• The Journal of Art Theory & Practice
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• no.15
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• pp.167-198
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• 2013

This paper explores rich and complex implications of Marcel Duchamp's Mile of String which he created for "First Papers of Surrealism," the Surrealist international exhibition in New York in 1942. Part of a larger project devoted to investigating Duchamp's role in Surrealist exhibitions and his relation to the avant-garde group, this paper focuses on Duchamp's exhibition installation in the 1942 show. Under the title of "g$\acute{e}$n$\acute{e}$rateur-arbitre" Duchamp played an important role as installation and exhibition designer in a series of major Surrealist exhibitions in the 1930's-1960's. The "First Papers of Surrealism" was held by Surrealists who exiled in New York during World War I, and Duchamp created a labyrinthine installation of string for the exhibition, which physically blocked the spectator and optically hindered his or her contemplative view. Unraveling the intricately related meanings of Mile of String as an independent work of art and an installation for a specific exhibition, I examine the work on two levels: first, how the work was situated in the context of Duchamp's oeuvre, particularly his earlier work employing string or thread; second, how and in what way the installation rendered a critique on Surrealism as a group and an avant-garde movement. More specifically, by exploring the concepts of 'pataphysics' and voluntary 'nomadism' implicated in Duchamp's work, I suggest that his Mile of String asserted a critical stance against nationalism and collective identity of Surrealism and manifested a radical individualism founded upon what he called the spirit of 'expatriation.'

• The Journal of the Convergence on Culture Technology
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• v.7 no.3
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• pp.215-222
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• 2021

Duchamp chose readymades mainly for his denial of retinal painting and his desire and fluid thinking for changes inside him. His thinking is well presented in his readymade works. One of his early readymades, Bicycle Wheel, expresses correlations between beings and capital. Its essence is capital and the desire of beings. It is connected to Desire or Desire-Machine proposed as a social reform and creation model by Gilles Deleuze and Félix Guattari. Bicycle Wheel does not simply end in desire relations between capital and beings, though. When the desire of beings is converted into positive desire, it can keep inventing and creating something that is repetitive, fluid, and new. Duchamp tried to convey this positive desire through his readymade Fountain. Duchamp created a ready-made article toilet into a work of art in Fountain, being driven by desire flowing inside him. This is connected to the attributes of nomads that refused to settle down and continue to flow in search of new landscapes. This way of his thinking is clearly reflected in his Box in a Valise. He was motivated to create this work by his fluid thinking. In this work, various situations can unfold often according to the directions of two elements, place and arrangement. Here, place guarantees fluidity, and arrangement variability or desire. According to Gilles Deleuze and Félix Guattari, fluidity represents nomads with the characteristics of flow and variation, and desire represents productivity or production or creation. Box in a Valise represents nomads themselves. The nomads defined by Gilles Deleuze and Félix Guattari keep flowing and create a new world. They are in line with the thinking of Duchamp that refused to settle down at one place and escape from the old order to create a new artistic world. This type of nomads can be called revolutionists or creators that acknowledge differences and create. Nomads also contain the concept of resistance to the old order. Deleuze and Guattari proposed a war machine as a model of this resistance. Duchamp and his readymades can thus be called war machines.

• Korean Institute of Interior Design Journal
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• v.27 no.1
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• pp.68-79
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• 2018

