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- Highlight Loc. 1373  | Added on Monday, March 18, 2013, 12:01 AM all’interno di una specie sociale l’individualità è solo una breve finzione.

- Highlight on Page 107 | Loc. 1632-33  | Added on Thursday, February 28, 2013, 12:07 AM e poi io sono forgiato in una maniera che passo l'indomani a domandarmi se è vero quello che oggi per me è sicuro come la morte

- Highlight Loc. 1752-53  | Added on Friday, February 01, 2013, 08:31 AM per carattere, detesto gli errori. – Il mondo è fatto di piccoli errori. – Il mondo ha le sue regole, io le mie - Highlight Loc. 2268-73  | Added on Monday, February 04, 2013, 08:28 AM Tengo era un giovane onesto e privo di affettazione. Un uomo indipendente che non si appoggiava sugli altri. Come tutte le persone dalla grossa corporatura, tendeva a essere un po’ goffo, ma la furbizia e la slealtà non appartenevano al suo carattere. Era la classica persona che, una volta presa una decisione, tirava dritto per la sua strada. Certo, come avvocato o agente di borsa era difficile immaginare che avrebbe avuto successo. Qualcuno non avrebbe tardato a fargli uno sgambetto, e lui sarebbe inciampato e caduto nel momento piú delicato. Ma come professore di matematica e scrittore se la cavava senza problemi. Inoltre, anche se non eccelleva nelle relazioni sociali e non aveva una grande eloquenza, piaceva a un tipo preciso di donne. - Highlight Loc. 2323-25  | Added on Monday, February 04, 2013, 01:25 PM Indossava un tailleur di lana dal vago odore di naftalina che risaliva a chissà quando, e comunque doveva essere fuori moda già allora. Era rosa, ma di un rosa strano, come se avessero mischiato insieme colori sbagliati. Probabilmente avevano tentato di creare una tonalità sobria ed elegante, ma non ci erano riusciti, e quel rosa era sprofondato in uno stato di scoramento, vergogna e rassegnazione. - Highlight Loc. 3263-65  | Added on Thursday, February 07, 2013, 09:48 AM La morte non arriva all’improvviso. Si muore piano piano, dall’interno, e poi arriva il giorno del saldo definitivo. È un processo a cui nessuno può sfuggire. Le persone devono pagare per quello che hanno ricevuto. - Highlight Loc. 4349  | Added on Monday, February 11, 2013, 08:29 AM La realtà è dove se ti pungi con un ago ti esce del sangue rosso - Highlight Loc. 4705  | Added on Tuesday, February 12, 2013, 08:46 AM In che razza di mondo mi sono andato a cacciare?

