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"Foucault insists on the importance of the techniques of interpretation. It’s possible that in the actual idea of interpretation is something which goes beyond the dialectical opposition between “knowing” and “transforming” the world. Freud is the great interpreter, so is Nietzsche, but in a different way. Nietzsche’s idea is that things and actions are already interpretations. So to interpret is to interpret interpretations, and thus to change things, “to change life.” What is clear for Nietzsche is that society cannot be an ultimate authority. The ultimate authority is creation, it is art: or rather, art represents the absence and the impossibility of an ultimate authority. From the very beginning of his work, Nietzsche posits that there exist ends “just a little higher” than those of the State, than those of society. He inserts his entire corpus in a dimension which is neither historical, even understood dialectically, nor eternal. What he calls this new dimension which operates both in time and against time is the untimely. It is in this that life as interpretation finds its source. Maybe the reason for the “return to Nietzsche” is a rediscovery of the untimely, that dimension which is distinct both from classical philosophy in its “timeless” enterprise and from dialectical philosophy in its understanding of history: a singular element of upheaval."
Gilles Deleuze, in an interview with Guy Dumur, from Le Nouvel Observateur, April 5, 1967, pp. 40-41. (via sisyphean-revolt)

(via cyborges)

— 4 days ago with 134 notes
"Time measures
Nothing but itself"
W. G. Sebald, Across the Land and the Water, trans. Iain Galbraith (via proustitute)

(via ontimeliness)

— 6 days ago with 512 notes

escapekit:

The work of Pejac

Street artist Pejac makes clever use of the urban environment in his works. 

(via jonny-foreigner)

— 1 week ago with 1804 notes
cyborges:

Joseph Beuys, The Silence (Ingmar Bergman), 1973
Five film reels in galvanized zinc

cyborges:

Joseph Beuys, The Silence (Ingmar Bergman), 1973

Five film reels in galvanized zinc

(via andreii-tarkovsky)

— 3 weeks ago with 156 notes
aqqindex:

Ettore Sottsass, Prototypes for Poltronova, 1967

aqqindex:

Ettore Sottsass, Prototypes for Poltronova, 1967

(via cyborges)

— 3 weeks ago with 132 notes
rudygodinez:

Takis, Tele-Magnetic Sculpture, (1960)
 “I bought my first magnet and dreamed of using it in some way, by using the force of the magnet to bring about perpetual movement. I hoped to make a metallic object move forever… What I was looking for was to create something that I felt to be “real”. A magnet is not an idea - there is nothing more real than the power generated by magnetic force.”

rudygodinez:

Takis, Tele-Magnetic Sculpture, (1960)

 “I bought my first magnet and dreamed of using it in some way, by using the force of the magnet to bring about perpetual movement. I hoped to make a metallic object move forever… What I was looking for was to create something that I felt to be “real”. A magnet is not an idea - there is nothing more real than the power generated by magnetic force.”

(via orthelious)

— 1 month ago with 155 notes
raveneuse:

Nam June Paik, Reclining Buddha, 1994.

raveneuse:

Nam June Paik, Reclining Buddha, 1994.

(via kinetics)

— 1 month ago with 2297 notes