lgc'>==> binding
(="trms">integrative='lgc'>: incorporation of the exterior ="trms">world)
“human perception='lgc'> = possibility of motor activity”

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Cezanne sitting in ="trms">nature and studying motif, tilting his head ='lgc'>='lgc'>~='lgc'>-> intensity un="trms">folding chromatically before him (a mode of physical being) ='lgc'>='lgc'>--> ='strcls'>*time of the body='strcls'>* ='lgc'>[='lgc'><='lgc'>-- this is typical of today art in european='lgc'>]='lgc'> = inde="trms">finite scalar time ='lgc'>+ intensity is experienced outside re="trms">presentation
="lsts lst1">•river stands for his engagement with a more primal flux
="lsts lst1">•sustained condition of vibrating instability
="lsts lst1">•apprehension of multiplicity
="lsts lst1">•="trms">world='lgc'> = turn of a kaleidoscope (prismatic)
="lsts lst1">•(when you look at a) landscape has its own weird anima, it changes like a living ="trms">animal under our gaze (='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to machine dreaming image learning 2020)
="lsts lst1">•to make yourself into a ="trms">responsible productive organ
='lgc'>='lgc'>--> ='strcls'>**incarnation of a contradictory enterprise of self-transformation, self-renewal='strcls'>** ='lgc'><='lgc'>-- (Cezanne's retrospective fulfilment of a tradition from which he could not fully acknowl="trms"nttrm="knowledge,Knowledge">edge his own decisive departure)

...your intuition on the ="trms"nttrm="knowledge,Knowledge">edge of the river


Cezanne='lgc'> = re="trms">formulation of ="trms">natural ="trms">world ='lgc'>+ broken hope of ="trms">community (='lgc'>='lgc'>~= intimacy ='lgc'>='lgc'>--> ="ppl">Rousseau's mode of attention contemplation='lgc'>: “thought ='lgc'>=/= reverie” ='lgc'>: the more sensitive the soul of the observer, the greater the ecstasy aroused in him. deep and delightful reverie ='lgc'>: a state of blissful self-abandonment)
='lgc'>='lgc'>--> novelty of a smooth unorganized perceptual space
='lgc'>--="ppl">="ppl">Crary='lgc'>='lgc'>--> ='thdf'>example of the non="trms">synchronous character of ="trms">modernism (='lgc'>~ coexistence of realities from radically ="trms">different moments of ="trms">history) ='lgc'>[='lgc'><='lgc'>-- is my ="trms">bestiary research on the same p="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lural ="trms">historical ="trms">positioning='qstn'>?='lgc'>]
="lsts lst1">•termination of a romantic visionary tradition

(in the West) ='lgc'>[='strcls'>*='lgc'>]image='lgc'>: decentered chrono-iconography, automatic self-movement

rise of cinema='lgc'>: body-machine assemblage ='lgc'>--="ppl">Deleuze='lgc'>='lgc'>--> new paradigm of ='strcls'>*psycho-mechanics='strcls'>* ='lgc'>~ cinema is capable of touching the cerebral ="trms">system directly ='lgc'>='lgc'>==>
="lsts lst1">•experimental forms of life='lgc'> = freedom (affirmative model of automatic behavior ='lgc'>='lgc'>--> thought functions at a higher level with an arsenal of syntactic perceptual conceptual tools)
="lsts lst1">•management of attention (model of passive automatism)

(from) dreamer ='lgc'>--to='lgc'>='lgc'>--> ="trms">somnambu="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list ='lgc'>--to='lgc'>='lgc'>--> hypnosis ='lgc'>--to='lgc'>='lgc'>--> sug="trms">gestion ='lgc'>--to='lgc'>='lgc'>--> ="trms">hallucination ='lgc'>--to='lgc'>='lgc'>--> obsession

="ppl">Deleuze ='lgc'>+ ="ppl">Benjamin ='lgc'>+ ="ppl">Virilio
='thdf'>the idea of ='strcls'>*art of automatic movement coincide with fascism='strcls'>*
='at'>@="frds scrmbld">Pierre, pass, ="frds scrmbld">Foad

scopophilia='lgc'>: a forced ecstatic abjection before the image
='lgc'>=/= mastery

='lgc'>[='strcls'>*='lgc'>]="trms">spectacle='lgc'>: (="trms">spectacular culture) attention would be made attentive to everything but itself

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“my experience is what i aggree to attend to” (James) ='lgc'>='lgc'>~= affirmation of an autonomous self-choosing ="trms">world-creating subject liberated from the receptive status of a subject for whom experience was “the mere ="trms">presence to the senses of an outward order”) ='lgc'>--="ppl">="ppl">Crary='lgc'>='lgc'>--> ="trms">historical crisis in the ="trms">nature of experience='lgc'>: ='strcls'>*attention='lgc'> = simulation of ='lgc'>+ compensation for a ="trms">chimerical real experience='strcls'>*

(in my text ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging demons ='lgc'>='lgc'>--> reconciliation of='lgc'>:)
="lsts lst1">•individual attentiveness to the fringes, ="trms">transitions, pulses of one's own particular “pure experience”
="lsts lst1">•“experience” as immersion in the tangled ="trms">density of a shared ="trms">mutually inhabited ="trms">world

James's conception of selfhood='lgc'>: private property (='lgc'>--in='lgc'>='lgc'>--> Tasavof='lgc'>: the most radical of all possible alienation and disconnection) ='lgc'>--Lentricchia='lgc'>='lgc'>--> deployed to preserve a human space of freedom ="trms">interiorized from the vicis="trms">situdes and coercions of the ="trms">marketplace

='strcls'>**="trms">modern attention='strcls'>** ='lgc'>+ individual evasion of ="trms">memory (and ="trms">history) ='lgc'>='lgc'>--> habitual ='and'>& commodified ='lgc'>: an ="trms">imaginary deletion of all that is unbearable in collective and individual experience

in Corridor Crew the perceptual selectivity of the ="trms">CG hackers sustains efficiency of animation tools ='lgc'>+ tangled ="trms">social and psychic machinery of ="trms">sublimation


(='qstn'>?do i have) agoraphobia ='lgc'>='lgc'>--> ="ppl">Simmel


(destructive transformation of) ='strcls'>*="trms">modernization always preserve and carry over non="trms">synchronous components of ="trms">past moments='strcls'>*
="ppl">="ppl">Crary, Lefebvre

="nms">Piranesi's etching of Rone='lgc'> = foctive and atmospheric prison
="ppl">Freud's description of piazza='lgc'>: patchwork texture of screens and flashing signs (formless field of attraction ='at'>@="frds scrmbld">Foad, ="frds">Sina; multidimensional field of stimuli, ="trms"nttrm="disturban">urban space='lgc'>: “a theater of ="trms">memory and a theater of prophecy”) ='lgc'>=/= ="nms">Piranesian dissolution of the axial city (organized views around a coherent even if mobile subjective orientation)

="ppl">Freud's ="trms">technique of attention='lgc'>: gleichschwebende Aufmerksamkeit
‘evenly suspended attention’ (giving equal notice to everything, everything in low-level focus without the risk of ="trms">schizophrenic overload) ='lgc'>--define='lgc'>='lgc'>--> ='strcls'>**a state of receptivity in the analyst that eill be commensurate with the spoken free as="trms">sociation of the patient='strcls'>** ='lgc'>='lgc'>--> dealing with a stream of information that has no evident structure or coherence ='lgc'>+ extracting from that disjunct texture (artwork, chaotic syntax of dreams, indecipherable ="trms">present,) some ="trms">interpretive clarity (feedback)

="ppl">Freud ='lgc'>+ Cezzaine ='lgc'>='lgc'>--> design a countermodel of attentiveness that surmounts an ='strcls'>***inhibition of the peripheral='strcls'>*** (='lgc'>=/= notion of selection ='lgc'>='lgc'>='lgc'>~=> finding out what one al="trms"nttrm="already,spread">ready knows)

='strcls'>****diffuse attention ='lgc'>=/= critical attention='strcls'>**** (a faculty in which the observer is led to reject some of the ideas that occur to him after perceiving them)


(at the turn of the century) experience='lgc'>: compulsory ="trms">consumption of information


(from) the experience of deindividualtion (in piazza) ='lgc'>--to='lgc'>='lgc'>--> a more controllable form of loneliness (bedroom)


='lgc'>[this='lgc'>] p="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lural hybrid space of Roman square (="ppl">="ppl">Crary on ="ppl">Freud's re="trms">presentation) ='lgc'>='lgc'>~= a ="trms">spectacle ="trms">society ='lgc'>: a patchwork of fluctuating effects in which individuals and groups continually reconstitute themselves (either creativity or reactively) ='lgc'>=/= (="ppl">Guy ="ppl">Debord's) seamless regime of separation, ominous collective mobilization

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="ppl">Deleuze and ="ppl">Guattari's Varuna and Mitra ='lgc'>='lgc'>--> lacking a mythology of conflict (='lgc'>=/= ="ppl">Singh's analysis)
forming a milieu of ="trms">interiority ='lgc'>='lgc'>--> double ="trms">articulation that makes the State ="trms">apparatus into a stratum

State's operates by='lgc'>:
="lsts lst1">•seizes (immediate, magical capture)
="lsts lst1">•binds (preventing all combat ='lgc'>='lgc'>--> pre="trms">supposing a juridical ="trms">integration of war)

“chess (pieces are ="trms">coded)='lgc'> = a game of State”
chess='lgc'>: an institutionalized, regulated, ="trms">coded war, pure strategy ='lgc'>=/= Go='lgc'>: pure ="trms">semiology
(what is game's form of ="trms">interiority)

nonsubjectified machine assemblage

...returning from the outside with that inconceivable thing, an army

magical-despotic State (='at'>@="frds scrmbld">Eszter)


Genghis ="ppl">Khan didn't understand the ="trms">phenomenon of the city ='lgc'>='lgc'>--> war machine='lgc'>: a pure form of exteriority

magic violence
military institution

="ppl">Deleuze and ="ppl">Guattari='lgc'>: State has no war machine of its own; it can only appropriate one in the form of a military institution

machine='lgc'>: ="trms">ontology of production

State thinkers='lgc'>:
="lsts lst1">•="ppl">Goethe
="lsts lst1">•="ppl">Hegel
="lsts lst1">•="ppl">Euclid (finding a foundation for the enterprise) ='lgc'>='lgc'>--> logos='lgc'>: the law over the nomos (from Proto-Indo-European nem-='lgc'>: distribute)='lgc'>='lgc'>-->='lgc'>{="ppl">Euclidian space='lgc'>: a sufficient number of dimensions, by which one reintroduces parallelism between two vectors, treating multiplicity as though it were immersed in this homogeneous and striated space of reproduction='lgc'>}
="lsts lst1">•Archimedes (an operative projective descriptive ="trms">geometry)
="lsts lst1">•Durkheim ='lgc'>='lgc'>--> to give the republic a secular model of thought
="lsts lst1">•
="lsts lst1">•

political ="trms">differentiation ='lgc'>='lgc'>==> State ='lgc'>='lgc'>~= distinct organs of power (='lgc'>=/= chief رئیس قبیله) ='lgc'>==!='qstn'>?='lgc'>='lgc'>==> economic development

(="frds scrmbld">Laura='lgc'>:) keep the ="trms">social body from crystallizing ='lgc'>=/= (concern of the State='lgc'>:) to conserve

='lgc'>[='strcls'>*='lgc'>]war='lgc'>: a mode of a ="trms">social state that wards off and prevents the State; that which limits exchange, maintains them in the framework of alliances ='lgc'>='lgc'>--> (critical ="trms">epistemologies='lgc'>:) ='strcls'>*war replaces “exchange” with “alliances”='strcls'>*

='lgc'>[sometimes leadership='lgc'>] inhibits the installation of stable powers, in favor of a fabric of immanent ="trms">relations (='lgc'>='lgc'>--> could we say that about ="nms">Iran today='qstn'>?)

