[...]on of a fundamental relation between sensation and motor behaviour) indirectly informs Seurat's work --proposing-->{ sensory stimuli ==> motor expression (in the perceiver) }--> (the question of) **human response based on bypassing of conscious thought altogether**

(very important for iranian artists: the question of the *rational mind of an observer* and intellectual construction directed to that --> status of a conscious observer)
-producing effects involuntary in the observer
-(Foad and Sina engaging with an) exclusively optical consciousness of the individual human subject [--> can we go beyond that? to which philosophical sensual ethics of bodily awareness Foad and Sina are optically bind to? which anti-optical aesthetic positions are available to us?]
•Foad's neoimpressionist: implication of total organic resonance ==>{ from organic activity of perception --to--> transforming physical existence }
•Sina's Einfuhlung: mode of intense perceptual absorption in which lines and forms are experienced as catalysts for vitalization of the imagination


Seurat --> dream of a fully unalienated instinctual aesthetic gratification --through--> quantifiable and manageable economy of excitation (within an organized and controllable body)

biological romanticism

anxiety of overstimulation --> power of suggestion


attention --> Nietzsche's reality of drives --> Freud's libidinal body (=/= physiological body) --> *drives (=/= instincts) not tied to specific conditions of satisfaction, are subsumed to an open-ended ‘plasticity’ (susceptible to substitution)
drive constantly misses its aim


(for Seurat, Fere, Nietzsche:)
art = physics (=/= semiology) : the question of meaning in art was not about representation but a relation of forces --> for Seurat color was not something accessible as a sign to a sovereign gaze but was an interpretation made by the body

(both Seurat [in his painting] and Nietzsche [in will to power] have felt that there was) an extreme calm in certain *sensations of rapture* ~ extra retardation of the feeling of time and space --> the classical style is essentially a representation of this calm, simplification, abbreviation, concentration }--> (?Sina's paintings) logical and geometrical simplification <== enhancement of strength*!


a lot of artists are still busy with:
stimulus-response mechanisms
**techniques for the external management of aesthetic response** --> quantifiable emotional engineering
@Eszter directly
(the origins of this discourse lies in 19th century automatic behaviour and nervous response, nature of mass subjectivity and desire for social integration, and since Seurat in visual art)
[*]spectator: a being that is acted apon
(does the artist want the spectator “obey” a predetermined program of effects? specially in theater... even if we say this subject [hypothetical individual observer] is a creative inventive affirmative body --still--> presupposing **a subject that is a unity with a conscious will to be overcome** ~-> method)

putting a little onlooker at the bottom of my paintings -->? potential objects of techniques for the control and management of perception and attention
(what are Foad's such objects?)

}--> the question of *how a sensory world is dismantled, synthesized, and represented (~ my paintings) is inseparable from the problem of how a world of objects, individuals, and social relations (~ my performances) organizes itself*

what concerns Seurat (in different terms of color image or human figures) is a ***tension between cohesion and disintegration*** (--> that has been also my constant aesthetic concern)
--this is evident in my work:
[*my paintings busy with] questions of how diverse stimuli become tentatively “bound” into a coherent constellation
[*my performances busy with] questions of how contents referring to a social world are fused or integrated into a network of relations

(in my work) experimenting with:
•the unity of subjective experience (myself performing under influence, mad lectures, excessive synthesis, pathological and disruptive storytelling)
•integrity of social institution and processes (the loci and conditions of us coming together, space of art)
=/= social tranquility --> economic productivity
=/= social fantasy of “solidarity” --> health and functional unity, individuals transformed into “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 imaginary social figurations

Durkheim and Seurat's question of social & sensory: from what viewpoints significant manifestation of organization become apprehensible


my paintings
•(unstatistical) distribution of isolated and categorized units <== additive principle of formal adjacency <-- (my belief:) depleted atomic relations [should] predominate beneath the spurious appearance of social concord [in my world: Iran]
}-->? holistic mode of association (=/= my performances) -->? desire for (modern forms of) cohesion (in the absence of inflexible forms [~ disintegration of the mechanical solidarity of tradition, religion, myth, consanguinity]) -->? wanting an *original solidarity* (---> go to the image of the ‘harmonious vision of industrial society’ in my early paintings, self-regulating landscapes of feedback loops --> *state of equilibrium* that i wanted to achieve in the painting not symbolically)

(i prefer *pseudo solidarity*)

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

modernity --> state of harmonious equilibrium --> interaction in relation of agreement and mutuality --> new set of moral imperative --> *solidarity*: the duty to become a “social being” (~ to become socialized in relation to a wide range of institutions)


anomie: breakdown of an organized set of connections and adjacencies, deranges a normally regulated flow of communication and feedback (=/= solidarity) }--> 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 (=/= 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 system as a whole. systemwide increase of local zones of dissociation and disintegration <-- Durkheim



(Durkheim was writing at the time of) crisis of social cohesion within a transitional period ==> a systematic response was being shaped (foreshadowed in several of Seurat's major works) -*-*-*--> the making of a society whose effective unity was founded on the ubiquity of *spectacular consumption through mass media and technologies of illusion*
if *religion* was the key “collective representation” (in Durkheim premodern mechanical solidarity) --> *spectacle* was to become the primary simulation of cohesion and unification within 20th century modernity****
--> (Debord:) capitalism's solidarity: unity of subjects in their very separatedness


(Crary >) Seurat's entire visual output: [systematic movement between:]
•large engineered representation of social collectivities (~ crowds)
•images of isolation and separation

“[...]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 social aggregates never alters the obdurately insular character of their individual human character.”

Seurat stakes out a darker and more skeptical position than Durkheim about the possibility of *positive knowledge of “social reality”* --> his works are determined by a sense of **impalpability and evanescence of the social itself**


(what is my “sociology” in my works?)


{ great social catastrophes of the 19th century + accumulated bourgeois anxiety over the disorders of revolution (1848 and 1871) }==> (emergence of French 1890s of) “science” of sociology


let's stop mourning about the earlier model of political theater being [...]