Selim Kuru

“Marx inspired Bourdieu’s understanding of society as the embodiment of concrete relationships rather than separate, abstract entities, like individuals and rules. Weber had formulated concepts such as domination, which Bourdieu developed as unconscious internalization of relations of subjugation. Ernst Cassirer* wrote about violence, power, and capital as “symbolic forms,” which is very similar to the symbolic capital conceptualized by Bourdieu. From Durkheim, as much as from structural linguistics, Bourdieu borrowed the notion of structure and its reproducing mechanisms”
― Rodolfo Maggio, An Analysis of Pierre Bourdieu's Outline of a Theory of Practice

“A venerable Japanese proverb declares, “The silkworm-moth eyebrow of a woman is the axe that cuts down the wisdom of man.” Likewise, the oldest surviving collection of Chinese poetry, The Book of Odes, features an entomological tribute to a noblewoman’s face: “Her forehead cicada-like / her eyebrows like [the antennae of] the silkworm moth / What dimples, as she artfully smiled!” Throughout China’s imperial history, the attraction of a woman’s éméi (蛾眉)—her “moth-feeler eyebrows”—was a persistent theme.”
― Edward D. Melillo, The Butterfly Effect: Insects and the Making of the Modern World

“The catalogue is his calling. It’s his medium, his way of leaving a tangible legacy of answers, not just questions. Perhaps it expresses his desire to impose order on the bewildering world around us; the narrower context provided by an art collection allows us to examine that world and convert it into a system, a unified whole accessible to all. The catalogue may serve to demonstrate that order or harmony, even completeness is possible. As far as Pollak is concerned, both building a collection and cataloguing it are forms of art.”
― Hans von Trotha, Pollak's Arm

“I love the thinginess of things.”
― Heather Clark, Red Comet: The Short Life and Blazing Art of Sylvia Plath