[...]r /> --?--> automaticity: performance under conditions of divided attention

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

Manet: disengagement of perception from a model of interiority
Manet's painting discloses some of the important reconfigurations of the status of the observer (that had occurred by the middle of 19th century)

my Olearius video figuratively repositions the observing subject outside of the term of which system of vision?
world present to the subject in relations of reflection?

...three observers by the virtue of their unmediated, unobstructed self-presence

=/= *romanticism: (maintained) resistance to externality*
[compare Manet's balcony with Goya's painting Majas on a Balcony]

(Manet's palette corresponding to) the luminous wavelengths of a new technological lifeworld...

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


modernization of urban space --> (crucial component of the) regime of perceptual adaptability


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


*palpable immediacy of a modernized presence* (--> to grasp and inhabit it, then dissolution into self-absorption)
(?Sven plays with that) *nebulous obscurity of presence*

uncertain content of the interior

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


Manet tentative splitting of:
•figural representational facts
•facts of autonomous pictorial substance
(--> now a European tradition)
(a movement towards “formlessness” very different than eastern chaotic imagination)

Manet's confident inattention to the object and its coherence


fastening together and grounding narrative content


[Manet (and many other 1880 painters) -->] problem of [*]realism: a question of tenuous relation between perceptual synthesis and dissociation
=/= question of mimesis

achieving a *reality-effect* ~= to hold something together, to “contain” things, ***to ward of experiences of disintegration***
(the reality-effect is processed and achieved differently in Iran. how? how iranian artists differ from the perceptual logic of modernity?)

([Elmira and Foad's] engagement with the) ambiguities of visual attentiveness

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


(Manet's) faciality (a site of pictorial effect): casual amorphousness, a surface that no longer discloses interiority or self-reflection
(within 19th + 20th century modernity) face: (par excellence) the substance of expression of the signifier --(D+G)--> **capitalist faciality** (exists to serve a signifying formula): the means by which the signifier takes control, the ways it organizes a certain mode of individuated subjectification and collective madness of a *machine without any content* (Crary > Guattari)

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

indication of bodies in my peers projects in apass:
-kinds of subduing and constrain necessary for the construction of an *organized and inhibited corporeality* (--> Laura's project)
-instruments of domestication

fixed pictorial (--> a holding action) --> social organization



study object of empirical sciences around 1880: perceptual field newly decomposed into various abstract units of sensation + related possibilities of synthesis
+ newly invented nervous disorders (hysteria, etc.)
--> (busy with) failures of the integrity of perception --> disassociated fragments --> (impairment asymbolias:)
*agnosia*: inability to make any conceptual or symbolic identification of an object ~ visual information experienced with a primal strangeness:
“perceptual field --✕--> pragmatic plasticity”
flat perception, no determination of depth object
}--> labelled as pathological [=/= my amazon project--was a form agnosia:
•resistance to consuming the world in a productive or social way
•rejection of habitual or conventional patterns of organized perceptual information]
-this is part of the phenomenology of knowledge***
desymbolization of perception --> Foad

{for Janet:} attention: power of mental synthesis (~ the power of subject to form new perception, to have memories)
{for Freud:} attention: dynamic activity of repression


“[a] society recognizes itself and its own positivity through the morbid and pathological forms it identifies and invents” (Crary + Foucault)

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


(the state of) the seated woman


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

*face: (sign of a disquieting) continuum between the somatic and the social*


boarded on a trance

(Bachelard:) reverie: irreality function --> keep the psyche on the fringe of all the brutality of a hostile and foreign nonself (!)
--✕--> reality function --> adapt to reality: to manufacture works which are realities

modern flirtation: refusal and the withdrawal of the self are fused with the phenomenon of drawing attention to the self (in one indivisible act)
-Simmel

Poetics of Reverie (by Bachelard) @Eszter


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


effectively
cross-eyed figure
sees
if anything at all
(it is a disunified field)
with two
disparate optical axes.
into the eclips[...]