[...] 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'>='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
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(="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
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“='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'>?)
='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'>?)
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(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
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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...)
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='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
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
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.”
(we should ask the ="trms">question of “="trms">symbolism” at each age again and ="trms">differently)
(Brian Rotman='lgc'>:) an iso="trms">morphism (emerged in renaissance) between='lgc'>:
="lsts lst1">•vanishing point in visual re="trms">presentation
="lsts lst1">•use of zero in computation
="lsts lst1">•abstract money in economic exchange
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='lgc'>[='strcls'>*='lgc'>]vanishing point='lgc'>: a figure of the coincidence of the transcendent ='and'>& the ="trms">="trms">empirical
='lgc'>[Panofsky='lgc'>: perspective as ="trms">symbolic form='lgc'>: perspective in transforming the ‘ousia’ (reality) into ‘phainomenon’ (appearance), seams to reduce the divine to a mere subject ="trms">matter for human consciousness; but for that very reason, conversely, it'd expands human consciousness into a vessel for the divine='lgc'>]
='lgc'>='lgc'>--> an in="trms">finity not only prefigured in god, but indeed actually ="trms">embodied in ="trms">="trms">empirical reality ='lgc'>='lgc'>--> ='strcls'>****in Last Supper the miraculous becomes the direct experience of the beholder, in that the super="trms">natural events in a sense erupt into his own, apparently ="trms">natural visual space='strcls'>****
effects of vanishing point
(in all my image assemblages there is a ="trms">system of fluid ="trms">relations in which subjectivity is ="trms">imagined ='lgc'>[not in terms of coincidence with a quantifiable point of view='lgc'>])='lgc'>='lgc'>--> in every image and diagram subjectivity (='lgc'>~ identity and reference) is ="trms">imagined in a ="trms">system of ="trms">relations ='at'>@="frds scrmbld">Eszter's binding order
zero
primal image of nothingness
="lsts lst1">•kabbalah
="lsts lst1">•the egg
="lsts lst1">•oroboros
="lsts lst1">•
my issue with contemporary ritual practices in the arts is that they are based the ="trms">symbolic privileging of the معنوی noumenal ='lgc'>=/= ="trms">phenomenal
(rituals that artists practice today, ="frds scrmbld"nttrm="Leonardo">Leonardo's Last Supper='lgc'>:) ="trms">symbolic opening to a noumenal ="trms">world ='lgc'>=/= facade of appearance and semblance
(='lgc'>=/=='qstn'>? coalescence, knowl="trms"nttrm="knowledge,Knowledge">edge and diversity work, etc.)
i can't insist enough (learning from Seurat) that the foreclosure of the noumenal ="trms">world (the true ="trms">world) is inseparable from the fragility and insubstantiality of the apparent ="trms">world
(shabah az sanaat joda nist شبه و صنع)
a residue of an earlier ="trms">social ="trms">world (in which the sacred, the occult, and artmaking were much more closely tied together)
...Egyptian priest, medieval magus, Babylonian snake charmer, headsman or executioner,
sug="trms">gestion of magician ='lgc'>='lgc'>--> emblematic of a ="trms">modernized order of ="trms">spectacle ='lgc'>='lgc'>--> mass management of attentiveness ='lgc'>+ its commodification ='lgc'>: ='strcls'>*rationalized magic of a ="trms">technology of attraction='strcls'>* (that conceals its synthetic construction)
op="trms">position of charismatic and bureaucratic domination
Weber's “="trms">routinizatiom"='lgc'> = castration of charisma (='lgc'>='lgc'>==> permanent institutional structures)
prophetic/oracular individual (has seen the extinction of his ="trms">society) ='lgc'>[='lgc'>==implying='lgc'>='lgc'>==> an unstable domination='lgc'>] ='lgc'>=/= administrated and rationalized order of a money economy
priestly status of ="frds scrmbld">Elen in her performances implying an pathos and ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics of distance (and dismantling it='qstn'>?)
