[...] ="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'>]

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

="large lg1" stl="font-size:130%"> ="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'><== 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”

="large lg3" stl="font-size:111%"> 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'><== 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)

="large lg4" stl="font-size:111%"> (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)


="large lg5" stl="font-size:152%"> 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[...]