"The very idea of ​​a scheme is childishly simple - so simple, so humble, that no one before me had thought of stooping so low. So "dummy" even, to put it bluntly, that for years and despite the evidence, for many of my savants colleagues, it really seemed "not serious"! [...] It was the kind of exercise, judged in advance stupid and hopeless by any "well-informed" person, that I was probably the only one, among all my colleagues and friends, who could ever have the idea, and even (driven by a secret demon...) to bring it to a successful end against all odds! [...]

In our knowledge of things in the Universe (whether mathematical or otherwise), the renovating power in us is none other than innocence. It is the original innocence that we all shared at our birth and which rests in each of us, often the object of our contempt and our most secret fears. It alone unites the humility and the boldness which allow us to penetrate to the heart of things, and which allow us to let things penetrate us and to impregnate us with them.

This power is in no way the privilege of extraordinary "gifts" — of (let's say) extraordinary cerebral power to assimilate and to handle, with dexterity and ease, an impressive mass of facts, ideas and known techniques. Such gifts are certainly precious, surely worthy of envy for those who (like me) were not thus fulfilled at birth, "beyond all measure".

It is not these gifts, however, nor even the most ardent ambition, served by an unfailing will, which make us cross these “invisible and imperious circles” which enclose our Universe. Only innocence crosses them, without knowing it or caring, in the moments when we find ourselves alone listening to things, intensely absorbed in a child's game..."

— Grothendieck, Récoltes et semailles, I, page 56-57.

I must have flowers, always, and always.

Claude Monet

"Time is here, again, the requirement of the Two: for there to be an event, one must be able to situate oneself within the consequences of another. The intervention is a line drawn from one paradoxical multiple, which is already circulating, to the circulation of another, a line which scratches out. It is a diagonal of the situation" (Being and Event, p. 210)

February 3rd, 19:00 @ Cineteca Madrid

Semi-Auto Colours (Isiah Medina, 2010, 6')

Infinites of Resistance to Division (Alexandre Galmard, 2019, 3’)

Faithful Non-Employment, 2 (Alexandre Galmard, 2020, 3’)

zum Beschluss (Alexandre Galmard, 2020, 3’)

He Thought He Died (Isiah Medina, 2023, 70')

Towards Mathematical Criticism, Fernando Zalamea (2023)

Image montage from Hollis Frampton’s Zorns Lemma, 1970 (Clint Enns, 2013)

The Man Who Left His Will On Film (Nagisa Ōshima, 1970)

Starting from any situation whatever, one indicates, under the progressively clear name of Idea, that there is indeed something other than bodies and languages. For the Idea is not a body in the sense of an immediate given (this is what must be gleaned from the opposition between the sensible and the intelligible), nor is it a language or a name (as declared in the Cratylus: ‘We philosophers, we start from things, not words’). (...) I insist, since this is the very problem that this book is concerned with: truths not only are, they appear. It is here and now that the aleatory third term (subject-truths) supplements the two others (multiplicities and languages). The materialist dialectic is an ideology of immanence. However, it was with good reason that in my Manifesto for Philosophy (1989) I said that what is demanded of us is a ‘Platonic gesture’: to overcome democratic sophistry by detecting every Subject which participates in an exceptional truth-process. (Alain Badiou, Logics of Worlds: Being and Event II, p. 9-10)

Paintings by Jacques Villon and Monique Stobienia

88:88 (Medina, 2015) / Worlds (Goes, 2021)

The Fall of the House of Usher / Partitions

I wrote a page on Inventing the Future's ending: "I ⊢F"

The Art of Mixing: A Visual Guide to Recording, Engineering, and Production, David Gibson

A painter stages a heist to steal his paintings back from the vault of a museum. A filmmaker happens to be at the museum on the same day.

My new feature film He Thought He Died will have its world premiere at this year's Toronto International Film Festival.