The Bride Machine: Duchamp’s Theory of Art Revisited
- Autores
- Ibarlucía, Ricardo
- Año de publicación
- 2021
- Idioma
- inglés
- Tipo de recurso
- artículo
- Estado
- versión publicada
- Descripción
- It is a commonplace in certain areas of art theory and contemporary art practices to consider Marcel Duchamp’s ready-mades as ordinary objects, which have an artistic value that depends more on a theoretical or institutional framework than on an aesthetic experience. The aim of this paper is, on the one hand, to show the his-torical emergence of these artifacts on the light of the impact of the industrial production in avant-garde movements of the early twentieth century. Discussing Walter Benjamin’ s and Jean Brun’s, it argues that Duchamp’s practice has an explanatory prin-ciple, both in the mechanical reproduction of the work of art and in the aestheticiza-tion of the machine. On the other hand, it brings forward some observations regarding Duchamp’s insight on the “total lack of good or bad taste” and the perceptual dimen-sion of a sculptural object as the Large Glass, coming back to Arthur Danto’s inter-pretation of ready-mades and to the notion of “implementation” introduced by Nelson Goodman to define “the process of bringing about the aesthetic functioning that pro-vides the basis for the notion of a work of art”.
Fil: Ibarlucía, Ricardo. Centro de Investigaciones Filosóficas. Instituto de Filosofía "Ezequiel de Olaso" - Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Ciudad Universitaria. Instituto de Filosofía "Ezequiel de Olaso"; Argentina. Universidad Nacional de San Martín; Argentina - Materia
-
AESTHETIC PROPER-TIES
IMPLEMENTATION
LARGE GLASS
READY-MADE
TECHNLOGICAL REPRODUCTIBILITY - Nivel de accesibilidad
- acceso abierto
- Condiciones de uso
- https://creativecommons.org/licenses/by-nc/2.5/ar/
- Repositorio
- Institución
- Consejo Nacional de Investigaciones Científicas y Técnicas
- OAI Identificador
- oai:ri.conicet.gov.ar:11336/172354
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The Bride Machine: Duchamp’s Theory of Art RevisitedIbarlucía, RicardoAESTHETIC PROPER-TIESIMPLEMENTATIONLARGE GLASSREADY-MADETECHNLOGICAL REPRODUCTIBILITYhttps://purl.org/becyt/ford/6.3https://purl.org/becyt/ford/6It is a commonplace in certain areas of art theory and contemporary art practices to consider Marcel Duchamp’s ready-mades as ordinary objects, which have an artistic value that depends more on a theoretical or institutional framework than on an aesthetic experience. The aim of this paper is, on the one hand, to show the his-torical emergence of these artifacts on the light of the impact of the industrial production in avant-garde movements of the early twentieth century. Discussing Walter Benjamin’ s and Jean Brun’s, it argues that Duchamp’s practice has an explanatory prin-ciple, both in the mechanical reproduction of the work of art and in the aestheticiza-tion of the machine. On the other hand, it brings forward some observations regarding Duchamp’s insight on the “total lack of good or bad taste” and the perceptual dimen-sion of a sculptural object as the Large Glass, coming back to Arthur Danto’s inter-pretation of ready-mades and to the notion of “implementation” introduced by Nelson Goodman to define “the process of bringing about the aesthetic functioning that pro-vides the basis for the notion of a work of art”.Fil: Ibarlucía, Ricardo. Centro de Investigaciones Filosóficas. Instituto de Filosofía "Ezequiel de Olaso" - Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Ciudad Universitaria. Instituto de Filosofía "Ezequiel de Olaso"; Argentina. Universidad Nacional de San Martín; ArgentinaFirenze University Press2021-12info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionhttp://purl.org/coar/resource_type/c_6501info:ar-repo/semantics/articuloapplication/pdfapplication/pdfhttp://hdl.handle.net/11336/172354Ibarlucía, Ricardo; The Bride Machine: Duchamp’s Theory of Art Revisited; Firenze University Press; Aisthesis; 14; 2; 12-2021; 135-1452035-8466CONICET DigitalCONICETenginfo:eu-repo/semantics/altIdentifier/url/https://oajournals.fupress.net/index.php/aisthesis/article/view/13216info:eu-repo/semantics/altIdentifier/doi/10.36253/Aisthesis-13216info:eu-repo/semantics/openAccesshttps://creativecommons.org/licenses/by-nc/2.5/ar/reponame:CONICET Digital (CONICET)instname:Consejo Nacional de Investigaciones Científicas y Técnicas2025-09-29T10:29:18Zoai:ri.conicet.gov.ar:11336/172354instacron:CONICETInstitucionalhttp://ri.conicet.gov.ar/Organismo científico-tecnológicoNo correspondehttp://ri.conicet.gov.ar/oai/requestdasensio@conicet.gov.ar; lcarlino@conicet.gov.arArgentinaNo correspondeNo correspondeNo correspondeopendoar:34982025-09-29 10:29:19.266CONICET Digital (CONICET) - Consejo Nacional de Investigaciones Científicas y Técnicasfalse |
dc.title.none.fl_str_mv |
The Bride Machine: Duchamp’s Theory of Art Revisited |
title |
The Bride Machine: Duchamp’s Theory of Art Revisited |
spellingShingle |
The Bride Machine: Duchamp’s Theory of Art Revisited Ibarlucía, Ricardo AESTHETIC PROPER-TIES IMPLEMENTATION LARGE GLASS READY-MADE TECHNLOGICAL REPRODUCTIBILITY |
title_short |
The Bride Machine: Duchamp’s Theory of Art Revisited |
title_full |
The Bride Machine: Duchamp’s Theory of Art Revisited |
title_fullStr |
