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
Dan-el Padilla Peralta
Junk Philology. An Anti-Commentary
Johanna Went
I remember (Johanna Went)
Donatien Grau, James Spooner
Afropunk Philology
Donatien Grau
A Life in Philology
Mengia Tschalaer
Queer Spaces
Claire Fontaine
Towards a Theory of Magic Materialism
Felix Stalder
Feedback as Authenticity
Barbara Basting
Der Algorithmus und ich 7
Zoran Terzić
The Tautomaniac
Mehdi Belhaj Kacem
Tomb for Guy Debord
Malte Fabian Rauch
Where the Negative Holds Court
Sandra Frimmel
I Hate the Avant-garde
Fritz Senn
Das Leben besteht aus gestrandeten Konjunktiven
Michael Heitz
Wong Ping’s "Who’s the Daddy"
Lars von Trier in Conversation with Mehdi Belhaj Kacem & Raphaëlle Milone
Malte Fabian Rauch
Phenomena in Exile
Alexander García Düttmann
Cold Distance
Zoran Terzić
Political Transplants
Jean-Luc Nancy
Zah Zuh
A.K. Kaiza
An Annotated History of Wakanda
Marcus Quent
Elapsing Time and Belief in the World
Barbara Basting
Der Algorithmus und ich 3
Artur Zmijewski
Conversation on “Glimpse”
Mário Gomes
The Poetics of Architecture
Diane Williams
Bang Bang on the Stair
Ann Cotten
Dialogs
Jean-Luc Nancy
Je me souviens (Jean-Luc Nancy)
Haus am Gern
L’œuvre d'art n’a pas d’idée, elle est idée (Blog1)
Peter Ott
The Monotheistic Cell Or Reports from Fiction
Donatien Grau, Pierre Guyotat
Conversation
John Donne
Paradox I
Facebook’s algorithm has served up memories of my Turkish travels often enough, but now it’s taking countermeasures and suddenly presenting...
I sit in the lobby of a hotel in China where I am accommodated along with other guests of an...
I noticed this pattern for fingernail decoration four years ago in the window of a “nail studio” in Salisbury, south-west...
The Facebook algorithm has noticed that I have something to do with art and museums, and presents me with a...
Vonceptually sensory bills of fare, enumerations and selections…
Raucous time capsules, rare jewels, and indispensable bulky goods from all epochs, languages, and genres.
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
“So many egoists call themselves artists,” Rimbaud wrote to Paul Demeny on May 15, 1871. Even though that is not always obvious, ‘I’, the first person, is the most unknown person, a mystery that is constantly moving towards the other two, the second and third persons, a series of unfoldings and smatterings that eventually gelled as ‘Je est un autre’. That is why ‘apocryphal’ is a literarily irrelevant concept and ‘pseudo’ a symptom, the very proof that life, writing, is made up of echoes, which means that intrusions and thefts (Borges also discusses them) will always be the daily bread of those who write.
Words from others, words taken out of place and mutilated: here are the alms of time, that squanderer’s sole kindness. And so many others, mostly others who wrote, and many other pages, all of them apocryphal, all of them echoes, reflections. All this flows together into—two centuries...
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.