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Do Or Diy
'Remember the lessons of literary history. Don't wait for others to validate your ideas. Do it yourself.'Mixing anecdote and advocacy, the first section of this two-part polemical essay offers an introduction to the concealed history of do-it-yourself publishing – as undertaken by some of the most revered writers in the modern Western literary canon, from Laurence Sterne (1713–1768) to Irma Rombauer (1882–1941) via Virginia Woolf (1871–1922) and Derek Walcott (1930–).Having looked back at some of the monuments of literary history, the second section takes its charge from the epigraph, 'Institutions cannot prevent what they cannot imagine', and looks forward to the political praxis of the twenty-first century's digital future.The essay was first commissioned by the Foreword for the London Art Book Fair 2011 catalogue. Translations will soon be available in Spanish and Italian.Accompanying an eponymous solo exhibition at the Whitechapel Gallery, London, April-May 2012; and the Laurence Sterne Museum, Coxwold, August 2012.Limited edition. Do or DIY is created by Craig Dworkin, Simon Morris and Nick Thurston.
Re-writing Freud
The artist has re-written Sigmund Freud's "The interpretation of dreams." A computer programme randomly selects words, one at a time from Freud's 223, 740 word text and begins to reconstruct the entire book, word by word, making a new book with the same words.
The Perverse Library
The Perverse Library includes Professor Craig Dworkin's bibliography (2,427 titles), a supplementary bibliography of absent and imagined books, and an accompanying essay arguing libraries are in fact defined not by what they contain, but by what books they exclude or fail to include. The essay also investigates the histories of libraries, makes a theoretical argument about the relation of canons to architectural space, and explores the psychology of collecting – including the pathology of bibliomania: 'He had but one idea, one love, one passion: books. And this love, this passion burned within him, consuming his days, devouring his existence.' Although they present themselves as figures of rational organization, library catalogues and classification systems can only hope to distract from the aberrant chaos they cannot exorcise. Published to accompany the exhibition The Perverse Library at Shandy Hall, Coxwold, North Yorkshire, 4 September – 31 October 2010, curated by Simon Morris.
Interpretation
None
Catch-Words(by Nicholas D. Nance)
Between the fifteenth and eighteenth centuries, the assembly of printed sheets into ordered books had a textual aid: a few letters printed in the bottom-right margin of each page that anticipated the first word at the top of the following page.A quick glance could confirm that the 'catch-word' matched the start of the next page's text, and therefore that the sequencing and pagination were correct.This book gathers the catch-words in the first edition of Samuel Richardson's landmark novel Clarrisa, or, the history of a Young Lady (1748). Their new arrangement follows the structure of its source: each catch-word becomes a line, each gathering a stanza, each volume a canto. The process repeats ...
Reading the Remove of Literature
Poetry. READING THE REMOVE OF LITERATURE is a reading of Maurice Blanchot's seminal book The Space of Literature, performed on the page as an annotative writing that encircles the should-be space of print. Through the progressive appropriation and then erasure of Blanchot's text, and through a processual transposition of hand-writing into formal typography, Thurston addresses the very question of the possibility of literature that obsessed Blanchot. The meaning of the candid reflections and meditations which form the incisive marginalia is founded in a tension with the suggestions of the absent text. Floating alone these annotations may have little worth or make little sense, but between these covers they do not deny the history of their derivation: They are constantly anchored by that which is missing, in a creative erring, in a process of over-coming, which in this book asserts an equality of presence between the read and the written; the reading and the writing.
The Royal Road to the Unconscious
Photographs made Sunday, June 1, 2003 of cut-out words from Sigmund Freud's book "The Interpretation of Dreams" thrown from the window of a car speeding down a road in Dorset.
Twelve Erroneous Displacements and a Fact
Craig Dworkin presents his entire corpus of 13 FACT poems (2005-16) for the very first time in his latest book, Twelve Erroneous Displacements and a Fact (2016).Dworkin's FACT series is an exact list of the ingredients that make up the constituent components of the materials used to inscribe the text of the poem and the object on which its is published, hence the blunt title of the work. It's a self-reflexive, deconstructed meditation on the act of writing and of publishing, with an emphasis on the materiality of language.Each time Dworkin displays the poem he researches the medium on which it's being viewed and changes the contents accordingly. It's a flexible work-in-progress, which has listed the make-up of everything from a xeroxed sheet of paper to compact disc to smartphone touchscreen to dyed wool Himalayan rug. The idea is written on and through the material form.Published on the occasion of the exhibition, Reading as Art at Bury Art Museum & Sculpture Centre (27 August - 19 November 2016)
