Objects, after Gertrude Stein’s "Tender Buttons"

Lindsay-Snow, Rachel

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https://hdl.handle.net/2142/103713 Copy

Description

Title

Objects, after Gertrude Stein’s "Tender Buttons"

Author(s)

Lindsay-Snow, Rachel

Issue Date

2019-03-15

Keyword(s)

• Pecha kucha
• Remixes
• Public domain
• Derivative works
• Cubism
• Stein, Gertrude
• Picasso, Pablo
• Stream of consciousness
• Literary cubism

Date of Ingest

2019-05-06T15:52:23Z

Abstract

"

The Re-Mix it Competition was held at the University of Illinois at Urbana-Champaign in 2019, celebrating the expansion of the public domain by encouraging students to create new, innovative works with items in the public domain. Submissions were judged on originality, sensory impact, and connection between the work and the public domain.

Author: Rachel Lindsay-Snow
Title: Objects, after Gertrude Stein’s ""Tender Buttons""
Place: 3rd

Description of how the work connects to the public domain, provided by the author:
Process Steps:
* Read aloud Gertrude Stein’s Tender Buttons: Objects & audio record
* Find twenty sections that took about twenty-seconds to read and make a list of Stein’s titles for these sections (see note no. 1)
* Using each of these titles as a starting point, speak a twenty-second-stream-of-consciousness-poem, audio record & transcribe
* Do a Library of Congress image search using the same twenty Stein titles. (see note no. 2)
* Using a cubist style, cut up and collage these images to create twenty figures to accompany the poems (see note no. 3, no. 4)

Additional Notes:
* This structure is modeled after the Pecha Kucha presentation style, which takes twenty slides, plays each for twenty seconds, while the speaker talks. Poetry, also, adapted this form—creating poems responding to images.
* Image search results were refined to Paris where Stein spent the second half of her life. This was also where the term ‘cubism’ got traction.
* Stein’s prose are referred to as works of literary cubism and Stein was acquainted with cubist Pablo Picasso.
* Cubism is known for breaking/disembodying figures/objects, analyzing and reassembling them into new, and abstracted, forms. This form allows the viewer to interact with the subject from multiple perspectives.

Citations of public domain works used:
Stein, Gertrude. Tender Buttons: Objects, Food, Rooms. New York : C. Marie, 1914. Print.

A carafe, that is a blind glass:
No. 795: A class of blind soldiers held by the Comite' Franco-Americain pour les Aveugles de la Guerre, Hotel de Crillon, Paris: From left to right, seated: French architect, Mechanic, and Inventor, Farmer, an Arab, a Commercial traveler. Standing: French Farmer, Polish Farmer, looking over his shoulder a blind professor, refugee from Arras, then a Lieutenant; next the sister of the blind man on the right of the ""Gardienne du Phare."" He is a member of the bar, and has volunteered his services to help the men blinded in Battle; on left of the Gardienne is an Adjutant Chef. With the exception of the lawyer and refugee from Arras, all the men in the picture have been blinded in battle. No. 796: Teaching the blind how to play checkers on an American checker board adapted for the blind. France Paris Paris, 1917. [December Date Received] Photograph. https://www.loc.gov/item/2017676795/.

A box:
United States Army Signal Corps, photographer. Miss Louise Tennis of Chicago at work at the American Fund for French wounded, Paris, packing a box for the front. France Paris Paris, 1918. September. Photograph. https://www.loc.gov/item/2017683329/.

Dirt and not copper:
Zola, Émile, and Mary Neal Sherwood. The flower and market girls of Paris. [Philadelphia, T. B. Peterson & brothers, 1888] Pdf. https://www.loc.gov/item/09001327/.

Nothing Elegant:
Morice, Charles, and John N Raphael. The re-appearing Il est ressuscité!; a vision of Christ in Paris. [New York, Hodder & Stoughton, George H. Doran company, 1911] Pdf. https://www.loc.gov/item/11014549/.

Mildred’s Umbrella:
Zola, Émile, and Mary Neal Sherwood. La belle Lisa; or, The Paris market girls. [Philadelphia, T. B. Peterson & brothers, 1882] Pdf. https://www.loc.gov/item/09001337/.
*Public Domain

A method of a cloak:
Souvestre, Emile. An attic philosopher in Paris; or, A peep at the world from a garret, being the journal of a happy man. New York, D. Appleton and company, 1901. Pdf. https://www.loc.gov/item/04021342/.

