[...]br />
="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 as intelligible form ='lgc'>=='lgc'>=> invention and discovery of previously unknown ="trms">religions and organizations of forces
dissolution inherent in attentiveness ='lgc'>==support='lgc'>=='lgc'>=> (Cezanne's) radical de="trms">symbolization of the ="trms">world ='lgc'>+ perpetually modulating set of ="trms">relations between the exterior and sensations
Cezanne attentive to='lgc'>:
="lsts lst1">•activity of the eye
="lsts lst1">•visual sensation
="lsts lst1">•myriad intricacies of subjective vision
="lsts lst1">•(physiological) limitations of sensory experience
="lsts lst1">•the body (its pulsation, temporalities, ="trms">intersection of that body with a ="trms">world of ="trms">transitions, of events, of becomings)
="lsts lst1">•discontinuous com="trms">position of visual field (to its “concentric” format)
19th century ="trms">scientific research ='lgc'>=='lgc'>=>
="lsts lst1">•comprehensive account of human perception
="lsts lst1">•disjointed ="trms">nature of the visual field
="lsts lst1">•central area of retina='lgc'>: photoreceptor cells
="lsts lst2">◦peripheral area of retina='lgc'>: sensitive to movement
="lsts lst1">•subjective visual field ='lgc'><='lgc'>== complex aggregate processes of the eye movement (“short fast jumps” ='lgc'>=/= instantaneous intake of an image) ='lgc'>='lgc'>--> a new psychological model of the human subject
acuity did not cor="trms">respond strictly to localized anatomy but rather was the product of a dynamic ="trms">relation of fovea and periphery as well as external luminous factors
hearing='lgc'>: aggregate perpetual process
Wundt's optical model (polarity between='lgc'>:)
="lsts lst1">•Blickfeld='lgc'>: field of consciousness
="lsts lst1">•Blickpunkt='lgc'>: focus of consciousness (where apperception occur) ='lgc'>='lgc'>~= attention
='lgc'>=/=
Locke, ="ppl">Descartes, ="ppl">Leibniz
consciousness='lgc'> = camera obscura
apperception='lgc'>: focalization of some content in consciousness ='lgc'>=='lgc'>=> structure experience
='lgc'>--="ppl">="ppl">Crary='lgc'>='lgc'>--> what is at stake (with Wundt) is a cognitive modality part of a larger ='strcls'>***="trms">modern process of decentering='strcls'>***
(='lgc'>+ James ='lgc'>='lgc'>-->) a ="trms">question of the primacy of ‘="trms">transitive’ states in which the shifting fringes of perception were constitutive features of psychic “reality”
="trms">modernization of perception
center ='lgc'>=/= periphery
dispersed functioning of sensory ="trms">response
(how in 19th century capacities of human eye was made into='lgc'>:)
="lstsrd">1. architectural model of ='strcls'>*panorama='strcls'>*='lgc'> = permanent activation of optical periphery ='lgc'>+ no stable center of focused attentiveness
="lstsrd">2. ='strcls'>*stereoscope='strcls'>*='lgc'> = decisive ex="trms">="trms"nttrm="cluster,club">clusion of the periphery ='lgc'>+ 3D image hypertangiblity (='lgc'><='lgc'>-- our model of visual ="trms">consumption)
='lgc'>}='lgc'>=='lgc'>=> loss of ='strcls'>*consistent and coherent ="trms">relations of distance between image and observer='strcls'>* ='lgc'>[='lgc'><='lgc'>-- this lost consistency is now in 2020 what everyone in art is busy with or to reactivate='lgc'>]
...having the fixed eye many disconnected areas of the visual field at once='lgc'> = continual beginning at a new center='lgc'> = Cezanne ='lgc'>='lgc'>~= ='strcls'>*radical rethinking the ="trms">nature of ='lgc'>[='strcls'>*='lgc'>]synthesis='lgc'>: rhythmic coexistence of radically heterogenous and temporally dispersed elements='strcls'>*
