quicktime of the bride"just as the invention of a new musical instrument changes the whole sensibility of an era, the phenomenon of light can, due to current scientific process, among other things, become the tool for the new artist"
many agree that one of the purposes of "the large glass" is to depict the fourth dimension, or time, in the third dimension. as Michel CARROUGES writes, referring to Nu qui descend un escalier,
"Ce tableau temporel intègre ostensiblement la quatrième dimension dans l'espace. C'est la première fraction du vrai voyage dans le temps, pour la récupération du temps perdu."
the italics are inversed from the original quote. roughly translated, this means "This temporal canvas ostensibly integrates the fourth dimension into space. It is the first (fraction?) of true time travel, in order to recover lost time."
as Lawrence D. STEEFEL writes, "A third possibility is that of reading the forms not only as top and bottom and as circular sequences but perspectively as projections oriented towards a vanishing point located slightly above the dividing frame in the middle. If this is done, the spectator's attention is led away from the forms themselves back to an invisible point which, as a center of focus, dominates the local activity of the separate parts or segments of the work."
"If, however, a vanishing point behind the image is established, then the condition of the Bride of 1912 is attained, in which the awareness of the superficial forms on the surface of the glass is not abolished, but becomes a matter of indifference, and serves merely as the substructure or foundation upon which the penetration or thrust into space is erected."
"...this kind of horizon does not subject the forms to an imprisonment of perspective, but rather appears as a function of the desire of the forms themselves to exist in an oriented world."
"The "esthetic vanishing point" allows DUCHAMP to focus and equilibrate the restless disturbances of his life in a self-created moment of self-reflexiveness. This is the ataraxic function of the Glass."
"Although the spacial vanishing point of the Glass has been described as self-contained, the ultimate vanishing point of the work lies at the end of time."
is there life without connections?
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(first quote by DUCHAMP from a posthumous exhibit. second quote from CARROUGES, Michel. "Duchamp - Révélateur du Déjà Vu et du Jamais Vu." Cahiers de l'association internationale pour l'étude de Dada et du Surréalisme #3. Paris: Éditions Lettres Modernes, 1970. p. 26. STEEFEL quotes from STEEFEL, Lawrence D. The Position of Duchamp's Glass in the Development of his Art. New York: Garland Publishing Inc., 1977. )