Kenneth Goldsmith Research Papers - Academia.edu (original) (raw)

trykt i: Kritik #193, 2009. p.82-92.

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- Contemporary Poetry, Conceptual Poetry, Poetry and Politics, Conceptual writing

Edición crítica de la novela "Sumario 3/94. La historia judicial de Vicente Arlandis", creada a partir de los documentos reales del Sumario 3/94 de la Audiencia Provincial de Alicante. Incluye textos de los investigadores e investigadoras... more

Depuis une perspective décentrée sur les Etats-Unis d'Amérique, le compositeur Steve Reich, l'artiste On Kawara, les écrivains David Antin, Kenneth Goldsmith, Caroline Bergvall et Rosmarie Waldrop ont créé des oeuvres sui sont aussi des contre-discours par un flirt avec rien. Ils envisagent le rien comme un moteur, "un moteur-désir", dirait Duchamp.
Avec la musique, l'art et l'écriture, cet essai étudie des esthétiques, poétiques, et politiques du "rien dense", celles qui se tiennent au plus près de l'expérience.
Il convient donc d'entendre "à partir de rien" comme un départ, dans le double sens de ce mot: une façon de commencer et, ce faisant, de se dégager de l'idée que "rien" annule le sens.

- by Vincent Broqua
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- Roland Barthes, Contemporary Poetry, Marcel Duchamp, Conceptual writing

Focusing on the avant-garde poetics of Kenneth Goldsmith and other contemporary poets, “Uncreative Writing and the Ethics of the General Text” seeks to understand the characteristics and significance of these authors’ works of “uncreative writing” in the context of postmodern critical theory, especially Jacques Derrida’s deconstruction and its recent proponents. Suggesting that new reading practices are needed to adequately theorize this work, the paper attempts to develop a method of reading uncreative texts which evades the literary convention of privileging authorial communications of meaning (represented by Marjorie Perloff’s view of uncreative writing as “unoriginal genius”) while still attending to specific textual content. By applying this reading practice to Caroline Bergvall’s “VIA (36 Dante Translations),” the essay concludes that uncreative texts are notable in that they emphasize their status as iterations of Derrida’s différance, the process of simultaneous differing and deferring upon which signification is predicated. While all texts are ultimately processes of différance, uncreative texts highlight this condition by foregrounding writing practices which efface their own sense of original authorship. Extending this conclusion to Vicki Kirby’s reading of Derrida, the paper goes on to argue that uncreative texts are special acknowledgements of what Kirby (using Derrida’s terms) calls the “general text,” a universal fabric within which all material entities, systems, and knowledges are co-constituted through différance. Finally, the project’s second chapter seeks to elaborate some of the implications of uncreative writing for political theory and ethics, specifically as articulated by posthumanist theorists such as Cary Wolfe and Donna Haraway and in Marcus Boon’s analysis of copying.

- by John Nyman
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- Creativity, Posthumanism, Jacques Derrida, Authorship

New York: Palgrave Macmillan, 2014.

- by Christopher Schmidt
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- Aesthetics, Queer Theory, Poetics, Gertrude Stein

The “uncreative writing” movement has quickly and firmly established its position as one of the prime examples for a genuinely twenty-first-century poetics. With regards to stylistics on the level of the text, the most glaring feature of works like Kenneth Goldsmith’s “Kenneth Goldsmith Sings Jacques Derrida” (a musical reading/rendition of parts of Derrida’s Of Grammatology) or Vanessa Place’s “The laugh of the Minotaur” (an almost word- for- word re-typing of Hélène Cixous’s “The laugh of the Medusa”) is, quite simply, not to have a personal literary style at all. Despite its first (non- )appearance, this lack does not make the question of style obsolete—on the contrary: where other authors’ styles are stolen, the focus shifts to the specific styles of stealing themselves. This multilayered movement, the article argues, directly responds to a specific set of problems in post- structuralist literary theory and provides a key contribution towards (re)conceptualizing what literary style is—or, rather, was—in the first place.