diffusion of prestige

(="ppl">Deleuze and ="ppl">Guattari='lgc'>:)
types/organs that center around organs of power='lgc'>:
="lsts lst1">•rhizome
="lsts lst1">•='lgc'>=/= aborescent
family (aborescent type that centers around organs of power ='lgc'>--structuring='lgc'>='lgc'>--> centralized ="trms">societies) ='lgc'>=/= pack (bands, rhizome)

State ='lgc'>=/= perpetual blackmail by abandonment or betrayal (='lgc'>='lgc'>--> ="nms">Iran)
='lgc'>='lgc'>==>='lgc'>{
="lsts lst1">•large-scale projects
="lsts lst1">•constitution of surpluses
="lsts lst1">•organization of the cor="trms">responding public functions
="lsts lst1">•on-the-spot emergence (='lgc'>='lgc'>--> kinda magical, and ="trms">monstrous, miraculous)

war machine='lgc'>: a counter-State mechanism
realized completely in='lgc'>: the “barbaric” assemblages of nomadic warriors (='lgc'>=/= “savages” assemblages of primitive ="trms">societies)
="prgrph">-problem='lgc'>: it cannot relay

="ppl">Deleuze and ="ppl">Guattari ask='lgc'>: so, why did the State triumph='qstn'>?

the ="trms">fable of Urstaat='lgc'>: the State clearly dates back to the most remote ages of humanity

law of the State ='lgc'>='lgc'>--> ="trms">interior and exterior, Sovereignty only reigns over what it is capable of ="trms">internalizing, of appropriating locally
='lgc'>=/= the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rights of segmentary ="trms">societies

="large lg122" stl="font-size:132%"> _='lgc'>~='strcls'>*neoprimitivism='strcls'>*='lgc'>~_

poly="trms">morphous war machine

commercial circuit...
="trms">religious creation...



(="ppl">Deleuze and ="ppl">Guattari's) space='lgc'>:
='strcls'>*smooth='lgc'>:
="lsts lst1">•vectorial ↗️⤴️↘️↞
="lsts lst1">•projective 📹
="lsts lst1">•topological 🐍 (='lgc'>=/= ="trms">geometrical)
="lsts lst1">•
='lgc'>='lgc'>--> ='strcls'>*space is occupied without being counted='strcls'>*
='lgc'>=/=
='strcls'>*striated='lgc'>:
="lsts lst1">•metric -|-|-|-|-
="prgrph">-
='lgc'>='lgc'>--> ='strcls'>*space of counted without being occupied='strcls'>*



“minor ="trms">science” (in which, model are='lgc'>:)
="lstsrd">1. hydraulic ='lgc'>=/= hylo="trms">morphic
="lstsrd">2. of becoming and heterogeneity
="lstsrd">3. goes from a curvilinear declination to the formation of spirals and vortices on an inclined plane (='lgc'>=/= from straight line to its parallels) ='lgc'>='lgc'>--> vortical
="lstsrd">4. ='strcls'>*****problematic(='lgc'>='lgc'>==> event ='lgc'>--to go from a problem to the accidents that both condition and resolve it ='lgc'>='lgc'>==> ='lgc'>[all kinds of='lgc'>] deformations, transmutations, passages to the limit, each figure designates an “event”) ='lgc'>=/= theorematic(='lgc'>='lgc'>==> essence ='lgc'>--theorematic='lgc'>: to go by ="trms">specific ="trms">differences from a genus to its ="trms">species, or by deduction from a stable essence to the properties deriving from it) ='lgc'>[='lgc'>='lgc'>--> make your model problematic, not affirmed by theoretical bullshit! ='lgc'>='lgc'>--> my performances are about trying to find a way of not being theorematic while doing theory='lgc'>]='strcls'>***** (and they say ‘problematic’ the problem it is not an “obstacle”)
='lgc'>=/= “royal ="trms">science”='lgc'>: reducing the “problem-element” and subordinate it to the “theorem-element.” State needs to subordinate hydraulic force ='lgc'>='lgc'>==> prevent turbulence (='lgc'>--='not'>✕='lgc'>='lgc'>--> Middle East ='lgc'>=='qstn'>? distributed turbulence across a smooth space ='lgc'>[='lgc'><='lgc'>-- fucked up='lgc'>], ='lgc'>[in smooth space:='lgc'>] vortical movement that can rise up at any point)
="lsts lst1">•civil
="lsts lst1">•static
="lsts lst1">•ordinal
/="trms">matter ='lgc'>--assigned-to='lgc'>='lgc'>--> content
/form ='lgc'>--assigned-to='lgc'>='lgc'>--> expression
='lgc'>='lgc'>~= hylo="trms">morphic='lgc'>: implying both a form that organizes ="trms">matter and a ="trms">matter prepared for the form (='lgc'>=/= hydraulic) ='lgc'><='lgc'>== ='strcls'>*a ="trms">society divided into governors and governed='strcls'>*
='lgc'>='lgc'>--> State ="trms">science (appropriates and transforms the elements of='lgc'>:)
='lgc'>=/= “nomadic ="trms">science” (Homeland TV series sug="trms">gesting US government is a nomadic ="trms">science='lgc'>: viewpoint of ="trms">affections ='lgc'>+ nomadic operation of rogue CIA operatives ='lgc'>+ presidential decentralized power dynamic)
="lsts lst1">•becoming
="lsts lst1">•heterogeneity
="lsts lst1">•in="trms">finitesimal
="lsts lst1">•passage
='lgc'>='lgc'>--> in tune with the connection between content and expression, ='strcls'>***essentially laden with singularities='strcls'>*** (='lgc'>='lgc'>--> my ="trms">lectures='qstn'>? an art, a ="trms">technique, a ="trms">science ='lgc'>: following the connections between singularities of ="trms">matter and traits of expression, they seize or determine singularities in the ="trms">matter ='lgc'>=/= constituting a general form)
='lgc'>=/= ='strcls'>*chaotic ="trms">science='strcls'>* (='lgc'>='lgc'>--> what kind of figure of engineer='qstn'>? ='at'>@="frds">Sina)

='strcls'>*the problemata='strcls'>* ='lgc'>='lgc'>--> vortices ='and'>& projections ='lgc'>[='lgc'>='lgc'>~='lgc'>~='qstn'>?='lgc'>='lgc'>--> chaotic ="trms">imagination='lgc'>]
(projected into an abstract knowl="trms"nttrm="knowledge,Knowledge">edge ='lgc'>--='qstn'>?='lgc'>='lgc'>--> mapping knowl="trms"nttrm="knowledge,Knowledge">edges)

State ="trms">science ='lgc'>='lgc'>--> ="ppl">="ppl">Star Trek
imposes its form of Sovereignty on the inventinos of nomad ="trms">sciencet

to administrate projections ='lgc'>='lgc'>--> submit (war machine) to civil and metric rules that strictly limit, control, localize (nomad ="trms">science)

“rhythm ='lgc'>=/= turbulence”


cursing of a river='strcls'>*


="large lg126" stl="font-size:116%"> Gothic conquered a smooth space ='lgc'>='lgc'>--> the cutting of the stone (='lgc'>=/=='qstn'>? digital) ='lgc'>+ ‘plane of projection’='lgc'>: a plane limit, a series of successive approximations or placings-in-variations
='lgc'>=/= Romanesque remained striated space ='lgc'>='lgc'>--> vault depends on the juxta="trms">position of parallel pillars


='lgc'>--D='lgc'>+G='lgc'>='lgc'>--> ='strcls'>***one does not re="trms">present, one engenders and ="trms">traverses='strcls'>***
='lgc'>[='strcls'>*to engender='lgc'>: give you a baby from behind. ='strcls'>*to ="trms">traverse='lgc'>: zigzagging='lgc'>]
='lgc'>--democracy='lgc'>='lgc'>--> one re="trms">presents visually
='lgc'>--="frds">Sina='lgc'>='lgc'>--> one sug="trms">gests chaotically


roadways (well-centralized administration) ='lgc'>=/= bridges (active, dynamic, collective experimentation)

lobby='lgc'>: a group with fluid c="trms">ontours, whose ="trms">position is very ambiguous in ="trms">relation to the State it wishes to influence

(for Ibn Khaldun='lgc'>:) war machine='lgc'>: families or lineages ='lgc'>+ esprit de corps

pouvoir (monopoly of an organic power) ='lgc'>=/= puissance (a vortical body in a nomad space)

(to address the) vague='lgc'> = vagabond, nomadic, ="trms">morphological essences (='lgc'>=/= ideal, royal, imperial essences)='lgc'> = haecceities
='lgc'>{='thdf'>for example the circle is an organic, ideal, fixed essence, but roundness is a vague and fluent essence, distinct both from the circle and things that are round (a vase, a wheel, a sun)='lgc'>}='lgc'>='lgc'>--> State is perpetually producing and reproducing ideal circles ='lgc'>=/= war machine makes something round

="frds scrmbld">Agnes drawings ='lgc'>='lgc'>--> proto="trms">geometry
="frds scrmbld">Agnes='lgc'> = drwaing and linking up smooth space

(is Finn in Adventure Time a man of State ot nomadic ="trms">scientist='qstn'>? ='lgc'>='lgc'>-->) journey-men's as="trms">sociations

nomadic ='lgc'><='lgc'>==form='lgc'>== masons, carpenters, smiths
labor ='lgc'><='lgc'>== regulating the movement of the flow of labor, assigning it channels and conduits, forming corporations, relying on forced manpower ="trms">recruit

(plane of) consistency ='lgc'>='lgc'>~= com="trms">position ='lgc'>=/= (place of) organization ='lgc'>='lgc'>~= formation

='strcls'>***everything is about the division of labor='strcls'>*** (='lgc'>='lgc'>--> this is the most critical about ="nms">apass)

State='lgc'>:
="lsts lst1">•repress the nomad
="lsts lst1">•repress the minor ="trms">science
="lsts lst1">•oppose vague essences (='lgc'>='lgc'>--> visa and ="trms">integration)
="lsts lst1">•operative ="trms">geometry of the trait
='lgc'>=/= nomad imply a division of labor opposed to the norms of State


="frds scrmbld">Steven='lgc'>: a dynamic connection between support and ornament ='lgc'>=/= ="frds scrmbld"nttrm="Alex,Alert,Aleph,Alessi">Alex's hylo="trms">morphic schema (the search for laws in extracting constants ='lgc'>='lgc'>--> an invariable form for variables ='lgc'>[for ="frds scrmbld"nttrm="Alex,Alert,Aleph,Alessi">Alex='lgc'>: the invariable de="trms">finition of artistic research for variable artists='lgc'>])

compars ='lgc'>=/= dispars

(let's go) from ="trms">matter-form ='lgc'>--to='lgc'>='lgc'>--> ="trms">material-force(= placing the variables themselves in a state of continous variation)
='lgc'>[="frds">Sina='lgc'>: let's go instead of thinking about ‘flow’ ='lgc'>--to='lgc'>='lgc'>--> ‘force'='lgc'>]
force (is full of)='lgc'>:
="lsts lst1">•equations “=”
="lsts lst1">•adequations (change in the meaning of a term depending upon context)
="lsts lst1">•inequations “='lgc'>=/=”
="lsts lst1">•="trms">differential equations (functions ='lgc'>+ derivatives ='lgc'>='lgc'>--> useful for modeling and simulating physical ="trms">phenomena) ='lgc'>='lgc'>--> solution of a ="trms">differential equation is a function ='lgc'>=/= algebraic equations (solution of an algebraic equation is a value)
="lsts lst1">•


(distribution of ="trms">matter in='lgc'>:)
space of pillars
striated by the fall of bodies
verticals of gravity
parallel layers

quantitative and ="trms">scientific oppsositions (such as='lgc'>: speed/slowness, quick/weighty, celeritas/gravitas)
='lgc'>=/= qualitative oppsositions
='lgc'>=/= mythological structures


