21 días es un conocido formato televisivo basado en el formato de Morgan Spurlock desarrollado para la cadena televisiva americana FX Networks en 2005.
UbuWeb.com es un sitio web sobre arte vanguardista. Fue fundado en 1996 por el poeta Kenneth Goldsmith. Se trata de un extenso portal de contenidos de poesía concreta y sonora, archivos de vídeoarte, cine underground y Arte sonoro. Fundada como respuesta a la distribución marginal de material crucial de arte vanguardista, el sitio no tiene ánimo de lucro y tampoco se preocupa de si las obras tienen reservados los derechos de autor. De hecho, mantiene una lista de los artistas que han puesto obstáculos a esta filosofía, aunque muchos de ellos aceptan de buen grado la distribución de sus obras.
El proyecto 21 días en UbuWeb es un recorrido personal descubriendo el portal durante un tiempo indeterminado cada día del 1 al 21 de febrero de 2016.
El resultado es una tentativa de conocimiento de este vasto portal que contiene todo tipo de contenidos. No pretende ser una guía de viaje, sino el registro de una mirada particular.
El contenido del proyecto tiene dos formatos posibles: un documento o ebook que incorpora todo el recorrido y un formato de blog que irá desvelando las entradas a lo largo de 21 días a modo de propuesta.
Poetry expresses the emotional truth of the self. A craft honed by especially sensitive individuals, it puts metaphor and image in the service of song.
Or at least that’s the story we’ve inherited from Romanticism, handed down for over 200 years in a caricatured and mummified ethos – and as if it still made sense after two centuries of radical social change. It’s a story we all know so well that the terms of its once avant-garde formulation by William Wordsworth are still familiar, even if its original manifesto tone has been lost: «I have said,» he famously reiterated, «that poetry is the spontaneous overflow of powerful feelings; it takes its origin from emotion recollected in tranquility.»
To Marjorie Perloff
Why Conceptual Writing? Why Now? Kenneth Goldsmith + ere is a room in the Musée d’Orsay that I call the room of possibilities. + e museum is roughly set up chronologically, and you happily wend your way through the nineteenth century until you hit this one room that is a group of about a half a dozen painterly responses to the invention of the camera. One that sticks in my mind is a trompe l’oeil solution in which a painted fi gure reaches out of the frame into the viewer’s space. Another incorporates three-dimensional objects into the canvas. Great attempts, but as we all know, impressionism won out.
Claude Closky, 1989
The first thousand numbers classified in alphabetical order
CHOREOGRAPHY: Trisha Brown
SOUND: Trolley in tracks and dancers’ dialogue
LENGTH: 20-30 minutes
ORIGINAL CAST: Carmen Beuchat, Trisha Brown, Douglas Dunn, Mark Gabor, Barbara Lloyd, Steve Paxton, Sylvia Whitman
Whitney Museum of American Art, New York, NY, March 30, 1971
Whitney Museum of American Art, New York, NY, March 30, 1971
Translations by Pierre Joris, after Tristan Tzara
«I don’t even want to know that there were men before me» (Descartes), but some essential & simple laws, pathetic & muffled fermentation of a solid earth.
From Vietnamese Folk Poems
translated by John Balaban
At the Exiled King’s River Pavilion*
Evening, and all around the King’s pavilion
people are sitting, fishing, sad and grieving,
loving, in love, remembering, waiting, watching.
Whose boat plies the river mists
offering so many river songs
to move these mountains and rivers, our nation?
Anne Teresa De Keersmaeker (b. 1960)
Anne Teresa, Baroness De Keersmaeker (born 1960 in Mechelen, Belgium, grew up in Wemmel) is one of the most prominent choreographers in contemporary dance. The dance company constructed around her, Rosas, was in residence at La Monnaie in Brussels from 1992 to 2007.
Karlheinz Stockhausen (1928-2007)
Commissioned by the city of Köln for the ‘Collegium Vocale’ Köln, an ensemble at the Rheinische Musikschule (Rhenish Conservatory). Composed during February and March 1968 in Madison, Connecticut (US). Dedicated to Mary Bauermeister. Recorded at Westdeutscher Rundfunk Köln, October 30th & 31st 1969.