- by Philippe P Haensler
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- Feminist Theory, Poststructuralism, Literary Stylistics, Deconstruction

(ensaio publicado em Grampo Canoa 2, abril de 2016)

- by Marcelo Moreschi
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- Manifestos, Kenneth Goldsmith, Appropriation Art, Uncreative Writing
- by Philippe P Haensler
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- Cultural Studies, Theodor Adorno, Literary Stylistics, Digital Literature
- by Hannes Bajohr
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- Digital Literature, Conceptual writing, Brion Gysin, Kenneth Goldsmith
- by Michael Leong
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- Labour Studies, Contemporary Poetry, Conceptual Poetry, Kenneth Goldsmith

Dans un texte important pour comprendre la condition contemporaine du littéraire, Emmanuelle Pireyre indique que “s’il faut un trait distinctif de notre expérience du réel proche ou lointain on peut partir de son fort taux de médiatisation par des écrans d’ordinateurs ou de télévision.” Ces petits écrans, qui se sont encore multipliés depuis la publication de ce texte, font effectivement une bonne partie, voire l’essentiel, de notre relation (médiatisée) au monde. Or, cela pose problème à la pensée du littéraire, qui distingue traditionnellement la littérature des médias, supposant que la littérature leur est extérieure. On peut à l’inverse rappeler une évidence. La littérature est un medium parmi d’autres. Et faire un constat: nous vivons dans un bain médiatique qui, loin d’être constitué de sujets et d’objets distincts, de canaux de transmission entre émetteurs et récepteurs, de machines et d’hommes, est un ensemble de relations qui forment des expériences. Comment penser l’expérience littéraire dans cet environnement, dont la nature médiatique n’a jamais été aussi intense? Et existe-t-il une expérience littéraire spéci que dans un environnement médiatique?

- by Lionel Ruffel
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- Kenneth Goldsmith, Littérature exposée, Emmanuelle Pireyre
- by Johannes Thumfart
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- Literature, Literary Theory, Internet Art, Kenneth Goldsmith
- by David Capps
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- Contemporary Poetry, Travel Literature, Creative Appropriation, Kenneth Goldsmith

Este ensaio busca refletir sobre a problemática comunicacional da apropriação de linguagem, a partir de fenômenos contemporâneos de cópia e reescrita. Em um pri-meiro momento, compreendemos essa apropriação por meio do estudo de caso da Escrita Não Criativa, suas obras e enunciados. Tomando as questões e contradições aí identificadas, partimos para uma discussão conceitual da ideia de propriedade pri-vada, levados pela própria noção de "a-propriação". Relacionamos, assim, a proprie-dade às discussões sobre linguagem e enunciação. Este cruzamento teórico acaba por demonstrar uma perspectiva potente para o pensamento da Comunicação, em que o circuito de troca linguístico é investigado em seu caráter produtivo e comum.

- by Luis Felipe Abreu
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- Mikhail Bakhtin, Propriedade Intelectual, Kenneth Goldsmith, Propriedade

RESUMO: Este artigo propõe refletir sobre a questão da autoria a partir de novas práticas literárias resultantes do diálogo entre a internet e a literatura. Tomando como mote o estudo feito pela crítica Flora Süssekind (1987) sobre as afetações entre a literatura e as mudanças tecnoindustriais nos primórdios de nosso modernismo, observamos que práticas correlatas à era digital surgiram a partir de meados do século passado, e parecem acompanhar as produções artísticas do presente: qual programadores que lidam com programas em fonte aberta, como o Linux, artistas propunham diminuir o fosso com não artistas através de trabalhos colaborativos, bem como passaram a expor o trajeto de suas composições à audiência (LADDAGA, 2012, 2013). Além disso, hoje, a aproximação entre a internet e parte da literatura também se dá a partir de um ato corriqueiro da Rede, o copie e cole, inspiração da noção de "escrita não criativa", que prevê o uso da cópia de materiais já existentes apostando no gesto em detrimento do produto final (GOLDSMITH, 2015). Isso implica repensar questões como originalidade e "gênio original" (PERLOFF, 2013), uma vez que o reaproveitamento de materiais enseja obras frágeis, inacabadas, e dão uma volta no parafuso da questão da autoria. Para testar nossa hipótese, comentaremos algumas obras literárias, como O romance luminoso, de Mario ABSTRACT: This article aims to stablish a discussion about the authorship issue that emerges from new literary practices as a result of the dialogue between internet and literature. The motto is the study made by the literary critic Flora Süssekind (1987) on the affectations between literature and the technoindustrial changes in the beginnings of our modernism. We observe that practices related to the digital age appeared from the middle of the last century and seem to follow the current artistic productions: alike programmers dealing with open source programs, such as Linux, artists proposed to reduce the gap with non-artists through collaborative work. They also exposed to the public the creative process of their compositions

