Arquivo da tag: Kenneth Goldsmith

Trânsito

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transito

Kenneth Goldsmith ( Nova Iorque, EUA, 1961)
[dublado por Leonardo Gandolfi & Marília Garcia]
Trânsito
São Paulo, Luna Parque, 2016
48 p.
12 X 16 cm
Acabamento em brochura
200 exemplares
isbn 9788569476054

Trânsito é composto de textos que transcrevem os engarrafamentos transmitidos por uma rádio de trânsito em São Paulo na véspera de um final de semana prolongado.
Trata-se de uma versão reduzida e adaptada do livro Traffic, de 2007, que realiza este procedimento a partir de uma rádio de Nova Iorque. A versão brasileira dublou o mecanismo do original, chegando a um texto que, entre o ready-made e a crônica, transforma o material descartável das ondas de rádio em livro.
Mais conhecido pela criação do site ubu.web, que tem um enorme acervo de publicações digitais, Kenneth Goldsmith propõe uma escrita conceitual que ele próprio chama de “escrita não-criativa”.

transito 1

 transito2

http://lunaparque.iluria.com/

Freme

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Kenneth Goldsmith (Nova Iorque, EUA, 1961)
Freme
Florianópolis, par(ent)esis, 2016
coordenação editorial: Regina Melim
tradução: Caetano W. Galindo
revisão: Beatriz R. Galindo
projeto gráfico: Pedro Franz
500 ex.

No Bloomsday de 1997, sozinho em seu apartamento e com um gravador e um microfone, Kenneth Goldsmith tenta falar todos os movimentos que seu corpo faz das 10h, quando acorda, às 22h, quando vai dormir. O texto transcrito da gravação resulta em uma escrita na qual o corpo se reduz à sua mecanicidade, sem individualizar um personagem e tampouco apresentar ao leitor o mundo com o qual esse corpo interage. Em 16 de junho de 1998, a ação de Goldsmith é apresentada no Museu Whitney, em Nova York, como performance vocal-visual realizada por Theo Bleckmann. Na ocasião foram impressos 100 exemplares numerados e assinados da transcrição das três primeiras horas. Em 2000, a Coach House Books publica Fidget, a versão completa do texto de Goldsmith. Em novembro de 2016, Freme, tradução para o português realizada por Caetano Galindo, é publicado pela plataforma par(ent)esis. Segue abaixo um fragmento:

19h00

“Rededo. Espirro cruza. Todo o ante esfrega livre. Trista mão. Corre no fundo da coxa, sem olhos. Flexurrilha. Movimentos periféricos ditos. Alento refresca flanco destro. Maxilas veem dentes cerrados. Parte externa dum canino inferior, pronunciadíssimo ranger para trás e à frente. Em claro, não tem como chegar à gengiva. Donde descende canino destro. Mesmo assim, é pequeno esfrego. Mas chances há de que menor. Ínfera ravina. Exigindo atenção da saliva. Boca em geral. Língua corra. Palma. Nós entecem polegares. Nervos quicam e caem e caem e quicam. Em movimento vertical, movimentos verticais são. Poucas horizontais, especialmente as de origem nervosa. Se projeta recebida. Dentes não mais relaxam. Dentes não toque. Palatos separados. Naturalmente, dentuço. Dentes inferiores de novo passam à frente. Sem jamais dar na gengiva, sempre dando atrás. Dentes nunca tocam a não ser por queda dentária. Queda se origina gengiva. Não acontece. Projeta-se à frente dos de cima. Quadril gengiva acima não permite. Por outro lado, de detrás de diante. Ainda assim, nada acontece. Raspa mão. Primeiro agora estica.”

http://www.plataformaparentesis.com

January 5-31, 2012

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E2P5-01

Michalis Pichler
January 5-31, 2012
Berlin: Greatest hits, 2012.
[12 p.]
21 x 17,5 cm.
400 exemplares.
xerografia

In 1969 Seth Siegelaub organized an exhibition (and publication) with the title January 5 – 31, 1969, one of the first exhibition projects of conceptual art, with the participation of Robert Barry, Douglas Huebler, Joseph Kosuth and Lawrence Weiner.

Back then there was already talking about a so-called “linguistic turn” that had been taken place in the visual arts and in consequence led to idea art. Nevertheless one could hardly deny, that those artistic/poetic strategies are being reused and radicalised around the turn of the millennium and recently.

January 5 – 31, 2012 is gathering some of these positions, presenting Craig Dworkin, Kenneth Goldsmith Jonathan Monk and Michalis Pichler.

http://www.g-r-e-a-t-e-s-t-h-i-t-s.com/index_en.html

Traffic

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Traffic

Kenneth Goldsmith
Traffic
Make Now Press, 2007
116 p.
Language: English
ISBN-13: 978-0974355481

O mais recente esforço de transcrição de Goldsmith, TRAFFIC exibe textos encontrados e mistura artifício com a vida cotidiana.

“Em sua forma e conteúdo, o TRAFFIC de Kenneth Goldsmith recorda nada menos do que a cena prolongada do filme Week-End do Jean-Luc Godard, e o livro audacioso provoca a mesma série de reações: surpresa, admiração, diversão, incredulidade, horror, reconhecimento, terror, tédio, impaciência …. “– Craig Dworkin.

