[...]rsion)


(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 person's emotional state
to transcend from quantitative number of dastgah --to--> a mysterious qualitative dimension of pardeh


(Crary's) Seurat's anarchism: (painting of the) world of mere empirical relations, cut off from the infinite (loss of the vanishing point) and from the light of either sun or moon (gaslight illuminates the scene)


Leo's primitive communism


pictorial generation of meaning


the keystone of Foad's technique:
purity of the spectral element


(Burgin >) fantasy: an arrest that domesticates the unruly movements of desire --> it takes on hieratic and tableau-like forms : phantasmatic figuration


*reconciliation*
(a formal idea, of) abstract functionings of binary oppositions {typographical distribution of energy}
=/= elevation in terms of “opposites” or “contraries” (colors, lines, forces, sexes, numbers)

technocratic dream of a quantifiable harmony that a machinic world installs or restores --> *ataraxie*: emphatically reduction of tensions into zero --Seurat--> homeostasis --> preindividuated unity : theater of equilibrium ==> erasure of both individual and historical temporality
(Nattiez:) the illusion that humanity could reach a stable point [...] at which time can be arrested. it is for this reason that androgyny and death so often appear together: social utopias end in massacres and that the structuralist utopias of an allembracing explanation of mankind reducible to torrents of binary oppositions result in “nothingness”

Freud's nirvana principle: to remove interval tension due to stimuli (--> death instinct)


Sina:
(painted and visible philosophy)
in my image assemblages what are and how they work:
•mimes of meaning
•full of graphic gestation
•figural groupings
•architecture
•compositional thinking
what sorts of structural rightness do my image assemblages make inevitable? (innocently indicating the sweet source of truth)
or, what kinds of geometric simplicities (purity of form and efficiency of expression) does it betray?
what is the ‘status of idea’ in there?
what are the allegorical abstractions? (in Sohrevardi image: the mediation between heaven and earth) (horizons, vanishing points, grids, orthogonals, heavenward movements, gestures, axis or axiomatic geometry,,,)
[my performances are teachings on how to read the figural language of my image assemblages (?)]
the particular geometry of pictorial structure in my image assemblages testifies to which truth?
which pictorial realizations (knowledge of things) do they epitomize?
which metaphysical polarities translated into geometric contrasts? (integral part of revealed truth) [or that there is a or no central truth...?]
which allusions ground the abstract truth of the image in a certain reality?
(----David Rosand's) Raphael: theological truth <--> axiomatic geometry (~ congruence of simple structures) --> divinity of the circle
supernatural status of the form, reaffirmed by gold (<-- an archaic and discounseled technique) ==> *put ‘form’ beyond the reach of pictorial illusion and beyond the realm of nature*
*pictorial truth sometimes lies in the painter's choice in working on the surface* (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.) --> in the case of Raphael: theology becomes a commentary on painting : pictorial structure (directly semiotic and not mimetic) = meaning

(always?) *faithfuls need their originals*


in Helmholtz's 1856 comprehensive account of human vision, the eye emerges *empathically embedded in the thinness and opacity of the body*
eye (=/= a marvelous apparatus) : an apparatus with built-in aberrations, proneness to error, and inconsistencies in is processing of visual information --> entoptical phenomenon --James--> subjective optical sensation: example of selective attention excludes from consciousness sensations that are *nonreferential* (= irrelevant to the knowledge about the world)
(~= Ernst Mach's sight phantasms)

arborescent vocabulary of the scientific literature on the eye in the 1880s

*new diagram of the eye: photoreceptors in the human eye are placed at the back of retina, behind the blood vessels (that literally intervene seeing) --Seurat--> inseparable mix of an abstract mathematically constructed & a physiological perception more subjectivity determined, “domain of vision has been integrated Iin the field of desire” (Lacan), “phantasmatic events that occur on the surface of the bodies” (Crary)
=/= older diagram of the eye: the ideal unobstructed functioning of camera obscura --> ‘scene of representation’

‘dream of immediacy’ --to--> (Seurat's refusal of scenography ==> nondisclosure ~) fantasy of a theatre without representation

Rousseau's affirmation of *political self-sovereignty* in the ‘festival’: a stage which presents nothing to the sight --Derrida--> a place where the spectator, presenting himself as spectacle, will no longer be seer or voyeur *** (<-- what i learned from Phill) ==> presence will be full as the intimacy of a self-presence, as the sentiment of self-proximity, of self-sameness


Lyotard: theatrically fold --> a box closed upon itself --> only those to appear on the stage which come from what will be known as the ‘exterior’

*zero: the sign of the empty center, the place where everything is supposed to be visible and intelligible : the place of knowledge --> god, organized body, society, capital, the ego, platonic forms, etc.

Grosz: construction of embodied subjectivity --> mobius strip (a 19th century invention), inflection of mind and body to one another through a kind of twisting or inversion --> rethinking relations of the inside and the outside of the subject psychical interior and corporeal exterior)
-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 representation

Ali's speech (and Jassem): تاثیر گذاشتن (making what one knows into an effect on audience)
=/=
Sina's speech: به صورت موضوع درآوردن
(making what one guesses into a subject of discussion to be rethought)

irreducible composite of properties belonging to the observer

perspective: transforming psychophysiological space into mathematical space ==> sum of all parts of space and its contents are absorbed into a single ‘quantum continuum’
-Panofsky perspective as symbolic


analysis of sensation
“one coherent mass of sensations”
(Mach's legitimate and functional) scientific impressionism

*modernization (and rationalization) of perceptual (and aesthetic) response* <-- preoccupation of Seurat, Eisenstein, Moholy-Nagy, Schoenberg


(Crary > Chastel > Seurat's method was) a research into archetypal forms (lines, colors, directions) which answered to a double and deliberately compound ambition, at once *****archaic regression and scientific reduction***** [<-- this describe my work!] the artist/painter's operations set up a meeting point between *an ancient hieratic art and the rationalized discipline of the future* [= my work on ajayeb] --> culturally reactionary component of my projects, progressive and regressive at once, (past and future)
=/= Meyer Schapiro's Seurat: an enlightened politically progressive artisan-artist embracing science and technological paradigms in the interests of *forging an image of a nonhierarchical social world* [<-- an uncritical stance towards “science” and “technology,” approaching “the rationality of method” (in Seurat) as a final locus of meaning =/= the site of powerful and unresolved contradictions]****

-can our modern practices be constituted without reinventing its relations to the ancient?

