By Kenneth Goldsmith September 11, In the conceptual artist Douglas Huebler wrote, “The world is full of objects, more or less interesting; I do not. So, tonight I’m going to be talking about uncreative or conceptual writing uh, which is a type of literature that is made possible and uh, ii, ueh, born of and made. A recent interview on The Awl reminded me of a wonderful book by Kenneth Goldsmith — MoMA’s first poetry laureate, founder of the massive.

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One kennetb the most important books written on the future and perhaps recent past of contemporary writing — prophetic look on how technology is shaping writing and consciousness. Considering the less conventional ways readers interact with and consume texts, he also observes: Can techniques traditionally thought to be outside the scope of literature, including word processing, databasing, identity ciphering, and intensive programming, inspire the reinvention of writing?

And, while it falls short of fully considering how the benefits of copying might pertain to writing outside the creative realm, golesmith does gesture toward some interesting questions that are worthy of contemplation both in and outside classrooms. Uncteative Goldsmith is one of the most thought provoking poets and word artists out there.

What do the results of this odd manipulation imply? Goldsmith understands digitization, the internet, the proliferation of information, plagiarism, remixing and appro I despise textbooks. Wandering without a clear purpose or sense of direction, I have uncreahive disrupted the fast flow of passerby intent on some clear errand or commute, as though I were a butterfly strayed into the beehive, a snag in the stream.

It might be true that a lot of what passes for literature today, even literature I find challenging and enjoy, grows out of modernist ideas– but I’m not sure that this “rootedness” in past modes makes it wrting art, anymore than all conceptual kneneth is good because it’s conceptual.

The book builds on the ideas of the article, most productively by historically situating many more contemporary practices and discussing the aims of his own uncreative writing course at greater length. The type of shoddy argumentation in this book might become clearer with an example.


I’ve heard Goldsmith on the radio, and he’s an entertaining pitch man. Douglas Cowie, Times Higher Education Selected writers and their practices are reviewed in a series of accessible essays perfect for college-level writers. Midwest Book Review Good. Or else he lay pinioned by the demon of sloth who slipped in through the open door when he was all prepared for an annunciation muse to rewa But the callow merlin found it very difficult to enlist his liberty in the cause for which he had chosen obscurity.

He had an American wrihing, but the asylum he hoped to gain from the Spanish authorities was denied.

Uncreative Writing: Managing Language in the Digital Age by Kenneth Goldsmith

The act of choosing and reframing tells us as much about ourselves as our story about our wrtiing cancer operation. Aug 11, Sandi rated it liked it. It is anyway entertaining, interesting, and even sometimes provides hints to deeper ideas that writing so desperately n Mostly, a finely selected collection and brief critiques of new writing techniques. Uncreativd hour-long documentary of his work, Sucking on Wordspremiered at the British Library.

The publication of Capital forces knneth question not addressed here: When Goldsmith announces “the future of literature will be increasingly mechanical” p.

While we may be up to our eyeballs in existing writing, that doesn’t preclude the possibility that new writing could or should happen I’ve been teaching an article that served as a precursor to this monograph for years and am impressed with the overall impetus goodsmith both.

Feb 02, Philip Cherny rated it it was ok Shelves: Pages with related products. In this third level, I suppose the book is a useful documentation of ogldsmith projects, including Modernist experiments such as Stein’s poetry all the way to contemporary expressions like a dude trying to get bacteria to write poems through their gene sequence.

There are those who will doubtless balk at offering the work this sort of critical attention, yet the number of positive reviews it has received in mainstream publications suggests to me that ignoring it is futile.


Review Brilliant and elegant insight into the exact relation of contemporary literary practices and broader cultural changes, explaining how the technologies of distributed digital media exemplified by the World Wide Web have made possible the flourishing of a particular type of literature. Refresh and try again. Context versus content, Goldsmith is arguing strongly in favor of context.


There are no discussion topics on this book yet. As a result, he opens up a vital debate for anyone who cares about literature, between notions of traditional creative writing and the set of practices he labels “uncreative writing”. Nov 01, Derek Fenner rated it really liked it. Set up a giveaway. Remixing, reusing, repurposing, recopying, goldsmitth, repeating, and regurgitating all become themes throughout Uncreative Writing.

Apr 13, Gerard Brown rated it really liked it. Amazon Advertising Find, attract, and engage customers.

However, the rest sounded like gibberish. Try the Kindle edition unreative experience these great reading features: Seriously, I do not believe that these are his real opinions. Dec 01, amelia added it.

Uncreative Writing – Managing Language in the Digital Age | Columbia University Press

Read more Read less. The closest thing to it was the idea that all these experimental texts raised certain questions about certain aspects of language, but this feels like empty acrobatics to me. When Goldsmith announces “the future of literature will be increa Goldsmith proposes that the literature of the digital age should not really be written to be readbut rather not readjust thought about.

Mostly, a finely selected collection and brief critiques of new writing techniques. Amazon Inspire Digital Educational Resources.

Unless we choose to interpret this with stunning literalism, this involves taking into account the volume and intricacy of the text presented: