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Journal articles on the topic 'Duchamp'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2024

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1

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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2

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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3

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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4

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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5

Adcock, Craig, and Pontus Hulten. "Duchamp." Art Journal 53, no. 2 (1994): 105. http://dx.doi.org/10.2307/777495.

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6

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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7

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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8

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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9

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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10

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.

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11

Judovitz, Dalia. "Marcel Duchamp." Dada/Surrealism 22 (October 29, 2018): 1–18. http://dx.doi.org/10.17077/0084-9537.1346.

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12

Read, Peter, Klaus Beekman, and Antje von Graevenitz. "Marcel Duchamp." Modern Language Review 86, no. 2 (April 1991): 475. http://dx.doi.org/10.2307/3730612.

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13

Schopp, Caroline Lillian. "Duchamp Effects." Art History 44, no. 4 (August 24, 2021): 867–74. http://dx.doi.org/10.1111/1467-8365.12594.

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14

De Nijs, Pieter. "Duchamp Biography." RELIEF - REVUE ÉLECTRONIQUE DE LITTÉRATURE FRANÇAISE 10, no. 1 (June 21, 2016): 8. http://dx.doi.org/10.18352/relief.921.

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15

Leiris, Michel. "On Duchamp." October 112 (April 2005): 45–50. http://dx.doi.org/10.1162/0162287054223927.

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16

Zapperi, Giovanna. "Becoming-Duchamp." Art History 33, no. 5 (November 16, 2010): 928–31. http://dx.doi.org/10.1111/j.1467-8365.2010.00791.x.

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17

Kristensen, Kim. "Andy Warhol Eating a Hamburger as part of the universe of art1." Short Film Studies 10, no. 2 (April 1, 2020): 163–65. http://dx.doi.org/10.1386/sfs_00009_1.

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Abstract In this article I will place Leth's clip of Andy Warhol in the tradition of artistic gestures, as they evolved after Duchamp's 1917 Fountain. By treating Warhol as a ready-made, Leth posed the same questions as Duchamp, Joyce, Pound and even Warhol himself and provided an elegant solution.

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18

Ghanem, Nadia. "Marcel Duchamp. Biographie / Marcel Duchamp. La vie à crédit." Marges, no. 07 (June 15, 2008): 126–27. http://dx.doi.org/10.4000/marges.610.

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19

Kolb, Sarah. "“THERE IS NO PROGRESS, CHANGE IS ALL WE KNOW.” NOTES ON DUCHAMP’S CONCEPT OF PLASTIC DURATION." Nordic Journal of Aesthetics 28, no. 57-58 (June 21, 2019): 87–108. http://dx.doi.org/10.7146/nja.v28i57-58.114851.

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Henri Bergson is generally recognized as one of the most influential philosophers in the history of historical avant-gardism. Nevertheless, it has been widely neglected that Bergson’s philosophy also played a crucial role for the radically new concept of art that Marcel Duchamp developed based on his critical attitude towards the avant-gardes. First and foremost, this is apparent in view of Duchamp’s paintings The Passage from Virgin to Bride and Bride of 1912, as they both feature an idea of transition laying the foundation for his Large Glass and associated works. But there is also another cross-connection that one wouldn’t expect at the first glance. As this paper argues, Duchamp paradoxically also draws on Bergson’s ideas with his ready-mades, pointing to that productive interplay of intuition and intellect, which Bergson defined as a vital source for any kind of imagination and agency. Thus, Duchamp’s idea of choosing his ready-mades in terms of a “rendezvous with fate,” which he also reflected in his writing experiments The and Rendezvous, can be closely linked to his declared interest in Bergson’s “primacy of change,” leading him to explore the idea of “plastic duration.”

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20

Shafto, Sally, and Thierry De Duve. "Kant after Duchamp." SubStance 27, no. 2 (1998): 136. http://dx.doi.org/10.2307/3685657.

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Décimo, Marc. "Penser Duchamp, encore." Critique d’art, no. 55 (November 30, 2020): 180–88. http://dx.doi.org/10.4000/critiquedart.68103.

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22

Décimo, Marc. "Considering Duchamp, Again." Critique d’art, no. 55 (November 30, 2020): 181–87. http://dx.doi.org/10.4000/critiquedart.68107.

