Academic literature on the topic 'Duchamp'
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Journal articles on the topic "Duchamp"
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Westmeier, T., A. Popping, and P. Serra. "Basic Testing of the duchamp Source Finder." Publications of the Astronomical Society of Australia 29, no. 3 (2012): 276–95. http://dx.doi.org/10.1071/as11041.
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AbstractThis paper presents and discusses the results of basic source finding tests in three dimensions (using spectroscopic data cubes) with duchamp, the standard source finder for the Australian Square Kilometre Array Pathfinder. For this purpose, we generated different sets of unresolved and extended Hi model sources. These models were then fed into duchamp, using a range of different parameters and methods provided by the software. The main aim of the tests was to study the performance of duchamp on sources with different parameters and morphologies and assess the accuracy of duchamp's source parametrisation. Overall, we find duchamp to be a powerful source finder capable of reliably detecting sources down to low signal-to-noise ratios and accurately measuring their position and velocity. In the presence of noise in the data, duchamp's measurements of basic source parameters, such as spectral line width and integrated flux, are affected by systematic errors. These errors are a consequence of the effect of noise on the specific algorithms used by duchamp for measuring source parameters in combination with the fact that the software only takes into account pixels above a given flux threshold and hence misses part of the flux. In scientific applications of duchamp these systematic errors would have to be corrected for. Alternatively, duchamp could be used as a source finder only, and source parametrisation could be done in a second step using more sophisticated parametrisation algorithms.
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Alliez, Éric. "Duchamp Within and Against Lacan." Theory, Culture & Society 37, no. 7-8 (October 27, 2020): 329–53. http://dx.doi.org/10.1177/0263276420959415.
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Critical reception of Marcel Duchamp since the 1970s has tended to elevate him into the very figure of the Artist he sought to attack. One aspect of this domestication has involved neglecting Duchamp’s fin de siècle ‘eroticism’ with its sexual innuendos and double-entendres. Yet this very readymade vulgarity allows us to recover a Duchamp still capable of disrupting the genres of Art and the gendered Artist, by revealing a theory embedded in his work which continually reverses and displaces phallocentrism in a game consisting of the confusion of genders and genres. We argue that Duchamp’s disruption of the discursive typologies of the genre of art can be profitably read through this apparently trivial sexualized wordplay, particularly in the transgender passage into Rrose Sélavy. Reading this aspect of Duchamp after, i.e. within and against, Lacan demonstrates how Duchamp’s singular regime of signs governed by equivocity and indetermination subverts the ‘phallic function’ of the signifier.
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Alliez, Eric. "Guattari with Duchamp, or Du champ from One Sign to the Other." Deleuze and Guattari Studies 16, no. 4 (November 2022): 579–99. http://dx.doi.org/10.3366/dlgs.2022.0495.
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Taking as the focus of enquiry the engagements of Félix Guattari with Marcel Duchamp, namely, those rare passages in Schizoanalytic Cartographies and Chaosmosis, the question of the encounter is posed in the field of the sign, but of a sign ‘destructured’ (as Duchamp du signe), in the sense also that Guattari started by destructuring Lacan (from Psychoanalysis and Transversality to Anti-Oedipus). Introduced by the relationships between Guattari and Foucault to better play in between the early and the late Guattari, Guattari’s key insight into the Bottle Rack readymade as an existential function is critically discussed from a reopening to enunciation through the ‘Duchamp effect’. If the latter seems to privilege language contrary to Guattari’s own semiotics, it is to derail it as a machinic unconscious. Duchamp’s writings on his readymades and other machinations are analysed, with the role of Raymond Roussel for Duchamp (and Deleuze-Guattari via Foucault), as well as the implications of a trans-Duchamp, his alter-ego Rrose Sélavy, as an opening to a machinic alterity undoing and queering gender binarity and phallic centricity, recovering the singularity of the bachelor machine and its rupture of subjectivation. The article shows how it could be transversally returned to the very middle of the Guattarian trajectory.
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Gründler, Hana, and Jörg Völlnagel. "Zum Thema." Zeitschrift für Ideengeschichte 18, no. 2 (2024): 4. http://dx.doi.org/10.17104/1863-8937-2024-2-4.
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Marcel Duchamp beendete 1961 seine Philadelphia-Lecture Where do we go from here? mit den Worten, dass der «große Künstler von morgen in den Untergrund gehen werde». Auch wenn diese Prognose für Duchamp wohl nur bedingt zutrifft, offenbart sie eine für die sechziger und siebziger Jahre charakteristische Stimmung, die «echte» und «freie» Kunst statt im Rahmen des Offiziellen, im «subversiven» Raum des Untergrundes zu verorten. Weniger bekannt ist hingegen, dass es der tschechische Kunsttheoretiker Jindřich Chalupecký war, der das Manuskript des Vortrags 1975 erstmals in der Zeitschrift Studio International veröffentlichte und auf die Austauschbeziehungen von Duchamps Denken mit der inoffiziellen Kunstszene der ČSSR und anderer sowjetischer Satellitenstaaten hinwies.
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Adcock, Craig, and Pontus Hulten. "Duchamp." Art Journal 53, no. 2 (1994): 105. http://dx.doi.org/10.2307/777495.
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Rustad, Hilde. "Marcel Duchamp og postmoderne improvisasjonsdanstradisjoner, brudd og kontinuitet." Nordic Journal of Dance 10, no. 1-2 (December 1, 2019): 4–15. http://dx.doi.org/10.2478/njd-2019-0002.
