Schmidt (Perspectives On The Development) PDF

Porter Institute for Poetics and Semiotics
Perspectives on the Development of Post-Concrete Poetry Author(s): Siegfried J. Schmidt Source: Poetics Today, Vol. 3, No. 3, Poetics of the Avant-Garde (Summer, 1982), pp. 101-136 Published by: Duke University Press Stable URL: http://www.jstor.org/stable/1772393 . Accessed: 12/07/2013 16:57
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp
.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
Duke University Press and Porter Institute for Poetics and Semiotics are collaborating with JSTOR to digitize, preserve and extend access to Poetics Today.
http://www.jstor.org
This content downloaded from 200.14.85.85 on Fri, 12 Jul 2013 16:57:59 PM All use subject to JSTOR Terms and Conditions
on the Perspectives ofPost-Concrete Poetry Development

of Siegen Studies,University Literary
SIEGFRIEDJ.SCHMIDT
1. OBITUARY: ON THE DECEASEOF CONCRETEPOETRY Authorsof concretepoetryhave been proclaiming the death of theirart formsince the end of the sixties(see StereoHeadphones, 1970:1,2 and 3), and ifthe disappearanceof thistermfromthe contemporary scene is any indication,then it certainlymust be dead. This passing, lamented by some, applauded by others,is accompanied by a problem which might irritate in particular:the "deceased"cannot clearly be historians literary In fact,it was not even identifiable identified. duringits "lifetime," having masksand disguises.Now thatitsdeath has been appeared in Proteus-like announced, one is stillnot quite sure in which of its masks this Proteus died and in whichit may stilllive on. Since the seventies,in small literary and artistic and othereditions, an journals,anthologies, privateprintings identifiable relativeofthedeceased has been appearing.'Greatfestivals of and new music (e.g.,in Amsterdam, phoneticpoetry Glasgow, Stockholm, Berlin)evidence thatnot only the visual, but also the acoustic domain of what is still called concrete poetry survives with full academic Concretepoetryas the actual production and presentation of recognition. works connectedin one way or anotherto the concretist programis not dead (cf. Schmidt1975b:393-433).2 It may be more precise to say that concretepoetry has exhausteditsinnovative potential(as therenunciation of concretepoetryby manyof its former authorssuggests).This potential forinnovation was foundedon such distinctive features ofconcrete poetry as: internationalism withmaterials, of textual forms experimentation techniques, arrangement and themes; use of sign systemsin dealing with conditions, laws and limitsof communication;
1. Cf. the numerous theoretical concretepoetrylisted in Horst 1977, attemptsat defining bibliography. 2. On the contrary,even today, to use a phrase borrowed from Riihm, many people produ'ceconcretepoetryas if it had just been invented. ? PoeticsToday,Vol. 3:3 (1982), 101-136.
102
SIEGFRIEDJ.SCHMIDT
ofsociety a criticism ofmeaning-constituting criticism andideology through procedures; of all traditional forms of poetry and poetry transcending presentation theuseofposters, films, video, etc.; through tape, the receiver invisual of asanactive co-author who involvement engages play undDenk-Spiele").3 andintellectual games ("Seh-Stuicke dilemmaof concrete The fundamental has arisenthrough its poetry in artand literature sinceWorldWarII to revive developments attempt to M. Duchamp,and fromthe Dadaists to the fromV. Chlebnikov Thisdilemma modifications. couldbe described withcertain Surrealists, ofthe from two as its"pre-progammed peculiarities paradox," originating oracoustic, oflanguage: whether medium artistic (1) itselements, graphic and (2) language withconventional, are connected meanings; stereotyped functions to fulfill used instrumentally, is normally practical primarily as information, instruction, contact, etc.). transferring (such establishing as an artistic forusing there are twopossibilities language Theoretically, of PietMondrian to the classicalconcretist medium concept (according a non-narrative, but which callsfor and Theovan Doesburg non-mimetic, and presentative constitutive art): (1)the complexartistic "language" to is reduced and meaning) of phonemes, syntax graphemes, (consisting ormusically tobe usedgraphically as materials andgraphemes phonemes is and (2) language reduced ofa partially language); manipulation (formal field of sole whose an invented semantics with used as a complex entity, itself. is thelanguage reference The concretepoetryproducedso far has realizedonly the first to realizein its It seemsto me thatthesecondis impossible possibility. of mutual is learnedas an instrument strictest sense,because language in society; individuals in socializing and orientation instruction something The it whichnecessarily can be effected language. goesbeyond through if itis in in or full is semantics of concrete realizable, only part, practice is revealed semiotic mechanism thata general in such a manner treated linear text and used to advantage.When languageis used without texts visual in Heinz construction [fig. 1], or without Gappmayr's (e.g., Herzzero Mon's Franz of texts in convoluted the structures narrative (as this not relate should he that receiver the to is this a signal [fig. 2], common or functions communicative language to its conventional be awareofother functions, he should that butrather referential frames, theveryact of referential other frames, ultimately, including, potential usinglanguage.
3. This is the titleof the catalogue of an exhibitionby H. Gappmayr,J.Gerz, S.J.Schmidt, of and T. Ulrichsat the Student'sCulturalCentrein Beograd,1978. Cf.also the manifestoes Miroljub Todorovi6: "Signalism"(1970), and "Signalist Poetry Proper" (1971); Herman Damen, manifesto"poesia visiva" (1972); and Paul de Vree (1971).
ofPost-Concrete Poetry Development
103
e
e lee r
1
e
e
le er re 1eer ee 1 r lee 1 r e 1 ee e e r e r r i
ee e
e r 1
e
e er
H. Gappmayr, 1962 zeichen Innsbruck:pinguin
104
SIEGFRIED J. SCHMIDT verboton anlehnen odergibts einoalternative wozu eine alternative zumreissversthluf3 beispielsweise denhosenknopf natijrlich, - aussdrdem undzumhosenknopf reissverschluss die gummibrust undzurgummibrust den heldentod undzu ihm das eisernekreuz kreuz undzumeisernen dieeisernelunge undzureisernen lunge milchshake unddazu die pflichtversicherung undzurpflichtversicherung das beharrungsvermigen undzu diesernaturerscheinung den notstand das istkeineechtealternative danndie oktoberrevolution gut.unddazu woche die kieler woche undzurkieler die panzerfaust, du bistunersattlich. voll die schnauze du endlich damit kriegst aberes istnochplatz.was danke, die stirn derpanzerfaust bletet der das selbstbestimmungsrecht v1lker Iowe.undzu diesem gutgebruillt derweltordnung bestandteil vierundvierzig schuhgrosse abzutreten umdie oder-neisse die dreigerechten beziehungsweise kammacher undzu diesen
dannfliegt mit suchdereichelbube die fliegen sitzen ja schondran. saugen an den fingerabdrOcken sie laufen nur amrandentlang ihren weilsie nichts runden sehenmit augen woher wissensie dann, wo sie hinlaufen sollen sordern laufen, sic sollengarnicht werden tuchtig grasenundfett als wArs vonmir einstuck zweilinks zwei rechts zweifinger dreibubenein ass inden blinden weiter bitte zAhl bitte zihimit zurkontrolle eins istdervater eins istderpater eins istderkrater eins istderkater weristberater bocker derschlAft aber noch meistens der.klopf mal schlift lass ihninruh. er hatdas schlummerchen notig er lacht er schlift garnicht, ja er IAchelt bloss imtraum erwackelt ja vorlachen er winselt nur einbisschen.*wer weiss,was er triumt er mokiert sichundwischt sichden mund wemsherzvollist, IAuft dermund Ober. ersichzusammen jetztrollt willst ihm du mit verhandeln ihm woruber du mit verhandeln willst ob er rauskommt undwenner nicht will verhandeln ob ersitzenbleibt undwenner schonmit jemand anderem verhandelt ob erauchmit unsverhandeln wQrde wenner 'ichtwill
F. Mon, 1968 Herzzero Neuwied, Berlin: Luchterhand
ofPost-Concrete Poetry Development ihm nicht dochmit verhandeln ob wir djrfen eroberaufstoht, wenn ohne rausgeht, zu geben eineantwort wir schnell Cannschmeissen die tlapprzu Eas heisstalso: ersthandeln, dann verhandeln. undwennersauerwird wir es abwarten konnon sollenwir wenn wir warten, worau; abwarten will dass erverhandeln undwenn erblotsvortiuscht. zu wo!len, umzeitzu verhandeln gewinnen was hilft es ihm, zeitzu gewinnen, wenner drinsteckt odererwillschnell denfuss dazwischenklemmen wir ihm dass or werden einheizen, sichnicht vonderstelleru*hrt
105
die kOnetliche befrdchtung wennszulangt oderdiecnkelkammer d undzurdunkelkammer das krouzverhbIr undzumkreuzverh~r die elektrische elsenbahn undzu diesemweihnachtlchen dings denclektrohenker undzu ihm mottenpulver unddazu keine gibts alex was vonab kriegst kistchen istkistchen kaltleimen kupon grasgrau grien grellchen du an einenlapsus glaubst du an lapsus glaubst eheran hochverrat sein vorderteil es gut ja derkonnte voralleraugen wiederdas gutundprelswert. In behaarter inder es kleidung, machte. dochmanIHess Ihnbald fliesst brennt klopft tropft sichdie tallen undwischte brodelt'gart wieder in duftet dunstet gurrt dampft handam hosenbandschmutzige weichen massen,die an einemgestell orden. erpralite aufden boden,tat undplatten aus rohren einpaarspriinge, befestigt wie dass es drihnte sindundmit ingenau derenhilfe ineinem fass,undrissden bestimmbare mit insschlamassel. richtungen fortbewegt aussenminister werdenkonnen, ohne dass das haus rannto ganze das hohe fliessen brennenbrodeln .tropfen keiner traute durcheinander, daen duften garengurren dunsten andern dampfen mehr Inderaligemetnen brauchte, die kragen ja aufhoren lockerten sich. aufzuhoren staubwolke. wennnicht die fortbewegung die hosonwurden durfte, schwer vonblelund unddamit schliesslich wasser. infrage gestellt Inderlinken Jeder schwenkte die dauerhaftigkeit undbrauchbarkeit einen und reckte an derrechten strlck des gestells selbstgefihrdet worden zum drel schwur, linger wihrend ibm soil diebeine woliten. zusammrenknidken dabel warenslchelgenltich aile etnig,
106
SIEGFRIED J. SCHMIDT
a
H. Gappmayr, 1962 zeichen Innsbruck:pinguin