- Highlight Loc. 93-95  | Added on Wednesday, December 05, 2012, 01:48 PM The scale at which images proliferate and the speed with which they travel have never been greater. Under these conditions, images appear to be free, but they carry a price. - Highlight Loc. 187-89  | Added on Wednesday, December 05, 2012, 02:08 PM with the “migrant object,” the right of possession does not depend on either cultural commonality or special knowledge, but rather on pure empathy. Consequently, its relation to its original site may be easily severed in order to release it into free and unfettered markets. - Highlight Loc. 195  | Added on Monday, December 31, 2012, 02:18 PM Native objects are absolutely site specific: if displaced they are said to be maimed, rendered meaningless. - Highlight Loc. 196-97  | Added on Monday, December 31, 2012, 02:22 PM Finally, there is the documented object, whose relationship to its original site or “find spot” (which is technically known as a provenience) has been properly studied to produce an informational or documentary value. - Highlight Loc. 206-8  | Added on Monday, December 31, 2012, 02:22 PM Images might become forms of currency that do not conform to the monetary (like many forms of communication). Because they emerge in an “information era” where documentation is virtually inherent in the production of art, contemporary artworks typically belong to the category of documented objects. - Highlight Loc. 228-30  | Added on Monday, December 31, 2012, 02:29 PM According to Benjamin, aura results from site specificity. It is because the work of art belongs to a “time and space” that it can possess the authority of a witness. Reproduction jeopardizes “the historical testimony” and the “authority of the object.” - Highlight Loc. 231-32  | Added on Monday, December 31, 2012, 02:29 PM But as Benjamin was well aware, one of the primary aesthetic and political struggles of modernity has been the dislocation of images from any particular site - Highlight Loc. 233-35  | Added on Monday, December 31, 2012, 02:34 PM Images are no longer and probably can never again be site specific, as Benjamin diagnosed, which means that instead of witnessing history, they constitute its very currency. - Highlight Loc. 251-54  | Added on Monday, December 31, 2012, 02:46 PM One could say, following the Comaroffs and contra Benjamin, that it is saturation through mass circulation—the status of being everywhere at once rather than belonging to a single place—that now produces value for and through images (and not only in “ethno-commodities”). Instead of a radiating nimbus of authenticity and authority underwritten by site specificity, we have the value of saturation, of being everywhere at once. In place of aura, there is buzz. - Highlight Loc. 283-85  | Added on Monday, December 31, 2012, 03:08 PM The emergent image is a dynamic form that arises out of circulation. As such, it is located on a spectrum between the absolute stasis of native site specificity on the one hand, and the absolute freedom of neoliberal markets on the other. - Highlight Loc. 290-92  | Added on Monday, December 31, 2012, 03:09 PM This is what the contemporary global artwork must be: an emissary, whose power arises out of cultural translation rather than avant-garde innovation, a form of international currency that can cross borders effortlessly. - Highlight Loc. 414-15  | Added on Monday, December 31, 2012, 04:20 PM these tactics underemphasize what is represented in order to accentuate the relationship between discrete images and their framing networks. - Highlight Loc. 568-71  | Added on Monday, December 31, 2012, 04:52 PM Simply put, a format is a heterogeneous and often provisional structure that channels content. Mediums are subsets of formats—the difference lies solely in scale and flexibility. Mediums are limited and limiting because they call forth singular objects and limited visual practices, such as painting or video. Mediums are analogue in a digital world. Formats regulate image currencies (image power) by modulating their force, speed, and clarity. - Highlight Loc. 589-93  | Added on Wednesday, January 23, 2013, 09:05 AM what now matters most is not the production of new content but its retrieval in intelligible patterns through acts of reframing, capturing, reiterating, and documenting. What counts, in other words, is how widely and easily images connect: not only to messages, but to other social currencies like capital, real estate, politics, and so on. In economies of image overproduction connectivity is key. - Highlight Loc. 614-16  | Added on Wednesday, January 23, 2013, 09:08 AM in informational economies of overproduction, value is derived not merely from the intrinsic qualities of a commodity (or other object), but from its searchability—its susceptibility to being found, or recognized (or profiled). This explains why contemporary art marginalizes the production of content in favor of producing new formats for existing images - Highlight Loc. 741-42  | Added on Wednesday, January 23, 2013, 09:43 AM Here is a paradox: public service is elided with the accumulation of wealth. This connection—between accumulation and democracy—is the format of American museums. - Highlight Loc. 749-50  | Added on Wednesday, January 23, 2013, 09:44 AM In other words, the American museum is engaged in a massive money-laundering operation: turning finance capital into cultural capital and putting a democratic face on the accumulation of wealth—all exempt from taxes! - Highlight Loc. 754-56  | Added on Wednesday, January 23, 2013, 09:46 AM For upper-class elites, museums justify accumulation as democratic; for large general audiences, the museum makes wealth fascinating, and hence culturally legitimate. It is no wonder that, in an era when the division between rich and poor has never been greater worldwide, museums are proliferating wildly. - Highlight Loc. 769-70  | Added on Wednesday, January 23, 2013, 09:55 AM it is now impossible to build a truly global career as an artist without a high quotient of connectivity bordering on the status of a brand. - Highlight Loc. 880-81  | Added on Wednesday, January 23, 2013, 10:36 AM As both commodity and experience, art is the paradigmatic object of globalization—it occupies the vanguard in an economy hungry for authenticity. - Highlight Loc. 927-30  | Added on Wednesday, January 23, 2013, 07:22 PM Under the conditions of ubiquitous image saturation, modern art’s purpose as a vanguard for the promotion of and research into how images constitute secular knowledge—and particularly self-knowledge or the anthropological knowledge of others—lost its urgency since everyone who inhabits contemporary visual culture assumes the complex communicative capacity of images to be self-evident. - Highlight Loc. 930-33  | Added on Wednesday, January 23, 2013, 07:23 PM As a consequence, “art,” defined as a private creative pursuit leading to significant and profitable discoveries of how images may carry new content, has given way to the formatting and reformatting of existing content—to an Epistemology of Search. The major consequence of this shift is that art now exists as a fold, or disruption, or event within a population of images—what I have defined as a format. - Highlight Loc. 946-49  | Added on Wednesday, January 23, 2013, 07:27 PM In a world saturated with highly sophisticated entertainment industries including computer games, websites like YouTube and Vimeo, phones and tablets that perform as mobile multimedia platforms, films, and television, not to mention the enhanced capacity of travel and tourism by which the desire for exotic experiences is projected onto foreign cultures, art is just one of many producers of alternative realities

