• 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 was (and

  • 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, however, with the F

  • 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 nature

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

    • Yang, Shin-Yi    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,

  • Once More to this Staircase: Another Look at Encore à cet Astre

    • Bailey, Bradley    01/01/02

    click to enlarge Figure 1 Marcel Duchamp, Encore à cet Astre (Once More to This Star), 1911 Figure 2 Marcel Duchamp, Nude Descending a Staircase, No. 2, 1911 It has been some twenty-five years since Lawrence D. Steefel Jr.'s analysis of Marcel Duchamp's 1911 drawing Encore à cet Astre (Once More to This Star) (Fig. 1) was published by Art Jo

  • Duchamp’s Window Display for André Breton’s Le Surréalisme et la Peinture (1945)

    • Girst, Thomas    01/01/02

    The subsequent paper is based on parts of a lecture first held at a three-day Marcel Duchamp symposium, which, accompanied by a small exhibition of works by the artist from the museum's own collection, took place between November 23-25, 2001, at the Hessisches Landesmuseum Darmstadt, Germany. What follows is intended to highlight the significance o

  • Duchamp & Androgyny: The Concept and its Context

    • Graham, Lanier    01/01/02

    Click to enlarge Figure 1 Man Ray, Rrose Sélavy (alias Marcel Duchamp), 1921 (Author's note: The following article consists of the first three chapters of the forthcoming Duchamp & Androgyny: Art, Gender, & Metaphysics. For further information, please contact: lgraham@csuhayward.edu) The Artist & The Androgyne click to enlarge Figu

  • Between Music and the Machine: Francis Picabia and the End of Abstraction

    • Rothman, Roger I.    01/01/02

    Ce qui est extraordinaire, c'est que malgré leurs audaces,l'un et l'autre souffraient d'un mal qu'il leur était difficilede préciser : une sorte de nostalgie de la forme objective,le regret du motif et de toutes les formules classiquesdont ils s'étaient peu à peu détachés.       — Gabrielle Buffet click