About this product

Product Identifiers

PublisherFitzcarraldo Editions

ISBN-101910695211

ISBN-139781910695210

eBay Product ID (ePID)240950460

Product Key Features

Book TitlePrimer for Cadavers

Number of Pages480 Pages

LanguageEnglish

Publication Year2016

TopicShort Stories (Single Author), European / English, Irish, Scottish, Welsh

IllustratorYes

GenreLiterary Criticism, Poetry, Fiction

AuthorEd Atkins

FormatTrade Paperback

Dimensions

Item Height1 in

Item Weight15.9 Oz

Item Length7.7 in

Item Width4.9 in

Additional Product Features

Intended AudienceTrade

LCCN2016-438916

Dewey Edition23

TitleLeadingA

Reviews'Discomfited by being a seer as much as an elective mute, Ed Atkins, with his mind on our crotch, careens between plainsong and unrequited romantic muttering. Alert to galactic signals from some unfathomable pre-human history, vexed by a potentially inhuman future, all the while tracking our desperate right now, he do masculinity in different voices - and everything in the vicinity shimmers, ominously.' -- Bruce Hainley, author of Under the Sign of [sic], ' A Primer for Cadavers is a book I have been waiting for - Ed Atkins is one of the great artists and writers of our time. He draws attention to the ways in which we perceive, communicate and filter information by combining layered images with incomplete fragments of speech, subtitles, drawing and handwriting. He describes this approach as "an attempt to address the body hole, rather than privilege sight [or] hearing... the work finding its home within the body of the reader". It underscores the ambivalent relationship that exists between real and virtual objects, between real and virtual conditions and between us and our virtual selves. A Primer for Cadavers is a brilliant book!' -- Hans Ulrich Obrist, author of Ways of Curating 'Discomfited by being a seer as much as an elective mute, Ed Atkins, with his mind on our crotch, careens between plainsong and unrequited romantic muttering. Alert to galactic signals from some unfathomable pre-human history, vexed by a potentially inhuman future, all the while tracking our desperate right now, he do masculinity in different voices - and everything in the vicinity shimmers, ominously.' -- Bruce Hainley, author of Under the Sign of [sic] 'Everything here lives in the uncanny valley, that strange space of revulsion that holds the almost human - what's us, but not quite.' -- Leslie Jamison, Parkett 'Known for his computer generated imagery, the artist often litters his surrealistic videos with his rapturous poetic speech. Here, however, the book strips us of any visuals and leaves us with the raw textual rhapsody that is elegiac, disturbing, and entertaining. If you're a fan of the artist, this book is a no-brainer. It resoundingly lets the reader imagine for themselves what Atkins's garrulous universe looks like.' -- Terence Trouillot, Artnet 'How can cadavers seem so alive, speak so eloquently? Atkins' prose is urgent, sometimes even breathless, seeming to stumble over its own material conditions. His is a unique voice that captures a truly embodied intelligence.' -- David Joselit, author of After Art 'Ed Atkins comes across as a writer who makes art. His body of work includes screenplays, audio, and videos that are the visual equivalent of a poem: sentences of image and sound are layered rhythmically, punctuated by repeated motifs.' -- Kathy Noble, Art Review 'Ed Atkins knows that "your body is deaf, mute, dumb, and, more, importantly, dangerous. No use talking to it, is there? Anyways, it's busy." Isn't it weird to have a busy body, especially one distributed on many "platforms", across media? In his writing, Atkins slows down that preoccupied body, puts it back together, thrusts it into the "imaginative context" of "particularly effusive relations", murders it, zombifies it, tears it apart again in that old medium of the written word. He puts it on trial, he writes, but finds that it in turn tries him. File your amicus curaie. We all stand with him.' -- Andrew Durbin, author of MacArthur Park, 'Known for his computer generated imagery, the artist often litters his surrealistic videos with his rapturous poetic speech. Here, however, the book strips us of any visuals and leaves us with the raw textual rhapsody that is elegiac, disturbing, and entertaining. If you're a fan of the artist, this book is a no-brainer. It resoundingly lets the reader imagine for themselves what Atkins's garrulous universe looks like.' -- Terence Trouillot, Artnet, 'Discomfited by being a seer as much as an elective mute, Ed Atkins, with his mind on our crotch, careens between plainsong and unrequited romantic muttering. Alert to galactic signals from some unfathomable pre-human history, vexed by a potentially inhuman future, all the while tracking our desperate right now, he do masculinity in different voices - and everything in the vicinity shimmers, ominously.' - Bruce Hainley, author of Under the Sign of [sic] 'Known for his computer generated imagery, the artist often litters his surrealistic videos with his rapturous poetic speech. Here, however, the book strips us of any visuals and leaves us with the raw textual rhapsody that is elegiac, disturbing, and entertaining. If you're a fan of the artist, this book is a no-brainer. It resoundingly lets the reader imagine for themselves what Atkins's garrulous universe looks like.' - Terence Trouillot, Artnet 'How can cadavers seem so alive, speak so eloquently? Atkins' prose is urgent, sometimes even breathless, seeming to stumble over its own material conditions. His is a unique voice that captures a truly embodied intelligence.' - David Joselit, author of After Art 'Atkins' writing spores from the body, scraping through life matter's nervous stuff, leaving us agitated and eager. What's appealed to us is an odd mix of mimetic futures. Cancer exists, tattoos, squids, and kissing exist - all felt in the mouth as pulsing questions.' - Holly Pester, author of Go to reception and ask for Sara in red felt tip, 'Atkins' writing spores from the body, scraping through life matter's nervous stuff, leaving us agitated and eager. What's appealed to us is an odd mix of mimetic futures. Cancer exists, tattoos, squids, and kissing exist - all felt in the mouth as pulsing questions.' -- Holly Pester, author of Go to reception and ask for Sara in red felt tip, 'How can cadavers seem so alive, speak so eloquently? Atkins' prose is urgent, sometimes even breathless, seeming to stumble over its own material conditions. His is a unique voice that captures a truly embodied intelligence.' -- David Joselit, author of After Art, 'Discomfited by being a seer as much as an elective mute, Ed Atkins, with his mind on our crotch, careens between plainsong and unrequited romantic muttering. Alert to galactic signals from some unfathomable pre-human history, vexed by a potentially inhuman future, all the while tracking our desperate right now, he do masculinity in different voices - and everything in the vicinity shimmers, ominously.' -- Bruce Hainley, author of Under the Sign of [sic] 'Known for his computer generated imagery, the artist often litters his surrealistic videos with his rapturous poetic speech. Here, however, the book strips us of any visuals and leaves us with the raw textual rhapsody that is elegiac, disturbing, and entertaining. If you're a fan of the artist, this book is a no-brainer. It resoundingly lets the reader imagine for themselves what Atkins's garrulous universe looks like.' -- Terence Trouillot, Artnet 'How can cadavers seem so alive, speak so eloquently? Atkins' prose is urgent, sometimes even breathless, seeming to stumble over its own material conditions. His is a unique voice that captures a truly embodied intelligence.' -- David Joselit, author of After Art 'Atkins' writing spores from the body, scraping through life matter's nervous stuff, leaving us agitated and eager. What's appealed to us is an odd mix of mimetic futures. Cancer exists, tattoos, squids, and kissing exist - all felt in the mouth as pulsing questions.' -- Holly Pester, author of Go to reception and ask for Sara in red felt tip 'Everything here lives in the uncanny valley, that strange space of revulsion that holds the almost human - what's us, but not quite.' -- Leslie Jamison, Parkett 'A Primer for Cadavers is a book I have been waiting for - Ed Atkins is one of the great artists and writers of our time. He draws attention to the ways in which we perceive, communicate and filter information by combining layered images with incomplete fragments of speech, subtitles, drawing and handwriting. He describes this approach as "an attempt to address the body hole, rather than privilege sight [or] hearing... the work finding its home within the body of the reader". It underscores the ambivalent relationship that exists between real and virtual objects, between real and virtual conditions and between us and our virtual selves. A Primer for Cadavers is a brilliant book!' -- Hans Ulrich Obrist, author of Ways of Curating

