As an eminent medium of slowness, printed books appear to some as the deadwood, to others as the driftwood, of the intellect, the finding and gathering of which not only fills the shelves. As the veritable bearers of latency they hold the possibility of tracking down—unobserved and at odds with the zeitgeist — what stimulates the senses and thought in unattained present or future long past. The best examples (often discarded from libraries around the world or barely known) shine from afar like messages in bottles on the banks of time. DIAPHANES seeks out the raucous time capsules, rare jewels, and indispensable bulky goods from all epochs, languages, and genres.
The Three Marias is a highly interesting work of feminist literature, although it’s now largely forgotten outside of its native Portugal. In the early 70s, while the country was still...
Bearded Ladies, Dwarfs and Giants, Hermaphrodites, Siamese Twins (see Heng and Chang on the book cover), the Mule-headed Lady, The Serpent-Woman, The Amazing Half-Boy (famous for his appearance in Tod...
Andreas L. Hofbauer, René Luckhardt: HER
Wien: Der Konterfei 2015
limitierte Ausgabe, 50 Seiten
In einem Onlineforum, das sich mit dem Umzug ins 40 Lichtjahre von uns entfernte Planeten-system...
L’œuvre d'art n’a pas d’idée, elle est idée
Following Georges Perec’s Memory 480: "I remember… (to be continued…)"…
NO W HERE is a double page in the middle of DIAPHANES, a carte blanche for artists, authors, thinkers to turn an empty space and pause for breath.
The post I’m now sharing was somewhat unsettling: “Barbara joined Facebook 6 years ago!”
L’œuvre d'art n’a pas d’idée, elle est idée
But why Ridley Scott’s Exodus: Gods and Kings, from 2014? You will have had your reasons, and you’ll have to take responsibility for them.
I have rarely left the Biennale so dissatisfied and tired as this year. No, it wasn’t the endless kilometers.
Facebook recently wanted to make merry with me. To this aim it posted an entry on my notice board, which is actually closed to others.
Human Terrain System
Between the Madness and the Wisdom of Crowds
Inge Baxmann (ed.), Timon Beyes (ed.), Claus Pias (ed.)
Social Media—New Masses
– In what way are you a communist – since we need to define this: someone who is convinced that a totally different form of organization of communal life would be good for the human race, –
– Isn’t that equally true of monarchists and leaders of sects?
– ...with a focus on justice.
– but the people should behave differently, right?
– They should be totally different.
– Are you not simply a misanthropist?
– No, because there are people that I like, very much even. And I understand all the less why most people feel compelled to be so nasty.
– Most people don’t seem to be quite as bothered by this as you are.
– Oh really? In my perception, most people are pretty bothered by anything that is different than themselves. That is why we need rules that define how to behave toward people we can’t stand.
– You have just been suffering in a...
In Tristes Tropiques, a seminal work of ethnography and travel writing published to international acclaim in 1955, the great anthropologist Claude Lévi-Strauss begins the account of his legendary research trip into the interior of Brazil in a sceptical tone: “I hate travelling and explorers. Yet here I am proposing to tell the story of my expeditions.”Despite its hybrid format – combining memoir, travel writing, and ethnography – Tristes Tropiques became a popular bestseller. Its readers went beyond the niche audience of experts and immediately established its author as a major figure in the fields of anthropology and structuralism. The book appeared at a historical turning point, not only in the way structuralism was transforming anthropology – based on the analysis of society through the structure of language and culture – but also because it was unveiled during the post-war period, when ethnography was being transformed by the great movements of...
After all, the history of modern and contemporary art can be read as the progressive inclusion of a growing part of the formless into apparatuses.
Photographs evoke a response in which our sense of beauty and our desire for knowledge interpenetrate.
Some images from the Tiergarten are particularly successful. The park could be a symbol of photography itself, and perhaps the latter follows the park so effortlessly because photography also whiles away its time on yesterday’s threshold.
Frankfurter Zeitung, 15th December 1932
The project of feminist nomadism for a European thinker implies a relationship to multiple languages.
My life-long engagement in the project of nomadic subjectivity rests on a specific cartography of our globalised times, marked by large-scale and technologically-mediated transformations of our social, economic and political universes. I start from the assumption that, as a result of these upheavals, traditional forms of self-representation, familiar cultural points of reference and age-old habits of thought are being re-composed, albeit in contradictory ways.
Our historical context is marked by the schizoid structure of technology-driven advanced capitalism, as Deleuze and Guattari lucidly put it. Examples of the non-linear and internally contradictory ways of the working of this system are the vast accumulation of wealth alongside growing disparities in income, well-being and access to the very technologies that sustain our economy. Another example is the paradox of a world economy linked by a thick web of transnational flows of capital and labour, which functions through different forms and speeds of mobility, including...