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Narrowcast explores how mid-century American poets associated with
the New Left mobilized tape recording as a new form of sonic field
research even as they themselves were being subjected to tape-based
surveillance. Media theorists tend to understand audio recording as
a technique for separating bodies from sounds, but this book
listens closely to tape's embedded information, offering a
counterintuitive site-specific account of 1960s poetic recordings.
Allen Ginsberg, Charles Olson, Larry Eigner, and Amiri Baraka all
used recording to contest models of time being put forward by
dominant media and the state, exploring non-monumental time and
subverting media schedules of work, consumption, leisure, and
national crises. Surprisingly, their methods at once dovetailed
with those of the state collecting evidence against them and ran up
against the same technological limits. Arguing that CIA and FBI
"researchers" shared unexpected terrain not only with poets but
with famous theorists such as Fredric Jameson and Hayden White,
Lytle Shaw reframes the status of tape recordings in postwar
poetics and challenges notions of how tape might be understood as a
mode of evidence.
Narrowcast explores how mid-century American poets associated with
the New Left mobilized tape recording as a new form of sonic field
research even as they themselves were being subjected to tape-based
surveillance. Media theorists tend to understand audio recording as
a technique for separating bodies from sounds, but this book
listens closely to tape's embedded information, offering a
counterintuitive site-specific account of 1960s poetic recordings.
Allen Ginsberg, Charles Olson, Larry Eigner, and Amiri Baraka all
used recording to contest models of time being put forward by
dominant media and the state, exploring non-monumental time and
subverting media schedules of work, consumption, leisure, and
national crises. Surprisingly, their methods at once dovetailed
with those of the state collecting evidence against them and ran up
against the same technological limits. Arguing that CIA and FBI
"researchers" shared unexpected terrain not only with poets but
with famous theorists such as Fredric Jameson and Hayden White,
Lytle Shaw reframes the status of tape recordings in postwar
poetics and challenges notions of how tape might be understood as a
mode of evidence.
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David Humphrey (Hardcover)
Davy Lauterbach; Text written by Davy Lauterbach; Contributions by David Humphrey; Text written by Wayne Koestenbaum, Lytle Shaw; Interview of …
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R1,227
Discovery Miles 12 270
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Ships in 12 - 17 working days
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Gerard Byrne (Hardcover)
Helena Reckitt, Lytle Shaw; Edited by Kirsty Ogg
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R771
R601
Discovery Miles 6 010
Save R170 (22%)
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Ships in 12 - 17 working days
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Renowned for his films installations which re-enact conversations
from specific historic moments, Irish artist Gerard Byrne's (b.
1969) work explores the way we understand the present through
revisiting the past. Drawing from a diverse range of sources
including plays, magazine interviews and art journals, his film
installations and photographs engage with the structuring of time,
with looking and interpretation and the idea of the object
throughout the twentieth century. His work has received great
critical acclaim from within the art world, but also from other
fields that his work engages with, such as cinema and the
performing arts. Byrne has exhibited widely in Europe and America
and his work is held in important international collections such as
Tate, London; Hirshhorn Museum, Washington; Irish Museum of Modern
Art, Dublin and the Arts Council of Ireland. He currently lives and
works in Dublin, Ireland. This publication offers a comprehensive
overview of his work from 1998-2012 and includes an in-depth
interview with Kirsty Ogg, Curator, Whitechapel Gallery, and essays
by poet/critic and Professor of English at New York University
Lytle Shaw and Helena Reckitt, curator/critic and Lecturer in
Curating at Goldsmiths.
In this stimulating and innovative synthesis of New York's artistic
and literary worlds, Lytle Shaw uses the social and philosophical
problems involved in "reading" a coterie to propose a new language
for understanding the poet, art critic, and Museum of Modern Art
curator Frank O'Hara (1926-1966). O'Hara's poems are famously
filled with proper names-from those of his immediate friends and
colleagues in the New York writing and art worlds (John Ashbery,
Kenneth Koch, Grace Hartigan, Willem de Kooning, and many
musicians, dancers, and filmmakers) to a broad range of popular
cultural and literary heroes (Apollinaire to Jackie O). But rather
than understand O'Hara's most commonly referenced names as a fixed
and insular audience, Shaw argues that he uses the ambiguities of
reference associated with the names to invent a fluid and shifting
kinship structure-one that opened up radical possibilities for a
gay writer operating outside the structure of the family. As Shaw
demonstrates, this commitment to an experimental model of
association also guides O'Hara's art writing. Like his poetry,
O'Hara's art writing too has been condemned as insular, coterie
writing. In fact, though, he was alone among 1950s critics in his
willingness to consider abstract expressionism not only within the
dominant languages of existentialism and formalism but also within
the cold war political and popular cultural frameworks that
anticipate many of the concerns of contemporary art historians.
Situating O'Hara within a range of debates about art's possible
relations to its audience, Shaw demonstrates that his interest in
coterie is less a symptomatic offshoot of his biography than a
radical literary and artistic invention.
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