- by Sergio Marcone da Silva Santos
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- The Internet, Kenneth Goldsmith, Autoria, Escrita não criativa

“The world is full of texts, more or less interesting; I do not wish to add any more.” A maximalist take on a now commonplace idea that demands the equally commonplace response, “what relationship exists between the texts and the... more

- by Matthew Whitley
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- Marxism, Poetry, Anarchism, Russian Poetry

Over the last fifteen years, the experimental poetic practices of conceptual writing, or what Kenneth Goldsmith calls “uncreative writing,” have developed a uniquely contemporary presentation of the materiality of texts in the digital world. Borrowing from and expanding twentieth-century avant-garde techniques of appropriation, poets within or close to the scope of conceptual writing have produced such works as Goldsmith’s Day, an exact retyping of one issue of The New York Times, and the “sought poems” of Flarf poets such as K. Silem Mohammad, which are composed from the garbled results of bizarre Google searches. By emphasizing the authorial labour of transcription, systematically eliminating possibilities for artistic decision-making or “creativity,” and otherwise attempting to embody Andy Warhol’s desire (often quoted by Goldsmith) to “be a machine,” conceptual writers transform the postmodern notion (elucidated by theorists such as Roland Barthes and played out in movements like Language poetry) that texts act as disembodied meaning-engines available for prospective interpreters. Instead, “uncreative” text is more relevantly engaged as a concrete mass or substance perpetually circulated through networks of not only readers and writers, but also non-human actors such as computer systems and programs whose existence may consist solely of their contribution to this circulation. While this networked materiality of texts can be illuminated by concepts such as Jane Bennett’s “vibrant matter” and other discourses of object-oriented ontology, it perhaps most fruitfully speaks to Vicki Kirby’s idea (borrowed from Jacques Derrida) of the “general text,” which comes to represent the literal enmeshing of physical and textual realities in signification as substance.

- by John Nyman
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- Deconstruction, Jacques Derrida, Conceptual Poetry, Materiality

In his unfinished manuscript The Prose of the World, Maurice Merleau-Ponty writes, “Everything I say about language presupposes it, but that does not invalidate what I say; it only shows that language is not an object, that it is capable of repetition, that it is accessible from the inside.” I argue that Merleau-Ponty’s philosophies of language and situated consciousness motivate a crucial inflection of the infamous deconstructionist slogan “there is nothing outside the text,” specifically with reference to another of Jacques Derrida’s methodological comments: “We must begin wherever we are [...]: in a text where we already believe ourselves to be.” Not only the deconstruction but the deconstructionist herself, as the embodied locus of her scholarly activity, is situated within the text, and her practice is not so much an analysis as it is a description of her atmosphere or milieu. Moreover, such a situated deconstruction is urgently demanded by the contemporary conceptual writing and poetics of artists/thinkers such as Vanessa Place and Kenneth Goldsmith. If the production of texts wholly transposed from non-literary contexts and sources can be understood as literary, traditional theories that couple signification to “texts” themselves (i.e. uniquely generated collections of spoken or written symbols) must be abandoned. Instead, significatory efficacy (in its literary as well as political and epistemological senses) must be accessed from the inside, as dispersed across the networked situations of readers and editors as much as those of drafts and publications, along the contours of what Vicki Kirby calls a “general text.”

