[...]ical ="trms">world view yet deeply embedded in the essential ='thdf'>assumption of ="trms">modernity that all of ="trms">nature is understandable in terms of numbers (-Bloch, ="trms">modernism='lgc'>: quantitative side with ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics proper strictly ="trms">scientific ='lgc'>=/= figural-qualitative ="trms">symbolic side)
... ='lgc'>='lgc'>--> Seurat's unresolvable problem='lgc'>: to think ="trms">simultaneously ='thdf'>the idea of universality in terms of ="trms">aesthetic absolute and the inescapable universality of ="trms">modern exchange and calculation
='lgc'>='lgc'>--> (Norman Brown='lgc'>:) the money complex, archaic or ="trms">modern, is inseparable from ="trms">symbolism, and ='strcls'>*="trms">symbolism is (not the mark of rationality, as ="ppl">Simmel thought, but) the mark of sacred='strcls'>* ='at'>@="frds scrmbld">Luiza's diagrams ='lgc'>[='lgc'>='lgc'>--> this is important for ="nms">apass, “="trms">aesthetic experience occurs within, not above, the op="trms">position of the ="trms">symbolic and the economy, and within the lived conflict between self-activity and reification” -Brenkman='lgc'>]
='lgc'>='lgc'>==> undialectical disjunction of sacred and secular


silent reflective monk

mechanical assemblage of never quite ="trms">integrated elements

="large lg2" stl="font-size:111%"> Seurat's texture of work ='lgc'><='lgc'>== an intuition of the loss of art's immediacy ='lgc'>='lgc'>--> shift of (what might have been) contemplation into mere attentiveness

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

negotiating rapture

(="nms">ajayeb ='lgc'>='lgc'>~/=='qstn'>?) to produce a dialectic image='lgc'>: to criticize ="trms">modernity (='lgc'>~ foregrounding of the aura) through an act of ="trms">memory, and at the same time, to criticize archaism (='lgc'>~ nostalgia for the aura) through an act of essentially ="trms">modern invention (substitution and designification)


color...
how forms of ‘synthesis’ (optical mixture, purely additive and accumulative functions of industrialized procedures) produce ‘qualitative’ change (pre-bourgeois non-quantitative connection to ="trms">nature, for which color did not exist as an autonomous experience or as a separate and specialized ="trms">science)

="large lg10" stl="font-size:112%"> Seurat='lgc'>: surface fascinations consequences of a disappointment at the impossibility of immediacy and the ="trms">historical inaccessibility of the dream of the ritual/magical practice of art ='lgc'>='lgc'>--> Seurat's work's exhaustive denial of ="trms">presence ='lgc'>='lgc'>==> (another kind of immediacy='lgc'>:) the ='strcls'>***fusing of image and eye='strcls'>*** ='at'>@="frds scrmbld">Foad
='lgc'>=/= art as a medium for disclosing essential truths
='lgc'>=/= redemptive optimism

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

a desiring ="trms">system dependent on operations of rebinding and immobilization

the problem of ='strcls'>*con="trms">trapposto='strcls'>* ='lgc'>[and ='strcls'>*chiaroscuro='strcls'>* (contrast of colors)='lgc'>]='lgc'>:
a Renaissance ideal, invoking a ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysical dualism that found expression in ="trms">rhetorical devices of contrast and antithesis ='lgc'>--sumbsumed='lgc'>='lgc'>--> within the ='strcls'>*larger ideal of op="trms">position='strcls'>*

con="trms">trapposto could be decorative or structural, justified by its vividness, the clarity with which art could bring op="trms">posites into harmony

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



“authentic images” seem capable of action, seem to posses dynamis (super="trms">natural power)



Universal Ex="trms">position of 1889 ='lgc'>+ ="trms">international congresses of hypnosis='lgc'>:
="lsts lst1">•rationalizing ideological imperatives (concertized in the actual organization and layout of the Ex="trms">position ='lgc'>='lgc'>--> rooted in the enlightenment's faith in man's limitless potential for mastery of his environment)
="lsts lst1">•hypnosis optimistically as the most effective entry into (previously inaccessible) territories and processes of human psychic life (and hopefully mastering this terrain)
="lsts lst1">•extensive ="trms">presentation of colonial people and lifestyle as objects of ="trms">spectacle in the 1889 Ex="trms">position (simulated villages inhabited by Congolese, Javanese, New Caledonians, Senegalese, and others) ='lgc'>='lgc'>--> became contents of an ="trms">imaginary immortal space, contents that were seemingly assimilable into the rationalizing taxonomy of the ex="trms">position's organizational schema ='lgc'>[='lgc'>=/= ="frds scrmbld">Steven's schema in ="nms">apass='lgc'>]
='strcls'>*both hypnosis (with its profoundly indecipherable trance states) ='and'>& ="trms">material life of colonial people (primitive cultures with their singular forms of exchange, of value and power ="trms">relations) took on an exhibitionary existence at the threshold of their marginalization, assimilation, or disappearance ='lgc'>='lgc'>--> (the unassimilable in both was) temporally refigured as the survival (or simulation) of an earlier ="trms">stage of development (as a lower, regressive, or ="trms">childlike state of mind or culture) ='lgc'>[='lgc'>='lgc'>--> radically irreconcilable with dominant forms of western rationalism='lgc'>]