Afterword byLuna, Joe

Dewey Decimal828/.92

SynopsisOne of the most widely celebrated artists of his generation, Ed Atkins makes videos, draws, and writes, developing a complex and deeply figured discourse around definition, wherein the impossibilities for sufficient representations of the physical, specifically corporeal, world -- from computer generated imagery to bathetic poetry -- are hysterically rehearsed. A Primer for Cadavers , a startlingly original first collection, brings together a selection of his texts from 2010 to 2016. 'Part prose-poetry, part theatrical direction, part script-work, part dream-work, ' writes Joe Luna in his afterword, 'Atkins' texts present something as fantastic and commonplace as the record of a creation, the diary of a writer glued to the screen of their own production, an elegiac, erotic Frankenstein for the twenty-first century.', One of the most widely celebrated artists of his generation, Ed Atkins makes videos, draws, and writes, developing a com-plex and deeply figured discourse around definition, wherein the impossibilities for sufficient representations of the physical, specifically corporeal, world--from computer generated imagery to bathetic poetry--are hysterically rehearsed. A Primer for Cadavers , a startlingly original first collection, brings together a selection of his texts from 2010 to 2016. 'Part prose-poetry, part theatrical direction, part script-work, part dream-work, ' writes Joe Luna in his afterword, 'Atkins' texts present something as fantastic and commonplace as the record of a creation, the diary of a writer glued to the screen of their own production, an elegiac, erotic Frankenstein for the twenty-first century.', One of the most widely celebrated artists of his generation, Atkins makes videos, draws and writes, exploiting and subverting the conventions of moving image and literature. A Primer for Cadavers collects his fictions for the first time., One of the most widely celebrated artists of his generation, Ed Atkins makes videos, draws, and writes, developing a complex and deeply figured discourse around definition, wherein the impossibilities for sufficient representations of the physical, specifically corporeal, world -- from computer generated imagery to bathetic poetry -- are hysterically rehearsed. A Primer for Cadavers , a startlingly original first collection, brings together a selection of his texts from 2010 to 2016. 'Part prose-poetry, part theatrical direction, part script-work, part dream-work,' writes Joe Luna in his afterword, 'Atkins' texts present something as fantastic and commonplace as the record of a creation, the diary of a writer glued to the screen of their own production, an elegiac, erotic Frankenstein for the twenty-first century.', One of the most widely celebrated artists of his generation, Atkins makes videos, draws and writes, exploiting and subverting the conventions of moving image and literature. A Primer for Cadavers collects his fictions for the first time. One of the most widely celebrated artists of his generation, Ed Atkins makes videos, draws, and writes, developing a complex and deeply figured discourse around definition, wherein the impossibilities for sufficient representations of the physical, specifically corporeal, world - from computer generated imagery to bathetic poetry - are hysterically rehearsed. A Primer for Cadavers , a startlingly original first collection, brings together a selection of his texts from 2010 to 2016. 'Part prose-poetry, part theatrical direction, part script-work, part dream-work,' writes Joe Luna in his afterword, 'Atkins' texts present something as fantastic and commonplace as the record of a creation, the diary of a writer glued to the screen of their own production, an elegiac, erotic Frankenstein for the twenty-first century.'

LC Classification NumberPR6101