I.V. Nuss
The Love in the Convex, in Absolute Roundness and the Sluttification of All Men West of the Bosporus
Marie Glassl, Sophie Lewis
Surrogate Abolition
Emma Waltraud Howes
Questionnaire Emma Waltraud Howes
Donatien Grau
A Life in Philology
Johanna Went
I remember (Johanna Went)
Sina Dell’Anno
Punk / Philology
Dan-el Padilla Peralta
Junk Philology. An Anti-Commentary
Felix Stalder
Feedback as Authenticity
Mengia Tschalaer
Queer Spaces
A. L. Kennedy
What is an Author?
Tom McCarthy
Toke My Asymptote – or, The Ecstatic Agony of Appearance
Mehdi Belhaj Kacem, Philippe Sollers
What is the Meaning of the Avant-garde’s Death?
Mehdi Belhaj Kacem
Tomb for Guy Debord
Hans Block, Moritz Riesewieck
What we don’t see
Andreas L. Hofbauer
Yoke
Fritz Senn
Das Leben besteht aus gestrandeten Konjunktiven
Ines Kleesattel
Art, Girls, and Aesthetic Freedom Down Below
Alexander García Düttmann
Cold Distance
Barbara Basting
Der Algorithmus und ich 4
Helmut J. Schneider
How Distant Can My Neighbor be?
Barbara Basting
Der Algorithmus und ich 5
Jochen Thermann
The Assistant Chef
Dieter Mersch
Digital Criticism
Barbara Basting
Der Algorithmus und ich 3
Stephen Barber
A War of Fragments: World Versus America
Wolfgang Plöger
After This Comes That Before That Comes This
Jurij Pavlovich Annenkov
A Diary of my Encounters
Alexander García Düttmann
Can There Be a Society Without Ceremony or the Critical Question of Theatre
Tom Kummer
Questionnaire Tom Kummer
Diane Williams
Bang Bang on the Stair
Michael Heitz
Another New God in Parts
John Donne
Paradox I
Barbara Basting
Der Algorithmus und ich 7
K.A.
Hermal
Oliver Hendricks
Human Oddities (Book)
Facebook’s algorithm has served up memories of my Turkish travels often enough, but now it’s taking countermeasures and suddenly presenting...
I noticed this pattern for fingernail decoration four years ago in the window of a “nail studio” in Salisbury, south-west...
Facebook recently wanted to make merry with me. To this aim it posted an entry on my notice board, which...
The Facebook algorithm has noticed that I have something to do with art and museums, and presents me with a...
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…
Following Georges Perec’s Memory 480: "I remember… (to be continued…)"…
Red oder Blue? Welche Götter? What’s wrong with reality? Nord oder Süd? Wie sterben? What is the problem with solutions?
A for Anomie
The idea that terrorism and other forms of political violence are directly related to strains caused by strongly held grievances has been one of the most common explanations to date and can be traced to a diverse set of theoretical concepts including relative deprivation, social disorganization, breakdown, tension, and anomie. Merton (1938) identifies anomie as a cultural condition of frustration, in which values regarding goals and how to achieve them conflict with limitations on the means of achievement.
Gary LaFree and Laura Dugan, “Research on Terrorism and Countering Terrorism”, Crime and Justice, Vol. 38, No. 1, 2009.
B for Block or Blocked
If terrorism in each of its expressions can be considered an indicator of the existence of a political block (of an impossibility of reacting if one wishes to react differently), this influences its real ability to modify the situation. Terrorism has been historically more successful when it was not...
Now the dead will no longer be buried, now this spectral city will become the site for execrations and lamentations, now time itself will disintegrate and void itself, now human bodies will expectorate fury and envision their own transformation or negation, now infinite and untold catastrophes are imminently on their way —ready to cross the bridge over the river Aire and engulf us all — in this winter of discontent, just beginning at this dead-of-night instant before midnight, North-Sea ice-particles already crackling in the air and the last summer long-over, the final moment of my seventeenth birthday, so we have to go, the devil is at our heels… And now we’re running at full-tilt through the centre of the city, across the square beneath the Purbeck-marble edifice of the Queen’s Hotel, down towards the dark arches under the railway tracks, the illuminated sky shaking, the air fissured with beating cacophony,...
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.