DOC/UNDOC: Documentado/Undocumented Ars Shamánica Performática
DOC/UNDOC: Documentado/Undocumented Ars Shamánica Performática
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DOC/UNDOC：文献/无证 Ars Shamánica Performática
DOI：
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发表时间：
2018
期刊：
影响因子：
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通讯作者：
Jennifer Buckley
中科院分区：
文献类型：
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作者：
Jennifer Buckley
《贸易和发展报告》的普通读者可能会认为吉列尔莫·戈麦斯-培尼亚依次是行为艺术家和作家。订阅者可能会注意到他作为特约编辑的服务。但是，即使是那些书架上放满了戈麦斯-培尼亚所有10本出版的表演文本、诗歌、散文、教学练习和访谈集的人，也可能不会认为他专门投资于印刷品本身。他对电子媒体--视频、音频和数字媒体--的使用产生了比他的出版物更多的学术评论，甚至考虑到他广泛阅读的《新世界边界》（1996）。除了获得戈麦斯-佩尼亚美国图书奖，这本书开创了戈麦斯-佩尼亚和城市之光之间的重要合作，还产生了西班牙法典：从哥伦布到边境巡逻队（2000年）。这本非凡的书的续集，DOC/UNDOC：Documentado/Undocumented Ars Shamánica Performática构成了一个更彻底的努力，以“重新/想象博彩业的未来”（15）作为一个协作过程，包括多种媒体（“旧”和“新”）和制造商。
Casual readers of TDR would probably identify Guillermo Gómez-Peña as a performance artist and writer, in that order. Subscribers might note his service as a contributing editor. But even those whose shelves hold all 10 of Gómez-Peña’s published collections of performance texts, poems, essays, pedagogical exercises, and interviews may not think of him as especially invested in producing printed matter per se. His appropriations of electronic media — video, audio, and digital — have generated much more scholarly commentary than his publications, even taking into account his widely read The New World Border (1996). In addition to garnering Gómez-Peña an American Book Award, that book inaugurated a significant collaboration between Gómez-Peña and City Lights that also produced Codex Espangliensis: From Columbus to the Border Patrol (2000). A sequel of sorts to that extraordinary volume, DOC/UNDOC: Documentado/Undocumented Ars Shamánica Performática constitutes a more thoroughgoing effort to “re/imagine the future of bookmaking” (15) as a collaborative process that encompasses multiple media (“old” and “new”) and makers.