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Wong Ping: Still from ”Who is the Daddy" – courtesy of Edouard Malingue Gallery and the artist
Content
Jean-Luc Nancy . Zah Zuh . . . . . . . . . . Thomas Huber . Generation of the Lynn Hershman Antibody . . . . . Boutiques on the Bosporus . . . . . Zoran Terzić . Political Transplants . . . . . Maria Filomena Molder . The Alms of Time . . . . . Honoré Daumier: Don Quixote lisant . . . . . Angelika Meier . Wer ich wirklich bin . . . . . . Xenolinguistics . . . . . Slavs and Tatars . Reverse Joy . . . . . Michele Pedrazzi . The Next Bit. Corpo a corpo con l’ignoto . . . . . Jochen Thermann . Der Hilfskoch . . . . . Damian Christinger, Monica Ursina Jäger . Fiktionen von Heimat . . . . . Je me souviens . . . . . A.K. Kaiza . An Annotated History of Wakanda . . . . . I remember . . . . . Helmut J. Schneider . Wie fern darf der Nächste sein? . . . . . Behind the Great Firewall . . . . . Damian Christinger, Monica Ursina Jäger . Homeland Fictions . . . . . Jean-Luc Nancy . Zah Zuh . . . . . Michele Pedrazzi . The Next Bit. Hautnah am Körper des Unbekannten . . . . . Jean-Luc Nancy . Zah Zuh . . . . . Zoran Terzić . Politische Transplantate . . . . . Jean-Luc Nancy . Zah Zuh . . . . . Jochen Thermann . L’aide-cuisinier . . . . . Michele Pedrazzi . The Next Bit: un corps à corps avec l’inconnu . . . . . Slavs and Tatars . Reverse Joy . . . . . Helmut J. Schneider . How Distant Can My Neighbor be? . . . . . Jochen Thermann . The Assistant Chef . . . . . Angelika Meier . Who I Really Am . . . . . Zoran Terzić . Transplants politiques . . . . . Maria Filomena Molder . Die Almosen der Zeit . . . . . A.K. Kaiza . Eine kommentierte Geschichte Wakandas

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DIAPHANES MAGAZINE No. 5

Blood!

Ines Kleesattel

Art, Girls, and Aesthetic Freedom Down Below

 

Je me souviens

Joseph Morder, 07.04.2018

Une Trinité de mémoire

Je me souviens de quelques lieux, de quelques parfums d’enfance. En Amérique du Sud, en Equateur, à...

I remember

Marie Brassard, 03.07.2017

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...

I remember…

Stephen Barber, 24.03.2017

I remember during the frozen Tokyo winter of 1997: I took long walks in the dead of night through the...

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Magazine Special
From xenolinguistics to cephalo­pods

From xenolinguistics to cephalo­pods

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English, French

»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

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