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To end GOD’S JUDGEMENT
Antonin Artaud, Stephen Barber (ed.)
Radio Works: 1946–48
Artaud’s work is performative in the sense that it never simply describes, but actively produces the events it enacts. As Austin characterises performative language, ‘the issuing of the utterance is the performing of an action’.3 Artaud’s work, performed correctly, is magical, finding its power in ritualistic chanting. Intonation is key to this, recalling what he wrote about metaphysical language in The Theatre and its Double, where the aim is ‘to deal with intonations in an absolutely concrete manner, restoring their...
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Anthology
Zu einer Poetik des Seriellen
Elisabeth Bronfen (ed.), Christiane Frey (ed.), David Martyn (ed.)
Noch einmal anders
Monograph
Around a sculpture by Alberto Giacometti
Georges Didi-Huberman, Mira Fliescher (ed.), Elena Vogman (ed.)
The Cube and the Face
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Ornamentation is the body of our thought
Elena Vogman
Dynamography, or Andrei Bely’s Rhythmic Gesture
The experience of the Russian Revolution transformed both the perception and the epistemic notion of time. It challenged artistic and scientific modes of production with the invention of new models of temporality. Nonlinear, morphological, and materialist models of time seemed to correspond more precisely to the irruptive event of the revolution. These echoed more the new political constellation than a historicist or purely philosophical notion of a homogeneous time as a condition a priori to any experience. New theories in...
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