[...]> *Cheret's “personal style” in graphic design = an abstract luster جلوه a decorative formula that could be applied promiscuously to any possible object of consumption* =/= Seurat's dream of universal style

****rich textures of entertainment and visual spectacle****

-which range of optical apparatuses are available for public consumption now?
[in 1880s: peep show, magic lantern, shadow theater, large-scale stethoscope, zeotropes, etc.]

my links with Seurat --> his interest in:
•contemporary popular visual culture
•perceptual modernization
•

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

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

Crary reading Seurat without isolating him from the effects of what Raynaud, Edison and many others (Muybridge, Fuhrmann,) were developing through out the 1880s

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

shadow show
clown as magician-engineer who with his right hand opens the curtains onto an illuminated and abstractly assembled plane of visual stimulation

(Seurat were disclosed to the) congruence of an immaterial, atopic and evanescent image with powerful reality effects and techniques of attraction

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

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

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

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

phantasmal homeostasis
detemporalization of experience

management of attention <--> techniques of attraction

(Foad and) Seurat's efforts (in Cirque): abstract conceptualization of perceptual experience

(possibility of spectacle)
differed
displaced
denied
(image of spectacle)
derealized
drained of presence

*attentiveness of an observing subject* = site of increasingly specialized operations of power

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

--Crary--> importance of Seurat's work : to have intuited **how the collapse of scenic space allowed new imaginary figuration of immediacy** (of a regressive unity based on a corporeal engagement of the spectator) @Esther, apass, OSP, Femke

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

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

Seurat's resisted the temptation of the phantasmagoric and of myth (=/= Wagner)
(--> are we the hairs of Seurat?)
•exposure of technical premises
•subversion of any stable “formation” (or Gestalt, on which the allure of the myth depends)
--Buchloh--> ***avant-garde: a continually renewed struggle over the definition of cultural meaning, the discovery and representation of new audiences, and the development of new strategies to counteract and develop resistence against the tendency of the ideological apparatuses of the culture industry to occupy and control all practices and spaces of representation*** (--> that is why i am interested in Walt Disney and Hollywood and Qur'an)
--> *to produce incompatibilities* (as an artistic strategy, visual or epistemic and otherwise; to make opacity, hostility to virtuosity and expressionism, )

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

your work might be built out if mechanisms for the production of subjective response --but--> it is never reducible to them
@OSP, Femke



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

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

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

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

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

what Cezanne did seek to “suspend” (to forget)?

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

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

(Cezanne + Manet's discovery:) looking at one thing
=X=> fuller and more inclusive grasp of its presence (~ rich immediacy)
==> perceptual disintegration and loss, breakdown as intelligible form ==> invention and discovery of previously unknown religions and organizations of forces

dissolution inherent in attentiveness ==support==> (Cezanne's) radical desymbolization of the world + perpetually modulating set of relations between the exterior and sensations

Cezanne attentive to:
•activity of the eye
•visual sensation
•myriad intricacies of subjective vision
•(physiological) limitations of sensory experience
•the body (its pulsation, temporalities, intersection of that body with a world of transitions, of events, of becomings)
•discontinuous composition of visual field (to its “concentric” format)

19th century scientific research ==>
•comprehensive account of human perception
•disjointed nature of the visual field
•central area of retina: photoreceptor cells
◦peripheral area of retina: sensitive to movement
•subjective visual field <== complex aggregate processes of the eye movement (“short fast jumps” =/= instantaneous intake of an image) --> a new psychological model of the human subject

acuity did not correspond strictly to localized anatomy but rather was the product of a dynamic relation of fovea and periphery as well as external luminous factors

hearing: aggregate perpetual process

Wundt's optical model (polarity between:)
•Blickfeld: field of consciousness
•Blickpunkt: focus of consciousness (where apperception occur) ~= attention

=/=
Locke, Descartes, Leibniz
consciousness = camera obscura

apperception: focalization of some content in consciousness ==> structure experience

--Crary--> what is at stake (with Wundt) is a cognitive modality part of a larger ***modern process of decentering***

(+ James -->) a question of the primacy of ‘transitive’ states in which the shifting fringes of perception were constitutive features of psychic “reality”


modernization of perception
center =/= periphery
dispersed functioning of sensory response

(how in 19th century capacities of human eye was made into:)
1. architectural model of *panorama* = permanent activation of optical periphery + no stable center of focused attentiveness
2. *stereoscope* = decisive exclusion of the periphery + 3D image hypertangiblity (<-- our model of visual consumption)
}==> loss of *consistent and coherent relations of distance between image and observer* [<-- this lost consistency is now in 2020 what everyone in art is busy with or to reactivate]