...a subjective immobilization
seeking to enter into the ="trms">world's ceaseless movement of destabilization (='lgc'>=/= holding together the content) ='lgc'>=='lgc'>=> a more intensive recreation of a subjective ="trms">interface with the ="trms">world (='lgc'>=/= reverie, disas="trms">sociation)
='lgc'>}='lgc'>='lgc'>-->
="lsts lst1">•every object's identity is swallowed up in ="trms">difference
="lsts lst1">•='strcls'>*vision='lgc'>: veritable theater of ="trms"nttrm="metaph,metamorph,metabol,metal">meta="trms">morphosis and permutations='strcls'>*
(Cezanne reexamining the com="trms">position of the visual ="trms">world ='lgc'>=='lgc'>=>)
fanatical attentiveness to the ="trms">data of sense ='lgc'>=='lgc'>=> dissolution of unity, destabilization of objects ="trms">onto flux, dispersion, displaced the body to the ="trms">world, into a stream of change, of time, ='strcls'>*undoing the immediacy of the ="trms">world='strcls'>* ='lgc'>[='lgc'><='lgc'>-- my reexamination of the com="trms">position of the ="trms">epistemological ="trms">world of ="trms">fables in West Asia, ='mywrk'>my work's ="trms">relationship with knowl="trms"nttrm="knowledge,Knowledge">edge 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...='lgc'>]
perceptual consistency is a phantom
(="ppl">="ppl">Lucretius='lgc'>:) ='lgc'>[='strcls'>*='lgc'>]="trms">world='lgc'>: in="trms">finite Cascades of self-="trms">differentiation
="prgrph">-the ="trms">question is='lgc'>: how to make ="trms">aesthetic constructions ='lgc'>[the task of the artist='lgc'>] (if the ="trms">world is so fragile)='qstn'>?
="prgrph">-how to go back and forth between attention and reverie='qstn'>?
perplexity of the eye (related to a deeper and ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">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 ="trms">writing) as the formative element of classical ="trms">system of re="trms">presentation ='strcls'>**functioning to arrest duration and change in order to achieve a conceptual matey mastery of ="trms">phenomena='strcls'>** ='lgc'>{='lgc'>=='lgc'>=> ="trms">zoocentric ="trms">animal anatomy ='lgc'>=/= ="nms">ajayeb='lgc'>}
='lgc'>--='not'>✕='lgc'>='lgc'>--> (="ppl">="ppl">Crary's sug="trms">gestion that) ='strcls'>***the fixed immobile eye is what annihilates the “="trms">naturalness” of the ="trms">world='strcls'>*** (disclosing the provisional and fluid ="trms">nature of visual experience) ='lgc'>=/= mobile glancing eye is what preserves the preconstructed character of the ="trms">world
="lsts lst1">•moving eye ='lgc'>='lgc'>--> habitually familiarly caresses objects (extracting previously established ="trms">relations among them)
="lsts lst1">•fixed eye ='lgc'>='lgc'>--> (immobile eye t="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riggers a ferment of activity ='lgc'>=='lgc'>=>) trance and perceptual dis="trms">integration ='lgc'>='lgc'>--> dissolving the physiognomy of the everyday ="trms">world ='lgc'>[='lgc'>='lgc'>~='lgc'>=>='qstn'>? ="trms">bestiary's perceptual uncanniness='lgc'>]
fixed truth-taking stare ='lgc'>=='lgc'>=> perceptual uncanniness
='thdf'>the idea of un undistorted o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal perception ='lgc'>=='lgc'>=> objects in some accessable state available for objective comparison and evaluation
fixation sets the ="trms">world in motion
visual field begin vibration and oscillating
chromatic instability
the physiological ="trms">apparatus (our bodies) incapable of stability ='lgc'>=/= the aim of stabilizing the ="trms">world to look at it analytically
