[...]t of a libidinal economy (that i am part of) --> *exceeding the binding logic of the work*


effectively
cross-eyed figure
sees
if anything at all
(it is a disunified field)
with two
disparate optical axes.
into the eclipse mental
the environment grows dim


attentive subject --Ricoeur--> part of the open state of the universe of signs --> juncture of the erotic & the semantic

symbols, in their overloaded semiotic banality, is where the ruse of desire is expressed

(a diagram:) parallel lines --> a principle of nonconvergence --> the binocularity of vision is not united or synthesized on a specific plane or point --> a spliting apart : *unreconciled binocular disparity* (--situates--> difference and nonidentity within the midst of perception)
[=/= convergence (without which a normative attention would be impossible ==> world of focused clarity)]


...as if a single object is seen by two nonreconciled eyes


seamless modulation of normative attention into a dispersed distraction ==?!==> (reassemblage and rebinding into the) *repetitive laws of the unconscious*

...the image of conjugality and adultery simultaneously
-fixed position of limits

Bindung --> figuration of an adulterous liaison

[*]adultery (in the context of modernization): “a cynicism of forms,” merely another effect of a dominant system of exchange (circulation and equivalence)
Tanner

[*]infidelity: capacity to decompose oneself into the plurality of distinctly different essential tendencies, to detach the periphery from the center, and to make interests and activities independent of their integral interconnection [=/=? my work]
Simmel

in Duchampian terminology: (Manet's painting In The Conservatory) blossoming bride and bachelor enmeshed in a verdant anticonjugal machine of perpetual nonfulfilment

cultural corrosion of conjugality <== (one of) larger disintegration of premodern positions (of male and female):
•violent insertion of women into the process of commodity production

*labor and society assume a mass character ==> “women = mass articles” & lose:
•their “natural” qualities (female essence defined by the production of life)
•their poetic aura

traditional positions disrupted by the logic of exchangeability***


greenhouses in 19th century, extended the dwelling and bore witness to the expansion of the private sphere. greenhouse provided a place to stroll in all weathers
--> frozen temporality ~=> memory and history excluded =(congealed present)==> dehistorisized subjectivity

(fundamental) withdrawal of the possibility of *gesture* --Agamben--> part of the particularly modern failure of ethos, of character
[gesture <-->? ethos]

incapacitation: renunciation of *potentia*[~= capacity for being affected, any expansion of practical being <-- Spinoza]


smell of flowers = disintegrated product of their sexual metabolism <-- Freud


D+G becoming woman
*man: molar entity par excellence (=/= becomings are molecular), man constitutes the majority, the standard in which the majority is based: white, male, adult, rational ~ the average european, the subject of enunciation
@Leo
(--> problematized by Grosz ---> go to ajayeb.net/?q=Grosz%2BDeleuze%2BGuattari)


the perpetual self-invention of “free subjectivity” --defining--> modernity
cycle of decoding & recoding :
daring innovation --> hyperanxious self-consolidation --> renewed innovation --> ...


Manet =/= Caravaggio:
•intense optical contact
•tactile contact
•a reciprocal system of investment in the transactional nature of the encounter--infused with the interplay of the social, libidinal, and economic difference

hands as:
•expression of individual consciousness (in Caravaggio)
•instrument of active gesture (in Manet)


activity ~=? simulation of gesture

pointing index finger
confirmation of the impossibility of a direct perception, impossibility of an attention that was an immediate possession of its object (--> Sa'di pointing out to the moon and his lover...)--> every point of fixation is deferral
--✕--> (once?) functioned to denote a plane of transcendence


figuration of utopia --> simultaneous mapping out of death, absence, and finitude of historical subjectivity


Peirce's (nonoptical operation of attentive consciousness =/= Descartes) --> impossibility of direct intuition, of interpretive process
**cognition and perception could only occur indirectly**
index: exercising a real physiological force over the attention -- mesmerized into its particular object of sense.
= *everything that focuses the attention*, (everything that startles us into an index)
--> make something conceptually present which is perceptually absent


installed economy of attraction(/distraction) [in European cities, and its deviation in Tehran differences]


fashion works to bind attention onto its own pseudo-unity

against the living, fashion asserts the rights of corpse and the sex appeal of the inorganic
(Benjamin)
--> death drive

(supreme cult of the commodity:) fashion: a blossoming forth into a luminous apparition of the new
[==>? withdrawal from fashion = a strategy of freedom]

Adorno: in the age of growing powerlessness of subjective spirit vis a vis social objectivity, fashion registers the alien excess of objectivity in subjective spirit, which is painful yet all the same a corrective of the illusion that subjective spirit exist purely within itself. against its detractors, fashion's most powerful response is that it participates in the individual's impulse, which is saturated with history. (“Aesthetic Theory” p316)


(?what are my time's) rhythms of attentiveness


*mask: a means of mental survival

mask (of masculinity) --> the ability to keep a secret --> *all secrets are (at the end) sexual*


[]should our artistic practices comment or be continuous with the (emerging) world of consumer culture? #make a fashion magazine with Ali and Janina: excursion into the stultifying and emancipatory effects of the fashion commodity. discussion on: jewellery, decoration, women's bodies, show, travel, glitter, ----> kaleidoscopic decomposition and displacement of the glitter object
-Mallarme's La Derniere Mode
==> luminosity of a single object is lost amidst its indefinite reflections on the multiplied and fractured surfaces adjacent to it
*insubstantial world (of mode) aligned with (its own) sublime disavowal of the immediate* (, an emptiness and anxiety at the heart of this impossible presence --> “to be out of style = death”)
•its titular concept
•internal movement of its text


artisanal craft


(repetitive forms of:)
primal intuition of absence
transcendental signifier of religion
sacramental authenticity of antiquity


(for Nietsche:) decadence: perpetual adaptability of spectacular culture ~= (one loses one's power of) resistance against stimuli [--> this is Ali ]
=/= existing capacities for action and living
(obsolescence, not the business of the poet. Mallarme)
(the question of resistance is weak. we must ask what are the emergent forms of life caused by that? --> might be interesting for Hoda)

(apass's own hoped-for ritual civic theater of the future)*

attention sustained and enhanced by the regular introduction of novelty [...] means of simulating experiences of singularity and identity in the face of the processes of exchangeablity and equivalence
-Guy Debord


for the hysteric: objects are too present --> excess of presence make representation impossible
(for Deleuze history of painting has been about warding off hysteria*)


organization of perceptual binding and synthesis (taking place while Monet was working)


determined by
different libidinal setup
other category of perceptual dispersion
potential site of fixation


Freud (+ Klinger) --> inseparability of attention from dream process & aesthetic production

(Freud is testing) psychical energy = mobile attenti[...]