[...]le 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
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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
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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'>]
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="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)
(='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
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artisanal ="trms">craft
(repetitive forms of='lgc'>:)
primal intuition of absence
transcendental signifier of ="trms">religion
sacramental authenticity of antiquity
(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)
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)
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='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'>]
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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
...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)
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(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...
(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
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="large lg10" stl="font-size:118%">
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'>])
="large lg3" stl="font-size:112%">
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
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perhaps ='mywrk'>my work is inseparable from (the consequences of the emergence of) ='strcls'>*models of subjective vision='strcls'>*
[...]