[...] 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


="large lg2" stl="font-size:110%">
“authentic images” seem capable of action, seem to posses dynamis (super="trms">natural power)



="large lg14" stl="font-size:123%"> Universal Ex="trms">position of 1889 ='lgc'>+ ="trms">international congresses of hypnosis='lgc'>:
="lsts lst1">•rationalizing ideological imperatives (concertized in the actual organization and layout of the Ex="trms">position ='lgc'>='lgc'>--> rooted in the enlightenment's faith in man's limitless potential for mastery of his environment)
="lsts lst1">•hypnosis optimistically as the most effective entry into (previously inaccessible) territories and processes of human psychic life (and hopefully mastering this terrain)
="lsts lst1">•extensive ="trms">presentation of colonial people and lifestyle as objects of ="trms">spectacle in the 1889 Ex="trms">position (simulated villages inhabited by Congolese, Javanese, New Caledonians, Senegalese, and others) ='lgc'>='lgc'>--> became contents of an ="trms">imaginary immortal space, contents that were seemingly assimilable into the rationalizing taxonomy of the ex="trms">position's organizational schema ='lgc'>[='lgc'>=/= ="frds scrmbld">Steven's schema in ="nms">apass='lgc'>]
='strcls'>*both hypnosis (with its profoundly indecipherable trance states) ='and'>& ="trms">material life of colonial people (primitive cultures with their singular forms of exchange, of value and power ="trms">relations) took on an exhibitionary existence at the threshold of their marginalization, assimilation, or disappearance ='lgc'>='lgc'>--> (the unassimilable in both was) temporally refigured as the survival (or simulation) of an earlier ="trms">stage of development (as a lower, regressive, or ="trms">childlike state of mind or culture) ='lgc'>[='lgc'>='lgc'>--> radically irreconcilable with dominant forms of western rationalism='lgc'>]

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

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

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

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

="trms">different modes of regression and fantasy

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

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


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

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


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

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

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

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

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

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

="large lg6" stl="font-size:100%"> (-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

______________


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'>*

="large lg10" stl="font-size:104%"> vivid opening into a light-filled action-filled arena

='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">aesthetics)
='lgc'>='lgc'>--> ='strcls'>*collective visual experience='strcls'>* ='lgc'>='lgc'>~='lgc'>~='lgc'>='lgc'>--> precinematic forms of moving images

(='at'>@="nms">apass='lgc'>: hand drawing is not about being “="trms">trapped in older artisanal modes of production” ='lgc'>--='qstn'>?='lgc'>='lgc'>--> “performance ='lgc'>=/= projection”)

to assess (the ="trms">relationships between)='lgc'>:
="lsts lst1">•your own ="trms">technological products
="lsts lst1">•makeup of your audience
="lsts lst1">•economical realities of the ="trms">marketplace
='lgc'>}='lgc'>=='lgc'>=> inventor of 19th century (Raynaud, Edison, )
='lgc'>='lgc'>--> modify your machines in terms of='lgc'>:
="lsts lst1">•performance
="lsts lst1">•shifting audience needs (and possibilities)

phantasmagoric='lgc'>: occultation of production by means of the outward appearance of the product (creating an experience for a solitary and immobile ="trms">spectator)

(spectral) atopic image='lgc'>: ="trms">literally not there

shimmering ='lgc'>='lgc'>--> effect of detachment from the environment

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

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

='strcls'>****rich textures of entertainment and visual ="trms">spectacle='strcls'>****

="prgrph">-which range of optical ="trms">apparatuses are available for public ="trms">consumption now='qstn'>?
='lgc'>[in 1880s='lgc'>: peep show, magic lantern, shadow theater, large-scale stethoscope, zeo="trms">tropes, etc.='lgc'>]

my links with Seurat ='lgc'>='lgc'>--> his ="trms">interest in='lgc'>:
="lsts lst1">•contemporary popular visual culture
="lsts lst1">•perceptual ="trms">modernization
="lsts lst1">•