In thisway, linguistic elementslike sindor alles thematically presented but referents, by Gappmayr (figs.1 and 3) do not referto extralinguistic ratherto the categoricalproblem of representing language itself.Mon's "means"a pragmaticand artistic refusalof narrativity gestureof turning of the his back on expected literarytechniques and a demonstration use of language withinan "educated" possibilitiesof a non-instrumental But in order which is stilldetermined world of literature by narrativity. to bourgeoisliterature, forconcretepoetryto become an alternative great the authormust are requiredof its authorsand receivers: efforts cognitive not dwell on formalistic banalities, and the receiver must be able to discernand evaluate the semioticuse of languagein poetry.Here we are confrontedwith the twofold problem of reception. (1) Receivers are expectations programmedby theirsocial cultureto have other literary In orderforconcretepoetryto be thanthose thatconcretepoetryfulfills. the receivermustlearn to see kind of poetry, discernedas an alternative and read precisely what is there-not, as is common in literary else.4 to interpret, thatis, to pretendthatit is something communication, (2) If receivers are to become familiarwith concrete poetry through critiques,theories,etc.,thenit will be necessaryto relyheavilyupon the mistrustedby very discursive language which is so whole-heartedly concretepoets and which theydismiss as mindlessand irresponsible. 2. CONSEQUENCES of I will pointout some further illustrations In the following developments of a reaction are These concrete of the classical program by part poetry. concrete poets to the problems sketched above. The examples are to the Europeanscene and reflect restricted theydo personalpreferencesnot pretendto representativity. and ErnstJandlas well as VincentoAccame have recently GerhardRfihm Accame delsegno, and signalling" "actof writing the (La pratica emphasized Malerei"[Carlo Alfano,Annalies "Geschriebene 1974). (Cf. the exhibition Cy Twombly,Ben Vautier]at Klophaus,Roman Opalka, DieterRiihmann, the BadischerKunstverein Karlsruhe,1975.) Riihmwrites: ofexpression themeans the"Schriftzeichnung" drawings] [character Through be awareofthe art.One must for aremadeuseable provided byhandwriting itis inwhich andthemanner word(orsentence) thechosen between relation Thisis a borderline itself howit"expresses" visually. presented, graphically which to"auditory and picture, texts," oftext form equivalent area,a mixed of the on thespecific to musical extend possibilities operating parameters,
as well. If otherkinds literature 4. These problemsof receptionhold truefornon-concrete of benefitthe receptibility of literature were received more adequately, it would certainly concrete poetry,too.
?am
d i
-~2
~c?
1'
'
k?
4
Jev
Ole
._C_
,----. .
G. Ruihm, 1978. "Brief an die sch6ne Schlafende"
108
SIEGFRIED J.SCHMIDT
Jahre,1978).5
itwould oftheentire state artistic voice.In thepresent human development, a work is a matter ofpoetry ofmusic orofmusic, toaskwhether be illusory actions. The or of graphic arts,of (mobile) plasticart or of (theatrical) to separate canthe neither be related can no longer disciplines, productions of materials to one domain and expression. One is be restricted producers ingeneral, in ofexpression and mediation in theproblems interested rather Poesiedersiebziger and consciousness of materials the extension (Visuelle
.,4
rU tO MU c 0
L3 k $4 Ct
ii
U)
in m
00
cc
L3
CV E
E
?)
.(U
d Ir
? ,.t 0] .?4
a,
-J
,.t .d4
0)
are mine. quotations ofthisand all other 5. Translation foreign-language
109
in the in poesia visiva(well-documented Works using photo-text-collages in and Lotta Dencker, Poetica), poesia text-pictures (e.g., signalista journal shown here. See also the manifestoes by Paul de Vree and Sarenco in the early numbers of Lotta Poetica, and Klaus Peter Dencker (1972; 1978:
58-64).
c *frt
ir!.L
1 -. ?. :.
*:
..
.... . ,
.? .. ? . .::
,,r.
...'!
. ::", ,., '- :! -. .-.... ,-:,!.
.. .. ? . ..,i, ".??,
K.B. SchAuffelen, 1979. Invitation card to the exposition in FolkwangMuseum, Essen
110
SIEGFRIEDJ.SCHMIDT
K.B. Schluffelen), objectpoems (V. Radovanovid, text-corpora Producing or plastic poems(K. Katue).
. . ........ . .
..
""
... ......., . .... . . . . . .
jAt
i-i:: ,,!i:.'
kill
? " ....... ?? ....... ... . .... . . .. ... ....." .. ."S w -'so
.;i-?~? .
Fl~~~~l .
.
:. ,-, .- .., ..:. - --'. . ,, .: . -. 2
,.,~~:.
.,::
.-
::
.....;?. ..
., ?
I:
". . . ...?
:?
.....
~ ~~
..,.
....::?a:?r?.......,
~ ~
1970. A. Arias-Misson, POEM X. Actionin Knokke,Belgium.
111
Marchen (1978).6
conceivedas action-poem Public actionswithwriting, G. (A. Arias-Misson, de Liafio). Quotation, text-collage, ironically breaking with given patterns of literatureand speech, for example by H. Heissenbilttel,Projekt 1, Ende (1970); or Projekt3/1,Eichendorffs undandere d'Alemberts Untergang
distance flowing language hollow rarely blunt closed day raw murmur land dim glass keenhorizon todaygradual nearyellow warm landscape generous awake leaves love dream stone bud boats among
margin mouth tightgradual water
inform bud nothing branches silent
measurelanguage landscape lyinghorizon stonewings amongmurmur flowing keen generous leaves sky blunt waterspace yellowlovefragment
Thomas A. Clark,1971. "The Ghost Dance Song" in: J.G. Bowles and T. Russel, eds., 1971
6. Regarding the blurb to Heissenbuttel'sProjekt narration, 3/1is necessaryto preventthe receiverfromforming a particularimpressioneven beforethisbook is opened, or rather, it directsthe reader towards an impressionwhich he would not otherwise have arrivedat afterhis reading: No remorseful returnto the pretendedrealistic-psychological telling,no harmless the unmannerly,broken, parodistic,gross, skeptical "roaringly-telling-to-myself": sounds of the storiescorrespondto complex experiences(1978). Nevertheless,lookingback at concretepoetry,it is just thatquestion which remains: is a returnto narration, no matterhow it is presented,the only (or the apparentlynecessary) possibilityfor assimilating"complex experiences"?Note that the question should not be whetherconcretepoetryhas not (or could not have) partiallyassimilatedhighlycomplex experiences. The question should be whetherthe predilectionfornarrationin literature does not depend on the misconceptionthatthe authorcommunicateshis experienceto the is communicated.In fact,it is to be takenforgrantedthatat best a reader,thatinformation speaker can make the receiverorganize experiencesinto meaningful structures withinthe receiver'sown cognitivedomain of orientation.Is this possible only throughnarrative texts? Indeed, are we correct in assuming that telling is the most consumer-oriented of literature? strategy
112
SIEGFRIED J.SCHMIDT
H. Gappmayr,1978.
quadrat
113
Foundpoetry (J.Williams,Th. A. Clark,J.F. Hughes).7 Hapticpoems(L. Novak). of visual poetry out problemsin by consciouslyworking Conceptualization the finearts(e.g., H. Gappmayr, J. JochenGerz, Timm Ulrichs,Siegfried Schmidt). LITERATURE 3. CONCEPTUAL - CONCEPTUAL ART The last illustration, above, deservesa moredetaileddiscussion.In thelate sixtiesand the earlyseventies,two tendenciesconvergedwhich could be describedas the conceptualization ofvisual poetry and the lingualization of the finearts.The pointsof contactbetween visual poetryand conceptual art are interpreted very one-sidedlyby Gianni Bertiniand Sarenco (and others)in-their polemic articleseries "Poesia visiva e conceptualart: Un plaggio ben organizzato" ([trans.]"Visual Poetryand Conceptual Art: A to prove thatconcrete Well-Organized They attempted [1971ff]. Plagiary"' in about and visual in about 1963, 1953, poetry,starting poetry,starting must be regardedas precursorsof conceptual art, which began around 1967. Accordingto them, Joseph Kosuth, for instance, merely copied Timm Ulrichs, Ben Vautier,Jean-ClaudeMoincau and others; Richard etc. K. Honnef,however,interprets copied Heinz Gappmayr, Artshwager the relationsexactlythe otherway around (unconvincingly, I must say): "[... . conceptualart provokeda floodof epigonism.Gags, visual poetry, trivialsuggestions forchangingsome structure or the otherwere offered, and theyquickly spread through Both of these Germanyin particular."8 seem to me too superficial, even aside from the interpretations discrepancyin dates. It seems to me more likely that developmentsof different in expanding, discoveredeach other.The line traditions, slightly of developmenttowardsthe conceptualization of visual poetryhas been mentioned above. The development towards the fine arts has been explained very convincingly by W.M. Faust: has becomea natural medium ofart.Language Language today appearsin thework ofart, as intheworks ofLichtenstein, BenVautier, andJean le Gac, or it is associated withpicture, as in theworks ofTwombly and Hartung. beside thepicture as a comment, as in theworks of placesitself Language
7. In J.G. Bowles's introduction to his ThisBook is a Movie: An Exhibition ofLanguageArt and VisualPoetry (1971),he quotes Thomas A. Clark: "I work mostlyupon foundtexts,since I am convinced thatpoetryis simplyseeing- establishingrelations." 8. Honnef also writes:"Since Duchamp [...] the artisticidea became independentof the finished it emancipateditself to such a degree thatit was accepted as an work,untilfinally autonomous, artisticformulation (1971:12). Accordingto B. Naumann, concept art is no longerconcerned with constructible objects, where aesthetic reflection could result from formal peculiarities,hence the notion of post-objectart, but with the visualization of intellectualefforts in a manifoldway. Since Mondrianthe thematictreatment of the language of picturesitselfhas led to an increasingloss of the traditional"subject matters of art," to an increasing reflection on the idea "art" ("art as art," Duchamp/Kosuth),to the "linguisticsubstance of art." The artist who wants to advance art beyond its possibilites as painting,is reminded of theory and logic (KasimirMalevitsch)"(1971).
114
SIEGFRIED J. SCHMIDT
