Samuel Jay Keyser at The MIT Press Reader:
Made at the high point of Kline, de Kooning, and Pollock, Andy Warhol’s “Campbell’s Soup Cans” was a poke in the eye of abstract expressionism. Not only was it blatantly mimetic, but it was being blatantly mimetic with a mundane commercial product found in every supermarket and corner grocery store in America. When people think of repetition in painting, they probably think first of these iconic soup cans.
But not all repetition is as in-your-face or as disruptive as “Campbell’s Soup Cans.” One painting from the Impressionist period is particularly pertinent. I am thinking of “Paris Street; Rainy Day” by Gustave Caillebotte. Currently housed in the Art Institute of Chicago, it was originally exhibited at the Third Impressionist Exhibition in Paris in 1877. It is probably Caillebotte’s best-known work. I consider it a masterpiece and regret that I have never seen the real thing. Even so, it never ceases to bowl me over. Discussions of it typically focus on the incredible verisimilitude of the painting, the sense that it is photographic in its vivid capture of an ordinary moment.
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Automating routine tasks expands possibilities. Before automatic differentiation, deep learning practitioners derived and implemented gradients by hand for each model family, a laborious and error-prone process. When Theano and its successors automated this mathematical labor, they transformed neural networks from a specialized practice into a broadly accessible discipline. This unlock, combined with massive datasets and GPU computing, catalyzed the deep learning revolution.
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What transpired next was a kind of Dionysian rural festival where performers hung carcasses and living bodies, animal and human, losing themselves in pouring, smearing, splashing—actions Nitsch had developed for years. Mythical figures became crucial scaffolds alongside Christian elements like garments, foot-washing, a grail, and the cross. Odysseus and Parsifal recurred as structural motifs that framed the choreography, scent, sound, and sacrificial acts: Odysseus as an emblem of the wandering heroic subject who must cross the threshold into chaos, the way the performers descend into a forest of flesh. Performers took their time carrying wooden structures for which human and animal bodies were used as embellishment. Huge white cloths were stretched, spattered with bright-red animal blood next to lilies, slaughtered flesh, and the symbolically crucified, tied-up human body.
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Consider Friedrich Nietzsche, one of the first thinkers of the 
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Born in 1720, White was educated at the University of Oxford, UK, before settling at The Wakes — his family home in Selborne, UK — in around 1757. Then, from 1768, he worked for 25 years on his Naturalist’s Journal, a columnar diary in which each page covered a week of observations on fruit and vegetable experiments, local creatures and weather conditions. White’s daily entries in Selborne were often haiku-like in their simplicity. He described “vast rocklike, distant clouds” or simply stated “Bees swarm much. Sheep are shorn.”