[...]umenal ="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
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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
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(="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 lg18" stl="font-size:122%">
="frds scrmbld"nttrm="Leonardo">Leo's primitive ="trms">communism
pictorial generation of meaning
="large lg1" stl="font-size:142%">
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
='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 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) Raphael='lgc'>: theological truth ='lgc'><='lgc'>='lgc'>--> axiomatic ="trms">geometry (='lgc'>~ congruence of simple structures) ='lgc'>='lgc'>--> divinity of the circle
super="trms">natural status of the form, reaffirmed by gold (='lgc'><='lgc'>-- an archaic and discounseled ="trms">technique) ='lgc'>='lgc'>==> ='strcls'>*put ‘form’ beyond the reach of pictorial illusion and beyond the realm of ="trms">nature='strcls'>*
='strcls'>*pictorial truth sometimes lies in the pa="trms">inter's choice in working on the surface='strcls'>* (acknowledging the powerful claims of the axis of the field and the determining control of its shape, recognizing the dialectic of circle and square, the signifying tension between picture plane and orthogonal recession, etc.) ='lgc'>='lgc'>--> in the case of Raphael='lgc'>: theology becomes a commentary on painting ='lgc'>: pictorial structure (directly ="trms">semiotic and not ="trms">mimetic)='lgc'> = meaning
(always='qstn'>?) ='strcls'>*faithfuls need their o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginals='strcls'>*
in Helmholtz's 1856 comprehensive account of human vision, the eye emerges ='strcls'>*empathically embedded in the thinness and opacity of the body='strcls'>*
eye (='lgc'>=/= a marvelous ="trms">apparatus) ='lgc'>: an ="trms">apparatus with built-in aberrations, proneness to error, and inconsistencies in is processing of visual information ='lgc'>='lgc'>--> entoptical ="trms">phenomenon ='lgc'>--James='lgc'>='lgc'>--> subjective optical sensation='lgc'>: ='thdf'>example of selective attention ex="trms"nttrm="cluster,club">cludes from consciousness sensations that are ='strcls'>*nonreferential='strcls'>* (= irrelevant to the knowl="trms"nttrm="knowledge,Knowledge">edge about the ="trms">world)
(='lgc'>='lgc'>~= Ernst Mach's sight phantasms)
arborescent ="trms">vocabulary of the ="trms">scientific ="trms">literature on the eye in the 1880s
='strcls'>*new diagram of the eye='lgc'>: photoreceptors in the human eye are placed at the back of retina, behind the blood vessels (that ="trms">literally ="trms">intervene seeing) ='lgc'>--Seurat='lgc'>='lgc'>--> inseparable mix of an abstract mathematically constructed ='and'>& a physiological perception more subjectivity determined, “domain of vision has been ="trms">integrated Iin the field of desire” (="ppl">Lacan), “phantasmatic events that occur on the surface of the bodies” (="ppl">="ppl">Crary)
='lgc'>=/= older diagram of the eye='lgc'>: the ideal unobstructed functioning of camera obscura ='lgc'>='lgc'>--> ‘s="trms">cene of re="trms">presentation’
‘dream of immediacy’ ='lgc'>--to='lgc'>='lgc'>--> (Seurat's refusal of scenography ='lgc'>='lgc'>==> nondisclosure ='lgc'>~) fantasy of a theatre without re="trms">presentation
="ppl">Rousseau's affirmation of ='strcls'>*political self-sovereignty='strcls'>* in the ‘festival’='lgc'>: a ="trms">stage which ="trms">presents nothing to the sight ='lgc'>--="ppl">Derrida='lgc'>='lgc'>--> a place where the ="trms">spectator, ="trms">presenting himself as ="trms">spectacle, will no longer be seer or voyeur ='strcls'>*** (='lgc'><='lgc'>-- what i learned from Phill) ='lgc'>='lgc'>==> ="trms">presence will be full as the intimacy of a self-="trms">presence, as the sentiment of self-proximity, of self-sameness
="ppl">Lyotard='lgc'>: theatrically ="trms">fold ='lgc'>='lgc'>--> a box closed upon itself ='lgc'>='lgc'>--> only those to appear on the ="trms">stage which come from what will be known as the ‘exterior’
='strcls'>*zero='lgc'>: the sign of the empty center, the place where everything is ="trms">supposed to be visible and intelligible ='lgc'>: the place of knowl="trms"nttrm="knowledge,Knowledge">edge ='lgc'>='lgc'>--> god, organized body, ="trms">society, capital, the ego, platonic forms, etc.
