O atraso de Duchamp

O atraso de Duchamp

From a synchronical perspective, Marcel Duchamp’s readymades, produced temporal deformations that nowadays, within its diachronic, are already codified. The determinant point of those deformations was a kind of “estheticism of perception” seen as a sceptical effect paradigm achieved from a parody of...

Full description

Bibliographic Details
Main Author: Gelson Santana
Format: Article
Language:English
Published: Universidade de São Paulo 1996-09-01
Series:Significação: Revista de Cultura Audiovisual
Online Access:http://www.revistas.usp.br/significacao/article/view/90514
id doaj-28d7f28699ee46bfb8d54972b4173742
record_format Article
spelling doaj-28d7f28699ee46bfb8d54972b41737422020-11-25T03:13:18Zeng Universidade de São PauloSignificação: Revista de Cultura Audiovisual1516-43302316-71141996-09-01011-12779010.11606/issn.2316-7114.sig.1996.9051484903O atraso de DuchampGelson Santana0Universidade de São Paulo. Escola de Comunicações e ArtesFrom a synchronical perspective, Marcel Duchamp’s readymades, produced temporal deformations that nowadays, within its diachronic, are already codified. The determinant point of those deformations was a kind of “estheticism of perception” seen as a sceptical effect paradigm achieved from a parody of photography.http://www.revistas.usp.br/significacao/article/view/90514
collection DOAJ
language English
format Article
sources DOAJ
author Gelson Santana
spellingShingle Gelson Santana
O atraso de Duchamp
Significação: Revista de Cultura Audiovisual
author_facet Gelson Santana
author_sort Gelson Santana
title O atraso de Duchamp
title_short O atraso de Duchamp
title_full O atraso de Duchamp
title_fullStr O atraso de Duchamp
title_full_unstemmed O atraso de Duchamp
title_sort o atraso de duchamp
publisher Universidade de São Paulo
series Significação: Revista de Cultura Audiovisual
issn 1516-4330
2316-7114
publishDate 1996-09-01
description From a synchronical perspective, Marcel Duchamp’s readymades, produced temporal deformations that nowadays, within its diachronic, are already codified. The determinant point of those deformations was a kind of “estheticism of perception” seen as a sceptical effect paradigm achieved from a parody of photography.
url http://www.revistas.usp.br/significacao/article/view/90514
work_keys_str_mv AT gelsonsantana oatrasodeduchamp
_version_ 1724647590995165184

Similar Items