By Thomas Deane Tucker
Jacques Derrida acknowledged that deconstruction "takes position everywhere." Derridada reexamines the paintings of artist Marcel Duchamp as this kind of locations. Tucker means that Duchamp belongs to deconstruction up to deconstruction belongs to Duchamp. either undergo the infra-thin mark of the opposite. He explores those marks during the topics of time and différance, language and the readymade, and the development of self-identity via art.
This e-book should be of curiosity to scholars and students attracted to Modernism and the avant-garde. will probably be invaluable for undergraduate scholars of artwork heritage, modernism, and important thought, in addition to for graduate scholars of philosophy, visible tradition reports, and paintings conception.
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Extra resources for Derridada: Duchamp as Readymade Deconstruction
Diffdrance is put into play when Duchamp chooses 46 Chapter Three the snow shovel, a choice saturated by indifference, and put to work through the act of inscription. "24 It thus fulfills Duchamp's desire to create a work of art that is not a work of art. If the inscription is to carry the mind of the spectator to regions more verbal, meaning places where language exceeds signification-the place of writing-it can do so only because these regions are already marked by differance. A readymade is an intervention in the intellect; art as philosophy and philosophy as art.
This concept can be called the gram of diffdrance. The play of differences supposes, in effect, synthesis and referrals which forbid at any moment, or in any sense, that a simple element be present in and of itself, referring only to itself. Whether in the order of spoken or written discourse, no element can function as a sign without referring to another element which itself is not simply present. This interweaving results in each 'element'-phoneme or grapheme-being constituted on the basis of the trace within it of the other elements of the chain or sys- Chapter Three tem.
Let's now pass from this glass mirror back to Duchamp's glass window. It must also be remembered that The Large Glass is a machine, a complicated self-contained mechanical universe of unfulfilled erotic desire. '~~ Window-shopping relies on a speculative, delayed, and distanced form of spectatorial contemplation without a commitment by the consumer to enter the store to make a purchase. As Freiberg points out, Walter Benjamin, in his influential essay "The Work of Art in the Age of Mechanical Reproduction," was the first theorist to begin to speculate "on the reconfigured temporalities that mechanical reproduction allows," mainly the passage of the real, the self, and the idea of identity through the concepts of difference and distancea4' Benjamin extended these ideas to an analysis of the 'subject' and its 'passages' from the past to the present in his uncompleted PassengenWerk, a study of the Paris arcades.
Derridada: Duchamp as Readymade Deconstruction by Thomas Deane Tucker