Unter Struktur

L’opera è liberamente ispirata al film di Ingmar Bergman, Settimo Sigillo (1957) e dedicata al nobile cavaliere Antonius Block di ritorno dalle crociate, impersonato da Max von Sydow. Il richiamo ad affreschi e altre iconografie sacre è principalmente legato ai cicli raffigurati da un pittore sconosciuto di età tardo gotica e da Hans Clemer nella Chiesa Parrocchiale di Santa Maria Assunta a…

Émile Zharan, N.A.S.T.R.O., edited by Federico Federici, English | Italian edition. Also available on Lulu. conversation about the bag (or: the minor object of): the red LIDL bag. not the blue one with rigid handles, no: the red one. plastic that cuts into your fingers, and the fingers are signifiers too, the nails are graphemes. it’s heavy. heavy but full of shapes: apple (Pink Lady), pasta…

Émile Zharan, N.A.S.T.R.O., edited by Federico Federici, English | Italian edition. Also available on Lulu. tries various combinations of keywords, ending up forcing the lock monitors performance to optimize their own marginality in relation to an overall discourse in which they do not recognize themselves, but from which, deep down, they aspire to be recognized divides writers into two…

Stanze dei non risorti, with a note by Paolo Giovannetti, Adamàs series curated by Tommaso Di Dio, Vincenzo Frungillo, and Ivan Schiavone, La Vita Felice, Milan, 2026, ISBN 978-8893469845 [it] / buy: la vita felice | amazon Stanze dei non risorti di Federico Federici è una nuova tappa dell’autore nelle scritture verbo-visive. Qui, il confronto è con il capolavoro cinematografico di Ingmar…

«Meniscus», Jen Webb, Ginna Brock editors, University of Canberra, volume 14, issue 1, 2026.

Suspended semantics: what happens when marks or data lose their frame? Asemic writing and a contextless numerical matrix share the same condition—structure without reference. They are not meaningless; they are underdetermined. Interpretation cannot be recognised, only constructed. Asemicity, asemantization, semantizability: three ways to think how meaning is deferred, stripped, or re-imposed…

Silence and void are often reductively understood as negative conditions: the absence of sound in one case, the absence of matter in the other. This interpretation assigns both a derivative status, as if they were merely limiting cases or abstract containers, presumed to receive what they themselves exclude. Such a view, while intuitively appealing, is conceptually inadequate. It assumes that…

In this issue: Michael Betancourt, Patrick Sweeney, Mark Young, Graham Medric George, Angel Dionne, Stephen Bett, Heikki Huotari, Nathan Anderson, Werner Preuß, Sean G. Meggeson, Daniel Barbare, John Morton, Jim Meirose, Norbert Kovacs, Patrick Trombly, Angelo D’Amato. download | print ed.: lulu | amazon.com | submit | twitterEdited in Berlin by Horst Berger and Federico Federici.

a plant enters the supermarket, «3:AM Magazine», Daniel Davis Wood editor, March 16, 2026.

Ink against ink: only pressure, only residue that condenses. Like charged particles crossing a chamber of supersaturated air, signs precipitate in a supersaturated language. Trails—sentences—appear only where a blank equilibrium has been disturbed, leaving the trace of an event. The work does not present itself; it exposes only the conditions of its own existence.

A Theoretical Reading of Contemporary Editorial Practices Contemporary literary magazines, particularly those with significant international visibility, present themselves as sites of critical discernment, claiming to evaluate form, style, and literary value. Yet, a closer inspection of quantitative data they provide reveals a misalignment between this normative claim and the operational…

This talk, given at the Cambridge Creation Lab, unfolds as a sustained inquiry into numbers, signs, and memory, approaching computation, notation, and writing as generative rather than instrumental media. Moving between algebra, asemic writing, physics, and typographic practice, Federici reframes numbers as aesthetic entities, silence as a relational medium, and writing as an experimental…

All that remains to be done is to play with the pieces. Playing with the pieces—that is postmodern. [Jean Baudrillard, Interview: Game with Vestiges, On the Beach, no. 5 (Winter 1984): 24.] I. Faced with generative models, the idea of a structuring self appears increasingly inadequate. Instead, a dispersive principle emerges: the self does not retain the sign or signal to process it, but…

Traduzioni in lingua catalana a cura di Marta Vilardaga e Josep Porcar. Voce: Marta Vilardaga prendere parte al temponel corpo, sentirsi addossocrescere le ossa, tirare viala pelle, ridursi a una misura:una falange un mese,un’unghia un’ora o pocopiù sul guscio una fessura,sul cranio lacero al pensieroperdere le parti esposteal vuoto, deporre i pesiripudiati, di polvere, di petali,di pollini…

Traduzioni in lingua catalana a cura di Marta Vilardaga e Josep Porcar. Voce: Marta Vilardaga adagio ritmare, rimare la pietra, prima che facciaargine al fosso, rotolatasulla riga scura d’acquache ricopre i solchi, tuttaarsura di licheni e frammistaai pieni, ai vuoti, vacui motividella gravità, dove peso avràe radici l’erba scossa secca*adagio ritmar, rimarla pedra, abans que facimarge al rec,…

not-quite-archive of errata | signal loss | unwritten | data co/ordinates : misreading asemic writing as kitsch: scientific forms and structural depth; ten olivetti tables; first study about farfalla; first study across silence; warten auf god; rooks, knights (and other probabilities); negotiating authorship in the age of AI; [ controlled ] generative drift; two letter excerpts (and a recast);…