troublesome ambivalence of Pythagoreanism: part of an animistic premodern magical world view yet deeply embedded in the essential assumption of modernity that all of nature is understandable in terms of numbers (-Bloch, modernism: quantitative side with metaphysics proper strictly scientific =/= figural-qualitative symbolic side)
... --> Seurat's unresolvable problem: to think simultaneously the idea of universality in terms of aesthetic absolute and the inescapable universality of modern exchange and calculation
--> (Norman Brown:) the money complex, archaic or modern, is inseparable from symbolism, and *symbolism is (not the mark of rationality, as Simmel thought, but) the mark of sacred* @Luiza's diagrams [--> this is important for apass, “aesthetic experience occurs within, not above, the opposition of the symbolic and the economy, and within the lived conflict between self-activity and reification” -Brenkman]
==> undialectical disjunction of sacred and secular


silent reflective monk

mechanical assemblage of never quite integrated elements

Seurat's texture of work <== an intuition of the loss of art's immediacy --> shift of (what might have been) contemplation into mere attentiveness

(Crary) Seurat concretizes the *modern dilemma of the disappearance of aura*
...bringing into the work the forms of rationalization that eradicated aura in the first place --> appearance is privileged over essence, and technological rationality is deployed in the service of appearance

negotiating rapture

(ajayeb ~/=?) to produce a dialectic image: to criticize modernity (~ foregrounding of the aura) through an act of memory, and at the same time, to criticize archaism (~ nostalgia for the aura) through an act of essentially 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 nature, for which color did not exist as an autonomous experience or as a separate and specialized science)

Seurat: surface fascinations consequences of a disappointment at the impossibility of immediacy and the historical inaccessibility of the dream of the ritual/magical practice of art --> Seurat's work's exhaustive denial of presence ==> (another kind of immediacy:) the ***fusing of image and eye*** @Foad
=/= art as a medium for disclosing essential truths
=/= redemptive optimism

...................................

a desiring system dependent on operations of rebinding and immobilization

the problem of *contrapposto* [and *chiaroscuro* (contrast of colors)]:
a Renaissance ideal, invoking a metaphysical dualism that found expression in rhetorical devices of contrast and antithesis --sumbsumed--> within the *larger ideal of opposition*

contrapposto could be decorative or structural, justified by its vividness, the clarity with which art could bring opposites into harmony

classical image (of the body) as an expression of a self-determining balance of internal forces



“authentic images” seem capable of action, seem to posses dynamis (supernatural power)



Universal Exposition of 1889 + international congresses of hypnosis:
•rationalizing ideological imperatives (concertized in the actual organization and layout of the Exposition --> rooted in the enlightenment's faith in man's limitless potential for mastery of his environment)
•hypnosis optimistically as the most effective entry into (previously inaccessible) territories and processes of human psychic life (and hopefully mastering this terrain)
•extensive presentation of colonial people and lifestyle as objects of spectacle in the 1889 Exposition (simulated villages inhabited by Congolese, Javanese, New Caledonians, Senegalese, and others) --> became contents of an imaginary immortal space, contents that were seemingly assimilable into the rationalizing taxonomy of the exposition's organizational schema [=/= Steven's schema in apass]
*both hypnosis (with its profoundly indecipherable trance states) & material life of colonial people (primitive cultures with their singular forms of exchange, of value and power relations) took on an exhibitionary existence at the threshold of their marginalization, assimilation, or disappearance --> (the unassimilable in both was) temporally refigured as the survival (or simulation) of an earlier stage of development (as a lower, regressive, or childlike state of mind or culture) [--> radically irreconcilable with dominant forms of western rationalism]

(for western rationality) hypnosis:
•influence without any logical foundation
•production of an illusory relation to the world
[--> similar to Foad's modality of freedom, wakefulness, and the notion of the intoxicated masses: loss of mastery, of ability to make decisions and reflect ==> the assertion that “hypnotic experience is formless” (---> go to Nancy)
*spectacle domination over passivity*
Foad: inner or subjective reality of a psychic state which could in fact involve residence and evasion of external authority]
=/= 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 world in which people were beginning to live as tourists or anthropologists, addressing an object-world as the endless representation of some further meaning or reality
==Crary==> reality: that which presents itself as an exhibit before an observer

(Seurat's Parade de Cirque: ...a figuration of social territory where) 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:) *merry-go-round*: a fragmentary and mechanical recuperation of carnival energies --> controlled circumstances inciting of dynamogenic bodily sensation
&
cinema later would radically displace survivals of premodern forms like the circus [--> look at Hollywood today 2018]

different modes of regression and fantasy

***late 19th century shift from “viewing machine” to “vertigo machine”

19th century's interrelations between:
•photography
•hypnosis (both medically and mythically)
•cinema
•psychoanalysis
*strong epistemological configurations* ==> a new place of subject (in western culture) linked to formation of certain images of:
•time
•past
•memory


(for Brown Sequard) collective effect of acts of inhibition and dynamogeny ==> hypnotism ==(Charles Henry)==> demonstrating that perception is fundamentally unconscious (consisting of involuntary responses to stimuli) ==Seurat==> *indistinction between the automatism of a hypnotized subject and the perceptual experience of a so-called normal subject* --Foad--> [reading people in a contemporary social phenomena of suggestion and somnambulism (~ sleep-walking):] a bypassing of intellectual process (such as reason and judgement) in an attentive spectator
-{my discussion with Foad was perhaps about the question of social justice (= sufferings and causes are constant and self-evident, singularized principle of value [social injury] located in a particular product [political processes leading to social injustice]) and/against thinking with assemblages (= contextual relational uncertain concept of the social of things and people as system of objects, in which nothing merely rules itself or others, emphasizing heterogeneity and process)... finally saying that Tehran is a relational heterogeneous uncertain system [Sina] and not a destined coerced programmed doom-object [Foad]. question: can we oppose the ideas of suffering and injustice and their expressions as essential qualities in the context of Tehran? what conceptual hybrids or precarious collectives are ethically available or necessary to think with? can injustice and suffering as target of analysis be investigated not as concrete evident necessities [stable essences, as something to defend or fight against] but as distributed changing and changeable always in process, in the contemporary Tehran (specially if you are the one who is suffering)?
-my family dining table: space of arrangement of practices of objects of...
-this discussion for me was about the categories and classifications that we rely on to investigate the world.}

--> Bergson: “in the processes of art we shall find, in a weakened form, a refined and in some measures spiritualized version of the processes commonly used to induce the state of hypnosis [...] 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 spectator.”


