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
Simon Critchley
Learning to Eat Time with One’s Ears
Sina Dell’Anno
Punk / Philology
Donatien Grau
A Life in Philology
Donatien Grau, James Spooner
Afropunk Philology
A. L. Kennedy
What is an Author?
Tom McCarthy
Toke My Asymptote – or, The Ecstatic Agony of Appearance
Felix Stalder
Feedback as Authenticity
Zoran Terzić
The Grand Generalization
Kai van Eikels
Do in What's Doing, Democracy in!
Malte Fabian Rauch
Where the Negative Holds Court
Mehdi Belhaj Kacem
Tomb for Guy Debord
Barbara Basting
Der Algorithmus und ich 6
Sandra Frimmel
I Hate the Avant-garde
Alexander García Düttmann
Cold Distance
Sina Dell’Anno
Oratio Soluta
Malte Fabian Rauch
Phenomena in Exile
Barbara Basting
Der Algorithmus und ich 6
Ines Kleesattel
Art, Girls, and Aesthetic Freedom Down Below
Joseph Morder
Une Trinite de la Memoire
Maria Filomena Molder
The Alms of Time
Damian Christinger, Monica Ursina Jäger
Homeland Fictions
A.K. Kaiza
An Annotated History of Wakanda
Maël Renouard
The Twilight of Classification?
Elena Vogman
Dynamography, or Andrei Bely’s Rhythmic Gesture
Marcus Quent
Elapsing Time and Belief in the World
Stephen Barber
A War of Fragments: World Versus America
Dieter Mersch
Digital Criticism
Stephen Barber
Futurama Nights, October 1978
Artur Zmijewski
Conversation on “Glimpse”
Ann Cotten
Dialogs
Jelili Atiku, Damian Christinger
Venice, Lagos, and the Spaces in between
The Transversal Shelf of Printed Books in Times of Accelerated Opaque Media
Johanna Went
I remember (Johanna Went)
Barbara Basting
Der Algorithmus und ich 4
Barbara Basting
Der Algorithmus und ich 6
¡ Wenn sie im Flugzeug freie Plätze sehen, dann nicht darum prügeln !
¡ Auf gar keinen Fall darf...
Es sei uns gestattet, hier einmal sämtliche Gründe aufzuzählen, warum wir von Schach nichts halten.
1. Es ist ein...
Plörre
Smegma
Ohrwurm
Schlamassel
Kummerspeck
Weltschmerz
Gesöff
Fernweh
Lotterbett
Spelunke
Scharmützel
Donnerwetter
Schabracke
Mumpitz
Spatzenhirn
Lustmolch
Kaschemme
Spinatwachtel
Popanz
…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…
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.
L’œuvre d'art n’a pas d’idée, elle est idée
The post I’m now sharing was somewhat unsettling: “Barbara joined Facebook 6 years ago!”
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.