Marie Glassl, Sophie Lewis
Surrogate Abolition
I.V. Nuss
The Love in the Convex, in Absolute Roundness and the Sluttification of All Men West of the Bosporus
Emma Waltraud Howes
Questionnaire Emma Waltraud Howes
Sina Dell’Anno
Punk / Philology
Dennis Cooper, Donatien Grau, Richard Hell
"I’d rather live in a book"
Donatien Grau
A Life in Philology
Zoran Terzić
The Grand Generalization
Mengia Tschalaer
Queer Spaces
Barbara Basting
Der Algorithmus und ich 7
Felix Stalder
Feedback as Authenticity
Barbara Basting
Der Algorithmus und ich 6
Malte Fabian Rauch
Where the Negative Holds Court
Sandra Frimmel
I Hate the Avant-garde
Michael Heitz, Hendrik Rohlf
Uma’s Face—Thurman’s Voice
Malte Fabian Rauch
Phenomena in Exile
Barbara Basting
Der Algorithmus und ich 5
Sina Dell’Anno
Oratio Soluta
Axel Dielmann
The Dressmaker
Barbara Basting
Der Algorithmus und ich 6
Jean-Luc Nancy
Zah Zuh
Maria Filomena Molder
The Alms of Time
Angelika Meier
Who I Really Am
Barbara Basting
Der Algorithmus und ich 3
Marcus Quent
Elapsing Time and Belief in the World
Nicole Bachmann
Questionnaire Nicole Bachmann
Artur Zmijewski
Conversation on “Glimpse”
Eric Baudelaire
Abecedarium
Alexander García Düttmann
Can There Be a Society Without Ceremony or the Critical Question of Theatre
Tom Kummer
Questionnaire Tom Kummer
Dorothee Scheiffarth
THE MOST BEAUTIFUL CLOUD NAMES
Pierre Guyotat
Autoportrait
Stephen Barber
I remember (Stephen Barber)
Ute Holl
Dream, Clouds, Off, Exile
Facebook’s picture tumbler is currently reminding me of my first visit to China a year ago. I was impressed: so...
I sit in the lobby of a hotel in China where I am accommodated along with other guests of an...
I’m no longer very happy with Facebook. Recently the algorithm seems to be taking the platform into total despotism. And...
The Facebook algorithm has noticed that I have something to do with art and museums, and presents me with a...
Raucous time capsules, rare jewels, and indispensable bulky goods from all epochs, languages, and genres.
We are looking for relics of visions of the future in past image spaces, for the traces and signatures of something once imaginable and timelessly possible.
Vonceptually sensory bills of fare, enumerations and selections…
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
Dire works on the bogus regime—not just of art—but endowed with wit, beauty and irresistible fetish character.