...having the fixed eye many disconnected areas of the visual field at once = continual beginning at a new center = Cezanne ~= *radical rethinking the nature of [*]synthesis: rhythmic coexistence of radically heterogenous and temporally dispersed elements*

...a subjective immobilization
seeking to enter into the world's ceaseless movement of destabilization (=/= holding together the content) ==> a more intensive recreation of a subjective interface with the world (=/= reverie, disassociation)
}-->
•every object's identity is swallowed up in difference
•*vision: veritable theater of metamorphosis and permutations*

(Cezanne reexamining the composition of the visual world ==>)
fanatical attentiveness to the data of sense ==> dissolution of unity, destabilization of objects onto flux, dispersion, displaced the body to the world, into a stream of change, of time, *undoing the immediacy of the world* [<-- my reexamination of the composition of the epistemological world of fables in West Asia, my work's relationship with knowledge is like that. to gain control of myself in the midst of moving concepts, the circulation of concerns, jumble of paths and knots, whirlpool of velocities, and recourse to my capacity for forgetting...]

perceptual consistency is a phantom

(Lucretius:) [*]world: infinite Cascades of self-differentiation

-the question is: how to make aesthetic constructions [the task of the artist] (if the world is so fragile)?

-how to go back and forth between attention and reverie?

perplexity of the eye (related to a deeper and metaphysical perplexity)
an imageless vision
...a mind for which no visible form is visible enough


the fixed and monocular eye has been posed (in recent theatrical writing) as the formative element of classical system of representation **functioning to arrest duration and change in order to achieve a conceptual matey mastery of phenomena** {==> zoocentric animal anatomy =/= ajayeb}
--✕--> (Crary's suggestion that) ***the fixed immobile eye is what annihilates the “naturalness” of the world*** (disclosing the provisional and fluid nature of visual experience) =/= mobile glancing eye is what preserves the preconstructed character of the world

•moving eye --> habitually familiarly caresses objects (extracting previously established relations among them)
•fixed eye --> (immobile eye triggers a ferment of activity ==>) trance and perceptual disintegration --> dissolving the physiognomy of the everyday world [~=>? bestiary's perceptual uncanniness]

fixed truth-taking stare ==> perceptual uncanniness

the idea of un undistorted original perception ==> objects in some accessable state available for objective comparison and evaluation

fixation sets the world in motion
visual field begin vibration and oscillating
chromatic instability

the physiological apparatus (our bodies) incapable of stability =/= the aim of stabilizing the world to look at it analytically


perceptualism: the idea that (artists, cultures, etc.) expressions in varying degrees involves the transcription of the world “as it appears” to them

Cezanne ==> understanding of the world (as processes of becoming) that doesn't possess a *premade integrity* (--> world of ajayeb is full of premade integrities)


reckon & calculate
--✕--> (Nietzsche's) formless unformulable world of the chaos of sensation
--✕--> (Cezanne's) continual emergence and disintegration of constellations (of relationships + self)



production (of other kinds) of fixed vision (amid the increasing awareness of the transitive and unstable nature of perception):
•modern psychology (late 19th century): how to incorporate the vagaries and unpredictability of subjectivity into a set of constants --> quantify subjective perceptual experience [<-- question of artistic feedback: how to perceptually isolate stimuli? how to temporally control one's exposure?]
•tachistoscope (mid 1880s--search for elemental unit of attentive behavior): the idea of instantaneous perception, mechanically producted “presence” --Crary--> fantasy of a descrete quantifiable perception detached from the lives dynamics of the body + the idea that pure nonsense reveals specific aspects of attention that hermeneutics could not conceive {based on naive realism (ignoring the existence of transient iconic memory) presupposing:
1- the subject's visual experience directly mirrors the stimulus pattern
2- the subject's visual experience begins when the pattern is first exposed and terminates when it is turned off
•Muybridge's machine ==> reconstruct appearances through the production of consecutive images
•

tachistoscope (nonconsecutive visual stimuli) --> how within the context of technological modernization, faster mechanical speeds are reciprocally related to new bodily forms of stasis (---> go to Virilio)
•chronometric device: measurement of relation time

}--> the break or interrupting of vision becomes the primary element within perceptual experience, rather than a visual continuum that maintains the cohesiveness of the world