- Highlight on Page 2 | Loc. 26-28  | Added on Thursday, January 24, 2013, 08:06 PM When you give people too much information, they instantly resort to pattern recognition to structure the experience. The work of the artist is to find patterns. M.M.

- Highlight on Page 7 | Loc. 98-100  | Added on Friday, November 16, 2012, 08:55 AM It is the assumption of this book that a work of art is a gift, not a commodity. Or, to state the modern case with more precision, that works of art exist simultaneously in two “economies,” a market economy and a gift economy. Only one of these is essential, however: a work of art can survive without the market, but where there is no gift there is no art. - Highlight on Page 7 | Loc. 108  | Added on Friday, November 16, 2012, 08:58 AM “Not I, not I, but the wind that blows through me,” says D. H. Lawrence. - Highlight on Page 8 | Loc. 111-13  | Added on Friday, November 16, 2012, 09:00 AM That art that matters to us—which moves the heart, or revives the soul, or delights the senses, or offers courage for living, however we choose to describe the experience—that work is received by us as a gift is received. - Highlight on Page 8 | Loc. 120-21  | Added on Friday, November 16, 2012, 09:03 AM If a work of art is the emanation of its maker’s gift and if it is received by its audience as a gift, then is it, too, a gift? - Highlight on Page 16 | Loc. 240-41  | Added on Friday, November 16, 2012, 09:33 AM The only essential is this: the gift must always move. There are other forms of property that stand still, that mark a boundary or resist momentum, but the gift keeps going.

- Highlight Loc. 909-10  | Added on Saturday, December 08, 2012, 10:45 PM È necessario riservare dentro di noi un retrobottega tutto nostro, assolutamente autonomo, dove conservare la nostra vera libertà, avere il nostro più importante rifugio, godere della nostra solitudine.

- Highlight Loc. 862-63  | Added on Wednesday, January 23, 2013, 08:33 PM né Lessig, né Yochai Benkler, né Creative Commons sviluppano un modello economico per definire il modo in cui gli artisti possano assicurarsi degli introiti.

- Highlight on Page 58 | Added on Friday, November 23, 2012, 06:32 PM Il copyright è sempre intrinsecamente superato, perché la sua versione piú recente è stata comunque sempre generata in risposta alla tecnologia di ultima generazione.

- Highlight on Page 1 | Loc. 4-5  | Added on Monday, November 19, 2012, 08:51 PM Tutti abbiamo dei vuoti nella nostra vita, un vuoto che alcuni colmano con l'arte, altri con Dio, altri con la conoscenza. Io ho sempre colmato quel vuoto con le droghe.

- Highlight Loc. 34-35  | Added on Monday, November 19, 2012, 08:44 PM I still don't know how it is artists will earn a living in the age of the Internet, but I remain convinced that the way to find out is to do basic science: that is, to do stuff and observe the outcome.

- Highlight on Page 205 | Loc. 3135-36  | Added on Thursday, October 25, 2012, 06:02 AM Aspettare senza poter fare nulla è la cosa peggiore che possa capitare a un uomo.

