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The Oulipo and Modernism: Literature, Craft and Mathematical Form
No full textThe Oulipo is known primarily for the use of formal constraints in writing. The constraint is an arbitrary application of rigorously defined formal demands (often
drawn from mathematics) in the process of literary or poetic composition. The group was founded in 1960, and their remit was limited to the formulation of constraints rather than literary texts. There is thus no literary theory proposed by the Oulipo, and little in the way of critical interpretation of their methods in terms of its wider significance to the condition of art in the period of their emergence. Their approach is often counterposed to the Surrealists: where the Surrealist response to the conditions of rationalised modernity attempted to explore the unconscious, the non-rational and chance, the Oulipo’s use of constraints is consciously determined and resists the passivity of chance. The counter-model to the Surrealists for the Oulipo is the mathematical collectiveNicolas Bourbaki. Bourbaki’s rigorously abstract axiomaticmathematics provides the formal prototype of the most abstracted rationality for the Oulipo to use as compositional structures. The Oulipo also bear an ambivalent relation to structuralism, but where structuralism tends towards a descriptive identification of ‘deep structures’ of signification, the Oulipo instead deploy structures as historically-specific compositional material.
This thesis proposes to read the practice of the Oulipo as a production of the ‘new’ through a form of construction as ‘craft’ that is itself receptive to critical interpretation.
It contends that the Oulipo can be seen to offer a distinctive trajectory among the various responses to what Adorno identifies as a crisis of art’s autonomy in the latter half of the twentieth century; in other words, that they pursue an alternative modernism. I argue that the Oulipo’s use of arbitrary rigidified logical structures in literary composition is categorially alien to the latter’s concept, and thus that it forms a kind of resistant material which must be worked with. This model of skilled engagement recalls, in self-consciously paradoxical ways, the outmoded concept of craft which provides an alternative to, on the one hand, the post-romantic idea of artistic freedom, and on the other, full subsumption by technological procedure, maintaining a refracted instrumentality in the logic of method that yet resists pre-determination
All that is evident is suspect readings from the Oulipo 1963-2018
No full textPresidential foreword / Paul Fournel -- Editor's note / Ian Monk -- Another editor's note / Daniel Levin Becker -- Slept cried / Raymond Queneau -- Lecture on the Oulipo at Cerisy-la-Salle / Jacques Duchateau -- The atheist organist / Latis -- Correspondence with the Oulipo / Marcel Duchamp -- Letter to the Oulipo / Albert-Marie Schmidt -- Letter to Jacques Roubaud & Georges Perec / Claude Berge -- Idea box / François Le Lionnais -- The N+7 method / Jean Lescure -- Alphabet for Stämpfli / Georges Perec -- How I wrote one of my books / Italo Calvino -- Bilingual palindromes / Luc Étienne -- Letter to Valérie Guidoux / Stanley Chapman -- Literary lunatics / André Blavier -- Circular reflections from an immobile insect / Jean Queval -- Fifty oscillatory poems / Michèle Métail -- Ebony cup and ivory ball / Marcel Bénabou -- How to tell a story / Jacques Bens -- Invisible libraries / Paul Braffort -- The last minutes / Noël Arnaud -- Gesture / Michelle Grangaud --Rules of the game / Oskar Pastior -- A few musketeers / Hervé Le Tellier -- Frieze of the Paris Métro / Pierre Rosentiehl -- Poem of the Paris Métro / Jacques Jouet -- Sainte Catherina / Harry Mathews -- The republic of Beau-Locks / Jacques Jouet -- We did everything / Ian Monk -- On the end of time / François Caradec -- Novels / Paul Fournel -- N-evol / Anne F. Garréta -- Invisible cities: Lille / Olivier Salon -- Arrangements / Jacques Roubaud -- 99 preparatory notes to 00 preparatory notes / Frédéric Forte -- Metric poetry / Pablo Martín Sánchez -- Eodermdromes / Étienne Lécroart -- Narrative sestinas / Harry Mathews -- Counting on you / Étienne Lécroart -- Liquid tales / Hervé Le Tellier -- A very busy year / Bernard Cerquiglini -- Shark poem / Olivier Salon -- Brief encounter / Ross Chambers -- Writer's block / Daniel Levin Becker -- ⊂ / Jacques Roubaud -- Our beautiful zeroine / Marcel Bénabou -- The beautiful appetite / Paul Fournel --Northern line / Valérie Beaudouin -- Caroline, October 21, 1935 / Michèle Audin -- Microfictions / E. Berti & P. Martín Sánchez -- Epithalamia / Daniel Levin Becker -- The pitch-drop experiment / Frédéric Forte -- Louise / Clémentine Mélois -- No one remembers / Michèle Audin -- Return(s) / Ian Monk -- An ideal presence / Eduardo Berti -- Acknowledgments -- Approximative index of themes -- Contributor
Oulipo
No full textThe name OuLiPo has already appeared in Word Ways in connection with L\u27Egal Franglais, a bilingual vocabulary written for the group which bear that name
Setmana OuLiPo
No full textFotografies de l'exposició "Setmana OuLiPo". Del 13 al 17 de desembre de 2010, el Grup de Recerca en Escriptures Subversives (GRES) de la UAB organitza la Setmana OuLiPo. La Biblioteca d'Humanitats s'hi suma amb una exposició bibliogràfica i una de virtua
Setmana OuLiPo
No full textDel 13 al 17 de desembre de 2010, el Grup de Recerca en Escriptures Subversives (GRES) de la UAB organitza la Setmana OuLiPo. La Biblioteca d'Humanitats s'hi suma amb una exposició bibliogràfica i una de virtual.El grup Ouvroir de Littérature Potentielle (OuLiPo, taller de literatura potencial) va ser fundat el 1960 a París per François Le Lionnais, Raymond Queneau i una desena d'escriptors, matemàtics i pintors. L'objectiu era inventar noves formes poètiques o novel·lístiques a partir d'una "mena de transferència de tecnologia" entre matemàtics i escriptors
A contemporaneidade do OULIPO