instead oftheartwork DanielBuren. which (Robert appears Language Barry) of the artist/reader is realizedonlyin the imagination through language. for in the"analytic as an artwork, ofthe instance, theory" Language appears work.In multimedial Artand Language actions Group,or in Boltanski's ofartuniting an integral artists andreceivers becomes part language byone ofaction (1977:27). process concentration on language So conceptualart,the finalstage of increasing visualizes intellectual efforts and ideas in art since the twenties, through minimal constellations(cf. D. Karshan: "Artbecomes art oriented").It artintopost-object materializes art,intoanalyticart,intospeech as art(cf. into "Therewill be a discussion"), to an exhibition: Ian Wilson'sinvitation about what could be done as and be reflection about art,and intotalking admittedas art.9Some examples of this last possibility: L. Weiner: "6TEN PENNYCOMMON STEEL NAILSDRIVENINTO THE FLOORAT INDICATEDTERMINALS." R. Barry: I know "Allthethings ButofwhichI am not Atthemoment thinking 1:36PM; June15,1969." "Das Unsichtbare ("TheInvisibleProject"): Projekt" Wortz werecommissioned and Edward Irwin Robert bythe Turrell, James ofa a year-long discussion in 1969toconduct Museum Los Angeles County materialized thatnever (cf.D. Davis 1975). project what conceptual art is and intendsto As with any bourgeois artform, defined been has by each individualartistand critic. differently convey For one particular version,I would like to quote fromSol LeWitt: thatmakesthe art.This kindof artis not The idea becomesa machine withall it is involved it is intuitive, of theories; or illustrative theoretical the freefrom It is usually and it is purposeless. of mental processes types work the What a as craftsman. the artist of skill on the [...] dependence ifithas physical It has to looklikesomething tooimportant. lookslikeisn't an idea.It with haveitmust itmayfinally form what No matter form. begin with which the artistis and realization is the processof conception
maintains: Kosuth Editor" NotebytheAmerican 9. In the"Introductory is justthat, theartthatI call conceptual and mostradicalextreme In itsstrictest ofart. Thusitdoesnotmerely ofthenature on an investigation becauseitis founded andthinking on art, butofelaborating statements ofproducing oftheactivity consist oftheimplicit On account "art." in every overall implications aspectofthenotion to be in former and content art,a mediator ofperception appeared (critic) duality has any andthusno longer function ofthecritic's Thisnewarttakescharge useful. ofartists artconsists ofconceptual mostly a mediator. needfor [. . .] Theaudience art exist. Thus does not concerned the from audience that an people apart indicating in a sense,whichhaveno audience as scienceor philosophy becomesas "earnest" or not is informed someone on whether or not, Art is interesting either. depending (1972).
115
concerned. if the viewerunderstands the [...] It doesn'treallymatter oftheartist theart.[. ..] Theideaitself, evenifnotmade byseeing concepts is as much a work ofartas anyfinished visual, art product. [....] Conceptual themindoftheviewer is madeto engage rather thanhiseyeor emotions. artis only (Cf. goodwhentheidea is good.(1965:177-185). [...] Conceptual statements other competent by L. Weiner,J. Kosuth and othersin G. deVries, ed. 1965). In the United Statesthiskind of"languageart"is on ratherfriendly terms withvisual poetry, as is illustrated by Bowles and Russel,eds., ThisBook is a Movie (1971). Here "conceptualists" such as Arakawa, Barry,LeWittor Weiner are represented together with "concretists" such as Finlay, Furnival, Saroyan, Solt, or Williams. As J.G. Bowles notes in the introduction to thisbook: Consider thoseareascalledconcrete, all visual,found conceptual, poetry: refer to specialized areasoflanguage-structure Butnoneof experimentation. them themovement describes as a whole.A better labelmight be simply a term that tocover seemsbroad all theactivities now art," "language enough underway. Aftera shortoverview of language experiments fromprehistoric times cave man carved a stickhorse on the wall of his cave")to ("whenthe first in the today, Bowles concludes that "muchof the best experimentation area remainsuncharted and uncatalogued." He goes on to give some ofthe reasons forthis: Concrete andconceptual artaremovements that havebeenseriously poetry weak exhibitions and self-indulgent damagedby intenseparochialism, Thissplit hastended tohamper newdevelopments andtoshut anthologies. outpossible newadherents. In concrete there is thedebate between poetry, thepoetand thedesigner; in conceptual there is thephilosopher art, pitted theartist who continues to produce a product. against This makes it abundantlyclear thatthe term"concept," like "concrete," is muchdisputed, and poorlydefined.Thus,I make use oftheterm"concept" which could be marked by merelyas an indicationof a certaindirection declarationsof intentions and by the works of authors such as Kosuth, LeWitt, Weiner,or Naumann. In thisvague sense I considerthe following illustrations ofworksby Gappmayr, Gerz, Ulrichsand myself examplesof what could be called concept literature.
1235678910
H. Gappmayr,1978. Zahlentexte
Since 1962, Gappmayr'sworks have been influencedby the attemptto treatcategoricallinguisticproblems as a subject of art (see Gappmayr 1978). This attempt has been extended to a thematic treatmentof possibilities of presentationand categorizationeven beyond natural languages,by critically examiningthe theoriesand works of conceptual artists. "We are confrontedwith a complicated correlationbetween
116
SIEGFRIED J.SCHMIDT
identifications, differentiations, analogies, and possibilitiesof visual and conceived forms which are withdrawn from any objectificationby reflectingon the ideality of concepts and on the reading process" mightconfirmthe view of Peter (Gappmayr 1970). Such formulations Texteclassifies Weiermair,who in the epilogue on Zeichen:Ausgewahlte as to oriented art: close linguistically Gappmayr orBarry, Numerous suchas Graham, Weiner ofwhom, Andre, artists, many havedealt a subject inthis concrete with bytheway,havecomefrom poetry, are equally concerned with the way. Barryor Weiner,for instance, ofdematerialized with theextension ofexperiencing mental facts, experience of abstract whichrelated to the perception mental entities. In processes of concept-thought-reality of reality, are Kosuth's theme too,theproblems all conceptional areconcerned with reflected. LikeGappmayr, artists mental that to experiencing are fundamental (1975). reality processes
J. Gerz, 1978
have been characterized Gerz'sdiverseactivities Since 1968,J. by a radical on the possibilitiesof various media, and on a fundamental reflection distrustof communication.H. Molderings writes: "In nearly all of his of ofwordsand pictures, ofdistrust [Gerz's]worksone can findstatements media and all that which is subsumed under communication" (1968). A des good example of this appears in a quote fromhis Die Beschreibung on the media. the back of a of 1973 (from stamp 1972): "Turning Papiers Live." Hostility to pictures, esotericism, refusal of interpretability, His of media: thesedescribethetendenciesofGerz'sactivities. destruction to their this clearly; according exemplify photo-text-constellations outward appearance, they are correctlyclassified by M. Jochimsenas M. includes in this classification Art"(Jochimsen 1974). (Jochimsen "Story Badura, Ch. Boltanski,J. Baldessari,Jean le Gac, W. Wegmann and P. classifiedas "Antibe better theseworksmight Hutchinson.)Nevertheless, because of their twofold refusal to portray. H. Moldering Story-Art" well: "Wherephotography enters,its fictitious, supportsthisaspect fairly artificialcharacter remains constantlypresent. For this reason, [Gerz] a new connectionbetween pictureand language,in which texts contrives avoid describing something that can describe itself, and where
117
do not pretendto portraythingsthat remain beyond their photographs der (1978). In his "KulchurPieces" (1978) (1. "Die Sch6nheit possibilities" "The to 2. Real Window und den Netzhaut" Hannover; Regeln], [vom Spiel the World," Porto, Lisbon; 3. "Das Lcheln Mona L.'s bleibtunerwidert," and Miinster), Gerz concentrateson a retreat from representability pictoriality.The same brown body color appears on all presented achieved by using mirrorwritingand by objects,thesame illegibility, componentsof these works,which are fullof partlycoveringthe written Gerz's recurrentthemes: the ability and inabilityto live, to love, the the possibility of experiencing the world questionsof seeability, visibility, of what if one what on the one does "The Gerz does, does). (and futility threatof the window, which slays the world, shall remain perceivable" "The real window to the world").o? (noteon the exhibition
IS A
IS A
ROSE.-
HOMAGE TO GERTRUDE STEIN
OORKONDE
heeft op e -3- ~77
no.
de rozencreatie
2 4492
denomen:
GCrmc
srcrN
even
STANI BOOM
H-w AL-
van HfloandseRozenonderzoekers Vereniging
TimmUlrichs, 1978
des ZentaursbeimvomPferd 1976 [Munich: Kunstraum])is indeed one Schwierigkeit steigen,
10. It shouldbe emphasized that thewritten to theBiennale partofhis contribution (Die
ofthemostcentral texts ofmodern art.
118
SIEGFRIED J.SCHMIDT
totalartist, has production:Timm Ulrichs,self-proclaimed Hypertrophic of the sixties.It is indeed easier to workedobsessivelysince the beginning look forwhat he has not (yet)done thanto accountforwhat he has, up to withhis own life(cf.his action"Scylla und and includingthe experiments in the his annotations on this and action Charybdis," catalogue [Abano, October 15, 1978]). He has been deeply concerned with problems of since he was a student.Some of the activitiesin tautologyand identity in which he deals with these issues are, forexample, "tautologie aktion," "PostNo which he posted littlebills everywherebearingthe inscription and thecorresponding is a tautology" Bills";the neon light sign"Atautology in the catalogueon the retrospective exhibition considerations theoretical text"The the 1975-1976:53; "1960-1975," Braunschweig-Hagen-Heidelberg, of the principle of identityA # a" of 1970; his "ludic texts" refutation (above) with questions such as "Can you give me an answer to this question?"and with requests such as "Read with closed eyes!"; and his of lexical or his 1964/1966 action of 1968/1975, translation presentation entries.
my life
theworld
Development ofPost-Concrete Poetry

