DOCSLIB.ORG

Bogen Som Medie

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bogen Som Medie Bogen som medie – nedslag i bogobjektets historiske transformationer Niels Brügger The serious artist is the only person able to Imidlertid har relationen medie/litteratur i mange encounter technology with impunity, just år været selvfølgelig og uproblematisk, idet littera- because he is an expert aware of the changes in turens mest anvendte medie var den trykte bog – vi sense perception. [...] Artists in various fields har så at sige ikke set mediet (bogen) for bare lit- are always the first to discover how to enable teratur. Men med fremkomsten af nye (digitale) one medium to use or to release the power of medier i mediematrixen (computer, internet mm.) an other. [...] The artist picks up the message of ‘skubbes’ der til denne selvfølgelighed, og vi må cultural and technological challenge decades be- således dels se på bogen (men også film, radio og fore its transforming impact occurs. tv) igen, dels se på det litterære i nye medier. Det Marshall McLuhan, Understanding Media: vil sige henholdsvis: Hvad er/var bogmediet, og 18, 54, 65 hvordan har det ændret sig? Hvad er de nye medier, og hvorledes befinder litteraturen sig heri? I denne Denne artikel handler ikke om litteraturen, det lit- artikel vil kun det første af disse spørgsmål være terære, litterariteten, eller hvad man nu vælger at emnet, mens det andet er anledningen til at stille kalde dét, der kendetegner litterære værker. Der- det.1 imod handler den om én af de mediematerielle ram- Bogmediets pludselige tab af selvfølgelighed giver mer, som litteraturen gennem historien har udfoldet her anledning til en historisk analyse med fokus på sig inden for, nemlig bogen som medie. to tyngdepunkter, hvor bogen undergår større trans- Litteratur og medie er naturligvis ikke adskilte formationer. Dels den række af transformationer fænomener. Men det grundliggende argument vil bog mediet gennemlever over en meget lang periode, her være, at de medier – bog, avis, radio, internet osv. fra omkring år 0 frem til 1455, hvor den trykte pa- – som litteraturen udspiller sig i, ikke er neutrale, pirkodex er på plads, dels de mere æstetiske transfor- transparente bærere af litteratur, men at de derimod mationer, som bogmediet udsættes for i en relativt på grund af deres specifikke væremåde som medier kort årrække i det 20. århundrede, nemlig begyndel- (senere kaldet deres mediatet) udstikker et ganske sen af 1960’erne til slutningen af 1970’erne. På den bestemt materielt mulighedsfelt for, hvorledes det ene side er fokus altså på den i dag traditionelle bogs litterære værk kan forme sig, og dermed hvorledes forformer og dens opkomst, med henblik på – på den det kan læses. Dette betyder imidlertid ikke, at ek- anden side – at have en mediehistorisk baggrund for sempelvis bogmediets ‘indhold’ – litteraturen – er at forstå de æstetiske bearbejdninger af selvsamme uvæsentlig, men derimod at såvel mediet som rela- bog, som ses mod slutningen af det 20. århundrede. tionen medie/litteratur også er væsentlige. Det lit- Som det vil fremgå, så tematiserer de nævnte terære værks måde at være værk på præges af, om æstetiske bearbejdninger af bogmediet i det 20. år- det forefindes i for eksempel en trykt bog eller på hundrede forhold som uafsluttethed, tilfældighed i internettet. sammenkædningen af medieelementer, interaktivi- Passage 48 – 2003 78 Niels Brügger tet, opløsning, transparens, det