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A welcome message from the website’s custodian discussing the genesis of the project to digitise Sokal Nouveau.
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In order to lose themselves in God, the Sufis were said to repeat their own name or the 99 names of God until they no longer meant anything. Try it yourself: in the everyday act of repeating a word, any word, on and on — “Really, really, really, really, really, really, really, really, really, really,…
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This art review, originally published in Sokal Nouveau #424, analyses Gareth Ellison’s now infamous ‘The Mathematics of Chaos’ following its debut at the Manchester Centre for Experimental Image Studies.
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Dear Reader, As we stand on the precipice of the year 2000, Sokal Nouveau finds itself—like the world at large—preoccupied with the countdown. We chant it almost mechanically, as a collective, into the void: 10, 9, 8… The enumeration is backwards, inverted, diminishing. Each syllable signals not plenitude but subtraction, not progress but erasure. And…
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This essay, originally published in Sokal Nouveau #467, views Web 1.0 through the lens of the labyrinth of antiquity. Drawing parallels between links as forking paths, 404’s as dead ends, and the web user as a composite of Theseus, Daedalus and Minotaur.
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This essay, originally published in Sokal Nouveau #013, delves into the mystery of Marlowe Nyman. Blind from birth yet hailed a musical prodigy, his story is rarely told in music circles and when it is it is treated more as whispered folklore than documented fact.
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This essay, originally published in Sokal Nouveau #222, investigates the inherent threat of astronomical investigation in consideration of an unsettling incident which happened at the Valis Observatory in Yaughton in 1977.
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This essay, originally published in Sokal Nouveau #343, considers the labyrinth as it appears across narrative, theory, and everyday experience, treating it as a shared structure rather than a singular metaphor.
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This book review of The Disjointed Muse, originally published in Sokal Nouveau #247, analyses letters, essays, sketches, and marginalia to reappraise the work of Ludovico Klementine.
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This essay, originally published in Sokal Nouveau #376, explores the epistemological, ontological, and semiotic ramifications of one collector’s obsessive attempt to reconstruct the meaning of a missing painting within a sequence of seven works by the 19th-century painter Fredéric Tonnerre. The discussion investigates the convergence of art, narrative, and the speculative imagination.
A curated archive of the highly influential multidisciplinary academic journal.
Sokal Nouveau 