- by John Nyman
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- Deconstruction, Maurice Merleau-Ponty, Jacques Derrida, Conceptual Poetry

An upturned urinal, a leap into the void, a few incomplete cubes and some artist’s shit: in the art world, the advent of conceptualism deflated long-standing confidence in the very premise of the unique – or even visible – visual arts object. Still, the readymade or absentee artwork can’t dodge presentation altogether; one frequent tactic is to supplement, if not entirely substitute, the object with written text (with a view to explication or further obfuscation, as the case may be). So, if the dematerialisation of the Conceptual Art object is implicated in and proportional to the materialization of language (Dworkin 2011: xxxvi), what does this mean for the relatively new field of Conceptual Writing, where language was always already (its) material?
In fact, while the designation ‘conceptual’ seems to privilege the idea of a text over its construction or actual presence, this chapter will note that the drift of conceptualism from the visual arts to writing has engendered a certain inverse manoeuvre: very often, writing categorised as Conceptual functions to bring the pliability and opacity of language – and the resulting ‘thingness’ of the written object – to the fore. Looking at several prominent examples, I argue that the attention given by these writers to the spatiality of the literary text as well as to the material event of its composition is a logical result of the operation effected when conceptualism is brought to bear on creative writing. At the same time, I also note that the dominant conversation on Conceptual Writing (e.g. Goldsmith 2011a) regrettably misses this point, unintentionally positioning the genre as a re-articulation of the mind-body split that has been overwhelmingly influential in the discursive organization of power. Conceptual Writing is, in fact, well placed to show up the fallaciousness of the perceived distinction between idea and materiality and provides writers with an invigorating vantage point for developing their own practice.

- by Kay L Are
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- Embodiment, Conceptual Art, Feminist Criticism, Conceptual writing

Zeintzuk dira gaur egungo literaturaren mugak? Orainean nola desbideratzen gara? Zeintzuk dira berkopiatzeak idekitzen dituen estetika-forma-perspektibak? Nola funkzionatzen du desbideratzeak? Zer izango litzateke lerroz-lerroki irakurtzen ez den liburua? Zer ekartzen dizkigute liburu-ezinezkoen ideiek? Nola bultzatzen da irudimena orainean? Nola funkzionatzen da erraztatzearen irakurmena? Zer ekartzen digu lengoiaren biluztasunak? Zer izango litzateke sorkuntzarik gabeko idazkera? Testuaren deseraikitzeak zer erakusten digu? Nola idatzi internet eta gero?

- by Eric Dicharry
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- Literature, Contemporary Art, Marcel Duchamp, Literatura

Este artigo começa na leitura de "O Corpo de Michael Brown", de Kenneth Goldsmith. Texto exemplar da Escrita não Criativa, o poema abre um campo de reflexão sobre a teoria e a prática das escritas de cópia e apropriação. Por meio da construção do texto e da sua recepção, com críticas de cunho político, conseguimos identificar o lugar e as responsabilidades da enunciação como problemas caros à poética do não original. De modo a estudar como tal problemática se constitui, tomamos por objeto os enunciados dos textos envolvidos no acontecimento deste poema. Retomamos, a partir dele, a base conceitual da Escrita não Criativa. Contrapõe-se a isso as teorias que disputam "o problema de falar pelos outros", como Spivak e Alcoff. Entre as contradições destas perspectivas, acaba-se por de-monstrar uma instabilidade da apropriação, bem como a necessidade de estudá-la em um contexto mais amplo, pós-autônomo, que leve em questão seus contextos e efeitos.

- by Luis Felipe Abreu
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- Kenneth Goldsmith, Apropriação, Uncreative Writing, lugar de fala
- by Martin Schauss
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- Autobiography, Oulipo, Experimental Literature, Autofiction
- by Jacob Edmond
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- Comparative Literature, Contemporary Art, Digital Archives, Contemporary Poetry