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Abstract Artikkelen drøfter sammenhenger mellom Marcel Duchamp (1887–1968) sin tenkning og danseimprovisasjon og kontaktimprovisasjon som tradisjoner. Forskningsprosjektet er tuftet på erfaring utøvere av danseimprovisasjon og kontaktimprovisasjon har gjort, og undersøker forbindelser mellom Duchamp og post-moderne improvisasjonsdanstradisjoner, og på hvilke måter bevissthet om slike forbindelser kan ha betydning for tradisjonenes utøvere. Forfatteren anvender Lindholm og Gadamers (1900–2002) tradisjonsbegrep som analytisk blikk og fortolkningsperspektiv, og får fram hvordan deler av Duchamps tankegods som kan forstås som overlevert via John Cage, Merce Cunningham og Robert Rauschenberg til dansekunstnere som var ansvarlig for oppstarten av postmoderne dans, og som i dag kan forstås som inkorporert i danseimprovisasjon og kontaktimprovisasjon. Tradisjonsperspektivet bidrar videre til å belyse hvordan utøvere kan få en økt forståelse av hva det innebærer å tilhøre en tradisjon, og hvilken betydningen det har å kjenne tradisjonen man tilhører best mulig. I tillegg synliggjøres hvordan postmoderne improvisasjonsdanstradisjoner ved Duchamp har europeiske røtter i tillegg til de amerikanske, og dette gir et utvidet perspektiv og bidrar til et mer komplekst bilde av tradisjonene både innholdsmessig og geografisk.
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Daniels, Dieter. "THE SECOND HALF OF THE READYMADE CENTURY (1964–)." Nordic Journal of Aesthetics 28, no. 57-58 (June 21, 2019): 141–57. http://dx.doi.org/10.7146/nja.v28i57-58.114853.
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The readymades conceived and selected by Marcel Duchamp be- tween the years 1914–1917 have, with very few exceptions, not survived until the present day as ‘original.’ A variety of forms, in- cluding documentary photos, objects chosen and approved later by Duchamp as well as remakes of the historical objects comprise the readymades’ legacy. Duchamp’s remakes of his readymades as a limited edition of multiples from 1964, commemorating the 50-year anniversary of his selection of the Bottle Dryer in 1914, mark the beginning of the second half of the “Readymade Century.” In contrast to their widespread visibility, the paradoxical ‘construct- edness’ of these objects is rarely discussed. The representational impact and the conceptual specificity of these multiples goes far beyond the oeuvre of Marcel Duchamp, and can be seen as a pre- monition of artistical appropriation strategies from the 1980s to the present day.
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Henderson, Linda Dalrymple. "The Large Glass Seen Anew: Reflections of Contemporary Science and Technology in Marcel Duchamp's “Hilarious Picture”." Leonardo 32, no. 2 (April 1999): 113–26. http://dx.doi.org/10.1162/002409499553091.
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Marcel Duchamp's The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) of 1915–1923 is a unique image-text system in which the physical object is complemented by hundreds of preparatory notes the artist considered to be as important as the object itself. Although Duchamp talked of “Playful Physics” in his notes for the Glass, much of his humor and the breadth of his creative invention was obscured for later audiences when, after 1919, the popularization of relativity theory eclipsed the late Victorian ether physics that had fascinated the public in the early years of the century. Indeed, drawing upon contemporary science and technology, among other fields, Duchamp had created in the Large Glass a witty, multivalent commentary on the age-old theme of sexual desire, presented in the very newest verbal and visual languages. These ideas are explored in this article, reprinted from the conclusion of the author's book Duchamp in Context: Science and Technology in the Large Glass and Related Works.
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Alliez, Eric. "Duchamp Queer. O la máquina deseante Duchamp." Escritura e Imagen 19 (December 21, 2023): 95–109. http://dx.doi.org/10.5209/esim.93095.
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Garrett, Stephen M. "The Difference of Indifference: Marcel Duchamp and the Possibilities of Dialogical Personalism." Religions 15, no. 4 (March 31, 2024): 438. http://dx.doi.org/10.3390/rel15040438.
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Joseph Kosuth, one of Concept Art’s influential practitioners, credited Marcel Duchamp in an important 1969 essay, “Art After Philosophy”, with instigating the shift from the visual to the conceptual by means of indifference and dematerialization. Duchamp’s approach to art was not limited, however, to the realm of artistic intention but also included the (re)contextualization provoked by his readymades. This (re)contextualization elucidated the embodied, dialogical encounters of the artist-artwork-audience, what I identify as an “aesthetics of difference”. This designation sets forth a framework of meaning that draws upon a burgeoning subset of early-twentieth-century personalist philosophy called dialogical personalism in order to offer a more suitable plausibility structure than the usual explanations of Duchamp and his approach to art, which typically revolve around nihilism, absurdity, and a solipsistic understanding of freedom. In doing so, Duchamp’s artistic approach retains not only a more viable ontology for continuing to question the nature of art, but also has important epistemological and ethical implications.
Dissertations / Theses on the topic "Duchamp"
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Toumazis, Yiannis. "Marcel Duchamp, artiste androgyne." Amiens, 2009. http://www.theses.fr/2009AMIE0003.
