Taking a lead from Joe Brainard and Georges Perec, DIAPHANES wishes to initiate personal, cultural, and historical reminiscence. Not simply the evocation of a collective memory but the opening up of significantly charged past moments to a future perspective, the deflection of retrospect into prospect, and—not least in times of political restoration—the necessary liberation of the imagination from other pasts and outmoded utopias.
I remember during the frozen Tokyo winter of 1997: I took long walks in the dead of night through the...
Ich erinnere mich an gewellte goldene Kornfelder.
Ich erinnere mich an mich; in der Peripherie des Bildes.
Ich erinnere mich an die...
Je me souviens de l’étymologie du mot « souvenir ». En latin impérial subvenit mihi signifiait : « il me...
The post I’m now sharing was somewhat unsettling: “Barbara joined Facebook 6 years ago!”
NO W HERE is a double page in the middle of DIAPHANES, a carte blanche for artists, authors, thinkers to turn an empty space and pause for breath.
Vonceptually sensory bills of fare, enumerations and selections…
“This self-portrait is dated March 1962. I had returned from a mission as radioman..."
But why Ridley Scott’s Exodus: Gods and Kings, from 2014? You will have had your reasons, and you’ll have to take responsibility for them.
Facebook recently wanted to make merry with me. To this aim it posted an entry on my notice board, which is actually closed to others.
Complicity in Spectatorship
Loyalty Made Visible
Audiences on the Walls of St Clement
And what if there were a machine for doing away with memory? That one would carry in an attaché case and plug in beside one’s bed at night? A machine to stifle the shoutings to which I have never given voice?
I recognize that lobby. The Washington Hilton. Men in business suits are crammed in there by the thousands. American philosophers meeting for a convention. A compact assembly of thinkers. Thirty-five hundred of them, Newsweek published the figure. The eastern division of the American Philosophical Association. I make a tour of the counters. There are those of the airlines, TWA, Delta, Allegheny, and those of the hotel, reservations, information, mail, cashier. A perfume shop. A shoe-shine place. An art gallery with pictures painted on velvet. Crowds everywhere. Thinking crowds. All profs. Looking like insurance agents, more readily imagined talking finances than dialectic. Above a bank branch is written: Christmas, Think of it as Money. A prayer for peace follows, signed Riggs National Bank. Between Christmas and New Year’s is the time for the big conventions. I stop in front of every desk as if to bring to life the scene from...
How does the emergence of masses, multitudes, mobs, movements, communities, collectives, bands, or swarms relate to the law? When does flight turn into colonization? What is the situation before the law? What is the camp? How does the people relate to the camp?
The profit-oriented society is a notion sold to us by capitalism. In reality, people are not born vying for profit but are trained for it by the system – they’re corrupted. The lust for profit is not a natural drive, like sexual drive, but is a cultural product.
Film is a space of freedom – you can behave cynically, or even cruelly, and the viewers will think it’s ›just acting‹ anyway, so you have an alibi. Reality is a bit like we describe it. Our bodies are also like we describe them. Disease is pathophysiology’s narrative about the body. Old age is the narrative about the body told by the social security system. Bodies happen to be as society wants them. If it’s a nationalised body, for instance, one called up into the army, the narrative will be potentially tragic and lofty at the same time. […]
Compassion is a concept invented for the purpose of the onlookers – it’s their alibi. I look because I sympathise, not because I’m fascinated by physical deformity – such as the sight of a legless man. And yet it’s also a roadshow of forms, a theatre of strange visual combinations, of unexpected...
How can we think about the relation between dance and politics today without repeating neo-liberal demands and constraints?