#seven controlled vocabularies and obituary 2004

[computerluve]

[euclyptodis]

Do you have any reading recommendations pls? Books, articles, essays, anything’s welcome

skin shows by jack halberstam

seven controlled vocabularies and obituary 2004. the joy of cooking by tan lin

essay: freedom from everything by hito steyerl

[thelonguepuree]

When I look at a landscape in a novel all I see is something that I have not had the time to forget.

Tan Lin, Seven Controlled Vocabularies and Obituary 2004. The Joy of Cooking

[ebouks]

Seven controlled vocabularies and obituary 2004, the joy of cooking: airport novel musical poem painting film photo landscape

Seven controlled vocabularies and obituary 2004, the joy of cooking: airport novel musical poem painting film photo landscape

[vuillard]

Tan Lin, Seven Controlled Vocabularies and Obituary 2004

[betweenthemap]

Tan Lin |  Seven Controlled Vocabularies and Obituary 2004. The Joy of Cooking 

Emily Dickinson | poem 754

Adrienne Rich | On 754

One Direction | No Control

One Direction | More Than This

Jade Sylvan | Kissing Oscar Wilde

Anne Carson | Eleven A.M., Men in the Off Hours

Michelle Tudor | The Truth Is

[amilliontinywraiths]

Today, no poem should be written to be read and the best form of poetry would make all our feelings disappear the moment we were having them.

—Tan Lin, Seven Controlled Vocabularies and Obituary 2004. The Joy of Cooking.

[kevingau-blog]

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Panda Notes

·         An interesting quote to open with, seems to imply that this piece will be really taking apart Kung Fu Panda in order to better convey a message. I personally never knew Kung Fu Panda even had a message.

·         Opens with an odd mix of media. I can’t even tell what the YouTube video screenshot is about, though I assume it’s a clip from the movie, but the shoes seem to only relate to the text in that both have something to do with pandas (loosely speaking).

·         I found it entertaining every quote is pretty much the same, but still conveys a slightly different message to give you a deeper look at the main character in Kung Fu Panda. What is it about the movie that the author is so focused on?

·         Are these quotes all collected from different reviews or summaries of the movie?

·         Later includes quotes about the movie in other languages, and some later quotes seem like they were pulled out of a YouTube comment section (ex: I think I am the panda because lot of things he goes thru I go thru it too.)

·         Scrolled through a little longer and it’s just the same shit over and over again but written slightly differently each time. I’m still not really sure what the purpose of making this piece was, although I’ve come to realize that purpose isn’t always that important in art. Intentionality is sometimes overemphasized. My problem is that if something has no purpose it should at least be entertaining or aesthetically pleasing. This is funny at first but I don’t know if there are many people who could even make it halfway through the book.

Seven Controlled Vocabularies and Obituary 2004. The Joy of Cooking ... Notes:

·         This piece seems to be poetry about writing poetry, making an art of explaining an art.

·         Seems to compare poetry to other forms of art (ie. painting and photography)

·         At points it gets really abstract, so it is obviously not intended to teach. It seems as though it is an attempt at adding an aesthetic beauty to teaching, emphasizing the aesthetic more than the teaching itself. This seems to relate back to the theme of the aesthetic that is repeated in the piece (ie. poems “to be looked at”)

·         I really liked the statement that the novel can be too bourgeois. A lot of times when you read a novel from an author who’s not one of the greats, or doesn’t use their own voice when they write, you get similar kinds of ideas, tone, imagery, et cetera, because that’s how a bourgeois, educated individual is likely to learn how to write. It can get irritating.

·         Changes color with no real explanation. The only reason I can see is that the idea of the piece also seems to change a bit (talking about how long it takes to read a line and then veering back and forth into a discussion on short term memory research).

[enless-scroll-blog]

[Porousness] in 7CV [Part 2 of ?] Intertextuality

7CV is not only diffuse or permeable or porous in the sense that its boundaries [membrane] are non-static, but also in that they allow for intertextual diffusion. 7CV is permeated throughout by other texts via appropriation, allusion, citation, and photocopy. Here, intertextuality surpasses or evades its usual purposes. As with the overabundance of formats and editions, hyperbolic intertextuality destabilizes assumptions about the static nature of the book. Lin says:

My interest with HEATH and 7CV was to treat the book as a distinct medial platform through which a lot of ancillary information passes, much like a broadcast medium like TV or a narrow-cast medium like Twitter or Tumblr.