- Highlight on Page 10 | Loc. 141-42  | Added on Saturday, October 06, 2012, 08:56 PM arbitro di quel che è bene e necessario non è quel che dicono e fanno gli uomini, e neppure lo è il progresso, ma lo sono io, col mio cuore. - Highlight on Page 27 | Loc. 401-2  | Added on Saturday, October 06, 2012, 09:38 PM Tu sei un pallottolino di un qualche cosa che si è formato per caso. Il pallottolino fermenta e chiama vita questa sua fermentazione. Il pallottolino si dissolverà e allora finiranno la fermentazione e tutti i problemi. - Highlight on Page 27 | Loc. 404-5  | Added on Saturday, October 06, 2012, 09:39 PM Io ho bisogno di sapere qual è il senso della mia vita, e il fatto che essa sia una particella dell'infinito non solo non le dà alcun senso, ma anzi distrugge ogni possibile senso. - Highlight on Page 41 | Loc. 615-16  | Added on Saturday, October 06, 2012, 10:33 PM La conoscenza razionale, attraverso gli scienziati e i pensatori, nega che la vita abbia un senso, mentre enormi masse di uomini - tutta l'umanità - questo senso lo ritrovano in una conoscenza non razionale. - Highlight on Page 42 | Loc. 631-33  | Added on Saturday, October 06, 2012, 10:36 PM Io domandavo: qual è il significato non temporale, non casuale, non spaziale della mia vita? e invece rispondevo a quest'altra domanda: qual è il significato temporale, casuale, spaziale della mia vita? Il risultato fu che dopo un lungo lavorìo del pensiero, io risposi: nessuno. - Highlight on Page 44 | Loc. 668-70  | Added on Saturday, October 06, 2012, 10:45 PM La fede è la forza della vita. Se l'uomo vive, significa che in qualcosa crede. Se non credesse che bisogna vivere per qualche cosa, egli non vivrebbe. Se non vede e non capisce l'illusorietà del finito, egli crede in questo finito; se capisce l'illusorietà del finito, egli deve credere nell'infinito. Senza la fede non si può vivere.

- Highlight Loc. 2433  | Added on Tuesday, May 29, 2012, 05:23 PM Una persona confusa e divisa non può prendere una decisione logica. - Highlight Loc. 5508-9  | Added on Monday, June 04, 2012, 07:47 AM Il futuro è un territorio che nessuno conosce. Non esiste una mappa. Quello che ci aspetta dietro l’angolo, non potremo conoscerlo se non girando l’angolo. Non so proprio immaginarlo. - Highlight Loc. 6107-8  | Added on Monday, June 04, 2012, 10:57 AM La nostra memoria è composta da una combinazione di memoria individuale e memoria collettiva, – disse Tengo. – Le due sono strettamente intrecciate. E la storia è la memoria collettiva. Quando questa viene rubata, o riscritta, non siamo più in grado di sapere chi siamo. - Highlight Loc. 6498-6500  | Added on Thursday, June 07, 2012, 07:22 AM Se uno dovesse accettare il tempo che ha attraversato così com’è, seguendo un ordine diacronico e in modo uniforme, di sicuro i suoi nervi non reggerebbero. La sua vita equivarrebbe a una tortura. - Highlight Loc. 6832-34  | Added on Thursday, June 07, 2012, 05:28 PM McLuhan è stato uno che ha precorso i tempi. Siccome in un certo periodo era diventato di moda, oggi è un po’ sottovalutato, ma le cose che diceva erano quasi sempre giuste. - Highlight Loc. 8221-22  | Added on Friday, June 08, 2012, 10:47 PM Non voglio soldi. A far girare il mondo, più che i soldi, sono i debiti e i crediti. Poiché odio essere in debito, preferisco acquistare crediti. - Highlight Loc. 8611-12  | Added on Monday, June 11, 2012, 08:21 AM Lavorare senza pesi è la cosa migliore. Avere per famiglia un albero della gomma è la soluzione ideale. - Highlight Loc. 8959  | Added on Monday, June 11, 2012, 05:02 PM «Se vuoi la pace preparati alla guerra»

