"I foresee that the ultimate result will be a restatement of Marx, but substituting to his Hegelian metaphysics and terminology our own modern Metaphysics and terminology: by metaphysics here I mean, I suppose, the emotions that are associated with our terminology and frame (schemi mentali) – that is, what is absolutely necessary to make the theory living (lebendig), capable of assimilation and at all intelligible. If this is true, it is an exceptional example of how far a difference in metaphysics can make to us absolutely unintelligible an otherwise perfectly sound theory. This would be simply a translation of Marx into English, from the forms of Hegelian metaphysics to the forms of Hume’s metaphysics."
Sraffa (D3/12/4: 15) describing his intended lebensprojekt (via writingcapital)
"If there are connections everywhere, why do we persist in turning dynamic, interconnected phenomena into static, disconnected things?"
Eric Wolf - Europe and the People Without History. pg 4
Revisiting this text for next week’s Globalization class. So many great and powerful points within the first few pages.(via everydayhybridity)
A most important text in my own history, whatever meagre place that is in the history of thought. Good to remember that the formative works in one’s life are not necessarily sophomoric by virtue of their relative position in your - or a field’s - development.
Friday Free Font 70
This is the interpretation and sketching of Hans Möhring’s sketches of »elegant grotesk« (1929) called Elegant Lux made by Wir sind Schöner agency. The current state is about 600 glyphs, lots of ligatures, alternates & language support. Use the font for serious type projects or higher print forms.
The video camera is plugged into the VCR, allowing it to record itself being poked and prodded.
GIF’d version of Vide-Uhhh! (2005)
Alchemical and Rosicrucian Compendium (Selected Pages). Mellon MS 110. 1760.
Paintings by Hilma af Klint (1862-1944)
Five years before Wassily Kandinsky (he of the book Concerning the Spiritual In Art, 1910), before Piet Mondrian and Kazimir Malevich, before the images of Carl Jung and Rudolf Steiner—who dismissed her ideas as wrong—was this revolutionary artist and abstractionist, Hilma af Klint, possibly the first purely abstract painter to produced non-objective works in the early 1900s.Hilma af Klint was influenced by contemporary spiritual movements, such as spiritism, theosophy and, later, anthroposophy. Her oeuvre builds on the awareness of a spiritual dimension of consciousness, an aspect that was being marginalised in an increasingly materialistic world. When she painted, she believed that a higher consciousness was speaking through her. In her astonishing works she combines geometric shapes and symbols with ornamentation. Her multifaceted imagery strives to give insights into the different dimensions of existence, where microcosm and macrocosm reflect one another.
174-174 Thursday 23 2:05:09 PM
a Master is … by definition an impostor, an imbecile who misperceives as the outcome of his decisions what actually ensues from t h e automatic run of t h e symbolic machine"
Slavoj Zizek, 1994 (via alterities)