dynamiske forhold ontologisk og en epistemologisk. mellem underlag og materielt indhold samt multi- Den ontologiske vil have det som sin indsats at medialitet, og spørgsmålet melder sig naturligvis: afgøre, hvorvidt dette eller hine artefakt er (eller Hvorfor netop disse temaer i denne periode? I for- ikke er) et medie, mens den epistemologiske tager et længelse af det teoretiske afsæt, der oprulles om et positivt svar på dette spørgsmål for givet og derfor øjeblik, så vil antagelsen være, at fremkomsten af en er rettet imod, hvorledes vi kan fokusere vores stu- ny medietype påvirker alle de samtidigt eksisterende die af dette artefakt. Henholdsvis spørgsmålene: “Er medier – introduktionen af et nyt medie i mediema- dette artefakt et medie eller ej?”, og “Hvorledes kan trixen går aldrig upåagtet hen – forstået således, at vi gøre dette artefakt, som vi kalder et medie, til en fremkomsten af film, radio og tv i det 20. århund- analytisk genstand?”. I det følgende fokuseres der rede virker ind på bogmediet, der sættes spørgsmåls- udelukkende på det andet af disse to. tegn ved dets selvfølgelighed – og denne ‘sætten spørgsmålstegn ved’ formuleres blandt andet æste- Mediets mediatet tisk, i litterære og kunstneriske værker. Ja, måske En meget væsentlig medievidenskabelig analyse- kunne man endog hævde, at ikke blot bevidner ek- genstand vil være de enkelte mediers specifikke væ- sistensen af de æstetiske bearbejdninger af bog- remåde, hvad man kan kalde deres mediatet, dvs. de- mediet nogle allerede skete ændringer i mediema- res ‘medie-hed’, deres særlige materielle måde at trixen (fremkomsten af film, radio og tv, der i være medier på.3 Denne mediatet bør studeres me- mediemæssig henseende er ganske anderledes end get bredt, så den inddrager alle de dele af mediet, bogen), men måske indvarsler de oven i købet æn- der angår såvel produktion som distribution og dringer, der er i færd med at ske, på det tidspunkt de konsumption.4 Eksempelvis vil en udtømmende laves, nemlig fremkomsten af computeren og inter- analyse af tv-mediets mediatet skulle indbefatte en nettet. Under alle omstændigheder er næsten alle gennemgang af dets materialitet inden for henholds- ovennævnte temaer senere blevet hæftet på de digi- vis produktionsdelen (tv-studie, kameraer, osv.), di- tale medier. stributionsdelen (sendemaster, kabler, osv.) og kon- Det følgende vil således forme sig som en efter- sumptionsdelen (tv-apparat, fjernkontrol...).5 sporing af bogens i materiel henseende væsentligste transformationer, idet de som sagt udgør den grund- Underlag og materielt indhold liggende ramme for, hvorledes litteraturen kan ud- I den forbindelse skal en væsentlig distinktion næv- folde sig. Hvorledes litteraturen så konkret har ud- nes, nemlig mellem substratum og materielt indhold. foldet sig i bogen, vil være en anden historie, som Substratum, eller blot underlag, er den del af mediet, ikke skal fortælles her – men som vil være et oplagt hvorpå eller hvori det materielle indhold er placeret. næste skridt at tage. Det er især disse forhold ved bogmediet, der i det følgende skal diskuteres, men for allerede her at il- En medievidenskabelig tilgang lustrere denne distinktion, så er papiret bogens un- Hvorledes kan man da tænke forholdet mellem me- derlag, mens det, der på et givet tidspunkt sættes på diet og ‘det litterære’? Det er der naturligvis mange det (f.eks. sort blæk eller tryksværte), er det materi- bud på, og de