(i am basically ="trms">interested in the law of falling bodies)

(my ="trms">lectures='lgc'>: an art of) following ='lgc'>=/= flowing
="prgrph">-one never follows in order to reproduce
="prgrph">-in following, one is in search of singularities of a ="trms">matter
(my whole work has been about the art of being carried away by the vortical flow of texts)='lgc'>='lgc'>--> ='lgc'>[='strcls'>*='lgc'>]="nms">ajayeb ='lgc'>='lgc'>~= a vertical field across which singularities are scattered like so many accidents (i see them as ‘problems,’ and my job is to follow them)


global theory of waves


(="ppl">Deleuze and ="ppl">Guattari romanticizing the royal ="trms">science='lgc'>:) “reproducing implies the performance of a fixed point of view that is external to what is reproduced” (='lgc'>--no='lgc'>='lgc'>--> it is about saying what you say attached to a temporary fixed point ='lgc'>[for example an identity='lgc'>], in order to be able to be proven wrong)


="trms">categorical apo="trms">dictic ="trms">apparatus
='lgc'>[="trms">category='lgc'> = intrinsic concepts='lgc'>]


content is (not='qstn'>?) always conformist (='lgc'><='lgc'>-- Julia was never)

="frds scrmbld"nttrm="Alex,Alert,Aleph,Alessi">Alex='lgc'>: imperium of true thinking ='lgc'>='lgc'>--> capture, seizure, binding, constituting the efficacy of a foundation (= myth) ='lgc'>='lgc'>==> ='lgc'>[='strcls'>*='lgc'>]logos='lgc'>: sanction of a ground

="trms">modern state='lgc'>: ='strcls'>*realized reason='strcls'>*, the rational and reasonable organization of a ="trms">community
="prgrph">-what are the exchanges that take place between the State and reason
="trms">modern state reason ='lgc'>='lgc'>--> “the more you obey, the more you will be master” (for you will be only obeying pure reason) ='lgc'>='lgc'>--> philosophy assigned itself the role of ground

common sense='lgc'>: the unity of all faculties at center

(in the archaic model imperial State='lgc'>:) ="trms">poet='lgc'> = image trainer ='lgc'>=/= (toady's) artist='lgc'>: (="ppl">Deleuzian) ='strcls'>*private thinker='strcls'>* (making counterthought, destroy images) ='lgc'>=/= public professor
="prgrph">-problem with private thinker is that it exaggerates ="trms">interiority when it is a ="trms">question of outside thought ='lgc'>='lgc'>--> the ="trms">question of how ='strcls'>**to place the thought in an immediate ="trms">relation with the outside, with the forces of the outside='strcls'>** (to make thought a war machine='qstn'>?)

(="frds scrmbld"nttrm="Alex,Alert,Aleph,Alessi">Alex in search of) maxim ='lgc'>=/= aphorism (always awaits its meaning from a new external force, a final force that utilizes it) ='lgc'><='lgc'>-- my ="trms">interest

(='qstn'>?which) image inspired by State ="trms">apparatus

='lgc'>[='strcls'>*='lgc'>]="trms">method='lgc'>: the striated space of the cogitatio universalis ='lgc'>='lgc'>==> path (='lgc'>=/= bridge)

thought ='lgc'>='lgc'>~= vampire (has no image)

(in the smooth space of Zen) the arrow does not go from one point to another but is taken up at any point, to be sent to any other point, and tends to permute with the ="trms"nttrm="search">archer and the target (='at'>#my bow and arrow ='lgc'>='lgc'>--> it takes no aim but hopes the arrow will stick somewhere)
="prgrph">-whenever a “thinker” shoots an arrow, there is a man of the State, a shadow or an image of a man of the State, that counsels and admonishes him, and wants to assign him a target or aim (='at'>#my bow and arrow ="trms">joke ='at'>@="nms">apass)

pathetic texts='lgc'>: thought becomes pathos (='lgc'>=/= logos ='lgc'>=/= mythos)


(a lot of ="trms">poetry today is like this='lgc'>:)
(an antidialogue between brother and sister='lgc'>:) one ='strcls'>*speaks before knowing='strcls'>* while the other ='strcls'>*relays before having understood='strcls'>*
='lgc'>='lgc'>--> the necessity of not having control over ="trms">language ='lgc'>~ (="frds scrmbld">Chloe='lgc'>:) the necessity of being a foreigner in one's own tongue
='lgc'>='lgc'>--> “bring something incomprehensible into the ="trms">world” ='lgc'>='lgc'>--> in the form of exteriority
='lgc'>='lgc'>--> the becoming woman of the thinker ='lgc'>~ the becoming thought of the woman
='lgc'>='lgc'>--> (="frds scrmbld">Chloe =) the Gemüt ='lgc'>[feeling, heart, soul, mind='lgc'>] that refuses to be controlled ='lgc'>==forms='lgc'>='lgc'>==> a war machine ='lgc'>: a thought grappling with exterior forces instead of being gathered up in an ="trms">interior form
='lgc'>='lgc'>--> operating by relay ='lgc'>=/= forming an image ='at'>@="frds scrmbld"nttrm="Robin,Robot,Robert,Robocop">Rob='lgc'>='lgc'>--> a thought that appeals to government ministry
='lgc'>='lgc'>--> event-thought ='lgc'>=/= subject-thought
='lgc'>='lgc'>--> problem-thought ='lgc'>=/= essence-thought, theorem


striating of mental space ='lgc'>=/= ="frds">Sina's textures and ="trms">lectures

='at'>@="frds scrmbld">Pierre='lgc'>: is horizon a striation='qstn'>?
="ppl">Deleuze and ="ppl">Guattari='lgc'>: a horizonless milieu ='lgc'>='lgc'>--> smooth space

the true name of race='lgc'>: bastard, mixed-blood
="prgrph">-a race is defined not by its purity but rather by the impurity conferred upon it by a ="trms">system of domination


='lgc'>[(aspects of) war machine or='lgc'>] machine='lgc'>:
="lsts lst1">•spatiogeographic
="lsts lst1">•arithmatic
="lsts lst1">•="trms">affective


principle ='lgc'>=/= consequence
="prgrph">-in nomads life what is a principle and what is only a consequence='qstn'>?
='lgc'>{migrant ='lgc'>='lgc'>--> goes principally='lgc'>}='lgc'>=/=='lgc'>{nomad ='lgc'>='lgc'>--> goes as a consequence='lgc'>}
='lgc'>{(sedentary) road ='lgc'>='lgc'>--> parcel out a closed space to people='lgc'>}='lgc'>=/=='lgc'>{(nomadic) ="trms">trajectory ='lgc'>='lgc'>--> distributes people or ="trms">animals in an open space, indi="trms">finite and non="trms">communicating='lgc'>}

="large lg74" stl="font-size:128%">
(space) in the manner of a vortex

migrant leaves behind a milieu that has become a="trms">morphous or hostile

="large lg42" stl="font-size:132%"> forest and house ='lgc'>='lgc'>--> both striated='qstn'>?
pigs ='lgc'>='lgc'>--> ="trms">pragmatism or expertise

="prgrph">-the pigs ="trms">story might not predict the coming of the nomad wolf, but it constitutes the principles of architecture for which an incoming is striated. striated space is the result of the pigs ="trms">story

عرفان همیشه بیابانی است؟
does mysticism always requires deprivation of life='qstn'>? mysticism ='lgc'>='lgc'>~=='qstn'>? ="trms">symbolism

='lgc'>[='strcls'>*='lgc'>]godzilla='lgc'>: dramatization of where the mountain recedes, of the earth deterritorializing itself ='lgc'>='lgc'>==> providing the nomad with a territory
='strcls'>*vectors of deterritorialization and local operations='strcls'>* that='lgc'>:
="lsts lst1">•wolf adds to the forest
="lsts lst1">•godzilla adds to Tokio
="lsts lst1">•

='at'>#video concept
in tiktok comedy style, a group of ="nms">iranians (talking ="trms">Farsi, all acted by one person='qstn'>?) are personifying a govermental ="trms">response to a godzilla who is roaming in the city.

localized ='lgc'>=/= delimited

="large lg34" stl="font-size:113%"> ='lgc'>[the spot where the forest recedes='lgc'>] or the desert advances
گرگ در جنگل / آل در بیابان

.... .\ ____ _
  ... \_____
. .... \ __ __
.... . \ ____
. ...\ _ ___ _


assigned direction ='lgc'>=/= direction of the crossing

(for ="ppl">Deleuze and ="ppl">Guattari) ="trms">religion='lgc'>: a ="trms">technique of converting the absolute, making the absolute appear in a particular place ='lgc'>='lgc'>--> the sacred place of ="trms">religion is fundamentally a center that repels the ='strcls'>*obscure nomos='strcls'>*='lgc'>[= Bayazid بایزید='lgc'>]


vagabond monotheism

Sascha's ="trms">relation to the absolute through the space of the machine
electrically tampered ='lgc'>='lgc'>~= electrically tamed

از چادر نشین به هجرت reterritorialization of the spiritual ='lgc'>='lgc'>==> همدستی مهاجر با چادر نشین ='lgc'>='lgc'>==> war machine

/='strcls'>*='lgc'>[khawarij خوارج during the first fitna فتنه اول ='lgc'>='lgc'>--> arbitration ='lgc'>=/= war machine in which anyone can be Imam='lgc'>]


...when ="trms">religion becomes a war machine (='lgc'>='lgc'>==> absolute deterritorialization) ='lgc'>='lgc'>--> Isis
...a ="trms">society reduced to the military enterprise ='lgc'>='lgc'>--> Avengers
...gravitational verticals ='lgc'>='lgc'>--> forest
...="trms">generalized parallels ='lgc'>='lgc'>--> agriculture


three little pigs can be nomads='qstn'>? ='lgc'>='lgc'>--> creating the house and then leave it (as an empty stronghold)


="trms">animal raising for the most part outside the control of sedentaries

orient='lgc'>: absence of State-form (!)
various components plied by escape vectors ='lgc'>='lgc'>==> despotic formation (in orient)

oriental State (sheltered in striated space) ='lgc'>=/= nomad war machine

revolution ='lgc'>--western='lgc'>='lgc'>--> transformation of the State
revolution ='lgc'>--eastern='lgc'>='lgc'>--> abolition of the State

the empires of the orient, africa, america run against wide-open smooth spaces that penetrate them and maintain gaps between their component (='strcls'>*the nomos does not become countryside='strcls'>*, the countryside does not ="trms">communicate with the town, large-scale ="trms">animal raising is the affair of the nomads, etc.) ='lgc'>=/= Black Panther's fantasy of the african State

psychoanalysis of the dream of the State ='qstn'>? and its ="trms">relation to its reality

(to establish) a zone of ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rights over an entire exterior ='lgc'>='lgc'>--> rage ='and'>& innocence

Neon Genesis Evangelion anime series ='lgc'>='lgc'>--> war machine striated final merged in a cyber-flux with its human counterpart ='lgc'>='lgc'>--> ="trms">nature dominated (battle to occupy the smooth space)

='lgc'>[what now people want in ="nms">Iran='lgc'>: not the smooth space a deterritorializing State, rather:='lgc'>]
capture of flows
(need for) fixed paths
well-defined directions ='lgc'>='lgc'>--> restrict speed, regulate circulation, relativized movement
='lgc'>='lgc'>--> polics='lgc'> = management of the public ways ='lgc'>=/= fluidity of messages and masses

silk road...

