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No medium

作者: Craig Douglas Dworkin
出版商: Cambridge, Massachusetts : The MIT Press, [2013]
版本/格式:   Print book : 英語所有版本和格式的總覽
資料庫:WorldCat
提要:
In No Medium, Craig Dworkin looks at works that are blank, erased,clear, or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but nothing to say. Examined closely, these ostensibly contentless works of art, literature, and music point to a new understanding of media and the limits of the artistic object. Dworkin considers works predicated on blank  再讀一些...
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類型/形式: History
資料類型: 網際網路資源
文件類型: 圖書, 網路資源
所有的作者/貢獻者: Craig Douglas Dworkin
ISBN: 9780262018708 0262018705
OCLC系統控制編碼: 799025194
描述: 219 pages ; 24 cm
内容: The logic of substrate --
Cenography --
Textual prostheses --
Hard core/soft focus --
The dative of form --
Tangent --
Signal to noise --
Further listening.
責任: Craig Dworkin.

摘要:

In No Medium, Craig Dworkin looks at works that are blank, erased,clear, or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but nothing to say. Examined closely, these ostensibly contentless works of art, literature, and music point to a new understanding of media and the limits of the artistic object. Dworkin considers works predicated on blank sheets of paper, from a fictional collection of poems in Jean Cocteau's Orph?e to the actual publication of a ream of typing paper as a book of poetry; he compares Robert Rauschenberg's Erased De KooningDrawing to the artist Nick Thurston's erased copy of Maurice Blanchot's The Space of Literature (in which only Thurston's marginalia were visible); and he scrutinizes the sexual politics of photographic representation and the implications of obscured or obliterated subjects of photographs. Reexamining the famous case of John Cage's 4'33",Dworkin links Cage's composition to Rauschenberg's White Paintings, KenFriedman's Zen for Record (and Nam June Paik's Zen for Film),and other works, offering also a "guide to further listening" that surveys more than 100 scores and recordings of "silent" music. Dworkin argues that we should understand media not as blank, base things but as social events, and that there is no medium, understood in isolation, but only and always a plurality of media: interpretive activities taking place in socially inscribed space.

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No Medium is not only an admirable feat of painstaking research that puts into conversation an impressive range of artworks, both famous and obscure, but also a testament to the fact that for the 再讀一些...

 
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