[...]ppeal 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


="large lg2" stl="font-size:112%"> theories of dynamogeny on ="nms">iranian traditional music radif, that certain musical proportions poses cheerful or bitter qualities, influence the person's emotional state
to transcend from quantitative number of dastgah ='lgc'>--to='lgc'>='lgc'>--> a mysterious qualitative dimension of ="nms">pardeh


(="ppl">="ppl">Crary's) Seurat's anarchism='lgc'>: (painting of the) ="trms">world of mere ="trms">="trms">empirical ="trms">relations, cut off from the in="trms">finite (loss of the vanishing point) and from the light of either sun or moon (gaslight illuminates the s="trms">cene)


="frds scrmbld"nttrm="Leonardo">Leo's primitive ="trms">communism


pictorial generation of meaning


the keystone of ="frds scrmbld">Foad's ="trms">technique='lgc'>:
purity of the spectral element


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


='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'>==> 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'>==> ='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'>==> nondisclosure ='lgc'>~) fantasy of a theatre without re="trms">presentation

="large lg3" stl="font-size:112%"> ="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'>==> ="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.

="large lg4" stl="font-size:111%"> ="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'>==> sum of all parts of space and its contents are absorbed into a single ‘quantum continuum’
="prgrph">-Panofsky perspective as ="trms">symbolic

="large lg5" stl="font-size:113%">
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 [...]