Kris Mun & F. Myles Sciotto
Studio 502 | Spring 2014
Exactly a century ago in 1913, artist Marcel Duchamp conceptualized a vital piece of artwork that would challenge the conventions of art, switching the ethos of light to eros of asensation, radically changing the definition of art thereafter. From 1915-1923, Duchamp created one of his most important work The Large Glass, subtitled Bride Stripped Bare by her Bachelors, Even. A painting that is not a painting, an image that is not an image, this was a decoder, an interface to the objectification of visual art laid out in diagrams and codes. The archive of thoughts and concepts created as a critical compendium to the work was released more than 10 years later in The Green Box. Duchamp presents a dialect of mechanistic thoughts and complexity; mechanical blueprint of the Bachelors under the the release of anorganic substance of the Bride. A commentary against the traditions of [visual] art, it’s inter[face/act]ing via layers of paradoxes, binary sets of contradictions, chance and uncertainties, the fluidity of alchemical machinery and the clockwork mechanics of assemblage.
In a world of newly emerged technologies [and territories], ‘art (architecture) in the age of digital fabrication’1 imparts the production of formal vitality [and resistance] in a kind of ‘nomadic subjectivism’, against homogeneity (eg. globalization), in favor of differences and multitudes in simultaneous occurrences. Our world as we know it is changing rapidly due to digital fabrication technologies which is shifting the paradigm from a 19th century industrial model to a 21st century individuated and ubiquitous computing manufacturing tendency. In a world proliferated with novelty, radicalization does not happen from total rejection but rather by transformation of historically-established systems of thought from within. We must rethink machines [mechanical and organic] that insights new logic of mensuration of space in magnitudes, intensities and interactivity that create formal potency. Akin to the idea of “plug-ins”, which function in any given software as a mutation to the original blueprint in efforts to sustain itself through adaptation by adding special features, appendages [body components] mutate existing machines to give special abilities to sustain its life.