be careful with this liminal ="trms">positions='lgc'>:
="lsts lst1">•activation of a broken collective ="trms">memory
="lsts lst1">•im="trms">position of ="trms">modern oblivion on the other
="trms">presenting music='lgc'>:
="trms">socialized activity, indicating the ='strcls'>*superficial appearance of a collective reception='strcls'>*
immediacy of an audience
“physicality of music making itself” ='lgc'>--Leppert='lgc'>='lgc'>--> the sight of the body's labor to produce sound
19th century ideal of a musical performer as a quasi-sexual virtuoso
performing music ='lgc'>='lgc'>--> sug="trms">gestion of collective participation ='lgc'>--evoke='lgc'>='lgc'>--> harmonic ="trms">relationships and pre="trms">modern mysteries ='lgc'>[implicit in music and ="trms">geometrical forms (even as they are collapsed into ="trms">modern abstraction and the image of a fully administrated ="trms">world)='lgc'>]
='at'>@="frds scrmbld"nttrm="Alice,Shariati">Ali, KHM sound department
...remnant of what once might have the living Dionysian reality (of the antique chorus)
='strcls'>*score='strcls'>* (coming from the boredom of a third-rate military music band after 1850 in Europe) aligned with the rationalizing imperatives of industrial production='lgc'>: hierarchically ranked states ='strcls'>*executing an external algorithm='strcls'>* ='lgc'>='lgc'>~= partition='lgc'>: allocating its parts
='lgc'>[='strcls'>*='lgc'>]score='lgc'>: the image of programmed labor in our ="trms">society (='at'>@="frds scrmbld">="frds scrmbld">Lilia) ='lgc'>='lgc'>--> logic of combination
="prgrph">-in ="nms">apass i have been fighting against artists ambivalent characterization of themselves. i want my peers particular ="trms">figuration of ="trms">measurement, quantities, and ratios of their diagnosis of crisis of value and of devaluation of life and the ="trms">world (when they perceive as such... negation and inversion)
(="ppl">Aristotle's ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics ='lgc'>='lgc'>==>) Pythagorian='lgc'>: art='lgc'> = harmony='lgc'> = analogy between op="trms">posites
='lgc'>='lgc'>~='lgc'>~='lgc'>='lgc'>--> ='strcls'>**="trms">social project of reconciliation through the use of ="trms">aesthetic forms='strcls'>** (from the 4th century and still popular today)='lgc'>='lgc'>--> “training of the people begins with the senses” ='lgc'>: music and rhythm from which came healing of human temperaments and passions
Pythagoranism='lgc'>: number ='lgc'>=/= in="trms">finite
="lsts lst1">•in="trms">finite='lgc'> = void of knowl="trms"nttrm="knowledge,Knowledge">edge, limitless and undetermined
="lsts lst1">•number='lgc'> = rational limit and determination
Pythagorean ='lgc'>=/= pre="trms">modern mystic values
='strcls'>*some of the great disenchanters at the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin of ="trms">modern western ="trms">science are deeply Pythagorean='lgc'>:
='strcls'>***number is the essence of reality ='lgc'>==today='lgc'>='lgc'>==> “="trms">nature must be studied quantitatively” (='lgc'>=/= ="nms">ajayeb's quality of descriptive ="trms">nature of the ="trms">world)
...and appeal to mathematics in artmaking still comes from the hope of establishing clear and distinct ideas, which as such are necessarily true
Pythagorean primal ="trms">cosmogenic principle='lgc'>: breath ='lgc'>='lgc'>--> repression's binary rhythm of inhaling and exhaling, the ="trms">mutual ="trms">interaction of contraries (like sex) ='lgc'>: the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal generative force
(the union of the limited and the unlimited) ='lgc'>='lgc'>--> still operating today in the year 2018
theories of dynamogeny on ="nms">iranian traditional music radif, that certain musical proportions poses cheerful or bitter qualities, influence the person's emotional state