Poetry.The latest in Goldsmith’s transcription and defamiliarization efforts, TRAFFIC exhibits the author’s signature mode: remediating found texts and crossing artifice with everyday life”.

“In both form and content, Kenneth Goldsmith’s TRAFFIC recalls nothing so much as the extended tracking shot in Jean-Luc Godard’s 1967 film Week-End, and the book’s audacious sustain elicits the same series of responses: surprise, admiration, amusement, incredulity, horror, recognition, terror, boredom, impatience, awe….”
Craig Dworkin.

http://eclipsearchive.org/projects/TRAFFIC/text.html

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The weather

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fonte: amazon

Kenneth Goldsmith
The Weather
Make Now Press, 2005
120 p.
Language: English
ISBN: 978-0974355429

Poetry. “Kenneth Goldsmith is without doubt the leading conceptual poet of this time. His poetry, which draws from Fluxus, Dada, and conceptual art traditions, is clever and self aware. With now classics such as FIDGET, SOLILOQUY, and DAY (all available from SPD), he has made poetry out of the mundane and when reading his work one is forced to reconsider the stakes and the measurements of aesthetic practice. THE WEATHER, a collection of weather reports, is one more test of poetry. And what is most striking about this book is that it aces the test. There is something wonderfully celebratory and shockingly pleasant and stimulatingly interesting about reading day after day of weather gone by”–Juliana Spahr.

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Sports

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Kenneth Goldsmith 1961 EUA
Sports
Make Now Press (July 29, 2008)
Paperback: 120 pages
Language: English
ISBN: 978-0981596211

Poetry. SPORTS, the last of Kenneth Goldsmith’s American trilogy (THE WEATHER, TRAFFIC, and SPORTS), is a complete radio transcription of the longest nine inning Major League Baseball game on record. As with the rest of the trilogy, Goldsmith’s exact parsing of language is used to articulate an unfolding narrative. Nothing is left out: in SPORTS we hear every utterance and stumble of the announcers as well as each ad broadcast during the game. It is said that in a normal two and a half hour baseball game, approximately eight minutes of action occurs; this game–the New York Yankees vs. the Boston Red Sox from August of 2006–lasts nearly five hours, doubling the language, leaving the broadcasters a seeming eternity to fill with a parade of endless statistics and in-booth repartee. As the narrative grinds on and the hours pass, a claustrophobic sense of despair descends upon the booth. “Tomorrow?” asks one broadcaster. “I think we’re all writing opuses for tomorrow.”

Fidget

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Kenneth Goldsmith
Fidget
Coach House Books, 1999
ISBN 1-55245-989-6

Fidget is a transcription of writer Kenneth Goldsmith’s every movement made during thirteen hours on June 16, 1997 (Bloomsday). This online edition includes the full text, a self-running Java applet version written by programmer Clem Paulsen, and a selection of RealAudio recordings from Theo Bleckmann’s vocal-visual performance at the Whitney Museum of American Art on Bloomsday 1998.
Fidget attempts to reduce the body to a catalogue of mechanical movements by a strict act of observation. Goldsmith aims to be objective like the photographer Edward Muybridge. In Fidget, Goldsmith reduces language to its basic elements in order to record and understand movement in its basic form. Despite these aims, the dictates of the work like the self-observation and the duration of the act, create a condition of shifting referent points and multiple levels of observation that undermine the objective approach.

Goldsmith and Paulsen’s collaboration has reconfigured the text of Fidget to substitute the human body with the computer. The Java applet contains the text reduced further into its constituent elements, a word or a phrase. The relationships between these elements is structured by a dynamic mapping system that is organized visually and spatially instead of grammatically. In addition, the Java applet invokes duration and presence. Each time the applet is downloaded it begins at the same time as set in the user’s computer and every mouse click or drag that the user initiates is reflected in the visual mapping system. The different hours are represented in differing font sizes, background colors and degree of “fidgetness”, however, these parameters may be altered by the user. The sense of time is reinforced by the diminishing contrast and eventual fading away of each phrase as each second passes.

Fidget was originally commissioned by The Whitney Museum of American Art at Philip Morris as a collaboration with vocalist Theo Bleckmann. The live performance was at The Whitney Museum of American Art at Philip Morris on June 16, 1998 at 8p.m. Bleckmann’s vocal interpretations of Fidget are available here in RealAudio. A gallery installation of Fidget opened at Printed Matter in New York City. Printed Matter featured Goldsmith’s collaboration with seamstress Sydney Maresca. The exhibition ran from June 11-September 4 1998.

Kenneth Goldsmith is the author of No. 111 2.7.93-10.20.96 (The Figures, 1997) and 73 Poems, a collaboration with vocalist Joan La Barbara (book 1994 by Permanent Press, compact disc 1994 by Lovely Music, Ltd.). His visual works have been exhibited in galleries and museums worldwide. Goldsmith is the editor of UbuWeb Visual, Concrete + Sound Poetry, a DJ at 91.1 WFMU in New York City, and a music critic at New York Press.

http://archives.chbooks.com/online_books/fidget/about.html

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