Antindex

Original photo credit: Charles Bernstein/PennSound © 2008

The Antindex is an index to the recordings of David Antin that are available online at the Selected audio and video recordings from the David Antin papers [ca. 1972-1995] page available from the Getty Library and at the David Antin author page available from PennSound.

I’ve made it available in a few formats:

The excel file consists of two sheets: (1) the index and (2) a list of the set of recordings, including notes on some of them. I’ve also included the list and the associated notes below.

The index itself is organized in three columns. The leftmost column contains the primary topic/reference entries in Antin’s recordings. The middle column contains subentries of those primary entries as well as sub-subentries; I’ve also included italicized subheadings in this column to help organize the subentries of larger entries. The rightmost column identifies the recordings that are associated with the entries. All the referenced recordings for an entry (including its subentries) are found across from the entry, and the referenced recordings for each of the subentries and sub-subentries are found across from each of them. Since the italicized subheadings are merely organizational rather than constituting actual points of references within the recordings, there are no recordings in the third column associated with the subheadings.

The recordings are assigned a short form reference code, and the purpose of the sheet with the list of recordings (and the list below) is to match the reference code with the title of the recording given to it a the Getty Library or PennSound. The references with C or V and an number (e.g., C21) are Getty Library recordings and are the same reference ID found at the Getty Library Web page. The other references that are different combinations of letters (and sometimes numbers) are references to the recordings at PennSound. Since the recordings aren’t further subdivided (like a book with pages), the references are to the entire recordings (the technology certainly exists to give pinpoint references in the recordings by time, but I’ll leave that for someone else to take up).

Most of the recordings are of talk poems, though some of the recordings are of panel discussions, interviews and conversations. Many of the talk poem recordings include the audience question and answer sessions at the end. I’ve chosen to index all the recordings rather than try to draw a line between a talk poem strictly speaking and other presentation formats for a couple of reasons. First, Antin’s talk poems often have an interactive element, such as the question and answer session at the end, or even direct audience intervention, the most well-known being his performance at 80 Langton St. where members of the audience turned the talk into a conversation. Second, even in those formats where Antin isn’t the only presenter or is interacting with others like in a panel or roundtable discussion, he’s performing. His performances do differ based on different audiences—for example, when he’s in front of an audience that contains a friend he sometimes addresses his friend or hedges his arguments based on what he perceives as his friend’s viewpoint. However, he tends to use many of the same references, stories and rhetorical devices regardless of the venue in which he’s performing, whether a talk poem monologue or roundtable discussion.

Some of the recordings at the Getty archive are not recordings of Antin’s performances (such as recordings he may have made of other conference presentations). These have not been indexed and are noted in the recording list, but they aren’t found among the index itself. There are several instances where more than one recording was made of a performance or where a recording at the Getty archive is also found at Antin’s author page at PennSound. In that case I’ve chosen only to include one entry for the performance, usually the one from Getty. Where there are two Getty recordings of the same reading, I’ve used the earlier recording unless a later recording has additional material on it.

I’m not an editor/library scientist/archivist by trade: the Antindex is a product my own idiosyncratic approach to indexing; however, I generally followed the customary approach of constructing it alphabetically and with some concision. Although I attempted to choose entries that most people would also find important or interesting, I didn’t work that hard to restrain my own interests in guiding the entries I chose or their organization, so the Antindex likely reflects a more personal perspective than your average index.

I’d like the Antindex to be a living index, and welcome any additions, corrections and the like (just contact me through the page).

The Antindex is made available under the Creative Commons CC-BY license (https://creativecommons.org/licenses/by/4.0/). Of course, this license only applies to the Antindex itself and not to any of the recordings or materials on the Getty or PennSound sites.