følgende overvejelser over en generel elle indhold, ganske som tv-mediets substratum er teori om medier, med fokus på medievidenskabens skærmen, mens de sort/hvide eller farvede lysprik- analysegenstande, er blot én blandt mange.2 Ud- ker er det materielle indhold (i det mindste hvad gangsspørgsmålet er, hvad vi egentlig studerer, når vi angår tv-mediets konsumptionsdel). studerer medier: Er det indholdet, selve mediet, or- Underlag må ikke sammenblandes med mediet i ganisationer og institutioner, producenter, modta- sig selv, men de to hænger sammen. Underlaget er gere osv.? Spørgsmålet ‘Hvad skal vi forstå ved me- del af mediet, men kun den ene del, mens den anden dier?’ kan besvares ad to veje, henholdsvis en del er det materielle indhold; i den forstand er Bogen som medie 79 indholdet en del af mediet, ikke som mening, men vil således være mediematrixen (dette punkt er ud- som materiale. dybet i Brügger: 54-56).6 I en sådan optik er eksempelvis skrift ikke i sig selv et medie, men kan derimod være en del af Bogobjektets historiske transformationer mange forskellige medietyper (alle medietyper, und- Hvorledes kunne en bogmediets historie se ud i tagen radio), nemlig i form af materielt indhold, der dette medieteoretiske perspektiv, hvor diskussioner er fæstnet på et underlag, og som kan være grund- af bogen i sig selv adskilles fra diskussioner af bo- laget for en hel række udtryksgrammatikker, i form gens indhold/udtryk? af skrift- og betydningssystemer. ‘Skriftmedier’ vil Som nævnt ovenfor, så skulle en udtømmende således i denne forstand være ethvert medie, der har analyse af bogmediet indbefatte såvel dets produk- muligheden for at have et materielt indhold, som tions- som dets distributions- og konsumptionsområ- kan forstås som skrift (dvs. bog, trykt presse, film, tv, der, og ligeledes skulle også den dialektiske relation computer og internet). til de øvrige instanser inddrages (hvad aktualiseres Man kan således opsamle overvejelserne over me- hvornår, af hvem og hvorfor?). Imidlertid ville der da diet på følgende måde. Mediet kan inddeles i tre blive tale om en meget omfangsrig historisk analyse, områder – produktion, distribution og konsumption hvilket der ikke levnes plads til her.7 Der vil derfor – og hvert af disse kan opsplittes i to komponenter, blive fokuseret på to måder. underlag og materielt indhold. En beskrivelse af f. For det første vil fokus være på bogmediet i sig eks. produktionsområdet af et medie vil således være selv, hvorfor alle de øvrige instanser og deres dialek- svar på følgende tre spørgsmål: Hvad er mediets un- tik med bogmediet udelades. derlag, hvorledes gør det produktionen af materielt For det andet vil fokus være på, hvad man kunne indhold mulig, og hvad er dette materielle indhold? kalde bogobjektet, der her skelnes fra bogmediet: Bogo- (og noget tilsvarende gør sig naturligvis gældende bjektet er det enkelte, konkrete bogeksemplar, der for de øvrige to områder). produceres, distribueres og konsumeres, mens bog- En sidste bemærkning angående mediatetens tre mediet er alle de tre områders elementer.8 En sådan områder, nemlig den, at når studiet af et medie skal skelnen er mulig, fordi bogmediet er et af de medier, indbefatte alle de tre nævnte områder, så bliver me- hvor en identisk, konkret genstand, selve bog- die et meget bredt begreb, idet hele det ‘kredsløb’, eksemplaret, findes på alle tre områder – den bliver som mediet udgør – eller er del af – må studeres.