}==> *possibility of pure sensation without perception*


“mental test”
detailed psychometrics of individual performance and behavior --preoccupied--> features of a generalized consciousness

20th century behaviorism --> abandonment of interest in any internal or introspective experience (in favor of data resulted from objective external controlled observation)
 ==Cattel==> application of systematized knowledge to the control of human nature
--Crary--> **accommodation of subjective life to machine operations** (+ speeds, temporalities)



new objective world: decomposed into autonomous and abstract stimuli (+ machine rythmes that differed dramatically from those of the body) ==> repositioning of the perceiver (+ motor readiness) }-->
•new patterns of production
•spectacular consumption

*machinic interface is the body* ==> related temporal shaping of everyday life

computer ==> psychic field of expectant attentiveness <--within-- one inevitably trains one self to maximize the speed of response to specific commands and functions (and derive at least one satisfaction from these habitual operations of mechanical facility)

}<--Crary-- epistemic shift in 20th century to theorise of subjective vision


instantaneity: unproblematic presentness of vision

Helmholtz (discovery of slow speed of nerve transmission) ==> “present state” of perception is deployed within a temporally extended physiological set of events


19th century --Foucault--> the essence of human life ceased to be something representable in the tabular space of classical representation =/= human life understood in terms of it's existence in time, of functions and energies that unfolded and developed outside the **immediacy of classical visibility**


*the conditioned reflex*
a chimerical notion of the western imagination in the 20th century

reflex (central cerebral process, onset of stimulus ==> preparation of motor response)
•one of the ways in which attention was positioned within knowledge of human behavior
==producing==> new forms of sensory experience outside of (various myth of) organic wholeness of subjectivity (--> distinction between “natural” & “artificial” sensation [---> go to my work in WIELS bestiary characters: what was individual experience in middle ages?])
•practical reconfiguration of behavior + possibility of external intervention and control
=/= Dewey's (galvanic image of) subject in a perpetual sensory interface with the world = uninterrupted mass motion --> unity of activity -->{*continuity* ==sustain==> an ideal of unity and wholeness =/= disintegration of individual experience, *disconnected nature of reality*}

(domain of experience in urban capitalist lifeworld:)
•industrial production
•spectacular condonation
•technological modernization
•rational, social, managerial control

(apperceptive experience of) anticipation, memory, and preparation for future actions

(halfway modernist Dewey didn't consider) breaks in perception might also have the capacity for *revivifying or expanding the limits of thought or cognitive awareness* [<-- and today 2020 many don't consider our contemporary media culture has this capacity]
--> what if our fragmented nature is one of the forms the discontinuous nature of reality can be apprehended?

celestial camera obscura

Dewey was deeply interested in practical ways of mind-body unity
rhythm, eurhythmy
alexander technique


unwavering model of pure contemplation
“pure knowing subject = forget your own personality, lose oneself in perception" = clear eye of the world (Schopenhauerian model of knowing in Doctor Strange movie, seeing the world directly and leave entirely one's own interests, the premodern idea of *perception = presence*)



Bergson (+ Cezanne) --> deepest forms of perception are mixed and composite

(in Matter and Memory) Bergson: establish a model of perception =/= routinized and reified forms of perceptual experience within western urban and scientific culture of the late 19th century

[*]externality = dream of inhuman immediacy: a vision of matter both immediate and instantaneous
---> go to Lucy movie primordial and fundamental act of perception

Bergson (+ Dewey's ideal of coordination)
(the role of the) *body: reproduce in action the life of the mind*
(the role of the) *mind: hindering the thought from being lost in dream, an organ of ‘attention to life’
--> how memory and perception interpret each other
*memory coincides (diverge, intersect) with the “present” perception*
{ [*]determine: the more habitual and repetitive one's perceptual response to one's environment ==> the less autonomy and freedom characterize that individual experience }--> creativity = (zone of) indetermination

--again--> Bergson (disturbed by new arrangement of spectacular consumption posed as novelty within a mass society ==> redundancy and habit + decay of traditional forms of collective memory) his work is a response to:
•general standardization of experience
•automation of perceptual response
(<--Sina-- typical problem of life-philosophers lebensphilosophie at the turn of the century reaction to the “intrusion of the mechanical”)

*preconditions of a free and autonomous subject* + *endangered (coherent) system of meaning*

(weak evolutionary assumptions of Bergson's elaboration of) human subject (= the most developed organism) = potential (for indetermination) = escape from a relationship of constraint and necessity in one's lived milieu [=/= animal]


Helmholtz (research on physiological optics) ==> غیر واقعی nonveridical status of vision (and perception) ~= there is no direct correspondence between sense experience and objects in the world ==>
•uprooting: rationalization and instrumentalization of senses (--> technical prostheses)
•displacing: reterritorializing of perception

Helmholtz (~/= Bergson) committed to expanding and optimizing the productive functioning of socioeconomic world (of imperial Germany) --> vision of capitalist industrialization (exchangeability, convertibility, etc.)

