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
Donatien Grau
A Life in Philology
Dennis Cooper, Donatien Grau, Richard Hell
"I’d rather live in a book"
Sina Dell’Anno
Punk / Philology
Simon Critchley
Learning to Eat Time with One’s Ears
Felix Stalder
Feedback as Authenticity
Claire Fontaine
Towards a Theory of Magic Materialism
A. L. Kennedy
What is an Author?
Mengia Tschalaer
Queer Spaces
Kai van Eikels
Do in What's Doing, Democracy in!
Barbara Basting
Der Algorithmus und ich 6
Sandra Frimmel
I Hate the Avant-garde
Zoran Terzić
The Tautomaniac
Fritz Senn
Das Leben besteht aus gestrandeten Konjunktiven
Sina Dell’Anno
Oratio Soluta
Andreas L. Hofbauer
Yoke
Michael Heitz, Hendrik Rohlf
Uma’s Face—Thurman’s Voice
Jean-Luc Nancy
Zah Zuh
Michele Pedrazzi
The Next Bit. Corpo a corpo con l’ignoto
Angelika Meier
Who I Really Am
Barbara Basting
Der Algorithmus und ich 7
Damian Christinger, Monica Ursina Jäger
Homeland Fictions
Nicole Bachmann
Questionnaire Nicole Bachmann
Stephen Barber
A War of Fragments: World Versus America
Elena Vogman
Dynamography, or Andrei Bely’s Rhythmic Gesture
Dietmar Dath
Your Sprache Never Was
Alexander García Düttmann
Can There Be a Society Without Ceremony or the Critical Question of Theatre
Jelili Atiku, Damian Christinger
Venice, Lagos, and the Spaces in between
Ann Cotten
Dialogs
Jurij Pavlovich Annenkov
A Diary of my Encounters
Tom Kummer
Questionnaire Tom Kummer
Barbara Basting
Der Algorithmus und ich 1
Stephen Barber
I remember (Stephen Barber)
Dorothee Scheiffarth
THE MOST BEAUTIFUL CLOUD NAMES
Pierre Guyotat
Autoportrait
On the first gaze the works of Emma Waltraud Howes seem incongruously out of time. Visiting her studio, one enters another world: meets mushrooms and corals, glass artichoke-hand grenades, the...
Nicole Bachmann’s latest work, I say, has the performer practice a text, sense a word in the mouth, calling it forth, and another, repeating, hearing, interrupting, and another, beginning again,...
The project space CORNER COLLEGE in Zurich’s 4th district has for some time now been giving invigorating impulses to both art and theory, and can be recommended to every visitor...
I got to know Tom Kummer in 2006 while editing his book Blow Up in nighttime telephone calls to Los Angeles. We met for the first time at the book...
L’œuvre d'art n’a pas d’idée, elle est idée
…rather alarms, to truth to arm her than enemies, and they have only this advantage to scape from being called ill things, that they are nothings…
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.
The post I’m now sharing was somewhat unsettling: “Barbara joined Facebook 6 years ago!”
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.