1880s and 1890s is exactly the time where many different discourses considered the ways in which external forces and procedures could influence or control both individual and collective subject
-common in French sociological thinkers (Durkheim, Tarde, Le Bon): the primal fact of social life is some system of control or coercion that is imposed on the individual {for example Tarde: “stupefied and feverish beings [in] magical charm of their environment [...] it is always more fatiguing to think for oneself [...] man lives in an animated environment [...] he gradually refrains from all intellectual efforts [...] his mind becomes stultified and more and more excited [= somnambulistic] characteristic of many city dwellers [...]"}

the audience in many artworks still today has the sign of the distracted crowd (جمعیت خواب)

(“man without qualities” =) de-individualized = suggestible, hypnotizable

(Fried:)
anti-rococo French painting: 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) = the modernizing instrumentality that is fulfilled in cinema today

for Tarde:
“social existence = somnambulism"[= heightened receptivity to suggestion, individuals apt to imitate one another] ==> “social = (a form of) dream”
--> hypnotic aspect of the life of crowds
•“intercerebration”: one brain fascinates the other
•“fashion's suggestibility”: half-conscious observation and mere physical proximity produce a functional social homogeneity
•“fascination”: a genuine neurosis, a kind of polarization of love and faith  --> effects of obedience and imitation
•“attention”: transformation of sensation by effort and desire --> the desire for an increase in personal believe
•“plateau”: a flexible figure for natural, social, and statistical processes and events (including desire) [--?--> Deleuze and Guattari's plateau]

Le Bon:
“social = a particular modality of perception,” as a specific social arrangement that conditions the limits of perceptual experience
(modern) crowd: a viewing machine capable of generating “collective hallucinations,” a place for consumption of illusion, (with a “psychological unity” that occupies spatially remote locations,)
•“observation”: a cognitive model predicated on workable notion of objective reality (a classical epistemological model) that begins to corrode within a field saturated by illusion, hallucination, and whole industries of simulation
-individual subsumed in crowd is incapable of observation --> modern spectacular culture (to be articulated 7 decades later by Guy Debord

the crowd (in Le Bon) is a generalized site on which the accumulated dread and hope associated in the 19th century with social insurrection collapse into am abstract countless mass onto which dream imaginary of any sort can be projected
-Crary

19th century ‘crowd psychology’ assumption that attention has no necessary connection to objective optical observation of the world --> *crowd: drift toward a more primitive order of consciousness*
-withdrawal from surroundings and refocusing on some real or symbolic figure
--> theatrical configuration: means for controlling crowds --> (La Bon's) image of theater exceeding its older place within models of mimetic relation --to--> new effects of subjectification


Wagner's volkish homogeneity --> uniform modes of perception and response --> (problem of) community formation

Wagner's optical metaphor (community could see itself reflected in the mirror of tragedy) of theatrical existence --> *sense of vision serves to reinforce one's place within the social whole*
[--> when i look at Brussels from the 14th floor...]

Wagner's cultural program for social reintegration and his belief in the transformative effects of the collective experience of music drama preformed and produced as a ritual communal event

(typical 19th century --> debates about the effects of mass culture --articulated--> “distraction =/= self-conscious contemplative perception” -->) Wagner's deploying the pervasiveness of *distracted modes of cultural consumption* ==> “higher (deeply attentive --advocated--> purified and ethically superior perceptual engagement) =/= lower (distracted)” forms of listening
-his dissatisfaction with traditional theatre that had allowed or encouraged audiences to look at each other at the diverse social texture of the theatre

an attentive, absorbed public (unthinkable in the 18th century ---> go to Sennett)

(still we are suffering -->) [to have] *control over the attentiveness of an audience* to subordinate it to the will of the artist ==> generate a *collective state of reception* (worthy of an art with such social aspiration @Hoda, Ali , Sina, --to which extent my mysticism in art was about my ideas about spectators incapacity for attention in contemporary Tehran?)

19th century theatre --(transform into)--> ***construction of visibility*** (structure the spectators perceptual experience)

“collective act of seeing ==> semblance of a community”

(phantasmagoric character of his work) Wagner:
•eliminating lateral views ==> frontal engagement
•near-complete darkness ==> preventing peripheral distraction
•lowering the orchestra out of sight
--> systematic concealing and mystification of the process of production
--> (Wagner stands for) will to mastery over all aspects of the spectacle ==allow==> calculated production of states of regression, fascination, dream (synchronized sound --> cinema's attentiveness half a century later)
-control over emotional response
-remaking of spectator experience
-production of dreamlike clairvoyant

(-can theater stage be a place of distraction? again)

intelligible relation of distance between viewer and illusory scene
--> the way diorama commanded visual attention

in my stage design drawings from 2009:
•standardized perspectival expectations
•metric relations
•position of spectator
•luminous detached rectangle
- 

Wagner's Ring cycle: the last expression of a 19th century fantasy of the recuperation of tragedy and myth ~ the dream that culture could make whole what capitalism has broken --Crary+Lacoue-Labarthe--> [disturbing conviction/dream:] in an age where transcendence is undone, (the vacations of) art can recover an ancient destination and establish the type of mythological figure (in which humanity or a people could recognize itself)


-verisimilitude: the quality of seeming to be true, gloss, semblance


composite imaginary of the 19th century

______________


crowd
theater
phantasmagoria

Crary --> Seurat's Parade de Cirque = disclosure of *the absence at the heart of modern spectacle and perception*

vivid opening into a light-filled action-filled arena

@apass, a common way of criticism:
•*evoke, then withhold*
(fir example: evoke ‘entertainment commodity’ but withhold it. Laura, Ale ,)
•*invest, and dismantle* (we are invested in what we dismantle)
•*desolation of older scenes of representation* @Sina

Crary on Seurat Cirque --> investigation of the conditions under which a subject could be activated as an attentive perceiver
(forensic aesthetics --> conditions under which a subject could be arrested as a witness)
(Sina ajayeb bestiary --> conditions under which a subject could be contested as a knowing agent)

“frame: an isolating agent” (<== Wagner ~ to make an *autonomous and luminous field of attraction* with a deliberately ambiguous spatial identity)
--> explicit renunciation of the classical (and early modern) status of the image
=/= as a windowlike plane intersecting a cone of vision
=/= as a flat plane covered with colored patches

(Seurat's optics:) ***images apparitional value*** <== effect of image's detachment from a broader visual field (=/= diaroma and stereoscop)
--> 19th century optical experiences that severed the image from any continuous or intelligible relation to the position of the observing objects
(=/= Wagnerian aesthetics)
--> *collective visual experience* ~~--> precinematic forms of moving images

(@apass: hand drawing is not about being “trapped in older artisanal modes of production” --?--> “performance =/= projection”)

to assess (the relationships between):
•your own technological products
•makeup of your audience
•economical realities of the marketplace
}==> inventor of 19th century (Raynaud, Edison, )
--> modify your machines in terms of:
•performance
•shifting audience needs (and possibilities)

phantasmagoric: occultation of production by means of the outward appearance of the product (creating an experience for a solitary and immobile spectator)

