Emma Waltraud Howes
Questionnaire Emma Waltraud Howes
I.V. Nuss
The Love in the Convex, in Absolute Roundness and the Sluttification of All Men West of the Bosporus
Marie Glassl, Sophie Lewis
Surrogate Abolition
Dennis Cooper, Donatien Grau, Richard Hell
"I’d rather live in a book"
Dan-el Padilla Peralta
Junk Philology. An Anti-Commentary
Simon Critchley
Learning to Eat Time with One’s Ears
Sina Dell’Anno
Punk / Philology
Tom McCarthy
Toke My Asymptote – or, The Ecstatic Agony of Appearance
Felix Stalder
Feedback as Authenticity
Barbara Basting
Der Algorithmus und ich 7
Zoran Terzić
The Grand Generalization
Zoran Terzić
The Tautomaniac
Barbara Basting
Der Algorithmus und ich 6
Sandra Frimmel
I Hate the Avant-garde
Michael Heitz, Hendrik Rohlf
Uma’s Face—Thurman’s Voice
Hans Block, Moritz Riesewieck
What we don’t see
Andreas L. Hofbauer
Yoke
Alexander García Düttmann
Cold Distance
Barbara Basting
Der Algorithmus und ich 4
A.K. Kaiza
An Annotated History of Wakanda
Barbara Basting
Der Algorithmus und ich 7
Zoran Terzić
Political Transplants
Maël Renouard
The Twilight of Classification?
Emma Waltraud Howes
Questionnaire Emma Waltraud Howes
Dietmar Dath
Your Sprache Never Was
Wolfgang Plöger
After This Comes That Before That Comes This
Jurij Pavlovich Annenkov
A Diary of my Encounters
Tom Kummer
Questionnaire Tom Kummer
Alexander García Düttmann
Can There Be a Society Without Ceremony or the Critical Question of Theatre
Artur Zmijewski
Conversation on “Glimpse”
Bruce Bégout
The Man from Venice
Barbara Basting
Der Algorithmus und ich 4
K.A.
Hermal
Barbara Basting
Der Algorithmus und ich 2
The Transversal Shelf of Printed Books in Times of Accelerated Opaque Media
Beni Bischof
LISTMANIA: BIG BUGS
So wie geplant kommt es ja selten, meistens ergibt sich etwas halt so. Das ist weniger der Zustand der Welt...
A Little Paris Nightmare
I loved Paris, even as a little boy, long before I lived there. I was like Pinocchio wandering about in some strange Land of Toys. I...
La soif
Quand j’étais enfant, près de la maison ou j’habitais, il y avait une voie ferrée. Avant de m'endormir, j’entendais...
Red oder Blue? Welche Götter? What’s wrong with reality? Nord oder Süd? Wie sterben? What is the problem with solutions?
…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.
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...
Now the dead will no longer be buried, now this spectral city will become the site for execrations and lamentations, now time itself will disintegrate and void itself, now human bodies will expectorate fury and envision their own transformation or negation, now infinite and untold catastrophes are imminently on their way —ready to cross the bridge over the river Aire and engulf us all — in this winter of discontent, just beginning at this dead-of-night instant before midnight, North-Sea ice-particles already crackling in the air and the last summer long-over, the final moment of my seventeenth birthday, so we have to go, the devil is at our heels… And now we’re running at full-tilt through the centre of the city, across the square beneath the Purbeck-marble edifice of the Queen’s Hotel, down towards the dark arches under the railway tracks, the illuminated sky shaking, the air fissured with beating cacophony,...
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.