Load more

Recommended publications
  • Projetos Editoriais Que Testam Os Limites Da Publicação
    UNIVERSIDADE DE LISBOA FACULDADE DE BELAS-ARTES FACULDADE DE ARQUITETURA Projetos Editoriais que testam os limites da Publicação Bárbara Forte Fernandes Gonçalves Teixeira Dissertação Mestrado em Práticas Tipográficas e Editoriais Contemporâneas Dissertação orientada pela Professora Doutora Sofia Leal Rodrigues 2019 I DECLARAÇÃO DE AUTORIA Eu, Bárbara Forte Fernandes Gonçalves Teixeira, declaro que a presente dissertação de mestrado intitulada “Projetos Editoriais que testam os limites da Edição”, é o resultado da minha investigação pessoal e independente. O conteúdo é original e todas as fontes consultadas estão devidamente mencionadas na bibliografia ou outras listagens de fontes documentais, tal como todas as citações diretas ou indiretas têm devida indicação ao longo do trabalho segundo as normas académicas. O Candidato Lisboa, 22 de Outubro de 2019 II RESUMO O livro enquanto veículo de expressão artística tem vindo a ser explorado desde a génese das práticas editoriais. O design, a música, o teatro, a literatura, o cinema, entre outras formas de manifestação criativa, são ingredientes do bolo que constituí a book art e a publicação independente, cuja expressividade é diretamente influenciada pela mistura rica de áreas e técnicas participantes. É necessário conhecer particularidades do trabalho percursor neste âmbito, para que se assimile e compreenda o papel disruptivo do artist’s book. As formas comunicação gráfica primevas (são exemplo as pinturas rupestres), despoletaram espontaneamente, cumprindo as necessidades do ser humano pré-histórico. Com o avançar dos anos, e à medida que a linguagem se desenvolvia cada vez mais complexa, os suportes de inscrição de matéria foram também aperfeiçoados. As culturas chinesa e egípcia possibilitaram a descoberta e refinamento do papel, ao aplicarem as fibras de bambu e papiro, respetivamente, num processo de fabricação de “folhas”.
    [Show full text]
  • Fluxus Reader By: Ken Friedman Edited by Ken Friedman ISBN: 0471978582 See Detail of This Book on Amazon.Com
    The Fluxus Reader By: Ken Friedman Edited by Ken Friedman ISBN: 0471978582 See detail of this book on Amazon.com Book served by AMAZON NOIR (www.amazon-noir.com) project by: PAOLO CIRIO paolocirio.net UBERMORGEN.COM ubermorgen.com ALESSANDRO LUDOVICO neural.it Page 1 PART I THREE HISTORIESPART I THREE HISTORIESPART I THREE HISTORIES Page 2 Page 3 Ben Patterson, Terry Reilly and Emmett Williams, of whose productions we will see this evening, pursue purposes already completely separate from Cage, though they have, however, a respectful affection.' After this introduction the concert itself began with a performance of Ben Patterson's Paper Piece. Two performers entered the stage from the wings carrying a large 3'x15' sheet of paper, which they then held over the heads of the front of the audience. At the same time, sounds of crumpling and tearing paper could be heard from behind the on-stage paper screen, in which a number of small holes began to appear. The piece of paper held over the audience's heads was then dropped as shreds and balls of paper were thrown over the screen and out into the audience. As the small holes grew larger, performers could be seen behind the screen. The initial two performers carried another large sheet out over the audience and from this a number of printed sheets of letter-sized paper were dumped onto the audience. On one side of these sheets was a kind of manifesto: "PURGE the world of bourgeois sickness, `intellectual', professional & commercialised culture, PURGE the world of dead art, imitation, artificial art, abstract art, illusionistic Page 4 [...] FUSE the cadres of cultural, social & political revolutionaries into united front & action."2 The performance of Paper Piece ended as the paper screen was gradually torn to shreds, leaving a paper-strewn stage.
