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

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SCHÖNE WORTE FÜR ABSCHEULICHE DINGE IN ZUFÄLLIGER REIHENFOLGE

Natascha Bub, 03.07.2017

Plörre
Smegma
Ohrwurm
Schlamassel
Kummerspeck
Weltschmerz
Gesöff
Fernweh
Lotterbett
Spelunke
Scharmützel
Donnerwetter
Schabracke
Mumpitz
Spatzenhirn
Lustmolch
Kaschemme
Spinatwachtel
Popanz

BIG BUGS

Beni Bischof, 24.03.2017

Forever!

Star

Shame!

Cheat

War

Wedding

Psych

Suicide

Dying!

Love

GUANAJUATONOVIEMBRE

Andreas Reihse, 24.03.2017

Setlist:
1 Luminous Procuress
2 Zero
3 Brass Canon
4 Mexican Tea Party
5 Jaguar
6 New Earth
7...

Other columns
  • 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.

  • The Transversal Shelf of Printed Books in Times of Accelerated Opaque Media

    The Transversal Shelf of Printed Books in Times of Accelerated Opaque Media

    Raucous time capsules, rare jewels, and indispensable bulky goods from all epochs, languages, and genres.

  • 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!”

  • 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

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

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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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