an idea always assumes the form
119
R(a,b)
sm3 sm2
or
other
(vain
alternative.
because:
in all the is realm of personality is 'objectively'
what it is
no matter
how it
DOOR. THAT IS THE EMERGENCY

(for the 'I' at least.)
1976 Schmidt, S.J. Volumina II/III
is at realizingsomething thatI call "conceptional poetry" My own attempt and concept ofclassicalconcretepoetry examination theresultofa critical whichin withclassical concrete art.It is "conceptional" poetry, by contrast the to has failed aesthetic, theoretical, distinguishamong my opinion linguistic and pragmatic questions it raises, and which has often evadingproblemsof conception. degeneratedinto mere decorativeness, With the "volumina-projekt" (1977) and the series of objects for the relations between exhibition,I began to analyze systematically languages,picturesystemsand conceptions." I explained my decisionto call these attempts and Sarenco I did (unlikeBertini "conceptional poetry" not restrict to in manifestations the two "poesia visiva") (1971 and myself 1973). These writingshave played a role in recent discussions (see M. Horst,1977),and it would be ofvalue to thepresentdiscussionas well to reprint themhere. I manifesto conceptional poetry: 1. visualpoetry has developed in utilizing different techniques spaceas a semantic dimension. in a position hasbeenpresented between language and code-language. text-language
11. E.g., "On Counting,"1972; "LandkartenfiirGedanken," 1974; "Ich-Notationen I-III," 1972-1975;"On Our Knowledge of the World I + II," 1971 and 1974; "Die Kopie ist das 1978. 1975; "Der Versuch einer Verinderungeiner Erfahrung," Originalder Wirklichkeit,"
120
SIEGFRIED J.SCHMIDT
2. while in visual poetry the semantic dimension has been reduced to possible structures, conceptionalpoetrypresentsa nuclear conversational universe. 3. conceptional poetry concentrates on elementary possibilities of reflection. fieldwithinthe languageis presentedas a multi-dimensional area. optical,acoustic and intellectual withoutany prospectof comingto an 4. communication is demonstrated end. 5. it is beyond. 6. what shouldbe said cannotbe said. butbe cautious:no reasonforcalling thatanywhat.look. speak. and think. karlsruhe1971 no. 8/9,march 1972) (in: neue texte,
to conceptional 11 theses II: from concrete manifesto poetry: poetry

