Emma Waltraud Howes
Questionnaire Emma Waltraud Howes
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
Donatien Grau, James Spooner
Afropunk Philology
Dennis Cooper, Donatien Grau, Richard Hell
"I’d rather live in a book"
Donatien Grau
A Life in Philology
Johanna Went
I remember (Johanna Went)
Claire Fontaine
Towards a Theory of Magic Materialism
A. L. Kennedy
What is an Author?
Kai van Eikels
Do in What's Doing, Democracy in!
Barbara Basting
Der Algorithmus und ich 7
Felix Stalder
Feedback as Authenticity
Mehdi Belhaj Kacem, Philippe Sollers
What is the Meaning of the Avant-garde’s Death?
Mehdi Belhaj Kacem
Tomb for Guy Debord
Barbara Basting
Der Algorithmus und ich 6
Sandra Frimmel
I Hate the Avant-garde
Barbara Basting
Der Algorithmus und ich 6
Sina Dell’Anno
Oratio Soluta
Andreas L. Hofbauer
Yoke
Fritz Senn
Das Leben besteht aus gestrandeten Konjunktiven
Fritz Senn
Das Leben besteht aus gestrandeten Konjunktiven
Helmut J. Schneider
How Distant Can My Neighbor be?
Jochen Thermann
The Assistant Chef
Marcus Quent
Elapsing Time and Belief in the World
Stephen Barber
A War of Fragments: World Versus America
Dieter Mersch
Digital Criticism
Rolf Bossart, Milo Rau
On Realism
Stephen Barber
Futurama Nights, October 1978
Eric Baudelaire
Abecedarium
Jurij Pavlovich Annenkov
A Diary of my Encounters
Ann Cotten
Dialogs
Barbara Basting
Der Algorithmus und ich 6
Haus am Gern
L’œuvre d'art n’a pas d’idée, elle est idée (Blog1)
The Transversal Shelf of Printed Books in Times of Accelerated Opaque Media
Stephen Barber
I remember (Stephen Barber)
Jean-Luc Nancy
Je me souviens (Jean-Luc Nancy)
On the first gaze the works of Emma Waltraud Howes seem incongruously out of time. Visiting her studio, one enters another world: meets mushrooms and corals, glass artichoke-hand grenades, the...
Nicole Bachmann’s latest work, I say, has the performer practice a text, sense a word in the mouth, calling it forth, and another, repeating, hearing, interrupting, and another, beginning again,...
The project space CORNER COLLEGE in Zurich’s 4th district has for some time now been giving invigorating impulses to both art and theory, and can be recommended to every visitor...
I got to know Tom Kummer in 2006 while editing his book Blow Up in nighttime telephone calls to Los Angeles. We met for the first time at the book...
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…
The post I’m now sharing was somewhat unsettling: “Barbara joined Facebook 6 years ago!”
Raucous time capsules, rare jewels, and indispensable bulky goods from all epochs, languages, and genres.
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.