="nms">Iran State='lgc'> = smooth ='lgc'>+ striated

State ="trms">translates='lgc'>: “moving bodies” ='lgc'>--to='lgc'>='lgc'>--> “moved bodies”

” ” ='lgc'>='lgc'>--> ” “
="ppl">="ppl">Star Trek transportation ="trms">system
sedentary kind of tey-ol-arz طی الارض

what homeless/drunk people do in cities ='lgc'>='lgc'>--> reconstitution of a smooth space='lgc'> = a manner of being in space as though it were smooth

='strcls'>***rebellious space is always smooth space='strcls'>***

virtual space is neither striated nor smooth space

multiplication of relative movements ='lgc'>='lgc'>==> smooth space ='lgc'>='lgc'>--> the sea becomes the place of the ‘fleet in being’ ='lgc'>='lgc'>--> nomadism accompanying a ="trms">worldwide war machine
='at'>@="frds scrmbld">Jassem's rebellious ="trms">nature ='lgc'>=/= ="frds scrmbld">Pierre's staying with the striated space (with the trouble, with the institution, )

decimal grouping ='lgc'>='lgc'>--> comes from the nomads

three major types of organization='lgc'>:
="lstsrd">1. lineal
="lstsrd">2. territorial
="lstsrd">3. numerical

number ='lgc'>='lgc'>==> lineage

spatium (="trms">differentiated space with depth and levels) ='lgc'>=/= extensio (immanent center, divisible homologous parts, and ="trms">symmetrical and reversible ="trms">relations)


='lgc'>[title='lgc'>]
numbering of numbers

census
taxation
election

(="ppl">Deleuze and ="ppl">Guattari are wrong about numbers serving to gain mastery over ="trms">matter ='lgc'>--='not'>✕='lgc'>='lgc'>--> ="ppl">Verran's work on number in Africa)

State='lgc'> = a teritorial principle (of deterritorialization that links the number to metric magnitudes) ='lgc'>--D='lgc'>+G='lgc'>='lgc'>--> “we don't believe that the conditions of independence or autonomy of the number can be found in the State (='lgc'>='lgc'>--> ="ppl">Deleuze and ="ppl">Guattari leftist tendency to purity the State)

(operating war machine ='lgc'>='lgc'>-->) numbering number ='lgc'>: autonomous arithmetic organization

='strcls'>*numbers appear as soon as one distribute something in space ='lgc'>=/= distribution of space (that is more the State's business)='strcls'>*
independence of the number in ="trms">relation to space ='lgc'>='lgc'>--> concrete ="trms">nature of smooth space
='lgc'>='lgc'>--> number='lgc'>: a means of moving ='lgc'>=/= means of counting

='strcls'>*middle ages curse sheets and taxa='lgc'>:
="lsts lst1">•="trms">geometry of smooth space
="lsts lst1">•a minor, operative ="trms">geometry
='lgc'>=='qstn'>? ='lgc'>[='strcls'>*='lgc'>]="nms">="nms">ajayebnameh='lgc'>: ="trms">geometry of the trait between the rumers of the ="trms">world, senses, and ="trms">writing

vector ='lgc'>='lgc'>--> directional number ='lgc'>=/= dimentional number ='lgc'>=/=='qstn'>? metric number

directions are everywhere

rhythmic ='lgc'>=/= harmonic (='lgc'>='lgc'>--> setar / is my whole work about harmonic='qstn'>? ="trms">horror-nic)

order of displacement

concentration-camp ="trms">society='lgc'>: ‘people='lgc'> = deterritorialized numbers’ (='lgc'>='lgc'>--> fantasy of full despotism in The Handmaid's Tale)

='strcls'>**the ="trms">question is not one of good or bad but of ="trms">specificity='strcls'>** (='lgc'><='lgc'>-- when i say who what artists say could have a chance of being disputed)

complex='lgc'> = ="trms">articulated

the Roman legion was a number made up of numbers, ="trms">articulated in such a way that the segments become mobile, and the figures ="trms">geometrical, changing, transformational


logistics='lgc'>: the art of external ="trms">relations

Genghis ="ppl">Khan ='lgc'>='lgc'>--> com="trms">position of the steppe
Moses ='lgc'>='lgc'>--> com="trms">position of the desert


nomads as ="trms">child stealers


(commissars, diplomats, spies, strategists, logisticians) cannot be explained away as a “whim of the sultan”

special numerical body

slave-infidel-foreigner is the one who becomes a soldier and believer while remaining deterritorialized in ="trms">relation to the lineages and the State ='lgc'>='lgc'>--> نظام‌الملک سیاست‌نامه

='strcls'>*nomads have no ="trms">history, they only have ="trms">geometry='strcls'>*

Iron Man's ="trms">technological de="trms">finition='lgc'>: “weapon (destroying people) ='lgc'>=/= tool (producing goods)”

weapon ='lgc'>='lgc'>--> projection, anything that throws or is thrown
='at'>@="frds scrmbld">Pierre ='strcls'>*='thdf'>the notion of “problem” is related to the war machine='strcls'>*

="large lg126" stl="font-size:107%"> introjective='lgc'>: preparing a ="trms">matter from a distance, in order to bring it to a state of equilibrium or to appropriate it for a form of ="trms">interiority
(projection='lgc'>: appropriate it for a form of exteriority)


='at'>#bow and arrow ='lgc'>='lgc'>--> hunt (when speed is as="trms">sociated primarily with the hunted ="trms">animal) ='lgc'>=/= war (speed is an independent variable)
prey ='lgc'>=/= enemy
prey ='lgc'>=/= motor
(='at'>#bow and arrow does ='lgc'>='lgc'>--> ='strcls'>*abstracts ='thdf'>the idea of motor and applying it to itself='strcls'>* ='lgc'>=/= ="trms">generalize ='thdf'>the idea of prey by applying it to the enemy)

the economy of hunted ="trms">animal


eco="trms">system ="trms">situated at the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin ='lgc'>='lgc'>--> garden of eden / heaven
eco="trms">system ="trms">situated at the end ='lgc'>='lgc'>--> apocalypse / end-time

discovery of a projecting and projectile ="trms">system ='lgc'>='lgc'>==> war machine

war machine
breeding ='lgc'>+ training
in="trms">situtes an entire economy of violence
='lgc'>='lgc'>--> ='strcls'>*a way of making violence durable='strcls'>*

="large lg78" stl="font-size:109%">

two ideal models motor='lgc'>:
work ='lgc'>=/= free action
="lsts lst1">•(let's) work='lgc'>: tool meets resistance
="lsts lst1">•free action='lgc'>: operates only upon the mobile body itself, is not ="trms">consumed in its effect(='qstn'>?), continues from one moment to the next ='lgc'>[='lgc'>='lgc'>--> style of artistic research='lgc'>]. the way in which the elements of the body escape gravitation to occupy absolutely a nonpunctuated space

weapon is moving
tool is moved
tool pre="trms">supposes work, tool does not define work

='strcls'>***the principle behind all ="trms">technology is to de="trms">monstrate that a ="trms">technical element remains abstract='strcls'>***, remains entirely undetermined ='lgc'>='lgc'>--> as long as one does not relate it to an assemblage it pre="trms">supposes

tool
="prgrph">-one cannot speak of weapons or tools before defining the constituent assemblages they pre="trms">suppose and enter into ='at'>@OSP
the tool is essentially tied to a gensis, a displacement, and an expenditure of force (whose laws reside in work) ='lgc'>=/= weapon concerns only the exercise or manifestation of force in space and time (in conformity with free action)

when speed added to displacement ='lgc'>='lgc'>==> ='qstn'>?

tools ='and'>& weapons='lgc'> = consequences ='lgc'>='lgc'>~/=='qstn'>? causes


the morning star and the battle-axes

variable assemblages of human, ="trms">animal, and thing

='strcls'>*assemblage='strcls'>*='lgc'>: (passional) com="trms">positions of desire='lgc'>[='lgc'>=/= ="trms">natural determination, spontaneous determination='lgc'>] ='lgc'>--D='lgc'>+G='lgc'>='lgc'>--> there is no desire, but assembling/assembled desire
assemblage ='lgc'>==(bring into play)='lgc'>='lgc'>==> ='lgc'>[='strcls'>*='lgc'>]passion='lgc'>: effectuations of desire that differ ="trms">according to the assemblage ='lgc'>[='lgc'>=/= Germany='lgc'>]
man-="trms">animal-weapon
man-horse-bow
assemblage of speed
...

(what Game of Thrones TV series missed='lgc'>:) military of men ='lgc'>='lgc'>--> homosexual eros replaces the ="trms">zoosexual eros of horesman ='lgc'>[='lgc'>='lgc'>--> اسب امام حسین='lgc'>]

State ='lgc'>='lgc'>==>='lgc'>{(training of) worker ='lgc'>--to='lgc'>='lgc'>--> (apprenticeship of) soldier='lgc'>}

='lgc'>{="trms">affect='lgc'>: active discharge of emotion ='lgc'>='lgc'>--> projectile ='lgc'>~ weapon='lgc'>}='lgc'>=/=='lgc'>{feeling='lgc'>: displaced, retarded, resisting emotion ='lgc'>='lgc'>--> introceptive ='lgc'>~ tool='lgc'>}


martial arts='lgc'>: the not-doing of the warrior ='lgc'>~ the undoing of the subject
effectuated in the void (='lgc'>=/= nothingness)


form-="trms">matter ='lgc'>=/= motif-support
(the support is as mobile as the motif)


goldsmith's and silversmith's is the barbarian art par excellence


picto-ideographic

short war
live messages

='lgc'>[text that is='lgc'>] ornamental (a way of en="trms">coding) ='lgc'>=/= scriptural (="trms">according to a sacred ="trms">writing)


tools
weapons
signs
jewellery

jewellery/sign ='lgc'>='lgc'>--> expression
model ='lgc'>='lgc'>--> free action / work
direction ='lgc'>='lgc'>--> projection / introception (='at'>#bow and arrow)


(for ="ppl">Deleuze and ="ppl">Guattari='lgc'>:) ='strcls'>***architecture and cooking have an af="trms">finity with the State ='lgc'>=/= music and ="trms">drugs have ="trms">differential traits ='lgc'>='lgc'>--> on the side of the nomadic war machine


="trms">schizophrenic taste for the tool that moves it away from work and towards free action ='lgc'>='lgc'>--> a ="trms">schizophrenic taste for the weapon that turns it into a means for peace (='lgc'><='lgc'>-- i prefer not to do this)

everything is ambiguous

rebel='lgc'>: a ="trms">transitional figure of worker-solder (drawing the worker, on the one hand, and the soldier, on the other), a shared line of flight='lgc'>: “i seek a weapon ='and'>& i am looking for a tool”
‘line of flight’='lgc'>: ="trms">communication with smooth space

='mywrk'>my work on ="nms">ajayeb='lgc'>: to figure a trans="trms">historical assemblage (that is untimely ='lgc'>=/= eternal ='lgc'>=/= ="trms">historical) ='lgc'>='lgc'>==> encounter the myth anew ='lgc'>=/= demystification='lgc'>: re-conquer the myth


the empire
="lsts lst1">•="trms">communicates with
="lsts lst1">•conquer
="lsts lst1">•="trms">integrates with


="trms">communication (of secret) ='lgc'>--='qstn'>?='lgc'>='lgc'>--> adaptation, propagation


saber ='lgc'>=/= sword

the flow of ="trms">matter-movement
conveying singularities and traints of expression

assemblage ='lgc'>--="trms">differentiates='lgc'>='lgc'>--> phyla (major taxonomic class) ='lgc'>='lgc'>~= flow ='lgc'>='lgc'>==> division into many ="trms">different phylas ='lgc'>+ introducing selective discontinuities