two aspects: 1. Concretepoetryhas always triedto integrate on thelevel of and innovation a) theaspectofexperimentation (primarily the manifested forms); or conceptualaspect. b) the notional-semantic The complexitynecessary to any aesthetic communicativeprocess reasons)can onlybe communicative-psychological (because ofstructural, these two aspects. guaranteedby connecting 2. Concrete poetryhas become sterilewhereverone of these aspects is isolatedin a reductivemanner(results:graphicgag,or mere declaration bothaspectswill at integrating Whereasa reflective ofintention). attempt resultin serious possibilitiesfora further developmentof the hitherto existingconcretepoetrytowardsa conceptionalformof poetry. more at generating 3. By a conceptionalformof poetryI mean attempts complex texts (than those of concrete poetry)throughan elaborate constituents. of opticaland linguistic-notional integration of concrete continuesto hold two principles 4. Conceptionalpoetry poetry: of the text-language (replacingthe a) the principleof the generativity mimesismodel of poetry, abolishingthe principleof narrativity); and optical oflinguistic of code-integration (complication b) the principle codes and techniquesof text-construction). betweenvarious 5. Conceptionaltextsbuild up complexrelational systems withinthe mixed meanings of the linguisticand optical constituents context. optico-linguistic 6. But conceptional texts do not realize extratextualthought-concepts into othercodes); such conceptsare rather (which could be translated in the process of textual production,mediationand generated only or two two systemsof meaningconstitution, decoding. By integrating codes with respectivelydifferent meaning structureswhich are not unequivocally translatable into each other, the result (i.e., the process betweenthe conceptionaltext)is turnedinto a communicative partners codes (and their meaning universes)and the communicative (author, receiver) - a process that can no longer be interpreted unequivocally. 7. Communicative processesof thistypecan no longerbe closed by simple of conceptional texts to results of comprehension.The connectivity systemsremainsundecidable. interpretational
121
of such text-see-works of the interpretation 8. The open-endedness engages thanin thecase of concretepoetry, moreintensively the reader-observer and it makes him a creative partner in a complex, aesthetic, communicative process. and comprehending of the process of experiencing 9. The open-endedness intoa thematic on the partofthe receiverturnsthisprocessitself object; turns himselfinto the and at the same time, the interpreter/receiver object of an intensive experience of the self within the process of comprehension. 10. In dealing-with conceptional texts, three kinds of experiencingare the work,the self,and meaning. experiencing integrated: 11. Conceptional texts as texts effectcomplex possibilitiesof meaningtext realization. Each conceptional and theircommunicative constitution a nuclear not throughsequential narrativity) displays (simultaneously, universe. conversational no. neue texte, 10, march 1973) (in:
i4 ;,
1976 S.J.Schmidt, ofFact"(1971) 'The Matter
122
SIEGFRIED J.SCHMIDT
These attempts can be described as "visualizing intellectual efforts" (B. Nauman). My intention has been to involve the receiver in a in a reflection. The receiveris not to be patronizedby being conversation, confrontedwith finished stories, perfectlinguisticformations, closed ideologies. Rather, I have attemptedto preserve the openness of all intellectual ones, by generating processes,especiallyartistic semantically and aesthetically open structures which dissolve and negate all determinations, negatingagain the negation,etc.
S.J.Schmidt,1976
123
But do such attempts Has thegeneral reallylead to further developments? been modifiedin any decisive way? Has there conceptionof literature been any change in the attitudeof the receiver,or do a majorityof receiversfeelthattoo much is beingdemanded of them - or do theyfeel in conceptionalart and literature? Has excluded, or simplyuninterested or artistic therebeen any change in the literary market,in the capitalist of artworksand artists?Has the gap between "life" and "art" marketing narrowed? to answer such the seventiesby the attempt Many authorscharacterize or regressively. It seems to questions,whetherresignedly, aggressively, me that in the area of literature the resignedand regressiveanswers dominate.It is not only the literary subjectivity public thatagain prefers and more private"chamber-music," seem but even the "experimentalists" to be retiring conspicuouslyinto the subjectivedomain. The world-wide of concretists unable to establishsolidarity. was apparently community On theotherhand,is Carl Einstein(Die Fabrikation derFiktionen) correct in attackingthe modernistsand the intellectualswho prostitute themselves forcapitalist parvenues,and who are unable to establishsolidarity and a socially committed style? In view of the social situationdescribedby Einstein,which is evidently the same today,one mayask whether oftheJugoslav the trajectory Group OHO (Marko Pogachnik, Tomazh Shalamun, David Nez, Milenko Matanovich, and Andrazh Shalamun) documentedin the retrospective catalogue of the exhibitionin Lubljana 1978, is typicalof the seventies: from"transcendental conceptualism"to the simple, communal life, to to a renunciation of any artistic Must conceptional mysticism, production. literature follow this course? Indeed, there are sufficient hypothesesto account forthe non-acceptance of conceptionalliterature. Amongthem: Mimesis and narrativity to theclass ofcultural which belong phenomena becauseoftheir andprestige. appearnatural widespread acceptance The capitalistic market absorbsany innovation and transforms literary intoaffirmation. criticism Literature is madeinaccessible bycritical interpretation. There in ourculture. art" maybe no basisfor "experimental I would like to discuss two possible rejoinders to statements of thistype: one thatmight be a resultof certainintentions of myown workssince the and a second that refersto a projected democratic volumina-projekt; conceptionof art. In the"Epilogueto theWorkBreitenbrunn 1974," (1975:119-121) suspicious of a strict division of societyinto social action-systems, I questionedthe social interests the presentdepartmentalization of actionsand underlying manifestations of life (see Schmidt1975,Appendix 1, here). Questions of this sortmay seem to be naive: domains of social action such as science, art,philosophy, economy,sport,etc., have been establishedin the course
5. THE CONTINUUM-PROJECT 4. ALTERNATIVES?
124
SIEGFRIEDJ.SCHMIDT
ofhistory, andthey interrelate individuals androles, reducing complexity and facilitating sociallife.An individual cannot sense), (inN. Luhmann's annul these social "organizing authorities." However,what kind of canwe drawfrom conclusions this? Howdo we know, for that a instance, a an to to answer that area it which has been problem, question, belongs We do notknow-among other reasons, by socialconventions? assigned because hardly and interesting could any humanly important problem ever be solved by reduction to component An illustrative problems. and exampleis thatof language.Wheredo we findthe individually relevant domains ofthelinguistic In thephilosophy of socially problem? andlinguistics, inliterature orconceptual indaily art, language experience withlanguage as a meansof communication? in which Or everywhere; constitute thewhole?Is case, does thesumofthecomponent problems as a meansofexpression or contact? As a language primarily important ofcognitive structures? As a medium forestablishing and representation and As social a that material can be worked preserving personal identity? with or acoustically? graphically withlanguages, and mydescriptions ofthem(from the My experience ofphilosophy oflanguage, literature andart) within viewpoints linguistics, theframework ofmyvolumina-projekt after sevenyears' work, (completed in 1977)haveled me to thedefinitive answer that there are no published thatcan easilybe motivated, or thatare "natural." departmentalizations is with of the intoaspects of scientific (This exception empirical, inquiries languageon the basis of analytictheoriesof science,dealingwith reduced segmentsin an explicitand deliberately intersubjectively restrictive and philosophical manner.)In daily, artistic, experience, and a evaluations constitute collide, descriptions converge, overlap; they individual and to his continuum, always relatedto the experiencing as hisbiography, tothe Thisidentity is interpreted andis related identity. In order oftheindividual's and emotions. for actions, experience totality this to be so, this same individual needs, on the one hand, social of thetypeof philosophy, etc.,for art,literature, categorizations sport, and actions, but on the other hand must situations interpreting intoquestion-thinking call suchcategorizations and living permanently in order to stayalive. independently, in mind whenhe Helmut Eisendle seemstohavehadsomething similar wrote:
in imposing of classifying and scienceconsists a literature The dilemma from a conventional ofcategories. starting system discipline upontheauthor, sociois the resultof a complicated This receptivepseudo-process reflection on texts ofa moreor less conventional operation, psychological mediates ofother Thework a on thetexts authors. as convention depending whois classified so that theauthor, as a type, about fictitious by knowledge expost for thepre-defined ofhiswork hecanbe maderesponsible virtue facto the the "scientific," circular way the "philosophic," type.In this strange, ofliterature mustbe was discovered. author [...] Anyconception "insane" thatcan be It is a sequenceof compulsions and individualistic. private and the the individual between position by the confrontation explained toseetheworld not as an Thusthewriter is compelled system. technological
125
but as a memberof society,exposed to variousrepressions and to the artist, ofexistenceand development; buton theotherhand,he commondifficulties in means and domains thatmay assist in is also compelled to be interested theproblems.These things which and understanding overcoming, explaining in the traditional have nothingto do with literature sense, are necessarily related to the domains of linguisticcriticism,social sciences, sociology, economics,etc. They are economy,epistemology, technology, psychology, concernscivilization. concernedwitheverything that or inclusionof those domains in writing Whetherthe treatment produces at all, no literature, science or the reversemakes no difference literature, of the work will be derivablefrom its necessity for because the legitimation and the author and others. In this respect,the conventionaldefinitions Thatthisdoes and sciencedeserveto be forgotten. classifications ofliterature not happen, cannot happen, is proved merelyby a precariousassumption: are not concerned with producingscience or both science and literature in thequest forknowledge, butwiththestatewhichis expressedin literature and author(1978:20). the notionsof scientist This account, however faltering,nevertheless corroborates my view that the continuum relates to persons, to the total capacity and activity of individuals.12 Personally, I have realized my own potential by working in areas which conventional classifications had made inaccessible; by working in a variety of areas without identifying myself with any one particular role; by producing something which resists common classifications; by becoming indifferent to the expectations of genre and domain, while remaining sensitive to the expectations aroused by the specific activity. In short, my goal has been to work within a continuum, one which embraces "life"and "art.'13 The conventional domains are not, however, obliterated by the continuum: for any work it should still be possible to indicate what sort of task is involved, even if this is the paradoxical task of producing (relatively) uninterpretable or indeterminate objects, with a view to achieving optimal reception. To illustratethis I would like to describe two such objects which function in this continuum. (What follows are not interpretations,of course, but annotations.)
12. Cf. the catalogue of my lectureand exhibition action "Die Mechanik des Normaden"at the Westfailischer KunstvereinMiinster(10-15Nov. 1981). 13. This is absolutely in accordance withJosephBeuys: I demand an artisticparticipation in all domains of life.At present,art is taughtas a special discipline. [...] I plead foran aestheticengagementon the part of science, -on the part of each domain of human activities.Even economy, politics,religion the process of peeling potatoes can be a work of art, if it is a conscious action (1975:218).
126
SIEGFRIEDJ.SCHMIDT
.ORIGINh 4OFSCA FFOLD SBYMEANSi OF NATURALS ELECTI ON

