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GUANAJUATONOVIEMBRE . . . . . Peter Ott . Die monotheistische Zelle oder Berichte aus der Fiktion . . . . . Quaddie . . . . . L’œuvre d'art n’a pas d’idée, elle est idée . . . . . Je me souviens… . . . . . Mário Gomes . Brandsatz & Ästhetik . . . . . . AYA MOMOSE . . . . . Paradox I: That all things kill themselves . . . . . 36°37'49"N 42°49'23"E | 2016-06-14T09:09 . . . . . Mike Wilson . Rockabilly . . . . . Marcus Quent . Ohne Halt . . . . . Exodus. Gods and Kings . . . . . Donatien Grau, Pierre Guyotat . Conversation . . . . . BIG BUGS . . . . . Ute Holl . Dream, Clouds, Off, Exile . . . . . TWELVE DRUMMERS DRUMMING . . . . . Self-portrait . . . . . I remember . . . . . Michael Heitz . Another New God in Parts . . . . . Ich erinnere mich… . . . . . LISTMANIA . . . . . HER . . . . . The Transversal Shelf of Printed Books in Times of Accelerated Opaque Media . . . . . Peter Ott . The Monotheistic Cell Or Reports from Fiction . . . . . Pierre Guyotat . Unabhängigkeit . . . . . I remember… . . . . . Problem IX: Warum haben Hurenkinder das allermeiste Glück? . . . . . Marcus Quent . No Respite . . . . . THE MOST BEAUTIFUL CLOUD NAMES . . . . . Michael Heitz . Noch ein neuer Gott in Teilen . . . . . Pierre Guyotat . The Prison . . . . . Tyler Coburn . Ergonomic Futures . . . . . Human Oddities . . . . . 12 Feb 2011 — 12 Feb 2017 . . . . . Barbara BastingThe Algorithm and I . . . . . Hermal . . . . . How to Pilot an Aeroplane . . . . . ABT. DIE DUEMMSTEN BERLINER FRISÖRNAMEN . . . . . China frisst Menschen . . . . . Mike Wilson . Rockabilly . . . . . American English . . . . . Custom Creates Law . . . . . Julien Maret . IN EXTREMIS

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We like !

 

Human Oddities

Oliver Hendricks, 11.04.2017

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...

How to Pilot an Aeroplane

Luc Meresma, 11.04.2017

Capt. Norman Macmillan:
How to Pilot an Aeroplane,
George Allen & Unwin LTD: London 1942,
first edition, 110 pages

 

This book told me just what I had to know before...

American English

Hendrik Rohlf, 11.04.2017

Richard Prince: American English
Sadie Coles HQ/Verlag der Buchhandlung Walther König: London/Köln, 2003
Limited Edition, ohne Paginierung

 

Das Foto mit der Frau auf dem Fahrrad wiederholt sich auf der...

Other columns
  • Barbara Basting<br>The Algorithm and I

    Barbara Basting
    The Algorithm and I

    The post I’m now sharing was somewhat unsettling: “Barbara joined Facebook 6 years ago!”

  • LISTMANIA

    LISTMANIA

    Vonceptually sensory bills of fare, enumerations and selections…

  • I remember

    I remember

    Following Georges Perec’s Memory 480: "I remember… (to be continued…)"…

  • FICTIONARY

    FICTIONARY

    Not on any Knowlede’s service this register in progress seeks accumulating entries of imagenables: names, objects, imaginations… singularities, that neither have to be thought nor upon which must be speculated.

My language
English

Selected content
English

»Ineluctable modality of the visible: at least that if no more, thought through my eyes. Signatures of all things I am here to read, seaspawn and seawrack, the nearing tide, that rusty boot. Snotgreen, bluesilver, rust: coloured signs. Limits of the diaphane. But he adds: in bodies. Then he was aware of them bodies before of them coloured. How? By knocking his sconce against them, sure. Go easy. Bald he was and a millionaire, MAESTRO DI COLOR CHE SANNO. Limit of the diaphane in. Why in? Diaphane, adiaphane. If you can put your five fingers through it it is a gate, if not a door. Shut your eyes and see.


Rhythm begins, you see. I hear. Acatalectic tetrameter of iambs marching. No, agallop: DELINE THE MARE.


Open your eyes now. I will. One moment. Has all vanished since? If I open and am for ever in the black adiaphane. BASTA! I will see if I can see.


See now. There all the time without you: and ever shall be, world without end.«


James Joyce

Editionen
  • Who is the bait? Who is the catch?

    Who is the bait? Who is the catch?

    Dire works on the bogus regime—not just of art—but endowed with wit, beauty and irresistible fetish character.

  • simple forms called William, far off in a corner of the landscape

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