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Angelika Meier . Wer ich wirklich bin . . . . . Jochen Thermann . Der Hilfskoch . . . . . Artificial and Other Intelligences . . . . . Helmut J. Schneider . Wie fern darf der Nächste sein? . . . . . Jean-Luc Nancy . Zah Zuh . . . . . Honoré Daumier: Don Quixote lisant . . . . . A.K. Kaiza . An Annotated History of Wakanda . . . . . Thomas Huber . Generation of the Lynn Hershman Antibody . . . . . . Xenolinguistics . . . . . Je me souviens . . . . . Slavs and Tatars . Reverse Joy . . . . . Michele Pedrazzi . The Next Bit. Corpo a corpo con l’ignoto . . . . . Zoran Terzić . Political Transplants . . . . . Maria Filomena Molder . The Alms of Time . . . . . Behind the Great Firewall . . . . . Boutiques on the Bosporus . . . . . I remember . . . . . . . . . . Charlemagne Rides through Paris . . . . . Damian Christinger, Monica Ursina Jäger . Fiktionen von Heimat . . . . . Jochen Thermann . L’aide-cuisinier . . . . . Slavs and Tatars . Reverse Joy . . . . . Jean-Luc Nancy . Zah Zuh . . . . . Helmut J. Schneider . How Distant Can My Neighbor be? . . . . . Damian Christinger, Monica Ursina Jäger . Homeland Fictions . . . . . Michele Pedrazzi . The Next Bit. Hautnah am Körper des Unbekannten . . . . . Zoran Terzić . Transplants politiques . . . . . Angelika Meier . Who I Really Am . . . . . A.K. Kaiza . Eine kommentierte Geschichte Wakandas . . . . . Zoran Terzić . Politische Transplantate . . . . . Michele Pedrazzi . The Next Bit: un corps à corps avec l’inconnu . . . . . Jean-Luc Nancy . Zah Zuh . . . . . Maria Filomena Molder . Die Almosen der Zeit . . . . . Jochen Thermann . The Assistant Chef . . . . . Jean-Luc Nancy . Zah Zuh

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Bang Bang Baroque

Emma Waltraud Howes, 08.06.2023

On the first gaze the works of Emma Waltraud Howes seem incongruously out of time. Visiting her studio, one enters another world: meets mushrooms and corals, glass artichoke-hand grenades, the...

I say

Nicole Bachmann, 11.12.2017

Nicole Bachmann’s latest work, I say, has the performer practice a text, sense a word in the mouth, calling it forth, and another, repeating, hearing, interrupting, and another, beginning again,...

This is not your blood.

Aya Momose, 11.12.2017

The project space CORNER COLLEGE in Zurich’s 4th district has for some time now been giving invigorating impulses to both art and ­theory, and can be recommended to every visitor...

A Questionnaire: Tom Kummer

Tom Kummer, 04.07.2017

I got to know Tom Kummer in 2006 while editing his book Blow Up in nighttime telephone calls to Los Angeles. We met for the first time at the book...

Other columns
  • John Donne’s Paradoxes and Problems

    John Donne’s Paradoxes and Problems

    …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…

  • Barbara Basting — The Algorithm and I

    Barbara Basting — The Algorithm and I

    The post I’m now sharing was somewhat unsettling: “Barbara joined Facebook 6 years ago!”

  • Future Pluperfect

    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.

  • FICTIONARY

    FICTIONARY

    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.

Magazine Special
From xenolinguistics to cephalo­pods

From xenolinguistics to cephalo­pods

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  • linguistics
  • communication
  • semiotics and semiology
  • communication media
  • science fiction
  • utopia

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English

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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

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