Duchamp Is My Lawyer
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| Author | : Kenneth Goldsmith |
| Publisher | : Columbia University Press |
| Total Pages | : 184 |
| Release | : 2020-07-28 |
| Genre | : Language Arts & Disciplines |
| ISBN | : 0231546912 |
In 1996, during the relatively early days of the web, Kenneth Goldsmith created UbuWeb to post hard-to-find works of concrete poetry. What started out as a site to share works from a relatively obscure literary movement grew into an essential archive of twentieth- and twenty-first-century avant-garde and experimental literature, film, and music. Visitors around the world now have access to both obscure and canonical works, from artists such as Kara Walker, Yoko Ono, Pauline Oliveros, Samuel Beckett, Marcel Duchamp, Cecil Taylor, Glenn Ligon, William Burroughs, and Jean-Luc Godard. In Duchamp Is My Lawyer, Goldsmith tells the history of UbuWeb, explaining the motivations behind its creation and how artistic works are archived, consumed, and distributed online. Based on his own experiences and interviews with a variety of experts, Goldsmith describes how the site navigates issues of copyright and the ways that UbuWeb challenges familiar configurations and histories of the avant-garde. The book also portrays the growth of other “shadow libraries” and includes a section on the artists whose works reflect the aims, aesthetics, and ethos of UbuWeb. Goldsmith concludes by contrasting UbuWeb’s commitment to the free-culture movement and giving access to a wide range of artistic works with today’s gatekeepers of algorithmic culture, such as Netflix, Amazon, and Spotify.
| Author | : Kenneth Goldsmith |
| Publisher | : |
| Total Pages | : 0 |
| Release | : 2020 |
| Genre | : Arts |
| ISBN | : 9780231186957 |
In 1996, during the relatively early days of the web, Kenneth Goldsmith created UbuWeb to post hard-to-find works of concrete poetry. What started out as a site to share works from a relatively obscure literary movement grew into an essential archive of twentieth- and twenty-first-century avant-garde and experimental literature, film, and music. Visitors around the world now have access to both obscure and canonical works, from artists such as Kara Walker, Yoko Ono, Pauline Oliveros, Samuel Beckett, Marcel Duchamp, Cecil Taylor, Glenn Ligon, William Burroughs, and Jean-Luc Godard. In Duchamp Is My Lawyer, Goldsmith tells the history of UbuWeb, explaining the motivations behind its creation and how artistic works are archived, consumed, and distributed online. Based on his own experiences and interviews with a variety of experts, Goldsmith describes how the site navigates issues of copyright and the ways that UbuWeb challenges familiar configurations and histories of the avant-garde. The book also portrays the growth of other "shadow libraries" and includes a section on the artists whose works reflect the aims, aesthetics, and ethos of UbuWeb. Goldsmith concludes by contrasting UbuWeb's commitment to the free-culture movement and giving access to a wide range of artistic works with today's gatekeepers of algorithmic culture, such as Netflix, Amazon, and Spotify.
| Author | : Daniel Morris |
| Publisher | : Anthem Press |
| Total Pages | : 192 |
| Release | : 2024-09-10 |
| Genre | : Literary Criticism |
| ISBN | : 1839992255 |
In sixteen chapters devoted to avant-garde contemporary American poets, including Kenneth Goldsmith, Adeena Karasick, Tyrone Williams, Hannah Weiner, and Barrett Watten, prolific scholar and Purdue University professor Daniel Morris engages in a form of cultural repurposing by “learning twice” about how to attend to writers whose aesthetic contributions were not part of his education as a student in Boston and Chicago in the 1980s and 1990s when new formalism and post-confessional modes reigned supreme. Morris’s study demonstrates his interest in moving beyond formalism to offer what Stephen Fredman calls “a wider cultural interpretation of literature that emphasizes the ‘new historicist’ concerns with hybridity, ethnicity, power relations, material culture, politics, and religion.” Essays address from multiple perspectives—prophetic, diasporic, ethical—the vexing problems and sublime potential of disseminating lyrics—the ancient form of transmission and preservation of the singular, private human voice across time and space—to an individual reader, in an environment in which e-poetry and digitalized poetics pose a crisis (understood as both opportunity and threat) to traditional page poetry.
