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July 23, 2007



Maybe it's best to think of the Towers (or the Statue of Liberty) as a Deleuzian machine. A Deleuzian machine sits on top of a series of flows and interrupts them: flows of people, traffic, capital, water, electricity, power, aesthetic perception. The Towers are thus, like the obelisks and plazas of 17th century Rome, an anchoring point for visual, spatial, and ideological perspective. Their destruction means a drastic reconfiguration of all of these flows, and I think the effect of a sublime is the result of this unexpected transformation, where familiar networks and intersections of power and visual space are turned upside down.

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