Marie Glassl, Sophie Lewis
Stellvertretende Abschaffung
Andreas L. Hofbauer
Ersatzkaffeelesen
Marie Glassl, Sophie Lewis
Surrogate Abolition
I.V. Nuss
Die Liebe im Konvexen, in der totalen Rundung und zur Slutifizierung aller Männer westlich des Bosporus
Sina Dell’Anno
Punk / Philology
Dan-el Padilla Peralta
Junk Philology. An Anti-Commentary
Donatien Grau
A Life in Philology
Michael F. Zimmermann
Courbet als Assyrer
Marlene Streeruwitz
L'auteur n'est pas l'auteure
Zoran Terzić
Die Verallgemeinerung des Menschen
Mengia Tschalaer
Queer Spaces
A. L. Kennedy
What is an Author?
Mehdi Belhaj Kacem, Philippe Sollers
What is the Meaning of the Avant-garde’s Death?
Mehdi Belhaj Kacem
Tombeau pour Guy Debord
Sina Dell’Anno
Oratio Soluta
Alexander García Düttmann
Cold Distance
Fritz Senn
Das Leben besteht aus gestrandeten Konjunktiven
Barbara Basting
Der Algorithmus und ich 6
Hans Block, Moritz Riesewieck
What we don’t see
Michele Pedrazzi
The Next Bit. Hautnah am Körper des Unbekannten
Angelika Meier
Who I Really Am
Jean-Luc Nancy
Zah Zuh
Jean-Luc Nancy
Zah Zuh
Fritz Senn
Das Leben besteht aus gestrandeten Konjunktiven
Marcus Quent
Verrinnen der Zeit und Glaube an die Welt
Maël Renouard
Fragmente eines unendlichen Gedächtnisses
Maël Renouard
Modifications infimes et considérables
Emma Waltraud Howes
Questionnaire Emma Waltraud Howes
Dieter Mersch
Digital Criticism
Bruce Bégout
L’homme de Venise
Jurij Pavlovich Annenkov
A Diary of my Encounters
Jelili Atiku, Damian Christinger
Venice, Lagos, and the Spaces in between
Artur Zmijewski
Conversation on “Glimpse”
Mário Gomes
Brandsatz & Ästhetik
Tyler Coburn
Quaddie
K.A.
Hermal
¡ Wenn sie im Flugzeug freie Plätze sehen, dann nicht darum prügeln !
¡ Auf gar keinen Fall darf...
1. Tell the Earth, “I love you. I can’t live without you."
2. At first you may feel embarrassed...
Plörre
Smegma
Ohrwurm
Schlamassel
Kummerspeck
Weltschmerz
Gesöff
Fernweh
Lotterbett
Spelunke
Scharmützel
Donnerwetter
Schabracke
Mumpitz
Spatzenhirn
Lustmolch
Kaschemme
Spinatwachtel
Popanz
Apfel oder Zitrone? Remembering, what do you hear? Wie sterben? Nord oder Süd? A question to which “yes” is always your answer?
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.
…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…
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.