Boris Groys, Under Suspicion: A Phenomenology of Media (Columbia University Press, 2012), 13.
Ernst Jünger, Le Mur Du Temps, trans. Henri Thomas (Gallimard, 1994), 5.
Jünger, Le Mur Du Temps, 20. All English translations from this source are my own.
Jünger, Le Mur Du Temps, 18.
Jünger, Le Mur Du Temps, 22.
Jünger, Le Mur Du Temps, 22.
Roger Caillois, The Mask of Medusa, trans. George Ordish (Clarkson N. Potter, 1964), 11.
Leda Maria Martins, Performances Do Tempo Espiralar Poéticas Do Corpo-Tela (Cobogó, 2021), 42.
Giorgio Agamben, The Open: Man and Animal (Stanford University Press, 2004), 26.
Agamben, The Open, 79.
Agamben, The Open, 59.
Agamben, The Open, 60.
Martin Heidegger, Being and Time (Blackwell, 2013), 21.
Heidegger, Being and Time, 206.
In ancient Greek philosophy and mythology, a daimon (or “daemon”) is a spirit or divine power that acts as an intermediary between the gods and humans.
Plato, The Symposium →.
Plato, Timaeus →.
Roger Bastide, O Candomble Da Bahia: Rito Nagô (Companhia Editora Nacional, 1961), 30. My translation.
W. C. Chittick, The Sufi Path of Knowledge: Ibn al-ʻArabi’s Metaphysics of Imagination (State University of New York Press, 1989), 14.
Quoted in Henry Corbin, Alone with the Alone: Creative Imagination in the Sufism of Ibn ‘Arabi (Princeton University Press, 1998), 42.
Carlos Fausto, Art Effects: Image, Agency, and Ritual in Amazonia (University of Nebraska Press, 2024), 21.
Fausto, Art Effects, 262.
Laurel Kendall, Jongsung Yang, and Yul Soo Yoon, God Pictures in Korean Contexts: The Ownership and Meaning of Shaman Paintings (University of Hawai’i Press, 2015), 22, 92.
Trevor Paglen, “Society of the Psyop Part 1: UFOs and the Future of Media,” e-flux journal, no. 147 (2024) →.
Giuliana Bruno, Atmospheres of Projection: Environmentality in Art and Screen Media (University of Chicago Press, 2022), 7.
Karl Marx quoted in Marxism and Art: Essays Classic and Contemporary, ed. Maynard Solomon (Wayne State University Press, 1979), 58–59.
Marx quoted in Marxism and Art, 60.
Marx quoted in Marxism and Art, 60.
John Locke, Second Treatise →.
Oxalá, a key deity in the African Brazilian religion of Candomblé, is believed to have created the guinea fowl to drive Death away from a city plagued by it. The ritual involved humans painting a blackbird with a sacred white powder and releasing it, symbolizing Oxalá’s wisdom and compassion, which are honored by the initiated (iaôs) through body painting in remembrance of this myth.