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
Marie Glassl, Sophie Lewis
Surrogate Abolition
Donatien Grau, James Spooner
Afropunk Philology
Simon Critchley
Learning to Eat Time with One’s Ears
Johanna Went
I remember (Johanna Went)
Dennis Cooper, Donatien Grau, Richard Hell
"I’d rather live in a book"
Zoran Terzić
The Grand Generalization
Mengia Tschalaer
Queer Spaces
Kai van Eikels
Do in What's Doing, Democracy in!
Claire Fontaine
Towards a Theory of Magic Materialism
Mehdi Belhaj Kacem
Tomb for Guy Debord
Zoran Terzić
The Tautomaniac
Sandra Frimmel
I Hate the Avant-garde
Alexander García Düttmann
Cold Distance
Michael Heitz, Hendrik Rohlf
Uma’s Face—Thurman’s Voice
Fritz Senn
Das Leben besteht aus gestrandeten Konjunktiven
Barbara Basting
Der Algorithmus und ich 7
Sina Dell’Anno
Oratio Soluta
Maria Filomena Molder
The Alms of Time
Barbara Basting
Der Algorithmus und ich 4
Jochen Thermann
The Assistant Chef
Barbara Basting
Der Algorithmus und ich 7
Michele Pedrazzi
The Next Bit. Corpo a corpo con l’ignoto
Stephen Barber
A War of Fragments: World Versus America
Emma Waltraud Howes
Questionnaire Emma Waltraud Howes
Mário Gomes
The Poetics of Architecture
Artur Zmijewski
Conversation on “Glimpse”
Rolf Bossart, Milo Rau
On Realism
Stephen Barber
Futurama Nights, October 1978
Facebook’s picture tumbler is currently reminding me of my first visit to China a year ago. I was impressed: so...
I noticed this pattern for fingernail decoration four years ago in the window of a “nail studio” in Salisbury, south-west...
I’m no longer very happy with Facebook. Recently the algorithm seems to be taking the platform into total despotism. And...
Facebook recently wanted to make merry with me. To this aim it posted an entry on my notice board, which...
Vonceptually sensory bills of fare, enumerations and selections…
Red oder Blue? Welche Götter? What’s wrong with reality? Nord oder Süd? Wie sterben? What is the problem with solutions?
Following Georges Perec’s Memory 480: "I remember… (to be continued…)"…
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.
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...
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.