(for western rationality) hypnosis='lgc'>:
="lsts lst1">•influence without any logical foundation
="lsts lst1">•production of an illusory ="trms">relation to the ="trms">world
='lgc'>[='lgc'>='lgc'>--> similar to ="frds scrmbld">Foad's modality of freedom, wakefulness, and ='thdf'>the notion of the intoxicated masses='lgc'>: loss of mastery, of ability to make decisions and reflect ='lgc'>='lgc'>==> the assertion that “hypnotic experience is formless” (='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="ppl">Nancy)
='strcls'>*="trms">spectacle domination over passivity='strcls'>*
="frds scrmbld">Foad='lgc'>: inner or subjective reality of a psychic state which could in fact involve residence and evasion of external ="trms">authority='lgc'>]
='lgc'>=/= state of trance (as in other cultures) whether individual or collective conceived as an opening up or sharing

the 19th century exhibitions were part of a ="trms">world in which people were beginning to live as tourists or ="trms">anthropologists, addressing an object-="trms">world as the endless re="trms">presentation of some further meaning or reality
='lgc'>==="ppl">="ppl">Crary='lgc'>='lgc'>==> reality='lgc'>: that which ="trms">presents itself as an exhibit before an observer

(Seurat's Parade de Cirque='lgc'>: ...a ="trms">figuration of ="trms">social territory where) ="trms">techniques of fascination and attraction, of appearance and semblance, have the capacity to overpower an observer or audience

(شهر بازی fairground kinesthetic experiences,  such as='lgc'>:) ='strcls'>*merry-go-round='strcls'>*='lgc'>: a fragmentary and mechanical recuperation of carnival energies ='lgc'>='lgc'>--> controlled circumstances inciting of dynamogenic bodily sensation
&
cinema later would radically displace survivals of pre="trms">modern forms like the circus ='lgc'>[='lgc'>='lgc'>--> look at Hollywood today 2018='lgc'>]

="trms">different modes of regression and fantasy

='strcls'>***late 19th century shift from “viewing machine” to “vertigo machine”

19th century's ="trms">inter="trms">relations between='lgc'>:
="lsts lst1">•photography
="lsts lst1">•hypnosis (both medically and mythically)
="lsts lst1">•cinema
="lsts lst1">•psychoanalysis
='strcls'>*strong ="trms">epistemological con="trms">figurations='strcls'>* ='lgc'>='lgc'>==> a new place of subject (in western culture) linked to formation of certain images of='lgc'>:
="lsts lst1">•time
="lsts lst1">•="trms">past
="lsts lst1">•="trms">memory


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

='lgc'>='lgc'>--> ="ppl">Bergson='lgc'>: “in the processes of art we shall find, in a weakened form, a refined and in some ="trms">measures spiritualized version of the processes commonly used to induce the state of hypnosis ='lgc'>[...='lgc'>] an effect of the same kind by the fixity which they suddenly impose upon life, and which a physical contagion carries over to the attention of the ="trms">spectator.”


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

="large lg6" stl="font-size:125%"> the audience in many artworks still today has the sign of the distracted crowd (جمعیت خواب)

(“man without qualities” =) de-individualized='lgc'> = sug="trms">gestible, hypnotizable

(Fried='lgc'>:)
anti-rococo French painting='lgc'>: a painting had to first attract (call to someone) and then to arrest (bring him to a halt in front of itself) and finally to enthral (hold him there as if spellbound)='lgc'> = the ="trms">modernizing ="trms">instrumentality that is fulfilled in cinema today

="large lg1" stl="font-size:118%"> for Tarde='lgc'>:
“="trms">social existence='lgc'> = ="trms">somnambulism"='lgc'>[= heightened receptivity to sug="trms">gestion, individuals apt to imitate one another='lgc'>] ='lgc'>='lgc'>==> “="trms">social='lgc'> = (a form of) dream”
='lgc'>='lgc'>--> hypnotic aspect of the life of crowds
="lsts lst1">•“="trms">intercerebration”='lgc'>: one brain fascinates the other
="lsts lst1">•“="trms">fashion's sug="trms">gestibility”='lgc'>: half-conscious observation and mere physical proximity produce a functional ="trms">social homogeneity
="lsts lst1">•“fascination”='lgc'>: a genuine ="trms">neurosis, a kind of polarization of ="trms">love and faith  ='lgc'>='lgc'>--> effects of obedience and imitation
="lsts lst1">•“attention”='lgc'>: transformation of sensation by effort and desire ='lgc'>='lgc'>--> the desire for an increase in personal believe
="lsts lst1">•“plateau”='lgc'>: a flexible figure for ="trms">natural, ="trms">social, and statistical processes and events (in="trms"nttrm="cluster,club">cluding desire) ='lgc'>[='lgc'>--='qstn'>?='lgc'>='lgc'>--> ="ppl">Deleuze and ="ppl">Guattari's plateau='lgc'>]