(spectral) atopic image: literally not there

shimmering --> effect of detachment from the environment

Reynaud's projected moving images --> elastic and reversible temporalities (that had little to do with Lumieres's “real time”)

Cheret's posters (joyful modern women, advertisement for cosmetics, lighting fixtures, department stores, ballets, and so on) --> a technology of attention + a specific ornamental representation of commodity culture
(--> practical functionings of consumption culture in the 1870s) @OSP
*Cheret's “personal style” in graphic design = an abstract luster جلوه a decorative formula that could be applied promiscuously to any possible object of consumption* =/= Seurat's dream of universal style

****rich textures of entertainment and visual spectacle****

-which range of optical apparatuses are available for public consumption now?
[in 1880s: peep show, magic lantern, shadow theater, large-scale stethoscope, zeotropes, etc.]

my links with Seurat --> his interest in:
•contemporary popular visual culture
•perceptual modernization
•

Crary's reading of Seurat's cirque: new experience of form deployed in time --> kinematic (=/= semantic, iconographic significance of the clown and acrobat in the painting) --> *the illusion of movement*
beginning with the phenakistoscope and zoetrope in the 1830s --through--> innumerable optical devices all the way into 1890s --> endlessly fascinating and repetitive --> sites of attentiveness (~= attraction)

{ Seurat + Reynaud + Edison (~ producers of the ***machines of the visible***, allowing the constructed and synthetic nature of machine vision to coincide with their own rationalization of perceptual process) + forms of machinic vision developing through 1880s }--> (examples of an emerging) *****industrial art***** : from *artisanal practices* --to--> standardizing industrial modes of image-making

Crary reading Seurat without isolating him from the effects of what Raynaud, Edison and many others (Muybridge, Fuhrmann,) were developing through out the 1880s

{ the audience in Seurat's painting = the audience of the static backgrounds used in Reynaud's machines }--> the unchanging, unreflective, even unseeing nature of modern spectatorship : *a crowd of spectators permanently in place, installed as a fundamental component of the social world* (in which the specific content displayed to them is the matter of absolute inconsequence)

shadow show
clown as magician-engineer who with his right hand opens the curtains onto an illuminated and abstractly assembled plane of visual stimulation

(Seurat were disclosed to the) congruence of an immaterial, atopic and evanescent image with powerful reality effects and techniques of attraction

techniques of perceptual modernization --constituting--> an autonomous space of invention --> imposing its own constructed visions and truths on viewers

(Crary shows how) the mechanization of vision had no intrinsic link to objectivity, but rather to new capacities for simulation, illusion, conjuration

(my paintings? ...early) dreams of an impossible and inhuman vision, of a desire for perceptual ubiquity exceeding the spacial and temporal limits of human faculties --?--> remake the self into a sovereign eye would create and impose its own truths
-the horses of Gericault and Seurat, in their airborne oneiric trajectories, incarnate a deeper truth of the body: they become abstract correlates of psychological and kinetic response to perceived movement --> ideomotor experience (=/= truth of mechanical spatial movement)
(--> ajayeb description movement animal in motion)

***animal is arrested --> presence is not directly accessible to human vision, but can only be the product of technical procedures of simulation*** --> “nature = scenographic space” (--collapse--> precondition for the impossible unseeable apparition specter --Seurat--> spectacle)

phantasmal homeostasis
detemporalization of experience

management of attention <--> techniques of attraction

(Foad and) Seurat's efforts (in Cirque): abstract conceptualization of perceptual experience

(possibility of spectacle)
differed
displaced
denied
(image of spectacle)
derealized
drained of presence

*attentiveness of an observing subject* = site of increasingly specialized operations of power

...a twilight state of restricted consciousness ==> (Durkheimian solidarity --> what is at stake is that) the autonomy of the individual is reduced

--Crary--> importance of Seurat's work : to have intuited **how the collapse of scenic space allowed new imaginary figuration of immediacy** (of a regressive unity based on a corporeal engagement of the spectator) @Esther, apass, OSP, Femke

Seurat sensed something fundamental about the industrialization of contemplation (--> now fully matured in Hollywood cinema) + (he anticipated, like Wagner) the *effects of a phantasmatic luminous image on which essence had been displaced by appearance*

(you can still) escape into the psychological time (but don't erase the sense of the obdurate historical conditions out of which your dreams of equilibrium emerges)

Seurat's resisted the temptation of the phantasmagoric and of myth (=/= Wagner)
(--> are we the hairs of Seurat?)
•exposure of technical premises
•subversion of any stable “formation” (or Gestalt, on which the allure of the myth depends)
--Buchloh--> ***avant-garde: a continually renewed struggle over the definition of cultural meaning, the discovery and representation of new audiences, and the development of new strategies to counteract and develop resistence against the tendency of the ideological apparatuses of the culture industry to occupy and control all practices and spaces of representation*** (--> that is why i am interested in Walt Disney and Hollywood and Qur'an)
--> *to produce incompatibilities* (as an artistic strategy, visual or epistemic and otherwise; to make opacity, hostility to virtuosity and expressionism, )

your work could be adjacent to ____
but not identical to ____

your work might be built out if mechanisms for the production of subjective response --but--> it is never reducible to them
@OSP, Femke



Cezanne --> (nonoptical) art of attention
music --> a mode of experience =/= an art of time

(unstable status of an apprentice observer in 1900s) Cezanne = reinvention of synthesis (=/= Manet and Seurat's strategies of binding, homeostasis, fixation)

Crary highlighting the highly contested nature of the questions of attention (possibly of pure perception, presence, etc. in 1890s) --> recreation of attentive presence amid the impact of new conceptualizations and organizations of motion, memory, temporality (+ emerging technological arrangements)

[one of many sites in the late 19th century where a crisis in perception is diagnosed:]
Cezanne + Husserl: attempt to bypass the accumulated cultural and commonsense assumptions about the world as it appears in consciousness (heritage of phenomenology --> Sina, Foad... ~~> and fable of the artist:)
•Cezanne --> forgetting everything and make an image of what you see *beneath the imposed order of humanity* (19th century preoccupation with “innocent vision” <== to be completely estranged from the world <-- Schopenhauer) ==> access to things-in-themselves
•Husserl --> pure form of consciousness *stripped of all accretions of habit and socialization* ==> “seeing essences”
--> their work challenged (sought to exceed) features of perception that apparatuses (of production and consumption) regulated and standardized

