440 creative period, Duchamp was content to let others develop therefore, the revolving disks produced a three- to the themes he had originated; his pervasive influence dimensional effect. This anticipated the spiral theme that was crucial to the development of Surrealism, Dada, and would later appear in Rotary Demisphere (1925) and in the Pop Art. Duchamp became an American citizen in 1955 film Anémic Cinéma (1925-1926). The disks in Disks and at the end of his life Duchamp became an idol of the Bearing Spirals (1923) were preliminary studies for new generation of avant-garde American artists. He died in Duchamp's (second) attempt to produce a three- Neuilly sur Seine, Paris on October 1, 1968. All in all, dimensional film. This time he just filmed rotating disks, Duchamp could be considered the bridge between early alternating nineteen Op-Art-Optical Disks, based on the modern movements, such as Futurism and Cubism, to earlier Disks Bearing Spirals. Nine of these disks were Dada and Surrealism [4]. inscribed by puns, white letters pasted on black cardboard disks and that denotes his interest in visual phenomena, 3. ANÉMIC CINÉMA too. Anémic Cinéma alternates shots of moving spirals and shots of texts mounted on disks in slight relief. The texts, The spinning wheel is a recurring theme/movement in which we read from the outside inwards, involve complex Duchamp's works: Bicycle Wheel (1913), Nude word play that may suggest to us a set of erotic scenarios, Descending a Staircase, N. 2 (1912) and his Rotorelief creating an almost hypnotic effect. On one level, (1935). Duchamp explains [2] that he enjoyed watching Duchamp's minimizes the element of silent films: words, the wheel spinning. Thus, we can guess this short film is a then images. Duchamp sharply bifurcates the film viewing moment of ectasy or spiritual meditation. In January 1920, activity into two: reading words on a screen and viewing Duchamp made an optical experiment with the assistance images, moving spirals, whose motion produces the play of of Man Ray. Knowing that the eye retains an image for a depth and flatness that is a given of cinematic illusion. On fraction of a second after it disappeared, he built a another level, the combined reading and viewing of silent motorized machine, Rotary Glass Plates (1920). Segments films conventionally give rise to a third activity: our of a circle were painted on five glass plates mounted on an imaginative world and that is what film semioticians term electrically operated metal axis. Rubber strips connected diegesis. The language of Anemic Cinema provokes us to the axis to the motor, but, the experiment was no success. conjure the space of a diegetic world that it refuses to Three years later, Duchamp tried this experiment again, show. What it does show, between its spiraling puns, is the now using a turntable of a record player. He made a series pulsation of those intervening spiraling abstract forms. of Disks Bearing Spirals (1923) mounted on cardboard,

Table 1. The structure of Anémic Cinéma!!! Legenda. tt=beginning title, op=op-art, t=text, tc=ending title

441 This is the only film directed by Marcel Duchamp and, as the second layer is the manipulation of metallic sounds with similar avantgarde works made by Man Ray, Hans produced and recorded by myself and inspired by the Richter or Fernand Léger, there's no plot, only moving sound of Russolo's Intonarumori. shapes and objects, in an attempt to deny the vision of art as contemplation and ecstasy. 5. THE VIDEO FORMAT

The resynthesis is presented in MP4 and the Zip archive 4. ANALYSIS AND RESYNTHESIS (676.4 MB) of the video-file can be downloaded from: http:// link blinded. In the original movie [3] the total number of sequences is The specification of the video-file are: video format MP4, 21: 2 title sequences (beginning/ending), 10 rotorelief compression H.264, frame size 1280 x 720, field sequences (op-art) and 9 textual rotorelief. Table 1 shows dominance upper field first and sound MPEG-4 AAC, the formal structure of the original movie analyzed stereo, 48Khz and 256kbps. The frame is divided in two according to these parameters: length, beginning transition, parts (Figure 1). The left one shows the original version of ending transition, movement and velocity. The average Anémic Cinéma and the right one shows the resynthesis. duration of the 10 op-art is 17 seconds and 20 frames. The average duration of the 9 textual rotorelief is 12 seconds and 08 frames and, therefore, the overall average duration is 15 seconds and 01 frames. The average velocity of the 10 op-art is one round in 77 frames (3,08 seconds), 0,32 round for a second. The average velocity of the 9 textual rotorelief is one round in 162 frames (6,48 seconds), 0,15 round for a second and, therefore, the overall average velocity is one round in 119 frames (4,78 seconds), 0,21 round for second. The sentence written on the 1st textual rotorelief is: Bains de gros thé pour grains de beauté sans trop de bengué. The sentence written on the 2nd textual rotorelief is: L'enfant qui tète est un souffleur de chair Figure 1. A frame from the video file. chaude et n'aime pas le chou-fleur de serre chaude. The sentence written on the 3rd textual rotorelief is: Si je te 6. REFERENCES donne un sou, me donneras tu une paire de ciseaux? The [1] Bernardi, S. L'avventura del cinematografo. Venezia: sentence written on the 4th textual rotorelief is: On ! Marsilio Editore, 2007. demande des moustiques domestiques (demi-stock) pour la [2] Tomkins, C. Duchamp: A Biography. London: Henry cure d'azote sur la cote d'azur. The sentence written on the ! Holt and Company, 1996. 5th textual rotorelief is: Inceste ou passion de famille, à [3] ! Unseen Cinema. DVD 3 Light Rhythms: Music and coups trop tirés. The sentence written on the 6th textual ! Abstraction. Anthology Film Archives !2005 rotorelief is: Esquivons les ecchymoses des esquimaux aux [4] ! www.understandingduchamp.com mots exquis. The sentence written on the 7th textual rotorelief is: Avez vous déja mis la moëlle de l'épée dans le poêle de l'aimée? The sentence written on the 9th textual rotorelief is: Parmi nos articles de quincaillerie paresseuse, nous recommandons le robinet qui s'arrête de couler quand on ne l'écoute pas. The sentence written on the 10th textual rotorelief is: L'aspirant habite javel et moi j'avais l'habite en spirale. The resynthesis is based on these rules: instead of the original text rotorelief I used pictures of natural rotorelief (tree rings); instead of the original op- art rotorelief I used op-art drawn by myself; the first musical layer is the manipulation of an audio recording of a female voice reading the original Duchamp’s texts and

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