on plastic foillie on the In thisproject 50 photos(50x 70 cm) printed no space separating them;above,at eye-level, floor, hangthe"originals" on cardboard, fixed at a a photo and a text (DIN A4) comprising stamped in sizeofthephoto; as totheceiling, tothedifference distance equivalent 50 from the are fixed taken as photos postcard-size photos high possible, on thefloor, whichcan be read intervals, separated by relatively larger - depending oftheroom. on theheight onlywithsomeeffort of a is thetitle and nextto it,as a text, Each photoshowsa scaffold, work. All but two of the famous philosophical post-seventeenth-century words to thesamepattern: thecentral are modified quotations according of the titles are replacedby thewordsscaffold, scaffoldology, studyof to oneterm, whichis takensufficiently are reduced yearsofphilosophy as tobe hand-stamped letter Kant produced. seriously byletter, manually is alludedtoinquotations from hisCritique can theallusion Reason; ofPure in viewofthecentral of be extended roleofspace (fixture) and time(time reading).
Willto Scaffold scaffold ofPureScaffold; etc.). So 200 (thatis, e.g., Critique "Das Geruest. Hommage I.LKant" Hommageto L Kant) [The Scaffold.
AONTHE
Poetry ofPost-Concrete Development
127
ir~
S;4(i3 /
:r -O r
--V
- s1 tL
rr
C t.
?1.~
- 1a-
-I .", J,.. .,.......?.......
Nt*F
a).~
-,
j.f
hO~ t
"
.. -
ti
1
yi Aa
...
a)
.
S-&
is
jL-;WOW 4
128
SIEGFRIED J.SCHMIDT
"Der Versuch einerVeranderung einerErfahrung" to Modify an Experience") ("TheAttempt This projectinvolvesa procedurethatI had testedforthe first timein the in 1974. The raw materialforthis projectwas ten "arbeitbreitenbrunn" sheetsof lecturenoteswhich I had scribbledformylectureson the theory and practiceof an empiricalstudyof literature at theJugoslav University of Nis (schemata,graphicalsketches, and names,abbreviations, formulae, For I other weeks had several used these which had sheets, many things). a clearlydefinedfunction withinthe lectureframework, forwriting down various noteson otherprojectsand spheresof action.Finallythreewords, were stampedon each sheettogether withthe title "space,time,identity," of the project"Der Versuch einer Verinderungeiner Erfahrung," and at "itis ... thatyou are after leasttenvariantsofthe Englishsentencepattern it is . .. thatyou detect." These ten sheets comprise the firstcomponent of the project. The second consistsof all textsor textfragments (exceptthe logical formulae and the abbreviationsfrom the original schemata) which are legibly attachedto the sheets. (This part of the projectappeared in Manuskripte 68, 1980: 90-95.) The receiveris given a freehand in makinguse of these The simplest possibilitywould be to use the texts (text constituents). collectionas a legend,the mostdesirable would be to produce textswith this materialaccordingto one's own situation. of a The thirdcomponentis a collectionof aphorismson the possibility democraticart (Schmidt1983). The fourth finallycomprisesa complete (relativeto the exhibitionin concern) as one formof bio-bibliography a continuum specificto an individual. representing is an The title "Der Versuch einer Verinderung einer Erfahrung" froma graphicthat is added to the selected self-quotation intentionally so that the possibility of complete edition of the volumina-projekt, in the documented a continuum is respectas well. representing of a new perspective, the be of this beginning may Projects type characterized by: theexperience no narrative in considering A new complexity conceptually; from but a complexity distrust, irritation, questions, arising complexity, indifference. to science, a continuum, from oftheworkwithin Performance philosophy notional to complex from analytics. banality into"everything." "art" into"everything," "life" Embedding oflife. bohemia as a form andfrom from theroleoftheartist, Independence withalternative from themarket publishers, by cooperating Independence miniandpresentational distributional (e.g., publication, private possibilities workshop). press, of and the fetishisms to originality fromthe addiction Independence and indifference. curiosity accentuating authenticity, 2). and production ofanalytics and integration (seeAppendix Overlap
ofPost-Concrete Poetry Development APPENDIX 1
129
S.J.SCHMIDT, AXIOMATIK DER POST-ART ART (1975) 1. thereare threeconstants: indifference usualness chance 2. it holds true: all concepts are equal all models are equivalent all values are analogous all descriptionsare equally appropriate all systemsare complete all states are closed all developmentsare finished all differences are removed all works are incredible all languages are useless all worlds are constructs all constructs are worlds all experiencesare transient all traditions are superfluous are accidental all continuities all axioms are crazy all theoremsare arbitrary all interpretations are incidental all universal statements are particular all acts of assertingare cancelled 3. it holds true: in (2) are equally correct. all negationsof the statements 4. the copy is the originalof reality. 5. the so-called art and the so-called science must be overcome in order to a constitute reach a situationwhere experience,emotionand thinking unity. 6. the remainingproblemsforthe futurecan only be solved throughteamwork. consequently,the prevailingconceptionof intellectualproperty must be diminishedgradually:it is no longera matterof distributing intellectualproperty, but of changingsocietytogether, so thatlivingand workingwill no longerappear as irreconciliablespheres. 7. art, literature, science, economy,etc. must relativizeand penetrateeach other at the same time. as findings that can be taken in possession are not decisive forscience, but the process of cognition;as the finishedproduct alone theyshould not be decisive foreconomy,but the process of so the creative process will become more and productionand its structure, more decisive forart and literature, and not the productthatcan be marketed.evolution instead of objects.
APPENDIX 2
U. MEYER, CONCEPTUAL ART (1972: VIII-IX) The functionof the criticand the function of the artisthave been traditionally divided; the artist'sconcernwas the productionof the work and the critic'swas its evaluation and interpretation. Duringthe past several years a groupof young
130
SIEGFRIED J.SCHMIDT
artists evolved the idiom of Conceptual Art, which eliminated this division. theirown Conceptual artiststake over the role of the criticin termsof framing ideas, and concepts. "Because of the implied dualityof perception propositions, and conception in earlier art, a middleman (critic) appeared useful. This [Conceptual] art both annexes the functions of the critic and makes the middleman unnecessary."'Sympathizing with this particularviewpoint,certain criticsno longerinsistupon the absolute division of these functions.2 An essential aspect of Conceptual Art is its self-reference; often the artists define the intentionsof theirwork as part of theirart. Thus, many Conceptual artists advance propositions or investigations.It is in keeping, then, with Conceptual Art that it is best explained through itself, i.e., through the examinationof Conceptual Art,ratherthan through any assumptionsoutside of itself.In this sense, thisbook is not a "critical but a documentation of anthology" tends to frame Conceptual Art and Statements. "Critical interpretation" fromthe artist'sintention,thus prejudicinginformation. propositionsdifferent The dependence of the "educatedartworld"on professional criticism compounds the error. timeandminebytrying togetvaluejudgments? Don'tyou Whydo youwasteyour see thatwhenyougeta valuejudgment, that's all you have?Valuejudgments are destructive to ourproper whichis curiosity and awareness.3 business, Conceptual Art makes the ideational premise of the work known, a decided contrastto other contemporary art, which is not concerned with definingthe of the work,attending intention to itsappearance. The IDEA of (almost)exclusively the work, which only the artistcould reveal, remains hidden, thus becoming Under thesecircumstances there everybody's guessinggame and/or responsibility. It givesthegamutof artand art-objects is, indeed,a need forcritical interpretation. some semblanceofcoherenceand stability, some measureof"objective evaluation," in termsoftheartist's intentions. to the althoughthisprocessis arbitrary Attending criticalfunction itself is the natureof ConceptualArt.There is no further need for criticalinterpretation of idea and intention alreadyclearlystated. esthetics thatthe Dadaists, Conceptual Artcompletedthe break withtraditional and notably Marcel Duchamp, initiated.Traditionalesthetics could not quite recuperate from the assault of the Ready-mades. Duchamp considered them "I threwthe elitistestablishment. mainlya satiricalgesturetowarda dim-witted, into theirfaces,"he wrotelater,"and now theycome and admire it forits urinoir4 ofhis intentions, whichtroubledDuchamp The critical beauty."s misunderstanding for decades, still abounds today. The followingexemplifiesthe confusionthat of criticand artist.In 1961 Duchamp results fromthe divisionof the functions in regardto theReady-mades clear."Acertainstateof made his intentions explicitly thatI am particularly anxious to clarify, is thatthe choice of these Readyaffairs mades was never dictatedby any estheticdelectation.Such choice was always based on a reflection of visual indifference and at the same time totalabsence of a recentcritique to Marcel Duchamp's explicitintentions, good taste."6 Contrary 1. Joseph NotebytheAmerican Vol. 1,No. 2 Editor," Kosuth, Art-Language "Introductory
ArtinAmerica ofa Friend," "InMemory 5. Hans Richter, 1969). (July/August, 6. Marcel Duchamp,Statement at a conference exhibition, duringthe "Assemblage" MuseumofModern 1961. Art,
Cage). The New YorkTimes,March 17, 1968. 4. Referenceto Fountain,1917.
Perreault. 2. Forexample Battcock, Lippard, John Gregory Lucy.R. with KnowAnyLonger Who I Was"(interview 3. Richard "We Don't Kostelanetz, John
(1970).
131
