1. |
Vincent
03:20
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My dear Theo,
I had wanted to inform you earlier of the safe receipt of your letter
and the 150 francs enclosed.
I have also received the September Lhermitte
— it's splendid.
You write about the Poussins in the Louvre.
I like Poussin very much.
But what a long time ago it is too long since I saw those paintings.
I need to see paintings,
and I must do something about it.
As for the work, I've been painting a lot of still lifes lately,
I will send you some.
I know that they are difficult to sell.
You will get a large still life of potatoes.
I am now working on still life of my birds nests,
and I have finished 4 of them.
I think that some people who know nature well might like them
because of the colors of the moss, dry leaves and grasses, clay. . .
I will write to you again at thee end of this week,
when I am back from the little trip to Amsterdam.
Since I have to pay my rent again next month,
I can hardly afford the expense.
But it's essential.
So more soon.
Yours truly, Vincent
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2. |
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First there was the problem of reification. Clearly there are in the mind no objects or events—no pigs, no coconut palms, and no mothers. The mind contains only transforms, percepts, images, etc., and rules for making these transforms, percepts, etc. In what form these rules exist we do not know, but presumably they are embodied in the very machinery which creates the transforms. The rules are certainly not commonly explicit as conscious "thoughts." In any case, it is nonsense to say that a man was frightened by a lion, because a lion is not an idea. The man makes an idea of the lion. The explanatory world of substance can invoke no differences and no ideas but only forces and impacts. And, per contra, the world of form and communication invokes no things, forces, or impacts but only differences and ideas. (A difference which makes a difference is an idea. It is a "bit," a unit of information.) You cannot count the bats in an inkblot because there are none. And yet a man—if he be "bat-minded" — may "see" several. And that is not what the theory is about.
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3. |
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1. There must be a clear preoccupation with death
intimations of mortality...
Tragic art, romantic art, etc.,
deals with the knowledge of death.
2. Sensuality. Our basis of being concrete about the world.
It is a lustful relationship to things that exist.
3. Tension. Either conflict or curbed desire.
4. Irony, This is a modern ingredient
the self-effacement and examination by which
a man for an instant can go on to something else.
5. Wit and play... for the human element.
6.The ephemeral and chance...
7. Hope. 10% to make the tragic concept more endurable.
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4. |
You Might Be Erased
02:00
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There are a few ways to check if someone has erased you.
First, you can check your contact list.
There, you will see all your other friends.
If that person does not appear, you are blocked.
You have been removed.
If their stories do not appear, you might be erased.
You are blocked.
Someone has erased you.
The purple icon means that they are friends with you,
white means that you have been removed.
You have been removed.
You are blocked. Someone has erased you.
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5. |
嘘は感染するよ。
02:37
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感染は嘘だよ。
嘘は感染するよ。
ヤラセ事件なので後で犯人の名前や年齢、 数秘、サイン、
シンボル、色、日付、 キーワードなどがオカルトに絡む。
てかなんで「日本のネトウヨ」なのに アメリカかばってんの 意味不明w
何ウヨでも構わない 。
日本のパヨクは中国と繋がってます。
自衛隊の方々お疲れ様 。
56億7000年後に、弥勒菩薩が、 人類を救いに来る 。
日本はアメリカの子犬、やっています。
やっぱりデマ。
嘘は感染するよ。
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6. |
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太一般了 mediocre
不怎么样 not so good
好做作 So pretentious
好假 So fake
肮脏 dirty
不要脸 shameless
真不要脸 really shameless
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Takuji Kogo Japan
Takuji Kogo organizes *Candy Factory Projects, a platform for collaborative art projects. *Candy Factory Projects transforms fragments of information such as Spam messages, personal ads, street signs, propaganda and protest slogans into original music. ... more
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