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23

Herwitz, Daniel. "Kant after Duchamp." Journal of Philosophy 95, no. 3 (1998): 142–48. http://dx.doi.org/10.5840/jphil19989539.

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Doepel, R. T. "Duchamp and Ezekiel." de arte 20, no. 33 (September 1985): 23–33. http://dx.doi.org/10.1080/00043389.1985.11761026.

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Herwitz, Daniel, and Thierry De Duve. "Kant after Duchamp." Journal of Philosophy 95, no. 3 (March 1998): 142. http://dx.doi.org/10.2307/2564714.

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Davila, Thierry. "Duchamp with Mallarmé." October 171 (March 2020): 3–26. http://dx.doi.org/10.1162/octo_a_00376.

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The poet Stéphane Mallarmé was always a key figure for Marcel Duchamp and a major ally in the quest to invent the art of the future. In this essay, Thierry Davila essay focuses in particular on three aspects of this relationship: the window (translucency), an object celebrated by the poet and the artist; the life of fluids (smoke, wind); and nothingness. Through these themes, the text also proposes an interpretation of the readymade and the infra-thin.

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Marcadé, Bernard. "Marcel Duchamp l’anartiste." La Cause freudienne N° 68, no. 1 (March 3, 2008): 135–47. http://dx.doi.org/10.3917/lcdd.068.0135.

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von Graevenitz, Antje. "Another Form of Blindness – a Symptom of an Artistic Viewpoint: Glossing the Work of Marcel Duchamp." Ikonotheka, no. 29 (September 16, 2020): 177–203. http://dx.doi.org/10.31338/10.31338/2657-6015ik.29.3.

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Not blindness itself, but blindness as a symptom for an inner seeing and as a counterforce against a one-sided fixation on beauty and taste were the reasons why Marcel Duchamp from 1916 onwards was occupied with the theme of blindness. Two volumes of The Blind Man were displayed in 1917 on the exhibition of the Society of Independent Artists in New York. The second volume contained comments about the fact that Duchamp’s contribution of a Fountain, his now so famous ready-made Urinoir, signed “R. Mutt”, was rejected by the apparently jury-less committee. This means that the theme of blindness was expressed twice: no one could see the work and so his theoretical opposition against beauty and taste could not be illustrated by the Urinoir either. How Duchamp from then on also challenged the other senses, so as to avoid focusing only on the eyes, will be dealt with in this article as well. Arguments from the biography, philosophy, mythology, and iconography will be used to underpin the article’s main thesis. In this sense the question may be asked whether Duchamp was inspired in this group of his works by humorous etymological and literary references. In the end it will become clear that the theme of blindness in his work and artistic theory is highly paradoxical.

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Manning, Erin. "Por uma pragmática da inutilidade, ou o valor do inframince." Galáxia (São Paulo), no. 31 (June 2016): 22–40. http://dx.doi.org/10.1590/1982-25542016126498.

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Resumo Duchamp descreve o inframince2 como “o mais ínfimo dos intervalos, ou a mínima das diferenças” (DUCHAMP apud PERLOFF, 2002, p. 101). Tomando o trabalho e a proposição de Duchamp no sentido de que o inframince não pode ser descrito como tal – “dele só é possível dar exemplos” (DUCHAMP apud DE DUVE, 1991, p. 160) –, este artigo explora como ele chega à expressão e pergunta como seria uma política do inframince. Ponto chave dessa exploração é saber de que outra forma pode o valor ser definido e como repensar esse conceito compõe com a noção de pragmática especulativa.

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30

Adams, Gavin. "Duchamp's Erotic Stereoscopic Exercises." Anais do Museu Paulista: História e Cultura Material 23, no. 2 (December 2015): 165–85. http://dx.doi.org/10.1590/1982-02672015v23n0206.

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ABSTRACT: This article explores certain links between medicine and art, with regard to their use of stereoscopy. I highlight a work by the artist Marcel Duchamp (the ready-made Stéréoscopie a la Main) and stereoscopic cards used in ophthalmic medicine. Both instances involve the drawing of graphic marks over previously existing stereoscopic cards. This similarity between Stéréoscopie a la Main and stereoscopic cards is echoed in the form of "stereoscopic exercises." Stereoscopic exercises were prescribed by doctors to be performed with the stereoscope as early as 1864. Stereoscopic cards were widely diffused in the 19th century, often promoted as "stay-at-home travel." It was over such kinds of materials that both Marcel Duchamp and doctors of ophthalmic medicine drew their graphic marks. I explore Duchamp's Stéréoscopie a la Main as a hypothetical basis for stereoscopic exercises of different types, proposing that this rectified ready-made is the locus for erotic stereoscopic exercises.