| Author | : Kenneth Goldsmith |
| Publisher | : Columbia University Press |
| Total Pages | : 272 |
| Release | : 2011-09-20 |
| Genre | : Literary Criticism |
| ISBN | : 0231504543 |
Can techniques traditionally thought to be outside the scope of literature, including word processing, databasing, identity ciphering, and intensive programming, inspire the reinvention of writing? The Internet and the digital environment present writers with new challenges and opportunities to reconceive creativity, authorship, and their relationship to language. Confronted with an unprecedented amount of texts and language, writers have the opportunity to move beyond the creation of new texts and manage, parse, appropriate, and reconstruct those that already exist. In addition to explaining his concept of uncreative writing, which is also the name of his popular course at the University of Pennsylvania, Goldsmith reads the work of writers who have taken up this challenge. Examining a wide range of texts and techniques, including the use of Google searches to create poetry, the appropriation of courtroom testimony, and the possibility of robo-poetics, Goldsmith joins this recent work to practices that date back to the early twentieth century. Writers and artists such as Walter Benjamin, Gertrude Stein, James Joyce, and Andy Warhol embodied an ethos in which the construction or conception of a text was just as important as the resultant text itself. By extending this tradition into the digital realm, uncreative writing offers new ways of thinking about identity and the making of meaning.
| Author | : Michelle Tolini Finamore |
| Publisher | : University of Arkansas Press |
| Total Pages | : 185 |
| Release | : 2022-10-10 |
| Genre | : Art |
| ISBN | : 1610757858 |
The companion volume to Crystal Bridges Museum of American Art’s first fashion exhibition, Fashioning America: Grit to Glamour celebrates the history of American attire, from the cowboy boot to the zoot suit. From dresses worn by First Ladies to art-inspired garments to iconic moments in fashion that defined a generation, Fashioning America showcases uniquely American expressions of innovation, spotlighting stories of designers and wearers that center on opportunity and self-invention, and amplifying the voices of those who are often left out of dominant fashion narratives. With nearly one hundred illustrations of garments and accessories that span two centuries of design, Fashioning America celebrates the achievements of a wide array of makers—especially immigrants, Native Americans, and Black Americans. Incorporating essays by fashion historians, curators, and journalists, this volume takes a fresh look at the country’s fashion history while exploring its close relationship with Hollywood and media in general, illuminating the role that American designers have played in shaping global visual culture and demonstrating why American fashion has long resonated around the world.
| Author | : Tara Ward |
| Publisher | : Univ of California Press |
| Total Pages | : 321 |
| Release | : 2024-04-30 |
| Genre | : Art |
| ISBN | : 0520398785 |
What does an art history of Instagram look like? Appreciation Post reveals how Instagram shifts long-established ways of interacting with images. Tara Ward argues Instagram is a structure of the visual, which includes not just the process of looking, but what can be seen and by whom. She examines features of Instagram use, including the effect of scrolling through images on a phone, the skill involved in taking an “Instagram-worthy” picture, and the desires created by following influencers, to explain how the constraints imposed by Instagram limit the selves that can be displayed on it. The proliferation of technical knowledge, especially among younger women, revitalizes on Instagram the myth of the masculine genius and a corresponding reinvigoration of a masculine audience for art. Ward prompts scholars of art history, gender studies, and media studies to attend to Instagram as a site of visual expression and social consequence. Through its insightful comparative analysis and acute close reading, Appreciation Post argues for art history’s value in understanding the contemporary world and the visual nature of identity today.
| Author | : Stephen Gillers |
| Publisher | : Aspen Publishing |
| Total Pages | : 800 |
| Release | : 2024-02-15 |
| Genre | : Law |
| ISBN | : |
In this, the Thirteenth edition of Stephen Gillers’ book, Regulation of Lawyers: Problems of Law and Ethics, the author’s goal, as always, is to teach the law and rules governing lawyers and judges with engaging writing and a conversational voice. To that end, he sprinkles the text with literary and historical references, references to current events, amplifying asides (“by the way” stories), and humor. There are new cases, and some repeat cases have been further edited. New problems have been added, and some former problems have been revised to better crystalize their issues. As always, the problems aim for credibility through detail. In addition to the self-study questions and answers, most chapters now contain one or two short “Pop-up Questions” with answers a few pages later. The clarity of notes on secondary issues makes it possible to assign these with little need for class discussion, freeing time for the principal lessons. New to the Thirteenth Edition: New cases and materials on: The formation of the attorney-client relationship The elements of competency, including cultural competency Privilege and confidentiality and their exceptions Allocation of authority between lawyer and client Discipline for inflating bills Screening to prevent imputation of lateral lawyer conflicts The interplay between Rules 1.7(a)(2) and 1.8(a) Prosecutorial misconduct A lawyer’s responsibility for real evidence, such as weapons Rule 8.4(g) The Supreme Court’s decision in 303 Creative Client identity in the corporate context (U.S. v. Elizabeth Holmes) Discipline for lying to the public (Rudolph Giuliani and Jenna Ellis) Litigation funding. “Pop-up Questions” (and answers) in most chapters Benefits for instructors and students: High-profile author—Professor Gillers is a highly visible and recognized national authority on professional responsibility Comprehensive coverage—includes the full range of professional responsibility issues Excellent case selection Manageable length Well-balanced mix of cases, secondary sources, and timely materials—often drawn from recent headlines, and which supports its comprehensive coverage of professional responsibility issues Realistic, helpful, and abundant problems—many based on actual events, and which facilitate class discussion and enable students to understand the rules and regulations that will govern their professional behavior Detailed and challenging notes—providing in-depth treatment of the issues Accessible and engaging style—characterized by variety, clarity, and humor Discussion beyond the rules and from different perspectives—to recognize that the law is not necessarily self-evident and covers many subtleties