Helmholtz's ontology --> physics
Helmholtz's epistemology --> semiotics: representational and quasilogical order of signs


(Helmholtz +) Bergson's attention:
1. condition of relative motor arrest (Ribot)
2. gives up the useful effect of present perception
3. backward movement of the mind

Bergson's attention: a binding together of reality to ward off both perceptual and psychic disintegration


endosmosis: process of remaking an object of perception

Deleuze's attention: gives back to duration its true characteristic... a very special coexistence (=/= succession), a simultaneity of fluxes, in which the body was always implicated --> “freedom = awareness of that coexistence”,


“reality function”
(psychic+) sensorimotor grounding in the reality

in early 20th century --> clinic designation of a condition called “the feeling of unreality” : failure of an apperceptive attention : when present impressions do not link up with memory association ==> sense of unfamiliarity of the present objects


*(inconsistent and anxious treatment of) Bergson sketching out the marvels of a multidimensional perception* (capable of apprehending and creativity engaging the immanence of the past and present) <-- fantast of artistic research
---Crary--> for Bergson attention is one that does not waver, oscillate, or drift in and out of focus [---> go to Avital drug] --> his privileging of fusion, interpenetration, and continuity does not apply to borderline states: insanity, dreaming, etc. piercing forms of nonspatialized experiences: dreamwork, trance, forms of hypnagogic visions (==> powerful penetration of the present by memory)

Bergson's indetermination: a human attentive concentration, an abortion that would never lose its conscious connection to the willed activity of the body (<-- fantasy of wakeful critical subject) =/= (Crary's well argued) indetermination encompassing fluctuations in and out of trancelike states in which disassociated phenomenal might occur


Bergson's work is typical of his period --> ***great fear of perceptual behavior that is either passive or automatic***
}--historically--> construction of various forms of automatic perception in cinema, recorded sound, and other technological attachments ==> the idea of **premade images consumed passively** (...depreciation of experience when individual memory images are stiffened into ready-made things)

(for Bergson, Janet, Foad, and many others:) automatic behavior ==> dissolution of ego boundaries (in which the individual will cease to exert itself), contraction of personality, scattering of the self

drift
reverie
trance
dream

**Bergson's work = refashioning of the Rousseauian conviction of the truth and authenticity of (inner) subjective experience, without grasping how that experience is determined by forces external to the subject**
--trying--> to overcome the degradation and devaluation of experience within a modernizing culture founded on amnesia and obsolescence = collaptof auratic perception

--Crary--> Bergson and others could not see the ways in which *****capitalism itself was a nonfixable duree, a nonrepresentable variation ==> an endless chain of dislocations and destabilizations ==> its own virtual realm of novelty*****

...................................

(Cezanne and Sina's attraction to) rock motifs
various splintering and dispersal of rocks
intermingled with ruins of man-made stone structure
(rock's) precarious status as object

rock = (incarnated) resistance to drift and entropy :
forces of gravity
geological erosion
inexorable disintegration of substance
...


(?like many artists i am looking for incarnations too, for) procedures of binding : transformed representational logic
*operation of fixing, of fastening, within a world in which position no longer has its former meanings*

interpretation of tentatively scenic spaces

(BOZAR Tehran tree project)
•flickering screen of sky and trees
•one stone lies nested or wedged within the embrace of another element
--> (logic of the [phantom]) limbs

eroticized enclosure (seek to grasp and be grasped) --becomes--> diagram of perception (seek to envelope and be enveloped)

Cezanne's discovery: any attempt to stabilize perception ==> disintegration and transformation

•Cezanne --> dispersed perceptual processes
•Freud --> dispersed psychic processes {perception = interface of the nervous system with the world <=~ interface between consciousness and the stored stimuli of wishes, memories, anticipations}

(mid 1890s) Bergson + Freud ==> sustained and original consideration of the anti-optical functioning of subjectivity perceptual experience as a nondirectional, acentric, multitemporal event
--> empathic decentering of the observer
+ (widespread) practical and discursive remaking of the observer as subject, vision is no longer a distinct and isolable phenomenon


