[...]='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)

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


="large lg3" stl="font-size:112%"> (="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'>**


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

="large lg5" stl="font-size:127%">
(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'>==> 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 o[...]