[...]her 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[...]