The main purpose of this paper is to introduce 'Inframince' in modern and contemporary architecture. The Inframince(English: infra-thin) is a concept coined by Marcel Duchamp. The conceptual definition of the term "Inframince" by Marcel Duchamp replied that the notion is impossible to define, "one can only give examples of it:". It describes fine indirect perceptions of physical phenomena. Inframince is conductor of two dimensions into three, the essential dynamic in the practice of making space. Inframince is the interval between an inhabitant and their environment that both connects and separates. This study deals with the difficult situation how Contemporary Architecture represents itself over the 20th century modernity and asks the question how it presents its ornamentality. In order to analyse contradictory situation between self-referentiality and ornamentality in Modern/Contemporary Architecture we need to survey the historical process of changing position of ornaments and its meaning in time. The article also analyze the selected works of contemporary architects like Herzog & de Meuron, Jean Nouvel, to show that the trend reversal continues now more than ever. The Architectural surface must be a different kind of media that can communicate in different way with compared to conventional ornament. If we understand Duchmp's Inframince to be the provocation of the unuseful things, and if we interpret Contemporary fact that all specific Architectural Surfaces have been dissolved in timelines, it shows us post-trend of the Surfaces via conspicuous consumption or desire.

• Archives of design research
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• v.19 no.2 s.64
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• pp.365-374
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• 2006

A 'Readymade' is an everyday object selected and designated as art. The term was coined by Marcel Duchamp to describe his artistic process based on the attempt to destroy the notion of the uniqueness of the art object: his influence went for beyond the art world affecting all design activities based on creativity. The purpose of this study is to investigate the ready-made technique from an educational point of view. Starting from Duchamp experience and his further influence on the design world, the study aims to demonstrate the value of the ready-made technique as a basic element in the education of young designers. The research method is based on the empirical observation of the results of the same project assigned to forty different students in different universities. The collected results were grouped in four families according to each specific generative method: constructive, conceptual, aggregative and elaborative. These four categories, derived by the observation of the results, represent tangible variations of the same disciplined technique. This flexibility demonstrates the value of the ready-made process as a foundation practice particularly indicated for young designers. These are the main skills students developed through its application to design projects; exploring and reconsidering attitude, recycling issues, new identity to familiar objects, focus on ideas.

• Journal of the Korea Furniture Society
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• v.15 no.2
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• pp.41-51
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• 2004

Since Cubists represented a way of expressing image moving away from traditional illusion effect, new realities represented by collage and assemblage. Furthermore, Marcel Duchamp, a French Dadaist, suggested the concept of ready-made that everyday objects exhibited in an odd way in a gallery. These early fine art cases highly influenced to furniture design in the second half of the twentieth century. The use of objects in contemporary furniture is closely related to the emergence of Pop Art in the late 1950s and that of Postmodernism. After the 1970s the use of found objects were frequently utilized in furniture design of all over the countries. As an ecological issue became a new consideration to furniture designers, found objects also gave a chance to use recycled materials. Even in studio furniture area which is considered wood as a major material at the early stage, many studio furniture designers began to adapt found objects in their designs as a new source of Inspiration after the 1970s. This study explored various examples of found objects in furniture design and examined the meaning of the use in different designers and regions.

• Journal of the Korea Furniture Society
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• v.17 no.2
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• pp.89-100
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• 2006

Minimalism describes various movements in art and design, which flourished mainly in the USA in the 1960s. Its popularity, however, was cut short by post-modernism. In the mid-1990s, minimalism was given a second breath of life and became culturally popular, especially in areas such as design and art the minimalist movement launched some trends that supplanted post-modernism and whose influences still cast a heavy shadow on society today. From this point of view, in analyzing the form and characteristics of the artists and their work from the 1960s, which were the first generation of the minimalist furniture designers, it is necessary to understand and analyze contemporary artists and their art. In this study, four American minimal artists in the furniture design field, Donald Judd, Richard Tuttle, Scott Burton, and Richard Artschwager were studied along with their works. The results show the three distinct characteristics of minimalist furniture design featuring strict and simple geometric shapes: the form, which was influenced by early modernism variety and origin, which are formative of the materials and the way they are used as influenced by surrealism and a new concept of art such as aesthetics for the little things, which echoes influences of Dadaism, and especially of earlier artists such as Marcel Duchamp.