Freud --> psyche = a perpetually available innocence + infinite reserve of traces
*perception arouse interest on the account of their possible connection with the object wished for* : ‘perception = question of internal excitation’

Cezanne --(in Pineapple and Rocks)--> coexistence (continuity) of:
•an attentiveness that is bound (cathected) onto established (facilitated) patterns [= one's own history + its fixation]
•a perception of animality and novelty [= relaxation of grip, musical, (Deleuze and Guattari's) *antimemory* =/= atemporal forgetting]


vertigo: auto-movement of chaos

“Cezanne's work = model of a nonhuman perception” : (reading of Cezanne as) austere project of formal rigor, performed on some remote plane of aesthetic production; an enterprise tragically detached from an engagement with the social contradiction of his time =/= (Crary's reading of) Cezanne coinciding historically with new perceptual technologies --> new metaphoric possibilities

accumulated experience --basis--> radical depersonalization --intuit--> creative forces of chaos (in your own provence)

**Cezanne's imaginative refiguration of himself as machine = translate automatically** ==> release from grounded condition of human perception : to become an apparatus = implacability apprehend a world outside of the terms (that the artist wants out) ==> novelty (~= to overcome the gravity of one's own interiority) --Cezanne--> primordial image (of irreducible formlessness, of ***world in process without horizon***, without position, of slowly vibrating colors...) [<-- *apparatus becoming* is now the cliche of contemporary artist]

glow of a geological dawn
archaic + inert
Precambrian
deterritorializing processes of capitalism (+ its imperatives of perpetual renovation) --> (its compatible) uprooted nonorientable subject

nature experienced as vibrations, animations, chromatic reverberation (+ seeking a “logic” to clarify its unfolding)

hideous sign of progress (for Cezanne: electric light, cinema, )

artistic modernism <==Adorno== (the fact that) the most advanced procedures of material production and organization are not limited to the sphere in which they originate (---> go to incarnation)

demotivated subjectivity
wants something that is neither optical nor mechanical nor intellectual ==> substitute a mode of consciousness that is predominantly intuitive : the awareness of touch


historical adjacency (<-- Crary's knowledge zoom)

*late work of Cezanne (in spite of apparent social isolation of its production) = a site where modernization of subject occurs (of late 19th century)* --> dynamization of perception (occurring in many different domains around the year 1900 --introducing--> new techniques of vision)

Cezanne =/= contemplative distance
Cezanne =/= perceptual autonomy
Cezanne = nervous system interfacing with (a continually transforming) external environment
Cezanne = an example of a contemporary conceptualization of reality (as a dynamic aggregate of sensations)

--> emerging industries of spectacle


(fundamentally distinct) machinic visual technologies --Deleuze--> cinema =/= previous historical forms of simulation (some continuous western mode of representation, with its origins in Renaissance), represent the world
cinema --constitutes--> *an autonomous world* made up of breaks and disproportions, deprived of all centers, addressing itself as such to viewers who are in themselves no longer the center of their own perception

percipiens
percipi

nonselectivity of cinema eye =/= texture of human attentiveness

cinema = fusion = dream of the functional integrity of the world

film = validation of the authenticity of the perceptual disorientation

}--✕--> Crary's analysis of Edison's train robbery scene : serial reconfiguration of a kinesthetic constellation of moving forces (+ additional system of movements and forces: bodies, bullets, explosion) =/= question of mobile point of view

Cezanne <--> cinema camera --Dziga-->
i am a mechanical eye
i, a machine, show you the world as only i can see it
now and forever, i free myself from human immobility
i am in constant motion, i draw near, then far away objects, i crawl under, i climb onto them... i plug and soar together with plunging and soaring bodies
now, i, a camera, fling myself along their resultant maneuvering in the chaos of movement, recording movement, starting with movement of the most complex combinations


Sherrington --> stimuli in the external world are selected and fashioned by the organism
=/= Pavlov: stimuli = alien shocks encountered and responded to
=/= Cartesian res extensa, res cogitans
“the great physical process of attention”
inhibition: an active process
anticipatory behavior
exploratory locomotor behavior
“integrative function” of nervous system ==> binding
(integrative: incorporation of the exterior world)
“human perception = possibility of motor activity”

...................................

