[...] ="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 lg2" stl="font-size:112%"> (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

='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)

="large lg3" stl="font-size:112%">
="frds scrmbld"nttrm="Leonardo">Leo's primitive ="trms">communism


pictorial generation of meaning

="large lg4" stl="font-size:111%">
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


="large lg5" stl="font-size:160%"> ='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)


="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 b[...]