Emma Waltraud Howes
Questionnaire Emma Waltraud Howes
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
Simon Critchley
Learning to Eat Time with One’s Ears
Sina Dell’Anno
Punk / Philology
Dan-el Padilla Peralta
Junk Philology. An Anti-Commentary
Dennis Cooper, Donatien Grau, Richard Hell
"I’d rather live in a book"
Barbara Basting
Der Algorithmus und ich 7
A. L. Kennedy
What is an Author?
Felix Stalder
Feedback as Authenticity
Mengia Tschalaer
Queer Spaces
Kai van Eikels
Do in What's Doing, Democracy in!
Zoran Terzić
The Tautomaniac
Barbara Basting
Der Algorithmus und ich 6
Mehdi Belhaj Kacem, Philippe Sollers
What is the Meaning of the Avant-garde’s Death?
Barbara Basting
Der Algorithmus und ich 6
Andreas L. Hofbauer
Yoke
Hans Block, Moritz Riesewieck
What we don’t see
Axel Dielmann
The Dressmaker
Ines Kleesattel
Art, Girls, and Aesthetic Freedom Down Below
Barbara Basting
Der Algorithmus und ich 6
Fritz Senn
Das Leben besteht aus gestrandeten Konjunktiven
Jochen Thermann
The Assistant Chef
Zoran Terzić
Political Transplants
Nicole Bachmann
Questionnaire Nicole Bachmann
Barbara Basting
Der Algorithmus und ich 3
Emma Waltraud Howes
Questionnaire Emma Waltraud Howes
Wolfgang Plöger
After This Comes That Before That Comes This
Mário Gomes
The Poetics of Architecture
Artur Zmijewski
Conversation on “Glimpse”
Stephen Barber
Futurama Nights, October 1978
Rolf Bossart, Milo Rau
On Realism
Diane Williams
Bang Bang on the Stair
Barbara Basting
Der Algorithmus und ich 1
Dorothee Scheiffarth
THE MOST BEAUTIFUL CLOUD NAMES
Aya Momose
Questionnaire Aya Momose
¡ Wenn sie im Flugzeug freie Plätze sehen, dann nicht darum prügeln !
¡ Auf gar keinen Fall darf...
1. Tell the Earth, “I love you. I can’t live without you."
2. At first you may feel embarrassed...
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.
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?
Following Georges Perec’s Memory 480: "I remember… (to be continued…)"…
“So many egoists call themselves artists,” Rimbaud wrote to Paul Demeny on May 15, 1871. Even though that is not always obvious, ‘I’, the first person, is the most unknown person, a mystery that is constantly moving towards the other two, the second and third persons, a series of unfoldings and smatterings that eventually gelled as ‘Je est un autre’. That is why ‘apocryphal’ is a literarily irrelevant concept and ‘pseudo’ a symptom, the very proof that life, writing, is made up of echoes, which means that intrusions and thefts (Borges also discusses them) will always be the daily bread of those who write.
Words from others, words taken out of place and mutilated: here are the alms of time, that squanderer’s sole kindness. And so many others, mostly others who wrote, and many other pages, all of them apocryphal, all of them echoes, reflections. All this flows together into—two centuries...
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.