A. L. Kennedy
What is an Author?
Toke My Asymptote – or, The Ecstatic Agony of Appearance
Der Algorithmus und ich 7
The Grand Generalization
Mehdi Belhaj Kacem, Philippe Sollers
What is the Meaning of the Avant-garde’s Death?
Der Algorithmus und ich 6
Malte Fabian Rauch
Where the Negative Holds Court
Andreas L. Hofbauer
Lars von Trier in Conversation with Mehdi Belhaj Kacem & Raphaëlle Milone
Der Algorithmus und ich 5
Wong Ping’s "Who’s the Daddy"
The Next Bit. Corpo a corpo con l’ignoto
Helmut J. Schneider
How Distant Can My Neighbor be?
Damian Christinger, Monica Ursina Jäger
Der Algorithmus und ich 4
An interview with Manuel Franquelo
Elapsing Time and Belief in the World
Dynamography, or Andrei Bely’s Rhythmic Gesture
Der Algorithmus und ich 3
Rolf Bossart, Milo Rau
Futurama Nights, October 1978
Jelili Atiku, Damian Christinger
Venice, Lagos, and the Spaces in between
Bang Bang on the Stair
Lieber Paul 1
Der Algorithmus und ich 6
LISTMANIA: BIG BUGS
LISTMANIA: ABT. DIE DUEMMSTEN BERLINER FRISÖRNAMEN
Facebook’s picture tumbler is currently reminding me of my first visit to China a year ago. I was impressed: so...
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...
Facebook recently wanted to make merry with me. To this aim it posted an entry on my notice board, which...
…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…
We are looking for relics of visions of the future in past image spaces, for the traces and signatures of something once imaginable and timelessly possible.
Red oder Blue? Welche Götter? What’s wrong with reality? Nord oder Süd? Wie sterben? What is the problem with solutions?
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.
The ironic self-awareness of the poet can only be that of his own inauthenticity, repeated or fed back into itself at increasingly conscious levels, and ‘to know inauthenticity is not the same as to be authentic’.
The question of authenticity and I go back some way; we’re old sparring partners – frenemies. It’s been a fraught relationship, shot through with paradox and misconstruing. My first novel, Remainder, does turn around its protagonist’s obsession with becoming ‘real’, inhabiting his era or his city, building, skin, movements and gestures in a ‘first-hand’ or ‘authentic’ way, an obsession which he carries to the point of murder. Yet the pleasure of seeing this book receiving glowing press reviews that praised it for its ‘originality’ and ‘true’-ness was tinged with an awareness of something being odd or ‘off’, since Remainder is in fact the most un-original of novels, a novel about non-originality and simulacra that’s quite blatantly composed of set tropes and constructed situations reprised and, only slightly modified, replayed from sources ranging from Ballard’s Crash and Beckett’s Godot back to Sterne’s Tristram Shandy (Uncle Toby’s domestic re-stagings of battle terrains)...
»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.«
Dire works on the bogus regime—not just of art—but endowed with wit, beauty and irresistible fetish character.