A red stamp:
Martial, A. P., Etcher. Mabille et le Chateau des fleurs. France Paris, 1874. [Place not identified: Publisher not identified, ?] Photograph. https://www.loc.gov/item/2018646806/.

A red hat:
Gribble, Francis Henry. The Red Spell. [New York, London, F.A. Stokes, 1895] Pdf. https://www.loc.gov/item/06045415/.

A blue coat:
Hall, A. D, and Octave Feuillet. A Parisian romance. [New York, Street & Smith, 1890] Pdf. https://www.loc.gov/item/07000529/.

A frightful release:
Hugo, Victor, and Isabel Florence Hapgood. Notre-Dame de Paris. [New York, T. Y. Crowell & co, 1891] Pdf. https://www.loc.gov/item/18017313/.

A purse:
Bradford, William. Yesterdays in Paris. A sketch from real life. [New York, The Authors' publishing company, 1880] Pdf. https://www.loc.gov/item/06015197/.

A cloth:
Hine, Lewis Wickes, photographer. Surgical dressings, 118 Rue de la Faisanderie, Paris. American Red Cross. Putting eyelets in rubber cloth supporting slings at the AMERICAN RED CROSS workrooms for surgical dressings, Rue de la Faisanderie, Paris. These slings are supported by cords attached to a wooden extension and serve to prevent jarring of the wounded arm. France Paris Paris, 1918. July. Photograph. https://www.loc.gov/item/2017682006/.

More:
Paris, France. Interior of one of the tents, at the American Red Cross Hotel #13, Paris. There are 1,400 beds, a fully equipped canteen and recreation hut, where the men may buy good meals at very small cost. At the time this picture was taken the tents were not yet ready for occupancy. The work was started on February 18th , and finished in just nine days. Situated in the heart of Paris in the shadow of the Eiffel Tower, at Champs de Mars, this has proven to be one more of the great successed which the Red Cross has achieved abroad. France Paris Paris, 1919. February. Photograph. https://www.loc.gov/item/2017680406/.

Objects:
Tissandier, Albert, Artist. Voyages aèriens de M.M. Albert et Gaston Tissandier. Tentative de retour dans Paris assiégé. Le ballon, ""Le Jean Bart"" descend au milieu de la Seine en vue de Jumièges, 8 novembre/ Albert Tissandier. France Paris, None. [Between 1870 and 1880] Photograph. https://www.loc.gov/item/2002735693/.

A drawing:
Baltard, Louis-Pierre, Architect. Projet de marché aux charbons. Pavillon de l'administration. Elevation, plan, and section / Baltard. France Paris, 1817. 29 August. Photograph. https://www.loc.gov/item/2009632429/.

A time to eat:
Ruffini, Giovanni. The Paragreens on a visit to the Paris universal exhibition. [New York, Dix, Edwards & co.; etc., et, 1857] Pdf. https://www.loc.gov/item/01026991/.

A little bit of tumbler:
Thackeray, William Makepeace. Sketch books; The Paris sketch book of Mr. M. A. Titmarsh; The Irish sketch book; Notes of a journey from Cornhill to Grand Cairo. New York, London, Harper & brothers, 1898. Pdf. https://www.loc.gov/item/12031088/.

In between:
American Red Cross Metropolitan Canteens. ""Poilus"" being fed at Gare Montparnasse between trains. Book B. France Paris. france paris, None. [Between 1917 and 1919] Photograph. https://www.loc.gov/item/2017667604/.

A feather:
Barron, Elwyn Alfred. Manders; a tale of Paris. Boston, L. C. Page & co, 1899. Pdf. https://www.loc.gov/item/99003731/.

A table:
Sample of American Red Cross kitchen wagon on exhibition at the Grand Palais. Presented by employees of the Forrestry Service of the Department of Agriculture, U.S.A. Picture shows portable tables and pans. France Paris Paris, None. [Between 1914 and 1920] Photograph. https://www.loc.gov/item/2017680887/."

Type of Resource

video

Genre of Resource

• Performance
• Other

Permalink

http://hdl.handle.net/2142/103713

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