zix_release_0.1.2 NOTES

These are (preliminary at this point) release notes for zix_release_0.1.2
-- which is the first release of zix as zix.

The author is greatful for feedback provided by the following froodz:

Frank Dufour
David McCollough
Thomas Martinez
Goran Merick
Mihai Nadin
Kim Smith

See also: -[zix-01 (Gross structure)]-
          -[zix Rework}
               {zix WalkWays}
               {Duchamp Extract}
               {pi extract}


zix Rework

Now that the "underpainting" has been laid down (ie, release 0.1.0
aka "ma" - or "ma thesis project" or "advanced projects") i will 
turn my attention more properly to the extended aesthetics of 
the text as sculptural object. 




zix WalkWays




Duchamp Extract
On Readymades

Marcel Duchamp: Apropos of "Readymades"
Speech by Duchamp at the MOMA, 1961 October 19.

IN 1913 I HAD THE HAPPY IDEA TO FASTEN A BICYCLE WHEEL TO
A KITCHEN STOOL AND WATCH IT TURN.
    A FEW MONTHS LATER I BOUGHT A CHEAP REPORDUCTION
OF A WINTER EVENING LANDSCAPE, WHICH I CALLED 
"PHARMACY "AFTER ADDING TWO SMALL DOTS, ONE RED AND
ONE YELLOW, IN THE HORIZON.
    IN NEW YORK IN 1915 I BOUGHT AT A HARDWARE STORE A
SNOW SHOVEL ON WHICH I WROTE "IN ADVANCE OF THE 
BROKEN ARM".
    IT WAS AROUND THAT TIME THAT THE WORD "READYMADE"
CAME TO MIND TO DESIGNATE THIS FORM OF MANIFESTATION.
    A POINT WHICH I WANT VERFY MUCH TO ESTABLISH IS THAT
THE CHOICE OF THESE "READYMADES" WAS NEVER DICTATED
BY ESTHETIC DELECTATION.
    THIS CHOICE WAS BASED ON A REACTION OF VISUAL INDIF-
FERENCE WITH AT THE SAME TIME A TOTAL ABSENCE OF GOOD
OR BAD TASTS.  IN FACT A COMPLETE ANESTHESIA.  
     ONE IMPORTANT CHARACTERISTIC WAS THE SHORT SEN-
TENCE WHICH I OCCASIONALLY INSCRIBED ON THE "READY-
MADE".

    THAT SENTENCE INSTEAD OF DESCRIBING THE OBJECT LIKE
A TITLE WAS MEANT TO CARRY THE MIND OF THE SPECTATOR
TOWARDS OTHER REGIONS MORE VERBAL.
    SOMETIMES I WOULD ADD A GRAPHIC DETAIL OF PRESEN-
TATION WHICH IN ORDER TO SATISFY MY CRAVING FOR 
ALLITERATIONS, WOULD BE CALLED "READYMADE AIDED".
    AT ANOTHER TIME WANTING TO EXPOSE THE BASIC ANTI-
NOMY BETWEEN ART AND READYMADES I IMAGINED A "RECIP-
ROCAL READYMADE": USE A REMBRANDT AS AN IRONING 
BOARD!
    I REALISED VERY SOON THE DANGER OF REPEATINGB INDIS-
CRIMINATELY THIS FORM OF EXPRESSION AND DECIDED TO 
LIMIT THE PRODUCTION OF "READYMADES" TO A SMALL NUM-
BER YEARLY. I WAS AWARE AT THAT TIME, THAT FOR THE
SPECTATOR EVEN MORE THAN FOR THE ARTIST, ART IS A HABIT-
FORMING DRUG AND I WANTED TO PROTECT MY "READY-
MADES" AGAINST SUCH CONTAMINATION.
    ANOTHER ASPECT OF THE "READYMADE" IS ITS LACK OF
UNIQUENESS ... THE REPLICA OF A "READYMADE" DELIVERING
THE SAME MESSAGE; IN FACT NEARLY EVERY ONE OF THE 
"READYMADES" EXISTING TODAY IS NOT AN ORIGINAL IN THE
CONVENTIONAL SENSE.
     A FINAL REMARK TO THE EGOMANICAC'S DISCOURSE:
    SINCE THE TUBES OF PAINT USED BY THE ARTIST ARE
MANUFACTURED, AND READY MADE PRODUCTS WE MUST 
CONCLUDE THAT ALL THE PAINTINGS IN THE WORLD ARE
"READYMADES AIDED" AND ALSO WORKS OF ASSEMBLAGE.
--42--



pi extract

3.1415926535 8979323846 2643383279 5028841971 
  6939937510 5820974944 5923078164 0628620899 
  8628034825 3421170679 8214808651 3282306647 
  0938446095 5058223172 5359408128 4811174502 
  8410270193 8521105559 6446229489 5493038196 
  4428810975 6659334461 2847564823 3786783165 
  2712019091 4564856692 3460348610 4543266482 
  1339360726 0249141273 7245870066 0631558817 
  4881520920 9628292540 9171536436 7892590360