Baroness Elsa: Gender, Dada, and Everyday Modernity: A Cultural Biography

Hoffman-Jeep, Lynda; Gammel, Irene

doi:10.2307/3566503

Cited by 10 publications

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“…The standard urinal—model “Bedfordshire”, signed “R. Mutt 1917”—was not the first work of art to perform this deictic speech act (moreover, Duchamp has been accused of stealing the idea for it from Elsa von Freytag‐Loringhoven, see Gammel, 2003). But in dramatizing the difference between something that is commonly accepted as art and another thing that is not, this readymade encapsulated the radical nature of its deictic condition more than any other artwork.…”

Section: This Is Artmentioning

confidence: 99%

The deixis of literature: On the conditions for recognizing computers as authors

Bajohr

2024

Orbis Litterarum

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Taking the deictic judgment that is the modernist gesture of declaring something to be art as a starting point, this essay suggests an analogous deixis as a necessary condition for literature. This deixis also can serve as the basis for discussing the expectations of computer‐generated texts. Against the idea that computers or AI systems need only produce sufficiently good output in order to be considered authors, the essay proposes an approach that takes the social recognition of the deictic act within a community of judgment as a precondition for authorship. As an alternative to the Turing test, which is based on the paradigm of deception (people are tricked into considering computer‐written text to be written by humans), the essay favors a version of Susan Leigh Star's “Durkheim test,” which is based on the paradigm of co‐sociality (people directly recognize computers as social actors). Only if the gesture of a machine declaring something to be art is recognized as a deictic judgment in the full sense can one plausibly speak of computer authorship.

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Section: This Is Artmentioning

confidence: 99%

The deixis of literature: On the conditions for recognizing computers as authors

Bajohr

2024

Orbis Litterarum

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“…Ela não teria sido aceita, em primeiro momento, para uma exposição nos Estados Unidos, devido à recepção que teve. Janis Mink (2006) A autoria da Fonte, entretanto, é questionada por investigadores como Irene Gammel (2003). Segundo essa escritora, a Baronesa Elsa von Freytag-Loringhoven (1874-1927 teve um importante papel nessa obra e contribuiu decisivamente para a arte dadaísta.…”

Section: A Embaixatriz a Baronesa E A Detetiveunclassified

“…Irene Gammel (2003) fala da amizade entre ela e Duchamp, e do contato que tiveram na segunda década do século XX. A autora da biografia cultural da Baronesa Elsa descreve ainda o papel crucial dessa artista no movimento dadaísta nova-yorkino.…”

Section: A Embaixatriz a Baronesa E A Detetiveunclassified

“…O primeiro desses objetos foi o Enduring Ornament (Ornamento duradouro), um anel, cuja conexão simbólica com o casamento é notada por Gammel. Esse objeto também se relaciona ao Grande vidro, em que a consumação sexual entre a "noiva-máquina" e seus "celibatários" fica para sempre visualmente suspensa, assim como o fechamento da interpretação dessa obra críptica (GAMMEL, 2003). A noiva, meio robô, meio inseto, fica suspensa também porque parece voar, na parte de cima do grande vidro.…”

Section: A Embaixatriz a Baronesa E A Detetiveunclassified

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Maria Martins – Formas Femininas Em Diálogo

Ferreira

2017

Art&Sensorium

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Maria Martins foi uma escultora brasileira, conhecida por suas "formas estranhas" e a partir de seus relacionamentos, tanto com o marido, um Embaixador, quanto com outros artistas ilustres do início do século XX, como Marcel Duchamp. Neste artigo, proponho rever, primeiramente, a crítica de sua obra, nos anos 1950 e no início do século XXI, quando foi retomada, e, em especial, demonstrar possíveis conexões entre suas formas esculturais híbridas e as produções de artistas como a Baronesa Elsa von Freytag-Loringhoven e Sophie Calle. Para isso, analiso algumas de suas esculturas, como Iara e Impossible, mas também assemblages e ready-mades da Baronesa, assim como dois projetos de Sophie Calle apresentados em Double Game (1999), estabelecendo relações entre essas obras e alguns dos objetos construídos ou "reapropriados" por Marcel Duchamp. A partir dessas análises e dos diálogos formados, percebe-se que a dimensão do corpo feminino (mas também do corpo meio humano, meio animal e vegetal), nas esculturas e outros objetos, reposiciona a "modelo" ou objeto de uma reprodução como aquela que lança o olhar e também cria e reflete. Assim, os nomes das obras e das posições ocupadas pelas artistas – baronesa, embaixatriz, detetive, etc. – são retomados a partir de sentidos e perspectivas diversos, indicando não mais posições ou funções limitantes; e os títulos das obras desenvolvidas por elas também são reconsiderados. Através dessas ligações, e suas consequentes diferenças, formulam-se reflexões sobre a questão da reprodução, da réplica ou da cópia (e dos moldes ou modelos) e, portanto, da série, o que leva a pensar nas problemáticas acerca da modernidade, com teóricos como Walter Benjamin e Jacques Derrida.

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Transpositionality and artistic research

Schwab¹

2018

Transpositions: Aesthetico-Epistemic Operators in Artistic Research

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While notions of transposition have emerged in different disciplines and fields of study, there seems to be something particular about how the artistic appropriation of the term articulates the movement of research. Rather than repeating basic definitions of the concept as it is used, for instance, in music, where it refers to a change of the key of a composition, or in linear algebra, where the term denotes the switching of rows and columns in a matrix, the authors of this book speculate what kind of transpositional operations may be implied as research develops. While it is impossible to compare the diverse approaches collected here to find a single new definition of the notion, there seems to be sufficient agreement that the kinds of transposition, which are of interest in the context of artistic research, operate outside registers of representation, resemblance, or mimesis. Since these notions suggest a functional identity between two things, for instance, a score and a performance or a sitter and his or her portrait, the change of position that a transposition affords cannot be so potent that it disturbs this identity. Conversely, if the change of position affects what something is-that is, if an identity does not underlie a difference but may emerge from it-a new non-representational, transpositional logic is required in which something at its previous position is not easily reconciled with what appears at its new position, altered as it is by the move. We may also express this by saying that the logic of representation is singular, remaining the same across different instances, while the logic of transposition is multiple, needing to be transposed from instance to instance. The positional specificity that is part of transpositionality-whether in space, time, or otherwise determined-thus explains why it has been so difficult to approach transpositional operations philosophically, and why artistic research, which is sensitive to the specifics of what is at hand, may present new options not only for a bottom-up rather than top-down approach but also for an approach for which there is no "up," only positions that result from movement.Such transpositional operations require a particular emphasis on the differential aspects of the relationships enacted between positions. To do so, a number of chapters refer to quantum mechanics, for example, through notions of entanglement as discussed by Karen Barad (2007), while others emphasise literary devices, such as analogy or metaphor to show that language has always had the ability to create relationships with the unknown, working with it rather than against it. Hence, a number of the book's authors suggest that transpositional operations may even be fundamental to the formation of meaning despite the difficulty of assessing their epistemic importance. A focus on the Michael Schwab 8 multiple logic of transposition complicates our episteme, allowing more complex phenomena to emerge that cannot be traced formally. The methodologies, epistemologies, and aesthetics that h...

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Baroness Elsa: Gender, Dada, and Everyday Modernity: A Cultural Biography

Cited by 10 publications

References 0 publications

The deixis of literature: On the conditions for recognizing computers as authors

The deixis of literature: On the conditions for recognizing computers as authors

Maria Martins – Formas Femininas Em Diálogo

Transpositionality and artistic research

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