... that is etymologically at the root of the word amateur —that is required for art-work. For Stiegler, Marcel Duchamp is an exemplar of this work precisely because of his libidinal discourse with art, most evident in the readymades, referred to by Stiegler as “not a burning scandal but something like a mute surprise...

... . “The Prospects of Recording.” In The Glenn Gould Reader , edited by Page Tim , 331 – 53 . New York : Vintage . Guénoun Denis . 1998 . Le théâtre est-il nécessaire? Paris : Circé . Guérin Michel . 2008 . Marcel Duchamp: Portrait de l'anartiste . Nîmes : Lucie Éditions...

..., and by extension artworks—that both foreground the sacred status of the image and break it down. He quickly mentions Dadaism and Marcel Duchamp as examples—“Duchamp's ready-mades,” he writes, “are iconic renamings” (192)—and then dedicates a few paragraphs to how Maurizio Catellan's art, suspended with steel...

... most problematically in the work of Marcel Duchamp and in Alfred Hitchcock’s Vertigo. Duchamp’s life- long preoccupation with the nude and the scopic regimes within which it is situated forms the background for much of Nude Memoir. Moriarty alludes to the ‘‘Nude Descending the Staircase in which...

... in sensibility to aesthetic theory proper and art history. Starting from an aesthetic shift in the work of Marcel Duchamp from Nude Descending a Staircase (1912) to Fountain (1917), Stiegler reads this shift through the lens of his philosophy of technics and its effects on human sensibility. Technics...

... as Marcel Duchamp, can only be seen omnitemporally as works of their time—even if, in Duchamp’s case, this was the time of worklessness (désoeuvrement).1 Giotto can no more appear in Leonardo’s time than Duchamp could in our time. But of what does the omnitemporality of the “an-­artist” Duchamp...

... Bernard Stiegler Translated by Arne De Boever What happened to Marcel Duchamp between 1912—Nude Descend- ing a Staircase—and 1917—Fountain? And why should it matter to us? Between 1912 and 1917, Duchamp was increasingly concerned...

... and profound he generously judges their own texts to be. Rieff’s readings of Joyce, Stevens, Marcel Duchamp, Picasso, Kafka, Nietzsche, and many others are often 214  boundary 2  /  Summer 2009 insightful, especially as he traces analytically the circulation of the death drive...

..., Ray DiPalma, Robert Duncan, Johanna Drucker, Marcel Duchamp, Paul Laurence Dunbar, Larry Eigner, Susan Howe, Langston Hughes, Veronica Forrest-Thomson, Lyn Hejinian, Luce Irigeray, June Jordon, Groucho Marx, Velimir Khlebnikov, Jackson Mac Low, Hugh MacDiarmid, Nathaniel Mackey, Bernadette Mayer...

... and strikes—a realization guiding an anticipatory crackdown by a police determined to preserve order. But Akasegawa invokes two dif- ferent events which were seeing their fiftieth anniversary in 1967—Marcel Duchamp’s Fountain (1917), and the Russian Revolution—and recalls them together as a moment...

... with Greenblatt’s “subversion” is that it is not subver- sion; it’s long been, in his hands and the hands of others, a doctrine. Its subversiveness has become doctrinaire, and thus, by definition, it is no longer subversive but conservative of the status quo. It’s Marcel Duchamp’s Fountain become Andres...

... and the irreverent performativity of Marcel Duchamp come easily to mind. Far from being deconstructive, Duchamp’s ready-­mades are iconic renamings. They don’t bar the image in order to preserve the ideal sacred of an allegedly noncommodified space. Rather, they desacralize the contextual space of the image...

... pronoun marks of quotation noun marks of quotation verb comma adverb and noun taken as an adverbial phrase passive participle split from its verb by inframince qualification” (P, 214). Huh? Inframince is a word coined by the visual artist Marcel Duchamp that is usually...

.... But, of course, Williams was just following in an avant-garde tradition that has been quite keen on foreclos- ing sentiment. Note, for example, the work of Alexander Rodchenko, Marcel Duchamp, Fernand Léger, Piet Mondrian, Nicolas de Stael, Yves Klein, Sol LeWitt, Richard Serra, Agnes Martin, and so...

... is strictly limited. Where the avant-garde­ artist led, the intellectual is to follow. The invasion of aesthetic space by the everyday environment—whether that be tram tickets in a Dadaist collage or Marcel Duchamp’s urinal in the art gallery—points the way for a parallel dismantling...

... diverticulitis, 25 Bordeaux (bottle), 12 dollhouse, 23–24 Brautigan, Richard (Trout Fishing in dorm rooms, 15 America), 1–223 passim Douglas, Ann, Breton, André, 8 Ducasse, Alain, 70 briansbelly.com, 58 Duchamp, Marcel, 10 bromide, 25...

... constellation in which old reference points proved useless.”39 Here, irresistibly, comes to mind again Marcel Duchamp’s idea, or joke, Dadaist perhaps, revolutionary perhaps, but certainly relevant to Lenin and the camps: take a book, a textbook best of all, hang it on the porch of your house (it could...

... polysemy, these questions bust the door wide open rather than, as Benjamin claims in his famous essay on translation, shut the door on language. Derived from Zhang's probing questions, Bernstein's “A Test of Poetry” is a Dada ready-made, putting poetry to a cardiac stress test, in the way Marcel Duchamp's...

... for artistic modernism of the eve of World War I, as anyone from Gino Severini and Giacomo Balla to Marcel Duchamp and Kazimir Malevich would readily attest.7 All of this is noted not in order to brand Goncharova s painting as derivative but to say that my brief reading of it gestures toward a much broader...

... is not aware of. —Marcel Duchamp, “The Creative Act” In an address titled “The March into Socialism,” delivered just days before his death in early 1950, the economist Joseph A. Schumpeter rehearsed his famous prediction that capitalism would eventually give way to a form of bureaucratic socialism...