="ppl">Grosz='lgc'>: construction of ="trms">embodied subjectivity ='lgc'>='lgc'>--> mobius strip (a 19th century invention), inflection of mind and body to one another through a kind of twisting or inversion ='lgc'>='lgc'>--> rethinking ="trms">relations of the inside and the outside of the subject psychical ="trms">interior and corporeal exterior)
="prgrph">-sides of the mobius strip are not fundamental identities, the drift from one to the other side is uncontrollable
currents
and surfaces of this body
is coalescence of energy into phantasms
deceptive semblance
of a theater of re="trms">presentation
="frds scrmbld"nttrm="Alice,Shariati">Ali's speech (and ="frds scrmbld">Jassem)='lgc'>: تاثیر گذاشتن (making what one knows into an effect on audience)
='lgc'>=/=
="frds">Sina's speech='lgc'>: به صورت موضوع درآوردن
(making what one guesses into a subject of discussion to be rethought)
irreducible com="trms">posite of properties belonging to the observer
perspective='lgc'>: transforming psychophysiological space into mathematical space ='lgc'>='lgc'>==> sum of all parts of space and its contents are absorbed into a single ‘quantum continuum’
="prgrph">-Panofsky perspective as ="trms">symbolic
analysis of sensation
“one coherent mass of sensations”
(Mach's legitimate and functional) ="trms">scientific impressionism
='strcls'>*="trms">modernization (and rationalization) of perceptual (and ="trms">aesthetic) ="trms">response='strcls'>* ='lgc'><='lgc'>-- preoccupation of Seurat, Eisenstein, Moholy-Nagy, Schoenberg
(="ppl">="ppl">Crary > Chastel > Seurat's ="trms">method was) a research into ="trms"nttrm="search">archetypal forms (lines, colors, directions) which answered to a double and deliberately compound ambition, at once ='strcls'>*****archaic regression and ="trms">scientific reduction='strcls'>***** ='lgc'>[='lgc'><='lgc'>-- this describe ='mywrk'>my work!='lgc'>] the artist/pa="trms">inter's operations set up a meeting point between ='strcls'>*an ancient hieratic art and the rationalized discipline of the future='strcls'>* ='lgc'>[= ='mywrk'>my work on ="nms">ajayeb='lgc'>] ='lgc'>='lgc'>--> culturally reactionary component of my projects, progressive and regressive at once, (="trms">past and future)
='lgc'>=/= Meyer Schapiro's Seurat='lgc'>: an enlightened politically progressive artisan-artist embracing ="trms">science and ="trms">technological paradigms in the ="trms">interests of ='strcls'>*forging an image of a nonhierarchical ="trms">social ="trms">world='strcls'>* ='lgc'>[='lgc'><='lgc'>-- an uncritical stance towards “="trms">science” and “="trms">technology,” approaching “the rationality of ="trms">method” (in Seurat) as a final locus of meaning ='lgc'>=/= the site of powerful and unresolved contra="trms">dictions='lgc'>]='strcls'>****
="prgrph">-can our ="trms">modern practices be constituted without reinventing its ="trms">relations to the ancient='qstn'>?
