I interviewed CD Rose about his Goldsmiths prize-shortlisted novel We Live Here Now newstatesman.com/culture/books/…

"The crisis for the novel in our time is that there is no crisis" this-space.blogspot.com/2025/11/the-cr…

While in Syria, Jolani’s thugs are slaughtering or starving Syrians.

🇺🇸🏴 As we were fixated on Trump receiving Julani in the White House, something far more consequential unfolded: the IMF — the world’s economic hit man — just stepped into Syria. Let me break it down. 1/16🧵

1/14 The photograph of Julani slipping into the White House — practically smuggled in like contraband — should have been a geopolitical earthquake. Instead, it landed in total silence. The same pundits who shouted about “Islamist infiltration” for 20 years had nothing to say

When Judge Napolitano asked me on his show how Syria ended up with Abu Mohammed al-Jolani as its “president,” I could almost hear the cognitive dissonance on the other side of the screen. How does a man who was once the emir of al-Qaeda in Syria, a co-founder of ISIS by any reasonable

🚨🇺🇸 Dear Americans, as a Syrian, I don’t hate you, and I don’t wish harm to your soldiers. But you are being lied to about why your troops were sent to my country and why they’re still there. This thread is for you. 1/20

Mark Hollis, 1991: “All that matters are my records. I can’t live up to them, I can’t be as succinct and clear as they are."

In my films, I want to be closer to life than to cinema. Bela Tarr, interviewed

My task was to find the reality that led Kraznahorkai to write [The Werckmeister Harmonies]. So I myself spent six months in the great Hungarian plain and visited every house and I visited every pub. (1/2)

That's when I started to understand what it means: mud, rain, infinity. And that's when I sensed the form into which I could place this story, about these people. Bela Tarr, interviewed (2/2)

When we are making a movie, we only talk about concrete situations - where the camera is, what will be the first and the last shot. We never talk about art or God. - Bela Tarr, interviewed

The apocalypse is a huge event. But reality is not like that. In my film, the end of the world is very silent, very weak. So the end of the world comes as I see it coming in real life – slowly and quietly. (1/2)

Death is always the most terrible scene, and when you watch someone dying – an animal or a human – it’s always terrible, and the most terrible thing is that it looks like nothing happened. Bela Tarr, interviewed (2/2)

What is the role of God in this film? The god created this fucking shit, what we have. We just wanted to show you how we disappear and I don't know who is the god. But if you remember, Nietzsche stated, God is dead. Bela Tarr, interviewed

New interview with me (part 1 of 2): European Graduate School Podcast shows.acast.com/egs-podcast/ep… via Acast

Lars Iyer’ın Nietzsche Banliyöde adlı yeni romanında betimlemelerin yerini fikirler, sahnelerin yerini konuşmalar, anlatının yeriniyse sürekli geri dönen bir varoluş sorusu alıyor - rotka.org/lars-iyerin-ni…

New interview with me at the European Graduate school podcast (part 2 of 2): shows.acast.com/egs-podcast/ep… via Acast

technocracy.news/gaza-emerges-a… Technocracy does not announce itself as tyranny. It announces itself as efficiency. It arrives bearing clipboards, algorithms, and blueprints for a better future. Gaza is not being reconstructed. It is being designed — from scratch, on cleared land, by a