[...] 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 relati[...]