[...]eries
(="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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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
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(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
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(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'>*!
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.”
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
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
frontality and unity of framing (of “primitive” cinema...)
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='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'>?)
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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 Seu[...]