No full textThe present article aims to describe different moments in the history of OULIPO, as well as its main members and how this group actually behaves in relation to its initial proposals. Throughout the text, the trajectory of the Oulipo is evidenced, from the consolidation of the group to the conscious and systematic application of mathematics as a basic structure of their contrainte. This article also presents a brief analysis of the work of three celebrated oulipiens - Italo Calvino, Jacques Roubaud and Georges Perec - and the playful approach of the Oulipo in the contemporaneity.Este artigo tem como objetivo mostrar os diversos momentos da história do OULIPO, seus principais membros e como este grupo se comporta atualmente, face às suas propostas iniciais. No decorrer do texto, evidencia-se a trajetória do OULIPO, passando pela consolidação do grupo e aplicação sistemática e consciente da matemática como estrutura básica de suas contraintes. Também faz parte do presente trabalho, breve análise da obra de três célebres oulipianos - Ítalo Calvino, Jacques Roubaud e Georges Perec -, além da abordagem sobre o OULIPO lúdico na contemporaneidade
Spatial palindromes/palindromic spaces: spatial devices in Vitruvius, Mallarmé, Polieri, Perec and Libeskind
No full textThis thesis explores non-linear geometric texts and narratives in literature and architecture and the experience of space that is facilitated by them. The research focuses on the palindrome because it is a non-linear mathematical/geometrical device that is found both in literature and architecture. In language, the palindrome is expressed in the geometrical arrangement of words, letters or concepts in the text or the narrative; and, in architecture, as mirrored symmetries or palindromic proportions, measurements and distributions of elements in drawings and buildings. The primary aim of the thesis is to explore the spatial qualities of palindromes, and the experience of those qualities not only in text but also in architecture. This dissertation thus consists of two parts: the first examines Spatial Palindromes in terms of the spatial structures of selected texts and considers their relation to architecture; and the second examines Palindromic Spaces in terms of the spatial experiences created by and through palindromes in text and architecture. The first part, Spatial Palindromes, constructs an original history of the spatial qualities of palindromes by looking at the theory guiding the use of non-linear devices in texts and architecture. This history moves from the use of palindromes in the work of classical figures and scholars (Orpheus, Pythagoras and Vitruvius), to the Medieval and Renaissance practice of mnemonics (Frances Yates, Mary Carruthers), to early twentieth-century structural linguistics (Ferdinand de Saussure) and the group OuLiPo (Raymond Queneau, Franyois Le Lionnais) and, finally, to late twentieth-century post-structural linguistics (Jean Baudrillard.) The thesis argues that palindromes create spatial experiences both in texts and architecture. For this reason the second part, Palindromic Spaces, studies the nature of spatial experience in the fictions and designs of Stephane Mallarme, Jacques Polieri, Georges Perec, and Daniel Libeskind. According to Baudrillard the poetic space, hidden or revealed by the anagram and palindrome, is where the solid structure of language is "exterminated." This act of extermination, or the poetic space that palindrome reveals in language, opens up perception, memory and recollection to a spatial experience "that incorporates the recession of outcomes ad infinitum;" a self-generated, self-consumed or self-reflective conception of history and space that this thesis aims to explore in architecture
The Machinery of Creation. Oulipo Poetry, Copyright & Rules of Constraint
No full textThis article explores the double burden of creative regulation – the aesthetic restrictions artists choose and their interaction with copyright rules, using the example of oulipo, a constraint-based creative practice. Part One explains the Oulipo movement. Oulipo technique is then demonstrated in new poems by artist and poet Janet Bi Li Chan, based on existing works, Franny Choi’s Turing Test and Tracy K Smith’s Sci-FI, applying word substitution (N + 7), erasure or blackout technique, and remixing. Part Two applies a copyright law reading to the new poems. We show how legislative frameworks measure all creators – regardless of artistic self identity and process – as if they were humanist authors. But in application tests also produce far more surprises than might be expected if law is conceived of as rule-based constraint. Part Three applies Oulipo techniques to key articles of the Berne Convention that permit artistic licence: Art 9 Right of Reproduction; Art 10 Certain Free Uses of Works; and Art 10bis Further Possible Free Uses of Works. These new Berne poems highlight the prescriptive face copyright law presents to creators. We argue it is the emotional resonance of copyright, rather than its technicality, that primarily impacts creative practice. We conclude that law reproduces an idealised imaginary of a humanist author to measure creative transgression and this confinement means that copyright is unable to properly converse with artists or poets. Law suppresses the cyborg in all creation
Ecos do surrealismo e o grupo Oulipo
No full textThis article aims to trace a brief panorama of the Oulipo group, founded in France in the sixties and still in existence. This group became known by the rules imposed on its members for the creation of any literary text and also, for fl irting with mathematics. The purpose of this study is to enumerate some of the many constraints created by the group and connect some procedures to the surrealist movement.
Keywords: Oulipo. French poetry. Constraints. Surrealism.Este artigo tem como objetivo traçar um breve panorama do grupo OULIPO, surgido na década de 60 na França e ativo até hoje. O grupo tornou-se célebre pelas regras que impôs a seus membros para a criação de qualquer texto literário, e também por fl ertar com a matemática. Pretende-se aqui enumerar algumas das muitas contraintes criadas pelo grupo e associar alguns procedimentos ao movimento surrealista.
Palavras-chave: OULIPO. Poesia francesa. Contraintes. Surrealismo
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