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Cette thèse porte sur la relation étroite de l’œuvre de Marcel Duchamp avec la notion de l’Androgyne, la coexistence des principes mâle et femelle, hérités des mythes anciens de la création; elle porte également sur les idées platoniciennes, les pensées gnostique et hermétique, et les croyances alchimiques telles qu’elles se trouvent exprimées dans le corpus de l’œuvre de Duchamp. La première partie, présente le rôle et la signification de l’Androgyne dans les mythes anciens de la création, chez les philosophes grecs, dans la gnose, la philosophie hermétique des alchimistes et la cabale. La deuxième partie, traite l’œuvre de Marcel Duchamp d’un point de vue « androgyne ». En particulier, nous analysons de façon détaillée les deux grandes œuvres de Duchamp, La Mariée mise a nu par ses célibataires même et Etant donnés: 1º la chute d’eau, 2º le gaz d’éclairage, en nous attachant à l’étude de leurs caractéristiques androgynes telles qu’elles ont été définies dans la première partieThe present thesis illustrates the close relation of Marcel Duchamp’s work to Androgyny; the harmonious coexistence of the male and female principles, as we inherited them from the ancient myths of creation, the Platonic ideas, the Gnostic and Hermetic thoughts, the Alchemical beliefs and the way they are expressed in the corpus of Duchamp’s work. Part I, “L’ Androgyne”, presents the use and meaning of Androgyny in Ancient Myths of Creation, Classical Antiquity, Ancient Greek Philosophy and specifically Plato’s Symposium, Gnosticism, the Hermetic Philosophy of the Alchemists and Kabala. Part II, “Marcel Duchamp - L’ Artiste Androgyne” examines the work of Marcel Duchamp seen from an androgynous perspective in order to offer a different insight to his work. In particular it examines and extensively analyzes the two major works of Duchamp: Le Grand Verre and Étant Donnés and focuses on the androgynous characteristics of the works as they have been set in Part I
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Pavan, Margot. "MARCEL DUCHAMP: IMPRESSÕES EM CONSERVA." Universidade de São Paulo, 1996. http://www.teses.usp.br/teses/disponiveis/27/27131/tde-10022015-165909/.
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Durante meu mestrado selecionei textos específicos de Marcel Duchamp: textos teóricos nos quais ele reflete sobre o mundo das artes. São palestras que ele deu em universidades, cartas e catálogos para as exposições que ele organizava cujos textos são dele. Este material é fundamental para entender como este artista tão radical entendia a arte e como se esforçava para propagar suas concepções. São temas surpreendentes porque Duchamp teve um importante papel na apresentação da arte européia aos Estados Unidos trabalhando como curador durante um bom período. É impressionante vê-lo apresentando Picasso, Calder ou Matisse. Ou então defendendo os motivos pelos quais todo artista deve cursar uma universidade. São textos que todo estudante de arte deveria ler. Ou melhor, todos que gostam ou trabalham com arte... Este material foi selecionado e traduzido a partir dos originais em inglês e francês que estão nos livros Duchamp du Signe - écrits (Paris, Flammarion, 1975) e The Writings of Marcel Duchamp (New York, Da Capo Preess, 1989) , organizados por Michel Sanouillet com a colaboração de Elmer Peterson (ambos contém os mesmos textos, um em inglês e outro em francês). É uma seleção que cobre de 25 a 30% do total destes livros. Deixei fora do meu recorte todas as notas que fazem parte das próprias obras de Duchamp e têm um caráter poético intenso, recorrendo frequentemente a sofisticados trocadilhos dignos de uma tradução pelos irmãos Campos. Além da tradução dos textos teóricos, meu trabalho têm mais duas partes. Um posfácio, no qual faço uma leitura das obras de Duchamp iluminada exclusivamente pelos textos que estão traduzidos na primeira parte e um Apêndice - que é a parte que mais gosto. Este apêndice é uma brincadeira com Duchamp. Proponho um Ready-made para definir um perfil de sua obra recortando dos textos que ele escreveu sobre outros artistas apenas as caracteríscas que estão fortemente presentes no próprio trabalho dele. Como apontaram na minha banca, é quase uma leitura de revelação psicanalítica ao indicar como vemos nos outros aquilo que temos em nós.This work selects specific texts of Marcel Duchamp: theoretical texts in which Duchamp reflects about the art world. This texts are lectures that Marcel Duchamp gave at universities, letters and catalogs for the exhibitions that he organized and whose texts Duchamp signed. This material is essential to understand how a so radical artist understood art as he struggled to propagate his views. Duchamp played an important role in introducing European art to the United States by working as curator for a long period. It\'s amazing to read his texts presenting Picasso, Calder or Matisse. Or even defending the reasons why every artist should attend the university. These are texts that every art student or art lover should read. This material was selected and translated from the originals published on the books Duchamp du Signe - écrits (Paris, Flammarion, 1975) and The Writings of Marcel Duchamp (New York, Da Capo Preess, 1989), organized by Michel Sanouillet with the collaboration of Elmer Peterson (both contain the same texts, the first one in French, the second one in English). This selection covers 25% to 30% of these books. I left out of my selection all the notes that are part of the own works of Duchamp and have an intense poetic character, often using sophisticated puns. Besides the translation of theoretical texts, my work have two more parts. An afterword, which is a view of Duchamp\'s works illuminated only by the texts which are translated at the first part and an Appendix - which is the part I like best. This appendix is a joke on Duchamp. I propose a Ready-made to define a profile of his work cutting from the texts he wrote about other artists only traces that are strongly present in his own work. It´s almost a psychoanalytic reading that indicates how we see in others what we have in us.
