14 11 / 2012
Ormai la keyword è ovunque e tutti la cercano. Stellissimo è la nuova moda del momento. Solo pochi giorni per decretare il vincitore di un seo contest davvero da pazzi. E tu cosa ne pensi… sei stellissimo oppure no??
06 8 / 2012
“If I commit suicide, it will not be to destroy myself, but to put myself back together again. Suicide will be for me only one means of violently reconquering myself, of brutally invading my being, of anticipating the unpredictable approaches of God. By suicide, I reintroduce my design in nature, I shall for the first time give things the shape of my will.”
Antonin Artaud, “On Suicide,” no. 1, Le Disque Vert. (via dustyshelf)
(Source: geistlicher, via heteroglossia)
“Capitalism is only possible because we can reduce the complexity and difference of life to a single system of exchange. In capitalism it no longer matters what circulates – whether it is money, goods, information, or even the feel-good messages of feminism, multi-culturalism and community – as long as there is constant exchange.
For Deleuze this has a positive and negative side. Positively, it displays life’s power of deterritorialisation: a capacity to take any actual thing and translate it into a movement of flow. There is a positive capitalist tendency in all life, a deterritorialising tendency to open any system on to exchange and interaction. But deterritorialisation, which relies on an initial territorialisation, is also accompanied by reterritorialisation. Capital arrests its tendency to produce and open flows by quantifying all exchange through the flow of capital. In capitalism everything becomes measured by money or quantity – even the commodity value of art and the information value of concepts.”
Claire Colebrook, Gilles Deleuze (Routledge Critical Thinkers)
And here’s the tricky difference between relative (capitalistic) and absolute (nomadic) deterritorialization in layman’s terms.
“Combat is not a judgment of God, but the way to have done with God and with judgment. No one develops through judgment, but through a combat that implies no judgment. Existence and judgment seem to be opposed on five points: cruelty versus infinite torture, sleep or intoxication versus the dream, vitality versus organization, the will to power versus a will to dominate, combat versus war. What disturbed us was that in renouncing judgment we had the impression of depriving ourselves of any means of distinguishing between existing beings, between modes of existence, as if everything were now of equal value. But is it not rather judgment that presupposes preexisting criteria (higher values), criteria that preexist for all time (to the infinity of time), so that it can neither apprehend what is new in an existing being, nor even sense the creation of a mode of existence? Such a mode is created vitally, through combat, in the insomnia of sleep, and not without a certain cruelty toward itself: nothing of all this is the result of judgment. Judgment prevents the emergence of any new mode of existence. For the latter creates itself through its own forces, that is, through the forces it is able to harness, and is valid in and of itself inasmuch as it brings the new combination into existence. Herein, perhaps, lies the secret: to bring into existence and not to judge. If it is so disgusting to judge, it is not because everything is of equal value, but on the contrary because what has value can be made or distinguished only by defying judgment. What expert judgment, in art, could ever bear on the work to come? It is not a question of judging other existing beings, but of sensing whether they bring forces to us, or whether they return us to the miseries of war, to the poverty of the dream, to the rigors of organization. As Spinoza had said, it is a problem of love and hate and not judgment; ‘my soul and body are one….What my soul loves, I love. What my soul hates, I hate….All the subtle sympathizings of the incalculable soul, from the bitterest hate to passionate love.’ This is not subjectivism, since to pose the problem in terms of force, and not in other terms, already surpasses all subjectivity.”
Gilles Deleuze, To Have Done With Judgment (via neutralnatura)
Ikea’s Augmented-Reality Catalog Might Be the Company’s Best-Made Product Yet | Gizmodo
We’ve already shared our favorite items from Ikea’s 2013 product catalog, but what we didn’t know was that as of July 31st, the catalog itself will be an interactive product of the latest augmented-reality technology.
iOS and Android users who download the Ikea catalog app, will be able to unlock video features, interactive experiences with products on the page, photo galleries and additional decorating inspiration.
Developed by the creative agency McCann, the AR app is a project that the Swedish build-it-yourself furniture empire has been working on for quite a while, since 2011 when they first expressed interset in bridging the print/digital divide. Linus Karlsson, Global Chief Creative Officer of McCann, explained to Wired that replacing the paper catalog with an entirely digital product wouldn’t make sense, “If you had a magazine that had 211 million copies in circulation, you just would’t end it. That would be crazy.”
With this added digital layer, shopping Ikea’s collection will become a little bit easier—an “X-ray” feature allows you to peer inside cabinets, for example, making a trip to the brick-and-mortar store potentially unnecessary. (Not enough of Ikea’s collection is available for purchase online to cut out a trip to the store entirely.)
The artist apparently deemed this painting important enough to offer it as a wedding present to his favorite sister, Suzanne, who married a Rouen pharmacist, Charles Desmares, on August 24, 1911. On the back of the canvas Duchamp wrote, “A toi ma chere Suzanne —Marcel” - Kurt Godwin: Marcel Duchamp - Spring, 1911 - Where it All Begins
“One may describe the contemporary art model, for instance, in terms of an “open art” that was promoted by the Open Society Institute, and define this type of artistic production along the lines of what Umberto Eco calls the “open work” (opera aperta).13 Eco calls “open” that segment of art and poetics that builds upon the modernist cultural heritage, and whose artistic and aesthetic properties allow for a wide range of interpretive possibilities and readings thanks to a democratic conception of form that permits various constellations of artistic elements to form multiple relations. A “closed” artwork, then, would be the opposite; it would be an artwork produced in accordance with pre-established hierarchical orders and sets of preconceived principles in which poetic or artistic relations are mediated through one or several central categories, as in premodern art founded upon metaphysical or Christian theological assumptions.”
Octavian Esanu (2012)
Thom Puckey, Spinoza, 1988