- Highlight Loc. 149-50  | Added on Tuesday, May 15, 2012, 10:09 AM Exploitation today is based primarily not on (equal or unequal) exchange but on debt, that is, on the fact that the 99 percent of the population is subject—owes work, owes money, owes obedience—to the 1 percent. - Highlight Loc. 153-54  | Added on Tuesday, May 15, 2012, 10:10 AM the divisions between work time and the time of life become increasingly blurred. In order to survive the indebted must sell his or her entire time of life. - Highlight Loc. 173-75  | Added on Tuesday, May 15, 2012, 10:48 AM Unable to rise from the misery to which they are reduced, the indebted is bound by invisible chains that must be recognized, grasped, and broken order to become free. - Highlight Loc. 182-85  | Added on Tuesday, May 15, 2012, 10:51 AM “The problem is no longer getting people to express themselves,” Gilles Deleuze explains, “but providing little gaps of solitude and silence in which they might eventually find something to say. Repressive forces don’t stop people from expressing themselves, but rather, force them to express themselves. What a relief to have nothing to say, the right to say nothing, because only then is there a chance of framing the rare, and ever rarer, the thing that might be worth saying.” - Highlight Loc. 193-94  | Added on Tuesday, May 15, 2012, 10:53 AM Media and communications technologies are increasingly central to all types of productive practices and are key to the kinds of cooperation necessary for today’s biopolitical production. - Highlight Loc. 194-96  | Added on Tuesday, May 15, 2012, 10:54 AM For many workers, moreover, especially in the dominant countries, communications and social media seem simultaneously to free them from and chain them to their jobs. With your smart phone and your wireless connections, you can go anywhere and still be on the job, which you realize quickly means that anywhere you go you are still working! - Highlight Loc. 202-3  | Added on Tuesday, May 15, 2012, 10:57 AM The mediatized is thus a subjectivity that is paradoxically neither active nor passive but rather constantly absorbed in attention. - Highlight Loc. 224-25  | Added on Tuesday, May 15, 2012, 11:01 AM Facebook, Twitter, the Internet, and other kinds of communications mechanisms are useful, but nothing can replace the being together of bodies and the corporeal communication that is the basis of collective political intelligence and action. - Highlight Loc. 246-48  | Added on Tuesday, May 15, 2012, 11:07 AM Why do you accept being treated like an inmate? In a previous era the prison, separated from society, was the institution of total surveillance, whose inmates were constantly observed and their activities recorded, but today total surveillance is increasingly the general condition of society as a whole. - Highlight Loc. 250  | Added on Tuesday, May 15, 2012, 11:08 AM You accept being in a prison society because outside seems more dangerous. - Highlight Loc. 253-54  | Added on Tuesday, May 15, 2012, 11:09 AM There are two dramatis personae in securitized society: inmates and guards. And you are called to play both roles at once. - Highlight Loc. 287-88  | Added on Tuesday, May 15, 2012, 11:16 AM The growth in prison populations and the rising militarization, both of which are led by US society, are only the most concrete, condensed manifestations of a diffuse security regime in which we are all interned and enlisted. - Highlight Loc. 301-3  | Added on Tuesday, May 15, 2012, 11:20 AM Fear is the primary motivation for the securitized to accept not only its double role, watcher and watched, in the surveillance regime but also the fact that so many others are even further deprived of their freedom. The securitized lives in fear of a combination of punishments and external threats. - Highlight Loc. 305-6  | Added on Tuesday, May 15, 2012, 11:22 AM Fear in the security regime is an empty signifier in which all kinds of terrifying phantoms can appear. - Highlight Loc. 384-87  | Added on Tuesday, May 15, 2012, 06:27 PM Today’s neoliberal leaders—from their government offices and corporate boardrooms, their media outlets and stock exchange floors—constantly repeat to us that the crisis is dire and our situation is desperate. We are on the Titanic, they tell us, and if we want to be saved from the ultimate catastrophe, we have to agree to worsen even further the situation of the indebted, the mediatized, the securitized, and the represented. They promise us that making things worse is our only salvation! - Highlight Loc. 388-89  | Added on Tuesday, May 15, 2012, 06:28 PM All four of the dominated figures of contemporary society have the capacity to rebel and also to invert themselves and become figures of power. - Highlight Loc. 408  | Added on Tuesday, May 15, 2012, 06:33 PM We must discover a force that reconnects action to being together. - Highlight Loc. 473  | Added on Tuesday, May 15, 2012, 06:54 PM Before you can actively communicate in networks, you must become a singularity. - Highlight Loc. 475-76  | Added on Tuesday, May 15, 2012, 06:55 PM Singularities are defined by being multiple internally and finding themselves externally only in relation to others. - Highlight Loc. 478  | Added on Tuesday, May 15, 2012, 06:56 PM When we become unmediatized we don’t cease to interact with media—indeed - Highlight Loc. 480-82  | Added on Tuesday, May 15, 2012, 06:56 PM We swarm like insects, follow new pathways, and come together in new patterns and constellations. The form of political organization is central here: a decentralized multitude of singularities communicates horizontally (and social media are useful to them because they correspond to their organizational form). - Highlight Loc. 484-86  | Added on Tuesday, May 15, 2012, 06:59 PM media become tools for our collective self-production. We are able to create new truths only when we cease to be individual and constitute ourselves in our relationships to others, opening ourselves to a common language. Making the truth is a collective linguistic act of creativity. - Highlight Loc. 492-93  | Added on Tuesday, May 15, 2012, 07:00 PM Real communication among singularities in networks thus requires an encampment. - Highlight Loc. 514-16  | Added on Tuesday, May 15, 2012, 07:07 PM power is not a thing but a relation. No matter how mighty and arrogant seems that power standing above you, know that it depends on you, feeds on your fear, and survives only because of your willingness to participate in the relationship. Look for an escape door. One is always there. - Highlight Loc. 544  | Added on Tuesday, May 15, 2012, 07:16 PM Power cannot survive when its subjects free themselves from fear. - Highlight Loc. 706-7  | Added on Wednesday, May 16, 2012, 11:23 AM It seems that humanity is completely powerless to stop itself from destroying the planet and the necessary conditions for its own life.

