Ready-Made Originals: The Duchamp Model

Nesbit, Molly

doi:10.2307/778518

Cited by 14 publications

(3 citation statements)

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“…The matter of art starts to consist of unintentionally created objects, which then -by the artist's will -are introduced into the artistic space. 19 4) pointing to the political, economic and natural causes of the natural changes seems to fit perfectly with the assumptions which are fulfilled by projects broadening social awareness of the role of oceans. Popularization of the ocean literacy can take the form of research and educational projects such as Ocean Literacy for All under the UNESCO agenda, 20 documentaries on marine life, 21 studies on local awareness of the importance of the oceans for human life, 22 and, as will be shown later in this text, artistic activities in galleries and museums.…”

Section: New Materialism As a Theoretical Conceptsupporting

confidence: 58%

New materialism in art – “new stones” in art@science discourse

Michałowska¹

2020

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This study is devoted to three artistic projects based on debris found on the shores of the seas and oceans: plastiglomerates discovered in Hawaii by Kelly Jazvac, recycled waste projects off the coast of river Thames by Inge Sluijs, and plastic waste from the coasts of Norway gathered by Þóra Pétursdóttir. The analyzed works are manifestations of the trend called “new materiality” in art. The artists’ goal is to encourage rethinking the status of objects of natural origin that surround us in the context of social relations, especially in the perspective of the nature/culture dichotomy. Cultural objects of natural origin are the result of human action. Stone and mineral formations are a special example in art practice. They can be studied due to their physical properties, but transformed due to contemporary climate change and pollution they turn into an object proving the cultural transformation of the environment. For this reason, stones found in coastal areas can no longer be considered as raw material for geologists, but as part of human life. The innovative and creative presentation of objects at exhibitions in the galleries and museums allows the wide audience to understand the relationship between human activities in the environment and its effects on material changes. By focusing on the physical dimension of the matter used, the artists emphasize the role of marine science and comment on socio-political agencies of things, as well as indicate the need for public engagement in activities for marine issues.

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Section: New Materialism As a Theoretical Conceptsupporting

confidence: 58%

New materialism in art – “new stones” in art@science discourse

Michałowska¹

2020

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“…In her essay "The Language of Industry", Molly Nesbitt discusses how Marcel Duchamp used these rules to create new modes of abstraction [Nes86]. Common objects such as the shovel and the urinal appeared as art object Readymades as early as 1917, thus breaking the classifications established by the French Academy.…”

Section: Background In Visual Artmentioning

confidence: 99%

Double meandering algorithm

Gao

Pullen

Gooch

2011

Proceedings of the International Symposium on Computational Aesthetics in Graphics, Visualization, and Imaging

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We introduce artist Lucy Pullen's Double Meandering Algorithm, first in its original form as a pen-and-paper drawing algorithm and then as a procedurally generated animation. We utilize a chain of cubic Bézier curves to represent the characteristic spiraling line, assigning each control point according to a pseudo-randomized algorithm. The resulting curves are then animated segment by segment, reflecting the artist's process of creating the pen-and-paper drawing. By digitizing the Double Meandering Line drawing, we can also reveal the process of creation through animation, granting us the ability to exhibit a fundamental part of the drawing that is lost in the traditional pen-and-paper presentation.

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“…Not for the first or last time, as shown by Molly Nesbitt's pioneering study relating his use of technical drawing to reforms in the French school curriculum, does Duchamp appeal to forms of visual competency that had begun to creep into the common culture. 49 In terms of the model I am suggesting, the creation of wooden templates or stencils based on the resultant curves is significant. These were utilized to transfer the curves to other works, notably the Network of Stoppages and the capillary tubes in the Large Glass, but in addition they provide a measure of the area beneath the curve which, as every student of basic calculus knows, is equal to the integral of the curve.…”

Section: N F R a -V I S I B L Ementioning

confidence: 99%

‘MODEST RECORDING INSTRUMENTS’: SCIENCE, SURREALISM AND VISUALITY

Lomas¹

2004

Art History

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New mechanical technologies for the registration of invisible bodily and psychic processes, introduced into the life sciences around the mid-nineteenth century and in widespread use by the time of the surrealists, brought about a revolution in the nature of the visual image whose implications for surrealism are farreaching. This article re-examines the status of visual art within early surrealism. It seeks to locate surrealist visual automatism against a backdrop of representational practices employed by nineteenth-century science and medicine. A distinctive property of the graphic trace lay in the incorporation of a temporal axis into the static visual field, which made possible the visualization of a world newly conceived as awash with dynamic forces and energy fluxes. Popularized from the mid-century in France in the field of physiology most notably by Etienne-Jules Marey, by the end of the century the use of mechanical instruments to produce a visual record of fugitive mental or bodily events had taken hold in psychology and clinical medicine. A vital tool in the production of scientific knowledge by these disciplines, the mechanical recording instrument, or appareil enregistreur, was synonymous with values of precision and objectivity that were the hallmarks of an experimental scientific approach. The inexorable rise of the graphic method has been intensively studied by historians of science and visual culture but to date surrealism has not been considered as partaking of the fundamental transformations in the field of visual representation that it brought about. In the discourse of automatism the drawn or painted image was thought to be at a singular disadvantage by comparison with the written word on account of the static character of visual signs. Here the proliferation of graphic traces in the repertoire of scientific imaging practices proves highly significant by offering a demonstration of how this alleged limitation of the visual medium might be overcome. Specific references to graphic traces in surrealist imagery will be tracked here, but I also posit a more general influence in terms of a possible reception of the drawn or painted automatist line as the indexical trace of unconscious psychic forces. André Breton's well-known description of the surrealists as 'modest recording ART HISTORY .

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Ready-Made Originals: The Duchamp Model

Cited by 14 publications

References 0 publications

New materialism in art – “new stones” in art@science discourse

New materialism in art – “new stones” in art@science discourse

Double meandering algorithm

‘MODEST RECORDING INSTRUMENTS’: SCIENCE, SURREALISM AND VISUALITY

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