[...] 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 ev[...]