In No Medium, Craig Dworkin appears at works which are clean, erased, transparent, or silent, writing seriously and substantively approximately works for which there would appear to be not just not anything to determine yet not anything to assert. tested heavily, those ostensibly contentless artistic endeavors, literature, and track element to a brand new figuring out of media and the boundaries of the inventive item. Dworkin considers works predicated on clean sheets of paper, from a fictional number of poems in Jean Cocteau's Orphée to the particular booklet of a ream of typing paper as a booklet of poetry; he compares Robert Rauschenberg's Erased De Kooning Drawing to the artist Nick Thurston's erased replica of Maurice Blanchot's The area of Literature (in which basically Thurston's marginalia have been visible); and he scrutinizes the sexual politics of photographic illustration and the results of obscured or obliterated matters of pictures. Reexamining the recognized case of John Cage's 4'33", Dworkin hyperlinks Cage's composition to Rauschenberg's White Paintings, Ken Friedman's Zen for Record (and Nam June Paik's Zen for Film), and different works, providing additionally a "guide to extra listening" that surveys greater than a hundred ratings and recordings of "silent" song. Dworkin argues that we must always comprehend media now not as clean, base issues yet as social occasions, and that there's no medium, understood in isolation, yet purely and regularly a plurality of media: interpretive actions happening in socially inscribed space.
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Additional resources for No Medium (MIT Press)
In this follow-up to 2 Virgins, taped within the Queen Charlotte’s Maternity health center (London) the place Ono used to be staying, you will pay attention a model of her 1963 occasion ratings “Beat Piece” (“Listen to a middle beat”) and “Pulse Piece” (“Listen to every other’s pulse through / placing your ear at the other’s / stomach”). 19 the second one song at the B facet files the in utero heartbeat of her baby, in advance of its miscarriage. At two times the size of the pro-forma memorial tribute, the subsequent “Two mins Silence” is unquestionably lengthy sufficient to impress uncomfortable mirrored image, yet now not so sustained that it drifts past its topic into expressionless avant-garde territory. To checklist is to come back to the center (Latin re + cor), and the following recording is abjured. really unhappy. notwithstanding no definitive recording ever emerged, the anti-expressivist wing of the japanese onkyo-kei (sound reverberation college) model of minimum gesture have been relocating towards operating solely with non-networked apparatus earlier than the instant handed. The musicians themselves may item, yet it's possible you'll consider it as utilized Zen. extra ascetic than non secular, a few performances matched Otomo Yoshihide and Akiyama Tetzui on empty turntables with Sachiko Matsubara on the sampler, yet with out samples (only its sine wave test)—all combined jointly by way of Toshimaru Nakamura’s mixer with none enter. For reference, audition stable Morning stable evening (Erstwhile 042-2, 2004), which feels like an previous grade-school listening to try, deep in a few cinderblock nurse’s workplace, misadministered with defective war-surplus gear. having said that, it can be higher to meditate at the concept than to truly hear; attempt to think the hand of 1 clap sounding (in applause). Institut für Feinmotorik: Penetrans (Staubgold 25, 2002). Following Martin Tetreault’s minimalist paintings without delay with tone arm pickups, this southern German collective of turntablists spin their machines with none documents. The checklist avid gamers, even though, are rather well ready (in the Cagean experience of the time period) with home goods: rubber bands, tape, a toothbrush, et cetera. because the hearts of the hochwertige Discoplattenspielers beat away, a couple of wheeze and cramp with the repetitive pressure, a few start to click on and thrum, and prior to you recognize it the ensuing low-tech techno creates a wry roots electronica. such a lot magnificent of all, notwithstanding, is that what could have been an encouraged conceptual gesture or a ’pataphysical research into “precision motoricity” has been occurring for years now and resulted in ten (! ) albums. wear your slender black-rimmed glasses and money one out. Ervín Schulhoff: “In Futurum” (1919). Manic, frightened silence. The effect of early jazz and Dada cabaret songs is palpable within the 3rd stream of the Czech modernist’s Fünf Pittoresken (Five picturesques) for piano. although totally silent, the score—marked “Zeitmaß-zeitlos [Timeless tempo]”—bristles with notation: from lengthy, angst-filled tacets to jittery quintuplet rests. The counting is hard, and with any however the so much comprehensive pianist it could actually detract from the work’s strength for emotional outpouring; based on the composer’s headnote, the piece is to be performed with “as a lot heartfelt expression as desired—always, all through [tutto il canzone con espressione e sentimento advert libitum, sempre, sin al fine]!