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
Marie Glassl, Sophie Lewis
Surrogate Abolition
Donatien Grau, James Spooner
Afropunk Philology
Dan-el Padilla Peralta
Junk Philology. An Anti-Commentary
Sina Dell’Anno
Punk / Philology
Dennis Cooper, Donatien Grau, Richard Hell
"I’d rather live in a book"
A. L. Kennedy
What is an Author?
Mengia Tschalaer
Queer Spaces
Felix Stalder
Feedback as Authenticity
Tom McCarthy
Toke My Asymptote – or, The Ecstatic Agony of Appearance
Kai van Eikels
Do in What's Doing, Democracy in!
Zoran Terzić
The Tautomaniac
Mehdi Belhaj Kacem, Philippe Sollers
What is the Meaning of the Avant-garde’s Death?
Barbara Basting
Der Algorithmus und ich 6
Barbara Basting
Der Algorithmus und ich 5
Johannes Binotto
Shrewing the Tame
Ines Kleesattel
Art, Girls, and Aesthetic Freedom Down Below
Lars von Trier in Conversation with Mehdi Belhaj Kacem & Raphaëlle Milone
Jean-Luc Nancy
Zah Zuh
Angelika Meier
Who I Really Am
Maria Filomena Molder
The Alms of Time
Marcus Quent
Elapsing Time and Belief in the World
Nicole Bachmann
Questionnaire Nicole Bachmann
Wolfgang Plöger
After This Comes That Before That Comes This
Tom Kummer
Questionnaire Tom Kummer
Rolf Bossart, Milo Rau
On Realism
Eric Baudelaire
Abecedarium
Stephen Barber
Futurama Nights, October 1978
K.A.
Hermal
Trmasan Bruialesi
Lieber Paul 1
Barbara Basting
Der Algorithmus und ich 1
I remember during the frozen Tokyo winter of 1997: I took long walks in the dead of night through the...
So wie geplant kommt es ja selten, meistens ergibt sich etwas halt so. Das ist weniger der Zustand der Welt...
Une Trinité de mémoire
Je me souviens de quelques lieux, de quelques parfums d’enfance. En Amérique du Sud, en Equateur, à...
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
…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…
Raucous time capsules, rare jewels, and indispensable bulky goods from all epochs, languages, and genres.
“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.