to transcend from quantitative number of dastgah ='lgc'>--to='lgc'>='lgc'>--> a mysterious qualitative dimension of ="nms">pardeh
(="ppl">="ppl">Crary's) Seurat's anarchism='lgc'>: (painting of the) ="trms">world of mere ="trms">="trms">empirical ="trms">relations, cut off from the in="trms">finite (loss of the vanishing point) and from the light of either sun or moon (gaslight illuminates the s="trms">cene)
="frds scrmbld"nttrm="Leonardo">Leo's primitive ="trms">communism
pictorial generation of meaning
the keystone of ="frds scrmbld">Foad's ="trms">technique='lgc'>:
purity of the spectral element
(Burgin >) fantasy='lgc'>: an arrest that domesticates the unruly movements of desire ='lgc'>='lgc'>--> it takes on hieratic and tableau-like forms ='lgc'>: phantasmatic ="trms">figuration
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='strcls'>*reconciliation='strcls'>*
(a formal idea, of) abstract functionings of binary op="trms">positions ='lgc'>{typographical distribution of energy='lgc'>}
='lgc'>=/= elevation in terms of “op="trms">posites” or “contraries” (colors, lines, forces, sexes, numbers)
="trms">technocratic dream of a quantifiable harmony that a machinic ="trms">world installs or restores ='lgc'>='lgc'>--> ='strcls'>*ataraxie='strcls'>*='lgc'>: emphatically reduction of tensions into zero ='lgc'>--Seurat='lgc'>='lgc'>--> homeostasis ='lgc'>='lgc'>--> preindividuated unity ='lgc'>: theater of equilibrium ='lgc'>='lgc'>==> erasure of both individual and ="trms">historical temporality
(Nattiez='lgc'>:) the illusion that humanity could reach a stable point ='lgc'>[...='lgc'>] at which time can be arrested. it is for this reason that androgyny and death so often appear together='lgc'>: ="trms">social utopias end in massacres and that the structura="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list utopias of an allembracing explanation of mankind reducible to torrents of binary op="trms">positions result in “nothingness”
="ppl">Freud's nirvana principle='lgc'>: to remove ="trms">interval tension due to stimuli (='lgc'>='lgc'>--> death instinct)
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="frds">Sina='lgc'>:
(painted and visible philosophy)
in my image assemblages what are and how they work='lgc'>:
="lsts lst1">•="trms">mimes of meaning
="lsts lst1">•full of graphic ="trms">gestation
="lsts lst1">•figural groupings
="lsts lst1">•architecture
="lsts lst1">•com="trms">positional thinking
what ="trms">sorts of structural ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rightness do my image assemblages make inevitable='qstn'>? (innocently indicating the sweet source of truth)
or, what kinds of ="trms">geometric simplicities (purity of form and efficiency of expression) does it betray='qstn'>?
what is the ‘status of idea’ in there='qstn'>?
what are the allegorical abstractions='qstn'>? (in ="ppl">Sohrevardi image='lgc'>: the mediation between heaven and earth) (horizons, vanishing points, grids, orthogonals, heavenward movements, ="trms">gestures, axis or axiomatic ="trms">geometry,,,)
='lgc'>[my performances are teachings on how to ="trms"nttrm="already,spread">read the figural ="trms">language of my image assemblages (='qstn'>?)='lgc'>]
the particular ="trms">geometry of pictorial structure in my image assemblages testifies to which truth='qstn'>?
which pictorial realizations (knowl="trms"nttrm="knowledge,Knowledge">edge of things) do they epitomize='qstn'>?
which ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical polarities ="trms">translated into ="trms">geometric contrasts='qstn'>? (="trms">integral part of revealed truth) ='lgc'>[or that there is a or no central truth...='qstn'>?='lgc'>]
which allusions ground the abstract truth of the image in a certain reality='qstn'>?
(='lgc'>='lgc'>--='lgc'>--David Rosand's) Rap[...]