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12 Feb 2011 — 12 Feb 2017 . . . . . L’œuvre d'art n’a pas d’idée, elle est idée . . . . . Boutiques on the Bosporus . . . . . Facebook’s Just a Nail Studio . . . . . Custom Creates Law . . . . . THE MOST BEAUTIFUL CLOUD NAMES . . . . . Behind the Great Firewall . . . . . Barbara Basting — The Algorithm and I . . . . . Pierre Guyotat . The Prison . . . . . Donatien Grau, Pierre Guyotat . Conversation . . . . . Peter Ott . Die monotheistische Zelle oder Berichte aus der Fiktion . . . . . Artificial and Other Intelligences . . . . . 12 May 2011 – 12 May 2017: On Non-Digital Storage Media . . . . . Self-portrait . . . . . Mário Gomes . Brandsatz & Ästhetik . . . . . How to Pilot an Aeroplane . . . . . Charlemagne Rides through Paris . . . . . I remember… . . . . . LISTMANIA . . . . . Mike Wilson . Rockabilly . . . . . Ute Holl . Dream, Clouds, Off, Exile . . . . . Corona Park, Hub of theWorld . . . . . Barbara Basting . Der Algorithmus und ich 8 . . . . . TWELVE DRUMMERS DRUMMING . . . . . Paradox I: That all things kill themselves . . . . . The Transversal Shelf of Printed Books in Times of Accelerated Opaque Media . . . . . Exodus. Gods and Kings . . . . . China frisst Menschen . . . . . Ich erinnere mich… . . . . . I remember . . . . . Human Oddities . . . . . GUANAJUATONOVIEMBRE . . . . . Marcus Quent . Ohne Halt . . . . . Hermal . . . . . This is not your blood. . . . . . Quaddie . . . . . Problem IX: Warum haben Hurenkinder das allermeiste Glück? . . . . . Tyler Coburn . Ergonomic Futures . . . . . Michael Heitz . Noch ein neuer Gott in Teilen . . . . . American English . . . . . ABT. DIE DUEMMSTEN BERLINER FRISÖRNAMEN . . . . . HER . . . . . Pierre Guyotat . Unabhängigkeit . . . . . Je me souviens… . . . . . BIG BUGS . . . . . I remember . . . . . Michael Heitz . Another New God in Parts . . . . . Marcus Quent . No Respite . . . . . Julien Maret . IN EXTREMIS . . . . . Peter Ott . The Monotheistic Cell Or Reports from Fiction . . . . . Mike Wilson . Rockabilly

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DIAPHANES MAGAZINE No. 1

 

Kybernetik für alle

Michael Schultze, 03.07.2017

Der Titel ist Programm. Dieses »in der hauptsache von 1962 bis 1967« geschriebene Werk ist nicht nur ein megalomanisch zusammengeclustertes Durchverdauen der bewegenden Theorien der späten 60er Jahre (Linguistik, Kybernetik,...

Materiality and corporeality

Kári Páll Óskarsson, 03.07.2017

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...

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...

Other columns
  • L’œuvre d'art n’a pas d’idée, elle est idée

    L’œuvre d'art n’a pas d’idée, elle est idée

    L’œuvre d'art n’a pas d’idée, elle est idée

  • Questionnaire

    Red oder Blue? Welche Götter? What’s wrong with reality? Nord oder Süd? Wie sterben? What is the problem with solutions?

  • 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.

  • John Donne’s Paradoxes and Problems

    John Donne’s Paradoxes and Problems

    …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…

Magazine Special

Ute Holl

Dream, Clouds, Off, Exile

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  • monotheism
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  • Karl Marx

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English

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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

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