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31

Duve, Thierry de. "On Periodization: What Does "Post-Duchamp" Mean?" ARS (São Paulo) 19, no. 42 (November 29, 2021): 83–108. http://dx.doi.org/10.11606/issn.2178-0447.ars.2021.188234.

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When we speak of a post-Duchamp art world, we raise a particularly vexing periodization problem. Marcel Duchamp’s readymades, and the famous/infamous urinal titled Fountain in particular, have signaled that a sea change has occurred in the art world, which was not a change in styles but rather in aesthetic regimes, not a change in art movements but rather in art institutions, a change which, mutatis mutandis, is as radical as the passage from monarchy to republic, yet a change which art history books have not recorded yet, as such. Without addressing it in full, my paper recalls the steps that made me aware of this periodization problem.

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32

Soboleva, M. "Zu Kant nach Duchamp." Філософські проблеми гуманітарних наук, no. 25 (2016): 46–52.

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33

Han, Eui-Jung. "Marcel Duchamp as Parrhêsiast." Sookmyung Research Institute of Humanities 5 (February 28, 2020): 47–69. http://dx.doi.org/10.37123/th.2020.5.47.

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34

Guerrin, Frédéric. "La progéniture de Duchamp." Cahiers philosophiques 131, no. 4 (2012): 49. http://dx.doi.org/10.3917/caph.131.0049.

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Lista, Giovanni. "La Faute à Duchamp." Ligeia N°15-16, no. 1 (1994): 3. http://dx.doi.org/10.3917/lige.015.0003.

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Jimenez, Marc. "Le gambit de Duchamp." Ligeia N°15-16, no. 1 (1994): 93. http://dx.doi.org/10.3917/lige.015.0093.

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Parret, Herman. "Le corps selon Duchamp." Hors dossier 28, no. 3 (April 12, 2005): 88–100. http://dx.doi.org/10.7202/030608ar.

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Duchamp est glorifié comme le fondateur de l’art conceptuel. Toutefois, l’arsenal duchampien est rempli avant tout de concepts-corps. La pratique duchampienne met en scène le concept de corps essentiel, de sa mécanique, de ses fragments, de ses indices. Il se révèle impossible de penser le corps duchampien sans prendre en compte la nécessité de l’empreinte. La « gloire des empreintes » introduit une topologie de l’infra-mince, thème que Duchamp va développer tout au long de ses Notes.

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Noland, Carrie. "Duchamp Culture/Cunningham Dance." Modernism/modernity 27, no. 2 (2020): 361–86. http://dx.doi.org/10.1353/mod.2020.0027.

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Howard, Seymour. "Hidden Naos: Duchamp Labyrinths." Artibus et Historiae 15, no. 29 (1994): 153. http://dx.doi.org/10.2307/1483491.

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40

Gervais, André. "L’intertete Mallarmé/Duchamp (exemples)." Études littéraires 22, no. 1 (April 12, 2005): 77–90. http://dx.doi.org/10.7202/500889ar.

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Il s'agit d'indiquer, à partir de la notion d'intertextualité (selon Jean Ricardou et Michael Riffaterre), sept ou huit points d'ancrage précis entre tels poèmes et proses de Stéphane Mallarmé et telles oeuvres picturales (ready-mades) et littéraires (notes, aphorismes) de Marcel Duchamp, artiste et anartiste français et américain du XXe siècle. Comme quoi cela déborde nécessairement, au-delà de l'amitié de Mallarmé et de Manet, par exemple, et le siècle et l'enclos littéraire.

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Santana, Gelson. "O atraso de Duchamp." Significação: Revista de Cultura Audiovisual, no. 11-12 (September 30, 1996): 77. http://dx.doi.org/10.11606/issn.2316-7114.sig.1996.90514.

