Marcel Duchamp

Duchamp’s Biography Marcel Duchamp was born in Blainville, France, July 28th, 1887 – October 2nd ,1968 Painter, sculptor, chess player and writer whose work is associated with Cubism, conceptual art and Western Dada Duchamp grew up in an environment surrounded by art practices At a young age, Duchamp followed in his brothers' footsteps when he left home and began schooling at the Lycée Pierre- Corneille, in Rouen. He studied art at the Académie Julian from 1904 to 1905 In 1905, he began his compulsory military service

Duchamp’s important art historical moments Challenged the conventions of art making with his early paintings and later with the “readymade” The “readymade” by Duchamp became the most influential art form of the 20th century Appropriated the concept over the aesthetics of an artwork

Nude Descending a Staircase, 1911 Medium Oil on Cardboard on Panel Dimensions 37 ¾ x 23 ¾ inches

Nude Descending a Staircase (No. 2) 1912 Medium: Oil on canvas Dimensions: 57 7/8 x 35 1/8 inches

Nude Descending a Staircase (No. 2) Duchamp’s Nude Descending the Staircase were rejected by the Cubist art scene, as Cubism represented the idea of static in visual art. Duchamp’s Nude was rejected by the Salon des Indépendents because members of the jury felt that Duchamp was making fun at Cubist art. “The sensation and scandal of its exhibition in 1913 at the Armory Show, New York, made Duchamp the third best-known French person after Napoleon and Sarah Bernhardt in the United States.” (Görgényi 68)

Nude Descending a Staircase (No. 2) What themes does it relate to? “In the ‘Nude Descending the staircase’, I wanted to create a static image of movement: movement is an abstraction, a deduction articulated within the painting, without our knowing if a real person is or isn’t descending an equally real staircase. Fundamentally, movement is in the eye if the spectator, who incorporates in into the painting.” (Gaiger, p.71)

Nude Descending a Staircase (No. 2) What does it say about media technologies? What insight does it provide us into media technologies and cultures of the time? “The geometrical spatial stylization of the Nude suggests a Cubist approach, while the presentation of the various phases of descent by the multiplication of the figure be- trays a Futurist bias. It also shows an interest in E. Muybridge’s series of photos representing stages of motion and in the film technique of motion pictures.”

Animal Locomotion, of 1887, which included a sequence of twenty-four images of a naked woman descending a flight of stairs Eadweard Muybridge was an English photographer important for his pioneering work in photographic studies of motion and in motion-picture projection.

Rotoreliefs (Optical Disks) (set of 12) , 1935–1965 Medium Offset lithographs on cardboard Dimensions 12.1 x 37.8 x 37.8 cm. (4.8 x 14.9 x 14.9 in.)

rotoreliefs Selection from set of six double-sided offset-lithograph printed "optical discs," originally published in 1935 in an edition of five hundred, with a second edition produced in 1953. These two-dimensional discs create an illusion of depth when placed on a turntable and spun at thirty- three revolutions per minute.

What themes does it relate to What themes does it relate to? “new generation of artists coming out of the aftermath of World War II. Traditional forms of “static” art must have seemed obsolete in the face of incredible new technological advances that made real what was merely science fiction before.” (Tinguely, 41) What does it say about media technologies? “The expansion and integration of multi medium, investigations of speed and “dynamism,” (Tinguely 42) “1957, the Soviet Union launched the first artificial satellite Sputnik I into orbit around the Earth, initiating a massive space race that would bring consumers a flood of new products, materials, and technologies. The rapidity and success of these developments in the 1950s created a new collective sense of reality and speed.” (Tinguely 42) How does it relate to our theoretical reading? “The former, the Cubists, Fauves, and Postimpressionists, repressed the influence of the machine by moving into the new territory of abstraction with its formal concerns. However, the Constructivists and Futurists gave themselves up radically to the spirit of the new age, glorifying the machine as a tool and the machine aesthetic as part of style.” (lovejoy 36)

The Bride Stripped Bare by Her Bachelors, Even (“The Large Glass”) Medium Oil, varnish, lead foil, lead wire, and dust on the two glass panels Dimensions 277.5 cm x 175.9 cm

The Bride Stripped Bare by her Bachelors, Even (The Green Box) 1934

Works Cited Egri, Péter. "From Painting to Play: Duchamp and Stoppard Works Cited Egri, Péter. "From Painting to Play: Duchamp and Stoppard." Neohelicon 26.1 (1999): 55-64. Web. 19 Jan. 2016. Gaiger, Jason. Frameworks for modern art. Vol. 1. Yale University Press, 2003. Görgényi, Frigyes. Egy bizonyos Marcel Duchamp (A Certain Marcel Duchamp.) Budapest: Kijárat, 1996. Hanor, Stephanie. "Jean Tinguely: useless machines and mechanical performers, 1955-1970." (2003).

OuLiPo Dante Marshall

Biography Ouvrior pour Littérature Potentielle in English Workshop for Potential Literature Founded in 1960 by ex-surrealist Raymond Queneau and François le Lionnais Queneau: February 21, 1903 – October 25, 1976 Lionnais: October 3, 1901 – March 13, 1984

Biography Continued French group of writers and mathematicians Other members include Marcel Duchamp, Harry Mathews, Italo Calvino and Georges Perec

Biography Continued There Focus was to produce literature that had constraints There methods can be seen as similar to the different algorithms used by a computer Later developed a group called ALAMO which is Atelier de Littérature Assistée par la Mathématique et les Ordinateurs or in English Workshop for literature assisted by mathematics and computers They helped anticipate and contribute to a world that is heavily mediated by information and communication technologies

