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Absence of clutter : minimal writing as art and literature
Absence of clutter : minimal writing as art and literature / Paul Stephens.
Absence of clutter : minimal writing as art and literature

상세정보

자료유형  
 전자책(국외)
미국국회도서관 청구기호  
PN56.V54-.S74 2020eb
기본표목-개인명  
Stephens Paul , 1974-
    표제와 책임표시사항  
    Absence of clutter : minimal writing as art and literature / Paul Stephens.
    발행, 배포, 간사 사항  
    Cambridge : The MIT Press , [2020]
      형태사항  
      1 online resource (288 pages).
      요약 등 주기  
      요약An exploration of minimal writing--texts generally shorter than a sentence--as complex, powerful literary and visual works. In the 1960s and 70s, minimal and conceptual artists stripped language down to its most basic components: the word and the letter. Barbara Kruger, Jenny Holzer, Carl Andre, Lawrence Weiner, and others built lucrative careers from text-based art. Meanwhile, poets and writers created works of minimal writing--visual texts generally shorter than a sentence. (One poem by Aram Saroyan reads in its entirety: eyeye.) In absence of clutter , Paul Stephens offers the first comprehensive account of minimal writing, arguing that it is equal in complexity and power to better-known, more commercial text-based art. Minimal writing, Stephens writes, can be beguilingly simple on the surface, but can also offer iterative reading experiences on multiple levels, from the fleeting to the ponderous. "absence of clutter," for example, the entire text of a poem by Robert Grenier, is both expressive and self-descriptive. Stephens first sets out a theoretical framework for reading and viewing minimal writing and then offers close readings of works of minimal writing by Saroyan, Grenier, Norman Pritchard, Natalie Czech, and others. He "reverse engineers" recent works by Jen Bervin, Craig Dworkin, and Christian Bk̲ that draw on molecular biology, and explores print-on-demand books by Holly Melgard, code poetry by Nick Montfort, Twitter-based work by Allison Parrish, and the use of Instagram by Hans-Ulrich Obrist and Saroyan. Text, it seems, is becoming ever more prevalent in visual art; meanwhile, poems are getting shorter. When reading has become scanning a screen and writing tapping out a text, absence of clutter invites us to reflect on how we read, see, and pay attention.
      주제명부출표목-일반주제명  
      주제명부출표목-일반주제명  
      주제명부출표목-일반주제명  
      주제명부출표목-일반주제명  
      주제명부출표목-일반주제명  
      주제명부출표목-일반주제명  
      전자적 위치 및 접속  
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      ■520    ▼aAn  exploration  of  minimal  writing--texts  generally  shorter  than  a  sentence--as  complex,  powerful  literary  and  visual  works.  In  the  1960s  and  70s,  minimal  and  conceptual  artists  stripped  language  down  to  its  most  basic  components:  the  word  and  the  letter.  Barbara  Kruger,  Jenny  Holzer,  Carl  Andre,  Lawrence  Weiner,  and  others  built  lucrative  careers  from  text-based  art.  Meanwhile,  poets  and  writers  created  works  of  minimal  writing--visual  texts  generally  shorter  than  a  sentence.  (One  poem  by  Aram  Saroyan  reads  in  its  entirety:  eyeye.)  In  absence  of  clutter  ,  Paul  Stephens  offers  the  first  comprehensive  account  of  minimal  writing,  arguing  that  it  is  equal  in  complexity  and  power  to  better-known,  more  commercial  text-based  art.  Minimal  writing,  Stephens  writes,  can  be  beguilingly  simple  on  the  surface,  but  can  also  offer  iterative  reading  experiences  on  multiple  levels,  from  the  fleeting  to  the  ponderous.  "absence  of  clutter,"  for  example,  the  entire  text  of  a  poem  by  Robert  Grenier,  is  both  expressive  and  self-descriptive.  Stephens  first  sets  out  a  theoretical  framework  for  reading  and  viewing  minimal  writing  and  then  offers  close  readings  of  works  of  minimal  writing  by  Saroyan,  Grenier,  Norman  Pritchard,  Natalie  Czech,  and  others.  He  "reverse  engineers"  recent  works  by  Jen  Bervin,  Craig  Dworkin,  and  Christian  Bk̲  that  draw  on  molecular  biology,  and  explores  print-on-demand  books  by  Holly  Melgard,  code  poetry  by  Nick  Montfort,  Twitter-based  work  by  Allison  Parrish,  and  the  use  of  Instagram  by  Hans-Ulrich  Obrist  and  Saroyan.  Text,  it  seems,  is  becoming  ever  more  prevalent  in  visual  art;  meanwhile,  poems  are  getting  shorter.  When  reading  has  become  scanning  a  screen  and  writing  tapping  out  a  text,  absence  of  clutter  invites  us  to  reflect  on  how  we  read,  see,  and  pay  attention.
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      ■650  0▼aVisual  literature▼xHistory  and  criticism.
      ■650  0▼aMinimalism  (Literature)
      ■650  0▼aArt  and  literature.
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      ■650  7▼aVisual  literature.▼2fast▼0(OCoLC)fst01168041
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