(Interview with Angela Genusa for Rhizome, Oct. 2012)

Like a TV broadcast or a social media feed, 7CV aggregates a wide variety of information from many sources and authors. This creates a reading experience which is hypertextual and discursive in a way that feels similar to channel surfing or browsing the web.

In one illustrative instance, a passage of dense critical prose analyzing the architecture of Walmart is interrupted with the non-sequitur, “#pilsner is my favourite kind of #beer” (128), set apart not only by its diction and subject matter but also by capitalization scheme and typeface as if it were copy-and-pasted from another source. The hashtags, of course, allude to Twitter, and indeed by causing the reader’s attention to flit momentarily to something completely unrelated, this passage mimics the experience of reading an article on a phone or computer and receiving a notification from Twitter in the corner of the screen. Throughout the book images (mostly photographs and scanned images of book backs and packaging) appear beside text to which they bear no (or indecipherable) relevance, interrupting attention much like popups or other advertisements. To read Lin’s ambient review of Wylie Dufresne’s modernist restaurant WD-50 on page 88 and then happen upon the scanned image of a toothpick package from that restaurant on page 101 feels like stumbling on Google Ads for a product you’ve been recently Googling.

Allusions and citations permeate the book like hyperlinks on the internet. Citations like “1935 ‘The present situation in quantum mechanics’ in Naturwissenschaften, 23, pp. 823-828” (103) and allusions like “The book is James Beard’s Theory and Practice of Good Cooking. The only other book I kept in that apartment at the time was a copy of Self-Portrait in a Convex Mirror by John Ashbery” (112) refer the reader directly to other texts outside of the book. Or consider the literal hyperlinks in the PDF 7CV Critical Reader, of which there are more than 100. 7CV even makes use of internal links—the note “(continued on page 222)” (123) physically sends the reader to another location in the book, like a hyperlink which sends the reader to another area of the same website. Of course, such hypertextual connections are present in any text with endnotes, citations, or allusions, and that is precisely the point. 7CV exaggerates and proliferates hypertextual connections in order to emphasize how hypertext always informs reading experiences, even in non-digital formats. A book, as much as a website, is a networked object.

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Square brackets in Tan Lin’s work

Frequently in his work, and especially in 7CV, Lin encloses words or phrases or absences in [square brackets]. Sometimes they function as parentheses, as in “Warhol understood that a film [every film is the same] is a branding device...” (141). At other points they function more like quotation marks or an underline, pointing out what they enclose—“Today I realized I am [half] in love with my wife” (139). Sometimes they simply interrupt with a buffer of empty space:

The outlook is 2004, a muggy July 6-7 night [     ] when I have the air conditioning [     ] turned off and my apartment windows overlooking the Bowery [       ] are open to the street below [     ]. (138)

Because Lin’s use of square brackets is idiosyncratic, the brackets also tend to cast doubt on what they contain. In his later book, Heath Course Pak, Lin refers to characters using composite pronouns: “she or I began to assemble material written by him or her” (Heath has no page numbers). In an interview about Heath, Lin says, “In Heath, we appear to be in the realm of various linked data structures, i.e. a library, being assembled, where various pronouns haven’t yet codified.” Like the pronouns in Heath, the phrases in square brackets in 7CV feel unresolved, and thus they tend to appear at peripheries as if the material beyond them has yet to render. One paragraph begins with the text, “, [desire is about waiting for nothing]” (108). Elsewhere, a paragraph ends with the unfinished, bracketed phrase, “[As anyone] [who has spent time on the Las Vegas strip] can tell you,” (78). 

Perhaps the most important consequence of Lin’s use of square brackets, however, is [intertextual]. Square brackets are conventionally used by critics to insert clarifications into quoted material precisely because they rarely appear in source material, and Lin’s use of them within his own work preemptively disrupts this practice. Since the square brackets occur so frequently, it becomes difficult to pull quotes from 7CV that don’t include them. When the critic adds their own clarification using square brackets as per convention, it becomes unclear whether the clarification is actually just a part of the original text. Thus, the gesture which intends to distinguish the critic’s voice from the author’s conflates them instead. This act of subversion fits neatly into Lin’s project of disabling rigid categories [porous] and undermining intellectual property and the top-down model of authorship.