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[A. The privileges that the clinic had recently recognized in observation were at the same time: the privileges of a pure immediate gaze, and those of a gaze equipped with a whole logical empriricist armature. We must now describe the concrete exercise of such a perception - cont'd]

[1. The observing gaze refrains from intervening: it is silent and gestureless - cont'd]

[c. The opposition between and clinic and experiment: ‘The observer… reads nature, he who experiments questions’ - cont'd]

ii. It is this privilege of possessing an unsupersedable (indépassable) origin that the Double expresses in terms of causality:

‘observation must not be confused with experience;

the latter is the result or effect, the former the means or cause

observation leads naturally to experience’

– Michel Foucault, The Birth of the Clinic: An Archaeology of Medical Perception, (Chapter 7: Seeing and Knowing), 1963, translated from the French by A.M.Sheridan, 1973

wrap me in golden thread treading plain skin glowing as vasoline rubbedonlens i quake

in dreams i am my own masterpiece, helping you helping you help yourself. i am sedated and cruel - unconscious of myself i become unruly, volatile and gestureless. my hair is too long, you laugh as i poke you.

everything eventually rotates and begins to orbit itself

ever slowly crouching in stealth slow motion observation i am marion on a sunlit evening with the sound over

crackle and fuzz and lull my ears to sleep.

indecisive child on wooden platform, i am threatened. indecisive and unusually charismatic. i am immediately suggestive and commentating. it means nothing: every word becomes his own spoken in tongues i cannot realize until i am confronted with “i hate that”.

teeth punched

in

disrespectful tracksuit fuck -

mummified until unseeable gauzed

and i yell and his eyes gaze upon me

as triumphant hardcovers unread

hastily, fuck off, crying in terror and disgust and anger misplaced.

i am not an empath i am careless and fearful. there is a difference.

Poem #50

The call of horses a torrent over tilled earth, Routing the seasons in its bloodied turbulence, Glistening, resonant over dulled scythe metal And viscera unburdened to mercury clouds. King of Persia, scrying ascendency on tossed, Gestureless tendons, vertebrae and sopping dirt, Built a ladder over the organs of men, beyond The weight of their hearts and trivialities. There, at 25, the Lord of the Earth found His place among a desert pantheon, never A mortal man, riding coagulated flesh To something more through Gaugamela's reddened fog, Pounding out the stars to Amun in Grecian tones. They envied him its arterial purity, Olympians and Nile-Gods alike, discerning The power shaken out of rough human shapes, And I too squint through the supermarket lights, juggling Milk and Assam tea with leaden ribs, knowing That power is there. And I'd find myself happy Would I were pardoned from the burden of his greatness.

Entrance to Subway, 1938 by Mark Rothko. Mark Rothko, original name Marcus Rothkovitch (born Sept. 25, 1903, Dvinsk, Russia—died Feb. 25, 1970, New York City, N.Y., U.S.), American painter whose works introduced contemplative introspection into the melodramatic post-World War II Abstract Expressionist school; his use of colour as the sole means of expression led to the development of Colour Field Painting. In 1913 Rothko’s family emigrated from Russia to the U.S., where they settled in Portland, Ore. During his youth he was preoccupied with politics and social issues. He entered Yale University in 1921, intending to become a labour leader, but dropped out after two years and wandered about the U.S. In 1925 he settled in New York City and took up painting. Although he studied briefly under the painter Max Weber, he was essentially self-taught. Rothko first worked in a realistic style that culminated in his Subway series of the late 1930s, showing the loneliness of persons in drab urban environments. This gave way in the early 1940s to the semi-abstract biomorphic forms of the ritualistic Baptismal Scene (1945). By 1948, however, he had arrived at a highly personal form of Abstract Expressionism. Unlike many of his fellow Abstract Expressionists, Rothko never relied on such dramatic techniques as violent brushstrokes or the dripping and splattering of paint. Instead, his virtually gestureless paintings achieved their effects by juxtaposing large areas of melting colours that seemingly float parallel to the picture plane in an indeterminate, atmospheric space. [Credit: Albright-Knox Art Gallery, Buffalo, gift of Seymour H. Knox]Rothko spent the rest of his life refining this basic style through continuous simplification. He restricted his designs to two or three “soft-edged” rectangles that nearly filled the wall-sized vertical formats like monumental abstract icons. Despite their large size, however, his paintings derived a remarkable sense of intimacy from the play of nuances within local colour. From 1958 to 1966 Rothko worked intermittently on a series of 14 immense canvases (the largest was about 11 × 15 feet [3 × 5 metres]) eventually placed in a nondenominational chapel in Houston, Texas, called, after his death, the Rothko Chapel. These paintings were virtual monochromes of darkly glowing browns, maroons, reds, and blacks. Their sombre intensity reveals the deep mysticism of Rothko’s later years. Plagued by ill health and the conviction that he had been forgotten by those artists who had learned most from his painting, he committed suicide. After his death, the execution of Rothko’s will provoked one of the most spectacular and complex court cases in the history of modern art, lasting for 11 years (1972–82). The misanthropic Rothko had hoarded his works, numbering 798 paintings, as well as many sketches and drawings. His daughter, Kate Rothko, accused the executors of the estate (Bernard J. Reis, Theodoros Stamos, and Morton Levine) and Frank Lloyd, owner of Marlborough Galleries in New York City, of conspiracy and conflict of interest in selling the works—in effect, of enriching themselves. The courts decided against the executors and Lloyd, who were heavily fined. Lloyd was tried separately and convicted on criminal charges of tampering with evidence. In 1979 a new board of the Mark Rothko Foundation was established, and all the works in the estate were divided between the artist’s two children and the Foundation. In 1984 the Foundation’s share of works was distributed to 19 museums in the United States, Great Britain, the Netherlands, Denmark, and Israel; the best and the largest proportion went to the National Gallery of Art, Washington, D.C.

