Unpacking Duchamp: Art in Transit

Hayes, William; Judovitz, Dalia; Seigel, Jerrold

doi:10.2307/430943

Cited by 8 publications

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The Psychology of Contemporary Art

Minissale

2013

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While recent studies in neuroscience and psychology have shed light on our sensory and perceptual experiences of art, they have yet to explain how contemporary art downplays perceptual responses and, instead, encourages conceptual thought. The Psychology of Contemporary Art brings together the most important developments in recent scientific research on visual perception and cognition and applies the results of empirical experiments to analyses of contemporary artworks not normally addressed by psychological studies. The author explains, in simple terms, how neuroaesthetics, embodiment, metaphor, conceptual blending, situated cognition and extended mind offer fresh perspectives on specific contemporary artworksincluding those of Marina

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The Psychology of Contemporary Art

Minissale

2013

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Transactional arts

Plewe

2008

Proceedings of the 16th ACM International Conference on Multimedia

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Interactive media, especially the internet, are often situated in an economic context where interactions are actually transactions and an exchange of some sort of value takes place. We focus on artists, who use or apply economic principles and coin those works as "transactional arts i ". We will observe that many accomplished new media works actually have transactional features. In the field of transactional arts, marketplaces can become an art form, buying and selling are means of selfexpression, mesh-ups may resemble online businesses and most important, incentives become artistic material.

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Mixed Feelings: Ashbery, Duchamp, Roussel, and the Animation of Cliché

Rosenbaum¹

2012

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The association of the cliché with a devalorized and feminized sentimentality—with feeling regarded as excessive, insincere, mechanized, or commercially debased—emerged in the late nineteenth century and was instrumental to the canonization of literary modernism in the 1940s and 1950s. This essay proposes a different reading of clichés by focusing on artists who approach the cliché not with grimness but with fascination. Raymond Roussel, Marcel Duchamp, and John Ashbery recognized the cliché's constitutive function in modern culture; its ties to print, photography, and mechanical reproduction; and its vital role in mediating feeling. Rather than bemoan or attack the cliché, each artist put it at the center of their experiments, punning on and playing with clichés to generate a new language of feeling. For this trio of artists, the mechanical origin and mixed nature of the cliché facilitates rather than impedes their efforts to animate “dead metaphors.” Ashbery, a dedicated reader, translator, and critic of Roussel, adapts Roussel's methods, but his adaptations owe much to the work of a crucial intermediary, Duchamp, whose “bachelor machines” originated in his reading of Roussel. By reading Ashbery through Roussel and Duchamp, this essay illuminates an overlooked genealogy for the New York School poets' experiments with feeling.

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Unpacking Duchamp: Art in Transit

Cited by 8 publications

References 0 publications

The Psychology of Contemporary Art

The Psychology of Contemporary Art

Transactional arts

Mixed Feelings: Ashbery, Duchamp, Roussel, and the Animation of Cliché

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