[...]egular 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 lg2" stl="font-size:110%">
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'>]


="large lg1" stl="font-size:142%"> 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'>==> 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

uprooting of perception from any stable space-time coordination

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


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


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

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


(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 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'>==>
="lsts lst1">•rationalization and quantification of movement and time (='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

="large lg3" stl="font-size:112%"> (="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'>==> ="trms">consumer/="trms">agent of/in synthesis of a proliferating diversity of reality-effects (='lgc'>='lgc'>='lgc'>~=> digital and cybernetic imperatives of our ="trms">present time)


invention
dissolution
creative synthesis

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................
="large lg4" stl="font-size:112%">
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'>==> ='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

="large lg5" stl="font-size:128%"> 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'>*
[...]