DOCSLIB.ORG

The Machine That Made Science Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Machine That Made Science Art The Machine that Made Science Art The Troubled History of Computer Art 1963-1989 Grant D. Taylor, BFA (Hons) Dissertation Submitted for the Degree of Doctor of Philosophy at the University of Western Australia The Faculty of Architecture, Landscape and Visual Arts October 2004 The Machine that Made Science Art The Troubled History of Computer Art 1963-1989 Grant D. Taylor, BFA (Hons) THE THESIS IS PRESENTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY OF THE UNIVERSITY OF WESTERN AUSTRALIA The Faculty of Architecture, Landscape and Visual Arts University of Western Australia 2004 COPYRIGHT © GRANT TAYLOR 2004 Contents List of Illustrations I Foreword III The Abstract IV Introduction The Incongruous: A History of Computer Art 1 The Scope of this Study 9 Thesis Outline 12 Chapter 1 “The Wave of the Future Crashes”: The Rise of Computer Art 27 Spurious Provenance: Militaristic Beginnings 28 Antagonism and Alliance: The Ideology of Two Cultures 36 Conciliation: The Rise of the Art and Technology Movements 39 Concurrence and Disparity: Computer and Conceptual Art 43 “Man Versus Machine”: Humanism and Anti-Computer Sentiment 50 Chapter 2 Art Abstracted: Mathematics, Cybernetics and Aesthetics 67 Patterns of Beauty: Machines and Geometric Grandeur 67 Demystification: The Mathematisation of Art 75 Fields of Occurrence: The Evolution of Mechanical Chance 83 Metamorphosis: The Transfiguration of Visual Data 87 Contents Chapter 3 The Renaissance Figure: The Emergence of the Artist-Programmer 99 An Untenable Alliance: The Failure of Art and Technology 99 New Developments: Pedagogy, Industry and Women in Computer Art 103 Humanising and Naturalising the Machine 112 The Heuristic Mode: Exploring the Generative System 114 Persisting Discontent: The Unfavourable Assessment of Computer Art 129 Chapter 4 Frontier Mythology: Exploring Order and Complexity 151 The New Paradigm: The Mysterious Space between Order and Chaos 152 New Modes: Personal Computers, Multimedia and Commercial Software 165 The Schism: Purism and Ambivalence 174 Chapter 5 Computer Art in Crisis: Postmodernism and the Expanding Field 193 The Delphi Study: Signalling a Mounting Crisis 194 New Critical Readings: The Influence of Postmodernism 199 Crisis and Fragmentation: The Viability of Critical Discourse 210 Profiling the Possible: The Pre-eminence of Techno-science 222 Conclusion: Triumph of Postmodernism 231 Conclusion The Fate of Computer Art 245 The Significance and Legacy of Computer Art 258 Bibliography 267 List of Illustrations FRONTCOVER. William Latham, Standing Horn, 1989. FIGURE 1. The 7th Annual Computer Art Contest, invitation and guidelines, reproduced in Computers and Automation (1969). FIGURE 2. Compro, advertisement for computer-generated artwork, reproduced in Computers and Automation (1968). FIGURE 3. Splatter Diagram (often entitled Splatter Pattern), 1963. Ballistic Research Laboratories, Aberdeen, Maryland. FIGURE 4. Trajectories of a Ricocheting Projectile, 1964. Ballistic Research Laboratories, Aberdeen, Maryland. FIGURE 5. A. Michael Noll, Gaussian Quadratic, 1963. FIGURE 6. Manfred Mohr, P 159A (detail), 1973. FIGURE 7. Sol LeWitt, 122 Variations of Incomplete Open Cubes, (Schematic drawing component) 1974. FIGURE 8. Advertising image for a large mainframe computer, reproduced in Computers and Automation, (1964). FIGURE 9. A. Michael Noll. Computer Composition with Lines, 1965. FIGURE 10. Black and white reproduction of Piet Mondrian’s Composition with Lines, 1914. FIGURE 11. Ben Laposky, Oscillons, 1953. FIGURE 12. Ben Laposky’s modified oscilloscope with sin wave generator and photographic set-up, 1953. FIGURE 13. Ivan Moscovich’s Drawing Machine: The Pendulum-harmonograph. 