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According to Julian Young, Martin Heidegger was a Luddite in his early philosophical phase and believed in the destruction of modern technology and a return to an earlier agrarian world.[12] However, the later Heidegger did not see technology as wholly negative and did not call for its abandonment or destruction.[13] In The Question Concerning Technology (1953), Heidegger posited that the modern technological "mode of Being" was one which viewed the natural world, plants, animals, and even human beings as a "standing-reserve" — resources to be exploited as means to an end.[13] To illustrate this "monstrousness", Heidegger uses the example of a hydroelectric plant on the Rhine river which turns the river from an unspoiled natural wonder to just a supplier of hydropower. In this sense, technology is not just the collection of tools, but a way of Being in the world and of understanding the world which is instrumental and grotesque. According to Heidegger, this way of Being defines the modern way of living in the West.[13] For Heidegger, this technological process ends up reducing beings to not-beings, which Heidegger calls 'the abandonment of Being' and involves the loss of any sense of awe and wonder, as well as an indifference to that loss.[13]

Heidegger

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Inc 5000 for Inc Magazine, 2015

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Moby Dick (Excerpt)

Yes, there is death in this business of whaling—a speechlessly quick chaotic bundling of a man into Eternity. But what then? Methinks we have hugely mistaken this matter of Life and Death. Methinks that what they call my shadow here on earth is my true substance. Methinks that in looking at things spiritual, we are too much like oysters observing the sun through the water, and thinking that thick water the thinnest of air. Methinks my body is but the lees of my better being. In fact take my body who will, take it I say, it is not me. And therefore three cheers for Nantucket; and come a stove boat and stove body when they will, for stave my soul, Jove himself cannot.

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Moby Dick (Excerpt)

What could be more full of meaning?—for the pulpit is ever this earth's foremost part; all the rest comes in its rear; the pulpit leads the world. From thence it is the storm of God's quick wrath is first descried, and the bow must bear the earliest brunt. From thence it is the God of breezes fair or foul is first invoked for favourable winds. Yes, the world's a ship on its passage out, and not a voyage complete; and the pulpit is its prow.

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Moby Dick (Excerpt)

I say so strange a dreaminess did there then reign all over the ship and all over the sea, only broken by the intermitting dull sound of the sword, that it seemed as if this were the Loom of Time, and I myself were a shuttle mechanically weaving and weaving away at the Fates. There lay the fixed threads of the warp subject to but one single, ever returning, unchanging vibration, and that vibration merely enough to admit of the crosswise interblending of other threads with its own. This warp seemed necessity; and here, thought I, with my own hand I ply my own shuttle and weave my own destiny into these unalterable threads.

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The work of a student (forgetting which student now) of Ernst Schneidler, presented by the Letterform Archive. #typography #letterforms (at Rose Auditorium, The Cooper Union)

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Super Special (2015/2016) Open Submission

Super Special by VUU is a monthly zine first published between July 2012 – June 2013, featuring works by up & coming photographers in editions of 50. The series was also made into a limited edition box set, which was released at the 2013 New York Art Book Fair.

We will be renewing this project for a second volume of Super Special which will follow the same structure – one zine per month over the course of one year.

Submissions are open / deadline is rolling!

Please send the following to: submissions@vuu-studio.com

Subject = Submissions / Name To include = Name / City / Website / 5-7 Images (1000px @ 72dpi) *No file transfers

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submissions are open! ✌️👋 (at VUU studio)

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He who wishes to live in New York must be a sharp sword in a sheath of honey. The sword is to repel those who are desirous of killing time, and then honey is to satisfy their hunger.

Khalil Gibran

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Once Rabbi Mikhal visited a city where he had never been before. Soon some of the prominent members of the congregation came to call on him. He fixed a long gaze on the forehead of everyone who came, and then told him the flaws in his soul and what he could to do heal them. It got around that there was a zaddik in the city who was versed in reading faces, and could tell the quality of the soul by looking at the forehead. The next visitors pulled their hats down to their noses. "You are mistaken," Rabbi Mikhal said to them. "An eye which can see through the flesh, can certainly see through the hat."

"Through the Hat," an excerpt from Tales of the Hasidim: Early Masters

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Excerpt from Portnoy's Complaint

I swear to you, this is not bullshit or a screen memory, these are the very words these women use. The great dark operatic themes of human suffering and passion come rolling out of those mouths like the prices of Oxydol and Del Monte canned corn! My own mother, let me remind you, when I returned this past summer from my adventure in Europe, greeted me over the phone with the following salutation: “Well, how’s my lover?” Her lover she calls me, while her husband is listening on the other extension! And it never occurs to her, if I’m her lover, who is he, the schmegeggy she lives with? No, you don’t have to go digging where these people are concerned—they wear the old unconscious on their sleeves!

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Excerpt from Gravity's Rainbow

"It’s true," Vanya now, "look at the forms of capitalist expression. Pornographies: pornographies of love, erotic love, Christian love, boy-and-his-dog, pornographies of sunsets, pornographies of killing, and pornographies of deduction—aah, that sigh when we guess the murderer—all these novels, these films and songs they lull us with, they’re approaches, more comfortable and less so, to that Absolute Comfort." A pause to allow Rudi a quick sour grin. "The self-induced orgasm."

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Excerpt from Portnoy's Complaint

"The way you disapprove of your life! Why do you do that? It is of no value for a man to disapprove of his life the way you do. You seem to take some special pleasure, some pride, in making yourself the butt of your own peculiar sense of humor. I don’t believe you actually want to improve your life. Everything you say is somehow always twisted, some way or another, to come out ‘funny.’ All day long the same thing. In some little way or other, everything is ironical, or self-depreciating. Self-deprecating?"

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Imagination, to Artaud, was reality; he considered dreams, thoughts and delusions as no less real than the "outside" world. To him, reality appeared to be a consensus, the same consensus the audience accepts when they enter a theatre to see a play and, for a time, pretend that what they are seeing is real. Artaud saw suffering as essential to existence and thus rejected all utopias as inevitable dystopia. He denounced the degradation of civilization, yearned for cosmic purification, and called for an ecstatic loss of the self. Hence Jane Goodall considers Artaud to be a modern Gnostic while Ulli Seegers stresses the Hermetic elements in his works.