I.V. Nuss
Die Liebe im Konvexen, in der totalen Rundung und zur Slutifizierung aller Männer westlich des Bosporus
Andreas L. Hofbauer
Ersatzkaffeelesen
Marie Glassl, Sophie Lewis
Surrogate Abolition
Marie Glassl, Sophie Lewis
Stellvertretende Abschaffung
Dennis Cooper, Donatien Grau, Richard Hell
"I’d rather live in a book"
Donatien Grau
A Life in Philology
Donatien Grau, James Spooner
Afropunk Philology
Emanuele Coccia
Le futur de la littérature
Dan-el Padilla Peralta
Junk Philology. An Anti-Commentary
Marlene Streeruwitz
L'auteur n'est pas l'auteure
A. L. Kennedy
Qu’est-ce qu’un auteur ?
A. L. Kennedy
Was ist ein Autor?
Kai van Eikels
Do in What's Doing, Democracy in!
Tom McCarthy
Toke My Asymptote – or, The Ecstatic Agony of Appearance
Jean-Luc Nancy
Nach den Avantgarden
Sandra Frimmel
I Hate the Avant-garde
Jean-Luc Nancy
Après les avant-gardes
Mehdi Belhaj Kacem
Tomb for Guy Debord
Mehdi Belhaj Kacem
Tombeau pour Guy Debord
Sina Dell’Anno
Oratio Soluta
Alexander García Düttmann
Kalte Distanz
Michael Heitz, Hendrik Rohlf
Umas Gesicht – Thurmans Stimme
Andreas L. Hofbauer
Yoke
Fritz Senn
Das Leben besteht aus gestrandeten Konjunktiven
A.K. Kaiza
Eine kommentierte Geschichte Wakandas
Barbara Basting
Der Algorithmus und ich 5
A.K. Kaiza
An Annotated History of Wakanda
Maël Renouard
The Twilight of Classification?
Stephen Barber
Krieg aus Fragmenten: World Versus America
Stephen Barber
A War of Fragments: World Versus America
Bruce Bégout
The Man from Venice
Ann Cotten
Dialoge
Alexander García Düttmann
Kann es eine Gesellschaft ohne Feier geben oder Die kritische Frage des Theaters
Jelili Atiku, Damian Christinger
Venedig, Lagos und der Raum dazwischen
Trmasan Bruialesi
Lieber Paul 1
Barbara Basting
Der Algorithmus und ich 5
K.A.
Hermal
John Donne
Paradox I
The Transversal Shelf of Printed Books in Times of Accelerated Opaque Media
Une Trinité de mémoire
Je me souviens de quelques lieux, de quelques parfums d’enfance. En Amérique du Sud, en Equateur, à...
A Little Paris Nightmare
I loved Paris, even as a little boy, long before I lived there. I was like Pinocchio...
La soif
Quand j’étais enfant, près de la maison ou j’habitais, il y avait une voie ferrée. Avant de m'endormir, j’entendais...
DIAPHANES fragt nach Relikten von Zukunftsvisionen in den Bildräumen der Vergangenheit, nach Spuren und Signaturen eines einst Vorstellbaren und zeitlos Möglichen.
Lärmende Zeitkapseln, rare Bijous, unverzichtbares Sperrgut aller Epochen, Sprachen und Genres.
…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…
Apfel oder Zitrone? Remembering, what do you hear? Wie sterben? Nord oder Süd? A question to which “yes” is always your answer?
“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...
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.