[...](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 contemporary Tehran?)

19th century theatre --(transform into)--> ***construction of visibility*** (structure the spectators perceptual experience)

“collective act of seeing ==> semblance of a community”

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

(-can theater stage be a place of distraction? again)

intelligible relation of distance between viewer and illusory scene
--> the way diorama commanded visual attention

in my stage design drawings from 2009:
•standardized perspectival expectations
•metric relations
•position of spectator
•luminous detached rectangle
- 

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


-verisimilitude: the quality of seeming to be true, gloss, semblance


composite imaginary of the 19th century

______________


crowd
theater
phantasmagoria

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

vivid opening into a light-filled action-filled arena

@apass, a common way of criticism:
•*evoke, then withhold*
(fir example: evoke ‘entertainment commodity’ but withhold it. Laura, Ale ,)
•*invest, and dismantle* (we are invested in what we dismantle)
•*desolation of older scenes of representation* @Sina

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

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

(Seurat's optics:) ***images apparitional value*** <== effect of image's detachment from a broader visual field (=/= diaroma and stereoscop)
--> 19th century optical experiences that severed the image from any continuous or intelligible relation to the position of the observing objects
(=/= Wagnerian aesthetics)
--> *collective visual experience* ~~--> precinematic forms of moving images

(@apass: hand drawing is not about being “trapped in older artisanal modes of production” --?--> “performance =/= projection”)

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

phantasmagoric: occultation of production by means of the outward appearance of the product (creating an experience for a solitary and immobile spectator)

(spectral) atopic image: literally not there

shimmering --> effect of detachment from the environment

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

Cheret's posters (joyful modern women, advertisement for cosmetics, lighting fixtures, department stores, ballets, and so on) --> a technology of attention + a specific ornamental representation of commodity culture
(--> practical functionings of consumption culture in the 1870s) @OSP
*Cheret's “personal style” in graphic design [...]