futureproofdesigns:
UF D3, Conceptual Section
John Fechtel
2012
johnfechtel
(via thepkdickhead)
My writings are daily affirmations of death. I am painting myself into a corner until there is only one inevitable act left. I am killing every belief and breaking down every value that upholds my very life until what is left is nothing. An experiment in nihilism, I am destroying all values that uphold life until I am left with nowhere to stand.
melancholia-tree:
Arnulf Rainer est dingue.
Arnulf Rainer ME rend dingue.
No doubt Stalin ended the applause himself, on that occasion - with a diffident elevation of the palms, perhaps. But ending the applause for Stalin was a mortally serious business. Who could end the applause for Stalin when Stalin wasn’t there?
At a Party conference in Moscow Province, during the Terror years, a new secretary took the place of an old secretary (who had been arrested). The proceedings wound up with a tribute to Stalin. Everyone got to their feet and started applauding; and no one dared stop. In Solzhenitsyn’s version of this famous story, after five minutes ‘the older people were panting with exhaustion.’
After ten minutes:
With make-believe enthusiasm on their faces, looking at each other with faint hope, the district leaders were just going to go on and on applauding till they fell where they stood, till they were carried out of the hall on stretchers!
The first man to stop clapping (a local factory director) was arrested the next day and given ten years on another charge.
There existed at the time a gramophone record of one of Stalin’s longer speeches. It ran to eight sides, or rather seven, because the eighth consisted entirely of applause.
Now close this book for a moment and imagine sitting there and listening to that eighth side, at night, in the Moscow of 1937. It must have sounded like the approach of fear, like the music of psychosis, like the rage of the state.
Martin Amis, Koba the Dead: Laughter and the Twenty Million (via
fatandcomplacent)
”Hexenzene” by David Teniers the younger {c.1700}
(Source: norma-bara, via c0lmillos)
James Hamilton - The Last Days of Pompeii
(Source: leaddust, via aboveskylevel)
thorsteinulf:
William Blake - The Agony in the Garden (1799-1800)
Extinction is real yet not empirical, since it is not of the order of experience. It is transcendental yet not ideal, since it coincides with the external objectification of thought unfolding at a specific historical juncture when the resources of intelligibility, and hence the lexicon of ideality, are being renegotiated. In this regard, it is precisely the extinction of meaning that clears the way for the intelligibility of extinction. Senselessness and purposelessness are not merely privatize; they represent a gain in intelligibility. The cancellation of sense, purpose, and possibility marks the point at which the ‘horror’ concomitant with the impossibility of either being or not-being becomes intelligible. Thus, if everything is dead already, this is not only because extinction disables those possibilities which were taken to be constitutive of life and existence, but also because the will to know is driven by the traumatic reality of extinction, and strives to become equal to the trauma of the in-itself whose trace it bears. In becoming equal to it, philosophy achieves a binding of extinction, through which the will to know is finally rendered commensurate with the in-itself. This binding coincides with the objectification of thinking understood as the adequation without correspondence between the objective reality of extinction and the subjective knowledge of the trauma to which it gives rise. It is this adequation that constitutes the truth of extinction. But to acknowledge this truth, the subject of philosophy must also recognize that he or she is already dead, and that philosophy is neither a medium of affirmation nor a source of justification, but rather the organon of extinction.
Albrecht Altdorfer - 1529 The Battle of Alexander,
(Source: eskisanat, via c0lmillos)