Husserl
attempt of description of objectivists in a certain atemporal fixedness =/={attention: heightened awareness of a narrowed or focused range of perception, operation of selection, question of existence of content in consciousness, empathic function which belongs in the sense of intuitional experience ~= psychophysical, associationist, sensationalist, atomistic accounts of perception and cognition ==> how reliable and consistent the knowledge about the world is possible + (classical model of vision:) privileged point of view of a perceiving subject from which the objectivity of the world could be apprehended}
issue of cognitive and perceptual synthesis
•to resecure an unconditional basis for logic and science
•to escape from refined habitual patterns of perception inherent in various aspects of rationalization and compassion of experience in 1890s and 1900s (--> dynamic, kinetic, distracted texture of modern sensory life ==> attention: malleable entropic force susceptible to fatigue, distraction, and external management)
•to quest for the logic of meaning ==> primordial oneness of consciousness
----> (for Husserl) attention appears and appertains in the possibility of an *impersonal, preindividual, transcendental sphere free of anything empirical, of anything spatiotemporal* ==> attention: intentional act with an absolute structure, quasi-machine searchlight for an unwavering mode of looking at the act of looking
--Crary--> amid the dynamic dissolution of modernization (a world in which previously stable meanings, signs, social relations were being uprooted, made exchangeable, and put into circulation) Husserl proposes [in a hopeless quest] a monolithe technique of attention (to discern a halo of absolute authenticity around every object or relation) to determine the universal structure of (the authenticity of) subjective lifeworld [unable to go beyond ‘pre-cinematographic conditions’ (~ movement thought only from the anchorage of a static “pose”)]
 --Varela--> Husserl's (+ MerleauPonty) turn towards experience (the “things themselves”) was entirely theatrical : lacked any pragmatic dimension [---> go to Despret, Stewart]

what Cezanne did seek to “suspend” (to forget)?

(sensitivity to) perceptual experiences that had been ignored, marginalized, or incompatible (==> unarticulated)--within--> organization of knowledge about vision
}==> (Cezanne's) “attention to anomalous* --> ***engage a discordant exterior*** (that takes a hold on your recognizable world) [<-- our heritage in art]

Cezanne: “perception = process of its formation” : confronting and inhabiting the instability of perception =/= recording the evanescent appearances of the world

(Cezanne + Manet's discovery:) looking at one thing
=X=> fuller and more inclusive grasp of its presence (~ rich immediacy)
==> perceptual disintegration and loss, breakdown as intelligible form ==> invention and discovery of previously unknown religions and organizations of forces

dissolution inherent in attentiveness ==support==> (Cezanne's) radical desymbolization of the world + perpetually modulating set of relations between the exterior and sensations

Cezanne attentive to:
•activity of the eye
•visual sensation
•myriad intricacies of subjective vision
•(physiological) limitations of sensory experience
•the body (its pulsation, temporalities, intersection of that body with a world of transitions, of events, of becomings)
•discontinuous composition of visual field (to its “concentric” format)

19th century scientific research ==>
•comprehensive account of human perception
•disjointed nature of the visual field
•central area of retina: photoreceptor cells
◦peripheral area of retina: sensitive to movement
•subjective visual field <== complex aggregate processes of the eye movement (“short fast jumps” =/= instantaneous intake of an image) --> a new psychological model of the human subject

acuity did not correspond strictly to localized anatomy but rather was the product of a dynamic relation of fovea and periphery as well as external luminous factors

hearing: aggregate perpetual process

Wundt's optical model (polarity between:)
•Blickfeld: field of consciousness
•Blickpunkt: focus of consciousness (where apperception occur) ~= attention

=/=
Locke, Descartes, Leibniz
consciousness = camera obscura

apperception: focalization of some content in consciousness ==> structure experience

--Crary--> what is at stake (with Wundt) is a cognitive modality part of a larger ***modern process of decentering***

(+ James -->) a question of the primacy of ‘transitive’ states in which the shifting fringes of perception were constitutive features of psychic “reality”


modernization of perception
center =/= periphery
dispersed functioning of sensory response

(how in 19th century capacities of human eye was made into:)
1. architectural model of *panorama* = permanent activation of optical periphery + no stable center of focused attentiveness
2. *stereoscope* = decisive exclusion of the periphery + 3D image hypertangiblity (<-- our model of visual consumption)
}==> loss of *consistent and coherent relations of distance between image and observer* [<-- this lost consistency is now in 2020 what everyone in art is busy with or to reactivate]


...having the fixed eye many disconnected areas of the visual field at once = continual beginning at a new center = Cezanne ~= *radical rethinking the nature of [*]synthesis: rhythmic coexistence of radically heterogenous and temporally dispersed elements*

...a subjective immobilization
seeking to enter into the world's ceaseless movement of destabilization (=/= holding together the content) ==> a more intensive recreation of a subjective interface with the world (=/= reverie, disassociation)
}-->
•every object's identity is swallowed up in difference
•*vision: veritable theater of metamorphosis and permutations*

(Cezanne reexamining the composition of the visual world ==>)
fanatical attentiveness to the data of sense ==> dissolution of unity, destabilization of objects onto flux, dispersion, displaced the body to the world, into a stream of change, of time, *undoing the immediacy of the world* [<-- my reexamination of the composition of the epistemological world of fables in West Asia, my work's relationship with knowledge is like that. to gain control of myself in the midst of moving concepts, the circulation of concerns, jumble of paths and knots, whirlpool of velocities, and recourse to my capacity for forgetting...]

perceptual consistency is a phantom

(Lucretius:) [*]world: infinite Cascades of self-differentiation

-the question is: how to make aesthetic constructions [the task of the artist] (if the world is so fragile)?

