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
CONICET Digital (CONICET)
Institución
Consejo Nacional de Investigaciones Científicas y Técnicas
OAI Identificador
oai:ri.conicet.gov.ar:11336/172354

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spelling 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
dc.source.none.fl_str_mv reponame:CONICET Digital (CONICET)
instname:Consejo Nacional de Investigaciones Científicas y Técnicas
reponame_str CONICET Digital (CONICET)
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instname_str Consejo Nacional de Investigaciones Científicas y Técnicas
repository.name.fl_str_mv 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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