    [Show full text]
  • George Maciunas and the Flux-Labyrinth (1974/1976): Staging a Soho Way of Life
    George Maciunas and the Flux-Labyrinth (1974/1976): Staging a SoHo Way of Life Anton Pereira Rodriguez and Wouter Davidts Frieze New York 2015 Ever since the first edition of Frieze New York in 2012, the art fair pays tribute each year to “alternative spaces and artist-run initiatives that have defined and transformed the cultural life of contemporary cities.”1 In 2013 Frieze New York celebrated FOOD, the artist-run restaurant initiated in 1971 by Gordon Matta-Clark in the neighborhood of SoHo, the old textile industry district South of Houston Street in Downtown Manhattan, New York. For the 2015 edition, Frieze commemorated the Flux-Labyrinth, a room-filling installation conceived by the artist George Maciunas in 1974. Not unlike Matta-Clark’s FOOD, Maciunas’s Flux- Labyrinth was a project that was firmly rooted in the artists’ colony of SoHo. Whereas the 2015 recreation of the original Flux-Labyrinth included many of the original sections, it also included sections designed by contemporary artists.2 “Hidden among the grid of galleries,” the reconstruction of the labyrinth was promoted as “a space in which to play and discover a new awareness of our bodies.”3 Any additional information about the historical genesis and meaning of the project by Maciunas, however, was not provided, preventing visitors to the fair from discovering the interrelatedness with the Fluxus movement in general, and with the urban realm of SoHo in the late 1960s and early 1970s in particular.4 1/14 By returning to the first built iteration of the labyrinth during
    [Show full text]
  • Thomas Kellein Ways of Fluxus
    ARCHIVIO BONOTTO Creative R'Evolution. 50 Years of Fluxus from the Archivio Bonotto Barcelona: 21 - 23 gennaio 2009 Thomas Kellein Ways of Fluxus The funniest and most radical episode in twentieth-century art is the story of Fluxus. George Maciunas (1931-1978), its self-declared chairman, established strangely radical modes of presentation in its name. In his view, the bulk of conventional art business – museums, theatres, concert halls, opera houses, and publishers – should cease to exist. And Fluxus was to be so uncomplicated that it could be realised by anyone more or less anywhere. Maciunas, who died at the age of forty-six, devoted his life to Fluxus. “The boy was playful and disobedient,” wrote his mother, “he always wanted to be completely free.” Not only as a boy, but in all of his adult life he was radical and revolutionary. A staunch opponent of personal enrichment, he came up with Spartan solutions for almost every life situation, developing his own subversive notion of art well before today’s global networks and multi-million dollar art market became a reality. When the Fluxus Festivals of “newest music” began in Wiesbaden in September 1962, German television was invited. A six-minute report was made. The journalists did their utmost to come up with polemic responses to all the different concert items. The artists were shown stoically entering the concert hall and again as they clapped. The piece being performed was “Clapping”, by Joseph Byrd. After a brief glimpse of a piece by Jackson Mac Low, the speaker’s voice declared, “Anything Dada can do, we have done longer.” Following this, Benjamin Patterson’s “Variations for Double Bass” were shown.
    [Show full text]
  • Download?Token=Rvbuhops
    The Conceptual, the Romantic, and the Nonhuman: The SÚM Group and the Emergence of Contemporary Art in Iceland, 1965-1978 by HEIÐA BJÖRK ÁRNADÓTTIR A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Art History and Theory) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) May 2019 © Heiða Björk Árnadóttir, 2019 The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, the dissertation entitled: The Conceptual, the Romantic, and the Nonhuman: The SÚM Group and the Emergence of Contemporary Art in Iceland, 1965-1978 submitted Heiða Björk Árnadóttir in partial fulfillment of the requirements for by the degree of Doctor of Philosophy in Art History Examining Committee: Dr. T’ai Smith Supervisor Dr. Ignacio Adriasola Supervisory Committee Member Dr. Geoffrey Winthrop-Young Supervisory Committee Member Dr. Maureen Ryan University Examiner Dr. Vin Nardizzi University Examiner Additional Supervisory Committee Members: Supervisory Committee Member Supervisory Committee Member ii Abstract This dissertation considers the emergence of contemporary art practices in Iceland through the activities of the artist collective SÚM between 1965 and 1978. The founding of SÚM in 1965 brought forth, for the first time, a generation of Icelandic artists whose practices closely correspond to that of experimental artists globally, especially those aligned with Fluxus and conceptual art. As I highlight, this relied on Iceland’s belated modernization and changes to the country’s geopolitical status in the twentieth century, as well as on global efforts to decentralize the artworld.