troublesome ambivalence of Pythagoreanism='lgc'>: part of an animistic pre="trms">modern magical ="trms">world view yet deeply embedded in the essential ='thdf'>assumption of ="trms">modernity that all of ="trms">nature is understandable in terms of numbers (-Bloch, ="trms">modernism='lgc'>: quantitative side with ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics proper strictly ="trms">scientific ='lgc'>=/= figural-qualitative ="trms">symbolic side)
... ='lgc'>='lgc'>--> Seurat's unresolvable problem='lgc'>: to think ="trms">simultaneously ='thdf'>the idea of universality in terms of ="trms">aesthetic absolute and the inescapable universality of ="trms">modern exchange and calculation
='lgc'>='lgc'>--> (Norman Brown='lgc'>:) the money complex, archaic or ="trms">modern, is inseparable from ="trms">symbolism, and ='strcls'>*="trms">symbolism is (not the mark of rationality, as ="ppl">Simmel thought, but) the mark of sacred='strcls'>* ='at'>@="frds scrmbld">Luiza's diagrams ='lgc'>[='lgc'>='lgc'>--> this is important for ="nms">apass, “="trms">aesthetic experience occurs within, not above, the op="trms">position of the ="trms">symbolic and the economy, and within the lived conflict between self-activity and reification” -Brenkman='lgc'>]
='lgc'>='lgc'>==> undialectical disjunction of sacred and secular
silent reflective monk
mechanical assemblage of never quite ="trms">integrated elements
Seurat's texture of work ='lgc'><='lgc'>== an intuition of the loss of art's immediacy ='lgc'>='lgc'>--> shift of (what might have been) contemplation into mere attentiveness
(="ppl">="ppl">Crary) Seurat concretizes the ='strcls'>*="trms">modern dilemma of the disappearance of aura='strcls'>*
...bringing into the work the forms of rationalization that eradicated aura in the first place ='lgc'>='lgc'>--> appearance is privileged over essence, and ="trms">technological rationality is deployed in the service of appearance
negotiating rapture
(="nms">ajayeb ='lgc'>='lgc'>~/=='qstn'>?) to produce a dialectic image='lgc'>: to criticize ="trms">modernity (='lgc'>~ foregrounding of the aura) through an act of ="trms">memory, and at the same time, to criticize archaism (='lgc'>~ nostalgia for the aura) through an act of essentially ="trms">modern invention (substitution and designification)
color...
how forms of ‘synthesis’ (optical mixture, purely additive and accumulative functions of industrialized procedures) produce ‘qualitative’ change (pre-bourgeois non-quantitative connection to ="trms">nature, for which color did not exist as an autonomous experience or as a separate and specialized ="trms">science)
Seurat='lgc'>: surface fascinations consequences of a disappointment at the impossibility of immediacy and the ="trms">historical inaccessibility of the dream of the ritual/magical practice of art ='lgc'>='lgc'>--> Seurat's work's exhaustive denial of ="trms">presence ='lgc'>='lgc'>==> (another kind of immediacy='lgc'>:) the ='strcls'>***fusing of image and eye='strcls'>*** ='at'>@="frds scrmbld">Foad
='lgc'>=/= art as a medium for disclosing essential truths
='lgc'>=/= redemptive optimism
="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................
a desiring ="trms">system dependent on operations of rebinding and immobilization
the problem of ='strcls'>*con="trms">trapposto='strcls'>* ='lgc'>[and ='strcls'>*chiaroscuro='strcls'>* (contrast of colors)='lgc'>]='lgc'>:
a Renaissance ideal, invoking a ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical dualism that found expression in ="trms">rhetorical devices of contrast and antithesis ='lgc'>--sumbsumed='lgc'>='lgc'>--> within the ='strcls'>*larger ideal of op="trms">position='strcls'>*
con="trms">trapposto could be decorative or structural, justified by its vividness, the clarity with which art could bring op="trms">posites into harmony
classical image (of the body) as an expression of a self-determining balance of ="trms">internal forces
“authentic images” seem capable of action, seem to posses dynamis (super="trms">natural power)
Universal Ex="trms">position of 1889 ='lgc'>+ ="trms">international congresses of hypnosis='lgc'>:
="lsts lst1">•rationalizing ideological imperatives (concertized in the actual organization and layout of the Ex="trms">position ='lgc'>='lgc'>--> rooted in the enlightenment's faith in man's limitless potential for mastery of his environment)
