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
Simon Critchley
Learning to Eat Time with One’s Ears
Donatien Grau, James Spooner
Afropunk Philology
Dennis Cooper, Donatien Grau, Richard Hell
"I’d rather live in a book"
Kai van Eikels
Do in What's Doing, Democracy in!
A. L. Kennedy
What is an Author?
Barbara Basting
Der Algorithmus und ich 7
Mengia Tschalaer
Queer Spaces
Claire Fontaine
Towards a Theory of Magic Materialism
Zoran Terzić
The Tautomaniac
Sandra Frimmel
I Hate the Avant-garde
Michael Heitz
Wong Ping’s "Who’s the Daddy"
Lars von Trier in Conversation with Mehdi Belhaj Kacem & Raphaëlle Milone
Andreas L. Hofbauer
Yoke
Alexander García Düttmann
Cold Distance
Barbara Basting
Der Algorithmus und ich 7
Jean-Luc Nancy
Zah Zuh
Zoran Terzić
Political Transplants
Helmut J. Schneider
How Distant Can My Neighbor be?
Damian Christinger, Monica Ursina Jäger
Homeland Fictions
Marcus Quent
Elapsing Time and Belief in the World
Dieter Mersch
Digital Criticism
Elena Vogman
Dynamography, or Andrei Bely’s Rhythmic Gesture
Barbara Basting
Der Algorithmus und ich 3
Rolf Bossart, Milo Rau
On Realism
Eric Baudelaire
Abecedarium
Jurij Pavlovich Annenkov
A Diary of my Encounters
Mário Gomes
The Poetics of Architecture
Artur Zmijewski
Conversation on “Glimpse”
Discoteca Flaming Star
Ich erinnere mich… (Discoteca Flaming Star)
Stephen Barber
I remember (Stephen Barber)
John Donne
Paradox I
K.A.
Hermal
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...
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.
The post I’m now sharing was somewhat unsettling: “Barbara joined Facebook 6 years ago!”
L’œuvre d'art n’a pas d’idée, elle est idée
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.