- All Along the Edge
- Choice Bits
- Las Vegas Performance
- Book of Kostis
- Contemporary American Literacy
- Modern Polyartistry
- End of Intelligent Writing, reprint
- More On Innovative Music(ian)s
- Autobiogaphies at 50 & 60
- Book-Art & Alternative Publishing
- A Literary Life in America
- Animated Music
- Artists in America
- Arts & Artists in America
- Master Minds, rev. ed.
- The Maturity of American Thought
- Great American Comedians
- Continuing Tradition of the New
- Charles Ives and the American Imagination
- Special Sounds: The Art of Radio in North America
- Great Jewish Cemetery of Berlin
- Sports & Sportsmen
- Elizabeth Streb
- More Crimes of Culture
- The Fall and Rise of the Rockaways
- Home & Away: Travel Essays
- American Composers in Their Own Words
- The Art of Literary Demolition
- Possibilities of Longer Poetry
- Alternative American Autobiographies
- The American Tradition in Poetry
- John Cage's Poetry
- Foster Damon's Uncollected Writings
- Libertarian Tradition: American Anarchist Thought
- E.E. Cummings ReConSidered
- Conceptual Dance: Choreographic Comedies
- An Emma Goldman Reader
- American Composers as Writers
- AnOther Ogden Nash
- Classic Essays on Rock
- New American Radio Plays
- Second Anthology of Merce Criticism
Proposal for Six-Hour VHS Video Retrospective
Richard Kostelanetz has recently compiled a six-hour VHS videotape that represents not only the best of his video art but its diversity. Included on this single tape are ten major works. Some of them are best viewed through two-part large-screen video projection systems; most have hi-fi stereo soundtracks that are best heard not through the single small speaker available on most television monitors but through stereo amplification systems customarily using for playing records or compact discs.
1) INVOCATIONS (1988) has kinetic syntheses accompanying his audio composition of and about the sound of the language of prayer.
2) VIDEOSTRINGS (1989) offers intrinsically endless streams of overlapping words, enhanced in different ways, with one example in German, to the music of Gordon Jillson.
3) DIE EVANGELIEN (1989) is an especially lush kinetic accompaniment to an audio fugue, in German, of the four opening books of the New Testament.
4) KINETIC WRITINGS (1989) consists of mute language realizations exploiting capabilities unique to video.
5) SEDUCTIONS (1988) offers abstract accompaniments to sixteen complementary stories, interwoven one sentence at a time, all spoken by RK, his voice amplified in various ways.
6) TURFS (1989) has successions of fourâ€¹word poems, eightâ€¹word poems and sixteenâ€¹word poems, sometimes accompanied by aural realizations of the same texts.
7) AMERICAS' GAME (1988) has representational imagery accompanying a soundtrack of and about sounds, including language, unique to baseball.
8) STRINGTWO (1990) is an extended stream of letters composed of overlapping words, each new one containing at least two letters of its predecessor, so far silent.
9) PARTITIONS (1986) offers long words in which shorter words are embedded, in increasingly complex configurations, to the music of Gordon Jillson.
10) THREE PROSE PIECES (1975) has pioneering video realizations accompanying RK's readings of three experimental texts: Excelsior, Plateaux, Recyclings.
This video art was produced during residencies at the Synapse, Syracuse, NY; Experimental TV Center, Owego, NY; Real Art Ways, Hartford, CT, and Experimental Intermedia Foundation, New York, NY, to audio tracks produced at the Electronic Music Studio of Stockholm and Westdeutscher Rundfunk with the assistance of grants from the Media Arts Program of the NEA and the DAAD Berliner Kunstlerprogramrn. For over two dozen years now Richard Kostelanetz has been the only notable American writer producing his own video art, which has been exhibited around the world. This Six-Hour VHS Retrospective of Richard Kostelanetz's Video is available for rental or purchase. If the former, it may be shown continuously, as a kind of marathon, or divided into as many parts as the presenter wishes; it may also be made available on loan, as in a library, for a predetermined duration. It may not be copied. For further information, please contact the artist. Thank you.