="trms">technological vitalism

='strcls'>*refract ="trms">differentiates='strcls'>*, retains, selects, draws together, causes to converge, invents

region of vague and ="trms">material essences ='lgc'>='lgc'>--> essences that are vagabond yet ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigorous ='lgc'>='lgc'>==> ="trms">situate fuzzy aggregates ='lgc'>=/= fixed distinct and formed essences

corporeality='lgc'> = formed and perceived thinghood
="lsts lst1">•inseparable from processes of transformation
="lsts lst1">•inseparable from expressive qualities

vague='lgc'> = ="trms">intermediary ='lgc'>='lgc'>--> autonomous, stretching itself between things and thoughts ='lgc'>--establish='lgc'>='lgc'>--> new ="trms">relations (='lgc'>='lgc'>--> this is what Manning has adopted from ="ppl">Deleuze and ="ppl">Guattari)

variable intense ="trms">affects

topological ='lgc'>=/= ="trms">geometrical

hylo="trms">morphic model ='lgc'>=/= active and ="trms">affective... (="trms">matter-flow can only be followed)
hylo="trms">morphic='lgc'>: imposing a form upon ="trms">matter ='lgc'>=/= ="trms">materiality possessing a nomos ='lgc'>: ="trms">material traits of expression constituting ="trms">affects (='thdf'>for example surrendering to the wood, then following where it leads by connecting operations to a ="trms">materiality...)
="prgrph">-the critique of the hylo="trms">morphic schema is based on the existence between form and ="trms">matter, of a zone of medium and ="trms">intermediary dimension, of energetic... ='lgc'>[and what about digital ="trms">technology='qstn'>?='lgc'>]='lgc'>='lgc'>--> we need more artisan (follows the ="trms">matter) ='lgc'>=/= artist (invents/breaks the ="trms">matter)
='strcls'>*artisan='strcls'>* ='lgc'>='lgc'>--> one who is determined in such a way as to follow a flow of ="trms">matter, of ='strcls'>*machinic phylum='strcls'>* (='at'>@OSP, ='thdf'>for example ="trms"nttrm="metaph,metamorph,metabol,metal">metal="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurgist='lgc'> = one who works inside the mold, the consciousness of thought of the ="trms">matter-flow ='lgc'>+ ="trms"nttrm="metaph,metamorph,metabol,metal">metal the correlate of this consciousness)
='lgc'>[follow a flow of ="trms">matter='lgc'> = to itinerate, to ambulate='lgc'>]
artisan ='lgc'>=/= farmer
artisan ='lgc'>=/= ="trms">animal raiser
='lgc'>[='strcls'>*='lgc'>]artisan='lgc'>: take up ="trms">craft activity ='lgc'>+ follow the ="trms">matter-flow as pure productivity

continous development of form, chromaticism ='lgc'>='lgc'>--> a form proper to ="trms">matter ='lgc'>[='lgc'>='lgc'>-->='qstn'>? not in middle east='lgc'>: ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics ='lgc'>='lgc'>--> ="trms"nttrm="metaph,metamorph,metabol,metal">metal="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurgist ='lgc'>=/= ="trms"nttrm="metaph,metamorph,metabol,metal">meta="trms">morphosist ="trms">poet ='lgc'>='lgc'>--> chaotic ='lgc'>=/= harmonic, nomadic='lgc'>]

not everything is ="trms"nttrm="metaph,metamorph,metabol,metal">metal, but ="trms"nttrm="metaph,metamorph,metabol,metal">metal is everywhere (='lgc'>='lgc'>--> what would X-Men say about this)

='lgc'>--D='lgc'>+G='lgc'>='lgc'>--> ='strcls'>*thought is born more from ="trms"nttrm="metaph,metamorph,metabol,metal">metal than from stone='strcls'>*(!!)
="trms"nttrm="metaph,metamorph,metabol,metal">metal="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurgy is minor ="trms">science, vague ="trms">science, ="trms">phenomenology of ="trms">matter

="trms"nttrm="metaph,metamorph,metabol,metal">metal is neither a thing not an organism, but a ='strcls'>*body without organs='strcls'>*
(on the ="trms">symbolic value of ="trms"nttrm="metaph,metamorph,metabol,metal">metal and its cor="trms">respondence with an organic soul but on the immanent power of corporeality)


="large lg30" stl="font-size:121%"> smiths (="frds">Sina, OSP='qstn'>?)
their space is neither the striated space of the sedentary nor the smooth space of the nomad (='lgc'>='lgc'>--> my room and computer desktop) ='lgc'>='lgc'>--> ='at'>#tent, in the manner of a cave or a hole
='lgc'>='lgc'>--> ='strcls'>*they are cave dwellers not by ="trms">nature by by artistry and need='strcls'>*
="trms">internal itinerancy, their vague essences ='lgc'>='lgc'>==> their ="trms">relation to others
='lgc'>='lgc'>--> ='strcls'>*smith='strcls'>* ='lgc'>[follows the flow of ="trms">matter ='lgc'>='lgc'>==> (surplus value='lgc'>:) ‘resist the State’, Tamar Yaen ="frds scrmbld">Pierre ="frds">Sina ="frds scrmbld"nttrm="Godard">Goda='lgc'>]
='lgc'>=/= ='strcls'>*migrant='strcls'>* ='lgc'>[existence depends upon and constrained by the logic of the State (with its boundaries and borders) ='lgc'>='lgc'>==> (surplus value='lgc'>:) ‘residual gold in the ruins’, ="frds scrmbld">Hoda ="frds scrmbld">Sana Rui Flavio ="frds scrmbld">Quinsy ="frds scrmbld">Elen='lgc'>]
='lgc'>=/= ='strcls'>*nomad='strcls'>* ='lgc'>[occupies and inhabits smooth space beyond or bellow the State ='lgc'>='lgc'>==> (surplus value='lgc'>:) ‘alternative’, Deborah ="frds scrmbld">Xiri ="frds scrmbld"nttrm="Leonardo">Leo Isabel ="frds scrmbld">Aela ="frds scrmbld">Agnes='lgc'>]
='lgc'>=/= ='strcls'>*="trms">pastoral transhuman='strcls'>* ='lgc'>[rotates through a circuit ='lgc'>='lgc'>==> (surplus value='lgc'>:) ‘="trms">erotic in="trms">="trms"nttrm="cluster,club">clusivity'='lgc'>]


vital forms of nonorganic life

='lgc'>[title='lgc'>]
your strength and your nothingness

transpierce ='lgc'>=/= scaling
excavate ='lgc'>=/= striating

...vagabond sign of itinerancy سيارى

from hole to hole
a line of variation

='strcls'>***the hybrid ="trms"nttrm="metaph,metamorph,metabol,metal">metal="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lurgist, a weapon- and toolmaker, ="trms">communicates with the sedentaries and with the nomads at the same time='strcls'>***

phylum='lgc'>:
='lgc'>--connected-to='lgc'>='lgc'>--> nomad space
='lgc'>--conjugates-with='lgc'>='lgc'>--> sedentary space

(we have both='lgc'>:)
='strcls'>*war machine='strcls'>*='lgc'>:
="lsts lst1">•opening
="lsts lst1">•rhizome
="lsts lst1">•gaps
="lsts lst1">•detours
="lsts lst1">•holes
="lsts lst1">•stems
='lgc'>=/=
='strcls'>*state ="trms">apparatus='strcls'>*='lgc'>:
="lsts lst1">•capture phylum
="lsts lst1">•play the lines of flight
="lsts lst1">•into ="trms">code
="lsts lst1">•into form


war machine collides with States and cities (forces of striation) ='lgc'>='lgc'>==> war

="ppl">Deleuze and ="ppl">Guattari ask='lgc'>:
="prgrph">-how will the State appropriate the war machine='qstn'>?
(appropriate='lgc'>: subordinates it to its political aims)

="large lg62" stl="font-size:118%"> from encasement قفسه ='lgc'>--to='lgc'>='lgc'>--> (forms of) appropriation تصاحب

Genghis ="ppl">Khan and his followers were able to hold out for a long time by partially ="trms">integrating themselves into the conquered empires, while at the same time maintaining a smooth space on the steppes to which the imperial centers were subordinated

Timur who constructed a fantastic war machine turned back against the nomads, but who, by that very fact, was ="trms">obliged to erect a State ="trms">apparatus all the heavier and more unproductive since it existed only as the empty form of appropriation of that machine


the peace of terror or survival
="prgrph">-the postfascist figure that takes peace as its object directly
="prgrph">-we have seen war machine assign its objective a peace still more terrifying than fascist death
='strcls'>*the un="trms">specified enemy='strcls'>* we have seen it put its counterguerrilla elements into place


two poles of war machine='lgc'>:
="lstsrd">1. it takes war for its object and forms a line of destruction prolongable to the limits of the universe
="lstsrd">2. when it, with in="trms">finitely lower qualities, has as its object not war but the drawing of a ='strcls'>*creative line of flight='strcls'>* (the com="trms">position of a smooth space and of the movement of people in that space)

an ideological, ="trms">scientific, or artistic movement can be a potential war machine, to the precise extent to which it draws, in ="trms">relation to aphylum, a plane of consistency, a creative line of flight, a smooth space of displacement

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="lstsrd">0.99993

="ppl">Daston ="trms">history of reason
="ppl">Daston asking='lgc'>: how reason became rationality='qstn'>?

rationality (='lgc'>='lgc'>~= universal calculus of) ='lgc'>=/= reasoning

="lsts lst1">•(a more) ancient ideal ='lgc'>='lgc'>--> reasoning ='lgc'>[with recourse to the faculty of judgement='lgc'>]
="lsts lst1">•="trms">modern ideal ='lgc'>='lgc'>--> (cold war) rationality='lgc'>: a ="trms">finite well-defined set of rules that can be applied unambiguously in ="trms">specified settings without recourse to the faculty of judgement

cold war='lgc'>: crystalline ='lgc'>+ generality ='lgc'>+ con="trms">="trms"nttrm="cluster,club">clusivess could cope with a ="trms">world on the brink
='lgc'>='lgc'>--> algorithmic rules as the core of rationality
='lgc'>='lgc'>--> sacrifice of ='lgc'>[precious to philosophers='lgc'>] ‘insight’ and ‘understanding’ ascpects of reason
='lgc'>='lgc'>--> automatic='lgc'>: you don't need to understand them to execute them

='strcls'>*the posiblity of a mechanical mind='strcls'>*

Turing's ='lgc'>[='strcls'>*='lgc'>]programming='lgc'>: constructing ="trms">instruction tables

(1794 early French revolution) universal school for future French citizen with arithmetic ='lgc'>[3 ='lgc'>+ 4='lgc'> = 7='lgc'>] at its core ='lgc'>--teach='lgc'>-> “exactitude of the mind” ='lgc'>='lgc'>--> ="trms">children are going to learn='lgc'>:
="lsts lst1">•the meaning of self evidence ='lgc'>[of arithmetic pro="trms">positions='lgc'>]
="lsts lst1">•the meaning of justified belief
="lsts lst1">•formation of ideas
="lsts lst1">•judgement
="lsts lst1">•reasoning
='lgc'>}='lgc'>--foundation='lgc'>='lgc'>--> quanitative ="trms">science of a human realm

first re="trms">liable calculator ='lgc'>='lgc'>--> 1850

rationality عقلانيت
="lsts lst1">•="trms">history of ever more sophisticated mechanical computers
="lsts lst1">•how rules themselves became increasingly identified with algorithms
="lsts lst1">•how algorithms became increasingly identified with mindlessness

="ppl">Kant ='lgc'>='lgc'>--> ="trms">science as mechanical ="trms">skill that can be mastered by diligence and determinate rules
tacit knowl="trms"nttrm="knowledge,Knowledge">edge='lgc'>: a manul labor ='lgc'>[="trms">styles of knowing='lgc'>] that cannot be captured by algorithms

='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to Encyclopedie (Did="trms">erot)...

de="trms">skilling calculation ='lgc'>='lgc'>==> economic rationality (economic rationalization)='lgc'>: you take the task, de="trms">compose it into simplest possible steps, you divide the labor, you hire the least ="trms">skilled and cheapest labor possible ='lgc'>==Babbage='lgc'>='lgc'>==> increase the efficiency and the costs

