“One of our favorite scenes is the ‘cure by music,’ in which the sick man (a melancholic) receives sweet melodies through one ear as if the better to appease or chase away the ringing he seems to be suffering from in the other, which he supports with his open palm.”
Listen: A History of Our Ears, Peter Szendy.
“As for the Pyramids, there is nothing to wonder at in them so much as the fact that so many men could be found degraded enough to spend their lives constructing a tomb for some booby, whom it would have been wiser and manlier to have drowned in the Nile, and then given his body to the dogs. … it is much the same all the world over, wheter the building be an Egyptian temple or the United States Bank.”
Walden, Henry David Thoreau.
“For Adorno (and up to a certain point, also for Karavan), art is neither a reflection of reality nor an aspect of ideology, as various dogmatists would have it. It is a witness to history −that is, accumulated experiences and suffering− as well as a place of desire. Aesthetics is therefore the ferment and promise of a free world.”
From Technological to Virtual Art, Frank Popper.
• Technology and the novel, from Blake to Ballard [read]
Tom McCarthy, The Guardian, Saturday 24 July 2010
• El elogio de la sombra [leer]
• Lenore #1-13
• Psychogeography [read]
• Words Made Flesh. Code, Culture, Imagination [read]
• Jacques Attali, author of Noise (1977). Speaking at the ICA, London, May 2001 [read]
• Medicina tradicional china [leer]
Daniel Reid. Ediciones Urano. 1999.
• Anarchism: A Very Short Introduction
Colin Ward. Oxford University Press. 2004.
• The Laws of Simplicity
John Maeda. The MIT Press. 2006.
• A User’s Guide to Détournement [read]
Guy Debord & Gil J Wolman. 1956.
• On Found Poetry (A FOUND INTRODUCTION) [read]
John Robert Colombo
From Open Poetry, (Ronald Gross & George Quasha, eds., 1973)
• A Day in the Life of a Musician [read]
• Dead and Gone
Charlaine Harris. 2009.
• Del asesinato considerado como una de las Bellas Artes [read in English]
Thomas de Quincey
• Consciousness and Perception: The Point of Experience and the Meaning of the World We Inhabit [read]
Sérgio Roclaw Basbaum. Revista Eletrônica Informação e Cognição, v.5, n.1, p.181-203, 2006.
• Preguntes a un mestre Zen
“…it was here in the Czech theater that the term robot was first coined (from the Slavic “to work”) to describe human-shaped, mechanical automata that could carry out drudge labor.”
Sensorium, edited by Caroline A. Jones
“In an article in the Czech journal Lidové noviny in 1933, he [Karel Čapek] explained that he had originally wanted to call the creatures laboři (“workers”, from Latin labor). However, he did not like the word, and sought advice from his brother Josef, who suggested “roboti”. The word robota means literally “work”, “labor” or “serf labor”, and figuratively “drudgery” or “hard work” in Czech and many Slavic languages. Traditionally the robota was the work period a serf (corvee) had to give for his lord, typically 6 months of the year. Including Slovak, Ukrainian, Russian and Polish. The origin of the word is the Old Church Slavonic rabota “servitude” (“work” in contemporary Bulgarian and Russian), which in turn comes from the Indo-European root Serfdom was outlawed in 1848 in Bohemia, so at the time Čapek wrote R.U.R., usage of the term robota had broadened to include various types of work, but the obsolete sense of “serfdom” would still have been known.”