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Zaganelli, Gemma. "Duchamp-Villon e il cubismo." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080002.
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L’historiographie de la deuxième moitié du XXème siècle mentionne rarement l’œuvre du sculpteur Duchamp-Villon (1876-1918), et analyse souvent l’histoire de la sculpture en subordination avec celle de la peinture. Mais la sculpture participe à la révolution de l’art tout comme la peinture, grâce à certains artistes comme Picasso, Boccioni, Brancusi, Archipenko, Gaudier-Brzeska, Lipchitz, Nadelman et Duchamp-Villon. Concernant ce dernier, certains points de sa recherche esthétique semblent fondamentaux : la simplification des formes, l’attention à la géométrie, le refus du cubisme à facettes typique du cubisme le plus reconnu ; le rôle de la pensée dans le processus créatif ; l’intérêt pour le primitivisme conçu en tant qu’emblème d’essentialité et de synthèse de la forme ; le concept d’espace-temps et le désir de contribuer à la combinaison de sculpture et architecture. Il s’agit de points essentiels pour comprendre son adhésion personnelle au cubisme : s’il est difficile de considérer son œuvre en tant que production cubiste orthodoxe, les caractéristiques susmentionnées inscrivent le nom de Duchamp-Villon dans la grande révolution esthétique du début du XXe siècle, qui est tout d’abord une révolution de pensée. Sur la base d’une telle prémisse, cette recherche vise à analyser l’œuvre de Duchamp-Villon à la lumière des nouveautés culturelles et esthétiques du début du XXème siècle, tant par rapport à la sculpture que par rapport à la peinture, dans le but de comprendre si son esthétique représente une traduction des expérimentations picturales du cubisme ou si, au contraire, elle constitue une version personnelle du cubisme en trois dimensionsIn the historiography of the second half of the last century the work of Duchamp-Villon is rarely mentioned, just as the history of sculpture is often used as a term of comparison with respect to the better-known area of painting. The sculpture was, however, part of the great revolution in art history just as much as painting, due to the work of some artists including Picasso, Boccioni, Brancusi, Archipenko, Gaudier-Brzeska, Lipchitz, Nadelman and Duchamp-Villon. Regarding the latter, some principles of its aesthetic research seem to be fundamental: the simplification of forms, the attention to geometry, the refusal of the typical cubism with facets of the Cubism more recognized; the role of thought in the creative process; the interest for the Primitivism conceived as an emblem of essentiality and synthesis of the form; the concept of space-time and the desire to contribute to the combination of sculpture and architecture. These are to be considered as essential points to understand its personal adhesion with the Cubism: if it is difficult to consider its work as an orthodox cubist production, the above-mentioned characteristics register the name of Duchamp-Villon in the great aesthetic revolution of the beginning of the 20th century, which is first of all a revolution of thought. Based on this premise, this study aims to analyze the work of Duchamp-Villon in light of the cultural and artistic novelties of the early twentieth century in relation to sculpture and painting, so as to understand whether his aesthetics represent a translation of pictorial experimentations of Cubism or whether, on the contrary, it constitutes a personal version of Cubism in three dimensions
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Zaganelli, Gemma. "Duchamp-Villon e il cubismo." Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080002.
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L’historiographie de la deuxième moitié du XXème siècle mentionne rarement l’œuvre du sculpteur Duchamp-Villon (1876-1918), et analyse souvent l’histoire de la sculpture en subordination avec celle de la peinture. Mais la sculpture participe à la révolution de l’art tout comme la peinture, grâce à certains artistes comme Picasso, Boccioni, Brancusi, Archipenko, Gaudier-Brzeska, Lipchitz, Nadelman et Duchamp-Villon. Concernant ce dernier, certains points de sa recherche esthétique semblent fondamentaux : la simplification des formes, l’attention à la géométrie, le refus du cubisme à facettes typique du cubisme le plus reconnu ; le rôle de la pensée dans le processus créatif ; l’intérêt pour le primitivisme conçu en tant qu’emblème d’essentialité et de synthèse de la forme ; le concept d’espace-temps et le désir de contribuer à la combinaison de sculpture et architecture. Il s’agit de points essentiels pour comprendre son adhésion personnelle au cubisme : s’il est difficile de considérer son œuvre en tant que production cubiste orthodoxe, les caractéristiques susmentionnées inscrivent le nom de Duchamp-Villon dans la grande révolution esthétique du début du XXe siècle, qui est tout d’abord une révolution de pensée. Sur la base d’une telle prémisse, cette recherche vise à analyser l’œuvre de Duchamp-Villon à la lumière des nouveautés culturelles et esthétiques du début du XXème siècle, tant par rapport à la sculpture que par rapport à la peinture, dans le but de comprendre si son esthétique représente une traduction des expérimentations picturales du cubisme ou si, au contraire, elle constitue une version personnelle du cubisme en trois dimensionsIn the historiography of the second half of the last century the work of Duchamp-Villon is rarely mentioned, just as the history of sculpture is often used as a term of comparison with respect to the better-known area of painting. The sculpture was, however, part of the great revolution in art history just as much as painting, due to the work of some artists including Picasso, Boccioni, Brancusi, Archipenko, Gaudier-Brzeska, Lipchitz, Nadelman and Duchamp-Villon. Regarding the latter, some principles of its aesthetic research seem to be fundamental: the simplification of forms, the attention to geometry, the refusal of the typical cubism with facets of the Cubism more recognized; the role of thought in the creative process; the interest for the Primitivism conceived as an emblem of essentiality and synthesis of the form; the concept of space-time and the desire to contribute to the combination of sculpture and architecture. These are to be considered as essential points to understand its personal adhesion with the Cubism: if it is difficult to consider its work as an orthodox cubist production, the above-mentioned characteristics register the name of Duchamp-Villon in the great aesthetic revolution of the beginning of the 20th century, which is first of all a revolution of thought. Based on this premise, this study aims to analyze the work of Duchamp-Villon in light of the cultural and artistic novelties of the early twentieth century in relation to sculpture and painting, so as to understand whether his aesthetics represent a translation of pictorial experimentations of Cubism or whether, on the contrary, it constitutes a personal version of Cubism in three dimensions
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Galati, Gabriela. "Duchamp meets Turing : art, modernism, posthuman." Thesis, University of Plymouth, 2016. http://hdl.handle.net/10026.1/6609.