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

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

="ppl">="ppl">Crary ="trms"nttrm="already,spread">reading Seurat without isolating him from the effects of what Raynaud, Edison and many others (Muybridge, Fuhrmann,) were developing through out the 1880s

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

="large lg14" stl="font-size:113%"> shadow show
clown as magician-engineer who with his ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right hand opens the curtains ="trms">onto an illuminated and abstractly assembled plane of visual stimulation

(Seurat were disclosed to the) congruence of an im="trms">material, atopic and evanescent image with powerful reality effects and ="trms">techniques of attraction

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

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

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

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

phantasmal homeostasis
detemporalization of experience

management of attention ='lgc'>='lgc'><='lgc'>--> ="trms">techniques of attraction

(="frds scrmbld">Foad and) Seurat's efforts (in Cirque)='lgc'>: abstract conceptualization of perceptual experience

(possibility of ="trms">spectacle)
differed
displaced
denied
(image of ="trms">spectacle)
derealized
drained of ="trms">presence

='strcls'>*attentiveness of an observing subject='strcls'>*='lgc'> = site of increasingly specialized operations of power

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

="large lg10" stl="font-size:109%"> ='lgc'>--="ppl">="ppl">Crary='lgc'>='lgc'>--> importance of Seurat's work ='lgc'>: to have intuited ='strcls'>**how the collapse of scenic space allowed new ="trms">imaginary ="trms">figuration of immediacy='strcls'>** (of a regressive unity based on a corporeal engagement of the ="trms">spectator) ='at'>@="frds scrmbld">Esther, ="nms">apass, OSP, ="frds scrmbld">Femke

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

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

Seurat's resisted the temptation of the phantasmagoric and of myth (='lgc'>=/= Wagner)
(='lgc'>='lgc'>--> are we the hairs of Seurat='qstn'>?)
="lsts lst1">•exposure of ="trms">technical premises
="lsts lst1">•subversion of any stable “formation” (or ="trms">Gestalt, on which the al="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure of the myth depends)
='lgc'>--Buchloh='lgc'>='lgc'>--> ='strcls'>***avant-garde='lgc'>: a continually renewed struggle over the de="trms">finition of cultural meaning, the discovery and re="trms">presentation of new audiences, and the development of new strategies to counteract and develop resistence against the tendency of the ideological ="trms">apparatuses of the culture industry to occupy and control all practices and spaces of re="trms">presentation='strcls'>*** (='lgc'>='lgc'>--> ='thdf'>that is why i am ="trms">interested in Walt Disney and Hollywood and Qur'an)
='lgc'>='lgc'>--> ='strcls'>*to produce incompatibilities='strcls'>* (as an artistic strategy, visual or ="trms">epistemic and otherwise; to make opacity, hostility to virtuosity and expressionism, )

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

="large lg3" stl="font-size:111%"> your work might be built out if mechanisms for the production of subjective ="trms">response ='lgc'>--but='lgc'>='lgc'>--> it is never reducible to them
='at'>@OSP, ="frds scrmbld">Femke



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

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

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

='lgc'>[one of many sites in the late 19th century where a crisis in perception is diagnosed:='lgc'>]
Cezanne ='lgc'>+ ="ppl">Husserl='lgc'>: attempt to bypass the accumulated cultural and commonsense assumptions about the ="trms">world as it appears in consciousness (="trms">heritage of ="trms">phenomenology ='lgc'>='lgc'>--> ="frds">Sina, ="frds scrmbld">Foad... ='lgc'>='lgc'>~='lgc'>~> and ="trms">fable of the artist='lgc'>:)
="lsts lst1">•Cezanne ='lgc'>='lgc'>--> forgetting everything and make an image of what you see ='strcls'>*beneath the imposed order of humanity='strcls'>* (19th century preoccupation with “innocent vision” ='lgc'><='lgc'>== to be completely estranged from the ="trms">world ='lgc'><='lgc'>-- ="ppl">Schopenhauer) ='lgc'>=='lgc'>=> access to things-in-themselves
="lsts lst1">•="ppl">Husserl ='lgc'>='lgc'>--> pure form of consciousness ='strcls'>*stripped of all accretions of habit and ="trms">socialization='strcls'>* ='lgc'>=='lgc'>=> “seeing essences”
='lgc'>='lgc'>--> their work challenged (sought to exceed) features of perception that ="trms">apparatuses (of production and ="trms">consumption) regulated and standardized