perceptualism='lgc'>: ='thdf'>the idea that (artists, cultures, etc.) expressions in varying degrees involves the transcription of the ="trms">world “as it appears” to them
Cezanne ='lgc'>=='lgc'>=> understanding of the ="trms">world (as processes of becoming) that doesn't possess a ='strcls'>*premade ="trms">integrity='strcls'>* (='lgc'>='lgc'>--> ="trms">world of ="nms">ajayeb is full of premade ="trms">integrities)
reckon ='and'>& calculate
='lgc'>--='not'>✕='lgc'>='lgc'>--> (="ppl">Nietzsche's) formless un="trms">formulable ="trms">world of the chaos of sensation
='lgc'>--='not'>✕='lgc'>='lgc'>--> (Cezanne's) continual emergence and dis="trms">integration of constellations (of ="trms">relationships ='lgc'>+ self)
production (of other kinds) of fixed vision (amid the increasing awareness of the ="trms">transitive and unstable ="trms">nature of perception)='lgc'>:
="lsts lst1">•="trms">modern psychology (late 19th century)='lgc'>: how to incorporate the vagaries and unpre="trms">dictability of subjectivity into a set of constants ='lgc'>='lgc'>--> quantify subjective perceptual experience ='lgc'>[='lgc'><='lgc'>-- ="trms">question of artistic feedback='lgc'>: how to perceptually isolate stimuli='qstn'>? how to temporally control one's exposure='qstn'>?='lgc'>]
="lsts lst1">•tac="trms">histoscope (mid 1880s='lgc'>--search for elemental unit of attentive behavior)='lgc'>: ='thdf'>the idea of instantaneous perception, mechanically producted “="trms">presence” ='lgc'>--="ppl">="ppl">Crary='lgc'>='lgc'>--> fantasy of a descrete quantifiable perception detached from the lives dynamics of the body ='lgc'>+ ='thdf'>the idea that pure nonsense reveals ="trms">specific aspects of attention that hermeneutics could not conceive ='lgc'>{based on naive realism (ignoring the existence of transient iconic ="trms">memory) pre="trms">supposing='lgc'>:
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
="lsts lst1">•Muybridge's machine ='lgc'>=='lgc'>=> reconstruct appearances through the production of consecutive images
="lsts lst1">•
tac="trms">histoscope (nonconsecutive visual stimuli) ='lgc'>='lgc'>--> how within the context of ="trms">technological ="trms">modernization, faster mechanical speeds are reciprocally related to new bodily forms of stasis (='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="ppl">Virilio)
="lsts lst1">•chronometric device='lgc'>: ="trms">measurement of ="trms">relation time
='lgc'>}='lgc'>='lgc'>--> the break or ="trms">interrupting of vision becomes the primary element within perceptual experience, rather than a visual continuum that maintains the cohesiveness of the ="trms">world
='lgc'>}='lgc'>=='lgc'>=> ='strcls'>*possibility of pure sensation without perception='strcls'>*
“mental test”
detailed psychometrics of individual performance and behavior ='lgc'>--preoccupied='lgc'>='lgc'>--> features of a ="trms">generalized consciousness
20th century behaviorism ='lgc'>='lgc'>--> abandonment of ="trms">interest in any ="trms">internal or introspective experience (in favor of ="trms">data resulted from objective external controlled observation)
='lgc'>==Cattel='lgc'>=='lgc'>=> application of ="trms">systematized knowl="trms"nttrm="knowledge,Knowledge">edge to the control of human ="trms">nature
='lgc'>--="ppl">="ppl">Crary='lgc'>='lgc'>--> ='strcls'>**accommodation of subjective life to machine operations='strcls'>** (='lgc'>+ speeds, temporalities)
new objective ="trms">world='lgc'>: de="trms">composed into autonomous and abstract stimuli (='lgc'>+ machine rythmes that differed dramatically from those of the body) ='lgc'>=='lgc'>=> re="trms">positioning of the perceiver (='lgc'>+ motor ="trms"nttrm="already,spread">readiness) ='lgc'>}='lgc'>='lgc'>-->
