Andreas L. Hofbauer
Ersatzkaffeelesen
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
Barbara Vinken
Geistige Mütter
Dennis Cooper, Donatien Grau, Richard Hell
"I’d rather live in a book"
Sina Dell’Anno
Punk / Philologie
Donatien Grau
Une vie en philologie
Simon Critchley
Learning to Eat Time with One’s Ears
Mengia Tschalaer
Queere Räume
Kai van Eikels
Macht kaputt, was Demokratie kaputt macht
Barbara Basting
Der Algorithmus und ich 7
Marlene Streeruwitz
L'auteur n'est pas l'auteure
Tom McCarthy
Toke My Asymptote – or, The Ecstatic Agony of Appearance
Zoran Terzić
The Tautomaniac
Sandra Frimmel
I Hate the Avant-garde
Mehdi Belhaj Kacem, Philippe Sollers
What is the Meaning of the Avant-garde’s Death?
Michael Heitz
Wong Pings "Who’s the Daddy"
Ines Kleesattel
Art, Girls, and Aesthetic Freedom Down Below
Johannes Binotto
Shrewing the Tame
Andreas L. Hofbauer
Yoke
Ines Kleesattel
Kunst, junge Mädchen und die ästhetische Freiheit untenrum
Fritz Senn
Das Leben besteht aus gestrandeten Konjunktiven
Zoran Terzić
Political Transplants
Jochen Thermann
Der Hilfskoch
Jean-Luc Nancy
Zah Zuh
Michele Pedrazzi
The Next Bit. Hautnah am Körper des Unbekannten
Dieter Mersch
Digital Criticism
Stephen Barber
Krieg aus Fragmenten: World Versus America
Dieter Mersch
Digital Criticism
Elena Vogman
Dynamography, or Andrei Bely’s Rhythmic Gesture
Bruce Bégout
The Man from Venice
Eric Baudelaire
Abecedarium
Artur Zmijewski
Conversation on “Glimpse”
Mário Gomes
The Poetics of Architecture
Stephen Barber
Futurama Nights, October 1978
Michael Heitz
Another New God in Parts
Dorothee Scheiffarth
THE MOST BEAUTIFUL CLOUD NAMES
Es mag der schlichten Gestaltung dieses Buchumschlags geschuldet sein, der keine Auskunft über Genre und Inhalt gibt, und der in...
Der nichtexistente Giotto
Ein Bild mag die Zukunft weniger im Sinne einer Bezugnahme auf ein zukünftiges Ereignis ankündigen, als vielmehr...
Obwohl die Zeitgenossen François Gérards Belisar romantische Qualitäten attestierten, gefiel er dem Erzromantiker Delacroix nicht: »Das Geschick eines großen Kriegers,...
In der Folge von Georges Perecs Erinnerung 480: "Ich erinnere mich… (Fortsetzung folgt…)"
L’œuvre d'art n’a pas d’idée, elle est idée
Gedanklich-sinnliche Küchenzettel, Aufzählungen und Auslesen…
Apfel oder Zitrone? Remembering, what do you hear? Wie sterben? Nord oder Süd? A question to which “yes” is always your answer?
A for Anomie
The idea that terrorism and other forms of political violence are directly related to strains caused by strongly held grievances has been one of the most common explanations to date and can be traced to a diverse set of theoretical concepts including relative deprivation, social disorganization, breakdown, tension, and anomie. Merton (1938) identifies anomie as a cultural condition of frustration, in which values regarding goals and how to achieve them conflict with limitations on the means of achievement.
Gary LaFree and Laura Dugan, “Research on Terrorism and Countering Terrorism”, Crime and Justice, Vol. 38, No. 1, 2009.
B for Block or Blocked
If terrorism in each of its expressions can be considered an indicator of the existence of a political block (of an impossibility of reacting if one wishes to react differently), this influences its real ability to modify the situation. Terrorism has been historically more successful when it was not...
Now the dead will no longer be buried, now this spectral city will become the site for execrations and lamentations, now time itself will disintegrate and void itself, now human bodies will expectorate fury and envision their own transformation or negation, now infinite and untold catastrophes are imminently on their way —ready to cross the bridge over the river Aire and engulf us all — in this winter of discontent, just beginning at this dead-of-night instant before midnight, North-Sea ice-particles already crackling in the air and the last summer long-over, the final moment of my seventeenth birthday, so we have to go, the devil is at our heels… And now we’re running at full-tilt through the centre of the city, across the square beneath the Purbeck-marble edifice of the Queen’s Hotel, down towards the dark arches under the railway tracks, the illuminated sky shaking, the air fissured with beating cacophony,...
Meine Sprache
Deutsch
Aktuell ausgewählte Inhalte
Deutsch, Englisch, Französisch
»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.