• 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,

  • 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 the model for

  • 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

  • Potty Talk: Marcel Duchamp, Kenneth Burke, and Pure Persuasion

    • Yang, Shin-Yi    01/01/02

      Man is the symbol-using (symbol-making, symbol-misusing) animal inventor of the negative (or moralized by the negative) separated from his natural condition by instruments of his own making goaded by the spirit of hierarchy (or moved by the sense of order) and rotten with perfection (Burke, On Symbols, 70). This definition is central