Marcel Duchamp

artist · 37 mentions across 5 readings

In this course

Duchamp's 1957 "Creative Act" lecture theorized interactivity as a triadic relation among artist, spectator, and artwork, establishing a foundational model for understanding how meaning emerges through active participation rather than authorial intent alone. The course readings invoke Duchamp to ground contemporary HCI design and cybersemiotic theory in a mid-century artistic precedent, arguing that his ludic interrogation of signs and form anticipates how digital systems now distribute meaning-making across human and computational agents. His concept of the spectator's role as constitutive rather than passive proves essential for thinking through the aesthetics and semiotics of AI-mediated interaction.

Mentioned in 5 readings

Notes on À bruit secret_ Notes on Duchamp

Cybernetics, CIA, and Organized Crime

18

À bruit secret: Notes on Duchamp, Cybernetic CIA, and Organized Crime SCOTT BENZEL JAN 19, 2025 Caption: None Figure text: None Caption: None. Figure text: WANTED $2,000 REWARD For information leading to the arrest of Georg W. Welch, alias…The Western Round Table on Modern Art (1949) featured artists and thinkers (all men) including Marcel Duchamp, the architect Frank Lloyd Wright, the composers Darius Milhaud and Arnold Schoenburg, and the anthropologist Gregory Bateson spea…Bateson immediately grasped Duchamp’s line of thinking – it reflected ideas that he had been engaging with at the Macy cybernetics conferences and their precursor, the 1942 Cerebral Inhibition Meeting, where (among other topics but of parti…

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Claudia Jacques

Human-Computer Interaction Design and the Cybersemiotic Experience

15

Chapter 10 Human-Computer Interaction Design and the Cybersemiotic Experience Claudia Jacques Abstract Advances in artificial intelligence and ubiquitous computing are expanding human-computer interaction (HCI) in everyday life; turning p…In his 1957 “Creative Act” lecture, Marcel Duchamp established the concept of interactivity introducing a pseudo-arithmetical equation to explain the relationship between artist, spectator, and artwork. Aiming to stay neutral in judging the…Duchamp’s eagerness for interactivity is seen in his ludic interactions with the spectator, questioning form and content, and consequently meaning, extended beyond visual arts into language. Throughout his career, Duchamp’s use of signs was…

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Marcel Duchamp

The Creative Act

2

The Creative Act Let us consider two important factors, the two poles of the creation of art: the artist on one hand, and on the other the spectator who later becomes the posterity. To all appearances, the artist acts like a mediumistic b…Consequently, in the chain of reactions accompanying the creative act, a link is missing. This gap which represents the inability of the artist to express fully his intention; this difference between what he intended to realize and did real…

Diedrich Diederichsen

from On (Surplus) Value In Art

1

The fact that the public identifies legitimacy with punch lines and proudly and pretentiously demands them as Mehrwert is something it has learned. Cultural policymakers, whose job it is to make what is not useful useful (which is currently…

Stephen Zepke

Art as Abstract Machine

1

Finally we have arrived at what has no doubt been a puzzling absence to this introduction. Art, I mean art as it is normally understood, pictures and things. Of course it was never absent, because the path so far taken was necessary in orde…

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