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To end GOD’S JUDGEMENT
Antonin Artaud, Stephen Barber (ed.)
Radio Works: 1946–48
Artaud’s work is performative in the sense that it never simply describes, but actively produces the events it enacts. As Austin characterises performative language, ‘the issuing of the utterance is the performing of an action’.3 Artaud’s work, performed correctly, is magical, finding its power in ritualistic chanting. Intonation is key to this, recalling what he wrote about metaphysical language in The Theatre and its Double, where the aim is ‘to deal with intonations in an absolutely concrete manner, restoring their...
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Jelili Atiku, Damian Christinger
Mama Say Make I Dey Go, She Dey My Back
OPEN
ACCESS DE
ACCESS DE
Monograph
Around a sculpture by Alberto Giacometti
Georges Didi-Huberman, Mira Fliescher (ed.), Elena Vogman (ed.)
The Cube and the Face
Anthology
Zu einer Poetik des Seriellen
Elisabeth Bronfen (ed.), Christiane Frey (ed.), David Martyn (ed.)
Noch einmal anders
Anthology
Zur Kritik der Wirksamkeit in den Künsten
Kathrin Busch (ed.), Burkhard Meltzer (ed.), Tido von Oppeln (ed.)
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Time Probe Zero Synthesis
DIAPHANES MAGAZINE No. 3
Where is the present when the computer pulses at the wrist every day, when we’re globally interconnected in real time but don’t take in our selves for a single moment, just bits and pieces, just snatching a few intensities, when neurons plus communication already makes a consciousness? Is it nothing but a hallucination, in permanent crisis? Does it stand still, get wider, poorer?
How does the past change when systems record every second, saving them for the right moment or for...
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