• Journal of the Korean Society of Costume
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• v.59 no.5
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• pp.41-52
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• 2009

In contemporary art, soft materials are used in various forms and ways as a medium expressing contingency beyond a simple nature of materials. In the late 1960's, the appearance of soft sculpture as a refusal of the stereotyped 'Erection' characteristic of traditional sculpture served as an opportunity for more attention to soft materials. Fashion is the reflection of age, and the mirror of society, culture and arts. In other words, soft sculpture and fashion are artistic behaviors in the same context, which have neither been fixed nor erected. This study finds its significance in analyzing correlation between soft sculpture and fashion, and the importance of contingency as artistic expression means in this age when boundaries between genres are obscure, and artistic values are given to fashion. By doing so, it aims to present the direction toward which fashion should face in the future, establishing a new aesthetic consciousness with which more creative and various expressions are available in fashion as well. This study presented as its theoretical background the concept of soft sculpture affected by Marcel Duchamp among representative examples of the contingency that started to appear in art starting in the early 20th century. It also analyzed the soft sculpture appeared in 1960s and the expression methods and features of contingency appeared in fashion after late 1990s through a new approach of piling up, hanging up, and tying, three categories classified by Maurice $Fr{\acute{e}}churet$. Common features of the contingency expressed in soft sculpture and fashion were derived in the analysis, which are intensive effects of energy, values given to physical properties themselves, and esthetics of anti-form.

• Journal of Biosystems Engineering
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• v.10 no.1
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• pp.39-47
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• 1985

먼 거리를 두고 산재(散在)된 소규모목장(小規模牧場)을 가지고 있으며, 현대화(現代化)된 우유처리공장(牛乳處理工場)과 저온저장시설이 충분(充分)하지 못한 아열대지방(亞熱帶地方)에 위치(位置)한 발전도상국(發展道上國)에서는 목장(牧場)에서 우유(牛乳)를 수집(收集)하여 처리공장(處理工場)까지 먼거리를 윤송하는 동안 많은 양(量)의 우유(牛乳)가 부패(腐敗) 손실(損失)되고 있다. 이를 막기 위(爲)하여 현지목장(現地牧場)의 강도높은 태양열(太陽熱)을 이용(利用)한 소규모우유저온처리기를 개발(開發)하여 현지목장(現地牧場)에서 직접 우유(牛乳)를 태양열(太陽熱)로 처리(處理)할 목적(目的)으로, 본(本) 연구(硏究) 제(第) I 보(報)에서는 태양열우유처리기(太陽熱牛乳處理機)의 모형제작(模型製作)을 위(爲)한 회로(回路)를 구성(構成)하고, 그 구성요소(構成要素)를 예찰(豫察)하였다. 제(第) II 보(報)에서는 제(第) I 보(報)의 연구결과(硏究結果)를 기초(基礎)로 태양열우유(太陽熱牛乳) 저온처리기의 모형(模型)을 실제(實際)로 제작(製作)하고 그 특성(特性)을 실험(實驗)을 통(通)하여 분석(分析)하므로서 태양열(太陽熱)을 이용(利用)한 우유처리기(牛乳處理機)의 개발가능성여부(開發可能性與否)를 확인(確認)하려 하였으며 그 결과(結果)는 다음과 같다. 1. 15~25초간(秒間)에 우유(牛乳)을 $78{\sim}80^{\circ}C$로 가열(加熱)하고 급속히 $4^{\circ}C$로 냉각(冷却)시켜야 하는 우유(牛乳)의 저온처리조건을 만족시킬 수 있었다. 2. 태양열우유처리기(太陽熱牛乳處理機)의 가열회로(加熱回路)를 위(爲)한 태양열집열기(太陽熱集熱器)는 시린더형(型) 집광식(集光式)이 적합하였고, 태양열(太陽熱) 냉각회로(冷覺回路)를 위(爲)한 태양열냉각제치(太陽熱冷覺製置)에 관(關)하여는 더 많은 연구(硏究)가 계속되어야 할 것으로 판단(判斷)되었다.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.7
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• pp.828-840
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• 2011