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In her book How We Became Posthuman (1999), Katherine Hayles analysed the process through which the conception of the liberal humanist subject led the way to the posthuman subject, a subject who lives in complete entwinement with the digital. This process, however, was not innocuous: it made the (fallacious) perception that information could do without material instantiation pervasive within many fields of knowledge, a process that Hayles contends originates in the Macy Conferences and the evolution of cybernetic theory. This research identifies an analogous process within the artistic realm: when Clement Greenberg delineated the concepts of opticality and colour field as the main characteristics that “defined” Modernist painting, he conceived of these in a purely disembodied subject (Krauss 1993). In this context, this work proposes to consider that the actual overcoming of modernism comes along with the advent of the posthuman, tracing its origin to Marcel Duchamp and his invention of the readymade, and not with postmodernism, the theoretical consistency of which, at least in the artistic field, this research will question. A first aim of this work will be to unify the main concepts and theories of the artistic field with those of cybernetics, to bring together ‘Turing land’ and ‘Duchamp land’ (Manovich 1996). For achieving this, digitalisation processes are not to be understood as representations of some material reality, but rather as ontological repetitions through which difference is conveyed. This is why the consideration of the temporal dimension of the archive as event is fundamental for understanding that the archive can only exist in its change, in its movement, in its action, in its metamorphosis, and thus the relevance of digitalisation processes in this regard becomes evident. Therefore, the archive is not only an issue of memory, but also a question yet to come, of conformation both of the future and subjectivities (Derrida 1967b, 1995). In this context, the present work advances the emergence of a digital subject with the emergence of new media, and theorises that the constitution of this subject happens by assuming a ‘point of view’ (Deleuze 1988) in the technological unconscious (Vaccari 1979). Reflecting upon the effects of digitalisation and actualisation (Deleuze 1968) on the subject, on how the digitised artwork and event affects, and changes, the subject observing and interacting with it, the present research will demonstrate that it is pertinent to talk about a subject who is embodied in the digital. In this sense, if the digitised artwork in the archive needs a subject to be actualised, this process also has its consequences for the subject. Therefore, the digital subject is the possibility of actualisation of the archive, and at the same time changes with it: she assumes an always-different ‘point of view’ constituted for her by the floating signifier in the technological unconscious. All these theories, which are part of the posthuman, are presented as the actual overcoming of modernism to show that the readymade as medium is, at the same time, both one of the points of rupture and the key link to bring back new media and art theory as art at large.
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Colombet, Marie. "L’humour objectif : Roussel, Duchamp, "sous le capot"." Paris 10, 2006. http://www.theses.fr/2006PA100182.
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Dans son Cours d'esthétique (1831), à la fin de l'art romantique, Hegel élabore la notion d'humour objectif où se résout la contradiction entre l'intérêt pris aux accidents du monde extérieur, d'un côté, les caprices de la personnalité de l'autre. Breton cite Les chants de Maldoror et rapproche le poème Rêve de Rimbaud de la fable de Jarry Le homard et la boîte de corned beef à titre d'humour objectif. Nous étudions les expériences d'écriture automatique. Nous appelons automatismes le procédé de Roussel, et les aphorismes de Duchamp télescopages verbaux avec l'objet dans la réalité. La thèse se termine par l'aventure expressive de l'objet et par les mécaniques de hasard de Tinguely, héritier de Duchamp et RousselIn his Esthetic Lecture (1831), at the romantic art's end, Hegel developed the objective humour's concept which resolved the contradiction between the interest for outside world's accidents on one hand, personality's whins on the other hand. Breton held up as an example Les chants de Maldoror and moved closer together Rêve, Rimbaud's poem and Jarry's fable Le homard et la boîte de corned beef, as such objective humour. We are studying automatic writing's experiences, bringing object concept up to date. We call "language psychomecanique" Roussel's method and Duchamp's aphorisms, verbal telescoping with the object in the reality. The thesis ends with object's adventure and with Tinguely, Duchamp and Roussel's heir
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Raymond, François. "Marcel Duchamp et le multiple dans l'art moderne." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0020/NQ56699.pdf.
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Le, Penven Françoise. "Les notes de Marcel Duchamp ou l'art d'écrire." Paris 1, 2000. http://www.theses.fr/2000PA010657.