-how to go back and forth between attention and reverie?

perplexity of the eye (related to a deeper and metaphysical perplexity)
an imageless vision
...a mind for which no visible form is visible enough


the fixed and monocular eye has been posed (in recent theatrical writing) as the formative element of classical system of representation **functioning to arrest duration and change in order to achieve a conceptual matey mastery of phenomena** {==> zoocentric animal anatomy =/= ajayeb}
--✕--> (Crary's suggestion that) ***the fixed immobile eye is what annihilates the “naturalness” of the world*** (disclosing the provisional and fluid nature of visual experience) =/= mobile glancing eye is what preserves the preconstructed character of the world

•moving eye --> habitually familiarly caresses objects (extracting previously established relations among them)
•fixed eye --> (immobile eye triggers a ferment of activity ==>) trance and perceptual disintegration --> dissolving the physiognomy of the everyday world [~=>? bestiary's perceptual uncanniness]

fixed truth-taking stare ==> perceptual uncanniness

the idea of un undistorted original perception ==> objects in some accessable state available for objective comparison and evaluation

fixation sets the world in motion
visual field begin vibration and oscillating
chromatic instability

the physiological apparatus (our bodies) incapable of stability =/= the aim of stabilizing the world to look at it analytically


perceptualism: the idea that (artists, cultures, etc.) expressions in varying degrees involves the transcription of the world “as it appears” to them

Cezanne ==> understanding of the world (as processes of becoming) that doesn't possess a *premade integrity* (--> world of ajayeb is full of premade integrities)


reckon & calculate
--✕--> (Nietzsche's) formless unformulable world of the chaos of sensation
--✕--> (Cezanne's) continual emergence and disintegration of constellations (of relationships + self)



production (of other kinds) of fixed vision (amid the increasing awareness of the transitive and unstable nature of perception):
•modern psychology (late 19th century): how to incorporate the vagaries and unpredictability of subjectivity into a set of constants --> quantify subjective perceptual experience [<-- question of artistic feedback: how to perceptually isolate stimuli? how to temporally control one's exposure?]
•tachistoscope (mid 1880s--search for elemental unit of attentive behavior): the idea of instantaneous perception, mechanically producted “presence” --Crary--> fantasy of a descrete quantifiable perception detached from the lives dynamics of the body + the idea that pure nonsense reveals specific aspects of attention that hermeneutics could not conceive {based on naive realism (ignoring the existence of transient iconic memory) presupposing:
1- the subject's visual experience directly mirrors the stimulus pattern
2- the subject's visual experience begins when the pattern is first exposed and terminates when it is turned off
•Muybridge's machine ==> reconstruct appearances through the production of consecutive images
•

tachistoscope (nonconsecutive visual stimuli) --> how within the context of technological modernization, faster mechanical speeds are reciprocally related to new bodily forms of stasis (---> go to Virilio)
•chronometric device: measurement of relation time

}--> the break or interrupting of vision becomes the primary element within perceptual experience, rather than a visual continuum that maintains the cohesiveness of the world

}==> *possibility of pure sensation without perception*


“mental test”
detailed psychometrics of individual performance and behavior --preoccupied--> features of a generalized consciousness

20th century behaviorism --> abandonment of interest in any internal or introspective experience (in favor of data resulted from objective external controlled observation)
 ==Cattel==> application of systematized knowledge to the control of human nature
--Crary--> **accommodation of subjective life to machine operations** (+ speeds, temporalities)



new objective world: decomposed into autonomous and abstract stimuli (+ machine rythmes that differed dramatically from those of the body) ==> repositioning of the perceiver (+ motor readiness) }-->
•new patterns of production
•spectacular consumption

*machinic interface is the body* ==> related temporal shaping of everyday life

computer ==> psychic field of expectant attentiveness <--within-- one inevitably trains one self to maximize the speed of response to specific commands and functions (and derive at least one satisfaction from these habitual operations of mechanical facility)

}<--Crary-- epistemic shift in 20th century to theorise of subjective vision


instantaneity: unproblematic presentness of vision

Helmholtz (discovery of slow speed of nerve transmission) ==> “present state” of perception is deployed within a temporally extended physiological set of events


19th century --Foucault--> the essence of human life ceased to be something representable in the tabular space of classical representation =/= human life understood in terms of it's existence in time, of functions and energies that unfolded and developed outside the **immediacy of classical visibility**


*the conditioned reflex*
a chimerical notion of the western imagination in the 20th century

reflex (central cerebral process, onset of stimulus ==> preparation of motor response)
•one of the ways in which attention was positioned within knowledge of human behavior
==producing==> new forms of sensory experience outside of (various myth of) organic wholeness of subjectivity (--> distinction between “natural” & “artificial” sensation [---> go to my work in WIELS bestiary characters: what was individual experience in middle ages?])
•practical reconfiguration of behavior + possibility of external intervention and control
=/= Dewey's (galvanic image of) subject in a perpetual sensory interface with the world = uninterrupted mass motion --> unity of activity -->{*continuity* ==sustain==> an ideal of unity and wholeness =/= disintegration of individual experience, *disconnected nature of reality*}

(domain of experience in urban capitalist lifeworld:)
•industrial production
•spectacular condonation
•technological modernization
•rational, social, managerial control

(apperceptive experience of) anticipation, memory, and preparation for future actions

(halfway modernist Dewey didn't consider) breaks in perception might also have the capacity for *revivifying or expanding the limits of thought or cognitive awareness* [<-- and today 2020 many don't consider our contemporary media culture has this capacity]
--> what if our fragmented nature is one of the forms the discontinuous nature of reality can be apprehended?

celestial camera obscura

Dewey was deeply interested in practical ways of mind-body unity
rhythm, eurhythmy
alexander technique


unwavering model of pure contemplation
“pure knowing subject = forget your own personality, lose oneself in perception" = clear eye of the world (Schopenhauerian model of knowing in Doctor Strange movie, seeing the world directly and leave entirely one's own interests, the premodern idea of *perception = presence*)



Bergson (+ Cezanne) --> deepest forms of perception are mixed and composite

(in Matter and Memory) Bergson: establish a model of perception =/= routinized and reified forms of perceptual experience within western urban and scientific culture of the late 19th century

[*]externality = dream of inhuman immediacy: a vision of matter both immediate and instantaneous
---> go to Lucy movie primordial and fundamental act of perception

Bergson (+ Dewey's ideal of coordination)
(the role of the) *body: reproduce in action the life of the mind*
(the role of the) *mind: hindering the thought from being lost in dream, an organ of ‘attention to life’
--> how memory and perception interpret each other
*memory coincides (diverge, intersect) with the “present” perception*
{ [*]determine: the more habitual and repetitive one's perceptual response to one's environment ==> the less autonomy and freedom characterize that individual experience }--> creativity = (zone of) indetermination

--again--> Bergson (disturbed by new arrangement of spectacular consumption posed as novelty within a mass society ==> redundancy and habit + decay of traditional forms of collective memory) his work is a response to:
•general standardization of experience
•automation of perceptual response
(<--Sina-- typical problem of life-philosophers lebensphilosophie at the turn of the century reaction to the “intrusion of the mechanical”)

*preconditions of a free and autonomous subject* + *endangered (coherent) system of meaning*

(weak evolutionary assumptions of Bergson's elaboration of) human subject (= the most developed organism) = potential (for indetermination) = escape from a relationship of constraint and necessity in one's lived milieu [=/= animal]


Helmholtz (research on physiological optics) ==> غیر واقعی nonveridical status of vision (and perception) ~= there is no direct correspondence between sense experience and objects in the world ==>
•uprooting: rationalization and instrumentalization of senses (--> technical prostheses)
•displacing: reterritorializing of perception

Helmholtz (~/= Bergson) committed to expanding and optimizing the productive functioning of socioeconomic world (of imperial Germany) --> vision of capitalist industrialization (exchangeability, convertibility, etc.)

