Mad Like Artaud
Those who are mad like Antonin Artaud, are they just as mad as he was? Madness, like the plague, is contagious, and everyone, from his psychiatrists to his disciples, family, and critics, everyone who gets close to Artaud, seems to participate in ...
Hannibal Lecter, My Father
A collection of early and not-so-early work by the mistress of gut-level fiction-making. You can say I write stories with sex and violence and therefore my writing isn't worth considering because it uses content much less lots of content. Well, I tell you this: 'Prickly race, who know nothing except how to eat out your hearts with envy, you don't eat cunt'... Edited by Sylvere Lotringer and published in 1991, this handy, pocket-sized collection of some early and not-so-early work by the mistress of gut-level fiction-making, Hannibal Lecter, My Father gathers together Acker's raw, brilliant, emotional and cerebral texts from 1970s, including the self-published 'zines written under the nom-de-plume, The Black Tarantula. This volume features, among others, the full text of Acker's opera, The Birth of the Poet, produced at Brooklyn Academy of Music in 1985, Algeria, 1979 and fragments of Politics, written at the age of 21. Also included is the longest and definitive interview Acker ever
Hatred of Capitalism
Hatred of Capitalism
Pure War
Pure War
I Was More American than the Americans - Sylvere Lotringer in Conversation with Donatien Grau
In the mid-1970s, Sylvère Lotringer created Semiotext(e), a philosophical group that became a magazine and then a publishing house. Since its creation, Semio-text(e) has been a place of stimulating dialogue between artists and philosophers, and for the past fifty years, much of American artistic and intellectual life has depended on it. The model of the journal and the publishing house revolves around the notion of the collective, and Lotringer has rarely shared his personal journey: his existence as a hidden child during World War II; the liberating and then traumatic experience of the collective in the kibbutz; his Parisian activism in the 1960s; his time of wandering, that took him, by way of Istanbul, to the United States; and then, of course, his American years, the way he mingled his nightlife with the formal experimentation he invented with Semiotext(e) and with his classes. Since the early 2010s, Donatien Grau has developed the habit of visiting Lotringer during his trips to
Why Different?
Why Different?
Conspiracy of Art
Cutting-edge theorist Jean Baudrillard on the complicitous dance of art, politics, economics, and media; includes 'War Porn,' on Abu Ghraib as a new genre of reality TV. The images from Abu Ghraib are as murderous for America as those of the World Trade Center in flames. The whole West is contained in the burst of sadistic laughter of the American soldiers, as it is behind the construction of the Israeli wall. This is where the truth of these images lies. Truth, but not veracity. As virtual as the war itself, their specific violence adds to the specific violence of the war. In The Conspiracy of Art, Baudrillard questions the privilege attached to art by its practitioners. Art has lost all desire for illusion: feeding back endlessly into itself, it has turned its own vanishment into an art unto itself. Far from lamenting the 'end of art,' Baudrillard celebrates art's new function within the process of insider-trading. Spiraling from aesthetic nullity to commercial frenzy, art has
French Theory in America
What does it mean to"do theory" in America? In what ways has "French Theory" changed American intellectual and artistic life? How different is it from what French intellectuals themselves conceived, and what does all this tell ...
French Theory in America
What does it mean to"do theory" in America? In what ways has "French Theory" changed American intellectual and artistic life? How different is it from what French intellectuals themselves conceived, and what does all this tell ...