| Author | : Calvin Tomkins |
| Publisher | : |
| Total Pages | : 0 |
| Release | : 2013 |
| Genre | : Artists |
| ISBN | : 9781936440399 |
In 1964, Calvin Tomkins spent a number of afternoons interviewing Marcel Duchamp in his apartment in New York City. It reveals him to be a man and an artist whose playful principles toward living freed him to make art that was as unpredictable, complex, and surprising as life itself
| Author | : Ruth Brandon |
| Publisher | : Simon and Schuster |
| Total Pages | : 218 |
| Release | : 2022-03-01 |
| Genre | : Biography & Autobiography |
| ISBN | : 1643138626 |
In 1913 Marcel Duchamp's Nude Descending a Staircase exploded through the American art world. This is the story of how he followed the painting to New York two years later, enchanted the Arensberg salon, and—almost incidentally—changed art forever. In 1915, a group of French artists fled war-torn Europe for New York. In the few months between their arrival—and America’s entry into the war in April 1917—they pushed back the boundaries of the possible, in both life and art. The vortex of this transformation was the apartment at 33 West 67th Street, owned by Walter and Louise Arensberg, where artists and poets met nightly to talk, eat, drink, discuss each others’ work, play chess, plan balls, organise magazines and exhibitions, and fall in and out of love. At the center of all this activity stood the mysterious figure of Marcel Duchamp, always approachable, always unreadable. His exhibit of a urinal, which he called Fountain, briefly shocked the New York art world before falling, like its perpetrator, into obscurity. Many people (of both sexes) were in love with Duchamp. Henri-Pierre Roché and Beatrice Wood were among them; they were also, briefly, and (for her) life-changingly, in love with each other. Both kept daily diaries, which give an intimate picture of the events of those years. Or rather two pictures—for the views they offer, including of their own love affair, are stunningly divergent. Spellbound by Marcel follows Duchamp, Roché, and Beatrice as they traverse the twentieth century. Roché became the author of Jules and Jim, made into a classic film by François Truffaut. Beatrice became a celebrated ceramicist. Duchamp fell into chess-playing obscurity until, decades later, he became famous for a second time—as Fountain was elected the twentieth century’s most influential artwork.
| Author | : Enrico Campo |
| Publisher | : Taylor & Francis |
| Total Pages | : 266 |
| Release | : 2024-04-26 |
| Genre | : Psychology |
| ISBN | : 1040017290 |
Through a variety of studies in the emerging field of attentional studies, this book examines and seeks alternatives to the current attention economy. Bringing together the work of leading scholars of ‘critical attention studies’ to reflect on issues such as techno-politics, socio-politics, and the politics of distraction, it offers a new and multi-disciplinary conceptualization of attention that emphasizes the connections between attention and curiosity, distraction, decoloniality and care. Above all, The Politics of Curiosity asks us to consider the nature and ambivalence of the curious forms of politics that might be taking shape in the shadow of our current attention economy. The “attention economy” has become a household name: we all know our attention is being harvested, commodified and packaged to be sold to advertisers by capitalist platforms. We all complain about it; some of us dream of disconnection; others call to fight back. By focusing on attentional deficits, and by reducing attention to being focused, however, the common view may miss wider stakes, and more promising opportunities. This collective volume provides a new frame of analysis based on three displacements. First, it relocates attentional issues within a triangulation that explores a continuum between attention, distraction and curiosity. Second, it invites us to investigate into the mental infrastructures that socially condition our perceptions and understandings of the world. Third, it points towards emancipatory politics of curiosity to provide alternatives to the attention economy. Contributions range from pedagogy to media theory, via digital studies, epistemology, sociology, political philosophy, literary history, aesthetics, film and dance studies. They gather some of the leading scholars who shaped the study of attention, questioned the values of distraction and explored the potentials of curiosity over the recent years. They extend across nine countries, four continents and seven languages, to provide a multicultural approach to these debates. Together, they help us understand how our current mental infrastructures have taken shape, under specific regimes of power and authority, in a world dominated by capital, colonialism and patriarchy. But they also sketch what can be done to redeploy them around imperatives of respect and care – from a better awareness of our mental biases, online behaviors and bodily movements, to our collective capacity to restructure classroom interactions, to launch alternative digital platforms, to build democratic movements. The first platform for discussion of the politics of attention and curiosity – and an essential point of reference for future debate – this book will appeal to scholars of sociology, politics and psychology.
