Demon, Chance, Love, and Necessity

 

The investigation begins with a citation from Macrobius’s Saturnalia to the effect that “four deities preside over the birth of every human being: Daimon, Tyche, Eros, and Ananke (Demon, Chance, Love, and Necessity).” He then turns to a work in which Goethe—an author who, incidentally, spent his life working on a sprawling multi-volume project (Faust)—takes up Macrobius’s list, expanding it to include Elpis (Hope). The five chapters of the work correspond to Goethe’s five figures, with Chance replaced by “Aventure” (Provençal for “adventure”) and Necessity by “Event.” Hence the reader must be familiar with two dead languages—Greek and Provençal—even to scan the table of contents, and the rest of the work shows the same breezy erudition for which Agamben is well known. Yet his fast-paced argumentation keeps the reader from getting bogged down, as every confusing or baffling point is quickly succeeded by a fresh idea or interpretation.

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The Fifth Side

Hafen 1, Mannheim , October 2020

Interviewer: What are the principal formal problems in your work?

Baltz: The edge. Quite literally, the major issue is the question of where to place the edge, what to include or exclude. A photograph is a five-sided flat object. In its construction those sides must be considered and referred to.

Interviewer: The fifth side?

Baltz: The frontal plane. The surface of the print acts as a reference for the space that the image occupies. The plausibility of that fictive space rests entirely upon the concern shown forthe print surface.

— from: An Interview with Lewis Baltz, Winter 1972

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Wall Piece

Wall Piece III, Mannheim, Oktober 2020

 

Wall Piece II, Mannheim, Oktober 2020

Wall Piece III, Mannheim, Oktober 2020

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photography is a device of human desire

Walking Project

We could discuss this in clinical terms. We know, for example, that the photographic device has obsessive-compulsive effects. The apparent ‘neutrality’ or ‘objectivity’ of the medium quickly turns it into a device that is driven by the anxiety that something is evading it: an obsession for registration and organisation, an obsession for information, documenting, cataloguing, systemising and creating hierarchies with respect to the apparent reality. On the other hand, due to the opportunities that photography offers to be there on the spot in any situation, it soon becomes invested with a hysterical desire: the cry for ‘reality’, ‘authenticity’, ‘intensity’, the demand that the image will take me to the very heart of the activity that it has registered. The image must fulfil me. We want the real thing and we want it now. The whole ‘human interest’ business that has been hollowing out the information sector for years, cultivates that hysteria.

— Frank Vande Veire, Blind Auto-Reflexivity: Dirk Braeckman’s Light on Photography

 

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Cultivate Hysteria

Walking Project

 

We could discuss this in clinical terms. We know, for example, that the photographic device has obsessive-compulsive effects. The apparent ‘neutrality’ or ‘objectivity’ of the medium quickly turns it into a device that is driven by the anxiety that something is evading it: an obsession for registration and organisation, an obsession for information, documenting, cataloguing, systemising and creating hierarchies with respect to the apparent reality. On the other hand, due to the opportunities that photography offers to be there on the spot in any situation, it soon becomes invested with a hysterical desire: the cry for ‘reality’, ‘authenticity’, ‘intensity’, the demand that the image will take me to the very heart of the activity that it has registered. The image must fulfil me. We want the real thing and we want it now. The whole ‘human interest’ business that has been hollowing out the information sector for years, cultivates that hysteria.

— Frank Vande Veire, Blind Auto Reflexivity

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giv me reply

Paris, April 2018

giv me reply

at least I hav pretty hair

i hate posting pictures of myself bc i know once i’m famous ppl will use them as the before pics for my before & after comparison shots

most of the time i think the whole world is cruel & evil but sometimes someone is nice 2 me and i start to cry bc i think maybe the world isn’t cruel & evil maybe im the cruel & evil 1 & i h8 every1 for no reason

i love getting random questions like that tho ty anon

-vampyredoll

 

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Everything Comes To An End

Anyway, I think I will restart my work with the Illustrated Botanical Dictionary. I am going to capture subjects in daylight with color photography; I will compile them into the Illustrated Botanical Dictionary. For that, they must be color photographs. This is because I would like to completely cast off any trace of the hand that remains with the darkroom process of black-and-white photography. The hands themselves have made the art. The hands are the others within oneself. But of course the hands are the self. Manipulation and a thing manipulated by the hands are still an extension of the hands. The world is manipulated by the hands. My Illustrated Botanical Dictionary will come to exist by cleanly severing all ties with hand-manipulation. In that sense, the color photograph is already in the other world. Release the shutter once, and everything comes to an end

–Takuma Nakahira, from Why An Illustrated Botanical Dictionary

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