Cezanne sitting in nature and studying motif, tilting his head ~-> intensity unfolding chromatically before him (a mode of physical being) --> *time of the body* [<-- this is typical of today art in european] = indefinite scalar time + intensity is experienced outside representation
•river stands for his engagement with a more primal flux
•sustained condition of vibrating instability
•apprehension of multiplicity
•world = turn of a kaleidoscope (prismatic)
•(when you look at a) landscape has its own weird anima, it changes like a living animal under our gaze (---> go to machine dreaming image learning 2020)
•to make yourself into a responsible productive organ
--> **incarnation of a contradictory enterprise of self-transformation, self-renewal** <-- (Cezanne's retrospective fulfilment of a tradition from which he could not fully acknowledge his own decisive departure)

...your intuition on the edge of the river


Cezanne = reformulation of natural world + broken hope of community (~= intimacy --> Rousseau's mode of attention contemplation: “thought =/= reverie” : the more sensitive the soul of the observer, the greater the ecstasy aroused in him. deep and delightful reverie : a state of blissful self-abandonment)
--> novelty of a smooth unorganized perceptual space
--Crary--> example of the nonsynchronous character of modernism (~ coexistence of realities from radically different moments of history) [<-- is my bestiary research on the same plural historical positioning?]
•termination of a romantic visionary tradition

(in the West) [*]image: decentered chrono-iconography, automatic self-movement

rise of cinema: body-machine assemblage --Deleuze--> new paradigm of *psycho-mechanics* ~ cinema is capable of touching the cerebral system directly ==>
•experimental forms of life = freedom (affirmative model of automatic behavior --> thought functions at a higher level with an arsenal of syntactic perceptual conceptual tools)
•management of attention (model of passive automatism)

(from) dreamer --to--> somnambulist --to--> hypnosis --to--> suggestion --to--> hallucination --to--> obsession

Deleuze + Benjamin + Virilio
the idea of *art of automatic movement coincide with fascism*
@Pierre, pass, Foad

scopophilia: a forced ecstatic abjection before the image
=/= mastery

[*]spectacle: (spectacular culture) attention would be made attentive to everything but itself

...................................

“my experience is what i aggree to attend to” (James) ~= affirmation of an autonomous self-choosing world-creating subject liberated from the receptive status of a subject for whom experience was “the mere presence to the senses of an outward order”) --Crary--> historical crisis in the nature of experience: *attention = simulation of + compensation for a chimerical real experience*

(in my text rigging demons --> reconciliation of:)
•individual attentiveness to the fringes, transitions, pulses of one's own particular “pure experience”
•“experience” as immersion in the tangled density of a shared mutually inhabited world

James's conception of selfhood: private property (--in--> Tasavof: the most radical of all possible alienation and disconnection) --Lentricchia--> deployed to preserve a human space of freedom interiorized from the vicissitudes and coercions of the marketplace

**modern attention** + individual evasion of memory (and history) --> habitual & commodified : an imaginary deletion of all that is unbearable in collective and individual experience

in Corridor Crew the perceptual selectivity of the CG hackers sustains efficiency of animation tools + tangled social and psychic machinery of sublimation


(?do i have) agoraphobia --> Simmel


(destructive transformation of) *modernization always preserve and carry over nonsynchronous components of past moments*
Crary, Lefebvre

Piranesi's etching of Rone = foctive and atmospheric prison
Freud's description of piazza: patchwork texture of screens and flashing signs (formless field of attraction @Foad, Sina; multidimensional field of stimuli, urban space: “a theater of memory and a theater of prophecy”) =/= Piranesian dissolution of the axial city (organized views around a coherent even if mobile subjective orientation)

Freud's technique of attention: gleichschwebende Aufmerksamkeit
‘evenly suspended attention’ (giving equal notice to everything, everything in low-level focus without the risk of schizophrenic overload) --define--> **a state of receptivity in the analyst that eill be commensurate with the spoken free association of the patient** --> dealing with a stream of information that has no evident structure or coherence + extracting from that disjunct texture (artwork, chaotic syntax of dreams, indecipherable present,) some interpretive clarity (feedback)

Freud + Cezzaine --> design a countermodel of attentiveness that surmounts an ***inhibition of the peripheral*** (=/= notion of selection ~=> finding out what one already knows)

****diffuse attention =/= critical attention**** (a faculty in which the observer is led to reject some of the ideas that occur to him after perceiving them)


(at the turn of the century) experience: compulsory consumption of information


(from) the experience of deindividualtion (in piazza) --to--> a more controllable form of loneliness (bedroom)


[this] plural hybrid space of Roman square (Crary on Freud's representation) ~= a spectacle society : a patchwork of fluctuating effects in which individuals and groups continually reconstitute themselves (either creativity or reactively) =/= (Guy Debord's) seamless regime of separation, ominous collective mobilization

...................................