="lsts lst1">•game theory
="lsts lst1">•rational choice theory


(="trms">memory ='lgc'>+ understanding ='lgc'>+ judgement ='lgc'>+ ="trms">imagination)
='strcls'>*judgement (="ppl">Daston) and ="trms">imagination (="frds">Sina) are ="trms">integral to the exercise of reason='strcls'>*

reason in rationality='lgc'>: algorithmic rule governed ='lgc'>=/=
="lsts lst1">•passions اشتياق تعصب
="lsts lst1">•fantasy وسواس
="lsts lst1">•sloppy thinking درهم وبرهم
="lsts lst1">•ignorance بى خبرى
="lsts lst1">•superstition خرافه
="lsts lst1">•self-deception خود فريبى


the human factor
there is something about human that has always been in odds with reason

Nozick (='lgc'>~ Terminator) ='lgc'>='lgc'>--> the rules of procedures that constitute rationality would be valid, would be efficacious, but algorithmic. executed by machine, but opaque to human understanding
='lgc'>~ ="ppl">Wittgenstein ='lgc'>='lgc'>--> to follow a rule='lgc'>: a practice taught by example ='lgc'>=/= precept
='lgc'>}='lgc'>='lgc'>--> ='strcls'>*to understand rules in an algorithmic sense='strcls'>* ='lgc'>=/= model, maxim, tacit knowl="trms"nttrm="knowledge,Knowledge">edge


="ppl">Daston ='lgc'>='lgc'>--> there is no simple way, in which ="trms">historical context determines the form and content of the thinkable. but (as in the case of algorithmic rules and cold war rationality) ="trms">historical circumstances do light up some parts of the intellectual landscape and darken others

our current understanding of what it means to be rational owes a great deal to the power of place and time
="lsts lst1">•for ="ppl">Kant='lgc'>: judgement='lgc'> = highest faculties ='lgc'>=/= for ="trms">modern (us) judgement is problematic


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='lgc'>[the ="trms">horror of the contemporary German art:='lgc'>] to deliberate='lgc'>: کنکاش سنجیده و عمدی ='lgc'>=/= ="frds scrmbld">Janina
(art of ='lgc'>[ironic='lgc'>] deliberation ='lgc'>=/= chaotic venture, ="frds">Sina's ="trms">lecture-performances)
deliberation='lgc'>: thinking then doing it ='lgc'>=/= doing then thinking about what you have done (='lgc'>='lgc'>~= ="trms">communication, intimacy)

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="large lg110" stl="font-size:117%">
="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics of ="trms">natural law

="ppl">Daston's ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigor='lgc'>: trying to understand why is it so persistant (almost irresistible) that we ='strcls'>**extract ="trms">social and moral norms from ="trms">nature='strcls'>** (rather than jumping up saying that it is a doomed idea)
='lgc'>[='lgc'>='lgc'>--> got to ="trms">fable; ikhvano safa court of ="trms">animals; panchatantra Kelile Demne='lgc'>]
="lsts lst1">•to merge ="trms">natural and ="trms">social orders together
="lsts lst1">•to make ="trms">nature meaningful
="lsts lst1">•to invoke ="trms">nature to buttress human values of='lgc'>: true, good, beautiful
="lsts lst1">•

devil='lgc'> = collective human ="trms">imagination of chaos

formless and lawless
land of no promises
="trms">past is no guide to the future
at the mercy of chance

the axiom of ="trms">modern thought='lgc'>: ="trms">society ='lgc'>=/= ="trms">nature ='lgc'>[of which trespassings are rife='lgc'>]

='lgc'>[='at'>#="trms">fable='lgc'>]
to extract some ="trms">sort of politics from='lgc'>:
="lsts lst1">•beehive
="lsts lst1">•physics of liver
="lsts lst1">•evolutionary theory
="lsts lst1">•organic specialization ='lgc'>[='lgc'>--="ppl">Aristotle='lgc'>='lgc'>--> slavery='lgc'>]
="lsts lst1">•

="lstsrd">1. how conceptions of ="trms">natural order sustains ="trms">specific norms ='and'>& the model of any kind of norm ='lgc'><='lgc'>-- ="trms">historical ='lgc'>+ ="trms">="trms">empirical
="lstsrd">2. appeal to ="trms">nature capture something profound about values in general regardless of their ="trms">specific context ='lgc'><='lgc'>-- philosophical

(the human) impulse to ='strcls'>*make ="trms">nature meaningful='strcls'>* ='lgc'>='lgc'>--> psychological ='lgc'>+ ="trms">epistemological ='lgc'>+ ethical necessity


(1)
(="trms">specific) ='lgc'>[='strcls'>*='lgc'>]="trms">nature='lgc'>: the ="trms">ontological identity card ='lgc'>: that which makes a particular thing what it is (what makes skwerl a skwerl)
='thdf'>the idea of ='strcls'>***fixed ="trms">natural kind ='lgc'>==inspire='lgc'>='lgc'>==> ='thdf'>the ideal of justice='strcls'>***
='lgc'>='lgc'>--> ='thdf'>the idea of organic specialization ='lgc'>[organ='lgc'>: ‘tool’ in ="trms">greek; for ="ppl">Aristotle='lgc'>: “injustice='lgc'> = violation of specialization” (of citizen's tools or honors) ='lgc'><='lgc'>-- an order of ="trms">nature='lgc'>]

rose wanna be skwerl ='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="trms">bestiary
“good consist in each being striving to be the best of its kind not the best of all”

(2)
='lgc'>[='strcls'>*='lgc'>]="trms">nature='lgc'>: the will of God (='lgc'>~ edict of God) ='lgc'>--="ppl">Augustine='lgc'>='lgc'>--> “sodomy='lgc'> = crime against ="trms">nature (='lgc'>~ against God='lgc'>: the ="trms">author of ="trms">nature)” ='lgc'>[='lgc'>='lgc'>--> un="trms">natural ='lgc'>=/= sacrilege توهين به مقدسات='lgc'>]
="lsts lst1">•a Roman custom (and a Roman intuition)='lgc'>: when you are in a place you try to adapt to the local ways of doing things ='lgc'><='lgc'>-- (with ="ppl">Augustine) we are preserved in a pro="trms">verb ='lgc'>[='at'>#="trms">integration='lgc'>] ='lgc'>--grant='lgc'>='lgc'>--> ="trms">nature with supreme ="trms">authority as God's proxy


seeking norms in ="trms">nature ='lgc'>--="ppl">Daston='lgc'>='lgc'>-->
="lsts lst1">•is this (examples) why we should stop it (at best ="trms">nature ="trms">authority is borrowed whether overtly from God or covertly from ="trms">social conventions ='lgc'>='lgc'>==> it is redundent and we don't need it)
="lsts lst1">•it is a d="trms"nttrm="danger,stranger">angerous weapon in the arsenal of the most repressive and aggressive elements of ="trms">society

content of norms ='lgc'>=/= ='lgc'>[='strcls'>*='lgc'>]normativity='lgc'>: a justificatoin that gives any and all norms their force ='lgc'>: the quality of telling us what should be (='lgc'>=/= describing how things actually are)

“the starry heavens above ='lgc'>='lgc'>~/= the moral law within” ='lgc'>='lgc'>--> ="ppl">Kant's awe='lgc'>: the regularity (of both human law and ="trms">natural law)
حيرت awe ='lgc'>[='lgc'><='lgc'>==evoke='lgc'>== the cosmic='lgc'>: all encompassing order ='and'>& exquisitely designed ornament='lgc'>] ='lgc'>=/= ="trms">horror ='lgc'>[='lgc'><='lgc'>==evoke='lgc'>== the un="trms">natural (="nms">ajayeb)='lgc'>]

='strcls'>**the recognition of an order='strcls'>** ='lgc'>--="ppl">Daston='lgc'>='lgc'>--> the key to all kinds of norms (='lgc'>='lgc'>--> awe='lgc'> = ="trms">wonder ='lgc'>+ fear ='lgc'>+ respect)


(ancient ="trms">greek ="trms">cosmopolitan ="trms">traverler ethnographer) Herodotus's ="trms">fable of ‘custom is king of all’ ='lgc'><='lgc'>-- داریوش perian king Darius's ="trms">anthropological experiment='lgc'>: ="trms">Greeks won't eat their father's dead body, they burn it ='lgc'>=/= Indians won't burn their father's dead body, they eat it

="lsts lst1">•chaos='lgc'>: ="trms">nature without order
="lsts lst1">•anarchy='lgc'>: ="trms">society without order
='lgc'>}='lgc'>='lgc'>--> ="trms">past is no guide to ="trms">present and future ='lgc'>: ='strcls'>*there are no regularities (of human promises or ="trms">natural cycles) to support either justice or knowl="trms"nttrm="knowledge,Knowledge">edge='strcls'>*


why duplicate the moral order with an analogical ="trms">natural order='qstn'>?
why turn to ="trms">nature for your raw ="trms">materials (to construct moral order for themselves)='qstn'>?
='lgc'>='lgc'>--> ...

are we now in the ="trms">position to reclaim norms from ="trms">nature='qstn'>?
='lgc'>='lgc'>--> yes ='lgc'><='lgc'>== ="trms">nature exemplifies so many ="trms">different kinds of order='lgc'>:
="lsts lst1">•order of the stars and plant ='lgc'>=/= order of weather
="lsts lst1">•order of ="trms">specific ="trms">natures ='lgc'>=/= order of universal ="trms">natural laws
="lsts lst1">•order of local ="trms">ecologies ='lgc'>=/= order of ="trms">cosmological unities of gravitation
="lsts lst1">•
which ="trms">nature='qstn'>? ='lgc'>='lgc'>--> any order of ="trms">nature can be countered with examples of another order equally ="trms">natural ='lgc'>}='lgc'>--="ppl">Daston='lgc'>='lgc'>--> ='lgc'>[='strcls'>*='lgc'>]="trms">nature='lgc'>: re="trms">pository (or wunderkammer) of all ="trms">imaginable orders='strcls'>****

terror ='lgc'>+ randomness ='lgc'>='lgc'>--> most effective weapon of ="trms">dictators (you never know when it strikes again)
="prgrph">-="trms">horror of ="ppl">Kafka's bureaucracy='lgc'>: negation of regularity, destruction of order, institutionalized anarchy
="prgrph">-one of the most dehumanizing experiences='lgc'>: being completely subject to the will of another (='lgc'>~ slavery) ='lgc'>[='lgc'>='lgc'>--> this is the most pleasurable experience in sex and sado masochism='lgc'>]

="lsts lst1">•="trms">nature never insults (its inhumanity)
="lsts lst1">•="trms">nature provides the raw ="trms">material for meaning ='lgc'><='lgc'>-- ='strcls'>*because we are ="trms">embodied organisms we must incarnate our orders='strcls'>* (='lgc'>~ we must find a way to display them to ourselves)
="lsts lst1">•="trms">animals can feel terror, but only humans can feel ="trms">horror='lgc'>: the emotion that registers a deep disruption of an order (no ="trms">matter what kind, a two-headed baby ='lgc'>[="trms">natural ="trms">monster='lgc'>] or a mother who kills her two babies ='lgc'>[moral ="trms">monster='lgc'>])


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='lgc'>[title='lgc'>]
itchy eyes

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16th and 17th centuries
times of extraordinary ="trms">religious, economic, and intellectual upheaval (Europe was deluged by novelties of all kinds='lgc'>: ="trms">birds of paradise, armadillos, anomalies='lgc'>: solar eclipse, comet, narwhal tusk, etc.)
(="ppl">Daston >) Bacon ='lgc'>[standing on an extremely unstable ="trms">scientific ground='lgc'>] used ="trms">monsters and marvels (as a ="trms">sort of intellectual hygiene) to jolt people out of their assumptions about the ="trms">natural ="trms">world
='lgc'>=/= Aristotelian ="trms">natural philosophy
='lgc'>='lgc'>--> anomaly took center ="trms">stage of ="trms">scientific explanations ='lgc'>='lgc'>~= art's investment in the exceptional
='lgc'>='lgc'>==> curiosity becomes a virtue ='lgc'>=/= vice
="lsts lst1">•="trms">nature is allowed to ="trms">joke
="lsts lst1">•="trms">nature has the freedom to experiment ='lgc'>=/= God
='lgc'>='lgc'>--> ended by='lgc'>:
="lsts lst1">•18th century's ='strcls'>*division of labor='strcls'>*
="lsts lst1">•19th century's ='strcls'>*institution of ="trms">science='strcls'>*

(two-headed cat's) deformations ='lgc'>='lgc'>--> terrifying ='lgc'>+ electrifying
='lgc'>[='strcls'>*='lgc'>]="trms">bestiary='lgc'> = Telegram media from God='lgc'>:
="lsts lst1">•sign of end
="lsts lst1">•sign of fecundity, creativity, variety of ="trms">nature

.../="trms">horror/="trms">wonder/="trms">horror/="trms">wonder/="trms">horror/="trms">wonder/...

