Böcker utgivna av Diaphanes AG

El Hadji Sy is one of the most significant figures in African contemporary art and an internationally recognized activist. This book places the artist's work in the context of activism in Senegal since the country gained independence from France in 1960.

The book "Movements of Air" reprints the breathtaking pictures of Étienne-Jules Marey, that he took between 1899 and 1901 during his scientific experiments with moving air and smoke, and complements them with two essays of Georges Didi-Huberman and Laurent Mannoni. Laurent Mannoni accurately reflects Marey's experimental approach. As the founder of the "graphic method," Marey is also the developer of an aerodynamic wind tunnel. His experiments' photographs in fluid motion introduce us to a whole world of movements, turbulences and fluids. The resulting images influenced generations of scientists and artists alike. Georges Didi-Huberman expands on the philosophical debates surrounding these aesthetically and technically instructive images. He makes Bergson the main interlocutor and even the secret commentator of the scientist's experiments. Even though the scientist's main interest was graphic information, Huberman shows us how the flow of all things draws the ingenious experimenter to a photographic practice that creates drags, streaks, expansions, and visual dances. Marey's wind tunnel photographs were therefore themselves causes of turbulence in the history of images. The two artists Florian Dombois and Christoph Oeschger explore the "graphical" vortices of the last 120 years and provide at the end of the book a collage from historical and contemporary material interlaced with their own image making in Dombois's wind tunnel at the Zurich University of the Arts. The book was published originally in French on the occasion of the exhibition "Mouvements de l'air" at the Musee d'Orsay. The texts are now available for the first time as an English translation.

Digitale Zeichnungen grundieren das vielschichtige, zwischen Skulptur und Bewegtbild changierende Werk des Schweizer Künstlers Yves Netzhammer seit seinen Anfängen. In den gravitationslosen Raum gezogene Linien setzen ein figuratives Denken ins Bild, das zu bizarren, komischen, unheimlichen Assoziationen verführt. Netzhammers ebenso raffinierte wie präzise Bildrhetorik eröffnet ein subtiles Spiel, das dem Betrachter eine Vielzahl an Deutungen erlaubt und sich im trügerischen Moment der Eindeutigkeit stets von neuem entzieht. So entstehen Kippbilder, in denen je nach Blickwinkel Komplexität und Leichtigkeit, formale Strenge oder gedankliches Wuchern in den Vordergrund treten. »Convex Thoughts« ist ein komplementär zu seinem Vorgänger »Concave Thoughts« konzipierter Buchraum - ein Vademecum für Träumer und Sinnierer, ein unendliches Storyboard einer Kunst auf der Höhe und in den Untiefen ihrer Zeit. Ausgabe mit 32 verschiedenen Covern.

There is a new quality of idiocy today. While the old idiot derived knowledge from isolation, the new idiot refuses all understanding of the world. A figure of systematic incompetence, the new idiot is impacting global culture and politics alike, giving rise to surprising, often absurd competences. Yesterday's "fake news" or "post-truths" can be read today as evidence of an ongoing transformation of self-politics in which the idiotic impulse is redefining our experience of the world. Despite talk of global awareness, the isolated self of the many is all the more effective. It brings about a culture of happy singletons strolling towards a black hole that has become their substitute for society.Zoran Terzic's wide-ranging essay takes up the figure of the idiot and follows its numerous appearances throughout intellectual history in an examination of the "art of the idiotic" that both reflects and transcends the freneticism of the present.

A blend of theory and stories from an extraordinary life by a leading cultural figure.

How to teach art? What kind of knowledge should artists absorb? How might an ordinary person become a creature addicted to the creative process; a non-artist become an artist? Such programmatic questions articulated by the acclaimed Polish artist Artur Zmijewski were at the heart of the workshop "How to Teach Art?" Between April and July 2018, Zmijewski invited a group of graduate and PhD students from three Zurich universities-the ETH (Swiss Federal Institute of Technology), the UZH (University of Zurich), and the ZHdK (Zurich University of the Arts)-to collectively reflect on their artistic practices. Over the course of four months, the group met several times a week for hourlong sessions, following individual and collective exercises devised by Zmijewski himself.This book retraces the workshop and its process by means of inconclusive, fragmentary results between theory and practice:. It presents drawings, videos, photographs, 16mm films, and accompanying reflections on the central premise, "How to Teach Art?"

A personal take on French Theory by one of the people who invented it.

In Being and Time, Heidegger announced the "Task of Destroying the History of Ontology" in order to free what had remained "unthought" in Western metaphysics. The unpublished part of that work was to be titled "Basic Features of a Phenomenological Destruction of the History of Ontology. According to the Guiding Thread of the Problem of Temporality." This latest work in the Reiner Schürmann Selected Writings and Lecture Notes series aims to carry out Heidegger's plan. The destruction, or, as it is later called, the deconstruction of metaphysics, has a negative side-the peeling off, or the archeology, of metaphysical history by means of the guiding thread of the question of Being-and a positive side-"retrieval" of the original experience of Being in ancient Greek philosophy. "The destruction has no other intent than to win back the original experience of metaphysics through a deconstruction of those conceptions which have become current and empty." The purpose of taking to pieces the fabric of Western metaphysics is to show how at each important stage "the question of the meaning of Being has not only remained unattended to or inadequately raised, but that it has become quite forgotten in spite of all our interest in 'metaphysics'."

By defining a concept of architecture based on the tactile experience and not on construction, this book allows us to explore both discursive practice as the study of architectural art and the integration of architectural art as a discourse of spatial practice. In order to take on this new lens, Non-Construction utilizes a cinematographic documentary image strategy that engages with a critical spatial exploration of current entanglements of art and research at the crossroads of art, theory, and architecture. A challenge to visual conventions, this book offers conceptual and aesthetic insights into spiraling and voiding sensual experiences, with implications for the decolonization of the documentary and cinematographic reaching far beyond architecture. With contributions by Philip Ursprung, Julie Harboe, Stewart Martin, Joshua Simon, and Sharon Kivland.

"Here Lies" preceded by Indian Culture" collects two of Antonin Artaud's foremost poetic works from the last period of his life. He wrote both works soon after his release from the psychiatric hospital of Rodez and his return to Paris, and they were published during the flurry of intensive activity and protests against his work's censorship. The Indian Culture is the first and most ambitious work of Artaud's last period. It deals with his travels in Mexico in 1936 where Artaud sets aside his usual preoccupations with peyote and the Tarahumara peoples sorcerers to directly anatomize his obsessions with gods, corporeality, and sexuality. Here Lies is Artaud's final declaration of autonomy for his own body from its birth to its imminent death, won at the cost of multiple battles against the infiltrating powers amassed to steal that birth and death away from him. Both works demonstrate Artaud's final poetry as a unique amalgam of delicate linguistic invention and ferociously obscene invective. "Here Lies" preceded by "Indian Culture" was translated by the award-winning translator Clayton Eshleman, widely seen as the preeminent translator into English of Artaud's work, with its profound intensity and multiply nuanced language. For the first time since its first publication, this bilingual edition presents the two works in one volume, as Artaud originally intended. This edition also features a contextual afterword by Stephen Barber.