...Michael Davidson Duke University Press 2001 X Marks the Spot: Laura Moriarty’s Nude Memoir and Jena Osman’s The Character Michael Davidson In the 1980s, a strong critique of language-writing was that its use of disjunction...

....” This essay reconsiders the nature of Duchamp's love affair with art as désamour , or lovelessness, in which work ceases to be work and art is “trans-formed” into “anart.” Duchamp's trajectory from the Nude Descending a Staircase, No. 2 of 1912 and the infamous Fountain of 1917, the period Stiegler addresses...

...: the line the great image has no form, for example, which Jullien takes from the Laozi a short book attributed to the philosopher Laozi, or old master (lao zi ), and in spite of its mere five thousand words the foun- dational text for the Taoist/Daoist school returns in Jullien s The Impos- sible Nude...

... in Heaven , have not captured as much attention as the poems mentioned above. He contextualizes the collaborations of Legend , from which I took its only individual poem “My Life as a Monad,” and The Nude Formalism , from which I picked two poems as funny as they are unknown, “Fragments from...

... 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...

... will soon have been a hundred years ago. Duchamp’s Fountain could only appear at the beginning of the twen- tieth century after the Nude Descending a Staircase, No. 2, completed in 1912—the very year in which the Russian futurists publish A Slap in the Face of Public Taste, while Frederick...

... of life . . . lay an unshake- able commitment to the space of a small or middle-sized­ room and the little possessions laid out on its table. His world was of property arranged in an interior: maybe erotic property (Nude on Black Armchair speaks to that), but always with bodies imagined in terms...

... him as Semyon’s son. In a breathtaking set of savage physical maneuvers, the nude and unarmed Nikolai kills the two clothed Interventions  /  Lowenstein  /  David Cronenberg  207 and armed assassins. Cronenberg’s images of Nikolai stripped to his essence, both...

... 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...

... Kazoku (Family), which fea- tures nude photos of Nagashima’s family members, posing casually to the camera as if they were not naked. He claims that this book strives to rescue the family from breaking down.16 Iizawa compares Nagashima’s Kazoku to Okazaki Kyoko’s Happy House,17 which he interprets...

... of sensibility, of which Nude Descending a Staircase and Fountain are two examples, separated by five years; two versions and two examples of the question of technical repro- ducibility engendering, precisely at that point in time, the loss of instrumen- tal aesthetic knowledge, ruining the trades...

... the possibility of the televisual. In terms of the relation between desire and drives, cinema essentially contains the pos- sibility of the pornographic: Stanley Cavell already saw in Godard’s use of color during Bardot’s nude scene in Contempt a commentary on the “pornographization” of desire.5...

... Slade’s nude body (in contrast to more conventional images of performers on the other album covers he regards). Arthur’s fascination is juxtaposed to the hostility of his mates who pejoratively refer to ‘‘poufs’’ and ‘‘pansy...

... and lyrics play a different role. In the reference materials at the end of Tokyo Year Zero , Peace listed contemporary Japanese extreme music he listened to while writing, including Le Rallizes De Nudes, the Stalin, Sigh, and Church of Misery. 2 To neglect this connection to extreme music is to neglect...

..., the pataquericalist “opens the floodgates of a sublimely nude poetics of blank: the noise of silence” (Bernstein 2016 : 310) to echo the Poe-tics “ only this and nothing more ” because, echoing Rogelio Lopez Cuenca, “ Du Calme— poetry makes nothing happen,” because “A work of art is the overlay of a set...

... is an idealized national subject and the object of the nar- rator’s “love”: “at a period when our native land was nude and crude and provincial . . . when literature was lonely there and art and form almost impossible, he had found the means to live and write like one of the first...

... formulation. He wrote, “It is well to remember that a picture, before being a battle horse, a nude woman or some anecdote, is essentially a flat surface covered with colours assembled in a certain order” (Denis 1890 ). 10 There is a second strand to Bonnard's remark from Verve , which sets up...

..., but he remains spiritually nude and vulnerable. He cannot leave the moral attic he has entered. A broader horizon will not solve the tangled vertical problems of interpersonal encounter and psychic order. 30. Ibsen, The Last Plays, 137. 31. Ibsen, The Last Plays, 149. 32. Geoffrey Galt Harpham...

... of Earth’s life forms. Benjamin made the photographic image a cipher of our suspect practices of mourning. In a dis- tinct way, Justine breaks with mourning and affirms ecocide. Thus the stun- ning scene where the nude Kirsten Dunst is viewed waiting for “Melancho- lia,” this gorgeous giant sphere...

... terrain of mod- ernism than what the picture frame of Cyclist contains. 7. I have in mind such exemplary works as Severini s Blue Dancer, Balla s Dynamism of a Dog on a Leash, Duchamp s Nude Descending a Staircase, and Malevich s Knife Grinder, all produced about 1912. Figure 3. Natalja Goncharova...