="lsts lst1">•new patterns of production
="lsts lst1">•="trms">spectacular ="trms">consumption
='strcls'>*machinic ="trms">interface is the body='strcls'>* ='lgc'>=='lgc'>=> related temporal shaping of everyday life
computer ='lgc'>=='lgc'>=> psychic field of expectant attentiveness ='lgc'><='lgc'>--within='lgc'>-- one inevitably trains one self to maximize the speed of ="trms">response to ="trms">specific commands and functions (and derive at least one satisfaction from these habitual operations of mechanical facility)
='lgc'>}='lgc'><='lgc'>--="ppl">="ppl">Crary='lgc'>-- ="trms">epistemic shift in 20th century to theorise of subjective vision
instantaneity='lgc'>: unproblematic ="trms">presentness of vision
Helmholtz (discovery of slow speed of nerve trans="trms">mission) ='lgc'>=='lgc'>=> “="trms">present state” of perception is deployed within a temporally extended physiological set of events
19th century ='lgc'>--="ppl">="ppl">Foucault='lgc'>='lgc'>--> the essence of human life ceased to be something re="trms">presentable in the tabular space of classical re="trms">presentation ='lgc'>=/= human life understood in terms of it's existence in time, of functions and energies that un="trms">folded and developed outside the ='strcls'>**immediacy of classical visibility='strcls'>**
='strcls'>*the conditioned reflex='strcls'>*
a ="trms">chimerical notion of the western ="trms">imagination in the 20th century
reflex (central cerebral process, onset of stimulus ='lgc'>=='lgc'>=> preparation of motor ="trms">response)
="lsts lst1">•one of the ways in which attention was ="trms">positioned within knowl="trms"nttrm="knowledge,Knowledge">edge of human behavior
='lgc'>==producing='lgc'>=='lgc'>=> new forms of sensory experience outside of (various myth of) organic wholeness of subjectivity (='lgc'>='lgc'>--> distinction between “="trms">natural” ='and'>& “artificial” sensation ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ='mywrk'>my work in WIELS ="trms">bestiary characters='lgc'>: what was individual experience in middle ages='qstn'>?='lgc'>])
="lsts lst1">•practical recon="trms">figuration of behavior ='lgc'>+ possibility of external ="trms">intervention and control
='lgc'>=/= Dewey's (galvanic image of) subject in a perpetual sensory ="trms">interface with the ="trms">world='lgc'> = un="trms">interrupted mass motion ='lgc'>='lgc'>--> unity of activity ='lgc'>='lgc'>-->='lgc'>{='strcls'>*continuity='strcls'>* ='lgc'>==sustain='lgc'>=='lgc'>=> an ideal of unity and wholeness ='lgc'>=/= dis="trms">integration of individual experience, ='strcls'>*disconnected ="trms">nature of reality='strcls'>*='lgc'>}
(domain of experience in ="trms"nttrm="disturban">urban capita="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list life="trms">world='lgc'>:)
="lsts lst1">•industrial production
="lsts lst1">•="trms">spectacular condonation
="lsts lst1">•="trms">technological ="trms">modernization
="lsts lst1">•rational, ="trms">social, managerial control
(apperceptive experience of) anticipation, ="trms">memory, and preparation for future actions
(halfway ="trms">modernist Dewey didn't consider) breaks in perception might also have the capacity for ='strcls'>*revivifying or expanding the limits of thought or cognitive awareness='strcls'>* ='lgc'>[='lgc'><='lgc'>-- and today 2020 many don't consider our contemporary media culture has this capacity='lgc'>]
='lgc'>='lgc'>--> what if our fragmented ="trms">nature is one of the forms the discontinuous ="trms">nature of reality can be apprehended='qstn'>?
