Works of conceptual literature have primarily responded to the historical precedents set by two disparate movements in the avant-garde: first, the systematic writing of Oulipian pataphysicians (like Queneau, Roubaud, et al.); second, the procedural artwork of American conceptualists (like Kosuth, Huebler, et al.) — precedents that, in both cases, reduce creativity to a tautological array of preconceived rules, whose logic culminates, not in the mandatory creation of a concrete object, but in the potential argument for some abstract schema. Ideas that we conceive for works now become systemic “axioms,” and the works that we generate from these ideas now become elective “proofs.” The concept for the artwork now absorbs the quality of the artwork itself. The idea for a work supplants the work. The idea renders the genesis of the work optional, if not needless. For the proponents of conceptual literature, a writer no longer cultivates any subjective readerships by writing a text to be read, so much as the writer cultivates a collective “thinkership” — an audience that no longer even has to read the text itself in order to appreciate the importance of its innovation.
- Christian Bök, fueling the thinkership over at Harriet. Read the whole post here.