• Protected: Fasten your Seatbelts as We Prepare for Our Nude Descending

    • Yang, Shin-Yi    04/01/03

    This content is password protected. To view it please enter your password below: Password:

  • Words and Worlds:
    Dada and the Destruction of Logos, Zurich 1916

    • Scanlan, John    04/01/03

    “If you are alive, you are a Dadaist,” Richard Huelsenbeck wrote in 1920. Huelsenbeck belonged to the now well-known group of poets and performers who came together in Zurich during 1916 under the name Dada. Whilst Dadaist movements appeared in other places, and took on different manifestations, the Zurich Dadaists were concerned principally wi

  • Complexity Art

    • Giunti, Roberto    04/01/03

      In the conclusion of my article for the fourth issue of Tout-Fait Journal (1), I identified a possible theme in the artistic events of the 1900’s. I'm referring to the gradual emergence, in art, of important ideas and conceptual themes which also belong to the grounding kernel of the complexity sciences. As a first step, my concern wa

  • Wittgenstein Plays Chess with Duchamp or How Not to Do Philosophy: Wittgenstein on Mistakes of Surface and Depth

    • Gerrard, Steven B.    04/01/03

    click to enlarge Figure1 Ludwig Wittgenstein (1889-1951) click to enlarge Figure. 2 Marcel Duchmap,Opposition and Sister Squares are Reconciled,1932 According to my Wittgenstein CD(1), there are 181 tokens of the word "chess" and its cognates (such as "chessboard") in the Blackwell published works of Wittgenstein. We begin, howe

  • Intentions: Logical and Subversive The Art of Marcel Duchamp, Concept Visualization, and Immersive Experience

    • Merritt, Richard K.    04/01/03

    Abstract This paper examines the intersection of symbolic logic, immersive experience [VR] and concept visualization in the interpretation of the oeuvre of Marcel Duchamp. Influenced by the mathematicians Henri Poincaré and Élie Jouffret as well as his own intense practice of chess and logic, Duchamp sought to merge the poetic and visceral nat

  • Precision Optics / Optical Illusions: Inconsistency, Anemic Cinema, and the Rotoreliefs

    • Betancourt, Michael    04/01/03

    SinceCourbet, it's been believed that painting is addressed to the retina.That was everyone's error. The retinal shudder! Before, painting had other functions: it could be religious, philosophical, moral. If I had a chance to take an antiretinal attitude, it unfortunately hasn't changed much; our whole century [the twentieth] is completely retinal,

  • James Joyce and Marcel Duchamp

    • Anastasi, William    04/01/03

    click images to enlarge Figure 1A Man Ray, Portrait of Marcel Duchamp, 1920 Figure 1B Marcel Duchamp, Cover of "The Blindman No. 1, " April 1917 (detail of the drawing by Alfred J. Frueh) Figure 2A Man Ray, Portrait of James Joyce, 1922 Figure 2B Drawing by James Joyce for Finnegans Wake (1939), p. 308. Is Marcel Duchamp t

  • Rrose Sélavy e la gnosi erotica [Italian]

    • Castronuovo, Antonio    04/01/03

    click to enlarge Figure 1 Marcel Duchamp,Fresh Widow, 1920 Nel 1920 Marcel Duchamp si duplicò scegliendo sembianze femminili: quelle di Rose Sélavy. Con questo nome è indicato il copyright di Fresh Widow (Fig. 1), ready made derivante dal montaggio artigianale di una finestra verde in stile francese con pannelli di cuoio nero.

  • Rrose Sélavy and the Erotic Gnosis

    • Castronuovo, Antonio    04/01/03

    click to enlarge Figure 1 Marcel Duchamp,Fresh Widow, 1920 In 1920 Marcel Duchamp duplicated choosing feminine features: those of Rose Sélavy. With this name indicates the copyright of Fresh Widow (Fig. 1), ready made resulting from the crafted assembly of a green window with French-style black leather panels. Those panels, for Ducha