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This article offers a reinterpretation of Hugo Ball’s creative work through the lens of dé-coïncidence, understood not as an isolated concept but as part of a broader semantic constellation –including dissonance, dissensus, Zerrissenheit and shevirat ha-kelim – that finds its culmination in Dadaism as an art born of discordance. The analysis unfolds in three main sections. The first one examines Ball’s 1916 performance at the Cabaret Voltaire, focusing on his recitation of the Six Sound Poems and the appearance of the “magical bishop,” interpreted as an echoed liturgy. The second one explores Ball’s notion of “flight out of time” (Flucht aus der Zeit) in relation to the kairotic temporality of performance and the sonorous medium as a site of primeval memory. The third one turns to his critique of instrumental language, which gives rise to an aesthetic alternative grounded in childhood and the playful handling of linguistic remnants. Ultimately, Ball’s work is presented as one of the earliest and most original artistic forms born from the spirit of dissonance. His Dadaist practice emerges as a poetic and philosophical response to the collapse of modernity, fusing linguistic mysticism with both theological reflection and political critique.

In the discussion of religion and art, it is quite difficult to exactly define what makes art ‘religious’. In this article, the author suggest six different perspectives in which a work of art—any work of art—could be interpreted as ‘religious’, as an embodiment of the complex relationship between art and religion. These perspectives are not mutually exclusive: one and the same art work could be approached on multiple levels at once. Nor do they disqualify other methodologies of studying art and religion. These perspectives provide conceptual windows to understand what people (could) mean when they discuss religious art. The six perspectives are: (1) material, (2) contextual, (3) referential, (4) reflexive, (5) ritual, and (6) existential. They vary from the more or less objective to the more subjective, and as such from artist-intended to viewer/listener-perceived (with or without help of clues provided by the artist and/or the object itself). The author illustrates who these different perspectives can vary in defining certain pieces of art as religious by using three very different case studies: the Isenheimer Altarpiece, one of Hugo Ball’s famous sound poems, and the digital game Child of Light.

A contribution to modernist studies and the history of political ideas, this article examines the unlikely intellectual dialogue between Carl Schmitt (1888–1985) and the former Dadaist Hugo Ball (1886–1927) that frames the formative scene of politico-theological discourse in the twentieth century. Based on close readings of Ball's aesthetic, intellectual, and philosophical exchanges with Schmitt, the essay offers insights into the peculiar case of a Catholic intervention into political theology.

Long description: Stimme, was ist das eigentlich? Man weiß es – und man weiß es auch nicht. Der Band macht es sich zur Aufgabe, der Stimme in der Begegnung von Komposition und Kunst, in der Auseinandersetzung mit Literaturwissenschaft, Psychologie, Philosophie, Theologie und Musikwissenschaft nachzuspüren, ihre Möglichkeiten auszuloten, ihre Ausdrucksformen zu erkunden. Neue Musik forscht nach Klang- und Ausdrucksformen menschlicher Stimme, die das Terrain des bekannten und gewohnten Singens und Sprechens zu neuen Möglichkeiten hin öffnet. Traditionelle Klangvorstellungen werden verfremdet, dekontextualisiert, neue Möglichkeiten der stimmlichen und lautlichen Klangerzeugung werden erprobt, um zu überraschen, zu provozieren, um Klanggewohnheiten infrage zu stellen und neue zu schaffen. Salome Kammer, für deren Stimme zahlreiche Werke geschrieben wurden, hat solistische Werke für Sprech- und Singstimme von Komponistinnen wie Carola Bauckholt und Iris ter Schiphorst, von Komponisten wie John Cage, Mauricio Kagel, György Kurtág, Giacinto Scelsi sowie des Dada-Künstlers Hugo Ball auf einer CD in vielfältigen Farben und überraschenden Formen zum Klingen gebracht. Jedem dieser Werke oder Werkgruppen ist ein Beitrag aus einer geeigneten interdisziplinären Perspektive gewidmet. Mit Beiträgen von Jakob Helmut Deibl, Gabriele Geml, Susanne Valerie Granzer, Ulrike Kadi, Reinhart Meyer-Kalkus, Salome Kammer, Anne-May Krüger, Marion Saxer, Iris ter Schiphorst, Dörte Schmidt, Grégoire Tosser und Violetta L. Waibel.

An artist discusses her 2012 exhibition in terms of conceptual art, the Dada art movement, narrative art, art processes, and materials. Art works and processes are considered in the light of alchemy, C. G. Jung, Tibetan Buddhism, Stanton Marian's The Black Sun, time, Mercurius, and the collective unconscious. Multiple color images of her art works are included.

This paper draws on Dada poet Hugo Ball's diary Flight Out of Time to recompose his fragmentary writing on anarchism for two purposes: first, to establish the nature and extent of Dada's entanglement with the European anarchist movement; second, to demonstrate how Ball's attempts to articulate linkages between social and discursive orders led him to anticipate developments in poststructuralist theory. I conclude with an assessment of Ball's work in relation to contemporary anarchist praxis.