What you are relates to an activity that links the uncounted elements that compose you to an intense communication of these elements among themselves. These elements are contagions of energy, movement, and heat, or transfers of elements, and they constitute the inner life of all organic beings. Life is never situated at some specific point, but quickly moves from one point to another (or from multiple points to other points) like a current or sort of electrical stream… Your life is not limited to that incomprehensible inner stream; it also streams out from itself, incessantly opening to whatever flows out or rushes up to it. The ongoing whirling that composes you collides with similar whirlings, which form a vast figure driven by rhythmic restlessness. Now, for you to live life signifies not just the flows and momentary dispositions of light that unite in you but the movements of heat or light moving from one person to another, or from you to another person, or from another to you (even as you now read me, the contagion of my fever reaches you): words, books, monuments, symbols, laughter - all these represent just so many paths to that contagiousness, to those impulses…
Georges Bataille, From Inner Experience as quoted in On Nietzsche
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Speak: but from the far side of language, too, from the side of those who create it. Each word needs to be turned inside out like a glove, and emptied of its substance. Each speech should wrench itself from the ground like an aeroplane and smash through the surrounding walls. Up till now you have been slaves. You have been given words to obey, words to enslave, words to write slavish poem and slavish philosophies. It is time to arm words. Arm them and hurl them against the walls. Perhaps they will even reach the other side.
J.M.G. Le Clezio, The Giants. 
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The museum institutionalizes the truly radical, atheistic, revolutionary violence that demonstrates the past as incurably dead. It is a purely materialistic death without return—the aestheticized material corpse functions as a testimony to the impossibility of resurrection.
Boris Groys, ‘On Art Activism' (E-flux Journal, July 2014)
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'Communication' cannot be proceed from one full intact individual to another. It required individuals whose separate existence in themselves is risked, placed at the limit of death and nothingness; the moral summit is the moment of risk taking, it is a being suspended in the beyond of oneself, at the limit of nothingness.
Georges Bataille, On Nietzsche
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there is no royal road to science, and only those who do not dread the fatiguing climb of its steep paths have a chance of gaining its luminous summit.
karl marx, preface to the french edition, das kapital vol. 1, 1872 [1] (via nosex)
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Resistance is futile, as the mutation is transforming everything in the deep fabric of subjectivity. Obviously, people will struggle for survival, and you can call it resistance. Small islands of temporary social autonomy will resist, but the conditions for social solidarity have been cancelled by the pervading precarity. We should stop deceiving ourselves: the only resistance to global financial capitalism for the time being is the identitarian force of localism, identity, and fascism.
Running Along the Disaster: A Conversation with Franco ‘Bifo’ Berardi
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Istubalz, Untitled, 2014.

Istubalz, Untitled, 2014.

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The conventional character of the standard philosophical discourses - which undermined their claims of self evidence - was from beginning the main target of antiphilosophical critique. Antiphilosophy does not produce any conventionally identifiable philosophical texts, but instructs us how to change our mind in such a way that certain practiced, discourses and experiences would become universally evident. Or, in other words, antiphilosophy produces not the universally self-evident texts and objects, but universal evidence as such. That is why anti-philosophy - like anti-art - not only does destroy philosophy as an institution but, rather, offers the only possible path for its survival.
Boris Groys, Introduction to anti-philosophy
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The artist accepts this infinite violence and appropriates it , and lets himself be infected by it. And he lets this violence infect, destroy, and sicken his own art.

The artist accepts this infinite violence and appropriates it , and lets himself be infected by it. And he lets this violence infect, destroy, and sicken his own art.

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Theaster Gates, Ain’t I a man, 2012. 

Theaster Gates, Ain’t I a man, 2012. 

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