Symptoms
A commodity appears, at first sight, a very trivial thing, and easily understood. Its analysis shows that it is, in reality, a very queer thing, abounding in metaphysical subtleties and theological niceties. So far as it is a value in use, there is nothing…
Man's reflections on the forms of social life, and consequently, also, his scientific analysis of those forms, take a course directly opposite to that of the actual historical development. He begins, post festum, with the results of the process of development ready to hand before him. The characters that stamp products as commodities, and whose establishment is a necessary preliminary to understood forms of social life, before man seeks to decipher, not their historical character, for in his eyes they are immutable, but their meaning. Consequently, it was the analysis of the prices of commodities that alone led to the determination of the magnitude of value, and it was the common expression of all commodities in money that alone led to the establishment of their characters as values. It is, however, just this ultimate money form of the world of commodities that actually conceals, instead of disclosing, the social character of private labour, and the social relations between individual producers. When I state that coats or boots stand in a relation to linen, because it is the universal incarnation of abstract human labour, the absurdity of the statement is self-evident. Nevertheless, when the producers of coats and boots compare those articles with linen, or, what is the same thing, with gold or silver, as the universal equivalent, they express the relation between their own private labour and the collective labour of society in the same absurd form.
The categories of bourgeois economy consists of such like forms. They are forms of thought expressing with social validity the conditions and relations of a definite, historically determined mode of production, viz., the production of commodities. The whole mystery of commodities, all the magic and necromancy that surrounds the products of labour as long as they take the form of commodities, vanishes therefore, so soon as we come to other forms of production.
Karl Marx, Das Kapital (Vol. I) [1867]
The categories of bourgeois economy consists of such like forms. They are forms of thought expressing with social validity the conditions and relations of a definite, historically determined mode of production, viz., the production of commodities. The whole mystery of commodities, all the magic and necromancy that surrounds the products of labour as long as they take the form of commodities, vanishes therefore, so soon as we come to other forms of production.
Karl Marx, Das Kapital (Vol. I) [1867]
Forwarded from Symptoms
Found it again.
What?—Eternity.
It's the sea going.
Into the sun.
Vigilant soul,
Whisper the avowal
Of the night so void
And the day on fire.
So disengage
From human craving,
From common ecstasies
And fly accordingly.
For from you alone,
Embers of satin,
Breathes out of the Task
Without it being said: At last.
Hope, not a chance,
No oldtime religion.
Knowledge with patience,
The torture is a given.
It is retrieved.
What?—Eternity.
It's the sea on the run.
With the sun.
Aurthur Rimbaud, Eternity.
What?—Eternity.
It's the sea going.
Into the sun.
Vigilant soul,
Whisper the avowal
Of the night so void
And the day on fire.
So disengage
From human craving,
From common ecstasies
And fly accordingly.
For from you alone,
Embers of satin,
Breathes out of the Task
Without it being said: At last.
Hope, not a chance,
No oldtime religion.
Knowledge with patience,
The torture is a given.
It is retrieved.
What?—Eternity.
It's the sea on the run.
With the sun.
Aurthur Rimbaud, Eternity.
Forwarded from The Kafka🦉
The first major English-language biography of Francisco Goya y Lucientes, who ushered in the modern era
The life of Francisco Goya (1746–1828) coincided with an age of transformation in Spanish history that brought upheavals in the country's politics and at the court which Goya served, changes in society, the devastation of the Iberian Peninsula in the war against Napoleon, and an ensuing period of political instability. In this revelatory biography, Janis Tomlinson draws on a wide range of documents―including letters, court papers, and a sketchbook used by Goya in the early years of his career―to provide a nuanced portrait of a complex and multifaceted painter and printmaker, whose art is synonymous with compelling images of the people, events, and social revolution that defined his life and era.
Tomlinson challenges the popular image of the artist as an isolated figure obsessed with darkness and death, showing how Goya's likeability and ambition contributed to his success at court, and offering new perspectives on his youth, rich family life, extensive travels, and lifelong friendships. She explores the full breadth of his imagery―from scenes inspired by life in Madrid to visions of worlds without reason, from royal portraits to the atrocities of war. She sheds light on the artist's personal trials, including the deaths of six children and the onset of deafness in middle age, but also reconsiders the conventional interpretation of Goya's late years as a period of disillusion, viewing them instead as years of liberated artistic invention, most famously in the murals on the walls of his country house, popularly known as the "black" paintings.
A monumental achievement, Goya: A Portrait of the Artist is the definitive biography of an artist whose faith in his art and his genius inspired paintings, drawings, prints, and frescoes that continue to captivate, challenge, and surprise us two centuries later.
The life of Francisco Goya (1746–1828) coincided with an age of transformation in Spanish history that brought upheavals in the country's politics and at the court which Goya served, changes in society, the devastation of the Iberian Peninsula in the war against Napoleon, and an ensuing period of political instability. In this revelatory biography, Janis Tomlinson draws on a wide range of documents―including letters, court papers, and a sketchbook used by Goya in the early years of his career―to provide a nuanced portrait of a complex and multifaceted painter and printmaker, whose art is synonymous with compelling images of the people, events, and social revolution that defined his life and era.
Tomlinson challenges the popular image of the artist as an isolated figure obsessed with darkness and death, showing how Goya's likeability and ambition contributed to his success at court, and offering new perspectives on his youth, rich family life, extensive travels, and lifelong friendships. She explores the full breadth of his imagery―from scenes inspired by life in Madrid to visions of worlds without reason, from royal portraits to the atrocities of war. She sheds light on the artist's personal trials, including the deaths of six children and the onset of deafness in middle age, but also reconsiders the conventional interpretation of Goya's late years as a period of disillusion, viewing them instead as years of liberated artistic invention, most famously in the murals on the walls of his country house, popularly known as the "black" paintings.
A monumental achievement, Goya: A Portrait of the Artist is the definitive biography of an artist whose faith in his art and his genius inspired paintings, drawings, prints, and frescoes that continue to captivate, challenge, and surprise us two centuries later.
Forwarded from Return to Freud (fa)
The Role of Anxiety in Psychoanalytic Clinical Practice.pdf
6 MB
The Role of Anxiety in Psychoanalytic Clinical Practice, Andre Michels