[{"id":7933,"title":"Don Quixote (Miguel de Cervantes)","dimensions":"22.9 cm x 15.2 cm, 594 p, language: English, publisher: Self-Published, ISBN: 0-06-093434-4","date_begin":"2006-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"artist novel","publishing_process_id":1,"annotation":"\u003cp\u003ePublisher : Gareth Long, New Haven, CT. New translation by Ed\u0026iacute;th Grossman. Narrated by George Guidall. Number 50 of an edition of 100. Signed by the artist\u003c/p\u003e","date_end":null,"reference":"B 2025/647","stream_count_app":17,"permalink":"don-quixote-miguel-de-cervantes","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/875/large/scannen0003.jpg?1371460683","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLiterary synopsis\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eThis book was generated by processing the Audiobook version of \u003cem\u003eDon Quixote\u003c/em\u003e (Edith Grossman\u0026#39;s 2003 translation) through speech recognition software. For this software to work it must first be trained using a very particular script to understand an individual\u0026#39;s voice \u0026ndash; in this instance, the narrator of the audiobook, George Guidall. To accomplish this, the words in the training script were found within the Grossman book version. These words were then located on the corresponding audio CD, removed from their contexts and rearranged as if George Guidall was speaking the training script. After the audio files for the training speech were completed, this constructed reading was played to the speech recognition software, effectively training the computer to learn the voice of George Guidall. With this in place, the speech recognition software was ready to hear Guidall\u0026#39;s reading of Cervantes\u0026#39; book. The constructed voice of Guidall did not make for a perfect cypher. Often, Guidall used different voices for characters or Guidall ran words together \u0026ndash; not necessarily enunciating each word to its fullest, throwing off the accuracy of the software. At other times, words such as \u0026#39;Don Quixote\u0026#39; were unknown to the software\u0026#39;s built-in dictionary and came out differently, in certain instances, as \u0026#39;Donkey vote.\u0026#39; Further, much of the text reads like a Joycean stream, as the speech recognition software could not decipher the silent punctuation of the audio source. This generated text was then culled and printed as a book, closely resembling the standard paperback edition of the 2003 Grossman translation.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eRelation of the novel to the artist\u0026rsquo;s practice\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eBeyond \u003cem\u003eDon Quixote\u003c/em\u003e\u0026#39;s obvious canonical importance as the first modern novel, the story itself is about books and reading; seen through plays with meta-narratives, questions of authorship, and the book as an object of fetish. Like the novel, this new version is also preoccupied with these and many other subjects, including the exploration of the differences in reception between the act of both reading and listening. Gareth Long\u0026rsquo;s work, generally, centres on processes of transference, translation and collaboration as a means to question authorship and the mechanisms of cultural and knowledge production. In much of his previous work, he has explored the cross-translation of artistic forms, non-linear narrative tropes and gestures de-stabilizing medium specificity. Frequently, these explorations lead to a revised understanding of Modernism as it relates to artistic and literary traditions and the history of design, particularly book publishing.\u003c/p\u003e\u003cp\u003e\u003ca href=\"http://garethlong.net/donQuixote/donQuixote.html\"\u003eNovel\u0026#39;s website\u003c/a\u003e\u003c/p\u003e"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":9293,"title":"A More Precise Distance Between the Reader and the Ultimate Visions","dimensions":"22 x 14.5 cm, 43 p, language : English, publisher : Witte de With, Center for Contemporary Art","date_begin":"2013-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"artist novel","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2025/996","stream_count_app":21,"permalink":"a-more-precise-distance-between-the-reader-and-the-ultimate-visions","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/145/large/Untitled095.jpg?1387546785","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLiterary synopsis \u003c/strong\u003e\u003c/p\u003e\u003cp\u003eThe project relates the traditional text-spaces of an exhibition (exhibition catalogue, guide, wall labels, wall texts, etc.) to the text-space of Gustave Flaubert\u0026rsquo;s 1849/1856/1874 book \u003cem\u003eThe Temptation of Saint Anthony\u003c/em\u003e. Weaving together lines from this book, from Flaubert\u0026rsquo;s sources for the story (Athanasius, Jerome, Augustine, etc.); from the whole corpus of Flaubert\u0026rsquo;s work (including his novels, novellas, plays, correspondences, juvenilia, travel diaries, notebooks, etc.); some secondary materials relating to \u003cem\u003eThe Temptatio\u003c/em\u003en (Michel Foucault, Jonathan Culler, Julian Barnes, Maxime du Camp, George Sand); as well as Long\u0026rsquo;s own writing, this collage-text recuperates Flaubert\u0026rsquo;s story in relation to the exhibition; sometimes only tangentially making the relationship to the works in the exhibition legible. Much as Hilarion \u0026ndash;the main protagonist in the story- guides Anthony through the various temptations, Long\u0026rsquo;s narrative acts as a metaphoric guide to the exhibition. In Flaubert\u0026rsquo;s telling of the story of St. Anthony, the book (as in the book \u0026ndash;the Bible), though the source of Anthony\u0026rsquo;s faith, is the site from which desire and temptation arise. Long, similarly, turns to books, opening up his reading practice in order to see what apparitions and visions may come forth. Long worked with designer Mike Gallagher of We Have Photoshop to design the exhibition guide and wall texts, and had some research assistance from Zach Seely.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eRelation of the novel to the artist\u0026rsquo;s practice\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eHaving made a number of other works that reference the works of Gustave Flaubert, including the series of desk-sculptures titled Bouvard and P\u0026eacute;cuchet\u0026rsquo;s Invented Desk for Copying and the related project The Illustrated Dictionary of Received Ideas, this project falls in line with many of Gareth Long\u0026rsquo;s that deal with literature and reading. The style of writing is a sort of collage style that has the reader effectively reading over Long\u0026rsquo;s shoulder as he reads Flaubert (who is reading a number of ancient authors to be able to write \u003cem\u003eThe Temptation of Saint Anthony\u003c/em\u003e). Long has employed this sort of collage-writing previously in \u003cem\u003eLiterary Asses\u003c/em\u003e \u0026ndash;a play that he has been writing in the style of an ancient Greek Comedy (like Aristophanes). The first section of this play was published by Triple Canopy.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e**Literaire synopsis** Dit project verbindt de traditionele tekstruimtes van een tentoonstelling (catalogus, gids, labels aan de muur, wandteksten, enzovoort) met de tekstruimte van De verzoeking van de heilige Antonius van Gustave Flaubert uit 1849/1856/1874. Het verweeft regels uit dat boek met die uit Flauberts bronnen voor het verhaal (Athanasius, Hi\u0026euml;ronymus, Augustinus, enzovoort); uit het hele corpus van Flauberts oeuvre (zijn romans, novelles, toneelstukken, correspondentie, jeugdwerken, reisverslagen, notitieboekjes enzovoort); uit secundair bronnenmateriaal over De verzoeking (Michel Foucault, Jonathan Culler, Julian Barnes, Maxime du Camp, George Sand); maar ook uit Longs eigen geschriften. De collagetekst recupereert Flauberts verhaal in functie van de tentoonstelling; soms wordt de band met de werken in de tentoonstelling slechts indirect zichtbaar. Zoals het hoofdpersonage in het boek, Hilarion, Antonius doorheen de verschillende verleidingen leidt, dient Longs vertelling als een metaforische gids doorheen de tentoonstelling. In Flauberts versie van het verhaal van de heilige Antonius is het boek (als in \u0026lsquo;h\u0026eacute;t boek\u0026rsquo;, de Bijbel) de plek van waar verlangen en verleiding ontspruiten, ook al is dat boek de bron voor Antonius\u0026rsquo; geloof. Ook Long richt zich op boeken, en hij opent zijn leesgewoonte om te zien wat voor verschijningen en visioenen daaruit kunnen voortkomen. Voor het ontwerp van de tentoonstellingsgids en de wandteksten werkte Long samen met ontwerper Mike Gallagher van We Have Photoshop; Zach Seely assisteerde bij de research. **Verhouding van de roman tot de praktijk van de kunstenaar** Dit project ligt in lijn met heel wat ander werk over literatuur en lezen dat Gareth Long maakte. Een deel van zijn werken verwijst bovendien naar werk van Gustave Flaubert, zoals de reeks bureau-sculpturen *Bouvard and P\u0026eacute;cuchet\u0026rsquo;s Invented Desk for Copying* en het gerelateerde project *The Illustrated Dictionary of Received Ideas*. De schrijfstijl is collage-achtig; de lezer krijgt het gevoel dat hij effectief over Longs schouder meeleest in Flaubert (die op zijn beurt een aantal oude auteurs leest om *De verzoeking* van de heilige Antonius te kunnen schrijven). Long paste die collage-schrijfstijl eerder toe in *Literary Asses* \u0026ndash; een toneelstuk dat hij schreef in de stijl van de antieke komedie (als Aristophanes). Het eerste deel van dat toneelstuk is uitgebracht bij Triple Canopy.\u003c/p\u003e"},{"locale":"fr","description":""}]}]