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[A. The privileges that the clinic had recently recognized in observation were at the same time: the privileges of a pure immediate gaze, and those of a gaze equipped with a whole logical empriricist armature. We must now describe the concrete exercise of such a perception - cont'd]

[1. The observing gaze refrains from intervening: it is silent and gestureless - cont'd]

f. To be what it must be, it is not enough for it [the gaze] to exercise

prudence

scepticism

[Rather,] the immediate on which it opens states the truth only if

i. it is at the same time its origin, that is,

its starting point

its principle and law of composition

ii. and the gaze must restore as truth what was produced in accordance with a genesis: in other words, it must reproduce in its own operations what has been given in the very movement of composition.

It is precisely in this sense that it is ‘analytic’.

– Michel Foucault, The Birth of the Clinic: An Archaeology of Medical Perception, (Chapter 7: Seeing and Knowing), 1963, translated from the French by A.M.Sheridan, 1973

[A. The privileges that the clinic had recently recognized in observation were at the same time: the privileges of a pure immediate gaze, and those of a gaze equipped with a whole logical empriricist armature. We must now describe the concrete exercise of such a perception - cont'd]

[1. The observing gaze refrains from intervening: it is silent and gestureless - cont'd]

[g. Observation is logic at the level of perceptual contents; and the art of observing seems to be "a logic for those meanings which ... teach their operations and usages" - cont'd]

ii. [Both]

the gaze of observation

the things it perceives

communicate through the same Logos, which,

in the latter, is a genesis of totalities

in the former, a logic of operations

– Michel Foucault, The Birth of the Clinic: An Archaeology of Medical Perception, (Chapter 7: Seeing and Knowing), 1963, translated from the French by A.M.Sheridan, 1973

[A. The privileges that the clinic had recently recognized in observation were at the same time: the privileges of a pure immediate gaze, and those of a gaze equipped with a whole logical empriricist armature. We must now describe the concrete exercise of such a perception - cont'd]

[1. The observing gaze refrains from intervening: it is silent and gestureless - cont'd]

g. Observation is logic at the level of perceptual contents; and the art of observing seems to be

"a logic for those meanings which, more particularly, teach their operations and usages. In a word, it is the art of

being in relation with relevant circumstances

receiving impressions from objects as they are offered to us

deriving inductions from them that are their correct consequences

Logic is…the basis of the art of observing, but this art might be regarded as one of the parts of Logic whose object is more dependent on meanings."

i. One can, therefore, as an initial approximation, define this clinical gaze as a perceptual act sustained by a logic of operations;

it is analytic because it restores the genesis of composition

but it is pure of all intervention insofar as this genesis is only the syntax of the language spoken by things themselves in an original silence

– Michel Foucault, The Birth of the Clinic: An Archaeology of Medical Perception, (Chapter 7: Seeing and Knowing), 1963, translated from the French by A.M.Sheridan, 1973

[A. The privileges that the clinic had recently recognized in observation were at the same time: the privileges of a pure immediate gaze, and those of a gaze equipped with a whole logical empriricist armature. We must now describe the concrete exercise of such a perception - cont'd]

[1. The observing gaze refrains from intervening: it is silent and gestureless - cont'd]

e. This gaze, then, which

i. refrains from

all possible intervention

all experimental decision

ii. does not modify,

shows that its reserve is bound up with the strength of its [analytic] armature.

