Posts Tagged ‘n+7’

The difference between a concept & a constraint, part 1: What is a concept?

Monday, February 25th, 2013
Picture-6

Sol LeWitt: “Wall Drawing #1111: A Circle with Broken Bands of Color” (2003, detail). Photo by Jason Stec.

[Update: Part 2 is here.]

I wrote about this to some extent here, but I wanted to expound on the issue in what I hope is a more coherent form. Because I frequently see concepts confused with constraints, and the Oulipo lumped in with conceptual writing. For instance, this entry at Poets.org, “A Brief Guide to Conceptual Poetry,” states:

One direct predecessor of contemporary conceptual writing is Oulipo (l’Ouvroir de LittĂ©rature Potentielle), a writers’ group interested in experimenting with different forms of literary constraint, represented by writers like Italo Calvino, Georges Perec, and Raymound Queneau. One example of an Oulipean constraint is the N + 7 procedure, in which each word in an original text is replaced with the word which appears seven entries below it in a dictionary. Other key influences cited include John Cage’s and Jackson Mac Low’s chance operations, as well as the Brazilian concrete poetry movement.

I would argue that the Oulipo, historically speaking, are not conceptual writers/artists—although it’s easy to see how that confusion has come about, because the Oulipians have proposed some conceptual techniques, such as N+7 (which I’d argue is not a constraint). (Also, it’s each noun that gets replaced, not each word.)

What, then, distinguishes concepts from constraints? And why does that distinction matter? In this series of posts, I’ll try answering those questions, starting with what we mean when we call art conceptual.

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Theory of Prose & better writing (ctd): The New Sincerity, Tao Lin, & “differential perceptions”

Monday, May 28th, 2012

In the first post in this series, I outlined Viktor Shklovsky’s fundamental concepts of device (priem) and defamiliarization (ostranenie) as presented in the first chapter of Theory of Prose, “Art as Device.” This time around, I’d like to look at the start of Chapter 2 and try applying it to contemporary writing (specifically to the New Sincerity). As before, I’m proposing that one can actually use the principles of Russian Formalism to become a better writer and a better critic.

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I always thought a prince-nez was a nose ring.

Tuesday, September 21st, 2010

N+7:

Is it really so hard for yachtsmen to think outside the boyfriend?

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