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Photo – David Hockney “my Mother” polaroid composition photo collage (UK, 1982).

[…] The intense world of differences, in which we find the reason behind qualities and the being of the sensible, is precisely the object of a superior empiricism. This empiricism teaches us a strange ‘reason’, that of the multiple, chaos and difference (nomadic distributions, crowned anarchies). It is always differences which resemble one another, which are analogous, opposed or identical: difference is behind everything, but behind difference there is nothing. Every object, every thing, must see its own identity swallowed up in difference, each being no more than a difference between differences. We know that modern art tends to realise these conditions: in this sense it becomes a veritable theatre of metamorphoses and permutations. A theatre where nothing is fixed, a labyrinth without a thread (Ariadne has hung herself). The work of art leaves the domain of representation in order to become ‘experience’, transcendental empiricism or science of the sensible. […], Gilles Deleuze in “Différence et répétition” 1968 (“Difference and Repetition” translated by Paul Patton, New York: Columbia University Press, 1994).

[...] People should learn how to play Lego with their minds. Concepts are building bricks [...] V. Ramos, 2002.

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