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2008 and is
(9 Et'znab (Flint) / 6 Muwan (Owl) - 178/260 - 220.127.116.11.18)
Duchamp (d¡-shäN´, dü), Marcel
French-born modernist artist and a leader of the Dada movement in New York City who was the first to exhibit commonplace objects as art. His paintings include Nude Descending a Staircase (1912).
The individual, man as a man, man as a brain, if you
like, interests me more than what he makes, because I've noticed that
most artists only repeat themselves.
Marcel Duchamp (1887-1968), French artist. Dialogues with Marcel Duchamp, ch. 5 (ed. by Pierre Cabanne, 1967).
I am still a victim of chess. It has all the beauty
of art-and much more. It cannot be commercialized. Chess is much purer
than art in its social position.
Marcel Duchamp (1887-1968), French artist. Time (New York, 10 March 1952). Duchamp had given up painting in favor of chess thirty years before.
The chess pieces are the block alphabet which shapes
thoughts; and these thoughts, although making a visual design on the
chess-board, express their beauty abstractly, like a poem. . . . I have
come to the personal conclusion that while all artists are not chess
players, all chess players are artists.
Marcel Duchamp (1887-1968), French artist. Address, 30 Aug. 1952, New York State Chess Association. Quoted in: Kynaston McShine, Marcel Duchamp, (ed. by Anne d'Harnoncourt and Kynaston McShine, 1989).
"When artist and spectator play a game of chess it
is like designing something or constructing a mechanism of some kind.
The competitive side of it has no
I have forced myself to contradict myself in order
to avoid conforming to my own taste.
Marcel Duchamp (1887-1968), French artist. Quoted in: Harriet Janis and Sidney Janis, "Marcel Duchamp: Anti-Artist," in View (New York, 21 March 1945; repr. in Robert Motherwell, Dada Painters and Poets, 1951).
All in all, the creative act is not performed by the
artist alone; the spectator brings the work in contact
with the external world by deciphering and interpreting its inner
qualifications and thus adds his contribution to the creative act. This
becomes even more obvious when posterity gives its final verdict and
sometimes rehabilitates forgotten artists.
Marcel Duchamp (1887-1968), French artist. "The Creative Act," lecture, April 1957, in Houston, Texas (published in Art News, New York, Summer 1957; repr. in Robert Lebel, Marcel Duchamp, 1959).
which brings an interesting note to the Burning
Man experience. on my first and only appearance, i did
become a spectator consciously. it was almost a sense of "reverse
discrimination" so that if you didn't "participate" in their very narrow
definition, the social construct comes into play just like any other
(mainstream) society. you feel peer pressure to comform to their
standard of "participation". that is why it is most important for
me to define TAZ as an automagickally participatory event (find it and
show up, and you become the party - not the dj's or "performers").
so basically i walked away from burning man disappointed in one
sense: that they are just as sociologically fascistic as any other
non-temporary, non-roaming gathering (burning man is NOT a TAZ, as it's
located at the same spot every year, it has become a routine). i
walked away with pride knowing that again, i was on the outside, by a
gathering of so-called outsiders, which negated the whole notion of
"art" at burning man. - @Om*
The Italian anatomist Luigi Galvani (who inspired
Mary Wollstonecraft Shelley's classic novel _Frankenstein_
in 1818) discovered in 1786 that electricity was
one of the essential secrets of life. This discovery galvanised
society, its future applications are only just beginning to be
envisaged. Its infiltration and uses are beyond calculation,
its symbiosis presently is even greater than
before as technology increases the use of electricity becomes even more
fundamental to the workings of machines - Machine Breeds Machine.
Duchamp's futuristic vision of allegorical machines is one of the true
marriages between matter and spirit, art and technology, "the spirit is
the bride". Duchamp invented a new physics of his own, closer to
Jarry's pataphysics than to conventional science, a fourth dimensional
engineering that goes beyond the rational axiomatic rigidity of
scientific law. One of Duchamp's greatest works, _The Large Glass
or the Bride Stripped Bare By Her Bachelors Even_ (1915-23) represents
the most difficult and mysterious of all domains, the fourth dimensional
phenomenon of sex. These theoretical suggestions which were later
to be discovered by Baron Von K. Reichenbach and Wilhelm
Reich, isolate and demonstrate a tangible biological energy
generated by the human body (particularly during sexual activity).
These discoveries can only enhance yet even more new possibilities in
the future exploration of the man machine symbiosis in all levels of
creation. As technology accelerates and new knowledge formulates
so does the spirit in its needs to expand its own awareness, only in the
pursuit of knowledge of all things can we discover ourselves.
- liner notes for track _Techno Geist_ by ClockDVA off of _Man Amplified_ CD on Contempo (1992)
As I may have mentioned before, when you reach this inevitable point in the history of "original" music experimentation where all the best moves have ALREADY been made, recycling becomes "revolutionizing" itself. That's where we are in the 21st Century of music and there's no way around it. New has become old and old has become new. It's only "political" because of copyright laws which are so far oblivious to this contradictory shift in modern creative practices. Otherwise, it is the most natural development out of actual circumstances (mental and technological) that one could expect from any art that has been so fully fleshed out experimentally and, from its inception, was always based on the joys of copying anyway.
As a consequence, modern artists should back off their traditional god complexes, expecting to be prayed for (and payed for) their individual creative efforts wherever they appear in subsequent new contexts by others. Complete propriatory control is neither possible nor desirable in a culture of significantly increased recycling. Ironically, found sample manipulation is the ONLY actually "new" thing to happen in "original" music making since about 1970. If anyone thinks it's "easier" to make something worth while by copping the "best" stuff of other artists, just try it. It has just as many creative pitfalls as "original" ideas ever had, including the one about resting on others' laurels if you don't make it "work" in some new way that's original to you.
"There is no solution because there is no problem" - Duchamp.