• The Journal of the Convergence on Culture Technology
• /
• v.7 no.3
• /
• pp.215-222
• /
• 2021

Duchamp chose readymades mainly for his denial of retinal painting and his desire and fluid thinking for changes inside him. His thinking is well presented in his readymade works. One of his early readymades, Bicycle Wheel, expresses correlations between beings and capital. Its essence is capital and the desire of beings. It is connected to Desire or Desire-Machine proposed as a social reform and creation model by Gilles Deleuze and Félix Guattari. Bicycle Wheel does not simply end in desire relations between capital and beings, though. When the desire of beings is converted into positive desire, it can keep inventing and creating something that is repetitive, fluid, and new. Duchamp tried to convey this positive desire through his readymade Fountain. Duchamp created a ready-made article toilet into a work of art in Fountain, being driven by desire flowing inside him. This is connected to the attributes of nomads that refused to settle down and continue to flow in search of new landscapes. This way of his thinking is clearly reflected in his Box in a Valise. He was motivated to create this work by his fluid thinking. In this work, various situations can unfold often according to the directions of two elements, place and arrangement. Here, place guarantees fluidity, and arrangement variability or desire. According to Gilles Deleuze and Félix Guattari, fluidity represents nomads with the characteristics of flow and variation, and desire represents productivity or production or creation. Box in a Valise represents nomads themselves. The nomads defined by Gilles Deleuze and Félix Guattari keep flowing and create a new world. They are in line with the thinking of Duchamp that refused to settle down at one place and escape from the old order to create a new artistic world. This type of nomads can be called revolutionists or creators that acknowledge differences and create. Nomads also contain the concept of resistance to the old order. Deleuze and Guattari proposed a war machine as a model of this resistance. Duchamp and his readymades can thus be called war machines.

• The Journal of Art Theory & Practice
• /
• no.15
• /
• pp.167-198
• /
• 2013

This paper explores rich and complex implications of Marcel Duchamp's Mile of String which he created for "First Papers of Surrealism," the Surrealist international exhibition in New York in 1942. Part of a larger project devoted to investigating Duchamp's role in Surrealist exhibitions and his relation to the avant-garde group, this paper focuses on Duchamp's exhibition installation in the 1942 show. Under the title of "g$\acute{e}$n$\acute{e}$rateur-arbitre" Duchamp played an important role as installation and exhibition designer in a series of major Surrealist exhibitions in the 1930's-1960's. The "First Papers of Surrealism" was held by Surrealists who exiled in New York during World War I, and Duchamp created a labyrinthine installation of string for the exhibition, which physically blocked the spectator and optically hindered his or her contemplative view. Unraveling the intricately related meanings of Mile of String as an independent work of art and an installation for a specific exhibition, I examine the work on two levels: first, how the work was situated in the context of Duchamp's oeuvre, particularly his earlier work employing string or thread; second, how and in what way the installation rendered a critique on Surrealism as a group and an avant-garde movement. More specifically, by exploring the concepts of 'pataphysics' and voluntary 'nomadism' implicated in Duchamp's work, I suggest that his Mile of String asserted a critical stance against nationalism and collective identity of Surrealism and manifested a radical individualism founded upon what he called the spirit of 'expatriation.'

• Archives of design research
• /
• v.19 no.2 s.64
• /
• pp.365-374
• /
• 2006

A 'Readymade' is an everyday object selected and designated as art. The term was coined by Marcel Duchamp to describe his artistic process based on the attempt to destroy the notion of the uniqueness of the art object: his influence went for beyond the art world affecting all design activities based on creativity. The purpose of this study is to investigate the ready-made technique from an educational point of view. Starting from Duchamp experience and his further influence on the design world, the study aims to demonstrate the value of the ready-made technique as a basic element in the education of young designers. The research method is based on the empirical observation of the results of the same project assigned to forty different students in different universities. The collected results were grouped in four families according to each specific generative method: constructive, conceptual, aggregative and elaborative. These four categories, derived by the observation of the results, represent tangible variations of the same disciplined technique. This flexibility demonstrates the value of the ready-made process as a foundation practice particularly indicated for young designers. These are the main skills students developed through its application to design projects; exploring and reconsidering attitude, recycling issues, new identity to familiar objects, focus on ideas.

