Оглавление
Barrett Watten. The Constructivist Moment
the. constructivist moment
CONTENTS
ACKNOWLEDGMENTS
INTRODUCTION. FROM MATERIAL TEXT. TO CULTURAL POETICS
1. NEW MEANING AND POETIC VOCABULARY. FROM COLERIDGE TO. JACKSON MAC LOW
POETIC VOCABULARY
COLERIDGE’S DESYNONYMY
ZUKOFSKY’S DICTIONARY
MAC LOW’S LEXICONS
NEW MEANING
2. THE SECRET HISTORY OF THE EQUAL SIGN. L=A=N=G=U=A=G=E BETWEEN DISCOURSE AND TEXT
AVANT-GARDE PARADOX
POSTREVOLUTIONARY POETICS
LEGEND’S TEXT
MULTIAUTHORS (M)
MULTIAUTHORS (F)
MULTIAUTHORS AND THE LISTSERV
3. THE BRIDE OF THE ASSEMBLY LINE. RADICAL POETICS IN CONSTRUCTION
THE DESCENT
CULTURAL POETICS
STEIN’S FORD
ASSEMBLING THIS
THE BRIDE
4. THE CONSTRUCTIVIST MOMENT. FROM EL LISSITZKY TO DETROIT TECHNO
THE GREAT DIVIDE
LISSITZKY’S EXAMPLES
CONSTRUCTIVIST! POETICS
DETROIT TECHNO
MOMENTS
5. NONNARRATIVE AND THE CONSTRUCTION OF HISTORY. AN ERA OF STAGNATION, THE FALL OF SAIGON
NONNARRATIVE POETICS
THE CONSTRUCTION OF HISTORY
AN ERA OF STAGNATION
THE FALL OF SAIGON
NONNARRATIVE ENDING
6. NEGATIVE EXAMPLES. THEORIES OF NEGATIVITY. IN THE AVANT-GARDE
NEGATIVITY
DARK MATTER
THE NOTHING THAT IS
LIMIT SITUATIONS
NEGATIVITIES
7. POST-SOVIET SUBJECTIVITY IN ARKADII DRAGOMOSHCHENKO AND ILYA KABAKOV
AFTER THE FALL
DRAGOMOSHCHENKO’S METAPOETICS
KABAKOV’S KOMMUNALKA
POST-SOVIET/POSTMODERN
8. ZONE. THE POETICS OF SPACE IN. POSTURBAN DETROIT
ZONE 1: THE POSTMODERN TURN
ZONE 2: THE OBJECT OF SPATIAL FANTASY
ZONE 3: THE MODERN AS SPATIAL FANTASY
ZONE 4: BOUNDARIES AS SUBJECT
ZONE 5: SOCIAL SPACE AND NEGATIVITY
ZONE 6: GAPS BETWEEN TERRAINS
ZONE 7: ART AND NEGATIVITY
ZONE 8: NEGATIVITY AND SOCIAL SPACE
ZONE 9: FOR A CRITICAL REGIONALISM
ZONE 10: SITE AND NONSITE
ZONE 11: DOUGLAS’S LE DÉTROIT
ZONE 12: POSTURBAN DETROIT
NOTES
BIBLIOGRAPHY
INDEX
Отрывок из книги
the constructivist moment
BARRETT WATTEN
.....
A visiter [sic] making a visit goes where it is visitable. Where it is visitable. IT makes visitation socially acceptable. The visiter lifts his vizor. He wears it naturally to protect his eyes. Moreover, when the visiter lifts his vizor, it is visual. And like a vista. IT has become visitatorial. . . . (279)
Here Zukofsky is parodying the ostensive definition at the heart of BASIC English at the same time that he draws attention to the criteria for suitable interpreters that come along with it. Agreeing on what is meant by the ostensive “IT” would make visitation — presumably, an agreed-on sense of embodied presence in meaning — “socially acceptable”; the Jew can leave his calling card on the dining room table or office desk of the cultural elite. Zukofsky patches in definientia after the manner of BASIC English as a stylistically neutral (if absurdist) way to continue the demonstration of his argument — why the “visiter” wears a “vizor,” if not explained by the contiguity of nouns, appears to be simply the “vizor’s” function.37 There is nothing culpable about wanting to protect one’s eyes from interlocutors; definition supplies explanation for the cultural opacity the visitor feels. If definition could explain social relations, it would seem that merely learning a language would provide adequate criteria for cultural legitimacy. The fact that Zukofsky knows that to be an absurdity (and as it was elided by technocrats like Ogden and Richards) gives the work its hidden drive to present cultural meanings as disarmingly linguistic:
.....
