[...]
(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 displaced by by the modernized forms of spectacle (--> my critic on Kurzgesagt is outdated?)


(for Seurat:) *art work = solicitation of attention*

play of attraction and absence (in Sina and Foad's work):
a visual or performative work designed around the cancellation and suspension of what it promises

Seurat --> (Sina and) Foad's obliteration of the scenographic conditions of the work even as he simulates their persistence

Seurat --> my work has always been scenic, positioning its viewers before an apparently stagelike space [without orthogonal guides ==> assemblage of disjunct planner elements]
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 world extending away from the spectator (collapsing that “stage,” dramatically sealing off possible avenues of entry into the work for our eyes) ==?==> a world related to the viewer's own point of view

deliberate archaism
(--> medieval mystery plays)
closed-off antiscenic space --> forms of popular display (shadow figure, puppet theatre,) that only simulate or evoke the “cube” of theatrical space


to be careful with *grid*
[*--stories that the grid tells--*]
(Crary > Krauss:) by its very abstraction, grid conveys one of the basic laws of knowledge: *punctuality* [---> go to apass psychological optics and image of knowledge incorporated in presentation of projects, #workshop on topology] --> the separation of the perceptual screen from that of the “real” world
[*]grid: (19th century) emblem of the infrastructure of vision --> becoming an increasingly insistent and visible feature of neo-impressionist painting
(~/= Crary is hesitant to characterize Seurat's flatness structurally as grid)
-tabular field with rows and columns making impossible a point to point (= punctual) relation between spectator and image[...]