Difference is not and cannot be thought in itself, so long as it is subject to the requirements of representation. Deleuze

Two Owls, by Yoshida Toshi, 1970

Mont Sainte-Victoire #artbots #cezanne

Heirinji Temple Bell, by Yoshida Toshi, 1951

Mont Sainte-Victoire #artbots #cezanne

Sunrise at Stonehenge today (27th March) was at 5.55am, sunset is at 6.31pm 🌧️

雨に灯る緑。

a throw of dice will never abolish chance Mallarme

the gallows legend-making https://t.co/hhlMdGNmYd

postcards aNd letters

these recurrent causalities make possible the appropriation o f large geometrical structures and the development of great trajectories Deleuze about Keaton

providing the absurd element which is indispensable to the machine Deleuze

this must form part of the machine: in this respect we cannot be certain that Keaton lacks a political vision Deleuze

but she also brings to realisation Keaton’s dream of taking the biggest machine in the world and making it work with the tiniest elements, thus converting it for the use o f each one o f us, making it the property of everyone Deleuze

it implies immensity, but in inventing the ‘minoring’ function which transforms it, by virtue of an ingenious system which is itself machinic, based on the mass of pulleys, wires and levers Deleuze about Buster Keaton's machines

with Dadaism rather than Surrealism: the house-machine, the ship-machine, the train-machine, the cinema-machine Deleuze about Buster Keaton

but Buster Keaton is perhaps alone in carrying out pure continuous trajectories Deleuze about Keaton

not just so that the comic action is ‘incidentally’ produced, but so that it dominates and carries along the situation in its entirety, and coincides with it Deleuze about Keaton

he relates the terrible situation to a slight difference which is itself ludicrous Deleuze about Chaplin

it is a reversed sensory-motor schema Deleuze