[...]ome 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


="large lg2" stl="font-size:110%">
(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'>?)

="large lg1" stl="font-size:117%">
='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...)


='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'>?)



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 Seurat)

both of these paintings are concerned with the revelation of a mystery='lgc'>:
="lsts lst1">•="frds scrmbld"nttrm="Leonardo">Leonardo='lgc'>: the mystery of ="frds scrmbld"nttrm="Christianson">Christian sacrifice as it coincides with a lucid apprehension of in="trms">finite extension
="lsts lst1">•Seurat='lgc'>: the “mystery” of the disenchanted and quantitative order of capita="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list exchange (and its overturning of homogeneity and legibility of space)

witness to='lgc'>:
="prgrph">-holy ="trms">communion -="frds scrmbld"nttrm="Leonardo">Leonardo
="prgrph">-rituals intrinsic to ="trms">modernity -Seurat

in terms of orthogonal illustrated in ="frds scrmbld"nttrm="Leonardo">Leonardo is precisely what Seurat dismantles in Parade de Cirque

the ="trms">question of value
movement of abstract quantities
(transactional dimensions of Seurat's work)

lost transparency='lgc'>:
how the use of money within ="trms">modernity transformed the ="trms">social character of exchange ='strcls'>***from something ="trms">interpersonal to an anonymous transaction='strcls'>*** at the distance (='lgc'>='lgc'>--> Reza's hold-up of values, the dream of ="trms">interpersonal transaction and resistance of anonymity and distance)
='lgc'>[the problem that all artists have with money ='lgc'>--="ppl">Simmel='lgc'>='lgc'>-->='lgc'>] ='strcls'>*a ="trms">priori equivalence of price (for all commodities) ='lgc'>='lgc'>==> eliminate='lgc'>:
="lsts lst1">•deliberations and examinations of the buyer
="lsts lst1">•effects and elucidations of the seller
='lgc'>='lgc'>==> quick and in="trms">different economic transaction

“selling tickets”='lgc'>: accumulated ="trms">social experience of separation='lgc'> = ='strcls'>*depersonalized exchange='strcls'>* (='lgc'>='lgc'>--> that which many artists are dealing with as a problem)
='lgc'>--Gouz='lgc'>='lgc'>--> ='lgc'>[='strcls'>*='lgc'>]capitalism='lgc'>: ='strcls'>*dis="trms">affection of value='strcls'>* (the libidinal, the ="trms">intersubjective, the semantic are completely divorced from the economic ="trms">relation ='lgc'>='lgc'>==> economic sector ='lgc'>=/= semantic ="trms">affective investment)

Seurat's meditation on the emptiness of a ="trms">modern ="trms">relation of display and ="trms">consumption

="large lg3" stl="font-size:110%"> cost of ad="trms">mission at two ="trms">different rates='lgc'>:
="prgrph">-="frds scrmbld"nttrm="Leonardo">Leonardo='lgc'>: head of Jesus at the vanishing point of the window opening ="trms">onto in="trms">finite celestial space (='lgc'>='lgc'>--> regime of signs that possess intrinsic value ='lgc'>=/=)
="prgrph">-Seurat='lgc'>: price tag, grid space (='lgc'>='lgc'>--> regime of signs that are ="trms">symbols of value)


='lgc'>[='strcls'>*='lgc'>]scenic='lgc'>: determined by the ="trms">position of an (depicted) observer


="large lg4" stl="font-size:110%"> ubiquity of the subjective experience of “shopping” ='and'>& its construction as ="trms">spectacle

‘price tag’='lgc'>: (one of the vanishing points of ="trms">modernity,) the draining away of the illusion of reference or stability

="trms">Poe's str="trms"nttrm="danger,stranger">anger itinerary, a paradigmatic ="trms">articulation of ="trms">modern loneliness
“at no moment did he see that i watched him. he entered shop after shop, priced nothing, spoke no word, and look at the object with a vacant stare.”

process of circulation and convertibility
simulation inherent in the ="trms">literal ="trms">spectacle inseparable from the “semblance”(='lgc'>~ price tag)

(="ppl">Marx='lgc'>:) ‘price tag’='lgc'>: the ="trms">symbol of itself
“only fleeting, a reality destined constantly to disappear, to be suspended, not to be count as a de="trms">finitive realization but always only as an ="trms">intermediate, mediating realization. ='lgc'>[...='lgc'>] it exists, therefore, in so far as it remains in this constant movement ='lgc'>[...='lgc'>] its reality is not that it is the price but that it re="trms">presents it, is its re="trms">presentative='lgc'>--the ="trms">materially ="trms">present re="trms">presentative of the price, this of itself, and as such, of the exchange value of commodities.”

="large lg5" stl="font-size:162%">
(we should ask the ="trms">question of “s[...]