Publication: El Ready-made de Duchamp Renueva pero no Innova: el Urinario Fontaine como Fantasmagoría Make-ready
Authors
Fortuny Agramunt, Jaume
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Publisher
Servicio de publicaciones, Universidad de Murcia
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DOI
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info:eu-repo/semantics/article
Description
Abstract
El autor analiza el efecto traumático de la idea de shock con la que Walter
Benjamin describe la vida moderna y, a través de la revisión de Buck-Mors
sobre esta perspectiva sensorial, realiza la interpelación siguiente: si el mundo
tecnológico moderno conforma un sistema anestésico para evitar el shock
perceptivo ¿cómo puede existir un objeto signo suficientemente traumático
por sorprendente para ser considerado vanguardista? El artículo plantea que el
único objeto artístico que puede escarnecer esta nomología anestésica es el que
se muestra aislado de cualquier relación semántica con otra cosa en su propio
proceso manual de realización. Un objeto carente de aproximación alusiva a
otra forma. Una opción retórica que no permita la transferencia de un estilo
del sujeto. La representación icónica totalmente imparcial. La forma que no
pueda existir como una representación. El texto argumenta que la duplicación
perfecta del ready-made Le Fontain podría serlo y concluye que Duchamp
renueva pero no innova, porque el urinario queda como fantasmagoría make-
ready.
The author analyzes the traumatic effect of the idea of shock with which Walter Benjamin described modern life and, through the review of Buck- Mors on this sensory perspective, makes the following interpellation: if the modern technological world forms an anaesthetic system To avoid perceptual shock, how can there be a sufficiently traumatic sign-object to be considered avant-garde? The article states that the only artistic object that can deride this anaesthetic name is that which is isolated from any semantic relationship with anything else in its own manual process of realization. An object lacking approximation allusive to another form. A rhetorical option that does not allow the transfer of a style of the subject. The iconic representation totally impartial. The form that cannot exist as a representation. The text argues that the perfect duplication of the ready-made Fontaine could be and concludes that Duchamp renews but does not innovate, because the urinal remains as a make-ready phantasmagoria.
The author analyzes the traumatic effect of the idea of shock with which Walter Benjamin described modern life and, through the review of Buck- Mors on this sensory perspective, makes the following interpellation: if the modern technological world forms an anaesthetic system To avoid perceptual shock, how can there be a sufficiently traumatic sign-object to be considered avant-garde? The article states that the only artistic object that can deride this anaesthetic name is that which is isolated from any semantic relationship with anything else in its own manual process of realization. An object lacking approximation allusive to another form. A rhetorical option that does not allow the transfer of a style of the subject. The iconic representation totally impartial. The form that cannot exist as a representation. The text argues that the perfect duplication of the ready-made Fontaine could be and concludes that Duchamp renews but does not innovate, because the urinal remains as a make-ready phantasmagoria.
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Vanguardia , Innovación , Duchamp , Fontaine , Avant-garde , Originality , Walter Benjamin , Originalidad , Ready-made , Innovation
Citation
Arte y políticas de identidad, vol. 18, (2018)147-158
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