states: "The firstready-madewas Bicycle Wheel (1913). Duchamp's choice was and the success of the piece depended dictatedby common stylistic preferences then- as now - on its stylishness."7 a commodity objetd'art, Duchamp rejectedthe mythof the preciousand stylish for the benefitof museums and status seekers. His interestturned fromthe of paintingto the challengeof invention. tradition
APPENDIX 3
APHORISMS ON STAMPING* 1. Excursus:Timm Ulrichs"Whydo I stamp?' thestamp andthus "Ihavealways toexpress evenbythesimplest tried means, myself of instrument and'non-elitist' as an unpretentious as a 'democratic' or,ifyouprefer, ofproduction' which It is a popular camein very everybody printing handy. 'means to handle No previous is necessary can takeintopossession. it;anychild experience - so thestamp and canbe a printer children's knows that is a favorite everyone game: round hisprinting-press" (1975:74). carry Ulrichs speaks of the stamp, whereas I am going to speak of stamping.' too. of stamping, some of his aspects are characteristic Nevertheless,
thenen bloc:
thatcan 2. As is knownthereare stamping-characters materials) (made ofdifferent in a frame, or and which can be words be put together sentences, printed forming
der versuch einerverinderung einererfahrung
mountedon wooden, metallic,or plasticblocks Furthermore thereare characters and which are separately inked and printed.
will be discussed now. Workingwith such single characters 3. Stamping:an operationbetween writing and printing, as is shown by a first comparisonof characteristic features.
AUSSEN
Characteristic features ofwriting:
or individualhandwriting individualwriting-trace, of eyes, process: coordination brain,and hands;
7. CarterRatcliff, "New York,"ArtInternational (Summer,1970).
1. In thisessayI am concerned withtheuse ofstamps for rather than text-presentation withtheproduction ofspecial orprinting ingeneral which aredescribed stamps processes Cf. also G.F. by Timm Ulrichs (1975:66-82):"Stempel,zur Kunst gestempelt." Schwarzbauer, "Kiinstlerstempel," (1974:67-84).
* A German version Semiotik 2, 1980:381-385. appeared in Zeitschrift fiir
132
SIEGFRIED J.SCHMIDT
individualwriting-speed, slow production-speed; characters(as realizations of certaintypesof graphemic individual,hand-written tokens); linear temporalsequence of motions; usually arrangedin lines, but arbitrarily arrangeableon the surface; thatemergeout ofthe usuallywordsinterrupted by spaces, combinedintostrings realizable with various writing conclusions utensils,admitting writing-rhythm, about the author; communication, contact, information, (establishing usuallyhavingsocial functions etc.); a limitedpublic; usually establishing individualwork. mechanicaltypesetting; mechanical,highproduction speed; standardized typography; of a whole page at once usingpresettypes; successive printing arrangeableon the surface; usually arrangedin lines, but arbitrarily usingpresetblocksof by spaces, combinedintostrings, usually wordsinterrupted types; processes; printing produced by different usually assignedto purposes; an unlimited to its generalintention) public. (according usually establishing of eyes, brain,hands, body; non-individual writing process: coordination or printing); slow production speed (slowerthan writing standardizedcharacters,printsare usually not identical because of individual ofthesurface(e.g., on theabsorbency in inking, variations depending imprinting, paper, cardboard);
Characteristic ofprinting: features
Characteristic ofstamping: features
lineartemporalsequence of motions; arrangeableon the surface; usuallyarrangedin lines, but arbitrarily in the act intowords,wordsto textsthatare constituted letters usually combining of stamping; typesand inks; produced withdifferent purposes; usually assignedto particular a limitedpublic (similarto writing); usuallyestablishing individualwork. 4. Stamping: protractedor aggravated writing.The individual ductus of the personis preserved(thebiggerthe stampand the more incalculablethe stamping ofthe stampwill be preserved). the"individuality" surfaceto be stamped,thebetter 5. Why stamping? thenthe forprinting, If stamping is merelyused as an easilyavailable replacement are given up. In this case, it would be betterto of stamping inherent possibilities will be achieved. so thatthe (intended)betterlegibility printor to use letraset, allows ofholding and printing ofactingbetweenwriting as a possibility Stamping and the standardized, an interesting positionin thecontinuabetweentheindividual
AAAAAA
133
between writingand graphic, between communicationand refusal,between of theveryphysisofthe and presentation betweeninformation processand result, sign,etc. 6. Of course, stamped texts such as the ones in my project "das geruest"(the constitutethe theme of 'reading'(missing blanks, the text is partly scaffold)2 itis loses itsnormality; etc.). The mediumofwriting arranged sideways,non-linear, taken as a physicalevent aside fromits semanticinformation. 7. Stampedcharacters are architectonic phenomena.Theirpositionon the surface intowords is a conscious,constructive presupposesa decision,theircombination act, and no routineof writing.
as handling, theyovercometheirfunction They stimulateplaying,manipulation, merecomponents fortheconstruction ofwords,theyprovokecoincidence, manual skills.
thesensingofthesurface.Theyresist even the They inviteplayfulness, profundity: actionis greatfun. 8. Stamping necessitates reflectiveness. Each word develops slowly and only oftheword,therelation "under space mustbe foundforeach constituent pressure," to otherelementson thepage mustbe determined. on the Each workis constructed surfacein many "senseless" the word is written as an stages,whereas in writing in the writing entity, visuallyanticipatedas an entity process.
' 2. S.J.Schmidt, "dasgeruest, Werkstatt 1978. Breitenbrunn, hommage I. Kant."
134
VE VER
VERAE
SIEGFRIED J.SCHMIDT
VERA ND AE VER DE VERA&EN
VERAEN14D
etc. Should anotherword be added? Is itworththework?Is it worththeword?Whatis gained by this? 9. If thereis a word of truth in the statement thatlanguagein its poeticuse avoids the pragmaticfunctionof transferring meaningand that it presents-beside this transferitsmaterialaestheticqualities(sound,rhythm, is the etc.),thenstamping poetic action kat exochen.
10. Stamping is a manual effort at language,a compositional act in space and time. 11. Stamping indeed reduces the individuality of the charactersand the ductus of the writing. But thisreduction does not end up withthe mechanicsofprinting. By othermodes ofindividualexpression are favored which mustbe formally stamping disciplined,since it mustput up with the given means (stamps).
SPRACHEN
135
12. When someone finally decides on stamping as a mode of action (without being made or forced to do so), he or she must have had something in mind. May we thus conclude that:
ICHSTEMPLEAL SODENKEICHI
REFERENCES
Accame, V., 1974. La Practicadel Segno (Milano: Schuarz). of Bowles, JerryG. and Tony Russel, eds., 1971. This Book is a Movie: An Exhibition (New York: Dell). Language,Artand VisualPoetry zur Idee in: Douglas Davis, ed. and trans. Vom Experiment Beuys, J., 1975. Artforum, (Cologne: DuMont). Damen, Herman, 1972. Manifesto"poesia visiva,"Lotta Poetica 15-16. zur Idee (Cologne: DuMont). Davis, D., 1975. VomExperiment Visuelle Poesie International Dencker, Klaus Peter, 1972. Textbilder: (Cologne: DuMont). 58-64. 1978 "Drei Kapitelzur Visuellen Poesie,"in: TECKEN, catalogue Malmb Konsthall, de Vree, Paul, 1971. Manifesto,Lotta Poetica 1. der Fiktionen Einstein,C., 1973. Die Fabrikation (Rowohlt:Reinbek b. Hamburg). 18, Eisendle, H., 1978. "Gedaukeu zu Literatur,Kunst un Wissenschaft," Manus-Kripte 61:20 Faust, W.M., 1977. BilderwerdenWorte(Munich: Hanser). Gappmayr,H., 1970. Zeichen IV. visuelle gedichte (Karlsruhe:Sema). Gappmayr,H., 1978. Texte:Auswahl 1962-1977und neue Texte(Munich: Ottenhausen). des ZentaursbeimvomPferd Gerz, J., 1976. Die Schwierigheit steigen (Munich: Kunstraum). Ende (Neuwied-Belin: Luchterhaud). 1978 Heissenbiittel,H., 1970. Projekt1, dAlemberts undandereMarchen(Stuttgart: Klett-Cotta). Untergang Projekt3/1,Eichendorffs Art (Cologne: Phaidon P.C.). Honnef,K., 1971. Concept Horst, M., 1977. KonkretePoesie, An investigationconcerning the development and literature dissertation). (Meckesheim) (typescript typologyof non-mimetic M., 1974. "Story Art," Magazin Kunst,14. Jochimsen, Artand Language 1:2 Note by the AmericanEditor," Kosuth,J., 1972 (1970). "Introductory (February). ilberKonzeptuelleKunst," in: G. de Vries,ed. UberKunstLeWitt,Sol, 1965. "Paragraphen On Art:Kiinstlertexte zum verbnderten Kunstverstandnis nach 1965 (Cologne: DuMont). Lotta Poetica, 1971 ff."Poesia Visiva e conceptual art: un plaggio ben organizzato" Art (New York: Dutton). Meyer, U., 1972. Conceptual Gerz- Kunstnach 1968,"in: Catalogue on Gerz's exhibition Molderings,H., 1978. "Jochen "Das Licheln Mona L.'s bleibt unerwidert" (Miinster:Westfilischer-Kunstverein). Nauman, B., 1971. SituationConcepts(Innsbruck:Taxis Gallery). Schmidt,S.J.,1972. "Conceptual poetry:manifestoI," neue texte 8,9 (March). 1973 "manifesto II: fromconcrete poetryto conceptual poetry:11 theses,"neue texte10 (March). 1975a "Epilogue to the work breitenbrunn," Kommunikation und Interpretation (Internationales Forum Burgenland).
136
SIEGFRIED J.SCHMIDT
1975b "'Negation' und 'Konstitution' als KategorienKonkreter Dichtung,"in: H. Weinrich,ed. Positionender Negativitat (Munich: Fink), 393-433. (Englishtrans., New Literary in press.) History, 1977 volumina-projekt. 5 vols.(Breitenbrunn: Edition Breitenbrunn). 1981 Catalogue "die mechanik des normaden" (WestfalischerKunstverein:Miinster), 10-15November. und Kunst-Wotu? (Heidelberg:Winter). Schmidt,S.J.,ed. 1983. Literatur Schwarzbauer,G.F., 1974. "Kiinstlerstempel," Magazin Kunst14:3, 67-84. Todorovid,M., 1970. "Signalism," Signal 1. Ulrichs,T., 1975. "Stempel,zur Kunst gestempelt," Magazin Kunst15:1,66-82. 1978 "Abano,"annotationson "Scyllaund Charybdis,")(Catalogue). Weiermair,P., 1975. Epilogue, "Zeichen. AusgewahlteTexte,"Neue Texte15.

