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Duchamp and the Aesthetics of Chance : Art as Experiment / Herbert Molderings.

By: Contributor(s): Material type: TextTextSeries: Columbia Themes in Philosophy, Social Criticism, and the ArtsPublisher: New York, NY : Columbia University Press, [2010]Copyright date: ©2010Description: 1 online resource (240 p.) : 37 illusContent type:
Media type:
Carrier type:
ISBN:
  • 9780231147620
  • 9780231519748
Subject(s): DDC classification:
  • 709.2 22
LOC classification:
  • NB553.D76 A615 2010
  • NB553.D76 M65 2010
Other classification:
  • online - DeGruyter
Online resources: Available additional physical forms:
  • Issued also in print.
Contents:
Frontmatter -- Contents -- List of Illustrations -- Introduction -- 1. The Idea of the Fabrication -- 2. The 3 Standard Stoppages in the Context of the Large Glass -- 3. The 3 Standard Stoppages as Paintings -- 4. 1936: Duchamp Transforms the Painting Into an Experimental Setup -- 5. Humorous Application of Non-Euclidean Geometry -- 6. The Crisis of the Scientific Concept of Truth -- 7. Pataphysics, Chance, and the Aesthetics of the Possible -- 8. Radical Individualism -- Notes -- Bibliography -- Index
Summary: Marcel Duchamp is often viewed as an "artist-engineer-scientist," a kind of rationalist who relied heavily on the ideas of the French mathematician and philosopher Henri Poincaré. Yet a complete portrait of Duchamp and his multiple influences draws a different picture. In his 3 Standard Stoppages (1913-1914), a work that uses chance as an artistic medium, we see how far Duchamp subverted scientism in favor of a radical individualistic aesthetic and experimental vision.Unlike the Dadaists, Duchamp did more than dismiss or negate the authority of science. He pushed scientific rationalism to the point where its claims broke down and alternative truths were allowed to emerge. With humor and irony, Duchamp undertook a method of artistic research, reflection, and visual thought that focused less on beauty than on the notion of the "possible." He became a passionate advocate of the power of invention and thinking things that had never been thought before. The 3 Standard Stoppages is the ultimate realization of the play between chance and dimension, visibility and invisibility, high and low art, and art and anti-art. Situating Duchamp firmly within the literature and philosophy of his time, Herbert Molderings recaptures the spirit of a frequently misread artist-and his thrilling aesthetic of chance.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780231519748

Frontmatter -- Contents -- List of Illustrations -- Introduction -- 1. The Idea of the Fabrication -- 2. The 3 Standard Stoppages in the Context of the Large Glass -- 3. The 3 Standard Stoppages as Paintings -- 4. 1936: Duchamp Transforms the Painting Into an Experimental Setup -- 5. Humorous Application of Non-Euclidean Geometry -- 6. The Crisis of the Scientific Concept of Truth -- 7. Pataphysics, Chance, and the Aesthetics of the Possible -- 8. Radical Individualism -- Notes -- Bibliography -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Marcel Duchamp is often viewed as an "artist-engineer-scientist," a kind of rationalist who relied heavily on the ideas of the French mathematician and philosopher Henri Poincaré. Yet a complete portrait of Duchamp and his multiple influences draws a different picture. In his 3 Standard Stoppages (1913-1914), a work that uses chance as an artistic medium, we see how far Duchamp subverted scientism in favor of a radical individualistic aesthetic and experimental vision.Unlike the Dadaists, Duchamp did more than dismiss or negate the authority of science. He pushed scientific rationalism to the point where its claims broke down and alternative truths were allowed to emerge. With humor and irony, Duchamp undertook a method of artistic research, reflection, and visual thought that focused less on beauty than on the notion of the "possible." He became a passionate advocate of the power of invention and thinking things that had never been thought before. The 3 Standard Stoppages is the ultimate realization of the play between chance and dimension, visibility and invisibility, high and low art, and art and anti-art. Situating Duchamp firmly within the literature and philosophy of his time, Herbert Molderings recaptures the spirit of a frequently misread artist-and his thrilling aesthetic of chance.

Issued also in print.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022)