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42

Bailey, Bradley. "Dada Meets Dixieland: Marcel Duchamp Explains Fountain." October, no. 182 (2022): 61–96. http://dx.doi.org/10.1162/octo_a_00470.

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Abstract In a 1953 recorded conversation with Harriet, Carroll, and Sidney Janis that was never published, Marcel Duchamp gave his earliest and most detailed description of the origin and submission of the readymade Fountain to the first exhibition of the Society of Independent Artists in 1917. In addition to featuring several notable revelations about the Fountain episode, the interview is also remarkable for the light it sheds on another nearly contemporary account of the story of Fountain, published in 1956 in the book Modern Art USA by the art and music historian Rudi Blesh. Passionate advocates for Ragtime and the Dixieland jazz revival, Blesh and Harriet Janis were frequent writing partners, publishing several music and art books, and together founded a record label to record traditional jazz artists. Through Harriet and Sidney Janis's extensive artworld connections, Blesh became a close associate of Duchamp, whose impact on Blesh's formulation of Modern Art USA has not been given adequate consideration by scholars. This article presents an analysis of both the Janis and Blesh accounts of Fountain, which together comprise the most comprehensive narrative description of this iconic work of art from Duchamp's perspective.

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Arbex, Márcia. "Anémic Cinéma: uma experiência do avesso da linguagem." Aletria: Revista de Estudos de Literatura 8 (March 2, 2018): 89–98. http://dx.doi.org/10.17851/2317-2096.8..89-98.

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Resumo: Este trabalho apresenta uma experiência cinematográfica de vanguarda, Anémic cinéma, realizada por Marcel Duchamp, e tem por objetivo demonstrar que tal experiência resulta de uma reflexão, aprofundada e subversiva ao mesmo tempo, sobre a linguagem, tendo o artista absorvido a poética de Mallarmé, Roussel e Brisset.Palavras-chave: vanguarda; cinema; discos óticos; jogo de palavras; Duchamp.Abstract: This paper presents an avant-garde cinematographic experience, Anémic cinéma, undergone by Marcel Duchamp, who has assimilated Mallarmé’s, Roussel’s and Brisset’s poetics. The experience results from a simultaneously deep and subversive reflection on langage.Keywords: avant-garde; cinema; puns; optical discs; Duchamp.

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Kim, Yea Gyung. "Étude sur la quatrième dimension de Duchamp_2 - de Duchamp et de Pawlowski." Societe d'Etudes Franco-Coreennes 85 (July 18, 2018): 279–312. http://dx.doi.org/10.18812/refc.2018.85.279.

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Franco Taboada, Manuel. "Análisis geométrico del Moulin à café de Marcel duchamp." EGA Revista de Expresión Gráfica Arquitectónica 24, no. 35 (April 8, 2019): 96. http://dx.doi.org/10.4995/ega.2019.11549.

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<p>El presente artículo estudia el aparato geométrico de la obra de Marcel Duchamp (1887-1968), Moulin à café o Molinillo de Café, también conocido por La Amoladora o su denominación inglesa, The Coffee Grinder, de 1911. Esta obra, (considerada seminal por el propio Duchamp), será fundamental para el desarrollo de la La Mariée de 1912 y de La Marièe mise à nu par ses cèlibataires meme, 1915-1923, (La novia puesta al desnudo por sus solteros, incluso), también conocida como Le Grand Vérre, El Gran Vidrio, o The Large Glass. Para la elaboración de este estudio ha sido fundamental la publicación De ou par Marcel Duchamp par Ulf Linde. (Aman y Birnbaum, 2013). Para poder contextualizar este estudio, en su tiempo, en las artes y la arquitectura, recomiendo leer mi anterior trabajo sobre la cuestión, titulado, Crítica del análisis geométrico realizado por Ulf Linde acerca de la obra de Marcel Duchamp. (Franco, 2017) 1, del cual, éste es continuación.</p>

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Cordeiro, Flávia Dutra. "Percorrendo o labirinto com Marcel Duchamp." Revista Digital do LAV 4, no. 4 (October 25, 2010): 096. http://dx.doi.org/10.5902/198373482204.

