Emma Waltraud Howes
Questionnaire Emma Waltraud Howes
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
Donatien Grau, James Spooner
Afropunk Philology
Simon Critchley
Learning to Eat Time with One’s Ears
Sina Dell’Anno
Punk / Philology
Johanna Went
I remember (Johanna Went)
Zoran Terzić
The Grand Generalization
Mengia Tschalaer
Queer Spaces
Tom McCarthy
Toke My Asymptote – or, The Ecstatic Agony of Appearance
A. L. Kennedy
What is an Author?
Zoran Terzić
The Tautomaniac
Mehdi Belhaj Kacem, Philippe Sollers
What is the Meaning of the Avant-garde’s Death?
Sandra Frimmel
I Hate the Avant-garde
Malte Fabian Rauch
Where the Negative Holds Court
Sina Dell’Anno
Oratio Soluta
Fritz Senn
Das Leben besteht aus gestrandeten Konjunktiven
Johannes Binotto
Shrewing the Tame
Andreas L. Hofbauer
Yoke
Michael Heitz
Wong Ping’s "Who’s the Daddy"
Barbara Basting
Der Algorithmus und ich 7
Joseph Morder
Une Trinite de la Memoire
Barbara Basting
Der Algorithmus und ich 5
Maria Filomena Molder
The Alms of Time
Michele Pedrazzi
The Next Bit. Corpo a corpo con l’ignoto
Stephen Barber
A War of Fragments: World Versus America
Nicole Bachmann
Questionnaire Nicole Bachmann
Marcus Quent
Elapsing Time and Belief in the World
Elena Vogman
Dynamography, or Andrei Bely’s Rhythmic Gesture
Eric Baudelaire
Abecedarium
Jurij Pavlovich Annenkov
A Diary of my Encounters
Artur Zmijewski
Conversation on “Glimpse”
Stephen Barber
Futurama Nights, October 1978
Donatien Grau, Pierre Guyotat
Conversation
Jean-Luc Nancy
Je me souviens (Jean-Luc Nancy)
Beni Bischof
LISTMANIA: BIG BUGS
Barbara Basting
Der Algorithmus und ich 1
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...
Vonceptually sensory bills of fare, enumerations and selections…
…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…
Raucous time capsules, rare jewels, and indispensable bulky goods from all epochs, languages, and genres.
L’œuvre d'art n’a pas d’idée, elle est idée
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.