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Retinal art

Related: visual art - Marchel Duchamp

Duchamp, throughout his life, insisted that he hated "retinal art"

Duchamp, throughout his life, insisted that he hated "retinal art," preferring the "non-retinal beauty of grey matter" (Schwarz, 1969a, pp. 18-19). Given his insistence that the reafymades were "completely grey matter," Duchamp continued to be amazed that people stubbornly praised their beauty (as in the tradition of "retinal art")-in direct opposition to his pronouncements (see Hulton, 1993-June 21, 1967, Camfield p. 16410). In fairness, Duchamp never explained how the cerebral beauty of the "moves," "patterns" and "schematics" that he discerned in both chess and art actually related to his readymades (Schwarz, 1969a, pp. 68-69). He claimed that chess playing and art were unconscious processes, removed from the senses and, therefore, fourth dimensional.11 Literal chess pieces or other objects were three-dimensional, and any schematic or plan that would map the movements of these three- and four-dimensional ideas or objects (visible or invisible) was two-dimensional. Creativity was a ninety-degree hinged rotation, moving from the four-dimensional unconscious idea to the three-dimensional pattern, with the two-dimensioanl schematic map capturing both and acting as an intermediary between the invisible and the visible-a means of bringing forth a discovery as well as memorializing the discovery in a form for others ("spectators") to see with their fourth-dimensional minds (Sanouillet & Peterson, 1973, p. 92). --http://www.marcelduchamp.org/ImpossibleBed/PartI/page3.html [Aug 2004]

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