Rudi 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
Emma Waltraud Howes
Questionnaire Emma Waltraud Howes
Simon Critchley
Learning to Eat Time with One’s Ears
Barbara Basting
Der Algorithmus und ich 8
Dan-el Padilla Peralta
Junk Philology. An Anti-Commentary
Sina Dell’Anno
Punk / Philology
Johanna Went
I remember (Johanna Went)
Barbara Basting
Der Algorithmus und ich 7
Barbara Basting
Der Algorithmus und ich 8
Kai van Eikels
Do in What's Doing, Democracy in!
Tom McCarthy
Toke My Asymptote – or, The Ecstatic Agony of Appearance
Malte Fabian Rauch
Where the Negative Holds Court
Mehdi Belhaj Kacem
Tomb for Guy Debord
Sandra Frimmel
I Hate the Avant-garde
Barbara Basting
Der Algorithmus und ich 8
Andreas L. Hofbauer
Yoke
Barbara Basting
Der Algorithmus und ich 5
Johannes Binotto
Shrewing the Tame
A.K. Kaiza
An Annotated History of Wakanda
Barbara Basting
Der Algorithmus und ich 6
Angelika Meier
Who I Really Am
Barbara Basting
Der Algorithmus und ich 8
Helmut J. Schneider
How Distant Can My Neighbor be?
Wolfgang Plöger
After This Comes That Before That Comes This
Marcus Quent
Elapsing Time and Belief in the World
Dieter Mersch
Digital Criticism
Ann Cotten
Dialogs
Diane Williams
Bang Bang on the Stair
Stephen Barber
Futurama Nights, October 1978
Tom Kummer
Questionnaire Tom Kummer
Barbara Basting
Der Algorithmus und ich 2
Haus am Gern
L’œuvre d'art n’a pas d’idée, elle est idée (Blog1)
Barbara Basting
Der Algorithmus und ich 1
Kommt ein Polizist zu einem Mann, der beschuldigt wird, seinen kleinen Sohn zu Tode geschüttelt zu haben. Wie ist denn das passiert?, will der Polizist wissen. So!, gibt der Mann...
In Jugoslawien wurde viel publiziert und wenig weggeworfen. So hatte man die Möglichkeit, in staatlichen Galerien und Museen Ausstellungskataloge und Kunstzeitschriften für Pfennige zu schießen. Einen besonderen Platz in meinem...
Bearded Ladies, Dwarfs and Giants, Hermaphrodites, Siamese Twins (see Heng and Chang on the book cover), the Mule-headed Lady, The Serpent-Woman, The Amazing Half-Boy (famous for his appearance in Tod...
Vonceptually sensory bills of fare, enumerations and selections…
Red oder Blue? Welche Götter? What’s wrong with reality? Nord oder Süd? Wie sterben? What is the problem with solutions?
L’œuvre d'art n’a pas d’idée, elle est idée
Following Georges Perec’s Memory 480: "I remember… (to be continued…)"…
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.