As an eminent medium of slowness, printed books appear to some as the deadwood, to others as the driftwood, of the intellect, the finding and gathering of which not only fills the shelves. As the veritable bearers of latency they hold the possibility of tracking down—unobserved and at odds with the zeitgeist—what stimulates the senses and thought in unattained present or future long past. The best examples (often discarded from libraries around the world or barely known) shine from afar like messages in bottles on the banks of time. DIAPHANES seeks out the raucous time capsules, rare jewels, and indispensable bulky goods from all epochs, languages, and genres.
Andreas L. Hofbauer, René Luckhardt: HER
Wien: Der Konterfei 2015
limitierte Ausgabe, 50 Seiten
In einem Onlineforum, das sich mit dem Umzug ins 40 Lichtjahre von uns entfernte Planeten-system...
Capt. Norman Macmillan:
How to Pilot an Aeroplane,
George Allen & Unwin LTD: London 1942,
first edition, 110 pages
This book told me just what I had to know before...
Richard Huelsenbeck: China frisst Menschen
Orell Füssli Verlag: Zürich/Leipzig, 1930
Erstausgabe, 352 Seiten
Richard Huelsenbeck, Mitbegründer und Drummer des Dadaismus in Zürich, kehrte in den 1920er Jahren den Querelen...
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.
The post I’m now sharing was somewhat unsettling: “Barbara joined Facebook 6 years ago!”
…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…
L’œuvre d'art n’a pas d’idée, elle est idée
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.
“This self-portrait is dated March 1962. I had returned from a mission as radioman..."
Complicity in Spectatorship
The Production of Subjectivity
Kerstin Stakemeier (ed.), Susanne Witzgall (ed.)
Democratic Politics in the Age of Post-Fordism
The contemporary seems to be a rare animal that can rotate on its own neck and exhibit different faces…
The contemporary seems to be a rare animal that can rotate on its own neck and exhibit different faces, depending on whether we think of it as a given or an uncertain achievement, as an empty, abstract, deceptive present or a springboard into the past and the untimeliness of creation. But if the contemporary is indeed Janus-faced, even the sadness of an encounter with its emptiness, with the semblance of radicalism, must still relate to the excitement of leaping into “now time” or starting to write. Is the present not necessarily empty and therefore always a cause for sadness, also in the case when, in acquiring the sense, or developing the instinct, that is required to venture into the past’s “now time,” we begin to depart from it? In one of his last letters to a young poet, dating from 1904, Rilke distinguishes between two forms of sadness, or rather...
Mike Wilson’s literature is a fast trip through the American night, drawn in melancholy images of great beauty.
Tom, our idea here was that you would give us a little insight into how you find your themes, how you use theory for your texts.
I’m not really sure what is and what isn’t theory. I don’t really know where theory stops and fiction begins. If you take someone like, for example, Derrida: half of The Post Card is basically an epistolary novel; it’s fiction, there are characters, there is a character speaking to another character—even while he’s conducting a “theoretical” analysis of Heidegger. I think it’s very hard to pin down that border-line between it being theory/fiction or not theory/fiction. So theory wouldn’t just be a reflection on something else which is somehow more integral; it’s more fluid than that.
A figure like Lévi-Strauss is just wonderful in this respect: Tristes Tropiques is one of the most brilliant books and it’s much better as literature than almost all of...
“Fear of public speaking, stress, anxiety, yoga breathing exercises, let-her-go lyrics, brain exercises, increase brain memory […]”.
If sensory perception of the world takes place prior to all consciousness, one might ask, finally, what this “prior to consciousness” means – is it an unconscious or rather a non-conscious?
If sensory perception of the world takes place prior to all consciousness, one might ask, finally, what this “prior to consciousness” means – is it an unconscious or rather a non-conscious? Who is dancing when dancers dance? Who is moving when bodies process stimuli? For Freud, the notion of the drive was a transitional concept bridging the divide between the somatic and the mental. I think that today, for various reasons, it is possible to replace the notion of the drive with that of affect to obtain a similarly transitional concept. But as I explain in my theory of the affective dispositif, this concept is one that no longer follows the movement of desire (for the Other) but which, with a focus on movement, interval, and plasticity, leads to surprising parallels (synchronizations) between the socio-political and the somatic. In this context, the “not-yet-movement” of affect often mentioned here can be understood...
After all, the history of modern and contemporary art can be read as the progressive inclusion of a growing part of the formless into apparatuses.
We all know that the relationship between mathematical activity and artistic creation is a very old one. We know that for a start the Pythagoreans tied the science of number not merely to the movements of the stars but to musical modes. We know that Babylonian and Egyptian architecture presupposed elaborate geometrical knowledge, even if the notion of demonstration had still not been won. Further back still, we find formal, or abstract, outlines mixed in with animal representations, in the great prehistoric decorations, without our knowing precisely to what it is that these mixtures refer.
For the philosopher that I am, or that I believe I am, the entry into our question, as so many others, passes through the contrasting disposition between Plato and Aristotle.
For Plato, mathematics is fundamental in the sense that it mediates between, on the one hand, experience, or the relation to the sensory world, and,...
How can we think about the relation between dance and politics today without repeating neo-liberal demands and constraints?
It is better to do nothing than to contribute to the invention of formal ways of rendering visible that which Empire already recognises as existent.
1. Art is not the sublime descent of the infinite into the finite abjection of the body and sexuality. On the contrary, it is the production of an infinite subjective series, through the finite means of a material subtraction.
2. Art cannot merely be the expression of a particularity (be it ethnic or personal). Art is the impersonal production of a truth that is addressed to everyone.
3. Art is the process of a truth, and this truth is always the truth of the sensible or sensual, the sensible qua sensible. This means: the transformation of the sensible into an happening of the Idea.
4. There is necessarily a plurality of arts, and however we may imagine the ways in which the arts might intersect there is no imaginable way of totalising this plurality.
5. Every art develops from an impure form, and the progressive purification of this impurity shapes the history both of...