RefNameNotes
C1Part I & II, Wolfman (Cal Arts), undated
C2Oral/Literal Sociology of Art, 1972
C4Whitney Take, Parts I & II, 1972
C5Whitney Take, Part 3, 1972
C6Talking at Pomona, 1972
C7University of Massachusetts Talk, 1972
C8Semiotics 1973
C9Remembering, Recording, Representing, 1973
C10The Invention of Fact, Part III, U.C. Berkeley, 1973
C11The Invention of Fact, Part I, U.C. Berkeley, 1973
C12The Invention of Fact 1 & 2, 1973Same as C10 and C11 (different recording of same event).
C13The Invention of Fact 3 & 4, 1973Q&A session for C12.
C14Talking at the Boundaries 1, 1973
C15Talking at the Boundaries 2, 1973
C16[Side A] Antin, circa 1975Not an Antin talk– roundtable discussion; side A of C17b.
C17a[Side A] Gary Snyder, Politics of Ethnopoetics, 1975Not an Antin talk– a recording of a Gary Snyder lecture.
C17b[Side B] Quasha, 1975Not an Antin talk– roundtable discussion; side B of C16.
C18Black Vernacular, Ethnopoetics Conference, 1975Part of C19.
C19David Antin (workshop), Ethnopoetics, 1975Contains same recording as C18
C20Side III, Language-Invention & Discovery, 1975
C21Everson Museum – A private occasion in a public place, 1974
C22Is This the Right Place?, 1973
C23Liberation of the Artist Parts 1 & 2, Performed in Pasadena, 1974
C24Liberation of the Artist, Part III, 1974
C25The Body PoliticSide A and Side B.
C26Where is Sylvia?, Part I, Performed at St. Mark’s, 1975
C27Where is Sylvia?, Part III, Performed in New Mexico, circa 1975
C28Where is Sylvia?, Performed at Boston University, 1975
C29Inventory & Discovery, 1, Performed in Palomar, 1975
C30The Value of the Real Thing, 1975Not a recording of a talk.
C31Why I’m not a Professional, 1976
C32Why I’m not a Professional; Am I a Surgeon?, 1976
C33Am I Singing–Music Department, 1976
C34Radio K-PBS, Who’s listening out there, 1977Side A and Side B; talk for a show called The Poetry Hour.
C35Heavy Truth, Part I, 1977
C36Stockton State, Gambling, 1977Side A and Side B; Side B has the recording– Side A is blank.
C37Seattle, and/or, 1977Appears to be part 2 of C35.
C38What Am I Doing Here?, undated
C39The Currency of the Country, 1977
C40The Currency of the Country, Part II, circa 1977
C41David Antin Talking; Gambling, 1977
C42Tuning: An Exploration, 1977
C43Athenaeum–Belief, Sides 1 & 2, 1977
C44Athenaeum–Belief, Side 3, 1977
C45David Antin: Talking, Atlantic City, 1978Side A and Side B; Note: Side B is either silence or recording of  Marx Brothers’ movie.
C46Fiction, Fact & Self #3; The Structuralist, 1978
C47The Artist’s Book (incomplete), circa 1978Same as C49; items identfied as C49 include C47.
C48Fiction, Fact & Self, 1978, Performed at Ontario Art Gallery.
C49The Radius of the Discourses, Parts I & II, 1978Same as C47 except a little longer.
C50The Radius of the Discourses, Part III, 1978
C51Anorexia, Part I, 1978, Performed at 80 Langton Street in San Francisco.
C52Anorexia, Part II, 1978, Performed at 80 Langton Street in San Francisco.
C53Anorexia, Performed for Roy Harvey’s class.
C54Discussions of Figures of Speech and Mind, 1978 Performed at 80 Langton Street in San FranciscoPart of this overlaps with C52.
C55Discussions of Figures of Speech and Mind, 1978 Performed at 80 Langton Street in San FranciscoDuplicate recording of the C51 and C52 80 Langton St event.
C56Discussions of Figures of Speech and Mind, 1978 Performed at 80 Langton Street in San FranciscoDuplicate recording of the C51 and C52 80 Langton St event.
C57How Long is the Present?, 1978
C58The Search for the Present, 1978, Performed at Los Angeles Book Fair.
C59Radical Coherence, 1978 [Side A and Side B]Recording of radio show “Textures” hosted by Denis Bartell, focusing on California writers, which also contains the same talk as C103.
C60Antin at Roy Harvey Pearce’s seminar 1978
C61Technology, 1978, Performed at Center for 20th Century Studies in Milwaukee.
C62Art & Technology, 1978, Performed at Museum of Contemporary Art in Chicago.
