Sina Dell’Anno
Punk / Philology
Barbara Basting
Der Algorithmus und ich 8
Simon Critchley
Learning to Eat Time with One’s Ears
Donatien Grau
A Life in Philology
Barbara Basting
Der Algorithmus und ich 7
A. L. Kennedy
What is an Author?
Barbara Basting
Der Algorithmus und ich 8
Tom McCarthy
Toke My Asymptote – or, The Ecstatic Agony of Appearance
Felix Stalder
Feedback as Authenticity
Zoran Terzić
The Tautomaniac
Malte Fabian Rauch
Where the Negative Holds Court
Mehdi Belhaj Kacem
Tomb for Guy Debord
Michael Heitz, Hendrik Rohlf
Uma’s Face—Thurman’s Voice
Ines Kleesattel
Art, Girls, and Aesthetic Freedom Down Below
Barbara Basting
Der Algorithmus und ich 7
Sina Dell’Anno
Oratio Soluta
Lars von Trier in Conversation with Mehdi Belhaj Kacem & Raphaëlle Milone
Jochen Thermann
The Assistant Chef
Michele Pedrazzi
The Next Bit. Corpo a corpo con l’ignoto
Helmut J. Schneider
How Distant Can My Neighbor be?
Barbara Basting
Der Algorithmus und ich 6
Barbara Basting
Der Algorithmus und ich 7
Nicole Bachmann
Questionnaire Nicole Bachmann
Maël Renouard
The Twilight of Classification?
Marcus Quent
Elapsing Time and Belief in the World
Stephen Barber
A War of Fragments: World Versus America
Artur Zmijewski
Conversation on “Glimpse”
Jelili Atiku, Damian Christinger
Venice, Lagos, and the Spaces in between
Stephen Barber
Futurama Nights, October 1978
Alexander García Düttmann
Can There Be a Society Without Ceremony or the Critical Question of Theatre
Barbara Basting
Der Algorithmus und ich 8
Peter Ott
The Monotheistic Cell Or Reports from Fiction
Barbara Basting
Der Algorithmus und ich 5
¡ Wenn sie im Flugzeug freie Plätze sehen, dann nicht darum prügeln !
¡ Auf gar keinen Fall darf...
Es sei uns gestattet, hier einmal sämtliche Gründe aufzuzählen, warum wir von Schach nichts halten.
1. Es ist ein...
1. Tell the Earth, “I love you. I can’t live without you."
2. At first you may feel embarrassed...
The post I’m now sharing was somewhat unsettling: “Barbara joined Facebook 6 years ago!”
Following Georges Perec’s Memory 480: "I remember… (to be continued…)"…
L’œuvre d'art n’a pas d’idée, elle est idée
Raucous time capsules, rare jewels, and indispensable bulky goods from all epochs, languages, and genres.
A for Anomie
The idea that terrorism and other forms of political violence are directly related to strains caused by strongly held grievances has been one of the most common explanations to date and can be traced to a diverse set of theoretical concepts including relative deprivation, social disorganization, breakdown, tension, and anomie. Merton (1938) identifies anomie as a cultural condition of frustration, in which values regarding goals and how to achieve them conflict with limitations on the means of achievement.
Gary LaFree and Laura Dugan, “Research on Terrorism and Countering Terrorism”, Crime and Justice, Vol. 38, No. 1, 2009.
B for Block or Blocked
If terrorism in each of its expressions can be considered an indicator of the existence of a political block (of an impossibility of reacting if one wishes to react differently), this influences its real ability to modify the situation. Terrorism has been historically more successful when it was not...
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.