“THERE IS NO PROGRESS, CHANGE IS ALL WE KNOW.” NOTES ON DUCHAMP’S CONCEPT OF PLASTIC DURATION

Q3 Arts and Humanities Nordic Journal of Aesthetics Pub Date : 2019-06-21 DOI:10.7146/NJA.V28I57-58.114851
S. Kolb
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引用次数: 1

Abstract

Henri Bergson is generally recognized as one of the most influential philosophers in the history of historical avant-gardism. Nevertheless, it has been widely neglected that Bergson’s philosophy also played a crucial role for the radically new concept of art that Marcel Duchamp developed based on his critical attitude towards the avant-gardes. First and foremost, this is apparent in view of Duchamp’s paintings The Passage from Virgin to Bride and Bride of 1912, as they both feature an idea of transition laying the foundation for his Large Glass and associated works. But there is also another cross-connection that one wouldn’t expect at the first glance. As this paper argues, Duchamp paradoxically also draws on Bergson’s ideas with his ready-mades, pointing to that productive interplay of intuition and intellect, which Bergson defined as a vital source for any kind of imagination and agency. Thus, Duchamp’s idea of choosing his ready-mades in terms of a “rendezvous with fate,” which he also reflected in his writing experiments The and Rendezvous, can be closely linked to his declared interest in Bergson’s “primacy of change,” leading him to explore the idea of “plastic duration.”
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“没有任何进展,我们只知道改变。”关于DUCHAMP塑性持续时间的概念
亨利·柏格森被公认为历史先锋主义史上最具影响力的哲学家之一。然而,人们普遍忽视的是,柏格森的哲学也对马塞尔·杜尚基于他对先锋派的批判态度而发展出的全新艺术概念起到了至关重要的作用。首先,从杜尚1912年的画作《从圣母到新娘的通道》和《新娘》中可以明显看出这一点,因为这两幅作品都以过渡为特色,为他的《大玻璃》和相关作品奠定了基础。但也有另一种交叉连接,乍一看是不会想到的。正如本文所说,杜尚矛盾地也用他现成的作品借鉴了柏格森的思想,指出直觉和智力之间富有成效的相互作用,柏格森将其定义为任何想象力和能动性的重要来源。因此,杜尚从“与命运相遇”的角度选择现成作品的想法,也反映在他的写作实验《The》和《rendezvous》中,可以与他宣称的对柏格森“变革的首要地位”的兴趣密切相关,这使他探索了“塑性持续时间”的想法
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Nordic Journal of Aesthetics
Nordic Journal of Aesthetics Arts and Humanities-Visual Arts and Performing Arts
CiteScore
0.20
自引率
0.00%
发文量
21
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