[...]ses 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'>]


="large lg2" stl="font-size:111%"> ="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'>==>='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)


(='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'>==> 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


(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 lg1" stl="font-size:132%"> 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'>]

="large lg3" stl="font-size:110%"> Muybridge's 1879 work on sequential photography ='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'>==> circulating capital
='lgc'>}='lgc'>--="ppl">Marx='lgc'>='lgc'>--> “capital by its ="trms">nature drives beyond every spatial barrier” ='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

="large lg4" stl="font-size:110%"> 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'>*)


="large lg5" stl="font-size:134%"> 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'>==> “='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 ou[...]