="lsts lst1">•hypnosis optimistically as the most effective entry into (previously inaccessible) territories and processes of human psychic life (and hopefully mastering this terrain)
="lsts lst1">•extensive ="trms">presentation of colonial people and lifestyle as objects of ="trms">spectacle in the 1889 Ex="trms">position (simulated villages inhabited by Congolese, Javanese, New Caledonians, Senegalese, and others) ='lgc'>='lgc'>--> became contents of an ="trms">imaginary immortal space, contents that were seemingly assimilable into the rationalizing taxonomy of the ex="trms">position's organizational schema ='lgc'>[='lgc'>=/= ="frds scrmbld">Steven's schema in ="nms">apass='lgc'>]
='strcls'>*both hypnosis (with its profoundly indecipherable trance states) ='and'>& ="trms">material life of colonial people (primitive cultures with their singular forms of exchange, of value and power ="trms">relations) took on an exhibitionary existence at the threshold of their marginalization, assimilation, or disappearance ='lgc'>='lgc'>--> (the unassimilable in both was) temporally refigured as the survival (or simulation) of an earlier ="trms">stage of development (as a lower, regressive, or ="trms">childlike state of mind or culture) ='lgc'>[='lgc'>='lgc'>--> radically irreconcilable with dominant forms of western rationalism='lgc'>]
(for western rationality) hypnosis='lgc'>:
="lsts lst1">•influence without any logical foundation
="lsts lst1">•production of an illusory ="trms">relation to the ="trms">world
='lgc'>[='lgc'>='lgc'>--> similar to ="frds scrmbld">Foad's modality of freedom, wakefulness, and ='thdf'>the notion of the intoxicated masses='lgc'>: loss of mastery, of ability to make decisions and reflect ='lgc'>='lgc'>==> the assertion that “hypnotic experience is formless” (='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="ppl">Nancy)
='strcls'>*="trms">spectacle domination over passivity='strcls'>*
="frds scrmbld">Foad='lgc'>: inner or subjective reality of a psychic state which could in fact involve residence and evasion of external ="trms">authority='lgc'>]
='lgc'>=/= state of trance (as in other cultures) whether individual or collective conceived as an opening up or sharing
the 19th century exhibitions were part of a ="trms">world in which people were beginning to live as tourists or ="trms">anthropologists, addressing an object-="trms">world as the endless re="trms">presentation of some further meaning or reality
='lgc'>==="ppl">="ppl">Crary='lgc'>='lgc'>==> reality='lgc'>: that which ="trms">presents itself as an exhibit before an observer
(Seurat's Parade de Cirque='lgc'>: ...a ="trms">figuration of ="trms">social territory where) ="trms">techniques of fascination and attraction, of appearance and semblance, have the capacity to overpower an observer or audience
(شهر بازی fairground kinesthetic experiences, such as='lgc'>:) ='strcls'>*merry-go-round='strcls'>*='lgc'>: a fragmentary and mechanical recuperation of carnival energies ='lgc'>='lgc'>--> controlled circumstances inciting of dynamogenic bodily sensation
&
cinema later would radically displace survivals of pre="trms">modern forms like the circus ='lgc'>[='lgc'>='lgc'>--> look at Hollywood today 2018='lgc'>]
="trms">different modes of regression and fantasy
='strcls'>***late 19th century shift from “viewing machine” to “vertigo machine”
19th century's ="trms">inter="trms">relations between='lgc'>:
="lsts lst1">•photography
="lsts lst1">•hypnosis (both medically and mythically)
="lsts lst1">•cinema
="lsts lst1">•psychoanalysis
='strcls'>*strong ="trms">epistemological con="trms">figurations='strcls'>* ='lgc'>='lgc'>==> a new place of subject (in western culture) linked to formation of certain images of='lgc'>:
="lsts lst1">•time
="lsts lst1">•="trms">past
="lsts lst1">•="trms">memory
(for Brown Sequard) collective effect of acts of inhibition and dynamogeny ='lgc'>='lgc'>==> hypnotism ='lgc'>==(Charles Henry)='lgc'>='lgc'>==> de="trms">monstrating that perception is fundamentally unconscious (consisting of involuntary ="trms">responses to stimuli) ='lgc'>==Seurat='lgc'>='lgc'>==> ='strcls'>*indistinction between the automatism of a hypnotized subject and the perceptual experience of a so-called normal subject='strcls'>* ='lgc'>--="frds scrmbld">Foad='lgc'>='lgc'>--> ='lgc'>[="trms"nttrm="already,spread">reading people in a contemporary ="trms">social ="trms">phenomena of sug="trms">gestion and ="trms">somnambulism (='lgc'>~ sleep-walking):='lgc'>] a bypassing of intellectual process (such as reason and judgement) in an attentive ="trms">spectator