1951. FIGURE 14. Kerry Strand and Larry Jenkins in association with California Computer Products, Inc., Anaheim, Plexus, 1968. FIGURE 15. Maughan S. Mason, Christmas Wreath, 1968. FIGURE 16. Kerry Strand from California Computer Products The Snail, l968. FIGURE 17. A. M. France Sketch for a Mural, 1969. FIGURE 18. Donald K. Robbins from The Sandia Corporation, New Mexico, Verifying Star 1967. FIGURE 19. Frieder Nake, Matrix Multiplication, 1967. FIGURE 20. Auro Lecci, Slant, 1969. FIGURE 21. Frieder Nake, Klee, 1966. FIGURE 22. John Venn’s visual representation of randomness, 1888. FIGURE 23. Manfred Mohr, Random walk, 1969. FIGURE 24. Georg Nees 23-corner graphic, 1968. FIGURE 25. Charles Csuri and James Schaffer, Sine Curve Man, 1967. FIGURE 26. Leon Harmon and Kenneth Knowlton. Studies in Perception: Gargoyle, 1967. FIGURE 27. Detail from Studies in Perception: Gargoyle. FIGURE 28. Members of the CTG—Computer Technique Group. Left to right: Koji Fujino, Masao Komura, Kunio Yamanaka, Haruki Tsuchiya and Makoto Ohtake. FIGURE 29. Computer Technique Group. (Left) Return to a Square A. (right) Return to Square B, 1968. I FIGURE 30. Computer Technique Group, Short Kennedy No 1, 1968. FIGURE 31. Lloyd Sumner generating computer art on his Burroughs computer and Calcomp. FIGURE 32. Lloyd Sumner, Intuitively Yours, 1968. FIGURE 33. Lloyd Sumner, Self Portrait, 1968. FIGURE 34. Grace C. Hertlein, The Field, 1970. FIGURE 35. CS & CJ Bangert, Large Landscape, 1, Computer generated, ochre and black ink on paper, 1970. FIGURE 36. Harold Cohen, Aaron, Stedelijk Museum installation, Amsterdam, November 1977, showing the computer-driven ‘turtle’ in action. FIGURE 37. Harold Cohen, Drawings from the San Francisco Museum of Modern Art, 1979. FIGURE 38. Manfred Mohr in front of the flatbed plotter explaining his technique, 1971. ARC, Musée d’Art Moderne, Paris Exposition. FIGURE 39. Vera Molnar, Computer Drawings, Computer-rosace series, 1974. FIGURE 40. Manfred Mohr, Metalanguage II, 1974. FIGURE 41. Manfred Mohr P-196/B, Acrylic on canvas, (left) P-197/K, Acrylic on canvas (right) 1977. FIGURE 42. David Em working with his screen-based imagery. FIGURE 43. David Em, Persepol, 1980. FIGURE 44. David Em, South Temple, 1981. FIGURE 45. Melvin Prueitt, Bright Caven, 1982. FIGURE 46. Mandelbrot set from Peitgen and Richter’s The Beauty of Fractals, 1986. FIGURE 47. Herbert Franke, Untitled, published in Images Digital, 1986. FIGURE 48. F. K. Musgrave, Blessed State, 1988. FIGURE 49. Roman Verostko, New City 2 acrylic, crayon and gesso on wood, 1966. FIGURE 50. Manfred Mohr, Bild 17/1265, acrylic painting,1965. FIGURE 51. Roman Verostko, Pathway 1 1988. FIGURE 52. Roman Verostko, Pathways Series, 1988. FIGURE 53. Melvin Prueitt Roadway to Somewhere, 1981. FIGURE 54. Melvin Prueitt Involution, 1978. FIGURE 55. Mark Wilson, Untitled, painting, 1973. FIGURE 56. Mark Wilson, Skew J17 1985. FIGURE 57. Lillian Schwartz, Mona/Leo, 1987. FIGURE 58. Brian Reffin Smith, That Cher Evil, 1988. Photographic reproduction of plotter drawing on billboard. FIGURE 59. Yoichiro Kawaguchi, Tendril, 1981. FIGURE 60.William Latham, Standing Horn 1989. FIGURE 61. William Latham, Folded Red Form (top Left) Horn Egg (bottom Left) Unexpected Form (top Right) Shaw 35 (bottom Left) 1988-9. FIGURE 62. Susan Ressler, Earth 1 1989. II Foreword The research I have undertaken and the subsequent thesis produced would not be possible without the continuing support of a number of people. I feel fortunate to have received significant assistance from the Faculty and the University in the form of travel grants and scholarships, particularly the Australian Postgraduate Award (2001-2004). I am grateful to the Dean of the Faculty, Patrick Beale, for his unwavering support, Associate Professor Richard Read for his often helpful advice, and Dr Clarissa Ball who has always offered practical guidance. My special thanks and warmest appreciation, however, goes to my supervisor Dr Ian McLean who has made my post-graduate research experience highly satisfying and rewarding. My thanks also goes to Michèle Drouaut for her invaluable editorial advice. In addition, I am indebted to those artists, theorists and historians in the US, UK, Germany and Japan who have provided valuable information for my research. Finally, I would like to thank my loved ones, for without their emotional support a project of this magnitude would not be possible. III Abstract This thesis represents an historical account of the reception and criticism of computer art from its emergence in 1963 to its crisis in 1989, when aesthetic and ideological differences polarise and eventually fragment the art form. Throughout its history, static-pictorial computer art has been extensively maligned. In fact, no other twentieth-century art form has elicited such a negative and often hostile response. In locating the destabilising forces that affect