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Two Poems from “The Day”

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BY KENNETH GOLDSMITH

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Metropolitan Forecast
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          D8 L THE NEW YORK TIMES TUESDAY, SEPTEMBER 11, 2001
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          Metropolitan Forecast
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          today Less humid, sunshine
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          High 79. Noticeably less humid air will filter into the metropolitan region on. Brisk winds from the northwest. High pressure building east from the Great Lakes will promote mainly sunny skies. Daytime readings will peak in the lower 80’s.
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          tonight Clear, lighter winds
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          Low 62. Skies will be clear overnight as high pressure crests near the Middle Atlantic Coast. Humidity will remain low, and temperatures will fall to around 60 degrees in many spots.
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          tomorrow Mainly sunny
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          High 76. Sunshine and just a few clouds will fill the sky. Breezes will turn and blow from the south ahead of a cold front approaching from Canada.
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Islam
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          e2 the new york times, tuesday, september 11, 2001
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          ARTS ABROAD
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          Continued From First Arts Page
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          On Islam, Mr. Houellebecq went still further, deriding his estranged mother for converting to Islam and proclaiming that, while all monotheistic religions were “cretinous,” “the most stupid religion is Islam.” And he added: “When you read the Koran, you give up. At least the Bible is
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          Sexual tourism
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          and inflammatory
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          remarks about
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          Palestinians.
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          very beautiful because Jews have an extraordinary literary talent.” And later, noting that “Islam is a dangerous religion,” he said it was condemned to disappear, not only because God does not exist but also because it was being undermined by capitalism.
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NOTES: Kenneth Goldsmith is perhaps best known for his work Day, in which he transcribed every word of a mundane day’s issue of the New York Times into a nine-hundred-page book. For his work “The Day,” he did the same exact task to the New York Times of September 11, 2001. Hence, even the innocuous news reports and weather are loaded with fact, fear, and emotion, making us aware that language is never simply an innocent carrier of meaning but is wildly variable depending upon context and framing.

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uncreative writing = what kind of reading?

\n

INTRO

\n

writing has a new challenge with new technologies, comparing with painting, arts (going more abstract when photography arrived)

\n

sceptical about the shift in writing, paradoxically going more creative than abstract

\n

endless possibilities with digital texts

\n

grey litterature (code) > what you don’t see

\n

situationists: took the city as an ecology, we can take the web as an ecology and do detournements

\n

lacks the multiple-voice

\n

tension: who is the creator?

\n

play with identities

\n

still very formatted by the traditional notions of creator, author

\n

ex: “The Day”, Kenneth Goldsmith

\n

(rewrite a New York Times’ page from left to right top to bottom and put his name on it)

\n

not question to put a name (the name creates the friction, but then why not another name (fictional), or a collective) on it but the whole system: distribution?

\n

watch again Cornelia Sollfrank’s interview where he talks about Ubu Web

\n

page as a canvas, page as a constellation (how we pick things, how we read)

\n

an artist creates a perspective, points at something

\n

puts in a context

\n

uncreative writing is writing

\n

 

\n

 

\n

CLOSE READING

\n

CLOSE EDITING

\n

 

\n

 

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