Helmholtz's ontology --> physics
Helmholtz's epistemology --> semiotics: representational and quasilogical order of signs


(Helmholtz +) Bergson's attention:
1. condition of relative motor arrest (Ribot)
2. gives up the useful effect of present perception
3. backward movement of the mind

Bergson's attention: a binding together of reality to ward off both perceptual and psychic disintegration


endosmosis: process of remaking an object of perception

Deleuze's attention: gives back to duration its true characteristic... a very special coexistence (=/= succession), a simultaneity of fluxes, in which the body was always implicated --> “freedom = awareness of that coexistence”,


“reality function”
(psychic+) sensorimotor grounding in the reality

in early 20th century --> clinic designation of a condition called “the feeling of unreality” : failure of an apperceptive attention : when present impressions do not link up with memory association ==> sense of unfamiliarity of the present objects


*(inconsistent and anxious treatment of) Bergson sketching out the marvels of a multidimensional perception* (capable of apprehending and creativity engaging the immanence of the past and present) <-- fantast of artistic research
---Crary--> for Bergson attention is one that does not waver, oscillate, or drift in and out of focus [---> go to Avital drug] --> his privileging of fusion, interpenetration, and continuity does not apply to borderline states: insanity, dreaming, etc. piercing forms of nonspatialized experiences: dreamwork, trance, forms of hypnagogic visions (==> powerful penetration of the present by memory)

Bergson's indetermination: a human attentive concentration, an abortion that would never lose its conscious connection to the willed activity of the body (<-- fantasy of wakeful critical subject) =/= (Crary's well argued) indetermination encompassing fluctuations in and out of trancelike states in which disassociated phenomenal might occur


Bergson's work is typical of his period --> ***great fear of perceptual behavior that is either passive or automatic***
}--historically--> construction of various forms of automatic perception in cinema, recorded sound, and other technological attachments ==> the idea of **premade images consumed passively** (...depreciation of experience when individual memory images are stiffened into ready-made things)

(for Bergson, Janet, Foad, and many others:) automatic behavior ==> dissolution of ego boundaries (in which the individual will cease to exert itself), contraction of personality, scattering of the self

drift
reverie
trance
dream

**Bergson's work = refashioning of the Rousseauian conviction of the truth and authenticity of (inner) subjective experience, without grasping how that experience is determined by forces external to the subject**
--trying--> to overcome the degradation and devaluation of experience within a modernizing culture founded on amnesia and obsolescence = collaptof auratic perception

--Crary--> Bergson and others could not see the ways in which *****capitalism itself was a nonfixable duree, a nonrepresentable variation ==> an endless chain of dislocations and destabilizations ==> its own virtual realm of novelty*****

...................................

(Cezanne and Sina's attraction to) rock motifs
various splintering and dispersal of rocks
intermingled with ruins of man-made stone structure
(rock's) precarious status as object

rock = (incarnated) resistance to drift and entropy :
forces of gravity
geological erosion
inexorable disintegration of substance
...


(?like many artists i am looking for incarnations too, for) procedures of binding : transformed representational logic
*operation of fixing, of fastening, within a world in which position no longer has its former meanings*

interpretation of tentatively scenic spaces

(BOZAR Tehran tree project)
•flickering screen of sky and trees
•one stone lies nested or wedged within the embrace of another element
--> (logic of the [phantom]) limbs

eroticized enclosure (seek to grasp and be grasped) --becomes--> diagram of perception (seek to envelope and be enveloped)

Cezanne's discovery: any attempt to stabilize perception ==> disintegration and transformation

•Cezanne --> dispersed perceptual processes
•Freud --> dispersed psychic processes {perception = interface of the nervous system with the world <=~ interface between consciousness and the stored stimuli of wishes, memories, anticipations}

(mid 1890s) Bergson + Freud ==> sustained and original consideration of the anti-optical functioning of subjectivity perceptual experience as a nondirectional, acentric, multitemporal event
--> empathic decentering of the observer
+ (widespread) practical and discursive remaking of the observer as subject, vision is no longer a distinct and isolable phenomenon


Freud --> psyche = a perpetually available innocence + infinite reserve of traces
*perception arouse interest on the account of their possible connection with the object wished for* : ‘perception = question of internal excitation’

Cezanne --(in Pineapple and Rocks)--> coexistence (continuity) of:
•an attentiveness that is bound (cathected) onto established (facilitated) patterns [= one's own history + its fixation]
•a perception of animality and novelty [= relaxation of grip, musical, (Deleuze and Guattari's) *antimemory* =/= atemporal forgetting]


vertigo: auto-movement of chaos

“Cezanne's work = model of a nonhuman perception” : (reading of Cezanne as) austere project of formal rigor, performed on some remote plane of aesthetic production; an enterprise tragically detached from an engagement with the social contradiction of his time =/= (Crary's reading of) Cezanne coinciding historically with new perceptual technologies --> new metaphoric possibilities

accumulated experience --basis--> radical depersonalization --intuit--> creative forces of chaos (in your own provence)

**Cezanne's imaginative refiguration of himself as machine = translate automatically** ==> release from grounded condition of human perception : to become an apparatus = implacability apprehend a world outside of the terms (that the artist wants out) ==> novelty (~= to overcome the gravity of one's own interiority) --Cezanne--> primordial image (of irreducible formlessness, of ***world in process without horizon***, without position, of slowly vibrating colors...) [<-- *apparatus becoming* is now the cliche of contemporary artist]

glow of a geological dawn
archaic + inert
Precambrian
deterritorializing processes of capitalism (+ its imperatives of perpetual renovation) --> (its compatible) uprooted nonorientable subject

nature experienced as vibrations, animations, chromatic reverberation (+ seeking a “logic” to clarify its unfolding)

hideous sign of progress (for Cezanne: electric light, cinema, )

artistic modernism <==Adorno== (the fact that) the most advanced procedures of material production and organization are not limited to the sphere in which they originate (---> go to incarnation)

demotivated subjectivity
wants something that is neither optical nor mechanical nor intellectual ==> substitute a mode of consciousness that is predominantly intuitive : the awareness of touch


historical adjacency (<-- Crary's knowledge zoom)