celestial camera obscura
Dewey was deeply ="trms">interested in practical ways of mind-body unity
rhythm, eurhythmy
alexander ="trms">technique
unwavering model of pure contemplation
“pure knowing subject='lgc'> = forget your own personality, lose oneself in perception"='lgc'> = clear eye of the ="trms">world (="ppl">Schopenhauerian model of knowing in Doctor Strange movie, seeing the ="trms">world directly and leave entirely one's own ="trms">interests, the pre="trms">modern idea of ='strcls'>*perception='lgc'> = ="trms">presence='strcls'>*)
="ppl">Bergson (='lgc'>+ Cezanne) ='lgc'>='lgc'>--> deepest forms of perception are mixed and com="trms">posite
(in ="trms">Matter and ="trms">Memory) ="ppl">Bergson='lgc'>: establish a model of perception ='lgc'>=/= ="trms">routinized and reified forms of perceptual experience within western ="trms"nttrm="disturban">urban and ="trms">scientific culture of the late 19th century
='lgc'>[='strcls'>*='lgc'>]externality='lgc'> = dream of inhuman immediacy='lgc'>: a vision of ="trms">matter both immediate and instantaneous
='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to Lucy movie primordial and fundamental act of perception
="ppl">Bergson (='lgc'>+ Dewey's ideal of coordination)
(the role of the) ='strcls'>*body='lgc'>: reproduce in action the life of the mind='strcls'>*
(the role of the) ='strcls'>*mind='lgc'>: hindering the thought from being lost in dream, an organ of ‘attention to life’
='lgc'>='lgc'>--> how ="trms">memory and perception ="trms">interpret each other
='strcls'>*="trms">memory coincides (diverge, ="trms">intersect) with the “="trms">present” perception='strcls'>*
='lgc'>{ ='lgc'>[='strcls'>*='lgc'>]determine='lgc'>: the more habitual and repetitive one's perceptual ="trms">response to one's environment ='lgc'>=='lgc'>=> the less autonomy and freedom characterize that individual experience ='lgc'>}='lgc'>='lgc'>--> creativity='lgc'> = (zone of) indetermination
='lgc'>--again='lgc'>='lgc'>--> ="ppl">Bergson (disturbed by new arrangement of ="trms">spectacular ="trms">consumption posed as novelty within a mass ="trms">society ='lgc'>=='lgc'>=> redundancy and habit ='lgc'>+ decay of traditional forms of collective ="trms">memory) his work is a ="trms">response to='lgc'>:
="lsts lst1">•general standardization of experience
="lsts lst1">•automation of perceptual ="trms">response
(='lgc'><='lgc'>--="frds">Sina='lgc'>-- typical problem of life-philosophers lebensphilosophie at the turn of the century reaction to the “intrusion of the mechanical”)
='strcls'>*preconditions of a free and autonomous subject='strcls'>* ='lgc'>+ ='strcls'>*end="trms"nttrm="danger,stranger">angered (coherent) ="trms">system of meaning='strcls'>*
(weak evolutionary assumptions of ="ppl">Bergson's elaboration of) human subject (= the most developed organism)='lgc'> = potential (for indetermination)='lgc'> = escape from a ="trms">relationship of constraint and necessity in one's lived milieu ='lgc'>[='lgc'>=/= ="trms">animal='lgc'>]
Helmholtz (research on physiological optics) ='lgc'>=='lgc'>=> غیر واقعی nonveridical status of vision (and perception) ='lgc'>='lgc'>~= there is no direct cor="trms">respondence between sense experience and objects in the ="trms">world ='lgc'>=='lgc'>=>
="lsts lst1">•uprooting='lgc'>: rationalization and ="trms">instrumentalization of senses (='lgc'>='lgc'>--> ="trms">technical prostheses)
="lsts lst1">•displacing='lgc'>: reterritorializing of perception
Helmholtz (='lgc'>='lgc'>~/= ="ppl">Bergson) committed to expanding and optimizing the productive functioning of ="trms">socioeconomic ="trms">world (of imperial Germany) ='lgc'>='lgc'>--> vision of capita="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list industrialization (exchangeability, convertibility, etc.)