Deleuze and Guattari's Varuna and Mitra --> lacking a mythology of conflict (=/= Singh's analysis)
forming a milieu of interiority --> double articulation that makes the State apparatus into a stratum

State's operates by:
•seizes (immediate, magical capture)
•binds (preventing all combat --> presupposing a juridical integration of war)

“chess (pieces are coded) = a game of State”
chess: an institutionalized, regulated, coded war, pure strategy =/= Go: pure semiology
(what is game's form of interiority)

nonsubjectified machine assemblage

...returning from the outside with that inconceivable thing, an army

magical-despotic State (@Eszter)


Genghis Khan didn't understand the phenomenon of the city --> war machine: a pure form of exteriority

magic violence
military institution

Deleuze and Guattari: State has no war machine of its own; it can only appropriate one in the form of a military institution

machine: ontology of production

State thinkers:
•Goethe
•Hegel
•Euclid (finding a foundation for the enterprise) --> logos: the law over the nomos (from Proto-Indo-European nem-: distribute)-->{Euclidian space: a sufficient number of dimensions, by which one reintroduces parallelism between two vectors, treating multiplicity as though it were immersed in this homogeneous and striated space of reproduction}
•Archimedes (an operative projective descriptive geometry)
•Durkheim --> to give the republic a secular model of thought
•
•

political differentiation ==> State ~= distinct organs of power (=/= chief رئیس قبیله) ==!?==> economic development

(Laura:) keep the social body from crystallizing =/= (concern of the State:) to conserve

[*]war: a mode of a social state that wards off and prevents the State; that which limits exchange, maintains them in the framework of alliances --> (critical epistemologies:) *war replaces “exchange” with “alliances”*

[sometimes leadership] inhibits the installation of stable powers, in favor of a fabric of immanent relations (--> could we say that about Iran today?)

diffusion of prestige

(Deleuze and Guattari:)
types/organs that center around organs of power:
•rhizome
•=/= aborescent
family (aborescent type that centers around organs of power --structuring--> centralized societies) =/= pack (bands, rhizome)

State =/= perpetual blackmail by abandonment or betrayal (--> Iran)
==>{
•large-scale projects
•constitution of surpluses
•organization of the corresponding public functions
•on-the-spot emergence (--> kinda magical, and monstrous, miraculous)

war machine: a counter-State mechanism
realized completely in: the “barbaric” assemblages of nomadic warriors (=/= “savages” assemblages of primitive societies)
-problem: it cannot relay

Deleuze and Guattari ask: so, why did the State triumph?

the fable of Urstaat: the State clearly dates back to the most remote ages of humanity

law of the State --> interior and exterior, Sovereignty only reigns over what it is capable of internalizing, of appropriating locally
=/= the rights of segmentary societies

_~*neoprimitivism*~_

polymorphous war machine

commercial circuit...
religious creation...



(Deleuze and Guattari's) space:
*smooth:
•vectorial ↗️⤴️↘️↞
•projective 📹
•topological 🐍 (=/= geometrical)
•
--> *space is occupied without being counted*
=/=
*striated:
•metric -|-|-|-|-
-
--> *space of counted without being occupied*



“minor science” (in which, model are:)
1. hydraulic =/= hylomorphic
2. of becoming and heterogeneity
3. goes from a curvilinear declination to the formation of spirals and vortices on an inclined plane (=/= from straight line to its parallels) --> vortical
4. *****problematic(==> event --to go from a problem to the accidents that both condition and resolve it ==> [all kinds of] deformations, transmutations, passages to the limit, each figure designates an “event”) =/= theorematic(==> essence --theorematic: to go by specific differences from a genus to its species, or by deduction from a stable essence to the properties deriving from it) [--> make your model problematic, not affirmed by theoretical bullshit! --> my performances are about trying to find a way of not being theorematic while doing theory]***** (and they say ‘problematic’ the problem it is not an “obstacle”)
=/= “royal science”: reducing the “problem-element” and subordinate it to the “theorem-element.” State needs to subordinate hydraulic force ==> prevent turbulence (--✕--> Middle East =? distributed turbulence across a smooth space [<-- fucked up], [in smooth space:] vortical movement that can rise up at any point)
•civil
•static
•ordinal
/matter --assigned-to--> content
/form --assigned-to--> expression
~= hylomorphic: implying both a form that organizes matter and a matter prepared for the form (=/= hydraulic) <== *a society divided into governors and governed*
--> State science (appropriates and transforms the elements of:)
=/= “nomadic science” (Homeland TV series suggesting US government is a nomadic science: viewpoint of affections + nomadic operation of rogue CIA operatives + presidential decentralized power dynamic)
•becoming
•heterogeneity
•infinitesimal
•passage
--> in tune with the connection between content and expression, ***essentially laden with singularities*** (--> my lectures? an art, a technique, a science : following the connections between singularities of matter and traits of expression, they seize or determine singularities in the matter =/= constituting a general form)
=/= *chaotic science* (--> what kind of figure of engineer? @Sina)

