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Publicaciones del Canal
| 2 |  Henri Lievens, cover art of “La Vieille fille blanche et autres contes fantastiques” (The White Old Maid and Other Fantastic Tales) by Nathaniel Hawthorne, Bibliothèque Marabout - Fantastique n° 454, 1973 | 344 |
| 3 |  Électro-Physiologie Photographique, Figure 76, negative 1852–1856; print 1876, Guillaume-Benjamin Duchenne and Adrien Alban Tournachon | 321 |
| 4 | Insofar as the mystery of the ordinary goes, the work [of art] initiates one to another plane, and in this way it constitutes an address, that is to say, a destination. This dimension — which is not that of existence, even though it does not come from an elsewhere or from a world beyond existence, either — leaps forth (se projette) from immanence and into it. It is this fully immanent projection that forms the basis of the question of reflective judgment, in the sense that such a judgment cannot be reduced or compared to objective determinations, that is to say, to objects of determinate and cognitive judgment.
The cognitive is never mysterious. The reflective, on the other hand, is the mystery of the extra-ordinary itself, but of an extra-ordinary without transcendence. In this sense, it is the mystery of immanence itself, the becoming-profane of the world. That is to say: its becoming-ordinary — whence the fact that a reflective judgment is only universal by de-fault (par défaut). Its universality — the fact that I posit that everyone should find beautiful, and not merely agreeable, what I find beautiful; that everyone should find extra-ordinary what is also ordinary — is its very mystery, precisely because of the fact that it only imposes itself by de-faulting itself: one will never be able to prove this universality. It will forever remain fundamentally doubtful.
Bernard Stiegler, “The Proletarianization of Sensibility”, Bernard Stiegler: Amateur Philosophy. Special issue of boundary 2, vol. 44, no. 1 | 301 |
| 5 |  Matt Mahurin, “Bloodguilt of a Royal House”, c. 1987 | 250 |
| 6 |  Norman Lindsay, “Strange Lands” | 234 |
| 7 |  +1Period of passionate attitudes of the great hysterial attack, Jean-Martin Charcot, Les Démoniaques Dans L'art | 216 |
| 8 | Today, search engines that make it possible to hierarchise information charge people for being referenced. It's always a question of selection. User profiling consists in identifying your search behaviours so that you can be offered things before it even occurs to you to ask for them. If this doesn't amount to consciousness programming, it's at least Pavlovian conditioning and reinforcement. You are locked into your synchronicity, prevented from changing, in an effort to achieve hypersegmentation, a marketing strategy that consists in identifying marketing micro-niches. Thus behaviours are standardised by reducing them to socio-professional categories or 'tribes' identified by 'markers' that are far more useful for marketing than political society. The media use mass-production consciousness-exploiting technologies by imposing their criteria for retention. The effect of this control of retentional mechanisms where consciousnesses represent a market (the value of an hour of consciousness is equal to the total cost of the ad time divided by the number of viewers, which comes to a few cents) is the homogenisation of secondary retentions. This is one essential cause (but not the only one) of our existential malaise. Control over our retentions implies a loss of identity, which means of difference. Nietzsche clearly saw this loss of the ability to produce difference and the tendency for societies to negate the exception. Our supposedly individualistic societies are in reality completely herd-like.
Bernard Stiegler, Philosophising By Accident: Interviews with Élie During | 231 |
| 9 |  The Spider Woman by Fernand Khnopff, 1901-03 | 183 |
| 10 |  Adolph M. Hopfmüller, Shadowland, November 1921 cover art | 181 |
| 11 |  Harold Hume Piffard, “The Silent Groves”, illustration from “Sibyl Falcon. A study in romantic morals” by Edgar Jepson, 1895 | 175 |
| 12 | My only practicable emancipation from the insatiable question of how to speak the truth about myself might be, perhaps, to lose the slightest interest in striving to answer it. To walk well away from it. My self might be considered, tautly, as consisting of nothing more than what it does. No transcendent 'character' need swell like a miasma over and above its actions; as Aristotle was convinced, it's in my performance that my truth is to be found. From this brisk perspective, any quest for a precise self-characterisation becomes a sustained error. On the contrary; to resolutely dedramatise myself is often the precondition for some clarity of behaviour. Then sheer boredom, too, can truncate lengthy self-scrutiny. The self can readily — and mercifully — become deeply uninteresting in its own eyes. It cannot gossip with much enthusiasm to itself , about itself, for very long ... The outside world and other people draw me on, 'out of myself', until some equable self-balance is restored. And my relieved turning away from some finally outgrown account of myself is like giving up alcohol, or love; there's little grasp of the actual moment of crossing that threshold of resignation, but only a nervous impression that the untraceable instant of disengagement is far more deeply mysterious than was my initial engagement. Preparation for relinquishing some constricting self-narrative may be hard and slow; I might disentangle myself only by laboriously picking away at its great coils with my fingernails. Yet in an insistent climate of cultural and therapeutic expectation that 'telling oneself' must be taken with deep seriousness, one can't do other than react somehow or other to this incessant question of what one truly is.
Denise Riley, The Words of Selves: Identification, Solidarity, Irony | 178 |
| 13 |  Salvador Dalí - Sacre Coeur de Jesus
The piece disappeared from the Parrish Art Museum on Sept. 1960, during the hurricane Donna. Because of the damage due to the storm, most of the clues were washed away and the police authorities have yet to find it | 200 |
| 14 |  +1Period of passionate attitudes and clownism of the great hysterial attack
Jean-Martin Charcot, Les Démoniaques Dans L'art | 180 |
| 15 | Merleau-Ponty comments that "all our experiences, inasmuch as they are ours, arrange themselves in terms of before and after, because temporality, in Kantian language, is the form taken by our inner sense, and because it is the most general characteristic of 'psychic facts'". Yet psychological guilt tirelessly modifies this psychic fact in its constant impulse to take responsibility for something that hasn't yet happened... The greater the intensity of guilt, the more swollen the ego that it masks. It abrogates too much responsibility to itself and for matters well outside its domain, not only because it suffers from an admirable conscientiousness but because it also suffers from omnipotence. Guilt's unwilled but determined megalomania must repeatedly survive the agonies of its own near-defeat.
Denise Riley, The Words of Selves: Identification, Solidarity, Irony | 167 |
| 16 |  Conrad Veidt in Das Cabinet des Dr. Caligari (1920) dir. Robert Wiene | 157 |
| 17 |  +2Randy Ortiz, “Depictions of Friends Being Together in the Moment and Enjoying Their Lives Under Dead Clouds,” 2017-24 | 151 |
| 18 |  Joshua Hubbert | 157 |
| 19 | The dream of transparency may end in a passion for blankness. Then to shun any concentration on my characteristics might lead me, instead of obliterating them, to give them away all over the place. I could, risking a reputation for willful psychosis, try to make my single self vanish by that hugely exhilarating tactic of becoming many. As Whitman repeatedly cries, "I embrace myself, I contain multitudes", I am several of me", "I am many"... Through joyous multiplication, I might manage to become so singularly large in my own eyes that I disappear to myself.
Denise Riley, The Words of Selves: Identification, Solidarity, Irony | 143 |
| 20 |  +8Tyler Pennington | 309 |