and shape computer art, this thesis identifies a complex interplay of ideological and discursive forces that influence the way computer art has been and is received by the mainstream artworld and the cultural community at large. One of the central factors that contributed to computer art’s marginality was its emergence in that precarious zone between science and art, at a time when the perceived division between the humanistic and scientific cultures was reaching its apogee. The polarising force inherent in the “two cultures” debate framed much of the prejudice towards early computer art. For many of its critics, computer art was the product of the same discursive assumptions, methodologies and vocabulary as science. Moreover, it invested heavily in the metaphors and mythologies of science, especially logic and mathematics. This close relationship with science continued as computer art looked to scientific disciplines and emergent techno-science
Load more

Recommended publications
  • The Art of Looking Back and the Reward of More Or Less Being Seen
    The Art of Looking Back and the Reward of More or Less Being Seen The danger is in pleasing an immediate public: the immediate public that comes around you and takes you in and accepts you and gives you success and everything. Instead of that, you should wait for fifty years or a hundred years for your true public. That is the only public that interests me. Marcel Duchamp It is the REGARDEURS who make the pictures. Marcel Duchamp click to enlarge Figure 1 Jasper Johns, The Critic Sees, 1961 Our ability to believe our eyes is often overridden by our unquestioning confidence in the judgment of “experts”. As in Jasper John’s The Critic Sees(Fig. 1), we seem to put more trust in the words of these experts whose insights are often the reiteration of yet others’ conclusions, than in our own ability to bear down and witness what is before us. Marcel Duchamp understood the human tendency to categorize and simplify as well as rely on the filters of contemporary opinion to color observation; I believe he used this knowledge to make a powerful commentary on the state of affairs of modern thought and the direction that art was taking in his lifetime. Duchamp fought quietly against the move in twentieth century art towards the purely visual experience, the ‘retinal shudder’ as he put it, where “aesthetic delectation depends almost exclusively upon the sensitivity of the retina without any auxiliary interpretation.”(1) This auxiliary interpretation was to Duchamp the operation of the intellect in making and understanding art.
    [Show full text]
  • Shigeko Kubota's Reunion with Duchamp And
    Somewhere between Dream and Reality: Shigeko Kubota’s Reunion with Duchamp and Cage click to enlarge Photograph of Reunion performance by Shigeko Kubota, 1968 Figure 1 George Maciunas, Fluxus (Its historical development and relationship to avant-garde movements) Diagram No. 1-2, 1966 Figure 2 Cunningham Dance Foundation, Walkaround Time, 1968 More And moRe. rules are esCaping our noticE. they were Secretly put in the museum. (1) Born in Niigata, Japan, in 1937, Shigeko Kubota grew up in a monastic environment during WWII and the subsequent postwar period. She later studied sculpture in Tokyo in the late 1950s and early 1960s, during which Japan strived to reestablish its financial, political and psychological welfare from the devastation of the war. This period also offered a chance for Japanese artists to move away from fairly confined notions of presentation and cultural isolation from the global art community. Although such avant-garde group, as Gutai, began to evoke innovative ideas in the 1950s. For instance, painting by foot, crashing through papers, throwing paint, or displaying water in Osaka and Tokyo, a gender-biased phenomenon was still a fixed hierarchy of the society. After the failure of local art community to put up any critical response to her work, Kubota took off on a Boeing 707, leaving her native country for New York in 1964. She was drawn to the glittering landscape of the New York art scene, where Pop art, Happening, Minimal and Conceptual work were the dominant manners of the time. Through Yoko Ono, she was soon acquainted with George Maciunas, the founder of Fluxus, and became a core member of Fluxus participating in various street events and performances.
