Note: The following essay grew out of a talk given at the conference Les archives sonores de la poésie: Production, conservation, utilisation/Recording in Progress: Producing, Preserving and Using Recorded Poetry, which was organized by Céline Pardo (Paris–Sorbonne), Abigail Lang (Paris–Diderot), and Michel Murat (Paris–Sorbonne) at Université Paris Sorbonne, November 25, 2016. Many thanks to Garrett Caples for his help and scholarship, and to Richard O. Moore’s daughter, Flinn Moore Rauck, for her invaluable help and generosity. — Olivier Brossard
Note: The following essay grew out of a talk given at the conference Les archives sonores de la poésie: Production, conservation, utilisation/Recording in Progress: Producing, Preserving and Using Recorded Poetry, which was organized by Céline Pardo (Paris–Sorbonne), Abigail Lang (Paris–Diderot), and Michel Murat (Paris–Sorbonne) at Université Paris Sorbonne, November 25, 2016.
Witness Ed Ruscha and Tan Lin
Words inappropriate to the (p)age
What is a derelict void?
What does “museum studies” mean by “context”? What if it were “museological environment”? An artwork would be out of context until it was taken out of context. But what does it mean to take an object out of context? Or a non-object? It must be a kind of displacement that is more historical and geographical than it is temporal and spatial. Because the time of the piece must unfold in a serviceable manner, and the space must be arrayed contiguous to its virtuous features, the features that display “it,” the approximate museological environment conserves period and style. Old is good. “Modern” is bad, except as a paradigm. By paradigm here is meant “real-to-ready phenomena,” the kind that make my encounter with the object contemporaneous to it.