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American English . . . . . LISTMANIA . . . . . Pierre Guyotat . The Prison . . . . . Barbara Basting — The Algorithm and I . . . . . Custom Creates Law . . . . . THE MOST BEAUTIFUL CLOUD NAMES . . . . . This is not your blood. . . . . . Tyler Coburn . Ergonomic Futures . . . . . Self-portrait . . . . . Human Oddities . . . . . China frisst Menschen . . . . . Behind the Great Firewall . . . . . Charlemagne Rides through Paris . . . . . Paradox I: That all things kill themselves . . . . . Quaddie . . . . . TWELVE DRUMMERS DRUMMING . . . . . Pierre Guyotat . Unabhängigkeit . . . . . Exodus. Gods and Kings . . . . . Ich erinnere mich… . . . . . Peter Ott . Die monotheistische Zelle oder Berichte aus der Fiktion . . . . . Artificial and Other Intelligences . . . . . How to Pilot an Aeroplane . . . . . HER . . . . . Facebook’s Just a Nail Studio . . . . . Boutiques on the Bosporus . . . . . Je me souviens… . . . . . Problem IX: Warum haben Hurenkinder das allermeiste Glück? . . . . . Marcus Quent . Ohne Halt . . . . . 12 May 2011 – 12 May 2017: On Non-Digital Storage Media . . . . . L’œuvre d'art n’a pas d’idée, elle est idée . . . . . Hermal . . . . . Mike Wilson . Rockabilly . . . . . I remember . . . . . Michael Heitz . Noch ein neuer Gott in Teilen . . . . . 12 Feb 2011 — 12 Feb 2017 . . . . . I remember… . . . . . Donatien Grau, Pierre Guyotat . Conversation . . . . . Ute Holl . Dream, Clouds, Off, Exile . . . . . ABT. DIE DUEMMSTEN BERLINER FRISÖRNAMEN . . . . . The Transversal Shelf of Printed Books in Times of Accelerated Opaque Media . . . . . BIG BUGS . . . . . Mário Gomes . Brandsatz & Ästhetik . . . . . I remember . . . . . GUANAJUATONOVIEMBRE . . . . . Mike Wilson . Rockabilly . . . . . Michael Heitz . Another New God in Parts . . . . . Julien Maret . IN EXTREMIS . . . . . Peter Ott . The Monotheistic Cell Or Reports from Fiction . . . . . Marcus Quent . No Respite

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DIAPHANES MAGAZINE No. 3

BELISAR by François Gérard

Christine Tauber

Belisar

 

Luzia Gast, 09.06.2023

Nicht zuletzt die 2016 abgeschlossene Restaurierung hatte die These gestützt, dass es sich bei Hieronymus Boschs venezianischem Triptychon um die...

Drag-nets

Luc Meresma, 26.10.2018

It may be due to the simple design of this dust jacket, which gives no indication of genre, and to...

Honoré Daumier: Don Quixote lisant

Miguel Tamen, 10.04.2018

The Nonexistent Giotto
A picture may announce the future not in the sense that it refers to any future events...

BELISAR by François Gérard

Christine Tauber, 13.12.2017

Although contemporaries attested Romantic ­qualities to François Gérard’s Belisar, it didn’t appeal to the arch-Romantic Delacroix: “The fortune of a...

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Magazine Special

Ute Holl

Dream, Clouds, Off, Exile

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  • monotheism
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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

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