"I never permit myself to forget that truth is an odd number and that my own personal numerals, the first and the last and all intermediaries, are all inevitably even."

— Flann O’Brien, At Swim-Two-Birds, p. 108

obscurevideogames:

vgjunk:

Breakers Revenge, arcade.

(Visco/SNK - Neo Geo - 1998)

obscurevideogames:

vgjunk:

Breakers Revenge, arcade.

(Visco/SNK - Neo Geo - 1998)

"Afterwards, near Lad Lane police station a small man in black fell in with us and tapping me often about the chest, talked to me earnestly on the subject of Rousseau, a member of the French nation. He was animated, his pale features striking in the starlight and his voice going up and falling in the lilt of his argumentum. I did not understand his talk and was personally unacquainted with him. But Kelly was taking in all he said, for he stood near him, his taller head inclined in an attitude of close attention. Kelly then made a low noise and opened his mouth and covered the small man from shoulder to knee with a coating of unpleasant buff-coloured puke. Many other things happened on that night now imperfectly recorded in my memory but that incident is still very clear to me in my mind. Afterwards the small man was some distance from us in the lane, shaking his divested coat and rubbing it along the wall. He is a little man that the name of Rousseau will always recall to me. Conclusion of reminiscence."

— Flann O’Brien, At Swim-Two-Birds, p. 39

fuckyeahbrutalism:

Knights of Columbus Building, New Haven, Connecticut, 1967-69
(Kevin Roche, John Dinkeloo Associates)

fuckyeahbrutalism:

Knights of Columbus Building, New Haven, Connecticut, 1967-69

(Kevin Roche, John Dinkeloo Associates)

"Money implies the separation between the value of things and their substance."

— Karl Marx - The Grundrisse Notebook 1 1857 (via dailymarx)

thechemistryset:

Thamesmead, south-east London, 1974

thechemistryset:

Thamesmead, south-east London, 1974

"

The Eliminator overloads the eye whenever the red neon flashes on, and in so doing diminishes the viewer’s memory dependencies or traces. Memory vanishes, while looking at the Eliminator. The viewer doesn’t know what he is looking at, because he has no surface space to fixate on; thus he becomes aware of the emptiness of his own sight or sees through his sight. Light, mirror reflection, and shadow fabricate the perceptual intake of the eyes. Unreality becomes actual and solid.

The Eliminator is a clock that doesn’t keep time, but loses it. The intervals between the flashes of neon are “void intervals” or what George Kubler calls, “the rupture between past and future.” The Eliminator order negative time as it avoids historical space.

"

— Robert Smithson, The Eliminator (1964).

Drawing by Carl-Henning Pedersen.

Drawing by Carl-Henning Pedersen.

Asger Jorn, Månmannen (The Moon Man), 1953, ceramic sculpture.

Asger Jorn, Månmannen (The Moon Man), 1953, ceramic sculpture.

Tags: communism