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, James Spooner
Afropunk Philology
Dan-el Padilla Peralta
Junk Philology. An Anti-Commentary
Donatien Grau
A Life in Philology
Sina Dell’Anno
Punk / Philology
A. L. Kennedy
What is an Author?
Zoran Terzić
The Grand Generalization
Claire Fontaine
Towards a Theory of Magic Materialism
Barbara Basting
Der Algorithmus und ich 7
Zoran Terzić
The Tautomaniac
Sandra Frimmel
I Hate the Avant-garde
Mehdi Belhaj Kacem
Tomb for Guy Debord
Michael Heitz, Hendrik Rohlf
Uma’s Face—Thurman’s Voice
Andreas L. Hofbauer
Yoke
Hans Block, Moritz Riesewieck
What we don’t see
Sina Dell’Anno
Oratio Soluta
Malte Fabian Rauch
Phenomena in Exile
Damian Christinger, Monica Ursina Jäger
Homeland Fictions
Barbara Basting
Der Algorithmus und ich 5
Barbara Basting
Der Algorithmus und ich 6
Dietmar Dath
Your Sprache Never Was
Emma Waltraud Howes
Questionnaire Emma Waltraud Howes
Nicole Bachmann
Questionnaire Nicole Bachmann
Marcus Quent
Elapsing Time and Belief in the World
Alexander García Düttmann
Can There Be a Society Without Ceremony or the Critical Question of Theatre
Eric Baudelaire
Abecedarium
Artur Zmijewski
Conversation on “Glimpse”
Jelili Atiku, Damian Christinger
Venice, Lagos, and the Spaces in between
Stephen Barber
Futurama Nights, October 1978
Tyler Coburn
Quaddie
Andreas Reihse
LISTMANIA: GUANAJUATONOVIEMBRE
Ute Holl
Dream, Clouds, Off, Exile
Barbara Basting
Der Algorithmus und ich 4
It may be due to the simple design of this dust jacket, which gives no indication of genre, and to...
The Nonexistent Giotto
A picture may announce the future not in the sense that it refers to any future events...
Although contemporaries attested Romantic qualities to François Gérard’s Belisar, it didn’t appeal to the arch-Romantic Delacroix: “The fortune of a...
Red oder Blue? Welche Götter? What’s wrong with reality? Nord oder Süd? Wie sterben? What is the problem with solutions?
L’œuvre d'art n’a pas d’idée, elle est idée
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.
Vonceptually sensory bills of fare, enumerations and selections…
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.