Helmholtz's ="trms">ontology ='lgc'>='lgc'>--> physics
Helmholtz's ="trms">epistemology ='lgc'>='lgc'>--> ="trms">semiotics='lgc'>: re="trms">presentational and quasilogical order of signs
(Helmholtz ='lgc'>+) ="ppl">Bergson's attention='lgc'>:
="lstsrd">1. condition of relative motor arrest (Ribot)
="lstsrd">2. gives up the useful effect of ="trms">present perception
="lstsrd">3. backward movement of the mind
="ppl">Bergson's attention='lgc'>: a binding together of reality to ward off both perceptual and psychic dis="trms">integration
endosmosis='lgc'>: process of remaking an object of perception
="ppl">Deleuze's attention='lgc'>: gives back to duration its true characteristic... a very special coexistence (='lgc'>=/= succession), a ="trms">simultaneity of fluxes, in which the body was always implicated ='lgc'>='lgc'>--> “freedom='lgc'> = awareness of that coexistence”,
“reality function”
(psychic='lgc'>+) sensorimotor grounding in the reality
in early 20th century ='lgc'>='lgc'>--> clinic designation of a condition called “the feeling of unreality” ='lgc'>: fai="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lure of an apperceptive attention ='lgc'>: when ="trms">present impressions do not link up with ="trms">memory as="trms">sociation ='lgc'>=='lgc'>=> sense of unfamiliarity of the ="trms">present objects
='strcls'>*(inconsistent and ="trms">anxious treatment of) ="ppl">Bergson sketching out the marvels of a multidimensional perception='strcls'>* (capable of apprehending and creativity engaging the immanence of the ="trms">past and ="trms">present) ='lgc'><='lgc'>-- fantast of artistic research
='lgc'>='lgc'>---="ppl">="ppl">Crary='lgc'>='lgc'>--> for ="ppl">Bergson attention is one that does not waver, oscillate, or drift in and out of focus ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="ppl">Avital ="trms">drug='lgc'>] ='lgc'>='lgc'>--> his privileging of fusion, ="trms">interpenetration, and continuity does not apply to borderline states='lgc'>: insanity, dreaming, etc. piercing forms of nonspatialized experiences='lgc'>: dreamwork, trance, forms of hypnagogic visions (='lgc'>=='lgc'>=> powerful penetration of the ="trms">present by ="trms">memory)
="ppl">Bergson's indetermination='lgc'>: a human attentive concentration, an abortion that would never lose its conscious connection to the willed activity of the body (='lgc'><='lgc'>-- fantasy of wakeful critical subject) ='lgc'>=/= (="ppl">="ppl">Crary's well argued) indetermination encompassing fluctuations in and out of trancelike states in which disas="trms">sociated ="trms">phenomenal might occur
="ppl">Bergson's work is typical of his period ='lgc'>='lgc'>--> ='strcls'>***great fear of perceptual behavior that is either passive or automatic='strcls'>***
='lgc'>}='lgc'>--="trms">historically='lgc'>='lgc'>--> construction of various forms of automatic perception in cinema, recorded sound, and other ="trms">technological attachments ='lgc'>=='lgc'>=> ='thdf'>the idea of ='strcls'>**premade images ="trms">consumed passively='strcls'>** (...depreciation of experience when individual ="trms">memory images are stiffened into ="trms"nttrm="already,spread">ready-made things)
(for ="ppl">Bergson, Janet, ="frds scrmbld">Foad, and many others='lgc'>:) automatic behavior ='lgc'>=='lgc'>=> dissolution of ego boundaries (in which the individual will cease to exert itself), contraction of personality, scattering of the self
drift
reverie
trance
dream
='strcls'>**="ppl">Bergson's work='lgc'> = re="trms">fashioning of the ="ppl">Rousseauian conviction of the truth and authenticity of (inner) subjective experience, without grasping how that experience is determined by forces external to the subject='strcls'>**
='lgc'>--trying='lgc'>='lgc'>--> to overcome the degradation and devaluation of experience within a ="trms">modernizing culture founded on amnesia and obsolescence='lgc'> = collaptof auratic perception
='lgc'>--="ppl">="ppl">Crary='lgc'>='lgc'>--> ="ppl">Bergson and others could not see the ways in which ='strcls'>*****capitalism itself was a nonfixable duree, a nonre="trms">presentable variation ='lgc'>=='lgc'>=> an endless chain of dislocations and destabilizations ='lgc'>=='lgc'>=> its own virtual realm of novelty='strcls'>*****
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(Cezanne and ="frds">Sina's attraction to) rock motifs
various spl="trms">intering and dispersal of rocks
="trms">intermingled with ruins of man-made stone structure
(rock's) precarious status as object
rock='lgc'> = (incarnated) resistance to drift and entropy ='lgc'>:
forces of gravity
geological erosion
inexorable dis="trms">integration of substance
...
