From then on, desire will function in two coexisting states: on the one hand it will be caught up in this or that segment, this or that office, this or that machine or state of machine; it will be attached to this or that form of content, crystallized in this or that form of expression (capitalist desire, fascist desire, bureaucratic desire, and so on). On the other hand and at the same time, it will take flight on the whole line, carried away by a freed expression, carrying away deformed contents, reaching up to the unlimited realm of the field of immanence or of justice, finding a way out … These two coexistent states of desire are the two states of the law.
Gilles Deleuze and Felix Guattari, Kafka; Toward a Minor Literature (59)
Gilles Deleuze and Felix Guattari, Kafka; Toward a Minor Literature (59)
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Seeing a figure can be only simultaneously experiencing all the
atomic sensations which go to form it. Each one remains for ever what it is, a blind contact, an impression, while the whole collection of these becomes ‘vision’, and forms a picture before us because we learn to pass quickly from one impression to another.
Maurice Merleau-Ponty, Phenomenology of Perception
atomic sensations which go to form it. Each one remains for ever what it is, a blind contact, an impression, while the whole collection of these becomes ‘vision’, and forms a picture before us because we learn to pass quickly from one impression to another.
Maurice Merleau-Ponty, Phenomenology of Perception
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[T]he language of fascism is written in the language of love. Love is made into the primary quality of attachment, what motivates individuals into fascism: ‘we hate foreigners because we love our country.’ […] Love has an enormous political utility: transforming fascist subjects not only into heroic subjects, but also into potential or actual victims of crime as well as those who ‘alone’ are willing to fight crime. Fascist subjects become freedom fighters, willing to stand against the ‘swamp’ or ‘tide’ of the incoming others, who themselves are narrated as hateful: as being not only worthy of our hate, but as full of hate for what we are and have.
Sara Ahmed, The Bond of Belief
Sara Ahmed, The Bond of Belief
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Suprematism with Blue Triangle and Black Square.
Kazimir Malevich
Oil on canvas
1915
Malevich was the driving force behind the whole Suprematism movement, and he believed the mechanical looking, yet handmade paintings were what needed to be expressed. These works were bold, yet minimal and expressed the spirituality of basic properties of life. This style, which is exemplified in this painting, speaks to what movements are to come in the fast paced future of minimalism.
Kazimir Malevich
Oil on canvas
1915
Malevich was the driving force behind the whole Suprematism movement, and he believed the mechanical looking, yet handmade paintings were what needed to be expressed. These works were bold, yet minimal and expressed the spirituality of basic properties of life. This style, which is exemplified in this painting, speaks to what movements are to come in the fast paced future of minimalism.
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