[...]onal illustrated in Leonardo is precisely what Seurat dismantles in Parade de Cirque

the question of value
movement of abstract quantities
(transactional dimensions of Seurat's work)

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

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

Seurat's meditation on the emptiness of a modern relation of display and consumption

cost of admission at two different rates:
-Leonardo: head of Jesus at the vanishing point of the window opening onto infinite celestial space (--> regime of signs that possess intrinsic value =/=)
-Seurat: price tag, grid space (--> regime of signs that are symbols of value)


[*]scenic: determined by the position of an (depicted) observer


ubiquity of the subjective experience of “shopping” & its construction as spectacle

‘price tag’: (one of the vanishing points of modernity,) the draining away of the illusion of reference or stability

Poe's stranger itinerary, a paradigmatic articulation of 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 literal spectacle inseparable from the “semblance”(~ price tag)

(Marx:) ‘price tag’: the symbol of itself
“only fleeting, a reality destined constantly to disappear, to be suspended, not to be count as a definitive realization but always only as an intermediate, mediating realization. [...] it exists, therefore, in so far as it remains in this constant movement [...] its reality is not that it is the price but that it represents it, is its representative--the materially present representative of the price, this of itself, and as such, of the exchange value of commodities.”


(we should ask the question of “symbolism” at each age again and differently)


(Brian Rotman:) an isomorphism (emerged in renaissance) between:
•vanishing point in visual representation
•use of zero in computation
•abstract money in economic exchange

[*]vanishing point: a figure of the coincidence of the transcendent & the empirical
[Panofsky: perspective as symbolic form: perspective in transforming the ‘ousia’ (reality) into ‘phainomenon’ (appearance), seams to reduce the divine to a mere subject matter for human consciousness; but for that very reason, conversely, it'd expands human consciousness into a vessel for the divine]
--> an infinity not only prefigured in god, but indeed actually embodied in empirical reality --> ****in Last Supper the miraculous becomes the direct experience of the beholder, in that the supernatural events in a sense erupt into his own, apparently natural visual space****

effects of vanishing point

(in all my image assemblages there is a system of fluid relations in which subjectivity is imagined [not in terms of coincidence with a quantifiable point of view])--> in every image and diagram subjectivity (~ identity and reference) is imagined in a system of relations @Eszter's binding order

zero
primal image of nothingness
•kabbalah
•the egg
•oroboros
•

my issue with contemporary ritual practices in the arts is that they are based the symbolic privileging of the معنوی noumenal =/= phenomenal
(rituals that artists practice today, Leonardo's Last Supper:) symbolic opening to a noumenal world =/= facade of appearance and semblance
(=/=? coalescence, knowledge and diversity work, etc.)
i can't insist enough (learning from Seurat) that the foreclosure of the noumenal world (the true world) is inseparable from the fragility and insubstantiality of the apparent world
(shabah az sanaat joda nist شبه و صنع)


a residue of an earlier social 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,

suggestion of magician --> emblematic of a modernized order of spectacle --> mass management of attentiveness + its commodification : *rationalized magic of a technology of attraction* (that conceals its synthetic construction)

opposition of charismatic and bureaucratic domination

Weber's “routinizatiom" = castration of charisma (==> permanent institutional structures)
prophetic/oracular individual (has seen the extinction of his society) [==implying==> an unstable domination] =/= administrated and rationalized order of a money economy

priestly status of Elen in her performances implying an pathos and metaphysics of distance (and dismantling it?)

be careful with this liminal positions:
•activation of a broken collective memory
•imposition of modern oblivion on the other


presenting music:
socialized activity, indicating the *superficial appearance of a collective reception*
immediacy of an audience
“physicality of music making itself” --Leppert--> the sight of the body's labor to produce sound
19th century ideal of a musical performer as a quasi-sexual virtuoso

performing music --> suggestion of collective participation --evoke--> harmonic relationships and premodern mysteries [implicit in music and geometrical forms (even as they are collapsed into modern abstraction and the image of a fully administrated world)]
@Ali, KHM sound department

...remnant of what once might have the living Dionysian reality (of the antique chorus)


*score* (coming from the boredom of a third-rate military music band after 1850 in Europe) aligned with the rationalizing imperatives of industrial production: hierarchically ranked states *executing an external algorithm* ~= partition: allocating its parts
[*]score: the image of programmed labor in our society (@Lilia) --> logic of combination


-in apass i have been fighting against artists ambivalent characterization of themselves. i want my peers particular figuration of measurement, quantities, and ratios of their diagnosis of crisis of value and of devaluation of life and the world (when they perceive as such... negation and inversion)


(Aristotle's metaphysics ==>) Pythagorian: art = harmony = analogy between opposites
~~--> **social project of reconciliation through the use of aesthetic forms** (from the 4th century and still popular today)--> “training of the people begins with the senses” : music and rhythm from which came healing of human temperaments and passions

Pythagoranism: number =/= infinite
•infinite = void of knowledge, limitless and undetermined
•number = rational limit and determination

Pythagorean =/= premodern mystic values
*some of the great disenchanters at the origin of modern western science are deeply Pythagorean:
***number is the essence of reality ==today==> “nature must be studied quantitatively” (=/= ajayeb's quality of descriptive nature of the 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 cosmogenic principle: breath --> repression's binary rhythm of inhaling and exhaling, the mutual interaction of contraries (like sex) : the original generative force
(the union of the limited and the unlimited) --> still operating today in the year 2018


theories of dynamogeny on iranian traditional music radif, that certain musical proportions poses cheerful or bitter qualities, influence the per[...]