“everyone was trafficking in marvels in the 17th century”
="ppl">Daston

... ='lgc'>='lgc'>--> pre="trms">modern sci ='lgc'>='lgc'>--> age of ="trms">wonder ='lgc'>='lgc'>--> ="trms">modern ="trms">science ='lgc'>='lgc'>--> ...

cabinets of curiosity
(="ppl">Daston's) chambers of ="trms">wonders
="lsts lst1">•to overwhelm you
="lsts lst1">•to impress the ambassador

="large lg102" stl="font-size:129%">
for ="ppl">Aristotle, philosophy starts with ="trms">wonder, but you make it disappear as soon as possible (“="trms">wonder='lgc'> = sign of ignorance” of the unlettered and il="trms">literate)

genre of ="trms">natural ="trms">history involving the marvels of insects ='lgc'>='lgc'>--> domesticate the emotion of ="trms">wonder for things we can explain

="ppl">Daston ='lgc'>=/= (early 20th century) morose and elegiac discourse about the disenchantment of the ="trms">world

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="large lg6" stl="font-size:114%"> pessimism ='lgc'>='lgc'>~= realism
(optimism ='lgc'>='lgc'>~= idealism)

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(to move from) eternal truths ='lgc'>--to='lgc'>='lgc'>--> eternal archives
(an ="trms">aesthetic='lgc'>:) archival monuments

despite computer's hype and undeniable capacity and flexibility of computerize ="trms">databases, the practices of collecting, inventorying, describing, image-making, collating, and publishing have remaining stable since the monumental projects of 19th century: corpus inscriptionum latinarum, carte du ciel, botanical gar="trms">dens, etc. ='lgc'>='lgc'>--> archival projects

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popular and learned ="trms">interest in ="trms">monsters

(in the 16th century ='and'>& 17th century Baconian ="trms">scientific programm='lgc'>:) treatments of ="trms">nature and ="trms">natural ="trms">history must have in="trms"nttrm="cluster,club">cluded (with ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigorous selection) ="trms">monsters (='lgc'>~ aberrations in the ="trms">natural order='lgc'>: new, rare, and unusual ="trms">nature, both exotic ='and'>& domestic)
='lgc'>[='strcls'>*='lgc'>]="trms">nature='lgc'>: an ingenious ="trms">craftsman ='lgc'>='lgc'>--> ='lgc'>[='strcls'>*='lgc'>]="trms">monster='lgc'>: ="trms">nature's most artful work (='lgc'>='lgc'>--> they bridged the ="trms">natural ='and'>& the artificial)
="lsts lst1">•cor="trms">responded to the activities of ="trms">nature ='lgc'>=/= types of subject ="trms">matter, ="trms">methods of investigation
="lsts lst1">•="trms">interest in irregularities (='lgc'>=/= end of 17th century ="trms">interest in ="trms">nature's uniformity and order)
="lsts lst1">•

Lazarus exhibition, the parasitic twin (the italian conjoined twins who toured freak shows in 17th century europe)

(="ppl">Daston ='lgc'>='lgc'>--> a case study of) the changing ="trms">relationship between popular ='and'>& learned culture

legal status of ="trms">monsters
infanticide in antiquity


earlier tradition of ="trms">interest in ="trms">monster='lgc'>:
="lsts lst1">•="ppl">Aristotle ='lgc'>='lgc'>--> Albertus Magnus
="lsts lst1">•divine sign ='lgc'>='lgc'>--> Cicero, ="ppl">Augustine, Isidore of Sevill
="lsts lst1">•="trms">cosmographical ='and'>& ="trms">anthropologic ='lgc'>='lgc'>--> Solinus


="trms">monsters in a context of a whole ="trms">natural ="trms">phenomen (="trms">bestiary)='lgc'>:
earthquakes, floods, volcanic eruptions, celestial apparitions, strange rains (of blood), stones, and miscellanea

(="trms">monsters ='lgc'>='lgc'>--> shift from) signs of God's wrat ='lgc'>--to='lgc'>='lgc'>--> signs of ="trms">nature's fertility
(by the end of 17th century) ='lgc'>--to='lgc'>='lgc'>--> comparative anatomy and embryology (teratology)
(from) اعجوبه prodigy ='lgc'>--to='lgc'>='lgc'>--> examples of medical pathology

='strcls'>*peasant and professional had participated to a significant extent in a shared culture of intellectual and ="trms">religious ="trms">interest='strcls'>* ='lgc'>--='not'>✕='lgc'>='lgc'>-->='lgc'>{
(="trms">literate culture evolved far more rapidly ='lgc'>='lgc'>==> sharpening of ="trms">social boundaries of)
city dwellers ='lgc'>=/= peasants
="trms"nttrm="disturban">urban ="trms">literate elite ='lgc'>=/= unlettered day laboure
='lgc'>='lgc'>--> for the educated layman='lgc'>: (="trms">religious as="trms">sociations of) ="trms">monsters='lgc'> = another manifestation of popular ignorance and superstition ='lgc'>--fostering='lgc'>='lgc'>--> uncritical ="trms">wonder ='lgc'>=/= sober investigation of ="trms">natural cause


prodigy ='lgc'>='lgc'>--> contrary to ="trms">nature ='lgc'>='lgc'>--> attributable directly to God (divine displeasure)
="prgrph">-the sunne shal suddenly shine againe in the night, and the moone thre times a day. blood shal drop out of the wood, and the stone shal give his voyce ='lgc'>[...='lgc'>] There shalbe a confusion in many places, and the fyre shal oft breake forthe, and the ="trms">wilde ="trms">beastes shal change their places, and menstruous women shal beare ="trms">monstres='lgc'>[...='lgc'>]

="lsts lst1">•="trms">monstrum='lgc'> = prodigium ='lgc'>='lgc'>==> ="trms">monstrat ='lgc'>[="trms">monstro='lgc'>: i ="trms">wonder ='lgc'>='lgc'>--> i indict ='lgc'>='lgc'>--> i teach, de="trms">monstrate='lgc'>]='lgc'> = god's will
="lsts lst1">•apocalyptic as="trms">sociation ='lgc'>='lgc'>--> ="trms">world reformation, the overthrow of the wicked ='lgc'>='lgc'>--> vindication of god's elect

(="trms">bestiaries were a lot commentaries)

various bestial parts...

bestial vices and errors (of...)

ephemeral ="trms">literature
displayed and re="trms">cited publicly
characteristically illustrated
appeal through spoken word ='and'>& image to the il="trms">literate


="frds scrmbld">Pierre Boaistuau ='lgc'>[='lgc'><='lgc'>== Peucer, Lycosthenes, Swiss surgeon Jakob Rueff, ="trms">natura="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list Konrad Gesner, ="frds scrmbld">Pierre Belon='lgc'>]
="trms">histoire tragique
="trms">histoire prodigieuse (="trms">monster ="trms">literature, ="trms">bestiary='qstn'>?)
="lsts lst1">•two-headed woman seen in Bavaria in 1541
="lsts lst1">•three-legged Siamese twins from 1552
="lsts lst1">•calf without forelegs reported in 1556
="lsts lst1">•celebrated ="trms">monster of Cracow
="lsts lst1">•
ghoulish tone, ="trms">religious didacticism, erudite آموزنده, ="trms">monsters as polemical weapons
“="trms">nature's ="trms">wonder='qstn'>?” ='lgc'>='lgc'>--> to “discovre the secret judgment and scourge of the ire of God”

The Scripture sayth, before the ende
Of all thinges shall appeare,
God will wounders straunge thinges send,
As some is sene this yeare.
The selye infantes, voyde of shape,
The calues and pygges so straunge,
With other mo of suche mishape,
Declareth this ="trms">worldes chaunge.


...="trms">monsters began to lose their ="trms">religious resonance
it was unlawful to “delight” in the undesirable
portentous meaning of ="trms">monster

(from) fear ='lgc'>--to='lgc'>='lgc'>--> delight
(from) prodigy ='lgc'>--to='lgc'>='lgc'>--> ="trms">wonder
(from) sermon ='lgc'>--to='lgc'>='lgc'>--> table-talk
(from) horrible, terrible, effrayable, espouventable ='lgc'>--to='lgc'>='lgc'>--> strange, ="trms">wonderful, mer="trms">veilleux (marvelous جالب)
(from) final cause ='lgc'>--to='lgc'>='lgc'>--> proximate cause (physical explanations and the ="trms">natural order)
='lgc'>}='lgc'>='lgc'>==> ="trms">nature began to assume the role of an autonomous entity with a will (and sense of humour of her own) ='lgc'>='lgc'>~='lgc'>~> ="trms">natural ="trms">wonder



="trms">wonder ="trms">literature (='lgc'>[lavishly illustrated ="trms">bestiary, ="trms">cosmography, ="trms">travel ="trms">literature, geological curiosa, herbal and astrological lore,='lgc'>] of later 16th and 17th century ="ppl">Daston) ='lgc'>='lgc'>--> secularization of an ="trms">interest in (="trms">monsters as) prodigies
='lgc'>--part-of='lgc'>='lgc'>--> the great body of common culture
='lgc'>--af="trms">finity='lgc'>='lgc'>--> popular 16th century genre of diverses lefons (selections from famous ="trms">authors)

catalogues of strange instances or hidden properties of ="trms">animals, vegetables and mineral
(middle class culture in elizabethan england)

prodigies denuded of their super="trms">natural aura ='and'>& (="trms">presented) to surprise and entertain the ="trms"nttrm="already,spread">reader ='lgc'>=/= to acquaint the ="trms"nttrm="already,spread">reader with imminent apocalypse and judgeme

Certaine Secrete ="trms">Wonders of ="trms">Nature

portentous events بد شگون

(cro="trms">codiles) to be granted honorary ="trms">monstrous status by virtue of their rarit

many will ="trms"nttrm="already,spread">reade them ='lgc'>[="trms">monsters='lgc'>], heare them and haue profit by them, that otherwise whould neuer haue knowen them. For many (I ="trms">suppose) will buye this ="trms">Booke for the things whereto they are ="trms">affectioned, that neuer coulde or would have bought, or looked on the ="trms">bookes, wherein all they are. -Lupton

common and popular forms of escapist ="trms">literature='lgc'>: ='strcls'>*="trms">travel ="trms">books='strcls'>* and ='strcls'>*chivalric romanc='strcls'>*
(='lgc'>='lgc'>--> don Quixote)
="trms">monstrous races (men with a single giant foot, or huge ears, or their faces on their chests, giants and dwarfs)

medically oriented ="trms">monster ="trms">literature

='lgc'>[="ppl">Daston:='lgc'>] Pare was forced to eliminate a section on lesbianism, with a graphic description of the female genitals, before in="trms"nttrm="cluster,club">cluding Des ="trms">monstres in later editions of his collected work


A Helpe to ="trms">Memorie and Discourse (of ="trms">Wonders, Foreign and Domestic)
='strcls'>*the passages and occurrences of the ="trms">world='strcls'>* ='at'>#="nms">ajayeb
="lsts lst1">•the creatures thereof
="lsts lst1">•the casualties therein

little-known properties of... (wine and water, fish, dogs, cuckolds, hunchbacks and ="trms">monsters)

popular ignorance
solitary efforts of the professional scholar
culture of the educated layman (lawyer, businessman, government official, and their wives and daughters)

='lgc'>[change in sensibility (&-='lgc'>=>='qstn'>? change in ="trms">interpretation)='lgc'>]
beginning of the withdrawal of the educated classes from more popular culture
='at'>@="frds scrmbld"nttrm="Godard">Goda

="trms">monsters (familiar canon of prodigies) became a subject of great ="trms">fashion and not vulgar

(="ppl">Daston tracing how) “in the ="trms">wonder ="trms">literature, then, ="trms">monsters='lgc'>--along with the rest of the canon of prodigies='lgc'>--began to cast off their ="trms">religious as="trms">sociations. this trend was accompanied by a movement to emphasize ="trms">natural causes over super="trms">natural ones.”