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Demonstrar como as obras do artista Marcel Duchamp se inserem na Arte Contemporânea e como a existência de vários dos seus fragmentos, esboços e estudos são pontos centrais para a construção de mundos de devaneios que trazem conceitos intercalados de forma labiríntica. Os estudos e obras de Duchamp são parte integrante de um labirinto que percorre o espaço-tempo e cujas marcas estão fortemente associadas ao modo de se pensar a Arte Contemporânea quando inclui o outro. O que perpassa pela abrangência do outro como co-artista carrega em si algo de subjetivo, o que tornou possível aproximarem-se várias correntes de pensamento, fazendo com que eles se encontrassem através desta pesquisa cujos conceitos foram sendo delineados durante a sua realização. Analisar e pesquisar faz parte do processo desenvolvido e traz consigo a proximidade entre as obras de Duchamp e o que tenho feito durante alguns anos através da Arte.Palavras-chave : Arte Contemporânea. Marcel Duchamp. Labirinto. Androgenia.

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Capela, Carlos Eduardo Schmidt. "Étant donnés: Raúl viu a vulva (¡Ave María!)." Boletim de Pesquisa NELIC 18, no. 29 (September 5, 2018): 5–20. http://dx.doi.org/10.5007/1984-784x.2018v18n29p5.

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Tanto na edição argentina, Maria con Marcel (Duchamp en los trópicos), de 2006, quanto na brasileira, Maria com Marcel (Duchamp nos trópicos), de 2010, ambas versões de um dos livros-chave assinados por Raúl Antelo, comparece uma fotografia do autor “atrás do Pequeno vidro de Marcel Duchamp”, como nelas informado, indicação a que segue a referência: “Museum of Modern Art, Nova Iorque, 2004. Foto A.G.” Tal fotografia constitui o porto de partida para a proposição de um conjunto de reflexões acerca das potências anartísticas, desdobradas de uma série de coincidências duchampianas, dispostas pelo exercício anarcrítico anteliano ao longo daquele mesmo livro tornado outro de si.

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Carriquiry, Andrea. "Duchamp según Jean Clair vs Arthur Danto, a 100 años de la Fuente." Laocoonte. Revista de Estética y Teoría de las Artes, no. 4 (December 12, 2017): 182. http://dx.doi.org/10.7203/laocoonte.0.4.10287.

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Este trabajo se centra en la discusión que la figura de Marcel Duchamp -cuya famosa Fuente cumple cien años en 2017- genera en sendos trabajos del conspicuo filósofo norteamericano Arthur Danto y de Jean Clair, ex director del Museo Picasso de París. Se muestra los problemas que Duchamp trae a ambos críticos, y a partir de ese debate se trazan algunas derivaciones a la cuestión de la definición del arte, considerado uno de los problemas centrales de la estética contemporánea. El objetivo es intentar contribuir a la comprensión de las raíces de dicha cuestión tomando como referencia la práctica artística, en particular el caso de Marcel Duchamp, considerado detonante del problema.

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ORT, THOMAS. "ART: TO BE “INSIDE” OR “OUTSIDE” CULTURE." Modern Intellectual History 15, no. 1 (July 4, 2017): 243–60. http://dx.doi.org/10.1017/s1479244317000233.

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In the opening pages of his remarkable book about Marcel Duchamp, Jerrold Seigel writes that the French artist “cared more about his personal independence than he did about art itself. Beneath the succession of avant-garde movements there had always lurked an impulse of radical individualism, and no one represented it better than Marcel Duchamp” (PW, 10). Given the subject matter of this essay—the place of art in Seigel's thinking—it may seem odd to say so, but in one respect Seigel's attitude to art mirrors that of Duchamp: he cares less about art itself than about the impulse of radical individualism in modern society revealed through it.

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Manning, Erin. "For a Pragmatics of the Useless, or the Value of the Infrathin." Political Theory 45, no. 1 (August 3, 2016): 97–115. http://dx.doi.org/10.1177/0090591715625877.

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Marcel Duchamp describes the infrathin as “the most minute of intervals, or the slightest of differences.” Working through Duchamp’s proposition, and taking him at his work that the infrathin cannot be defined as such—“One can only give examples of it”—this article explores how the infrathin comes to expression and asks what a politics of the infrathin might look like. Key to the exploration is the question of how else value can be defined and how this rethinking of the concept of value might compose with the concept of a pragmatics of the useless.

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