We open the bar door and are immediately blinded by white, office-like lights. We turn around, deciding to stay outside on the twilight veranda. At other tables, several obligatory couples are chatting, a man in a business suit is talking on the phone, popping olives into his mouth, two ladies - the same age as my parents - are sipping champagne. We are waiting for our wine, he - white, I - red. He talks about work. It seems to me that he is speaking louder than usual, exaggeratedly loud.

I wonder what Marcus Aurelius, the last of the five good emperors, was thinking about on his long campaigns to the outskirts of his empire? Emil Cioran believes that at that time he was much more interested in the idea of ​​death than the idea of ​​empire, since death is not given for free and must also be earned. It is ignoble and unphilosophical to leave the world in vain.

in my early childhood there were 4 dreams 2 of them were repeated 2 no in the first dream on white snow crispy and spicy there were three drops of blood I woke up the room was dark and there was a sled in the corridor I cried in the second dream - didn't cry very thin and in a black dress holding the hands of my two sons blue-eyed with snow-white hair their shirts are blue Both names start with "A" the temple outside is also blue no one at the altar third dream -- I'm flying over a field with

Mediators are absolutely necessary. Creativity is impossible without mediators. Without them, nothing is created. These can be people: for a philosopher these are artists or scientists, for a scientist - philosophers or artists - but also things, and even plants or animals, like Castaneda. You need to create your own mediators, imaginary or real, animate or inanimate. It's always a series. If a series is not created, even an imaginary one, we are simply lost.

Cheshire cat in the forest As practice shows, modern materialist philosophy is unthinkable without high-quality knowledge of texts and the development of skills in their application and interpretation. Taking into account the relevance of the content and the complexity of the style, as an example I chose for this an excerpt from the book by J.

Work by artist Almagul Menlibayeva Feminist researcher and cultural worker Vika Kravtsova for the issue of Nettle dedicated to decolonization. Travel theories New forms of translocal connectivity that have emerged as a result of globalization and the development of communication technologies have led to the fact that the feminist agenda has acquired a global form.

1 Gone are the days when you could just go outside. “I’m just walking”, “I’ll be right away”, “I’ll just go” ... The ban on a walk results in a ban on delaying the thought of it. Now it is important to think about strangers, strangers, others; it is important to think about the street, about the house, but also about the distance between everything. The teleological nature of every action, and therefore going out into the street, seems undeniable.

Eight o'clock in the evening. The dust on the bookshelves silvers in the rays of the star, creeping like a beetle from a cloud bank, hiding behind pale and flabby, like the buttocks of an envious cardinal, high-rise buildings, while another, an exact copy of the descending one, rises above the roofs of the Main Tractor Plant, where for 50 years no one has been working with tractors, unless they are part of an installation.

A new cycle of poems by the poetess and artist Sasha Moroz with drawings by Anna Afonina, which are a free reinterpretation of illustrations for the cult book of necrorealists - a textbook on forensic medicine by Eduard von Hoffmann (19th century).

I CAN CANDLE IT MYSELF! PLEASE DO NOT GO! Someone's holding out their hand over there, pester him better, comrade teacher. Noisy and threatening antics - “IZO” The term “small media” does not have a precise definition, it sounds hierarchical (large/small opposition) and isolated, although small media themselves have great potential. To understand this, you need to understand their specifics, characteristics and principles by which they exist.

Ivan Streltsov translated Trevor Paglen's essay on the productivity of modern criticism of image-recognizing and image-producing machines specifically for Spectate . The text was published in issue 59 of E-flux magazine in November 2014 in memory of Haruna Farocki (1944 - 2014). Harun Farocki, Eye/Machine III, 2003 Something new, which the theoretical tools of visual studies and art history could not foresee, was happening in the world of images: machines began to be seen for themselves.