*late work of Cezanne (in spite of apparent social isolation of its production) = a site where modernization of subject occurs (of late 19th century)* --> dynamization of perception (occurring in many different domains around the year 1900 --introducing--> new techniques of vision)

Cezanne =/= contemplative distance
Cezanne =/= perceptual autonomy
Cezanne = nervous system interfacing with (a continually transforming) external environment
Cezanne = an example of a contemporary conceptualization of reality (as a dynamic aggregate of sensations)

--> emerging industries of spectacle


(fundamentally distinct) machinic visual technologies --Deleuze--> cinema =/= previous historical forms of simulation (some continuous western mode of representation, with its origins in Renaissance), represent the world
cinema --constitutes--> *an autonomous world* made up of breaks and disproportions, deprived of all centers, addressing itself as such to viewers who are in themselves no longer the center of their own perception

percipiens
percipi

nonselectivity of cinema eye =/= texture of human attentiveness

cinema = fusion = dream of the functional integrity of the world

film = validation of the authenticity of the perceptual disorientation

}--✕--> Crary's analysis of Edison's train robbery scene : serial reconfiguration of a kinesthetic constellation of moving forces (+ additional system of movements and forces: bodies, bullets, explosion) =/= question of mobile point of view

Cezanne <--> cinema camera --Dziga-->
i am a mechanical eye
i, a machine, show you the world as only i can see it
now and forever, i free myself from human immobility
i am in constant motion, i draw near, then far away objects, i crawl under, i climb onto them... i plug and soar together with plunging and soaring bodies
now, i, a camera, fling myself along their resultant maneuvering in the chaos of movement, recording movement, starting with movement of the most complex combinations


Sherrington --> stimuli in the external world are selected and fashioned by the organism
=/= Pavlov: stimuli = alien shocks encountered and responded to
=/= Cartesian res extensa, res cogitans
“the great physical process of attention”
inhibition: an active process
anticipatory behavior
exploratory locomotor behavior
“integrative function” of nervous system ==> binding
(integrative: incorporation of the exterior world)
“human perception = possibility of motor activity”

...................................

Cezanne sitting in nature and studying motif, tilting his head ~-> intensity unfolding chromatically before him (a mode of physical being) --> *time of the body* [<-- this is typical of today art in european] = indefinite scalar time + intensity is experienced outside representation
•river stands for his engagement with a more primal flux
•sustained condition of vibrating instability
•apprehension of multiplicity
•world = turn of a kaleidoscope (prismatic)
•(when you look at a) landscape has its own weird anima, it changes like a living animal under our gaze (---> go to machine dreaming image learning 2020)
•to make yourself into a responsible productive organ
--> **incarnation of a contradictory enterprise of self-transformation, self-renewal** <-- (Cezanne's retrospective fulfilment of a tradition from which he could not fully acknowledge his own decisive departure)

...your intuition on the edge of the river


Cezanne = reformulation of natural world + broken hope of community (~= intimacy --> Rousseau's mode of attention contemplation: “thought =/= reverie” : the more sensitive the soul of the observer, the greater the ecstasy aroused in him. deep and delightful reverie : a state of blissful self-abandonment)
--> novelty of a smooth unorganized perceptual space
--Crary--> example of the nonsynchronous character of modernism (~ coexistence of realities from radically different moments of history) [<-- is my bestiary research on the same plural historical positioning?]
•termination of a romantic visionary tradition

(in the West) [*]image: decentered chrono-iconography, automatic self-movement

rise of cinema: body-machine assemblage --Deleuze--> new paradigm of *psycho-mechanics* ~ cinema is capable of touching the cerebral system directly ==>
•experimental forms of life = freedom (affirmative model of automatic behavior --> thought functions at a higher level with an arsenal of syntactic perceptual conceptual tools)
•management of attention (model of passive automatism)

(from) dreamer --to--> somnambulist --to--> hypnosis --to--> suggestion --to--> hallucination --to--> obsession

Deleuze + Benjamin + Virilio
the idea of *art of automatic movement coincide with fascism*
@Pierre, pass, Foad

scopophilia: a forced ecstatic abjection before the image
=/= mastery

[*]spectacle: (spectacular culture) attention would be made attentive to everything but itself

...................................

“my experience is what i aggree to attend to” (James) ~= affirmation of an autonomous self-choosing world-creating subject liberated from the receptive status of a subject for whom experience was “the mere presence to the senses of an outward order”) --Crary--> historical crisis in the nature of experience: *attention = simulation of + compensation for a chimerical real experience*

(in my text rigging demons --> reconciliation of:)
•individual attentiveness to the fringes, transitions, pulses of one's own particular “pure experience”
•“experience” as immersion in the tangled density of a shared mutually inhabited world

James's conception of selfhood: private property (--in--> Tasavof: the most radical of all possible alienation and disconnection) --Lentricchia--> deployed to preserve a human space of freedom interiorized from the vicissitudes and coercions of the marketplace

**modern attention** + individual evasion of memory (and history) --> habitual & commodified : an imaginary deletion of all that is unbearable in collective and individual experience

in Corridor Crew the perceptual selectivity of the CG hackers sustains efficiency of animation tools + tangled social and psychic machinery of sublimation


(?do i have) agoraphobia --> Simmel


(destructive transformation of) *modernization always preserve and carry over nonsynchronous components of past moments*
Crary, Lefebvre

Piranesi's etching of Rone = foctive and atmospheric prison
Freud's description of piazza: patchwork texture of screens and flashing signs (formless field of attraction @Foad, Sina; multidimensional field of stimuli, urban space: “a theater of memory and a theater of prophecy”) =/= Piranesian dissolution of the axial city (organized views around a coherent even if mobile subjective orientation)

Freud's technique of attention: gleichschwebende Aufmerksamkeit
‘evenly suspended attention’ (giving equal notice to everything, everything in low-level focus without the risk of schizophrenic overload) --define--> **a state of receptivity in the analyst that eill be commensurate with the spoken free association of the patient** --> dealing with a stream of information that has no evident structure or coherence + extracting from that disjunct texture (artwork, chaotic syntax of dreams, indecipherable present,) some interpretive clarity (feedback)

Freud + Cezzaine --> design a countermodel of attentiveness that surmounts an ***inhibition of the peripheral*** (=/= notion of selection ~=> finding out what one already knows)

****diffuse attention =/= critical attention**** (a faculty in which the observer is led to reject some of the ideas that occur to him after perceiving them)


(at the turn of the century) experience: compulsory consumption of information


(from) the experience of deindividualtion (in piazza) --to--> a more controllable form of loneliness (bedroom)


[this] plural hybrid space of Roman square (Crary on Freud's representation) ~= a spectacle s[...]