Barbara Vinken
Geistige Mütter
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
Rudi Nuss
Die Liebe im Konvexen, in der totalen Rundung und zur Slutifizierung aller Männer westlich des Bosporus
Johanna Went
I remember (Johanna Went)
Dennis Cooper, Donatien Grau, Richard Hell
"I’d rather live in a book"
Dan-el Padilla Peralta
Junk Philology. An Anti-Commentary
Sina Dell’Anno
Punk / Philology
Emanuele Coccia
Le futur de la littérature
Claire Fontaine
Towards a Theory of Magic Materialism
A. L. Kennedy
Qu’est-ce qu’un auteur ?
Marlene Streeruwitz
L'auteur n'est pas l'auteure
Kai van Eikels
Do in What's Doing, Democracy in!
Malte Fabian Rauch
Where the Negative Holds Court
Jean-Luc Nancy
Après les avant-gardes
Johannes Binotto
Shrewing the Tame
Lars von Trier in Conversation with Mehdi Belhaj Kacem & Raphaëlle Milone
Hans Block, Moritz Riesewieck
Was wir nicht sehen
Sina Dell’Anno
Oratio Soluta
Jochen Thermann
The Assistant Chef
Barbara Basting
Der Algorithmus und ich 4
Angelika Meier
Wer ich wirklich bin
Nicole Bachmann
Questionnaire Nicole Bachmann
Stephen Barber
Krieg aus Fragmenten: World Versus America
Marcus Quent
Elapsing Time and Belief in the World
Maël Renouard
The Twilight of Classification?
Marcus Quent
Verrinnen der Zeit und Glaube an die Welt
Jurij Pavlovich Annenkov
A Diary of my Encounters
Mário Gomes
Poetik der Architektur
Artur Zmijewski
Conversation on “Glimpse”
Mário Gomes
The Poetics of Architecture
John Donne
Paradox I
Andreas Reihse
LISTMANIA: GUANAJUATONOVIEMBRE
Barbara Basting
Der Algorithmus und ich 2
The Transversal Shelf of Printed Books in Times of Accelerated Opaque Media
Barbara Basting
Der Algorithmus und ich 4
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...
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...
In einem Onlineforum, das sich mit dem Umzug ins 40 Lichtjahre von uns entfernte Planeten-system TRAPPIST-1 beschäftigt, antwortet mir kürzlich einer, als ich anmerke, dass es ohnehin egal sei, auf...
Der Post, den ich hiermit teile, hat mich leicht verstört: »Barbara ist Facebook vor 6 Jahren beigetreten«!
L’œuvre d'art n’a pas d’idée, elle est idée
In der Folge von Georges Perecs Erinnerung 480: "Ich erinnere mich… (Fortsetzung folgt…)"
DIAPHANES fragt nach Relikten von Zukunftsvisionen in den Bildräumen der Vergangenheit, nach Spuren und Signaturen eines einst Vorstellbaren und zeitlos Möglichen.
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...
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»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.