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

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DIAPHANES MAGAZINE No. 8/9
DIAPHANES MAGAZINE No. 3

After This Comes That Before That Comes This

Wolfgang Plöger

After This Comes That Before That Comes This

 

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...

HER

DJ Helioglobal, 11.04.2017

Andreas L. Hofbauer, René Luckhardt: HER
Wien: Der Konterfei 2015
limitierte Ausgabe, 50 Seiten

 

In einem Onlineforum, das sich mit dem Umzug ins 40 Lichtjahre von uns entfernte Planeten-system...

Other columns
  • I remember

    I remember

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

  • Future Pluperfect

    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.

  • Questionnaire

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

  • LISTMANIA

    LISTMANIA

    Vonceptually sensory bills of fare, enumerations and selections…

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

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