Pare re="trms">presented ='lgc'>[the causes of ="trms">monstrous births='lgc'>] an elaboration on the ="trms">natural explanations offered by ="ppl">Aristotle and ="trms">writers in the Aristotelian tradition (too much or too little seed, maternal ="trms">imagination, a narrow womb, a traumatic pregnancy, hereditary disease, bestiality and so on) ='lgc'>+ a new ="trms">causal ="trms">category='lgc'>: artifice (to in="trms"nttrm="cluster,club">clude fakes and ="trms">children mutilated by their parents to enhance their take as beggars)

shift in ='strcls'>*="trms">causal thinking='strcls'>* ='lgc'>='lgc'>--> (expanded the power of) maternal ="trms">imagination covering eventuality ='lgc'>='lgc'>==> a new way of talking about ="trms">nature
='lgc'>{(from) in the prodigy ="trms">literature ="trms">nature was effectively transparent (a ="trms">veil through which God's purposes could be discerned)='lgc'>}='lgc'>--to='lgc'>='lgc'>--> ="trms">nature gained a new autonomy ( fertility of invention ='lgc'>=/= wrath) ='lgc'>='lgc'>--> ='strcls'>*="trms">nature personified='strcls'>* (the artisan) ='lgc'>[Pare='lgc'>: “chambermaid to our great God"='lgc'>], ="trms">monsters were treated as ="trms">jokes or “sports” (lusus) of a personified ="trms">nature

transcorporeal fields of sensoriality ='lgc'>=/= boundedness of isolated bodies and things

non="trms">anthropocentric ="trms">zoological studies



Bacon's (tripartite division of) ="trms">natural ="trms">history='lgc'>:
="lstsrd">1. ='strcls'>*="trms">natural='lgc'>: the study of ="trms">nature “in course”, or ="trms">natural ="trms">history
="lstsrd">2. ='strcls'>*preter="trms">natural='lgc'>: the study of ="trms">nature “erring”, or the “="trms">history of marvels” ='lgc'>='lgc'>--> a coherent ="trms">category (='lgc'>=/= miscellaneous collection of ="trms">phenomen)
="lstsrd">3. ='strcls'>*artificial='lgc'>: the study of ="trms">nature “wrought, or the ="trms">history of arts

="trms">nature's aberrations for the finest examples of her workmanship

="trms">nature imagery of the ="trms">wonder ="trms">book

renaissance thought ='lgc'>='lgc'>-->='lgc'>{ (antithesis of) art ='lgc'>=/= ="trms">nature ='lgc'>}='lgc'>='lgc'>--> art may aid, imitate, modify or surpass ="trms">nature
='lgc'>--='not'>✕='lgc'>='lgc'>--> Bacon='lgc'>: art (formal and final causes) should become more ="trms">natural ='and'>& ="trms">nature (="trms">material and efficient causes) should be made more artificial ='lgc'>='lgc'>--> ="trms">monster='lgc'>: ="trms">nature's artificial work
="lsts lst1">•="trms">nature in extremis ='lgc'>=/= conventional wisdom
="lsts lst1">•="trms">monsters='lgc'>: models for the novelties of art

='lgc'>--Bacon='lgc'>='lgc'>--> enrichment of both speculative and operative ="trms">natural philosophy (='lgc'>=/= ="trms">books of ="trms">fabulous experiments and secrets)

='strcls'>**="trms">wonder ="trms">literature sacrificed accuracy to admiration='strcls'>**

corroboration


xxxxxx

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to take echoing abstractions (reason, ="trms">nature, etc.) and try to cash them out in concrete practices
(transformation of) extremely abstract ='lgc'>--to='lgc'>='lgc'>--> extremely concrete
="prgrph">-why is it so irresistible to reach analogies between the moral and the ="trms">natural orders='qstn'>?
other orders of ="trms">nature ='lgc'>[='strcls'>**every order of ="trms">nature sustains a moral order='strcls'>**='lgc'>]='lgc'>:
="lstsrd">1. local ="trms">nature (what happens when we scale up)
="lstsrd">2. ="trms">ontological identity card (what makes a squirrels)
="lstsrd">3. universal ="trms">natural laws
aggregation of these forms of orders ='lgc'>]='strcls'>**each provokes a characteristic cognitive passion='strcls'>** ='lgc'>: they involve judgment ='lgc'>+ emotional reaction to its transgressions='lgc'>]='lgc'>:
="lstsrd">1. disequilibria (='lgc'>='lgc'>--> terror='lgc'>: fear saturated by guilt) ='lgc'>='lgc'>--> local ="trms">nature
="lstsrd">2. ="trms">monsters (='lgc'>='lgc'>--> ="trms">horror) ='lgc'>='lgc'>--> ="trms">specific ="trms">nature
="lstsrd">3. marvels and miracles (='lgc'>='lgc'>--> ="trms">wonder) ='lgc'>='lgc'>--> ="trms">natural laws

='lgc'>[(a very recently) forceful kind of='lgc'>] argument to anchor moral or political order in a ="trms">natural foundation

='lgc'>--="ppl">Daston='lgc'>='lgc'>--> we are ="trms">species that re="trms">present (='strcls'>**we must model our orders='strcls'>** ='lgc'>: to make visible ='and'>& external) ='lgc'>--='lgc'>{with an appeal to a ="trms">natural analog='lgc'>}='lgc'>='lgc'>--> ='strcls'>*="trms">nature='lgc'>: the richest source of models of all kind of orders

='lgc'>[!!!today task of artist:='lgc'>] ='strcls'>***to give back humanity its ="trms">childhood='strcls'>*** (that was lost in the age of objectivity) ='at'>@="frds">Sina, ="frds scrmbld">Sarah

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="large lg94" stl="font-size:130%">
Schutz
="trms">social ="trms">nature of knowl="trms"nttrm="knowledge,Knowledge">edge
how people grasp the consciousness of others while living within their own streams of consciousness

absent friends='lgc'>:
="lsts lst1">•his brother whom he has described to me
="lsts lst1">•the professor whose ="trms">books i have ="trms"nttrm="already,spread">read
="lsts lst1">•the postal clerk
="lsts lst1">•the Canadian Parliament
="lsts lst1">•abstract entities like Canada herself
="lsts lst1">•the rules of English grammar
="lsts lst1">•the basic principles of jurisprudence
="lsts lst1">•
='lgc'>--Schutz='lgc'>='lgc'>--> more one goes into the contemporary ="trms">world, the more anonymous the contemporary inhabitants become

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="trms">wonder
and its marvels

(Paris wall slogan from the student rebellion of 1968 ='lgc'>='lgc'>-->) “every view of things that is not strange (bizarre, foreign) is false” ='lgc'>--="ppl">Bynum='lgc'>='lgc'>--> to jolt her ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listeners nad ="trms"nttrm="already,spread">readers into encounter with a ="trms">past that is unexpected and strange

="trms">past ='lgc'>='lgc'>--> answer ="trms">questions we haven't asked

="prgrph">-could “="trms">wonder” be the special characteristic of the ="trms">historian='qstn'>?

="trms">wonder ='and'>& marvels ='lgc'>='lgc'>--> a medieva="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list's topic

="ppl">Bynum re="trms">present a rearguard action to claim back from early ="trms">modernists the irrational and grotesque and to “re-enchant” (if not the ="trms">world, at least) the ="trms">historical professional

="lstsrd">1180-1320
a great increase in ="trms">stories of marvels, ="trms">monsters, miracles, ghosts
medieval europe awash in ="trms">wonders


='strcls'>*the circumstances under which medieval men and women felt ="trms">wonder='strcls'>*
="lsts lst1">•="trms">wonder-talk
="lsts lst1">•="trms">wonder-behavior ='lgc'>[='lgc'>='lgc'>==>='qstn'>? empowering them='lgc'>]
="lsts lst1">•the ='strcls'>*web of actual ="trms">horror ='and'>& delight='strcls'>* we can decipher in medieval texts (and on in="trms">stagram, telegram, whatsapp) (='lgc'>=/= ='thdf'>the idea of “knowing='lgc'> = appropriating” ='lgc'>='lgc'>==> knowing is impossible)

="large lg106" stl="font-size:106%"> medieval theorist ='lgc'>[& my ="trms">bestiary research='lgc'>] ='lgc'>--="ppl">Bynum='lgc'>='lgc'>--> ="trms">wonder='lgc'>: (admiratio) cognitive, nonappropriative, perspectival, particular, (not merely a) physiological ="trms">response
='lgc'>[='strcls'>*='lgc'>]="trms">wonder='lgc'>: recognition of the singularity and significance of the thing encountered

‘thing ='lgc'>=/= knower’ (in a context ='lgc'>+ from a particular point of view) ='lgc'>==t="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigger='lgc'>='lgc'>==> ="trms">wonder

telegram ="trms">bestiary ='lgc'>='lgc'>--> capacity to be shocked by the singularity of the event (='lgc'>==="frds">Sina='lgc'>='lgc'>==> search for significance ='lgc'>='lgc'>~/= cause, explanation)


scholarship on (early ="trms">modern age of) ="trms">wonder
="lstsrd">1- enthusiasm for ="trms">wonders='lgc'> = ='strcls'>*expropriative ='and'>& appropriative='strcls'>* (ضبط و سلب) ='lgc'>='lgc'>--> ='strcls'>*orientalism='lgc'>: projection of self or construction of “other” as self ='lgc'>='lgc'>--> the rape of the New ="trms">World seems implicit in ="trms">wonder at it
(early ="trms">modern europe) impulse to ='strcls'>*collect ='and'>& explore='strcls'>*='lgc'>:
="lsts lst2">◦collection of narwal horns and jewels, deformed fetuses and human captives (made by rulers, ="trms">missionaries, and ="trms">natura="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list)
="lsts lst2">◦o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigins of museums in the wunderkammer (="trms">wonder cabinet)
="lsts lst2">◦voyages to the New ="trms">World with their attendant goals of ='strcls'>*conquering ='and'>& ="trms">missionizing='strcls'>* (='lgc'>=/= ="nms">Sinbad)
="lsts lst2">◦use of inquisitors and ="trms">questionnaires by government to assemble information for juridical ='strcls'>*processings ='and'>& taxation='strcls'>*
="lsts lst2">◦Columbus's “desire to know the secrets of the ="trms">world” (glossed with) Jode de Acosta's praise of proselytizing curiosity
="lstsrd">2- ="ppl">Aristotle's ="trms"nttrm="metaph,metamorph,metabol,metal">Metaph[...]