Duchamp in context :science and technology in the Large glass and related works

• 作者: Henderson, Linda Dalrymple,
• 出版: Princeton, N.J. : Princeton University Press ©1998.
• 稽核項: xxiii, 373 pages :illustrations (some color) ;29 cm.
• 標題: Duchamp, Marcel, 1887-1968. , Duchamp, Marcel, 1887-1968 Criticism and interpretation. , Criticism and interpretation. , Art and science. , Duchamp, Marcel,
• ISBN: 0691123861 , 9780691123868
• 附註: 九十二年度「輔導新設國立大學健全發展計畫」藏書. Includes bibliographical references (pages 321-347) and indexes. Part I: Duchamp and invisible reality, 1911-1912. Duchamp's first quest for the invisible: x-rays, transparency, and internal views of the figure, 1911-1912 ; X-rays: history and popularization ; Duchamp's painting and x-rays, 1911-1912 ; Picabia, Cubism, and x-rays ; The invisible reality of matter itself: electrons, radioactivity, and even alchemy, spring and summer 1912 ; Giving form to electrons ; Munich works, summer 1912: radioactivity, alchemy, and chemistry ; Munich works, summer 1912: first borrowings from the language of technology -- Part II: The transition from painter to artist as engineer-scientist, fall, 1912-1914. From painter to engineer, I: Depersonalization of drawing style and adoption of human-machine analogies, fall 1912-1913 ; New approaches to the drawn line ; Duchamp, the machine, and human-machine analogies ; The "Jura-Paris Road" Project ; The lure of science: imaginative scientists (Crookes, Tesla) and scientific imaginations (Jarry, Roussel) ; Sir William Crookes (1832-1919): Science and the unknown ; Nikola Tesla (1856-1943): Science as spectacle ; Alfred Jarry (1873-1907): Themes of electromagnetism and electricity in "Docteur Faustroll" and "Le Surmâle" ; Raymond Roussel (1877-1933): Scientific machines in "Impressions d'Afrique" ; From painter to engineer, II: A Rousselian dialogue with the equipment of science and technology begins, 1913-1914 ; "Painting of precision": "Chocolate grinder (No. 1)" and "Chocolate grinder (No. 2)" ; "Beauty of indifference": "Musical erratum," the "3 Standard stoppages," and the early readymades. Part III: "Playful" science and technology in The Bride stripped bare by her bachelors, even (The large glass), 1915-1923 ; Toward the large glass: the box of 1914 and general introduction to the glass ; The "Box of 1914" and the model of Leonardo's science ; New York, 1915: Execution of the "Large glass" begins ; First conceptions of the Bride and her interaction with the bachelors ; The theme of collision: from popular culture to science and beyond ; The Bride as automobile ; The Bride as a modern automaton descended from Villiers's "L'Eve future" ; The Large glass as a painting of electromagnetic frequency ; Hertzian waves and wireless telegraphy in French culture and avant-garde literature ; Communication via electromagnetic waves in the art and theory of Kupka ; Wireless telegraphy, telepathy, and radio control in the "Large glass" ; "Appareils enregistreurs" and other indexical signs in the "Large glass" ; Other scientific and technological dimensions of the Bride ; Meteorology and the Eiffel Tower ; The Bride as an incandescent lightbulb ; Biology and the Bride: J.-H. Fabre and Remy de Gourmont ; Other scientific and technological dimensions of the Bachelors, I: The Bachelor apparatus as playground of the would-be physical chemist ; Old and new identities in the Bachelor apparatus ; Chemistry, physical chemistry, the liquefaction of gases, and Jean Perrin's "Molecular reality" ; Other scientific and technological dimensions of the Bachelors, II: The unknown mobile and desire dynamo, playful mechanics, and agriculture in the Large glass ; Rediscovering the mobile, the desire dynamo, and aspects of energy and power in the Bachelor apparatus ; Playful mechanics in the chariot and the juggler/handler of gravity ; The chariot as the "Plow of life" in Duchamp's "Machine agricole" -- Part IV: Conclusion. Conclusion, I: New thoughts on style and content in relation to science and technology in Duchamp's Large glass ; The Musée des Arts et Métiers, Roussel, and Duchamp's humorous invention of a "Plastically imaged mixture of events" ; The "Large glass" as a scientific-technological allegory of love and life: The Virgin, Persephone, and the Eiffel Tower ; Conclusion, II: An overview of Duchamp's playful science and technology in the Large glass and related early works ; From Bergsonian Cubism to science and invention: a "Continuum of-- magnetization or of repulsion" ; A review of science, technology, and self-fashioning in Duchamp's early works, the "Large Glass" Project, and the readymades ; The "Large glass" in the context of early twentieth-century modernism ; Coda: Extensions and echoes of the Large glass ; Electricity and electromagnetism in Duchamp's later works ; The 1950s Legal tablet listings: thoughts of another "box"? -- Appendix A: The collection of notes Duchamp contemplated in his 1950s Legal tablet listings -- Appendix B: A note on the construction of Duchamp as alchemist.
• 摘要: Between 1912 and 1918, Marcel Duchamp made hundreds of notes in preparation for the execution of his major work, The Bride Stripped Bare by Her Bachelors, Even (1915-23), also known as the Large Glass. Considering these notes to be as important as the Glass itself, Duchamp published three sets during his lifetime - 178 notes in all. But since his death in 1968, more than 100 further notes about the work have been discovered and published. , In this book, Linda Henderson provides the first systematic study of the Large Glass in relation to the entire corpus of Duchamp's notes for the project. Since Duchamp declared his interest in creating a "Playful Physics," she focuses on the scientific and technological themes that pervade the notes and the imagery of the Large Glass. In order to recover that content, Henderson provides an unprecedented history of science as popularly known at the turn of the century, centered on the late Victorian physics that dominated scientific practice and the public imagination.
• 系統號: 005001045
• 資料類型: 圖書
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• 引用網址: 複製連結
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