="prgrph">-='lgc'>{my discussion with ="frds scrmbld">Foad was perhaps about the ="trms">question of ="trms">social justice (= sufferings and causes are constant and self-evident, singularized principle of value ='lgc'>[="trms">social injury='lgc'>] located in a particular product ='lgc'>[political processes leading to ="trms">social injustice='lgc'>]) and/against thinking with assemblages (= contextual ="trms">relational uncertain concept of the ="trms">social of things and people as ="trms">system of objects, in which nothing merely rules itself or others, emphasizing heterogeneity and process)... finally saying that ="nms">Tehran is a ="trms">relational heterogeneous uncertain ="trms">system ='lgc'>[="frds">Sina='lgc'>] and not a destined coerced programmed doom-object ='lgc'>[="frds scrmbld">Foad='lgc'>]. ="trms">question='lgc'>: can we oppose the ideas of suffering and injustice and their expressions as essential qualities in the context of ="nms">Tehran='qstn'>? what conceptual hybrids or precarious collectives are ethically available or necessary to think with='qstn'>? can injustice and suffering as target of analysis be investigated not as concrete evident necessities ='lgc'>[stable essences, as something to defend or fight against='lgc'>] but as distributed changing and changeable always in process, in the contemporary ="nms">Tehran (specially if you are the one who is suffering)='qstn'>?
="prgrph">-my family dining table='lgc'>: space of arrangement of practices of objects of...
="prgrph">-this discussion for me was about the ="trms">categories and classifications that we rely on to investigate the ="trms">world.='lgc'>}
='lgc'>='lgc'>--> ="ppl">Bergson='lgc'>: “in the processes of art we shall find, in a weakened form, a refined and in some ="trms">measures spiritualized version of the processes commonly used to induce the state of hypnosis ='lgc'>[...='lgc'>] an effect of the same kind by the fixity which they suddenly impose upon life, and which a physical contagion carries over to the attention of the ="trms">spectator.”
1880s and 1890s is exactly the time where many ="trms">different discourses considered the ways in which external forces and procedures could influence or control both individual and collective subject
="prgrph">-common in French ="trms">sociological thinkers (Durkheim, Tarde, Le Bon)='lgc'>: the primal fact of ="trms">social life is some ="trms">system of control or coercion that is imposed on the individual ='lgc'>{for example Tarde='lgc'>: “stupefied and feverish beings ='lgc'>[in='lgc'>] magical charm of their environment ='lgc'>[...='lgc'>] it is always more fatiguing to think for oneself ='lgc'>[...='lgc'>] man lives in an animated environment ='lgc'>[...='lgc'>] he gradually refrains from all intellectual efforts ='lgc'>[...='lgc'>] his mind becomes stultified and more and more ex="trms">cited ='lgc'>[= ="trms">somnambu="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic='lgc'>] characteristic of many city dwellers ='lgc'>[...='lgc'>]"='lgc'>}
the audience in many artworks still today has the sign of the distracted crowd (جمعیت خواب)
(“man without qualities” =) de-individualized='lgc'> = sug="trms">gestible, hypnotizable
(Fried='lgc'>:)
anti-rococo French painting='lgc'>: a painting had to first attract (call to someone) and then to arrest (bring him to a halt in front of itself) and finally to enthral (hold him there as if spellbound)='lgc'> = the ="trms">modernizing ="trms">instrumentality that is fulfilled in cinema today
for Tarde='lgc'>:
“="trms">social existence='lgc'> = ="trms">somnambulism"='lgc'>[= heightened receptivity to sug="trms">gestion, individuals apt to imitate one another='lgc'>] ='lgc'>='lgc'>==> “="trms">social='lgc'> = (a form of) dream”
='lgc'>='lgc'>--> hypnotic aspect of the life of crowds
="lsts lst1">•“="trms">intercerebration”='lgc'>: one brain fascinates the other
