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Notes
Theodor Adorno, Aesthetic Theory, trans. Robert Hullot-Kentor (Minneapolis: University of Minnesota Press, 1997), 118.
Bernstein explains: “Frame lock, and its cousin tone jam, are the prevailing stylistic constraints of the sanctioned prose of the profession. No matter that the content of the essay may interrogate the constructed unity of a literary work or a putative period; may dwell on linguistic fragmentation, demolition, contradiction, contestation, inter-eruption; may decry assumptions of totality, continuity, narrative progression, teleology, or truth and may insist that meaning is plural, polygamous, profligate, uncontainable, rhetorical, slippery or sliding or gliding or giddy or prurient. The keepers of the scholarly flame, a torch passed hand to hand and fist to mouth by generations of professional standard bearers and girdle makers, search committees and admissions officers, editors and publishers, maintain against all comers, that the argument for this or that or the other must maintain appropriate scholarly decorum.” See Charles Bernstein, “Frame Lock,” in My Way: Speeches and Poems (Chicago, IL: University of Chicago Press, 1999), 90.
Cora Diamond, “Losing Your Concepts,” Ethics 98(2) (January 1988): 255–77.
See Duchamp's Box in a Valise, which Martha Buskirk describes as follows: “Through the publication of reproductions and facsimiles of his works as well as related notes, Duchamp was able to ensure the continued existence of the readymades as concepts, even when the specific physical object had not been retained. One step that Duchamp took to consolidate and provide a context for his work was his production of Box in a Valise, which made its first appearance in 1941. This facsimile edition functioned as a miniature museum that used small-scale replicas to unite works dispersed in various private collections and readymades that did not, at least at the time, even have a physical existence.” See Martha Buskirk, The Contingent Object of Contemporary Art (Cambridge, MA: MIT Press, 2003), 68–9.
John Cage, Empty Words (Middletown, CT: Wesleyan University Press, 1979), 11.