(='qstn'>?like many artists i am looking for incarnations too, for) procedures of binding ='lgc'>: transformed re="trms">presentational logic
='strcls'>*operation of fixing, of fastening, within a ="trms">world in which ="trms">position no longer has its former meanings='strcls'>*
="trms">interpretation of tentatively scenic spaces
(BOZAR ="nms">Tehran tree project)
="lsts lst1">•flickering screen of sky and trees
="lsts lst1">•one stone lies nested or w="trms"nttrm="knowledge,Knowledge">edged within the embrace of another element
='lgc'>='lgc'>--> (logic of the ='lgc'>[phantom='lgc'>]) limbs
="trms">eroticized enclosure (seek to grasp and be grasped) ='lgc'>--becomes='lgc'>='lgc'>--> diagram of perception (seek to envelope and be enveloped)
Cezanne's discovery='lgc'>: any attempt to stabilize perception ='lgc'>=='lgc'>=> dis="trms">integration and transformation
="lsts lst1">•Cezanne ='lgc'>='lgc'>--> dispersed perceptual processes
="lsts lst1">•="ppl">Freud ='lgc'>='lgc'>--> dispersed psychic processes ='lgc'>{perception='lgc'> = ="trms">interface of the nervous ="trms">system with the ="trms">world <='lgc'>=='lgc'>~ ="trms">interface between consciousness and the stored stimuli of wishes, ="trms">memories, anticipations='lgc'>}
(mid 1890s) ="ppl">Bergson ='lgc'>+ ="ppl">Freud ='lgc'>=='lgc'>=> sustained and o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal consideration of the anti-optical functioning of subjectivity perceptual experience as a nondirectional, acentric, multitemporal event
='lgc'>='lgc'>--> empathic decentering of the observer
='lgc'>+ (widesp="trms"nttrm="already,spread">read) practical and discursive remaking of the observer as subject, vision is no longer a distinct and isolable ="trms">phenomenon
="ppl">Freud ='lgc'>='lgc'>--> psyche='lgc'> = a perpetually available innocence ='lgc'>+ in="trms">finite reserve of traces
='strcls'>*perception arouse ="trms">interest on the account of their possible connection with the object wished for='strcls'>* ='lgc'>: ‘perception='lgc'> = ="trms">question of ="trms">internal ex="trms">citation’
Cezanne ='lgc'>--(in Pineapple and Rocks)='lgc'>='lgc'>--> coexistence (continuity) of='lgc'>:
="lsts lst1">•an attentiveness that is bound (cathected) ="trms">onto established (facilitated) patterns ='lgc'>[= one's own ="trms">history ='lgc'>+ its fixation='lgc'>]
="lsts lst1">•a perception of ="trms">animality and novelty ='lgc'>[= relaxation of grip, musical, (="ppl">Deleuze and ="ppl">Guattari's) ='strcls'>*anti="trms">memory='strcls'>* ='lgc'>=/= atemporal forgetting='lgc'>]
vertigo='lgc'>: auto-movement of chaos
“Cezanne's work='lgc'> = model of a nonhuman perception” ='lgc'>: (="trms"nttrm="already,spread">reading of Cezanne as) austere project of formal ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigor, performed on some remote plane of ="trms">aesthetic production; an enterprise tragically detached from an engagement with the ="trms">social contra="trms">diction of his time ='lgc'>=/= (="ppl">="ppl">Crary's ="trms"nttrm="already,spread">reading of) Cezanne coinciding ="trms">historically with new perceptual ="trms">technologies ='lgc'>='lgc'>--> new ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphoric possibilities
accumulated experience ='lgc'>--basis='lgc'>='lgc'>--> radical depersonalization ='lgc'>--intuit='lgc'>='lgc'>--> creative forces of chaos (in your own provence)