="ppl">Husserl
attempt of description of objectivists in a certain atemporal fixedness ='lgc'>=/=='lgc'>{attention='lgc'>: heightened awareness of a narrowed or focused range of perception, operation of selection, ="trms">question of existence of content in consciousness, empathic function which belongs in the sense of intuitional experience ='lgc'>='lgc'>~= psychophysical, as="trms">sociationist, sensationa="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list, atomistic accounts of perception and cognition ='lgc'>=='lgc'>=> how re="trms">liable and consistent the knowl="trms"nttrm="knowledge,Knowledge">edge about the ="trms">world is possible ='lgc'>+ (classical model of vision='lgc'>:) privileged point of view of a perceiving subject from which the objectivity of the ="trms">world could be apprehended='lgc'>}
issue of cognitive and perceptual synthesis
="lsts lst1">•to resecure an unconditional basis for logic and ="trms">science
="lsts lst1">•to escape from refined habitual patterns of perception inherent in various aspects of rationalization and compassion of experience in 1890s and 1900s (='lgc'>='lgc'>--> dynamic, kinetic, distracted texture of ="trms">modern sensory life ='lgc'>=='lgc'>=> attention='lgc'>: malleable entropic force susceptible to fatigue, distraction, and external management)
="lsts lst1">•to quest for the logic of meaning ='lgc'>=='lgc'>=> primordial oneness of consciousness
='lgc'>-='lgc'>-='lgc'>='lgc'>--> (for ="ppl">Husserl) attention appears and appertains in the possibility of an ='strcls'>*impersonal, preindividual, transcendental sphere free of anything ="trms">="trms">empirical, of anything spatiotemporal='strcls'>* ='lgc'>=='lgc'>=> attention='lgc'>: intentional act with an absolute structure, quasi-machine searchlight for an unwavering mode of looking at the act of looking
='lgc'>--="ppl">="ppl">Crary='lgc'>='lgc'>--> amid the dynamic dissolution of ="trms">modernization (a ="trms">world in which previously stable meanings, signs, ="trms">social ="trms">relations were being uprooted, made exchangeable, and put into circulation) ="ppl">Husserl proposes ='lgc'>[in a hopeless quest='lgc'>] a monolithe ="trms">technique of attention (to discern a halo of absolute authenticity around every object or ="trms">relation) to determine the universal structure of (the authenticity of) subjective life="trms">world ='lgc'>[unable to go beyond ‘pre-cinematographic conditions’ (='lgc'>~ movement thought only from the anchorage of a static “pose”)='lgc'>]
 ='lgc'>--Varela='lgc'>='lgc'>--> ="ppl">Husserl's (='lgc'>+ MerleauPonty) turn towards experience (the “things themselves”) was entirely theatrical ='lgc'>: lacked any ="trms">pragmatic dimension ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="ppl">="ppl">Despret, ="ppl">="ppl">Stewart='lgc'>]

what Cezanne did seek to “suspend” (to forget)='qstn'>?

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

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

(Cezanne ='lgc'>+ Manet's discovery='lgc'>:) looking at one thing
=X='lgc'>=> fuller and more in="trms">="trms"nttrm="cluster,club">clusive grasp of its ="trms">presence (='lgc'>~ rich immediacy)
='lgc'>=='lgc'>=> perceptual dis="trms">integration and loss, breakdown[...]