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
Emma Waltraud Howes
Questionnaire Emma Waltraud Howes
Donatien Grau
A Life in Philology
Donatien Grau, James Spooner
Afropunk Philology
Sina Dell’Anno
Punk / Philology
Dennis Cooper, Donatien Grau, Richard Hell
"I’d rather live in a book"
Dan-el Padilla Peralta
Junk Philology. An Anti-Commentary
Claire Fontaine
Towards a Theory of Magic Materialism
Zoran Terzić
The Grand Generalization
Tom McCarthy
Toke My Asymptote – or, The Ecstatic Agony of Appearance
Kai van Eikels
Do in What's Doing, Democracy in!
Mehdi Belhaj Kacem
Tomb for Guy Debord
Sandra Frimmel
I Hate the Avant-garde
Barbara Basting
Der Algorithmus und ich 6
Lars von Trier in Conversation with Mehdi Belhaj Kacem & Raphaëlle Milone
Fritz Senn
Das Leben besteht aus gestrandeten Konjunktiven
Johannes Binotto
Shrewing the Tame
Hans Block, Moritz Riesewieck
What we don’t see
Fritz Senn
Das Leben besteht aus gestrandeten Konjunktiven
Damian Christinger, Monica Ursina Jäger
Homeland Fictions
Barbara Basting
Der Algorithmus und ich 5
Barbara Basting
Der Algorithmus und ich 4
Maël Renouard
The Twilight of Classification?
Marcus Quent
Elapsing Time and Belief in the World
Dieter Mersch
Digital Criticism
Stephen Barber
A War of Fragments: World Versus America
Emma Waltraud Howes
Questionnaire Emma Waltraud Howes
Jurij Pavlovich Annenkov
A Diary of my Encounters
Artur Zmijewski
Conversation on “Glimpse”
Tom Kummer
Questionnaire Tom Kummer
Rolf Bossart, Milo Rau
On Realism
Pierre Guyotat
Autoportrait
Tyler Coburn
Quaddie
Beni Bischof
LISTMANIA: BIG BUGS
Facebook’s picture tumbler is currently reminding me of my first visit to China a year ago. I was impressed: so...
I sit in the lobby of a hotel in China where I am accommodated along with other guests of an...
I noticed this pattern for fingernail decoration four years ago in the window of a “nail studio” in Salisbury, south-west...
Facebook recently wanted to make merry with me. To this aim it posted an entry on my notice board, which...
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…
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.
Red oder Blue? Welche Götter? What’s wrong with reality? Nord oder Süd? Wie sterben? What is the problem with solutions?
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.