Baritone Vocals – Georg Steinhoff
Bass Vocals – Hans-Alderich Billig
Composed By, Directed By, Liner Notes – Karlheinz Stockhausen
Design – Holger Matthies Ensemble – Collegium Vocale Köln Liner Notes [Translated By] – Richard Toop
Mezzo-soprano Vocals – Helga Albrecht
Soprano Vocals – Dagmar Apel, Gaby Rodens
Edgar Varèse (1883-1965)
Samuel Beckett, from Watt [Olympia Press, 1953]:
As for his feet, sometimes he wore on each a sock, or on the one a sock and on the other a stocking, or a boot, or a shoe, or a slipper, or a sock and a boot, or a sock and a shoe, or a sock and a slipper, or a stocking and boot, or a stocking and shoe, or a stocking and slipper, or nothing at all. And sometimes he wore on each a stocking, or on the on
The 365 Days Project is back to share once more and the second time around it’s happening right smack dab here every single day of 2007.
In 2003 I organized the first 365 Days with over 70 people sharing from their stash of aural treats. Same thing this year with new and old contributors. The only change in 2007 is that everyday can feature more then just one mp3 (as server space was tight four years ago). So look for single songs to full albums shared by a host of contributors. Sharing from their collections in January will be: The Bomarr Monk, Clayton Counts, Pea Hix, Oddio Katya, Michel LeGrisbi, Rocketboy, Strictly Kev, B.C. Sterrett, Mimi la Twisteuse and more.
To start off the year I’m going to backtrack to the first 365 Days and feature two full recordings instead of the excerpts provided in 2003. No need to write about the recordings as they speak for themselves.
Here we go! – Otis Fodder
Michael Mills – Hidden and Satanic Messages In Rock Music
Peggy Ahwesh (b. 1954)
2007, 7:30 min, color, sound
Composed entirely of film scraps salvaged from a closed Beirut cinema, Beirut Outtakes is a collage of sensational visions. Ed Halter writes in the Village Voice: «Outtakes appears to be a ready-made, albeit one tailor-made for Ahwesh’s career obsessions, pre-filled with her signature elements: gleeful disruptions of high and low, affection for decayed textures, a peeping eye for lurid sexuality, and a fascination with unlikely images of the Middle East. Just one sequence of a go-go-booted belly dancer wriggling in an Arabic-language cinema advertisement for home air conditioners alone has the power to shatter more stereotypes than 500 pages of Edward Said.»
Fragments from movies found in an abandoned cinema in Beirut. Retrieved by Mr. Salloum. Assembled by Ms. Ahwesh.
Tracce/Traces (Turin: Sperone, 1970)
Gertrude Stein (1874-1946)
A Narrative Of Prepare For Saints
The Making of Americans (1903 – 1911)
Performed by Gregory Laynor (2008)
Co-edited by Red Army (Red Army Faction of Japan Revolutionary Communist League) and PFLP (Popular Front for the Liberation of Palestine)
In 1971, Koji Wakamatsu and Masao Adachi, both having ties to the Japanese Red Army, stopped in Palestine on their way home from the Cannes festival. There they caught up with notorious JRA ex-pats Fusako Shigenobu and Mieko Toyama in training camps to create a newsreel-style agit-prop film based off of the «landscape theory» (fûkeiron) that Adachi and Wakamatsu had developed. The theory, most evident at work in A.K.A. Serial Killer (1969), aimed to move the emphasis of film from situations to landscapes as expression of political and economical power relations.
THE POETICS OF L=A=N=G=U=A=G=E
(Talk delivered in the Textual Operations Talk series, organized by A. S. Bessa, at White Box in New York City, September 25, 2001)
Reading can look at language as the arena,
as the medium,
the mode of engagement,
the centerpiece of Method.
What’s social here is not some separable content,
but the Method of writing & of editing.
Editing is the reading moment.
Concrete Poetry I (1965)
Max Bense, Germany
This is a kind of poetry which produces neither the semantic nor the aesthetic sense of its elements, words for example, through the traditional formation of linear and grammatically ordered contexts, but which insists upon visual and surface connectives.
Anthropophagite Manifesto (May 1928)
Oswald de Andrade
Only anthropophagy unites us. Socially. Economically. Philosophically.