    [Show full text]
  • Fluxus Codex
    FLUXUS CODEX JON HENDRICKS with an introduction by Robert PincUS-Witten The Gilbert and Lila Silverman Fluxus Collection, Detroit, Michigan in association with Harry N. Abrams, Inc., Publishers, New York C'jviiz In tnriAV Filling Article Rnlri- PIMVIIC flriie»e' An Anthology ol Concrete Poetry 259 vUQti ID mot?*, nuws Mlllili— ODIU, rlUlUa «rU5IS Aufomanc FtuxOfChtsstra 275 seclions-BolO numbers; Fluxus Works-BOLD; An introduction to George BrechVs 187 200, 202 OFFLUXART 495-496 AN OPERA 5EI Sen's Litany 495 ANAGRAM FOR STRINGS 491, 492 AUTOMATIC TRIO 277 people, places, arl movements, etc.-regular. Anarchism 40; Automatism 104 Berge," Carol 94.115,181 Anatomy 319 AUTOMOBILE DOOR HANDLES 42&J27 Bergenren, Charles 70 and/or 53-54. 56, 88, 100, 174, 220, 255. 33B, AutomobBe Pans 427 | ] 171 341, 356, 361, 3BB. 543, 553: Photographs ot. 5 AUTOPSY 468 Berner, Jell 38,66. 123. 181, 274. 380, 434 A G Gallery, New York 22.421,506 386. 395 11 Ay-0 15.28, 42,46-48 50-53, 55-56,59. 62-63, Beuys, Joseph 15-16, 25, 100, 128, 318 A LA MODE 493 Andersen, Eric 29, 42, 53. 60-63. 66. 74-75. 97 65, 67, 69. 72-82. BB, 95, 97, 100-101, 108-110, Bianchini Gallery. Paul, New York 536 A QUESTION OR MORE 183 113-115, 123-124, 128, 171-173.236-237,510 115-116,122-123. 125, 128-129. 135-137, Bicycle 322 A To Z Series 525. color 164 photographs ol, 171. 461 146-147, 171. 173-181. 184, 186.220.234,236, BILLIARD TABLE 134-135 a V TRE EXTRA 40 Angell.
    [Show full text]
  • Kathy Acker Implosion Wedge Press, Inc., New York, USA, 1983 Softcover, 20 X 12.5 Cm., Staple Bound, 28 Pages
    Kathy Acker Implosion Wedge Press, Inc., New York, USA, 1983 Softcover, 20 x 12.5 cm., staple bound, 28 pages. An artist book by Kathy Acker written in the form of a play set during the French Revolution. Text in English. Designed by Mark Magill. Images in black, white, and orange. $20.00 CDN Kathy Acker & the Mekons Pussy, King of the Pirates Top Stories, Buffalo, New York, USA, 1981. Audio CD This disk, and novel it is adapted from, are based on ``Treasure Island,'' Daniel Defoe's ``The General History of Pirates'' and a Japanese film version of ``The Story of O.'' $15.00 CDN Dave Allen The Mirrored Catalogue D’Oiseaux 2003 7", 45 rpm vinyl A recording of mocking birds mimicking the sounds of French Composer Olivier Messiaen's Catalogue D'Oiseaux, an experimental composition for piano, based on bird songs. Nature reflecting art reflecting nature. Signed by the artist. $80.00 CDN Bas Jan Ader The Boy Who Fell Over Niagara Falls Galerie Paul Andriesse, Amsterdam, 1992. Paperback, 24 x 16,8 cm., 36 pages Artist book published posthumously in an edition of 500 copies. From Ader’s performance The Boy who fell over Niagara Falls, 2 week reading of Reader's Digest story at Art & Project Gallery, Amsterdam. $80.00 CDN Ayo / George Maciunas / Fluxus Ayo’s Rainbow Staircase Environment Fluxus, New York, USA, 1965 Offset announcement, 35.6 x 9.5 cm. George Maciunas designed announcement for Ay-O's Rainbow Staircase Environment, November 20th, 1965, as part of Fluxfest. The announcement was intended to be folded, accordian-style, like a staircase.