="lsts lst1">•“="trms">fashion's sug="trms">gestibility”='lgc'>: half-conscious observation and mere physical proximity produce a functional ="trms">social homogeneity
="lsts lst1">•“fascination”='lgc'>: a genuine ="trms">neurosis, a kind of polarization of ="trms">love and faith ='lgc'>='lgc'>--> effects of obedience and imitation
="lsts lst1">•“attention”='lgc'>: transformation of sensation by effort and desire ='lgc'>='lgc'>--> the desire for an increase in personal believe
="lsts lst1">•“plateau”='lgc'>: a flexible figure for ="trms">natural, ="trms">social, and statistical processes and events (in="trms"nttrm="cluster,club">cluding desire) ='lgc'>[='lgc'>--='qstn'>?='lgc'>='lgc'>--> ="ppl">Deleuze and ="ppl">Guattari's plateau='lgc'>]
="large lg14" stl="font-size:109%">
Le Bon='lgc'>:
“="trms">social='lgc'> = a particular modality of perception,” as a ="trms">specific ="trms">social arrangement that conditions the limits of perceptual experience
(="trms">modern) crowd='lgc'>: a viewing machine capable of generating “collective ="trms">hallucinations,” a place for ="trms">consumption of illusion, (with a “psychological unity” that occupies spatially remote locations,)
="lsts lst1">•“observation”='lgc'>: a cognitive model predicated on workable notion of objective reality (a classical ="trms">epistemological model) that begins to corrode within a field saturated by illusion, ="trms">hallucination, and whole industries of simulation
="prgrph">-individual subsumed in crowd is incapable of observation ='lgc'>='lgc'>--> ="trms">modern ="trms">spectacular culture (to be ="trms">articulated 7 decades later by ="ppl">Guy ="ppl">Debord
the crowd (in Le Bon) is a ="trms">generalized site on which the accumulated d="trms"nttrm="already,spread">read and hope as="trms">sociated in the 19th century with ="trms">social insurrection collapse into am abstract countless mass ="trms">onto which dream ="trms">imaginary of any ="trms">sort can be projected
="prgrph">-="ppl">="ppl">Crary
19th century ‘crowd psychology’ ='thdf'>assumption that attention has no necessary connection to objective optical observation of the ="trms">world ='lgc'>='lgc'>--> ='strcls'>*crowd='lgc'>: drift toward a more primitive order of consciousness='strcls'>*
="prgrph">-withdrawal from surroundings and refocusing on some real or ="trms">symbolic figure
='lgc'>='lgc'>--> theatrical con="trms">figuration='lgc'>: means for controlling crowds ='lgc'>='lgc'>--> (La Bon's) image of theater exceeding its older place within models of ="trms">mimetic ="trms">relation ='lgc'>--to='lgc'>='lgc'>--> new effects of subjectification
Wagner's volkish homogeneity ='lgc'>='lgc'>--> uniform modes of perception and ="trms">response ='lgc'>='lgc'>--> (problem of) ="trms">community formation
Wagner's optical ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor (="trms">community could see itself reflected in the mirror of tragedy) of theatrical existence ='lgc'>='lgc'>--> ='strcls'>*sense of vision serves to reinforce one's place within the ="trms">social whole='strcls'>*
='lgc'>[='lgc'>='lgc'>--> when i look at Brussels from the 14th floor...='lgc'>]
Wagner's cultural program for ="trms">social re="trms">integration and his belief in the transformative effects of the collective experience of music drama preformed and produced as a ritual ="trms">communal event
(typical 19th century ='lgc'>='lgc'>--> debates about the effects of mass culture ='lgc'>--="trms">articulated='lgc'>='lgc'>--> “distraction ='lgc'>=/= self-conscious contemplative perception” ='lgc'>='lgc'>-->) Wagner's deploying the ="trms">pervasiveness of ='strcls'>*distracted modes of cultural ="trms">consumption='strcls'>* ='lgc'>='lgc'>==> “higher (deeply attentive ='lgc'>--advocated='lgc'>='lgc'>--> purified and ethically superior perceptual engagement) ='lgc'>=/= lower (distracted)” forms of ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listening
="prgrph">-his dissatisfaction with traditional theatre that had allowed or encouraged audiences to look at each other at the diverse ="trms">social texture of the theatre
="large lg3" stl="font-size:111%">
an attentive, absorbed public (unthinkable in the 18th century ='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="ppl">Sennett)
(still we are suffering ='lgc'>='lgc'>-->) ='lgc'>[to have='lgc'>] ='strcls'>*[...]