Thinking on Paper

“A radical experiment in design and typography Stéphane Mallarmé’s poem Un Coup De Des (A Throw of the Dice will Never Abolish Chance 1897) privileges form over content or rather form as content , such that blank space, varied typography and the material folds of the book augment and even transform the semantics of the text. As Mallarmé writes in his preface to the first issue of the poem:

“The paper intervenes every time an image on its own, ceases or retires within the page, accepting the succession of the others, and it is not a question unlike the usual state of affairs, of regular sound effects or verses – rather of prismatic subdivisions of the idea, the instant when they appear and during which their cooperation lasts , in some exact mental setting. The text imposes itself in various places, near or far from the latent guiding thread, according to what seems to be the probable sense.”

(For the French version and (albeit different) English translation click here.

Text reproduced from Image reproduced from

Friedrich Nietzsche

“The assumption of a single subject is perhaps unneccesary: perhaps it is just as permissible to assume a multiplicity of subjects whose interaction and struggle is the basis of our thought and our consciousness in general? A kind of ‘aristocracy of cells’ in which dominion resides? To be sure, an aristocracy of equals, used to ruling jointly and understanding how to command? My hypothesis: The subject as multiplicity. ” (Nietzsche 1968: 270)

For a short but informative passage about Nietzsche and the musical rythms (Also pursued in different ways by Phillip Lacoue-Labarthe and Julia Kristeva) in his texts click here

Text reproduced from Elizabeth Grosz, Volatile Bodies, Toward a Corporeal Feminism, Indiana University Press, 1994: p.122

Image reproduced from

Material Thinking

“the anti-architectural conception of place making is not a rejection of shelter as such. It is a search for a form of home more adequate to the process of becoming oneself at that place.”

Carter, Paul, Material Thinking: the theory and practice of creative research, Melbourne University Publishing, 2004: pp.154

Awaiting Oblivion

her lodging her, bidding DS2011

“When I am before you and would like to look at you, to speak to you…” – “He takes hold of her and attracts her, drawing her out of her presence.” – “When I approach, motionless, my pace bound to your pace, calm, hurried…” – “She leans back against him, holding back, letting herself go.” – “When you go ahead, marking out a path for me to you…” – “She slips, rising up on the one he touches.” – “When we come and go in the room and look for an instant at...” – “She holds back in her, drawn back outside her, waiting for what happened to happen.” – “When we move away from each other, and also from ourselves, and thus approach each other, but far from each other…” – “That is the coming and going of waiting: its cessation.” – “When we remember and forget, reunited: separated…” – “That is the motionlessness of waiting: in motion more than any movement.” – “But when you say: ‘Come” and I come to this place of attraction…” – “She falls, given to the outside, her eyes calmly open.” – “When you turn back and make me a sign…” – “She turns away from everything visible and invisible.” – “Leaning back and showing herself.” – “Face to face in this calm turning away.” – “Not here where she is or there where he is, but between them.” – “Between them like this place, with its great staring look, the reserve of things in their latent state.”

Awaiting Oblivion (L’Attente l’oubli), Maurice Blanchot, Trans John Gregg, University of Nebraska Press: USA1997, pp.85