– Michel Foucault, The Birth of the Clinic: An Archaeology of Medical Perception, (Chapter 7: Seeing and Knowing), 1963, translated from the French by A.M.Sheridan, 1973

[A. The privileges that the clinic had recently recognized in observation were at the same time: the privileges of a pure immediate gaze, and those of a gaze equipped with a whole logical empriricist armature. We must now describe the concrete exercise of such a perception - cont'd]

[1. The observing gaze refrains from intervening: it is silent and gestureless - cont'd]

d. The observing gaze manifests its virtues only in a double silence:

i. the relative silence of

theories

imaginings

whatever serves as an obstacle to the sensible immediate

ii. the absolute silence of all language that is anterior to that of the visible.

Above the density of this double silence things seen can be heard at last, and heard solely by virtue of the fact that they are seen.

– Michel Foucault, The Birth of the Clinic: An Archaeology of Medical Perception, (Chapter 7: Seeing and Knowing), 1963, translated from the French by A.M.Sheridan, 1973

[A. The privileges that the clinic had recently recognized in observation were at the same time: the privileges of a pure immediate gaze, and those of a gaze equipped with a whole logical empriricist armature. We must now describe the concrete exercise of such a perception - cont'd]

[1. The observing gaze refrains from intervening: it is silent and gestureless - cont'd]

c. In the clinic, what is manifested is originally what is spoken. The opposition between

clinic

experiment

overlays exactly the difference between

the language we hear, and consequently recognize

the question we pose or, rather, impose

‘The observer… reads nature, he who experiments questions’.

i. To this extent,

observation

experiment

are opposed but not mutually exclusive:

it is natural that observation should lead to experiment, provided that experiment should question only in the vocabulary and within the language proposed to it by the things observed

its questions can be well founded only if they are answers to an answer itself without question, an absolute answer that implies no prior language, because, strictly speaking, it is the first word

– Michel Foucault, The Birth of the Clinic: An Archaeology of Medical Perception, (Chapter 7: Seeing and Knowing), 1963, translated from the French by A.M.Sheridan, 1973

[A. The privileges that the clinic had recently recognized in observation were at the same time: the privileges of a pure immediate gaze, and those of a gaze equipped with a whole logical empriricist armature. We must now describe the concrete exercise of such a perception - cont'd]

[1. The observing gaze refrains from intervening: it is silent and gestureless - cont'd]

b. The gaze

will be fulfilled in its own truth

will have access to the truth of things

[but only] if

it rests on them in silence

everything keeps silent around what it sees

The clinical gaze has the paradoxical ability to hear a language as soon as it perceives a spectacle.

– Michel Foucault, The Birth of the Clinic: An Archaeology of Medical Perception, (Chapter 7: Seeing and Knowing), 1963, translated from the French by A.M.Sheridan, 1973

[A. The privileges that the clinic had recently recognized in observation were at the same time: the privileges of a pure immediate gaze, and those of a gaze equipped with a whole logical empriricist armature. We must now describe the concrete exercise of such a perception - cont'd]

1. The observing gaze refrains from intervening: it is silent and gestureless.

a. Observation leaves things as they are; there is nothing hidden to it in what is given. The correlative of observation is never the invisible, but always the immediately visible, once one has removed the obstacles erected

to reason by theories

to the senses by the imagination

In the clinician’s catalogue, the purity of the gaze is bound up with a certain silence that enables him to listen.

i. The prolix discourses of systems must be interrupted: ‘All theory is always silent or vanishes at the patient’s bedside’.

ii. The suggestions of the imagination—which

anticipate what one perceives

find illusory relations

give voice to what is inaccessible to the senses

—must also be reduced: ‘How rare is the accomplished observer who knows how to await, in the silence of the imagination, in the calm of the mind, and before forming his judgement, the relation of a sense actually being exercised!’

– Michel Foucault, The Birth of the Clinic: An Archaeology of Medical Perception, (Chapter 7: Seeing and Knowing), 1963, translated from the French by A.M.Sheridan, 1973

In Sade, who was securely locked up for forty years and never stopped talking, we find the pure discourse of a pure madness, a gestureless madness [as opposed to the gesticulations of Rameau's Nephew], without eccentricity, the pure madness of an immoderate heart. And then in Sade's ever-so-reasonable language, so infinitely rational, has reduced our reason, our own reason, to silence, or, at least, to embarrassment, to stuttering. Our reason can no longer exercise its burning passion for giving orders. For example, we have only to experience the discomfort of the unfortunate doctor at Charenton by the name of Royer-Collard, who, appointed to the asylum, to what had just been transformed into an asylum for the mentally ill, discovered someone by the name of Sade.

Michel Foucault, The Use of Speech (”The Silence of the Mad” [Le Silence des Fous] - January 14, 1963), broadcast nationally on RTF France III, from Language, Madness, and Desire: On Literature