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De 1912 à 1923, alors qu'il murissait le projet d'un nouveau tableau, Marcel Duchamp se mit à confier au jour le jour à des papiers de fortune, ses idées et conjectures. Ainsi sont nées les notes. Esquivant la concrétisation d'un tableau et son achèvement, Marcel Duchamp opta pour le chantier d'une œuvre en reproduisant à l'identique ses brouillons et en les rassemblant dans des boites. Nous avons souhaité suivre l'avènement de ce projet singulier qui prit racine dans un contexte familial, personnel, éthique et intellectuel qui lui fut propre. Un système de renvoi et de concentration transforme la réception de ces écrits en un appel intertextuel incloturable. Mais le constat d'une œuvre faite de mots ne saurait faire passer sous silence la phobie duchampienne du langage. La mise en abime d'une théorie d'un langage mis sous « conditions » atténue la portée d'un tel paradoxe. Libérés de leur fonction d'usage, les mots écrits et leur plasticité s'étant substitués à la palette attendent d'être estimés dans la spécificité de leur medium et de leur « signification d'image ». Enfin, l'ouverture des notes repose sur une circularité de forme et de principe qui confère au texte qu'elles constituent un genre indéterminé (livre, livre d'artiste, peinture écrite ?. . ) Et surtout un caractère d'infinitude.
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Barros, Manuela de. "Art et théories du langage : Kandinsky, Malévitch, Duchamp." Paris 8, 1998. http://www.theses.fr/1998PA081517.
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Cette these a pour point de depart l'idee que, dans l'art du xxe siecle, l'influence des theories du langage provoque une modification interne en art, amenant la destructuration de l'image. En effet, l'insertion de mots dans la peinture est une constante temporelle, et l'on peut meme constater regulierement l'influence de theories de type litteraire sur les formes de l'art cependant, avec le xxe siecle, en particulier dans le cubisme, cette influence amene le demantelement graduel de ce qu'avait ete la representation jusqu'alors. L'image devient elliptique dans ses contours. La mimesis s'eloigne au profit d'un nouvel espace, lui-meme combinaison d'espaces, dont l'espace semantique. Ainsi, l'emergence du modernisme va de pair avec l'envahissement progressif mais neanmoins eclatant de la sphere de l'image par le langage. De plus, le questionnement de l'art sur le << tissu semantique >> accompagne, et puise parfois ses sources, dans l'interrogation meme de la semiologie et de la philosophie du langage ou dans les experiences poetiques. En effet, la mise a plat des modes de passage du sens se fait parallelement dans les deux domaines et se rejoignent souvent, sans intentionnalite picasso, braque et le signe de saussure -, ou de propos delibere - l'art conceptuel et les jeux de langage de wittgenstein. Ces recherches d'artistes de ce siecle sur le langage ou a partir de modeles langagiers ont donc pu servir de fil conducteur a une reflexion sur la modification profonde de la facon d'apprehender l'art, dans ses buts et dans ses moyens. Elles ont pu rendre compte de la metamorphoseplastique et conceptuelle, du remodelage des codes de representation. Le texte analyse donc les interactions, melanges et contaminations de l'art et du langage a travers trois artistes : kandinsky, malevitch et duchamp, l'uvre de chacun d'eux etant paradigmatique d'une interrogation specifique dans son lien avec la theorie du langageThis phd thesis starts with the idea that, in xxth century art, the influence of language theories induces internal changes in art, bringing the decomposition of the image. The use of written words in painting is a long lasting tradition, and theories exported from literature relatively commonly influenced the way art was considered to be done. Nevertheless, with our century, and particularly with cubism, this influence leads up to gradual dislocation of the representation as it was since then. The image becomes elliptic, losing its shape. Mimesis gives place to another space, which is already a combination of many spaces, and among them semantic space. Then the emergence of modernism comes with the invasion of the image with language, progressively but also very strongly. Furthermore, this questioning of art about the "semantic sphere" goes with the beginning of semiotics, philosophy of language and sometimes uses them. It also uses experiences in poetics. The researches are done in parallel and often go in the same direction. Sometimes the artists don't know about them (picasso, braque), or they intentionally use the theories (conceptual art). Those researches of artists of the century on language or about models issued of language were useful to analyse the profound modification of art, in its aims and formal achievements. The study of these interactions between art and language theories brought comprehension of the plastic and conceptual metamorphosis of the codes of representation. This study analyses this subject through three artists : kandinsky, malevitch, duchamp, the work of each of them being the paradigm for one interaction between art and language theories
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Chang, Young Hae. "La Prise de conscience de la langue dans l'oeuvre de Marcel Duchamp." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37603803b.
Full textBooks on the topic "Duchamp"
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1930-, Hill Anthony, ed. Duchamp: Passim : a Marcel Duchamp anthology. Australia: Gordon and Breach Arts International, 1994.
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1887-1968, Duchamp Marcel, and Hill Anthony 1930-, eds. Duchamp passim: A Marcel Duchamp anthology. Singapore: Gordon and Breach Arts International, 1994.
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(Gallery), Daimler Contemporary, ed. Duchamp als Kurator: Duchamp as curator. Köln: Snoeck, 2017.
Find full textBook chapters on the topic "Duchamp"
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Belsey, Catherine. "Duchamp." In Privileging Difference, 1–8. London: Macmillan Education UK, 2002. http://dx.doi.org/10.1007/978-1-4039-0704-2_1.
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Wild, Gerhard. "Duchamp, Marcel: Duchamp du signe." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3464-1.
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Wild, Gerhard. "Duchamp, Marcel." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3463-1.