    [Show full text]
  • The Book As Archive a Study of Daniel Spoerri’S an Anecdoted Topography of Chance
    The Book as Archive A study of Daniel Spoerri’s An Anecdoted Topography of Chance Maria T. Horvei Master’s Thesis in History of Art Department of Philosophy, Classics, History of Art, and Ideas Supervisor: Professor Ina Blom UNIVERSITY OF OSLO June 2016 ! ! II The Book as Archive A study of Daniel Spoerri’s An Anecdoted Topography of Chance !! III! ! © Maria T. Horvei 2016 The Book as Archive: A study of Daniel Spoerri’s An Anecdoted Topography of Chance Maria T. Horvei http://www.duo.uio.no Print: Grafisk Senter, Oslo. ! IV Abstract On October 17, 1961, at 3.47 in the afternoon, artist Daniel Spoerri traced all the objects gathered on the blue tabletop of his Parisian hotel room onto a large sheet of paper. Paper clips, wine stoppers, matchboxes, burnt matches, spice jars, cutlery, leftover bread, spilled salt – nothing was left out, nothing was deemed too unimportant. Each outline – 80 in total – was then numbered and annotated in a corresponding note. In a sober, mock-encyclopedic style Spoerri described one object after the other, noting details such as visual appearance, text printed on product packaging, the cost of the item etc. A good deal of the notes were also furnished with additional anecdotal material, such as the circumstance of the objects’ acquisition, the use they had been put to, stories relating to Spoerri’s friends and acquaintances, short descriptions of how they ended up on the table in the first place, or other tidbits of information. Whenever he felt it necessary, Spoerri added footnotes to the notes for further elaborations, engaging the help of his good friend Robert Filliou to correct his memory or his French.
    [Show full text]
  • Tradicional and Emerging Formats of Artists' Books: Where Do We Go From
    Tradicional and emerging formats of artists’ books: Where do we go from here? Two-day conference at the School of Creative Arts – University of the west of England, Bristol, Uk. PHOTO 1 BOOK ART. CHANGES AND DEVELOPMENT IN THE 2nd HALF OF THE 20th CENTURY: THE 50’s, 60’s, 70’s, 80’s AND 90’s BOOK ART th Thursday 9 July 2009 Bibiana Crespo, PhD Artist and Lecturer at the Fine Arts Faculty – University of Barcelona PHOTO 2 According to Johanna Drucker —one of the most important specialist about the topic— Artists’ Books are the quintessential 20th-century art form, one obviously fated to continue into next century DRUCKER, Johanna, The Century of Artists’ Books, Granary Books, New York, 1995, p. 362. In the 2nd half of the 20th Century, the Book Art was one of the prominent ways of expression. The production of the post-war artistic movements was very often formalised in book form; the Book Art was then transformed into a highly personalised object. All contemporary artists have used the book to reveal their aesthetic ideologies adapting them to different formats, materials and existing techniques. The Book Art was one of the main creative focal points for all the vanguard movements and artistic positions around that time. The common consciousness and willingness to abolish and to break the prevailing norms of the art market and its economic speculation, the firm goal to destroy the aura aspect of the one-of-a-kind work of art, the tendency to an art multiple, economic, democratic and ephemeral, and finally the electronic art and the net art lead to a favourable field for the Books’ Art as the most attractive alternative to achieve artists’ projects and purposes.