    [Show full text]
  • A Rasika's Tale…
    A RASIKA'S TALE… DR. ALKA PANDE Abstract: The paper will attempt to investigate t he cultural context of the changing representation of Indian art, from pre modern to modern and the contemporary.. From Bharat's Saundarya Shastra to Baumarten's Aesthetica. From the spiritual to the the visual, how Indian art practices have undergone changes and transformations from the Dancing girl Of Mohenjo Daro to the Kitchen of Subodh Gupta. Is the contemporary Indian artist looking for endorsement from the West? Or is the Indian artist coming of age in a global cosmopolitan work? Where does the legacy of art and craft find its space? As a subaltern voice or that of a contemporary artistic practice? From Making to Not Making……………….. I naturally gravitated towards the bunch of people crowding near a T.V. monitor at the Arsenale in Venice. The occasion was the opening preview of the 54th edition of the Venice Biennale. And once I managed to find a foothold to squeeze myself in amidst the crowd, I dug in my heels and stood entranced. A huge movie buff, I was in heaven. I was viewing short crisp footages of movies centering around the clock. I found I was looking at the work of Christian Marclay. I was to discover that Marclay got the Golden Lion for the best artist at the Venice Biennale 2011 for his 24-hour film montage. Marclay, born in California, is an artist and composer who explores synchronicity among music, film and video in his works. "The Clock" features clips from such diverse films as "High Noon," starring Gary Cooper; "Titanic," with Leonardo DiCaprio; and the Arnold Schwarzenegger action movie "Eraser." Times shown on screen in "The Clock" are synchronised with real time.
    [Show full text]
  • Banksy. Urban Art in a Material World
    Ulrich Blanché BANKSY Ulrich Blanché Banksy Urban Art in a Material World Translated from German by Rebekah Jonas and Ulrich Blanché Tectum Ulrich Blanché Banksy. Urban Art in a Material World Translated by Rebekah Jonas and Ulrich Blanché Proofread by Rebekah Jonas Tectum Verlag Marburg, 2016 ISBN 978-3-8288-6357-6 (Dieser Titel ist zugleich als gedrucktes Buch unter der ISBN 978-3-8288-3541-2 im Tectum Verlag erschienen.) Umschlagabbildung: Food Art made in 2008 by Prudence Emma Staite. Reprinted by kind permission of Nestlé and Prudence Emma Staite. Besuchen Sie uns im Internet www.tectum-verlag.de www.facebook.com/tectum.verlag Bibliografische Informationen der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Angaben sind im Internet über http://dnb.ddb.de abrufbar. Table of Content 1) Introduction 11 a) How Does Banksy Depict Consumerism? 11 b) How is the Term Consumer Culture Used in this Study? 15 c) Sources 17 2) Terms and Definitions 19 a) Consumerism and Consumption 19 i) The Term Consumption 19 ii) The Concept of Consumerism 20 b) Cultural Critique, Critique of Authority and Environmental Criticism 23 c) Consumer Society 23 i) Narrowing Down »Consumer Society« 24 ii) Emergence of Consumer Societies 25 d) Consumption and Religion 28 e) Consumption in Art History 31 i) Marcel Duchamp 32 ii) Andy Warhol 35 iii) Jeff Koons 39 f) Graffiti, Street Art, and Urban Art 43 i) Graffiti 43 ii) The Term Street Art 44 iii) Definition
    [Show full text]
  • Redalyc.Percorrendo O Labirinto Com Marcel Duchamp
    Revista Digital do LAV E-ISSN: 1983-7348 [email protected] Universidade Federal de Santa Maria Brasil Dutra Cordeiro, Flávia Percorrendo o labirinto com Marcel Duchamp Revista Digital do LAV, vol. 3, núm. 4, marzo, 2010, pp. 1-26 Universidade Federal de Santa Maria Santa Maria, Brasil Disponível em: http://www.redalyc.org/articulo.oa?id=337027036009 Como citar este artigo Número completo Sistema de Informação Científica Mais artigos Rede de Revistas Científicas da América Latina, Caribe , Espanha e Portugal Home da revista no Redalyc Projeto acadêmico sem fins lucrativos desenvolvido no âmbito da iniciativa Acesso Aberto Percorrendo o labirinto com Marcel Duchamp1 Flávia Dutra Cordeiro2 Resumo 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.