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Molderings, Herbert. "Marcel Duchamp." In Joseph Beuys-Handbuch, 264–68. Stuttgart: J.B. Metzler, 2021. http://dx.doi.org/10.1007/978-3-476-05792-1_48.
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Graevenitz, Antje von. "Duchamp als Wissenschaftler." In Die Wiederkehr des Künstlers, 245–56. Köln: Böhlau Verlag, 2011. http://dx.doi.org/10.7788/boehlau.9783412214036.245.
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Haladyn, Julian Jason. "An accelerated Duchamp." In Duchamp, Aesthetics and Capitalism, 70–72. New York: Routledge, 2020. | Series: Routledge focus on art and visual studies: Routledge, 2019. http://dx.doi.org/10.4324/9780367271794-17.
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Krieger, Ela. "Authenticity after Duchamp." In Dada and Its Later Manifestations in the Geographic Margins, 88–103. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003395270-8.
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Haladyn, Julian Jason. "Apropos." In Duchamp, Aesthetics and Capitalism, 1–2. New York: Routledge, 2020. | Series: Routledge focus on art and visual studies: Routledge, 2019. http://dx.doi.org/10.4324/9780367271794-1.
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Haladyn, Julian Jason. "Readymade as black hole." In Duchamp, Aesthetics and Capitalism, 39–42. New York: Routledge, 2020. | Series: Routledge focus on art and visual studies: Routledge, 2019. http://dx.doi.org/10.4324/9780367271794-10.
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Haladyn, Julian Jason. "Consequences of a Duchampian accelerationism [2]." In Duchamp, Aesthetics and Capitalism, 43–47. New York: Routledge, 2020. | Series: Routledge focus on art and visual studies: Routledge, 2019. http://dx.doi.org/10.4324/9780367271794-11.
Full textConference papers on the topic "Duchamp"
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Wu, Yanni. "Analysis of Duchamp and Zen Aesthetics." In 8th International Conference on Social Network, Communication and Education (SNCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/snce-18.2018.176.
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Corrêa, Patricia Leal Azevedo. "Sobre o conceito de blank form: uma leitura minimalista de Duchamp." In Encontro da História da Arte. Universidade Estadual de Campinas, 2008. http://dx.doi.org/10.20396/eha.4.2008.3806.
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Em 1961, convidado a participar de uma publicação coletiva em homenagem a John Cage, o artista Robert Morris escreveu um texto intitulado Blank Form. Breve, enigmático e sarcástico, esse texto revela, porém, a referência a um terceiro artista, Marcel Duchamp, central para a conformação da cena vanguardista nova-iorquina em que se deram as trocas entre Morris e Cage. Neste artigo pretendemos refletir sobre o conceito de blank form introduzido por Morris, buscando entendê-lo do ponto de vista de uma recepção específica da obra de Duchamp, através do qual Morris deflagrava o que se constituiria a seguir numa estética minimalista. Propomo-nos a pensar blank form como um conceito operativo de uma certa leitura minimalista de Duchamp, ligada à construção histórica deste artista pela geração dos anos 1960 nos Estados Unidos. Ao apresentar e comentar tal conceito – que poderíamos traduzir livremente por forma vazia, branca, neutra ou inexpressiva –, Morris sugere questões que nos parecem cruciais para a identificação do que se convencionou chamar de Duchamp effect na arte contemporânea, especialmente o particular viés cético, até solipsista, enfatizado sob as óticas minimal e pop. Assim, podemos indicar no texto de Morris um desvio da leitura cageana de Duchamp, vigente à época sobretudo através dos happenings e event scores de artistas como Allan Kaprow e George Maciunas, e a produção de uma outra leitura, um novo registro para duas importantes premissas duchampianas: a indiferença do artista e a arte-como-recepção. Esse novo registro da blank form nos ajudaria a compreender a emergência de obras tão distintas quanto as de Robert Morris e Andy Warhol.
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Wang, Qing. "Marshall Duchamp Wisdom Based on Intelligent System Analysis." In 2018 International Conference on Robots & Intelligent System (ICRIS). IEEE, 2018. http://dx.doi.org/10.1109/icris.2018.00079.
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Silva, Mariana Amalia de Carvalho Castro e. "Duchamp: a imaginação e os dispositivos de curiosidade." In Encontro da História da Arte. Universidade Estadual de Campinas, 2018. http://dx.doi.org/10.20396/eha.13.2018.4584.
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O questionamento da realidade não se faz em uma mera reprodução da mesma. Existiria nas cidades, ruas, casas, entre as pessoas, uma ordem invisível? Uma forma de vida em comum que não se percebe imediatamente pelos sentidos? Viver é contribuir para o reforço dos padrões sociais em um diálogo mútuo onde somos construídos e construímos, porém podemos modifica-los.
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Oliveira de Matos, Carlos. "Reproduce duchamp to recreate and rebuild the wood engineering education." In Advances in Statistics Education: Developments, Experiences, and Assessments. International Association for Statistical Education, 2015. http://dx.doi.org/10.52041/srap.15701.
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Pereira, Caroliny. "A temporalidade na pintura nu descendo uma escada, de Marcel Duchamp." In Encontro de História da Arte. Universidade Estadual de Campinas, 2012. http://dx.doi.org/10.20396/eha.8.2012.4195.