- Highlight on Page 58 | Loc. 879  | Added on Sunday, May 13, 2012, 08:14 PM La vita è semplice. È la gente a renderla complicata. - Highlight on Page 58 | Loc. 879-80  | Added on Sunday, May 13, 2012, 08:15 PM La gente è semplice. Ma la vita la rende complicata. - Highlight on Page 150 | Loc. 2294-96  | Added on Thursday, May 17, 2012, 11:15 PM Per raggiungere il fondo, tutto quello che si deve fare è lasciarsi scivolare dal gradino in cui ci si trova, uno qualsiasi. Provatelo anche voi, qualche volta: non c'è niente di più facile. A tutti è concesso diventare barboni.

- Highlight on Page 3 | Added on Saturday, May 12, 2012, 10:45 AM Blogging has become such a mania that a new blog is being created every second of every minute of every hour of every day. We are blogging with monkeylike shamelessness about our private lives, our sex lives, our dream lives, our lack of lives, our Second Life - Highlight on Page 5 | Added on Saturday, May 12, 2012, 10:46 AM YouTube eclipses even the blogs in the inanity and absurdity of its content. Nothing seems too prosaic or narcissistic for these videographer monkeys. The site is an infinite gallery of amateur movies showing poor fools dancing, singing, eating, washing, shopping, driving, cleaning, sleeping, or just staring into their computers. - Highlight on Page 9 | Added on Saturday, May 12, 2012, 10:48 AM What happens, you might ask, when ignorance meets egoism meets bad taste meets mob rule? The monkeys take over. Say good-bye to today's experts and cultural gatekeepers—our reporters, news anchors, editors, music companies, and Hollywood movie studios. In today's cult of the amateur, the monkeys are running the show. With their infinite typewriters, they are authoring the future.