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Barbara Basting

Corona Park, Hub of theWorld

I’ve always been fascinated by globes, which is why I photographed this very special example in 2011, and the FB algorithm recently presented it to me again. It’s said to be the largest model of the world in the world. I discovered it in Corona Park in the New York district of Queens, the site of the 1939 and 1964 World’s Fairs. I went to the Queens Museum, whose creeper-covered wall is on the photograph’s right, mainly to see its model of New York. This impressive piece was commissioned by Robert Moses, director of the World’s Fair, in 1964. New York was supposed to look like an urbanist miracle, the most grandiose of 20th-century cities, the hub of the world.
Facebook fished the picture from the depths of its archives while I was thinking about the estate of an artist whose studio I had cleared out. It included a battered...

Surrogacies – Matrice porteuses
Surrogacies – Matrice porteuses

DIAPHANES Magazine No. 11

Was tritt an die Stelle der Kernfamilie angesichts hybrider Kinships und Social Freezing? Was wären die neuen Wahlverwandtschaften in Zeiten von Chatbots und Pseudonymisierung? Wird es Zeit für Leih-Muttersprachen und extra-humane Rhetoriken der Surrogation?   Sophie Lewis fordert einen Kommunismus des Gebärens und jagt nach unseren Omas. Barbara Vinken denkt über geistige Mutterschaft, Luciana Parisi über menschliche Automaten und ­gegenderte Proxies nach. Für Zuzana Cela ist Sprache ein Fremdkörper, der invaginiert werden kann. Werner Hamacher flaniert durch Mutter Museum, das zugleich ein...
  • aesthetics
  • feminism
  • body
  • gender
  • contemporary art
Mama Say Make I Dey Go, She Dey My Back

Jelili Atiku, Damian Christinger

Mama Say Make I Dey Go, She Dey My Back

  • performance
  • ritual
  • body
  • feminism
  • Africa
  • spiritism
  • ceremony
  • colonialism

Antonin Artaud, Stephen Barber (ed.)

“Here Lies” preceded by “The Indian Culture”

The two poetic works collected together here as Here Lies preceded by Indian Culture were created as a partly improvised vocal performance dictated during one session on 25 November 1946, based on provisional notes, and transcribed by Artaud’s collaborator Paule Thévenin at Artaud’s pavilion in Ivry-sur-Seine. The two works together form one of the outstanding experiments of Artaud’s final period. Those two works were published in one volume in Paris on 20 January 1948 by the small poetry publisher K...
  • literature
  • drugs
  • poetry
  • avant-garde

Diane Williams

How about some string?

I said “Would you like a rope? You know that haul you have is not secured properly.”
“No,” he said, “but I see you have string!”
“If this comes into motion—” I said, “you should use a rope.”
“Any poison ivy on that? ” he asked me, and I told him my rope had been in the barn peacefully for years.
He took a length of it to the bedside table. He had no concept for what wood could endure.
“Table must have broken when I lashed it onto the truck,” he said.
And, when he was moving the sewing machine, he let the cast iron wheels—bang, bang on the stair.
I had settled down to pack up the flamingo cookie jar, the cutlery, and the cookware, but stopped briefly, for how many times do you catch sudden sight of something heartfelt?
I saw our milk cows in their slow...

Digital disrupture
Digital disrupture

Dieter Mersch

Digital Criticism

We really need an analysis of algorithmic conditions and their paradoxes and ambiguities that gives them an adequate framework and horizon. But instead we currently seem to be finding an algorithmic solution of the algorithmic, much as digital solutions are being offered for the problems of the digital public sphere, in the way that IT corporations, for example, use exclusively mathematical procedures to evaluate and delete “fake news,” inappropriate portrayals, or the violation of personal rights. This tends to result...
From xenolinguistics to cephalo­pods

From xenolinguistics to cephalo­pods

  • communication media
  • communication
  • semiotics and semiology
  • utopia
  • linguistics
  • science fiction
The Dance of All Things
The Dance of All Things

Georges Didi-Huberman, Laurent Mannoni, ...

Movements of Air

It would be futile to resist the feeling that the marvelous curls of smoke, photographed by Étienne-Jules Marey between 1899 and 1901, first elicit from us. We have the impression of witnessing a pure beauty in the process of making, unmaking, and remaking itself incessantly before our eyes. It is a supreme flow—images of flow and a flow of images all at once—from which approximately fifty instants have been randomly “drawn,” all formed differently and likewise admirable. Such simple beauty...
  • history of media
  • History of photography
  • photography
  • history of science
  • artistic research


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