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…Merleau-Ponty, M. (2015). Phenomenology of perception. London: Forgotten Books.
Maturana, H., & Varela, F. (1992). The tree of knowledge: The biological roots of human understanding. Boston: Shambhala Publications.
Mauldin, D. B. (2011). …
Michel Sanouillet
writer · 2 mentions across 1 reading
In this course
Michel Sanouillet appears primarily as an editor and scholar of Marcel Duchamp's work, helping to establish the critical framework through which Duchamp's use of signs, language, and interactive spectator engagement has been theorized. His editorial work makes Duchamp's ludic and conceptual innovations—particularly the dematerialization of the artwork and the foregrounding of meaning over visual form—accessible to later theorists interested in how art might prefigure questions of information, systems, and human-machine interaction that preoccupy cybernetic thought. He functions as a crucial bridge between art history and the conceptual apparatus of the course, anchoring discussions of art's potential to interrogate form and meaning at a moment before those questions become explicitly computational.
Mentioned in 1 reading
Appears alongside
People mentioned in the same passages — sorted by co-occurrence weight.
Charles Sanders Peirce 2Marcel Duchamp 2Christiane Paul 1Edward Shanken 1Elmer Peterson 1Francisco Varela 1Humberto Maturana 1Marshall McLuhan 1Maurice Merleau-Ponty 1Nicholas Negroponte 1Roy Ascott 1Wolfgang Schivelbusch 1Daniel Chandler 1David Joselit 1Ferdinand de Saussure 1Litza Jansz 1Paul Cobley 1Willard Bohn 1