LEADER 03629oam 2200661Ka 450 001 9910792078903321 005 20190503073412.0 010 $a0-262-31271-9 010 $a1-299-22070-3 010 $a0-262-31270-0 035 $a(CKB)2560000000098123 035 $a(EBL)3339578 035 $a(SSID)ssj0000835837 035 $a(PQKBManifestationID)12428067 035 $a(PQKBTitleCode)TC0000835837 035 $a(PQKBWorkID)10996784 035 $a(PQKB)11404773 035 $a(MiAaPQ)EBC3339578 035 $a(OCoLC)828868920$z(OCoLC)840472848 035 $a(OCoLC-P)828868920 035 $a(MaCbMITP)9653 035 $a(Au-PeEL)EBL3339578 035 $a(CaPaEBR)ebr10661921 035 $a(CaONFJC)MIL453320 035 $a(OCoLC)828868920 035 $a(PPN)191071285 035 $a(EXLCZ)992560000000098123 100 $a20130304d2013 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aNo medium /$fCraig Dworkin 210 $aCambridge, MA $cMIT Press$d2013 215 $a1 online resource (228 p.) 300 $aDescription based upon print version of record. 311 $a0-262-01870-5 320 $aIncludes bibliographical references and index. 327 $aContents; Acknowledgments; 1 The Logic of Substrate; 2 Cenography; 3 Textual Prostheses; 4 Hard Core / Soft Focus; 5 The Dative of Form; 6 Tangent; 7 Signal to Noise; 8 Further Listening; Notes; Index 330 $aIn No Medium, Craig Dworkin looks at works that are blank, erased, clear or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but nothing to say. Examined closely, these ostensibly contentless works of art, literature and music point to a new understanding of media and the limits of the artistic object. Dworkin considers works predicated on blank sheets of paper, from a fictional collection of poems in Jean Cocteau's Orphe?e to the actual publication of a ream of typing paper as a book of poetry; he compares Robert Rauschenberg's Erased De Kooning Drawin g to the artist Nick Thurston's erased copy of Maurice Blanchot's The Space of Literature (in which only Thurston's marginalia were visible); and he scrutinizes the sexual politics of photographic representation and the implications of obscured or obliterated subjects of photographs. Reexamining the famous case of John Cage's 4'33", Dworkin links Cage's composition to Rauschenberg's White Paintings, Ken Friedman's Zen for Record (and Nam June Paik's Zen for Film) and other works, offering also a "guide to further listening" that surveys more than 100 scores and recordings of "silent" music. Dworkin argues that we should understand media not as blank, base things but as social events, and that there is no medium, understood in isolation, but only and always a plurality of media: interpretive activities taking place in socially inscribed space. 606 $aArts, Modern$y20th century$xThemes, motives 606 $aNothing (Philosophy) in art 606 $aArts$xExperimental methods$xHistory$y20th century 610 $aARTS/General 610 $aARTS/Music & Sound Studies 610 $aSOCIAL SCIENCES/Media Studies 615 0$aArts, Modern$xThemes, motives. 615 0$aNothing (Philosophy) in art. 615 0$aArts$xExperimental methods$xHistory 676 $a701/.8 700 $aDworkin$b Craig Douglas$01120059 801 0$bOCoLC-P 801 1$bOCoLC-P 906 $aBOOK 912 $a9910792078903321 996 $aNo medium$93758347 997 $aUNINA