*the problemata* --> vortices & projections [~~?--> chaotic imagination]
(projected into an abstract knowledge --?--> mapping knowledges)

State science --> Star Trek
imposes its form of Sovereignty on the inventinos of nomad sciencet

to administrate projections --> submit (war machine) to civil and metric rules that strictly limit, control, localize (nomad science)

“rhythm =/= turbulence”


cursing of a river*


Gothic conquered a smooth space --> the cutting of the stone (=/=? digital) + ‘plane of projection’: a plane limit, a series of successive approximations or placings-in-variations
=/= Romanesque remained striated space --> vault depends on the juxtaposition of parallel pillars


--D+G--> ***one does not represent, one engenders and traverses***
[*to engender: give you a baby from behind. *to traverse: zigzagging]
--democracy--> one represents visually
--Sina--> one suggests chaotically


roadways (well-centralized administration) =/= bridges (active, dynamic, collective experimentation)

lobby: a group with fluid contours, whose position is very ambiguous in relation to the State it wishes to influence

(for Ibn Khaldun:) war machine: families or lineages + esprit de corps

pouvoir (monopoly of an organic power) =/= puissance (a vortical body in a nomad space)

(to address the) vague = vagabond, nomadic, morphological essences (=/= ideal, royal, imperial essences) = haecceities
{for example the circle is an organic, ideal, fixed essence, but roundness is a vague and fluent essence, distinct both from the circle and things that are round (a vase, a wheel, a sun)}--> State is perpetually producing and reproducing ideal circles =/= war machine makes something round

Agnes drawings --> protogeometry
Agnes = drwaing and linking up smooth space

(is Finn in Adventure Time a man of State ot nomadic scientist? -->) journey-men's associations

nomadic <==form== masons, carpenters, smiths
labor <== regulating the movement of the flow of labor, assigning it channels and conduits, forming corporations, relying on forced manpower recruit

(plane of) consistency ~= composition =/= (place of) organization ~= formation

***everything is about the division of labor*** (--> this is the most critical about apass)

State:
•repress the nomad
•repress the minor science
•oppose vague essences (--> visa and integration)
•operative geometry of the trait
=/= nomad imply a division of labor opposed to the norms of State


Steven: a dynamic connection between support and ornament =/= Alex's hylomorphic schema (the search for laws in extracting constants --> an invariable form for variables [for Alex: the invariable definition of artistic research for variable artists])

compars =/= dispars

(let's go) from matter-form --to--> material-force(= placing the variables themselves in a state of continous variation)
[Sina: let's go instead of thinking about ‘flow’ --to--> ‘force']
force (is full of):
•equations “=”
•adequations (change in the meaning of a term depending upon context)
•inequations “=/=”
•differential equations (functions + derivatives --> useful for modeling and simulating physical phenomena) --> solution of a differential equation is a function =/= algebraic equations (solution of an algebraic equation is a value)
•


(distribution of matter in:)
space of pillars
striated by the fall of bodies
verticals of gravity
parallel layers

quantitative and scientific oppsositions (such as: speed/slowness, quick/weighty, celeritas/gravitas)
=/= qualitative oppsositions
=/= mythological structures


(i am basically interested in the law of falling bodies)

(my lectures: an art of) following =/= flowing
-one never follows in order to reproduce
-in following, one is in search of singularities of a matter
(my whole work has been about the art of being carried away by the vortical flow of texts)--> [*]ajayeb ~= a vertical field across which singularities are scattered like so many accidents (i see them as ‘problems,’ and my job is to follow them)


global theory of waves


(Deleuze and Guattari romanticizing the royal science:) “reproducing implies the performance of a fix[...]