The world’s only law. The masked expression of all individualisms, of all collectivisms. Of all religions. Of all peace treaties.
Tupy, or not tupy that is the question.1
Puce Moment is a short 6 minute film by Kenneth Anger, author of the Hollywood Babylon books, filmed in 1949. Puce Moment resulted from the unfinished short film Puce Women. The film opens with a camera watching 1920’s style flapper gowns being taken off a dress rack. The dresses are removed and danced off the rack to folk rock style music. A long-lashed woman, Yvonne Marquis, dresses in the purple puce gown and walks to her vanity to apply perfume. She lies on a chaise lounge which then begins to move around the room and eventually out to a patio. Borzois appear and she prepares to take them for a walk.
Duration: 49 minutes
A piece by Pina Bausch
Music – Henry Purcell
Director and choreographer – Pina Bausch
Set and Costume Design – Rolf Borzik
Collaboration – Marion Cito, Hans Pop
Malou Airaudo, Pina Bausch, Meryl Tankard, Rolf Borzik, Dominique Mercy, Jan Minarik Premiere 20 May 1978, Opera House Wuppertal
Peter Finch, ed.
An early anthology of visual poetry, Finch’s brief collection includes typewriter-based visual poems from Alison Bielski, Paula Claire, Thomas A. Clark, Bob Cobbing, Peter Finch, Michael Gibbs, John Gilbert, dom Sylvester houédard, Philip Jenkins, Andrew Lloyd, Peter Mayer, Cavan McCarthy, Edwin Morgan, Will Parfitt, Marcus Patton, L.D. Pedersen, Alan Riddell, John J. Sharkey, Meic Stephens, Charles Verey, J.P. Ward and Nicholas Zurbrugg.
Edited by Eric Amann and with only a single issue published, Konkret is another example of the Toronto’s on-going engagement with concrete poetry in the 1970s through 1990s. A little-known magazine, Konkret includes a series of lesser-known, but intriguing, practitioners.
Includes work by Dawnold Brackett, George Swede, William Maki, Elizabeth Schwab, Philip Quinn, Beth Jankola, Leroy Gorman, Marshall Hryciuk, Sha(u)nt Basmajian, Paul Cameron Brown and the editor.
Astronauts of Inner Space: An International Collection of Avant-garde Activity
Jeff Berner, ed.
Includes work by Raoul Hausmann, John Arden, Jorgen Nash, Decio Pignatari, Maurice Girodias, Bruno Munari, Allen Ginsberg, Franz Mon, Marshall McLuhan, Max Bense, Diter Rot, Otto Piene, William S. Burroughs, dom sylvester houédard, Konrad Bayer, Margaret Masterman, R. Watts, Robert Creeley, Ian Hamilton Finlay, Gunter Grass, Jean Arp, Pentti Saarikoski, Miroslav Holub, Anselm Hollo, Miron Bialoszewski, Paul Ableman, Adrian Henri, Michael Horovitz, Gunnar Ekelof, Wolfgang Weyrauch, Hans Magnus Enzenberger, François Dufrêne, Emmett Williams, Jackson Mac Low, Edwin Morgan, Victor H. Yngve and David Rokeah.
A Conversation with Charles Bernstein
[This conversation was conducted by email between October 15 and November 22, 2002. I sent Charles one or two questions at a time, and he responded exactly as he saw fit. There are two major threads here: (1) the changing state of poetry culture over the past two decades and the response of pedagogy to those changes, and (2) a discussion of specific Bernstein poems and how they work. The second area is one Bernstein has often seemed reluctant to talk about.]
Charles Bernstein (b. 1950)
the title track on the cassette Class; stereo recording (note: earlier digital version was mono).
Early Recorded Works: Homemade Tapes, 1975-1976
Accused Cassette, 1975
Edited by Alfred Stieglitz. New York, 1915-1916. 12 Numbers.
291 occupies an interesting position among the journals of modernist art. It is the first magazine to style itself as a work of art in its own right. It is also the first expression of the dada esthetic in the United States; proto-dada, actually, dada avant la lettre, before dada had started in Zürich in 1916. Only Arthur Cravan’s short-lived Maintenant can be said to precede it as an instance of pre-dada sensibility anywhere in the periodic press.
