brandon harrington

Louise Bourgeois. Weaving Word, 1948

Jacques Fath hat, 1951, photo by Willy Maywald

 Agnes Martin, Aspiration, 1960
There are creators in politics, and creative movements, that are poised for a moment in history. Hitler, on the contrary, lacked to a singular degree any Nietzschean element. Hitler is not Zarathoustra. Nor is Trujillo. They represented what Nietzsche calls “the monkey of Zarathoustra.” As Nietzsche said, if one wants to be “a master,” it is not enough to come to power. More often than not it is the “slaves” who come to power, and who keep it, and who remain slaves while they keep it.
The masters according to Nietzsche are the untimely, those who create, who destroy in order to create, not to preserve. Nietzsche says that under the huge earth-shattering events are tiny silent events, which he likens to the creation of new worlds: there once again you see the presence of the poetic under the historical. In France, for instance, there are no earth-shattering events right now. They are far away, and horrible, in Vietnam. But we still have tiny imperceptible events, which maybe announce an exodus from today’s desert. Maybe the return to Nietzsche is one of those “tiny events” and already a reinterpretation of the world.
— Gilles Deleuze, in an interview with Guy Dumur, from Le Nouvel Observateur, April 5, 1967, pp. 40-41. (via sisyphean-revolt)

Nam June Paik - Zen for TV, 1963

Henri Matisse sketching

John Olivier Haviden- Self-portrait, 1930

Cité de l’océan - Biarritz
Yashica Electro 35 GX / Rollei RPX400

French philosopher Gilles Deleuze and psychoanalyst Felix Guattari published A Thousand Plateaus in 1980. The text is the second volume in their series Capitalism and Schizophrenia, the previous volume being Anti-Oedipus published in 1972. The book was a landmark of continental thought influencing a myriad of disciplines on both sides of the Atlantic. One of the notable aspects of the book is that concepts are often used prior to being introduced and explained giving it a circular and non-linear (or rhizomatic to use the terms of the text) nature. In the introduction they suggest the book is composed of ‘plateaus’, not chapters and explain:
We are writing this book as a rhizome. It is composed of plateaus. We have given it a circular form, but only for laughs. Each morning we would wake up, and each of us would ask himself what plateau he was going to tackle, writing five lines here, ten there. We had hallucinatory experiences, we watched lines leave one plateau and proceed to another like columns of tiny ants. We made circles of convergence. Each plateau can be read starting anywhere and can be related to any other plateau (22).
In this spirit, the above visualization is a cursory attempt to map the complex space of this text. The red bars represent the number of occurrences of key phrases that appear, build and disappear throughout the text. The vertical grey lines mark the given division of the text into sections. The image to the left appears in the book at the beginning of the introduction. The analysis was based on the 1987 English translation of the text. Asterisks next to words mean that the root was used to find multiple forms.


Edward Youmans’ Chemical Atlas, 1856. 

(via the wonderful Brain Pickings)


Nikolai Suetin, Suprematist Town, 1931

Eva Hesse in her studio

الشهادة in geometric Kufi script.  Turkey, 19th c.

Brian Eno lecturing at the Museum of Modern Art, New York, 1990.