C63Art & Technology, 1978, Performed at Museum of Contemporary Art in Chicago.
C64Figures of the Mind, 1978, Performed at UCSD-CME.
C65Figures of Speech and Mind, 1978
C66Interrupted Anorexia, Part 1, 1978This is another recording of the C51 and C52 80 Langton St. event.
C67Interrupted Anorexia, Part 2, 1978This is another recording of the C51 and C52 80 Langton St. event.
C68C68: Contemporary Symbolization, 1979, Performed at University of California, Irvine.
C69Museum of Modern Art, 1979
C70Hallwalls: Fiction, Fact and Self, 1979
C71Hallwalls: Fiction, Fact and Self, Part II, 1979
C72Visual Studies, undated
C73C73: Duchamp and Language, 1971, Performed at University of California, Irvine.
C74Stories from Libra Gallery, 1973
C75The Artist as Obstacle, 1973, Performed at Philadelphia Art Museum.
C76A More Private Place, 1974
C77A More Private Place, Side III, 1974
C78The Value of the Real Thing, circa 1975
C79Reading at Jerry’s House I & II, 1976This is not a talk by Antin; it is a recording of others reading, including Jerry Rothenburg.
C82UCSD Student Pitch, 1977
C83Media Center, 1978
C84The Politics of Artists Book, 1978This is the same talk as C50.
C85New Wilderness, Parts 1 & 2, 1978
C86New Wilderness, Part 3, 1978
C87The Medium, 1979This is the same talk as C69.
C88Dialogue / Discourse, Part 1, 1979, Performed at Santa Barbara Museum.
C89Dialogue / Discourse, Part 2, 1979, Performed at Santa Barbara Museum.
C90Contemporary Symbolization, circa 1979, Performed at University of California, Irvine.
C91Tuning, undated
C92The Man With the Hoe, undated, Performed on Edwin Markha Day at the University of Southern California.
C93Audition Copy, Watershed Media, 1980
C96The Sociology of Dreams, 1980
C97Intermedia Piece, 1980
C98Montevideo, 1980, Performed in San Francisco.
C102Folger Library, 1980This talk is the same as C93 and as The Principle of Fit at Penn Sound. Introduction by Douglas Messerli.
C103Radical Coherency, 1980Recording covered within C59.
C105The Poetics of Art, 1980
C106The Search for the Present, Part I, 1981This is the same talk as C58.
C107CalArts (introduced by Jo Berryman), 1981
C108Death of the Hired Man, 1982
C110Let’s Encourage the Private Sector, 1982
C113La Poesie sonore, 1982Not a talk; this appears to be a recording of French sound poetry, including Francois Dufrene, and you can occasionally hear chuckles, which may be Antin’s from the audience.
C114History-Villa Montezuma, 1982
C115The Village Voice, 1982
C116David at L’Arc, undated, Performed in Paris.Talk given in French and English.
C118Memphis Art Institution, 1983
C119Beyond Baroque: In Praise of Folly, 1983, Performed in Los Angeles.
C120Cal Tech Performance, 1983This is the same talk as 107.
C121Lemons, 1983, Performed at University of Texas.
C122Orpheus: The Dismembered Body, 1983, Performed at San Antonio Museum.
C123Narrative Theory, 1983, Performed at CME Conference.Conference presentation instead of usual talk.
C124Coming-Going-Being, 1983
C125Art Institute Chicago, 1983
C126Book Works, 1984
C127D.G. Wills, 1984
C128Forgetting, 1984, Performed in Bisbee, Arizona.
C129The Cat Sat on the Mat, undated
C130The Cat Sat on the Mat, undated
C131Survival, KPFK, 1984
C132Poets Against Empire, 1984
C133U. C. Riverside, Poetry is an Ongoing Act of the Mind, undated
C134Poetry & The Idea of an Idea, 1984
C138Line-Counterpoint, 1984Has Q&A session; same talk as PennSound’s “line music counterpoint disjunction and the measure of mind”
C139Peter-Narrative, 1984, Performed at San Diego State University.
C140Fantasies of History, 1984
C141The Sea, 1985
C142Making It, Making Do, Making Sense, 1985
C143Art Now, 1985, Performed at 911 Gallery in Seattle.
C144Ethnopoetics Conference, Antin and Robert Duncan, undatedSide A is the last part of Robert Duncan’s talk; side B is Antin
C145Moss–Architectural Forum, 1985
C146Newport, 1985
C147The Idea of Tradition, 1985
