“Experience” itself, Jameson notes, is widely discussed “as a kind of spiritual private property,” the more easily to be quantified and compared. The strength of this grip on both individual and public consciousness registers with special force in his comments from the 1990s on environmentalism and the relatively recent growth of concerns around industrial pollution: “it seems to be easier for us today to imagine the thoroughgoing deterioration of the earth and of nature than the breakdown of late capitalism; perhaps that is due to some weakness in our imaginations.”
"This is the dual meaning of a managerial discourse that makes performance a duty and an advertising discourse that makes pleasure an imperative. To stress nothing but the tension between the two would be to neglect everything that establishes equivalence between the duty of performance and the duty of pleasure. It would be to underestimate the imperative of “ever more,” which aims to intensify the effectiveness of every subject in all areas—educational and professional, but also relational, sexual, and so forth. “We are the champions”—such is the hymn of the new entrepreneurial subject. From the song’s lyrics, which in their way heralded the new subjective course, the following warning in particular must be retained: “No time for losers.” What is new is precisely that the loser is the ordinary man, the one who in essence loses."
I find it strange that today, when so many people walk around with tiny computers in their pockets – cameras, phones, personal organizers, iPods – there exists no object at all to slip into your pussy when you go out for a stroll that will rip up the cock of any fucker who sticks it in there. Perhaps it isn’t desirable to make female genitalia inaccessible by force. A woman must remain open, and fearful. Otherwise, how would masculinity define itself?
Excerpted from King Kong Theory - Virginie Despentes, 2010
"A love story with infinite possibilities," programmatically built out of excerpts from guidebooks, atlases, and newspapers, and other printed ephemera. No two editions are the same, assuming you don’t print more than 109,027,350,432,000 copies.
Sulki & Min took a cue from the original Italian edition, which numbered each cover, and picked up where the prior volume had left off (at 10,000).