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
Dan-el Padilla Peralta
Junk Philology. An Anti-Commentary
Simon Critchley
Learning to Eat Time with One’s Ears
Johanna Went
I remember (Johanna Went)
Mengia Tschalaer
Queer Spaces
Claire Fontaine
Towards a Theory of Magic Materialism
Felix Stalder
Feedback as Authenticity
Kai van Eikels
Do in What's Doing, Democracy in!
Tom McCarthy
Toke My Asymptote – or, The Ecstatic Agony of Appearance
Malte Fabian Rauch
Where the Negative Holds Court
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 7
Barbara Basting
Der Algorithmus und ich 5
Alexander García Düttmann
Cold Distance
Malte Fabian Rauch
Phenomena in Exile
Lars von Trier in Conversation with Mehdi Belhaj Kacem & Raphaëlle Milone
Barbara Basting
Der Algorithmus und ich 6
Helmut J. Schneider
How Distant Can My Neighbor be?
Zoran Terzić
Political Transplants
Emma Waltraud Howes
Questionnaire Emma Waltraud Howes
Barbara Basting
Der Algorithmus und ich 3
Marcus Quent
Elapsing Time and Belief in the World
Artur Zmijewski
Conversation on “Glimpse”
Stephen Barber
Futurama Nights, October 1978
Eric Baudelaire
Abecedarium
Jelili Atiku, Damian Christinger
Venice, Lagos, and the Spaces in between
Ann Cotten
Dialogs
Aya Momose
Questionnaire Aya Momose
John Donne
Paradox I
Johanna Went
I remember (Johanna Went)
Donatien Grau, Pierre Guyotat
Conversation
Barbara Basting
Der Algorithmus und ich 4
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...
Red oder Blue? Welche Götter? What’s wrong with reality? Nord oder Süd? Wie sterben? What is the problem with solutions?
Vonceptually sensory bills of fare, enumerations and selections…
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.
…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…
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.