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
Johanna Went
I remember (Johanna Went)
Simon Critchley
Learning to Eat Time with One’s Ears
Donatien Grau, James Spooner
Afropunk Philology
Dennis Cooper, Donatien Grau, Richard Hell
"I’d rather live in a book"
Tom McCarthy
Toke My Asymptote – or, The Ecstatic Agony of Appearance
Mengia Tschalaer
Queer Spaces
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
Zoran Terzić
The Tautomaniac
Johannes Binotto
Shrewing the Tame
Fritz Senn
Das Leben besteht aus gestrandeten Konjunktiven
Hans Block, Moritz Riesewieck
What we don’t see
Michael Heitz
Wong Ping’s "Who’s the Daddy"
Fritz Senn
Das Leben besteht aus gestrandeten Konjunktiven
Zoran Terzić
Political Transplants
Barbara Basting
Der Algorithmus und ich 6
Joseph Morder
Une Trinite de la Memoire
Jean-Luc Nancy
Zah Zuh
Dieter Mersch
Digital Criticism
Wolfgang Plöger
After This Comes That Before That Comes This
Nicole Bachmann
Questionnaire Nicole Bachmann
Eric Baudelaire
Abecedarium
Ann Cotten
Dialogs
Rolf Bossart, Milo Rau
On Realism
Jurij Pavlovich Annenkov
A Diary of my Encounters
Mário Gomes
The Poetics of Architecture
Barbara Basting
Der Algorithmus und ich 4
Barbara Basting
Der Algorithmus und ich 2
Barbara Basting
Der Algorithmus und ich 7
Barbara Basting
Der Algorithmus und ich 3
Kommt ein Polizist zu einem Mann, der beschuldigt wird, seinen kleinen Sohn zu Tode geschüttelt zu haben. Wie ist denn das passiert?, will der Polizist wissen. So!, gibt der Mann...
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,...
Capt. Norman Macmillan:
How to Pilot an Aeroplane,
George Allen & Unwin LTD: London 1942,
first edition, 110 pages
This book told me just what I had to know before...
The post I’m now sharing was somewhat unsettling: “Barbara joined Facebook 6 years ago!”
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.
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.
Red oder Blue? Welche Götter? What’s wrong with reality? Nord oder Süd? Wie sterben? What is the problem with solutions?
Externalized memory had always proceeded by contractions, summaries, reductions, selections, breaks in flow, as well as by organization, classification, boiling down. Card catalogues reduced thousands of works to a few key notions; tables of contents contracted the hundreds of pages in a given book. The sign itself was the first abbreviation of experience. An epic stitched of words was an abbreviation of the war, the long years of which were reduced to a few nights of recitation; the written text that recorded the epic was a contraction of the oral narration which pushed aside its sensory richness, melody, life in a thousand details. In accumulating, every level of abbreviation reconstituted an infinite flow, a new dilation that would be contracted in its turn. From the plurality of pages to the index and the table of contents; from the plurality of books to card catalogues.
The abbreviated elements were further arranged, situated...
J.G. Ballard’s self-declared ‘Immodest Proposal’ for a global war-alliance to exact the destruction of America demonstrates the provocatory zeal of his last fiction plans, as well as their enduring prescience. As Ballard emphasises several times in the World Versus America notebooks, he is utterly serious in his concerns and visions.
Although the Ballard estate declined permission for any images of pages from the World Versus America archival notebooks to accompany this essay, any member of the general public interested to do so can readily visit the British Library and view the notebooks in their entirety in the freely-accessible manuscripts collection there.
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.