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Contrapondo-se às ideias futuristas de aceleração e do movimento como fluxo contínuo e dinâmico, ao pintar Nu descendo uma escada (1912), Marcel Duchamp estava interessado nas experiências de análise e decomposição do movimento por meio da desaceleração e, por isso, buscou nas experimentações cronofotográficas do francês Étienne-Jules Marey (figura 1) nas quais ele teve acesso através da publicação na revista francesa La Nature, de 1983 e do inglês Eadweard Muybridge (figura 2), fontes para as suas análises.
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Moreno, Patrícia Ferreira. "Filme de Artista no Brasil da década de 1970: formas e espaços diferenciados de produção e (re)produção." In Encontro de História da Arte. Universidade Estadual de Campinas, 2012. http://dx.doi.org/10.20396/eha.8.2012.4269.
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Apesar de ser uma expressão artística praticada desde o inicio do século passado, o chamado filme de artista ainda tem sido pouco pesquisado e compreendido, principalmente no Brasil. As primeiras experiências já demonstram o teor experimental na utilização desse meio de expressão pelos artistas de vanguarda. Marcel Duchamp lançou mão de tal recurso como “atalho” para conseguir seus efeitos óticos como em Anémic cinéma de 1926, filme constituído por sucessivas imagens espiraladas, uma tentativa de fazer o registro do movimento pretendido em obras anteriores como Rotative d’ émisphere de 1925. Muitos outros artistas de vanguarda realizaram experimentações com o suporte cinematográfico.
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Zhang, Lihong. "Research on Post-modern Artistic Language Originality. Analysis of the Works of Marcel Duchamp as an Example." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.80.
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Lucena, Francisco Palmeira de. "Arquivo, arte & arquitetura: memorial aos judeus assassinados da Europa." In Encontro da História da Arte. Universidade Estadual de Campinas, 2008. http://dx.doi.org/10.20396/eha.4.2008.3851.
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Desde 1989, com o “círculo de incentivo”, idealizado e presidido pela jornalista alemã Lea Rosh para a construção do “Memorial aos Judeus Assassinados da Europa”, o debate político, moral, ético e estético não cessou. Após três anos de sua inauguração, o memorial é agora a materialização no espaço urbano berlinense, como um diagrama, de parte de toda discussão. Questões relativas à pertinência da construção do memorial, os seus obstáculos políticos de aprovação, as discussões em torno das versões do projeto do arquiteto Peter Eisenman e os motivos da saída do artista Richard Serra do projeto, não parecem agregar consistência a um discurso que se pretende analítico à posterioridade da construção. A hipótese que é lançada aqui, de um deslocamento da idéia de monumento operada por Eisenman, demanda a partir da obra do “Memorial aos Judeus Assassinados da Europa”, uma problematização teórica focada no arquivo, na arte e na arquitetura. Isto nos aproxima tanto de questões éticas e políticas quanto artísticas e arquitetônicas. A memória neste contexto é própria da herança heterogênea imposta pelo Holocausto, que tanto dá quanto exige uma ação crítica e uma escolha. Neste sentido o discurso sobre ética e arquivo, na desconstrução de Derrida, pode ajudar no entendimento das estratégias de deslocamento projetual de Eisenman. Na abordagem do problema do mal do arquivo, isto é, da ânsia de memória face à supressão do tempo e à velocidade da repetição da informação, temos que estar atentos tanto a pressupostos classificatórios e ontológicos, que dizem respeito ao “lugar” do arquivo, quanto a pressupostos nomológicos, que são de ordem ética e política. Estes deslocamentos, no caso da arte, aparecem aqui em diálogos com Marcel Duchamp ou Robert Smithson. Em ambos, a poética é marcada por essa noção de deslocamento, em Duchamp, no próprio procedimento do readymade: o jogo, o xadrez [...] e em Smithson, no problema da escala, da dialética entrópica, da ficção e das poéticas da transitoriedade. Este trabalho procura, assim, debater conceitos de legitimação e expansão da disciplina arquitetônica enquanto prática e teoria estabelecendo uma discussão em dois pares de deslocamentos principais: ética & arquivo e arte & arquitetura.
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De, Ashoke, and Sumanta Acharya. "Large Eddy Simulation of Premixed Combustion With a Thickened-Flame Approach." In ASME Turbo Expo 2008: Power for Land, Sea, and Air. ASMEDC, 2008. http://dx.doi.org/10.1115/gt2008-51320.
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A Thickened Flame (TF) modeling approach is combined with a Large Eddy Simulation (LES) methodology to model premixed combustion and the accuracy of these model predictions is evaluated by comparing with the piloted premixed stoichiometric methane-air flame data of Chen et al. [Combust. Flame 107 (1996) 223–226] at a Reynolds number Re = 24,200. In the TF model, the flame front is artificially thickened to resolve it on the computational LES grid. Since the flame front is resolved, the combustion chemistry can be incorporated directly without closure approximations for the reaction rate. The response of the thickened flame to turbulence is taken care of by incorporating an efficiency function in the governing equations. The efficiency function, which is also known as a sub-grid flame wrinkling parameter, is a function of local turbulence and of the premixed flame characteristics, such as laminar flame speed and thickness. Three variants of the TF model are examined: the original Thickened Flame model, the Power-law flame wrinkling model, and the dynamically modified TF model. Reasonable agreement is found when comparing predictions with the experimental data and with computations reported using a probability distribution function (PDF) modeling approach by Lindstedt et al. [Combust. Flame 145 (2006) 495–511] and G-equation approach by Duchamp et al. [Annual Research Briefs, CTR (2000) 105–116].