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
Sina Dell’Anno
Punk / Philology
Donatien Grau
A Life in Philology
Dan-el Padilla Peralta
Junk Philology. An Anti-Commentary
Simon Critchley
Learning to Eat Time with One’s Ears
A. L. Kennedy
What is an Author?
Kai van Eikels
Do in What's Doing, Democracy in!
Claire Fontaine
Towards a Theory of Magic Materialism
Tom McCarthy
Toke My Asymptote – or, The Ecstatic Agony of Appearance
Malte Fabian Rauch
Where the Negative Holds Court
Barbara Basting
Der Algorithmus und ich 6
Mehdi Belhaj Kacem
Tomb for Guy Debord
Barbara Basting
Der Algorithmus und ich 6
Lars von Trier in Conversation with Mehdi Belhaj Kacem & Raphaëlle Milone
Axel Dielmann
The Dressmaker
Barbara Basting
Der Algorithmus und ich 5
Sina Dell’Anno
Oratio Soluta
Helmut J. Schneider
How Distant Can My Neighbor be?
Michele Pedrazzi
The Next Bit. Corpo a corpo con l’ignoto
Maël Renouard
The Twilight of Classification?
Nicole Bachmann
Questionnaire Nicole Bachmann
Dieter Mersch
Digital Criticism
Bruce Bégout
The Man from Venice
Ann Cotten
Dialogs
Alexander García Düttmann
Can There Be a Society Without Ceremony or the Critical Question of Theatre
Eric Baudelaire
Abecedarium
Jelili Atiku, Damian Christinger
Venice, Lagos, and the Spaces in between
Barbara Basting
Der Algorithmus und ich 4
Stephen Barber
I remember (Stephen Barber)
Johanna Went
I remember (Johanna Went)
Tyler Coburn
Quaddie
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...
L’œuvre d'art n’a pas d’idée, elle est idée
Following Georges Perec’s Memory 480: "I remember… (to be continued…)"…
Raucous time capsules, rare jewels, and indispensable bulky goods from all epochs, languages, and genres.
…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…
Successful asylum claims generally require generating a racialist, colonialist discourse that impugns the nation-state from which the asylum seeker comes. While to impugn the asylum seeker’s place of origin may well be a necessity for the purpose of asylum, it is problematic if it serves to confirm the moral and political superiority of the West through the myth of the ideal victim. In order to avoid the cookie-cutter victimhood framework that refers to idealizations around “Us” and “Them,” Europe must adopt a reflexive approach to queer asylum that allows for recognizing its own stereotypes in regard to homosexuality, race, and gender, so as not to reproduce colonial and imperialistic narratives of vulnerability, sex, and desire through Eurocentric asylum regimes.
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.