The Bride Machine: Duchamp’s Theory of Art Revisited |
title_full_unstemmed |
The Bride Machine: Duchamp’s Theory of Art Revisited |
title_sort |
The Bride Machine: Duchamp’s Theory of Art Revisited |
dc.creator.none.fl_str_mv |
Ibarlucía, Ricardo |
author |
Ibarlucía, Ricardo |
author_facet |
Ibarlucía, Ricardo |
author_role |
author |
dc.subject.none.fl_str_mv |
AESTHETIC PROPER-TIES IMPLEMENTATION LARGE GLASS READY-MADE TECHNLOGICAL REPRODUCTIBILITY |
topic |
AESTHETIC PROPER-TIES IMPLEMENTATION LARGE GLASS READY-MADE TECHNLOGICAL REPRODUCTIBILITY |
purl_subject.fl_str_mv |
https://purl.org/becyt/ford/6.3 https://purl.org/becyt/ford/6 |
dc.description.none.fl_txt_mv |
It is a commonplace in certain areas of art theory and contemporary art practices to consider Marcel Duchamp’s ready-mades as ordinary objects, which have an artistic value that depends more on a theoretical or institutional framework than on an aesthetic experience. The aim of this paper is, on the one hand, to show the his-torical emergence of these artifacts on the light of the impact of the industrial production in avant-garde movements of the early twentieth century. Discussing Walter Benjamin’ s and Jean Brun’s, it argues that Duchamp’s practice has an explanatory prin-ciple, both in the mechanical reproduction of the work of art and in the aestheticiza-tion of the machine. On the other hand, it brings forward some observations regarding Duchamp’s insight on the “total lack of good or bad taste” and the perceptual dimen-sion of a sculptural object as the Large Glass, coming back to Arthur Danto’s inter-pretation of ready-mades and to the notion of “implementation” introduced by Nelson Goodman to define “the process of bringing about the aesthetic functioning that pro-vides the basis for the notion of a work of art”. Fil: Ibarlucía, Ricardo. Centro de Investigaciones Filosóficas. Instituto de Filosofía "Ezequiel de Olaso" - Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Ciudad Universitaria. Instituto de Filosofía "Ezequiel de Olaso"; Argentina. Universidad Nacional de San Martín; Argentina |
description |
It is a commonplace in certain areas of art theory and contemporary art practices to consider Marcel Duchamp’s ready-mades as ordinary objects, which have an artistic value that depends more on a theoretical or institutional framework than on an aesthetic experience. The aim of this paper is, on the one hand, to show the his-torical emergence of these artifacts on the light of the impact of the industrial production in avant-garde movements of the early twentieth century. Discussing Walter Benjamin’ s and Jean Brun’s, it argues that Duchamp’s practice has an explanatory prin-ciple, both in the mechanical reproduction of the work of art and in the aestheticiza-tion of the machine. On the other hand, it brings forward some observations regarding Duchamp’s insight on the “total lack of good or bad taste” and the perceptual dimen-sion of a sculptural object as the Large Glass, coming back to Arthur Danto’s inter-pretation of ready-mades and to the notion of “implementation” introduced by Nelson Goodman to define “the process of bringing about the aesthetic functioning that pro-vides the basis for the notion of a work of art”. |
publishDate |
2021 |
dc.date.none.fl_str_mv |
2021-12 |
dc.type.none.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion http://purl.org/coar/resource_type/c_6501 info:ar-repo/semantics/articulo |
format |
article |
status_str |
publishedVersion |
dc.identifier.none.fl_str_mv |
http://hdl.handle.net/11336/172354 Ibarlucía, Ricardo; The Bride Machine: Duchamp’s Theory of Art Revisited; Firenze University Press; Aisthesis; 14; 2; 12-2021; 135-145 2035-8466 CONICET Digital CONICET |
url |
http://hdl.handle.net/11336/172354 |
identifier_str_mv |
Ibarlucía, Ricardo; The Bride Machine: Duchamp’s Theory of Art Revisited; Firenze University Press; Aisthesis; 14; 2; 12-2021; 135-145 2035-8466 CONICET Digital CONICET |
dc.language.none.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
info:eu-repo/semantics/altIdentifier/url/https://oajournals.fupress.net/index.php/aisthesis/article/view/13216 info:eu-repo/semantics/altIdentifier/doi/10.36253/Aisthesis-13216 |
dc.rights.none.fl_str_mv |
info:eu-repo/semantics/openAccess https://creativecommons.org/licenses/by-nc/2.5/ar/ |
eu_rights_str_mv |
openAccess |
rights_invalid_str_mv |
https://creativecommons.org/licenses/by-nc/2.5/ar/ |
dc.format.none.fl_str_mv |
application/pdf application/pdf |
dc.publisher.none.fl_str_mv |
Firenze University Press |
publisher.none.fl_str_mv |
Firenze University Press |
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reponame:CONICET Digital (CONICET) instname:Consejo Nacional de Investigaciones Científicas y Técnicas |
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CONICET Digital (CONICET) |
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CONICET Digital (CONICET) |
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Consejo Nacional de Investigaciones Científicas y Técnicas |
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CONICET Digital (CONICET) - Consejo Nacional de Investigaciones Científicas y Técnicas |
repository.mail.fl_str_mv |
dasensio@conicet.gov.ar; lcarlino@conicet.gov.ar |
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13.070432 |