C148Beyond Baroque, Reality, 1985
C150Diderot’s Hieroglyph, 1985
C151American Studies Performance Panel, 1985This is a Q&A session.
C152East Carolina, 1986
C153The Artist, 1986, Performed in Fresno.
C154Bogg, 1986
C155The OtherDifferent recording of the same talk as C154.
C156David at Muir Education, 1986This is a lecture before students.
C157Biography, 1986
C158Theatre of Self, KCAI, 1986
C159Genre, 1986
C160Greenville Class, 1986
C161The Magician, 1987, Performed at Chicago Art Institute.
C162Health Aids, 1987
C164Avant-Garde Panel, 1987Diferent recording of the same talk as C161.
C166Spring Noise & All, 1987
C167Where are you?/The Price, Sides 1 & 2, 1986
C168Where are you?/The Price, Side 3, 1986
C170Eastern Oregon, for Mark Schable, 1987
C171The Archaeology of Home, Astro Arts, 1987This is a recording produced by High Performance that is a collage with Antin talking between intervals of recordings of a “panel show” with him, Steve Fagin, and Susan Smith, and other recordings
C172Semiotics is Dead, 1987
C173Discourse, 1987
C174Vassar Piece, 1987Recording cuts off at 14:20.
C175The Fringe, 1987
C176Criticism as Madness or Liberation from Madness, 1987, Performed at CalArts.
C177Local Time: Beginning, Being…, 1988, Performed at University of Rochester.
C178Local Time II: Beginning, Being… 1988
C179Diderot, 1988
C180UCSD Noon Seminar, 1988
C181Reading & Writing, Talking & Listening, 1988
C182Criticism Between the Void and the Apocalypse, 1988
C183WAM, Wandering the Data Base & The Fable of the Alexandrian Library, 1988
C184New York University, 1988
C185Sharing, 1988, Performed at New York University.Recording of same talk as C184.
C186Losing the Data Bank, Finding Your Mind, 1988, Performed in Oklahoma.C186_a in Getty catalog.
C187Music Seminar, undated
C188Cynicism, 1989, Performed in San Diego.
C189Cynicism, Part 2, 1989, Performed in San Diego.Side A is a recording of a talk by a woman; side B is Antin as part of a panel discussion.
C190Cal Poly Pomona, 1989
C191John Cage Uncaged is Still Cagey, 1989Same talk as C192 but C192 has additional recording, so C192 has been used.
C192John Cage Talk and Panel, 1989, Performed at Strathmore.Listed as C192_a at Getty
C194Jarré, Magnetic Fields / Writing & Exile, 1986Listed as C194_b at Getty. Q&A afterword involves Antin, Perloff and Rothenberg.
C196I.C.A., 1990, Performed in Boston.
C197Freud & Narrative–The Getty Piece, 1990
C198Tuscaloosa, Black Warrior, 1990
C199Where Are We Now, Beyond Baroque, 1990
C201Determination, Suspension, Etc., 1990Keywords in the talk are Determination, Suspension, Diversion, Digerssion, Destruction.
C202Soho Tea & Coffee, 1990C202_b at Getty.
C204St. Mark’s, 1990
C205Avant-Garde, 1990
C206Entering the Space, 1991, Performed at Cal Arts.
C207Exile (for Edmond), 1991
C208Temple / The Beautiful Explosion / George Bush and Aztec Art, 1991Recording of two talk pieces: one is the same as C209, but split into two sections with the second part starting the recording and running through ~6:40 and the first part starting at ~42:05. In between (~6:40 to ~42:05) is a different talk. Since this different talk is not in the C209 recording, the C208 references in the Antindex only mark topics from this different talk, not the talk that is C209.
C209Temple / Solo Sessions, 1991Contains the split talk piece in C208 (but here in true running order).
C212The Other, 1992
C214Desire, 1992
C215Art in Public Places, 1992
C216The Question of Desire, 1992
C217Finding An Object (or is it another), 1992
C219Color, 1992, Performed at CME.C219b_b at Getty catalog.
C221Buffalo Talk, 1992Recording of same talk as SUNYB.
C224Where Are We, 1992, Performed at Cal Arts.
C225Louisville, 1993Transcribed as “the theory and practice of post-modernism: a manifesto” in i never knew what time it was.
C226Beyond Baroque, 1993
C228Discovering Europe, 1993, Performed at D.G. Wells, La Jolla, California.
C229Finding Common Ground, 1993