Edited by Francis Picabia. Barcelona, New York, Zurich, Paris, 1917-1924. 19 Numbers.
Early Visual Poetry
From The Harvard Libaray Bulletin «Material Poetry of the Renaissance/ The Renaissance of Material Poetry», Edited by Roland Greene, Summer 1992, Vol. 3, No. 2
Tracey Emin b. 1963
Duration: 25′ 48″
Contained are the following shorts:
Why I Never Became A Dancer (aka Why I Didn’t Become A Dancer)
How It Feels
Emin and Emin
Tracey Emin’s C.V. : Cunt Vernacular
Homage To Edvard Munch And All My Dead Children
The Bauhaus school of design, craftsmanship and architecture, founded by Walter Gropius at Weimar in 1919, was largely responsible for revolutionizing the structure of art school tuition, and its basic tenets of design are now a modern commonplace. This documentary covers the full range of the work of the Bauhaus, which encompassed architecture, design and disciplines as varied as pottery, weaving, theatre and ballet. It also appraises the effect that the Bauhaus’s revolutionary method of workshop instruction had on the creativity of the students. The film brings together thought-provoking comment from architects, teachers, ex-students and current experts on the Bauhaus, and includes amusing anecdotes and vintage footage of the work of its founding members.
Andy Warhol b. 1953
WNET, USA Arts (1966) (split documentary with Roy Lichtenstein)
It’s amazing to me that UbuWeb, after fifteen years, is still going. Run with no money, Ubu has succeeded by breaking all the rules, by going about things the wrong way. UbuWeb can be construed as the Robin Hood of the avant-garde, but instead of taking from one and giving to the other, we feel that in the end, we’re giving to all. UbuWeb is as much about the legal and social ramifications of its self-created distribution and archiving system as it is about the content hosted on the site. In a sense, the content takes care of itself; but keeping it up there has proved to be a trickier proposition. The socio-political maintenance of keeping free server space with unlimited bandwidth is a complicated dance, often interfered with by darts thrown at us by individuals calling foul-play on copyright infringement. Undeterred, we keep on: after fifteen years, we’re still going strong. We’re lab rats under a microscope: in exchange for the big-ticket bandwidth, we’ve consented to be objects of university research in the ideology and practice of radical distribution.
Imaginemos Utopia: un mundo sin copyright, sin micropagos, sin royalties, sin beneficios, sin atribuciones, sin licencias, sin propiedades. Vamos a imaginarnos un mundo sin dinero; de hecho, imaginaremos que el dinero ni tan solo existe, nadie lo toca; nadie paga y nadie es pagado. Vamos a imaginarnos un mundo sin subvenciones, sin apoyos gubernamentales, sin campañas electorales, sin financiamiento. Vamos a imaginarnos un mundo sin anuncios, sin listas de correo ni campañas promocionales, sin represión, sin cajas de donaciones. Imaginemos un mundo sin burocracia, sin patrones, sin comités, sin abogados, sin agentes, sin contratos. Imaginemos un mundo de discos duros ilimitados, de servidores sin límites y de banda ancha ilimitada, sin captchas, sin esperas. Imaginemos un mundo sin números, sin estadísticas, sin contadores de descargas, sin clicks. Imaginemos un mundo en el cual no importa si tienes tres visitantes diaros o tres mil. Vamos a imaginar un mundo donde el contenido de una web es demasiado críptico, demasiado confuso y demasiado intelectual para que cualquier Gobierno lo entienda y por extensión, lo censure. Imaginemos artworks que funcionan fuera de la imperante normativa capitalista, donde su valor es más histórico o estético que económico. Imaginemos ahora un mundo donde las decisiones no están tomadas por comités o basadas en la popularidad, sin tener que dar explicaciones de contabilidad o autoridad; un mundo donde la representación es subjetiva y excéntrica; una corazonada, un sentimiento; imaginemos un mundo que abraza el riesgo, la incerteza, la inestabilidad, el capricho. Imaginemos un mundo privado de argumentos históricos, de hecho, vamos a imaginarnos un mundo sin argumentos de ningún tipo. This is paradise now.
if we had to ask for permission, we wouldn’t exist