[...]='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)

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

="large lg2" stl="font-size:112%"> ="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

="large lg1" stl="font-size:119%"> (="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'>==> (Durkheimian solidarity ='lgc'>-='lgc'>-> what is at stake is that) the autonomy of the individual is reduced

='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 ____

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'><== to be completely estranged from the ="trms">world ='lgc'><='lgc'>-- ="ppl">Schopenhauer) ='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'>==> “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'>==> 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'>==> attention='lgc'>: malleable entropic force susceptible to fatigue, distraction, and external management)
="lsts lst1">•to quest for the logic of meaning ='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'>==> 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 “suspen[...]