• Korean Institute of Interior Design Journal
• /
• v.27 no.1
• /
• pp.68-79
• /
• 2018

The main purpose of this paper is to introduce 'Inframince' in modern and contemporary architecture. The Inframince(English: infra-thin) is a concept coined by Marcel Duchamp. The conceptual definition of the term "Inframince" by Marcel Duchamp replied that the notion is impossible to define, "one can only give examples of it:". It describes fine indirect perceptions of physical phenomena. Inframince is conductor of two dimensions into three, the essential dynamic in the practice of making space. Inframince is the interval between an inhabitant and their environment that both connects and separates. This study deals with the difficult situation how Contemporary Architecture represents itself over the 20th century modernity and asks the question how it presents its ornamentality. In order to analyse contradictory situation between self-referentiality and ornamentality in Modern/Contemporary Architecture we need to survey the historical process of changing position of ornaments and its meaning in time. The article also analyze the selected works of contemporary architects like Herzog & de Meuron, Jean Nouvel, to show that the trend reversal continues now more than ever. The Architectural surface must be a different kind of media that can communicate in different way with compared to conventional ornament. If we understand Duchmp's Inframince to be the provocation of the unuseful things, and if we interpret Contemporary fact that all specific Architectural Surfaces have been dissolved in timelines, it shows us post-trend of the Surfaces via conspicuous consumption or desire.

• Korean Journal of Cognitive Science
• /
• v.25 no.3
• /
• pp.259-276
• /
• 2014

Artists such as Duchamp and Balla tried to portray moving objects on static canvases by superimposing snapshots of moving objects. Previously, our group showed the influence of prior experience on brain responses within a motion-sensitive area MT+ to abstr act paintings with or without implied motion. In the present study, we went further to investigate whether the differential MT+activation between observers is originated from differential eye movement patterns. Prior experience was defined operationally with major in art. In addition, we examined whether perceiver's awareness of artist's intention concerning the implied motion, as well as expertise in art, affects the way he/she views the artwork. Results showed that the number and the duration of fixation on the abstract paintings tended to differ between participants based on art major. The awareness of artist's intention was not related to such differences. In contrast, observers' awareness of artist's intention of implying motion affected eye movement patterns in specific regions of the abstract paintings where the motion was portrayed. In other words, observers with awareness focused more on the parts of paintings portraying motion and moved their eyes in the direction corresponding to the direction of moving objects than observers without awareness. Expertise was not related to such specific eye movement patterns. The present study implies that art expertise and awareness of artist's intention play differential roles in observers' perception of paintings with implied motion. Namely, it suggests that expertise is related to the overall perception of paintings, while awareness of implied motion is related to perception of the specific spatial information in those paintings.

• Cartoon and Animation Studies
• /
• s.45
• /
• pp.417-434
• /
• 2016

The wall painting of Altamira cave "eight-legged wild boar" is often presented as a typical example of long-held desire of humanity for expressing movement. However, the eight legs are the product of so-called "double layer", of two paintings painted in different periods. Nonetheless, the explanation of Altamira cave paintings linking with the origin of animation is constantly reproduced without any particular doubt, verification or citation of sources. The fact of associating eight legs with movement is irrelevant to visual perception transcending time. This should be considered a movement expression code invented in a particular period of time. Sequential photography tried in the late 19th century, in particular, chronography of $\acute{E}tienne$-Jules Marey plays a crucial role in this. Marey's photography of which a series of sequence movements are overlapped in one frame and printed was reflected in painting works of artists including Duchamp and Balla in the early 20th century and formed as movement expression code. Animation manuals started to emerge from that period of time introduced the images of Marey's chronophotography as a way of analyzing and embodying the movement. In sum, the act of considering Altamira cave paintings of eight-legged wild boar as an expression of movement is an error intending to look at the past through today's visual code.

• The Journal of the Convergence on Culture Technology
• /
• v.8 no.5
• /
• pp.171-176
• /
• 2022

This paper examines the historical meaning and value of sound art curating as a key type of interdisciplinary and convergence art practice that has been unfolding since the mid-20th century. Accordingly, this paper summarizes the developmental process from the beginning of 'sound art' to the present, but examines the context of visual art in which the material 'sound' functioned in chronological order, and focuses on curating cases of major sound art exhibitions. The purpose of this study is to analyze the impact and contemporary significance of the provided aesthetic experience. To this end, the text is divided into three sections and developed. The first section recognizes that the late 19th century futurist and Dadaist sound poetry, followed by Marcel Duchamp's 1913 attempt to combine musical score with visual art, had a profound influence on the visual music of avant-garde composer John Cage. This explains why this background caused the emergence of exhibitions dealing with 'sound' as a new medium. The second section explains that in the 1970s, sound as an artistic medium played a role in reflecting the critical relationship with the exhibition space dominated by visuality. In the third section, we analyze the curatorial methodology that allows the audience to experience sound as if it were a visual object within the organization of the exhibition hall from the 1980s to the present. Through this process, this paper critically treats the historical practice of customizing the perceptual structure in the exhibition hall, and considers the meaningful methodology of sound art curating considering the role of sound full of vitality in the contemporary art scene.