Fine art and clothes have been closely connected since art became part of civilization. However, there relationship was one-sided rather than exchanging the essence of each other. In the $20^{th}$ century, modern art began to change. Artists started intervening clothes in their work as conceptual tools. In the 1960s, Marcel Duchamp started to study 'what is fine art?' He tried to perform anti-aesthetic work that denies traditional types and contents of fine art by reconsidering a concept of fine art that started a new chapter of conceptual art in the late $20^{th}$ century. Conceptual art is about concepts and ideas of the work rather than aesthetic and material concerns for the challenges traditional ideas. Conceptual art asks audiences for more active reactions. For these reasons, semi logical ideas and clothes became very important to conceptual art. This study categorizes and analyzes various roles of clothes in conceptual art. Conceptual arts since 1960 were studied in this research and the works of clothes were intervened were analyzed. The types of using clothes in conceptual art can be divided into 'ready made,' 'intervention,' 'data type,' 'language,' and 'action and process.' The different types were mixed together rather than used alone. Conceptual artists tried to deliver the characteristics and attributions of modern society through clothes. They expressed criticism of political society, anti war movements, absence caused by death, new lives, violated femininity, changed meanings of marriage, and absence of individual rights under the social system in their work. Clothes played their roles as concepts of various things including violated femininity, illusions of politicians, autocracy, new lives, social systems, and regulations.

• Journal of Biosystems Engineering
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• v.9 no.2
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• pp.97-113
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• 1984

날씨가 더운지방에 소규모(小規模) 목장(牧場)들이 먼거리를 두고 산재(散在)되어 있는 경우, 각목장(各牧場)에서 생산(生産)된 우유(牛乳)를 수집(收集)해서 처리공장(處理工場)까지 수송하는 데는 많은 어려움이 있다. 현대화(現代化)된 우유처리공장(牛乳處理工場)이나 저온저장시설이 충분(充分)하지 못한 아열대지방(亞熱帶地方)에 위치(位置)한 발전도상국에서는 우유(牛乳)를 장시간(長時間) 수집(收集)하여 먼거리를 수송하는 동안 많은 양(量)의 우유(牛乳)가 부패 손실(損失)되고 있다. 이 문제를 해결(解決)하기 위하여, 그곳 현지목장(現地牧場)에 강하게 쪼이는 태양열(太陽熱)을 이용(利用)하는 것은 대단히 바람직 하다. 에너지 절약이나, 우유(牛乳)의 부패손실(腐敗損失) 막기 위하여, 태양열(太陽熱)을 이용(利用)한 소규모우유처리기(小規模牛乳處理機)를 개발하여 현지목장(現地牧場)에서 직접(直接) 우유를 처리(處理)하여 인근주민에게 공급하는 것이 가장좋은 해결방법이라 판단하고, 그 실현가능성을 확인(確認)하기 위하여 실제로 태양열(太陽熱)우유처리기(處理機) 개발(開發)을 위한 그 모형(模型)의 회로구성(回路構成)을 고찰(考察)한 결과(結果) 다음과 같다. 1. 태양열(太陽熱) 우유처리기(牛乳處理機)의 모형(模型)은 다음 4개(個)의 회로(回路)로 구성(構成)되었다. 가. 우유(牛乳)순환 회로(回路) 나. 가열회로(加熱回路) 다. 예냉회로(豫冷回路) 라. 냉각회로(冷却回路) 2. 우유가열회로(牛乳加熱回路)는 태양열(太陽熱)을 이용(利用)하였으며 냉각회로(冷却回路)는 압축식 냉각기(冷却機)를 이용(利用)하였다. 3. 자동제어(自動制御)시스템을 장치(裝置)하여 태양강도변화(太陽强度變化)에 따른 우유처리량(牛乳處理量) 조절(調節)을 자동화(自動化)할 수 있도록 하였다.