    [Show full text]
  • Fluxus : Selections from the Gilbert and Lila Silverman Collection Clive Phillpot and Jon Hendricks
    Fluxus : selections from the Gilbert and Lila Silverman Collection Clive Phillpot and Jon Hendricks. -- Author Museum of Modern Art (New York, N.Y.) Date 1988 Publisher The Museum of Modern Art ISBN 0870703110 Exhibition URL www.moma.org/calendar/exhibitions/2141 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art SELECTIONSFROM THE GILBERT AND LILA SILVERMAN COLLECTION I Museum Of Modern art THE MUSEUM OF MODERN ART NEW YORK Fluxus Mani f esfo J „ Med To cause a (i.scjHtrgeiron^gs in purging. ' frku'slf,UJM?ofrc^r"sryiUT\fed flow! See ?LUENT^cV fiU a A flowing or fluid discharge from the bowels or oiht aenbC,^V^ > &S: as. th CX dysentery, b Thejnattpr thus discharged. f Purge -fire a/or Id 0 bourgeois si excess intellectual " profes siona/ A com merc/'cr //z e<d Culture.^ PUPGE the wor/d of dead art , imitation t art i ficial art", abstract art illusionistic art; mathematical art; PUZ6E THE WOTLT> pF "FUPoFAE/SM " / ; HjjL. 2. Act of flowing; a continuous moving on or passing by, as of a flowing stream; a continuing succession of changes. 3. A stream; copious flow; flood; outflow. 4. The setting in of the tide toward the shore. Cf. heflux. 5. State of being liquid through heat; fusion. Rare. FKomotf A FevoLvti o i\ja P Y Floor? ANF? TITTF ilu AFT, Promote In'inaj art , an ti - ant , promo te NOKJ APT PEALlTY to be folly cjras ped
    [Show full text]
  • Abstract the Literature of Fluxus Documents a Conversa
    FLUX US AFTER FL UX U S Abstract The literature of Fluxus documents a conversa­ ----------------------· tion on the concepts, media forms and practices developed in an international laboratory of art­ ists, architects, composers, designers and poets. It also documents a dramatic shift in impact and reception . Half a century ago, Fluxus participants did most of their own writing. Today, afar broader conversation includes a wide variety of writers from many fields and disciplines. This article traces a half-century of change and growth from a critical perspective. It addresses problems in the work of ear(y writers, enthusi­ astic but personal, often flawed by inaccuracies reflecting personal positions while lacking his­ toriographic awareness. It also raises questions and issues that scholars and critics must consider in today's intermedia era. Serious contributions to the literature of Fluxus now join personal reflection, philosophical depth and cariful schol­ arship. The growth of excellent writing and the accessibility of source documents make this a time of renewal and opportunity for the literature of Fluxus. The claims of history require establish­ ing a literary space in which the original Fluxus voices speak while allowing writers the freedom of multiple interpretations. Norwegian School of Management Vis ib le Language 40 .1 Fri edman, 90-112 @Visible Language, 2006 Rh ode Island School of Design VISIBLE Providence, Rhode Island 02903 90 8g KEN FRI ED MAN KEN FRIEDMAN "Fluxus is what Flu xus The Fluxus Problematic does but no one knows WHILE FLUXUS IS WHAT FLUXUS whodunit." does, the question of "who done it" -EmmETT W ILL I Am S leads to a major set of problems.
    [Show full text]
  • Object, Action and Ephemera
    Armin Hochdörfer and Susanne Neuberger, eds., Konzept Aktion Sprache / Concept Action Language (Vienna: Museum of Modern Art/Foundation Ludwig, 2010) German and English. 39 Liz Kotz Object, Action and Ephemera „I am for an art that embroils itself with the everyday crap & still comes out on top.“ Claes Oldenburg, „I am for an art“ (1961) In 1962, as part of the ongoing Yam Festival of happenings, events and exhibitions, the American artists George Brecht and Robert Watts sent out a folded card: „DELIVERY EVENT,“ it announced, „by subscription.“ Upon receipt of a small sum to be checked off on the card, „R. WATTS and G. BRECHT will assemble a work and arrange delivery to you or an addressee of your choice.“ Above this text appears a photograph of a man pus - hing an office cart laden with numbered boxes, amidst what appears to be a warehouse or storage facility, with receding rows of wooden shelving filled with containers and objects. The object is not singular or special, the image suggests, but part of a vast archi - 1 ve of serially produced things subsumed into a larger organizational system. While this card is often taken to be an early mail-art piece, the idiosyncratic work proposes much more than that: a set of more or less randomly chosen common objects will be assembled and delivered to specific recipients, via a rather arcane mail order sub - 2 scription process, employing an arbitrary system of pricing. It condenses a textual des - cription, a means of advertising, a relationship of exchange, and a delivery system into one rather hermetic printed card.
    [Show full text]