    [Show full text]
  • Tesis: El Libro-Maleta Octavio Paz/Marcel Duchamp, 1968
    UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO PROGRAMA DE POSGRADO EN LETRAS FACULTAD DE FILOSOFÍA Y LETRAS INSTITUTO DE INVESTIGACIONES FILOLÓGICAS EL LIBRO-MALETA OCTAVIO PAZ/ MARCEL DUCHAMP, 1968: HISTORIA, PRODUCCIÓN Y SENTIDO. TESIS QUE PARA OPTAR POR EL GRADO DE MAESTRA EN LETRAS (LETRAS MEXICANAS) PRESENTA NATALIA GONZÁLEZ GOTTDIENER BECARIA CEP, UNAM/CONACYT ASESORA: DRA. IRENE ARTIGAS ALBARELLI FFYL-UNAM MÉXICO, D.F., SEPTIEMBRE 2015 1 UNAM – Dirección General de Bibliotecas Tesis Digitales Restricciones de uso DERECHOS RESERVADOS © PROHIBIDA SU REPRODUCCIÓN TOTAL O PARCIAL Todo el material contenido en esta tesis esta protegido por la Ley Federal del Derecho de Autor (LFDA) de los Estados Unidos Mexicanos (México). El uso de imágenes, fragmentos de videos, y demás material que sea objeto de protección de los derechos de autor, será exclusivamente para fines educativos e informativos y deberá citar la fuente donde la obtuvo mencionando el autor o autores. Cualquier uso distinto como el lucro, reproducción, edición o modificación, será perseguido y sancionado por el respectivo titular de los Derechos de Autor. Agradecimientos Agradezco a las instancias CEP/UNAM y CONACYT por otorgarme las becas que me permitieron dedicarme al estudio de esta maestría. Agra- dezco a Vicente Rojo su gentileza y apertura, y el darme la oportunidad de entrevistarlo, a fin de conocer más sobre su trabajo como pintor, di- señador y editor. Agradezco a mi tutora: la Dra. Irene Artigas Albarelli, por su paciencia y su guía a lo largo de estos dos años y medio en los que construimos este acercamiento al libro-maleta Octavio Paz/Marcel Duchamp, diseñado por Vicente Rojo.
    [Show full text]
  • (Ab)Using Marcel Duchamp: the Concept of the Readymade in Post-War and Contemporary American Art
    (Ab)Using Marcel Duchamp: The Concept of the Readymade in Post-War and Contemporary American Art The following article is published in two parts within the exhibition catalogue for “Aftershock: The Legacy of the Readymade in Post-War and Contemporary American Art,” Dickinson Roundell, Inc., New York, May – June 2003”* In a 1961 interview with Katherine Kuh, Marcel Duchamp, when asked about his readymades, let it be known that the concept behind those objects might be “the most important single idea to come out of my work.” (1) In June 1967, the self-proclaimed “an-artist”(2) – anticipating his final departure a mere sixteen months hence (“Quite simply, I am waiting for death”) – elaborated on his concept of the readymade: “Ultimately, it should not be looked at… It’s not the visual aspect of the Readymade that matters, it’s simply the fact that it exists.… Visuality is no longer a question: the Readymade is no longer visible, so to speak. It is completely gray matter. It is no longer retinal.” When pressed by his interviewer about the paradox of the readymades having “ended up being ‘consumed’ in museums and exhibitions, and sold as art objects” (particularly in light of the editions produced by the Galleria Schwarz in Milan in 1964), Duchamp replied: “There is an absolute contradiction, but that is what is enjoyable, isn’t it? Bringing in the idea of contradiction, the notion of contradiction, which is something that has never really been used, you see? And all the more since this use doesn’t go very far.
