Marie Glassl, Sophie Lewis
Surrogate Abolition
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
Johanna Went
I remember (Johanna Went)
Dennis Cooper, Donatien Grau, Richard Hell
"I’d rather live in a book"
Simon Critchley
Learning to Eat Time with One’s Ears
Donatien Grau
A Life in Philology
Kai van Eikels
Do in What's Doing, Democracy in!
Barbara Basting
Der Algorithmus und ich 7
Mengia Tschalaer
Queer Spaces
Felix Stalder
Feedback as Authenticity
A. L. Kennedy
What is an Author?
Mehdi Belhaj Kacem, Philippe Sollers
What is the Meaning of the Avant-garde’s Death?
Barbara Basting
Der Algorithmus und ich 6
Mehdi Belhaj Kacem
Tomb for Guy Debord
Zoran Terzić
The Tautomaniac
Barbara Basting
Der Algorithmus und ich 5
Ines Kleesattel
Art, Girls, and Aesthetic Freedom Down Below
Johannes Binotto
Shrewing the Tame
Hans Block, Moritz Riesewieck
What we don’t see
Jochen Thermann
The Assistant Chef
Damian Christinger, Monica Ursina Jäger
Homeland Fictions
Joseph Morder
Une Trinite de la Memoire
Jean-Luc Nancy
Zah Zuh
Zoran Terzić
Political Transplants
Stephen Barber
A War of Fragments: World Versus America
Emma Waltraud Howes
Questionnaire Emma Waltraud Howes
Barbara Basting
Der Algorithmus und ich 3
Dieter Mersch
Digital Criticism
Elena Vogman
Dynamography, or Andrei Bely’s Rhythmic Gesture
Rolf Bossart, Milo Rau
On Realism
Eric Baudelaire
Abecedarium
Diane Williams
Bang Bang on the Stair
Bruce Bégout
The Man from Venice
Artur Zmijewski
Conversation on “Glimpse”
Discoteca Flaming Star
Ich erinnere mich… (Discoteca Flaming Star)
Dorothee Scheiffarth
THE MOST BEAUTIFUL CLOUD NAMES
Barbara Basting
Der Algorithmus und ich 3
Jean-Luc Nancy
Je me souviens (Jean-Luc Nancy)
Facebook’s picture tumbler is currently reminding me of my first visit to China a year ago. I was impressed: so...
I’m no longer very happy with Facebook. Recently the algorithm seems to be taking the platform into total despotism. And...
Facebook recently wanted to make merry with me. To this aim it posted an entry on my notice board, which...
The Facebook algorithm has noticed that I have something to do with art and museums, and presents me with a...
Vonceptually sensory bills of fare, enumerations and selections…
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.
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.
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.