1. Marcel Duchamp

2. Duchamp’s Biography
Marcel Duchamp was born in Blainville, France, July 28th, – 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

3. 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

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

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

6. 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)

7. 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)

8. 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.”

9. 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.

10. 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.)

11. 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 These two-dimensional discs create an illusion of depth when placed on a turntable and spun at thirty- three revolutions per minute.

13. 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)

15. 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 cm

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

17. 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): Web. 19 Jan Gaiger, Jason. Frameworks for modern art. Vol. 1. Yale University Press, Görgényi, Frigyes. Egy bizonyos Marcel Duchamp (A Certain Marcel Duchamp.) Budapest: Kijárat, Hanor, Stephanie. "Jean Tinguely: useless machines and mechanical performers, " (2003).

18. OuLiPo
Dante Marshall

19. 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

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

21. 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

22. Cent Mille Millards De Poèmes
By Raymond Queneau in 1961

23. 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 different poems

24. 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

25. La Disparition
By Georges Perec in 1969

26. 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

27. 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

28. The Castle of Cross Destinies
By Italo Calvino in 1973

29. 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

30. 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

31. 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

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

33. John Cage Images taken from Wikipedia , Wordpress and CAL Newport

35. 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

36. 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)

37. 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)

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

39. Lillian Schwartz

40. 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
: member of National Research Council Committee
Won an Academy Award and an Emmy

41. 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

42. 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”

43. 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

44. Work Cited
Heidegger, Martin. “The Question Concerning Technology”. The Question Concerning Technology. New York: Garland Publishing, 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, PDF. Schwartz, Lillian F. “Art Analysis”. Lillian. n.p.. 2 January Web. 31 January 2016 Schwartz, Lillian F. “Biography”. Lillian. n.p.. 2 January Web. 31 January Schwartz, Lillian F. “Color”. Lillian. n.p.. 2 January Web. 31 January 2016 Schwartz, Lillian F. “Discoveries and Firsts”. Lillian. n.p.. 2 January Web. 31 January 2016 Schwartz, Lillian F. “Selected Awards and Commissions”. Lillian. n.p.. 2 January Web. 31 January 2016 Schwartz, Lillian F. “Films”. Lillian. n.p.. 2 January Web. 31 January 2016