[...]cientific 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


="large lg2" stl="font-size:110%"> (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'>: bodies, bullets, explosion) ='lgc'>=/= ="trms">question of mobile point of view

Cezanne ='lgc'><='lgc'>='lgc'>--> cinema camera ='lgc'>--Dziga='lgc'>='lgc'>-->
i am a mechanical eye
i, a machine, show you the ="trms">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 ="trms">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 ='lgc'>='lgc'>--> stimuli in the external ="trms">world are selected and ="trms">fashioned by the organism
='lgc'>=/= Pav="trms">lov='lgc'>: stimuli='lgc'> = alien shocks encountered and ="trms">responded to
='lgc'>=/= ="ppl">Cartesian res extensa, res cogitans
“the great physical process of attention”
inhibition='lgc'>: an active process
anticipatory behavior
exploratory locomotor behavior
“="trms">integrative function” of nervous ="trms">system ='lgc'>='lgc'>==> binding
(="trms">integrative='lgc'>: incorporation of the exterior ="trms">world)
“human perception='lgc'> = possibility of motor activity”

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Cezanne sitting in ="trms">nature and studying motif, tilting his head ='lgc'>='lgc'>~-> intensity un="trms">folding chromatically before him (a mode of physical being) ='lgc'>='lgc'>--> ='strcls'>*time of the body='strcls'>* ='lgc'>[='lgc'><='lgc'>-- this is typical of today art in european='lgc'>]='lgc'> = inde="trms">finite scalar time ='lgc'>+ intensity is experienced outside re="trms">presentation
="lsts lst1">•river stands for his engagement with a more primal flux
="lsts lst1">•sustained condition of vibrating instability
="lsts lst1">•apprehension of multiplicity
="lsts lst1">•="trms">world='lgc'> = turn of a kaleidoscope (prismatic)
="lsts lst1">•(when you look at a) landscape has its own weird anima, it changes like a living ="trms">animal under our gaze (='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to machine dreaming image learning 2020)
="lsts lst1">•to make yourself into a ="trms">responsible productive organ
='lgc'>='lgc'>--> ='strcls'>**incarnation of a contradictory enterprise of self-transformation, self-renewal='strcls'>** ='lgc'><='lgc'>-- (Cezanne's retrospective fulfilment of a tradition from which he could not fully acknowl="trms"nttrm="knowledge,Knowledge">edge his own decisive departure)

...your intuition on the ="trms"nttrm="knowledge,Knowledge">edge of the river


Cezanne='lgc'> = re="trms">formulation of ="trms">natural ="trms">world ='lgc'>+ broken hope of ="trms">community (='lgc'>='lgc'>~= intimacy ='lgc'>='lgc'>--> ="ppl">Rousseau's mode of attention contemplation='lgc'>: “thought ='lgc'>=/= reverie” ='lgc'>: the more sensitive the soul of the observer, the greater the ecstasy aroused in him. deep and delightful reverie ='lgc'>: a state of blissful self-abandonment)
='lgc'>='lgc'>--> novelty of a smooth unorganized perceptual space
='lgc'>--="ppl">="ppl">Crary='lgc'>='lgc'>--> ='thdf'>example of the non="trms">synchronous character of ="trms">modernism (='lgc'>~ coexistence of realities from radically ="trms">different moments of ="trms">history) ='lgc'>[='lgc'><='lgc'>-- is my ="trms">bestiary research on the same p="trms"nttrm="failure,blur,plur,lurk,tallur,slur">lural ="trms">historical ="trms">positioning='qstn'>?='lgc'>]
="lsts lst1">•termination of a romantic visionary tradition

(in the West) ='lgc'>[='strcls'>*='lgc'>]image='lgc'>: decentered chrono-iconography, automatic self-movement

rise of cinema='lgc'>: body-machine assemblage ='lgc'>--="ppl">Deleuze='lgc'>='lgc'>--> new paradigm of ='strcls'>*psycho-mechanics='strcls'>* ='lgc'>~ cinema is capable of touching the cerebral ="trms">system directly ='lgc'>='lgc'>==>
="lsts lst1">•experimental forms of life='lgc'> = freedom (affirmative model of automatic behavior ='lgc'>='lgc'>--> thought functions at a higher level with an arsenal of syntactic perceptual conceptual tools)
="lsts lst1">•management of attention (model of passive automatism)

(from) dreamer ='lgc'>--to='lgc'>='lgc'>--> ="trms">somnambu="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list ='lgc'>--to='lgc'>='lgc'>--> hypnosis ='lgc'>--to='lgc'>='lgc'>--> sug="trms">gestion ='lgc'>--to='lgc'>='lgc'>--> ="trms">hallucination ='lgc'>--to='lgc'>='lgc'>--> obsession

="ppl">Deleuze ='lgc'>+ ="ppl">Benjamin ='lgc'>+ ="ppl">Virilio
='thdf'>the idea of ='strcls'>*art of automatic movement coincide with fascism='strcls'>*
='at'>@="frds scrmbld">Pierre, pass, ="frds scrmbld">Foad

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

='lgc'>[='strcls'>*='lgc'>]="trms">spectacle='lgc'>: (="trms">spectacular culture) attention would be made attentive to everything but itself

="large lg10" stl="font-size:121%"> ="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

="large lg6" stl="font-size:123%"> “my experience is what i aggree to attend to” (James) ='lgc'>='lgc'>~= affirmation of an autonomous self-choosing ="trms">world-creating subject liberated from the receptive status of a subject for whom experience was “the mere ="trms">presence to the senses of an outward order”) ='lgc'>--="ppl">="ppl">Crary='lgc'>='lgc'>--> ="trms">historical crisis in the ="trms">nature of experience='lgc'>: ='strcls'>*attention='lgc'> = simulation of ='lgc'>+ compensation for a ="trms">chimerical real experience='strcls'>*

(in my text ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigging demons ='lgc'>='lgc'>--> reconciliation of='lgc'>:)
="lsts lst1">•individual attentiveness to the fringes, ="trms">transitions, pulses of one's own particular “pure experience”
="lsts lst1">•“experience” as immersion in the tangled ="trms">density of a shared ="trms">mutually inhabited ="trms">world

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

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

="large lg6" stl="font-size:101%"> in Corridor Crew the perceptual selectivity of the ="trms">CG hackers sustains efficiency of animation tools ='lgc'>+ tangled ="trms">social and psychic machinery of ="trms">sublimation

="large lg1" stl="font-size:121%">
(='qstn'>?do i have) agoraphobia ='lgc'>='lgc'>--> ="ppl">Simmel


(destructive transformation of) ='strcls'>*="trms">modernization always preserve and carry over non="trms">synchronous components of ="trms">past moments='strcls'>*
="ppl">="ppl">Crary, Lefebvre

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

="ppl">Freud's ="trms">technique of attention='lgc'>: gleichschwebende Aufmerksamkeit
‘evenly suspended attention’ (giving equal notice to everything, everything in low-[...]