    [Show full text]
  • Leonardo Electronic Almanac Volume 7, No
    / ____ / / /\ / /-- /__\ /______/____ / \ ============================================================= Leonardo Electronic Almanac Volume 7, No. 2 February, 1999 Craig Harris, Executive Editor Patrick Maun, Gallery Editor/Curator Craig Arko, Coordinating Editor Michael Punt, LDR Editor-in Chief Roger Malina, LDR Executive Editor Kasey Asberry, LDR Coordinating Editor Editorial Advisory Board: Roy Ascott, Michael Naimark, Simon Penny, Greg Garvey, Joan Truckenbrod ISSN #1071-4391 ============================================================= ____________ | | | CONTENTS | |____________| ============================================================= INTRODUCTION < This Issue > Craig Harris FEATURE ARTICLES < MASS 98 Profiles (excerpts) > Janet Colletti, et al PROFILES < LEA Gallery Feature: BAD: Burn the Art World Down > Patrick Maun and Natalie Bookchin LEONARDO DIGITAL REVIEWS Michael Punt et al < Book Review: Old Wine New Flasks by Hoffman & Schmidt > Reviewed by Kevin Murray < Exhibit Review: Women, Surrealism and Self-Representation at SFMOMA > Reviewed by Sonya Rapoport, Barbara Lee Williams < Book Review: Asteroids by Charles Kowol > Reviewed by Kasey Asberry < Book Review: Journey to the Frontiers of Molecular Medicine by Hank Whittenmore > Reviewed by Istvan Hargittai OPPORTUNITIES < Virginia Center for Computer Music Graduate Assistantship > < California Institute of the Arts, School of Music > ANNOUNCEMENTS < VIII International Festival of Electroacoustic Music > < VIth Brazilian Symposium on Computer Music > 1 LEONARDOELECTRONICALMANAC
    [Show full text]
  • “That Very Funny Article,” Pollyperruque, and the 100Th Anniversary of Duchamp’S Fountain
    “THAT VERY FUNNY ARTICLE,” POLLYPERRUQUE, AND THE 100TH ANNIVERSARY OF DUCHAMP’S FOUNTAIN Thomas Girst ABSTRACT Within half a century, the status of Duchamp’s readymades changed from iconoclastic object to iconic sculpture. This contribution focusses on two of Duchamp’s readymades, one from 1915 and thus dated at the very beginning of Duchamp’s occupation with this subject matter, while the other is dated 1967, the very last object to enter this particular category within Duchamp’s oeuvre. André Breton remarked that “future generations can do no less than make a systematic effort to go back the stream of Duchamp’s thought and carefully describe its meanderings in search of the hidden treasure which was his mind.” It is with these suggestions in mind that, after the examination of an heretofore unknown readymade from the 1910’s and his collage Pollyperruque from the year before he passed away, final observations will examine the 100th anniversary of Duchamp’s Fountain to reassess the readymade’s potential as an analog object and social media phenomenon in the digital realm. KEYWORDS Marcel Duchamp, readymade, Fountain, Pollyperruque Within half a century, the status of Duchamp’s readymades changed from iconoclastic object to iconic sculpture. While publications on the readymades are ubiquitous, primary literature and historical sources oftentimes remain overlooked. Yet, it is the exploration and analysis of this material which may still yield the greatest results when attempting to grasp all facets of the multitudinous polyvalence that the readymades constitute. This contribution focuses on two of Duchamp’s readymades, one from 1915 and thus dating the very beginning of Duchamp’s occupation with this subject matter, while the other, from 1967, is the very last object to enter this particular category within Duchamp’s oeuvre.
    [Show full text]
  • The Conspiracy of Art: Part Ii
    THE CONSPIRACY OF ART: PART II Reader 1206 SOUTH MAPLE AVE. SUITE 1030 LOS ANGELES CALIFORNIA 90015 CHATEAUSHATTO.COM 213.973.5327 1 POLITICAL SCIENCE FICTION Expert Monitors, Excessive Skepticism, and Preventive Rationality few days after September 11th, 2001, George W. Bush declared a national Day of Reflection. This moment of contemplation, while infused with sentiments of mourning and grief, also coincided with anotherA kind of national reflection. On September 26, then--White House spokesperson Ari Fleischer announced that Americans should "watch what they say." This self--monitoring of thought, especially around the limits of dissent, took on a spectacular prominence at that conjuncture, but it has a longer history. And in many cases recently these limits have been articulated to conspiracy thinking. This chapter traces some of the foundational texts that made rational-­ i ty a crucial factor for conspiracy panics in defining proper forms of consent and dissent. I begin with a brief summary of the writings of Harold Lasswell, Richard Hofstadter, and others in the mid-- to late 1960s as the groundwork for contemporary conspiracy panics. I then survey more recent interpreters of the "paranoid style," "political paranoia," or "conspiracism." Explored here are the conceptual contexts that produce, and ultimately get reinforced by, conspiracy. panics.. The chapter will be a close reading of these expert texts, focusing on the following conspiracy panic issues: domestic political extremism, forms of dissent, and dominant styles of thought. I argue that the concern over conspiracy theories ( old and new) is closely linked to panics over extremist political activity. From the scares over communists and Birchites in the 1960s to the alarm over militias and terrorists since the mid 1990s, public discussions have intertwined a form of thought (irrational conspiracy theo-­ ries) with a form of political activity (extremism).