Cent Mille Millards De Poèmes By Raymond Queneau in 1961

Cent Mille Millards De Poèmes This is a book composed of 10 Sonnets, that have 14 lines each Each line is printed on a separate piece of paper, with similar rhyming schemes You can combine and switch around the slips of paper to make a total of 100 000 000 000 different poems

Cent Mille Millards De Poèmes This relates to the different algorithms performed by computers It is done manually within this book The reader themselves has to go through all the different combinations of poems

La Disparition By Georges Perec in 1969

La Disparition A book made with lipogrammatic style, stemming from Greek lipo- /leipo-meaning “to miss” Missing 2/3 of the French language Uses the Oulipoan constraints, which were separated into two sections; formal and semantic Excluding the letter e would be considered formal

La Disparition Within the group the artist either believed to tell the viewer what constraint they were using or keep it to themselves and let the viewer interpret it Perec believed in telling the viewer what constraint he was using, while Queneau did not Primary data getting the information straight from Perec, secondary data basing interpretations from the viewer for Queneau

The Castle of Cross Destinies By Italo Calvino in 1973

The Castle of Cross Destinies The is a Combinatorial narrative There are a set of characters that mysteriously lose their ability to speak when they meet up with each other They have to use tarot fortune-telling cards to tell their story

The Castle of Cross Destinies Just like in our world today are communication with each other is mediated with technology Phone, computer, social media The conversation between the characters were mediated by the tarot cards Predicts how that technology would heavily mediate communication

Conclusion Their works are made with a lot of constraints, mixing literature with math Through their works OuLiPo helped to anticipate how our communication is mediated through some form of media technology Their works are similar to the algorithms of a computer

Bibliography Gwinner, Thomas. "ENGLISH AND FRENCH WRITTEN WORD AND POETRY GAMES." INTERNATIONAL JOURNAL OF SOCIAL SCIENCE RESEARCH VOLUME 3 (2014): 43. Web. 23 Jan 2016. De la Durantaye, Leland. "The Cratylic Impulse: Constraint and Work in the Works and Constraints of OuLiPo." Literary Imagination 7.1 (2005): 121-134. Web. 23 Jan 2016. McHale, Brian. "Telling Postmodernist Stories." Poetics Today (1988): 545-571. Web. 23 Jan 2016.

John Cage Images taken from Wikipedia , Wordpress and CAL Newport

https://www.youtube.com/watch?v=pcHnL7aS64Y

4’33” "4'33" was a scandal, but contrary to what one might assume from its iconic status today, it did not alter Cage's reputation overnight." Gann xv https://www.youtube.com/watch?v=JTEFKFiXSx4

Imaginary Landscape No. 4" for 12 radios "Sound art emerged at the confluence of new technologies for visualizing and recording audio material in the nineteenth century and the attempts by painters in the early twentieth century to extend visual art practice beyond the boundaries of the strictly visual." (John Harvey 1) https://www.youtube.com/watch?v=A0BNsBlzQII

Dream “Information is notoriously a polymorphic phenomenon and a polysemantic concept so, as an explicandum, it can be associated with several explanations, depending on the level of abstraction adopted and the cluster of requirements and desiderata orientating a theory.” (Floridi 13) https://www.youtube.com/watch?v=9hVFCmK6GgM

References Cage, John. Silence: lectures and writings. Wesleyan University Press, 2011. Floridi, Luciano. Philosophical conceptions of information. Springer Berlin Heidelberg, 2009. Harvey, John. "Art/Sound: Practice, Theory, and History 1800-2010.“ Pritchett, James. The Music of John Cage. Vol. 5. Cambridge University Press, 1996.

Lillian Schwartz

Early Biography Born: 1927 in Cincinnati Ohio Development of computer-generated art Worked for AT&T Bell Lab and IBM Thomas J Watson Labs Solved 500 year-old puzzle of “Last Supper” painting 2000-2001: member of National Research Council Committee Won an Academy Award and an Emmy

Mona/leo Year: 1987 Proves the Mona Lisa is a self-portrait of Leonardo Da Vinci Use of mathematical and scientific technique to be able to place the two faces side by side in a way for the facial structures/features to line up Theory: Heidegger  Poeisis and Revealing

Dolphin Year: 1989 Computer default palette + Schwartz’s pixel color wheel = Dolphin palette Changes length of vision in eye cones Created using algorithms Black outlines trick viewers into seeing the dolphin shape Theory (ish): Kane  concept of “Programming the Beautiful”

olympiad Year: 1971 http://lillian.com/films/ Based on Muybridge’s photographs of a man running Invention of the 2D/3D film without pixel shifting In 3D red figure appears closer Theory: Heidegger  Challenging-Forth and Bringing-Forth

Work Cited Heidegger, Martin. “The Question Concerning Technology”. The Question Concerning Technology. New York: Garland Publishing, 1977. 3-35. PDF. Kane, Carolyn L. “Informatic Color and Aesthetic Transformations in Early Computer Art”. Chromatic Algorithms: Synthetic Color, Computer Art, and Aesthetics after Code. Chicago: University of Chicago Press, 2014. 102-138. PDF. Schwartz, Lillian F. “Art Analysis”. Lillian. n.p.. 2 January 2013. Web. 31 January 2016 Schwartz, Lillian F. “Biography”. Lillian. n.p.. 2 January 2013. Web. 31 January 2016. Schwartz, Lillian F. “Color”. Lillian. n.p.. 2 January 2013. Web. 31 January 2016 Schwartz, Lillian F. “Discoveries and Firsts”. Lillian. n.p.. 2 January 2013. Web. 31 January 2016 Schwartz, Lillian F. “Selected Awards and Commissions”. Lillian. n.p.. 2 January 2013. Web. 31 January 2016 Schwartz, Lillian F. “Films”. Lillian. n.p.. 2 January 2013. Web. 31 January 2016