The German philosopher holds forth on love, diagrams, and his particular style of oration. His book Inconsistencies will appear in English this fall from MIT Press.
Through sewing, weaving, and embroidery, two artists probe the boundaries between texts and textiles.
“Hippias Minor is such a handy introduction to Socrates as a personality, to this method of argumentation, to the culture of Athens where you have all these hot-shot foreign speakers like Hippias coming in and making the intellectual fermentation even stronger.”
The smaller the animal, the less the distance between being and its sensation. In this way, the smallest beings are closer to presence than us, who come face to face with being and do not sense it.
“A very specific, peculiar sort of universe-in-a-bottle.”
“Who speaks in the work of Samuel Beckett?” asks Simon Critchley in his probing 1998 essay on the nature of the Irish writer’s narrative voice.
Casanova, Dracula, and art in the age of digital filmmaking.
I took the morning TGV from Poitiers to Paris on January 15th to ask Etel Adnan a question. She was about to receive France’s highest cultural honor, the Ordre de Chevalier des Arts et des Lettres. Her collected writings are imminent with Nightboat Books, and she has been the late star of Kassel.
Artist Heidi Norton and philosopher Michael Marder discuss the ethics of plants and differentiate between “nature” and “ecology.”
I don’t remember when Amy and I first met—it must have been in the mid ’90s. However, I do remember that she saved my life by being one of the few artists who genuinely seemed to admire and enjoy what I was doing at a time when my work was barely known.
Von Trotta and actress Barbara Sukowa discuss their history together, the role of radical women in Germany and their latest film, Hannah Arendt.
Pataphysics: A Useless Guide, a theological pseudoscience, defines hand gestures as providing access to the divine, and others as blasphemy.
“Breaking up perspective has long been one of the central themes in my works.”
An eight hour interview with Gilles Delueze was saved for release until after the philosopher’s death. The posthumous talk covers everything from A to Z. Literally.
A collection of essays examining the cultural, social and political manifestations of both literal and metaphorical masquerade.
Conceptual art’s shift away from the traditional art object—sometimes dubiously referred to as “dematerialization”—was more or less an idée reçue in the late 1980s and early ’90s, when Olafur Eliasson was beginning to make art as a student at the Royal Academy of Arts in Copenhagen.
After seeing my first Michael Haneke film, I left the theater sick to my stomach. Perhaps this is not the most obvious compliment to pay a director, but there is a visceral effect to Haneke’s work that I would be remiss in not sharing.
Dissolution of the totalitarian Soviet regime brought Russia democracy of an imperfect sort. But much of the euphoria of the early nineties has dissipated in the face of new realities.
When I first saw David Lynch’s Lost Highway upon its theater release in 1998, I found myself seduced by what have become classic Lynchean touches: the opening sequence of bifurcated highway strip, its noirish titles, its lushly choreographed scenes and hearty use of the sexual and the grotesque—in sum, its unimpeachable stylishness.