[...] 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'>***
="large lg2" stl="font-size:110%">
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'>]
="large lg22" stl="font-size:105%">
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'>]
="large lg26" stl="font-size:117%">
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 lg34" stl="font-size:128%">
(='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
="large lg34" stl="font-size:114%">
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)
='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
="large lg1" stl="font-size:142%">
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)
(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
="large lg22" stl="font-size:118%">
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
="large lg22" stl="font-size:113%">
="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
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'>*!
="large lg26" stl="font-size:134%">
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'>~-> ="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'>?)
='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
(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
(="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.”
="large lg18" stl="font-size:113%">
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
="large lg14" stl="font-size:121%">
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
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
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
="large lg6" stl="font-size:134%">
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
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
="large lg34" stl="font-size:112%">
“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
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'>****
="large lg10" stl="font-size:110%">
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)
="large lg10" stl="font-size:119%">
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'>* (acknowle[...]