='strcls'>**Cezanne's ="trms">imaginative re="trms">figuration of himself as machine='lgc'> = ="trms">translate automatically='strcls'>** ='lgc'>=='lgc'>=> release from grounded condition of human perception ='lgc'>: to become an ="trms">apparatus='lgc'> = implacability apprehend a ="trms">world outside of the terms (that the artist wants out) ='lgc'>=='lgc'>=> novelty (='lgc'>='lgc'>~= to overcome the gravity of one's own ="trms">interiority) ='lgc'>--Cezanne='lgc'>='lgc'>--> primordial image (of irreducible formlessness, of ='strcls'>***="trms">world in process without horizon='strcls'>***, without ="trms">position, of slowly vibrating colors...) ='lgc'>[='lgc'><='lgc'>-- ='strcls'>*="trms">apparatus becoming='strcls'>* is now the cliche of contemporary artist='lgc'>]
glow of a geological dawn
archaic ='lgc'>+ inert
Precambrian
deterritorializing processes of capitalism (='lgc'>+ its imperatives of perpetual renovation) ='lgc'>='lgc'>--> (its compatible) uprooted nonorientable subject
="trms">nature experienced as vibrations, animations, chromatic re="trms">verberation (='lgc'>+ seeking a “logic” to clarify its un="trms">folding)
hideous sign of progress (for Cezanne='lgc'>: electric light, cinema, )
artistic ="trms">modernism ='lgc'><='lgc'>==="ppl">Adorno='lgc'>== (the fact that) the most advanced procedures of ="trms">material production and organization are not limited to the sphere in which they o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginate (='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to incarnation)
demotivated subjectivity
wants something that is neither optical nor mechanical nor intellectual ='lgc'>=='lgc'>=> substitute a mode of consciousness that is predominantly intuitive ='lgc'>: the awareness of touch
="trms">historical adjacency (='lgc'><='lgc'>-- ="ppl">="ppl">Crary's knowl="trms"nttrm="knowledge,Knowledge">edge ="trms">zoom)
='strcls'>*late work of Cezanne (in spite of apparent ="trms">social isolation of its production)='lgc'> = a site where ="trms">modernization of subject occurs (of late 19th century)='strcls'>* ='lgc'>='lgc'>--> dynamization of perception (occurring in many ="trms">different domains around the year 1900 ='lgc'>--introducing='lgc'>='lgc'>--> new ="trms">techniques of vision)
Cezanne ='lgc'>=/= contemplative distance
Cezanne ='lgc'>=/= perceptual autonomy
Cezanne='lgc'> = nervous ="trms">system ="trms">interfacing with (a continually transforming) external environment
Cezanne='lgc'> = an ='thdf'>example of a contemporary conceptualization of reality (as a dynamic aggregate of sensations)
='lgc'>='lgc'>--> emerging industries of ="trms">spectacle
(fundamentally distinct) machinic visual ="trms">technologies ='lgc'>--="ppl">Deleuze='lgc'>='lgc'>--> cinema ='lgc'>=/= previous ="trms">historical forms of simulation (some continuous western mode of re="trms">presentation, with its o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigins in Renaissance), re="trms">present the ="trms">world
cinema ='lgc'>--constitutes='lgc'>='lgc'>--> ='strcls'>*an autonomous ="trms">world='strcls'>* 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 ='lgc'>=/= texture of human attentiveness
cinema='lgc'> = fusion='lgc'> = dream of the functional ="trms">integrity of the ="trms">world
film='lgc'> = validation of the authenticity of the perceptual disorientation
='lgc'>}='lgc'>--='not'>✕='lgc'>='lgc'>--> ="ppl">="ppl">Crary's analysis of Edison's train robbery s="trms">cene ='lgc'>: serial recon="trms">figuration of a kinesthetic constellation of moving forces (='lgc'>+ additional ="trms">system of movements and forces='lgc'>: bod[...]