Le Bon='lgc'>:
“="trms">social='lgc'> = a particular modality of perception,” as a ="trms">specific ="trms">social arrangement that conditions the limits of perceptual experience
(="trms">modern) crowd='lgc'>: a viewing machine capable of generating “collective ="trms">hallucinations,” a place for ="trms">consumption of illusion, (with a “psychological unity” that occupies spatially remote locations,)
="lsts lst1">•“observation”='lgc'>: a cognitive model predicated on workable notion of objective reality (a classical ="trms">epistemological model) that begins to corrode within a field saturated by illusion, ="trms">hallucination, and whole industries of simulation
="prgrph">-individual subsumed in crowd is incapable of observation ='lgc'>='lgc'>--> ="trms">modern ="trms">spectacular culture (to be ="trms">articulated 7 decades later by ="ppl">Guy ="ppl">Debord

the crowd (in Le Bon) is a ="trms">generalized site on which the accumulated d="trms"nttrm="already,spread">read and hope as="trms">sociated in the 19th century with ="trms">social insurrection collapse into am abstract countless mass ="trms">onto which dream ="trms">imaginary of any ="trms">sort can be projected
="prgrph">-="ppl">="ppl">Crary

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


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

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

Wagner's cultural program for ="trms">social re="trms">integration and his belief in the transformative effects of the collective experience of music drama preformed and produced as a ritual ="trms">communal event

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

an attentive, absorbed public (unthinkable in the 18th century ='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="ppl">Sennett)

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

19th century theatre ='lgc'>--(transform into)='lgc'>='lgc'>--> ='strcls'>***construction of visibility='strcls'>*** (structure the ="trms">spectators perceptual experience)

“collective act of seeing ='lgc'>='lgc'>==> semblance of a ="trms">community”

(phantasmagoric character of his work) Wagner='lgc'>:
="lsts lst1">•eliminating lateral views ='lgc'>='lgc'>==> frontal engagement
="lsts lst1">•near-complete darkness ='lgc'>='lgc'>==> preventing peripheral distraction
="lsts lst1">•lowering the orchestra out of sight
='lgc'>='lgc'>--> ="trms">systematic concealing and mystification of the process of production
='lgc'>='lgc'>--> (Wagner stands for) will to mastery over all aspects of the ="trms">spectacle ='lgc'>==allow='lgc'>='lgc'>==> calculated production of states of regression, fascination, dream (="trms">synchronized sound ='lgc'>='lgc'>--> cinema's attentiveness half a century later)
="prgrph">-control over emotional ="trms">response
="prgrph">-remaking of ="trms">spectator experience
="prgrph">-production of dreamlike clairvoyant

(-can theater ="trms">stage be a place of distraction='qstn'>? again)

intelligible ="trms">relation of distance between viewer and illusory s="trms">cene
='lgc'>='lgc'>--> the way diorama commanded visual attention

in my ="trms">stage design drawings from 2009='lgc'>:
="lsts lst1">•standardized perspectival expectations
="lsts lst1">•metric ="trms">relations
="lsts lst1">•="trms">position of ="trms">spectator
="lsts lst1">•luminous detached rectangle
="prgrph">- 

Wagner's Ring cycle='lgc'>: the last expression of a 19th century fantasy of the recuperation of tragedy and myth ='lgc'>~ the dream that culture could make whole what capitalism has broken ='lgc'>--="ppl">="ppl">Crary='lgc'>+="ppl">Lacoue-Labarthe='lgc'>='lgc'>--> ='lgc'>[disturbing conviction/dream:='lgc'>] 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)


="prgrph">-verisimilitude='lgc'>: the quality of seeming to be true, gloss, semblance


com="trms">posite ="trms">imaginary of the 19th century

______________

="large lg3" stl="font-size:112%">
crowd
theater
phantasmagoria

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

vivid opening into a light-filled action-filled arena

="large lg4" stl="font-size:112%"> ='at'>@="nms">apass, a common way of criticism='lgc'>:
="lsts lst1">•='strcls'>*evoke, then withhold='strcls'>*
(fir example='lgc'>: evoke ‘entertainment commodity’ but withhold it. ="frds scrmbld">Laura, ="frds scrmbld"nttrm="Alex,Alert,Aleph,Alessi">Ale ,)
="lsts lst1">•='strcls'>*invest, and dismantle='strcls'>* (we are invested in what we dismantle)
="lsts lst1">•='strcls'>*desolation of older s="trms">cenes of re="trms">presentation='strcls'>* ='at'>@="frds">Sina

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

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

(Seurat's optics='lgc'>:) ='strcls'>***images apparitional value='strcls'>*** ='lgc'><='lgc'>== effect of image's detachment from a broader visual field (='lgc'>=/= diaroma and stereoscop)
='lgc'>='lgc'>--> 19th century optical experiences that severed the image from any continuous or intelligible ="trms">relation to the ="trms">position of the observing objects
(='lgc'>=/= Wagnerian ="trms">aesthetic[...]