In No Medium, Craig Dworkin appears to be like at works which are clean, erased, transparent, or silent, writing severely and substantively approximately works for which there would appear to be not just not anything to work out yet not anything to assert. tested heavily, those ostensibly contentless artworks, literature, and song aspect to a brand new knowing of media and the boundaries of the creative item. Dworkin considers works predicated on clean sheets of paper, from a fictional choice of poems in Jean Cocteau's Orphée to the particular ebook of a ream of typing paper as a publication 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 merely Thurston's marginalia have been visible); and he scrutinizes the sexual politics of photographic illustration and the consequences of obscured or obliterated matters of images. Reexamining the well-known 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" track. Dworkin argues that we must always comprehend media no longer as clean, base issues yet as social occasions, and that there's no medium, understood in isolation, yet in simple terms and continually a plurality of media: interpretive actions happening in socially inscribed space.
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From the airborne dirt and dust jacket:
In his seek for the universal hyperlink among
literature and the visible arts. Professor Praz
draws upon the plentiful proof of lengthy
mutual figuring out and correspondence be
tween the sister alts even though parallels of
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between the expression of the arts m any given
Each epoch has “ its unusual handwriting
or handwritings, which, if one may interpret
them, could show a personality, even a physi
cal visual appeal. ” even supposing handwriting is
taught and a few of its features hence
belong to the common sort of the interval, the
personality of the author does now not fail to pierce
through. whatever of the similar type, the au
thor proposes, happens in artwork. The kinship of
literature and portray rests on this circum
stance: a paintings of paintings, no matter if visible or liter
ary, needs to use the precise “ handwriting” of
its specific age, even as its originality pierces
through this handwriting.
The likeness among the arts inside a variety of
periods o f background can eventually be traced,
then, to structural similarities— similarities
that come up out of the attribute means in
which the humans of a convinced epoch see and
memorize proof aesthetically. Mnemosyne, at
once the goddess of reminiscence and the mom
of the muses, for that reason presides over this view
of ihe arts. In illustrating her iniluence. Pro
fessor Praz levels extensively via Western
sources, either literary and pictorial. There are
1 2 1 illustrations accompanying the text.
M A R IO P R A Z is Professor of English Lan
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Extra info for No Medium (MIT Press)
441/2 most likely 200,000 will be virtually unemployable on any usual basis—the ‘hard center’ because it is termed. 1940. Economist three Feb. 193/2 one of many extra encouraging advancements of the previous few months is a considerable loosening of what has hitherto been considered as the ‘hard center’ of unemployment. the relationship survives in modern dictionary definitions: “hard-core poverty” and “the hard-core unemployed,” as Webster’s illustrates using the observe. A poverty of discrimination conflates the unemployed and the overemployed, these topic to not easy exertions, with an excessive amount of ease. That idiomatic organization of “hard middle” with either unemployment and unskilled exertions could have originated within the use of the word to consult fabric that circulated among these at the slim threshold of employment and destitution. no less than, the idiomatic utilization may were reinforced through the phrase’s even previous visual appeal in passages describing the mise-en-scène of the main abject exertions. The Oxford English Dictionary documents the 1st occurrences of the word because it seems linked to the note “core”: 1851. MAYHEW Lond. Labour II. 281/1 ‘Hard-dirt’, or ‘hard-core’, including the refuse bricks, chimney-pots…broken bottles…oyster-shells, &c. , which shape a part of the contents of the dustman’s cart. 1851. MAYHEW Lond. Labour II. 317 (Hoppe). The word ‘hard-core’ turns out strictly to intend all such refuse topic as will admit of getting used because the starting place of roads, structures, and so on. 1880. S. M. PALMER in Macm. magazine. XLI. 252 tough bits of every kind of fabric, which matches via the identify of ‘Hard Core’. “Hard core,” it seems, was once initially an architectural time period, a manner of designating the minute fabric details of development. Noise into details, incidental detritus repurposed because the basic construction blocks of building, the cast-off or eccentric reimagined as foundational—the “hard core,” during this experience, used to be understood to be either crucial and international, either heterogeneous and constitutive, extraneous and included. “Hard core,” actually, additionally carried a touch of incorporation within the feel of embodiment. As a conglomerate of in part absorbed fabric too difficult to be fullyyt pulverized or thoroughly assimilated, “hard center” emphasizes the longevity of the center. yet there's a few redundancy in that emphasis simply because “core” already connotes hardness and resistance: “an irreducible nucleus or residuum” because the OED places it; a kernel of indigestible or impervious subject; an allergen satirically lodged on the defining center of a few thing’s essence. between its metaphorical usages, that recalcitrance already linked to “core” refigured the corporeal physique when it comes to toleration. Later within the OED definition for the be aware “core” we discover: fig. anything that sticks in one’s throat, that one can't swallow or recover from; additionally, in allusion to ADAM’S APPLE (sense 2), stated of a part of the unique corrupt nature nonetheless closing. Obs. c1460 Play Sacram. 757 Lord I haue offendyd the in lots of a sundry vyse That styckyth at my hart as challenging as a center.