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Ecke Bonk, Marcel Duchamp, Richard Hamilton
\nIn the Infinitive [\u00c0 l’infinitif] (The White Box)
\nK\u00f6ln, Walther Koenig, 2000
\nOffset, il. col.
\n23 x 15,5 cm
\n126 p.
\nISBN 9783883753911<\/p>\n
marcel duchamp: the white box \/ in the infinitive
\na typotranslation by Ecke Bonk in collaboration with Richard Hamilton and Jacqueline Matisse-Monnier.<\/p>\n
Esta \u00e9 uma tradu\u00e7\u00e3o tipogr\u00e1fica em Ingl\u00eas feita por Richard Hamilton e Ecke Bonk do The White Box<\/em> de Marcel Duchamp e inclui mais de 100 facsimiles reproduzidos de suas notas. Durante o per\u00edodo em que Duchamp estava lutando para afirmar o dom\u00ednio da mente sobre o processo criativo, ele habitualmente registrava seus pensamentos em qualquer peda\u00e7o de papel dispon\u00edvel. Os escritos de Duchamp s\u00e3o \u00fanicos porque a forma premeditada de sua publica\u00e7\u00e3o inicial os mostra crus, espont\u00e2neos e n\u00e3o polidos.<\/p>\n As primeiras notas a serem publicadas foram produzidas em uma edi\u00e7\u00e3o limitada e impressas sob a supervis\u00e3o direta de Duchamp, \u00e0s suas pr\u00f3prias custas. Os documentos soltos resultantes estavam contidos em uma caixa encadernada em papel flocado verde. A Caixa Verde, que foi admirada por sua forma e perversidade e amada como uma obra de arte. Desde a publica\u00e7\u00e3o de The Green Box em 1960, os avan\u00e7os na ci\u00eancia da computa\u00e7\u00e3o trouxeram as ferramentas para levar sua The White Box a um p\u00fablico amplo.<\/p>\n \u00c9 a descri\u00e7\u00e3o de Duchamp do que uma obra de arte pode ser: a arte \u00e9 a representa\u00e7\u00e3o, o emblema de algo em sua cabe\u00e7a, o mensageiro que carrega o significado. Ele enfatiza como a linguagem \u00e9 parte integrante da fabrica\u00e7\u00e3o lenta.<\/p>\n This is an English typotranslation by Richard Hamilton and Ecke Bonk of Marcel Duchamp\u2019s The White Box and includes over 100 reproduced facsimiles of his notes. During the period in which Duchamp was struggling to affirm the dominance of mind over hand in the creative process, he habitually recorded his thoughts on any available scrap of paper. Duchamp\u2019s writings are unique in that the premeditated form of their initial publication shows them raw, spontaneous and unpolished.<\/p>\n The first notes to be published were produced in a limited edition and printed under Duchamp\u2019s direct supervision, at his own expense. The resulting loose documents were contained in a box bound in green flock-paper. The Green Box which was admired for its form and perversity and loved as a work of art. Since the publication of The Green Box in 1960, advances in computer science have bought the tools to bring his The White Box to a wide audience.<\/p>\n It is Duchamp\u2019s description of what a work of art might be that endures: art is the depiction, the token, the emblem of something in his head, the messenger that carries the meaning. He emphasises how language is an integral part of the slow fabrication.<\/p>\n","protected":false},"excerpt":{"rendered":" Ecke Bonk, Marcel Duchamp, Richard Hamilton In the Infinitive [\u00c0 l’infinitif] (The White Box) K\u00f6ln, Walther Koenig, 2000 Offset, il. col. 23 x 15,5 cm 126 p. ISBN 9783883753911 marcel duchamp: the white box \/ in the infinitive a typotranslation by … Continue lendo