Schmidt (Perspectives On The Development) PDF

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Schmidt (Perspectives On The Development) PDF

Uploaded by

Copyright:

Available Formats

Porter Institute for Poetics and Semiotics

on the Perspectives ofPost-Concrete Poetry Development

ofPost-Concrete Poetry Development

H. Gappmayr, 1962 zeichen Innsbruck:pinguin

G. Ruihm, 1978. "Brief an die sch6ne Schlafende"

are mine. quotations ofthisand all other 5. Translation foreign-language

ofPost-Concrete Poetry Development

. ::", ,., '- :! -. .-.... ,-:,!.

K.B. SchAuffelen, 1979. Invitation card to the exposition in FolkwangMuseum, Essen

:. ,-, .- .., ..:. - --'. . ,, .: . -. 2

1970. A. Arias-Misson, POEM X. Actionin Knokke,Belgium.

ofPost-Concrete Poetry Development

inform bud nothing branches silent

ofPost-Concrete Poetry Development

ofPost-Concrete Poetry Development

ofPost-Concrete Poetry Development

HOMAGE TO GERTRUDE STEIN

van HfloandseRozenonderzoekers Vereniging

10. It shouldbe emphasized that thewritten to theBiennale partofhis contribution (Die

ofthemostcentral texts ofmodern art.

Development ofPost-Concrete Poetry

DOOR. THAT IS THE EMERGENCY

1976 Schmidt, S.J. Volumina II/III

to conceptional 11 theses II: from concrete manifesto poetry: poetry

ofPost-Concrete Poetry Development

1976 S.J.Schmidt, ofFact"(1971) 'The Matter

ofPost-Concrete Poetry Development

ofPost-Concrete Poetry Development

.ORIGINh 4OFSCA FFOLD SBYMEANSi OF NATURALS ELECTI ON

Poetry ofPost-Concrete Development

-I .", J,.. .,.......?.......

ofPost-Concrete Poetry Development APPENDIX 1

Cage). The New YorkTimes,March 17, 1968. 4. Referenceto Fountain,1917.

ofPost-Concrete Poetry Development

der versuch einerverinderung einererfahrung

Characteristic features ofwriting:

or individualhandwriting individualwriting-trace, of eyes, process: coordination brain,and hands;

7. CarterRatcliff, "New York,"ArtInternational (Summer,1970).

* A German version Semiotik 2, 1980:381-385. appeared in Zeitschrift fiir

Characteristic ofprinting: features

Characteristic ofstamping: features

ofPost-Concrete Poetry Development

as handling, theyovercometheirfunction They stimulateplaying,manipulation, merecomponents fortheconstruction ofwords,theyprovokecoincidence, manual skills.

' 2. S.J.Schmidt, "dasgeruest, Werkstatt 1978. Breitenbrunn, hommage I. Kant."

VERA ND AE VER DE VERA&EN

ofPost-Concrete Poetry Development

You might also like