    [Show full text]
  • Eminist Eriodicals a Current Listing of Contents
    WOMEN'S STUDIES LmRARIAN EMINIST ERIODICALS A CURRENT LISTING OF CONTENTS VOLUME 15, NUMBER 1 SPRING 1995 Published by Phyllis Holman Weisbard Women's Studies Librarian University of Wisconsin System 430 Memorial Library / 728 State Street Madison, Wisconsin 53706 (608) 263-5754 EMINIST ERIODICALS A CURRENT LISTING OF CONTENTS Volume 15, Number 1 Spring 1995 Periodical literature is the cutting edge ofwomen'sscholarship, feminist theory, and much ofwomen's culture. Feminist Periodicals: A Current Listing of Contents is published by the Office of the University of Wisconsin System Women's Studies Librarian on a quarterly basis with the intent of increasing pUblic awareness of feminist periodicals. It is our hope that Feminist Periodicals will serve several purposes: to keep the reader abreast ofcurrent topics in feminist literature; to increase readers' familiarity with a wide spectrum offeminist periodicals; and to provide the requisite bibiiographicinformation should a readerwish to subscribeto ajournal or to obtain a particular article at her library or through interlibrary loan. (Users will need to be aware of the limitations ofthe new copyright law with regard to photocopying of copyrighted materials.) Table ofcontents pagesfrom current issues ofmajorfeministjournalsare reproduced in each issue ofFeminist Periodicals, preceded by a comprehensive annotated listing ofall journals we have selected. As pUblication schedules vary enormously, not every periodical will have table of contents pages reproduced in each issue of FP. The annotated listing provides the following information on each journal: 1. Year of first publication. 2. Frequency of publication. 3. U.S. subscription price(s). 4. Subscription address. 5. Current editor. 6. Editorial address (if different from subscription address).
    [Show full text]
  • September 1999 CAA News
    Deadline for proposals for members' exhibition Datebook for the 2001 Annual Conference in Chicago (see http://www.collegeart.org/caa/news/1999!3Isession prop ...gu idelines.htmlfl exhibition) September 10, 1999 Deadline to register for the Artist's Portfolio Deadline for receipt of abstracts of papers Review and Career Development Workshops at accepted for the 88th Annual Conference in the 88th Annual Conference in New York (see New York (see http://www.collegeart.org/caa/ pages 4-6) conference/2000/calI2000.hhnl) December 1, 1999 September 15, 1999 Deadline for submissions to the January 2000 l!)... Deadline for receipt of session proposals for the issue of CAA News 0) CAA 2001 Annual Conference in Chicago (see hffp://www.collegeart.orglcaalnews/1999/3/ Deadline for receipt of dissertation titles begun session prop ...,guiddi nes. htm/) or completed in 1999 from American and s ] Canadian art history deparbnents September 30, 1999 Deadline for applications for Regional Chairs: Deadline for applications for room monitors and Annual Conference, Baltimore 2002 usher I projectionist positions at the 88th Annual • for faculty to create and advertise teaching and research. By using the Conference in New York (see page 5) want lists of images for teaching facilities of the Internet to pool this vast October 1, 1999 Academic Deadline for submissions to the November 1999 December 3, 1999 • for scholars, museums, libraries, and resource, we will have an opportunity to issue of CAA News Deadline for receipt of papers accepted for the photographers for nonprofit educational create a much needed public database of 88th Annual Conference in New York (see http:// Image use to contribute from the public domain art-historical images for all to use for Deadline for receipt of applications for the www.collegeart.org/caa/conjerence/2000/caI12000.
    [Show full text]