Thanksgiving Is Ruined

The Personal is Political. The Political is Personal.

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September 12, 2007
dust 2

dust as embodiment of temporality useful to facilitate visualizion of accrued passage of time

amount of time needed by Man Ray for the photographic exposure that became his "Dust Breeding" or "Élevage de Poussière.": one hour
(source: here, and Ian Hays, here)

[Man Ray's photo as "about" time, squared? -- exposure of unusual temporal length, subject matter required unusual temporal length to accumulate undisturbed/become visible

all photo
as film?
not "instantaneous"

exposure/shutter speed
open for at least some measurable temporal duration

Smithson's "Spiral Jetty" as film, film-still and "photograph of time," etc. consids., in "The Future Perfect: Genealogies of the Film-still" by Robert Bean

Derek Mueller's "build-up of please make sense" notes on Barthes's "The Third Meaning: Research notes on some Eisenstein Stills," here

time-element of eye movement (.pdf) along visual path of (non-"moving") visual arts, necessarily sequential perception of compositional elements

Kandinsky on differing temporal character of point,line, curve, in Point and Line to Plane]

amount of time that Duchamp let the dust settle on his Large Glass, as shown in Man Ray's photograph: six months
(source: here)

amount of time spent by Duchamp in NYC, thinking and amassing an immense journal of notes for the Large Glass, before completion of it and his departure for Paris in 1923: approximately ten years
(source, pg. 71 of Scott & Rutkoff's New York Modern, here)


Dew Harrison's "deconstruction" of Duchamp's Large Glass and malic    moulds

Duchamp in a 1960 interview:
[Interviewer]: You said at that time [1912-13], "Paintings have the dust of the past."

[Duchamp]: What made me say things like that was because it was necessary to get rid of and to obtain another opening onto other landscapes, so to speak.

Jake Kennedy on dust, Duchamp & Gertrude Stein:
[M]odernism depends on dust and specifically on the bourgeois artefacts, and domesticity generally, that dust may be said to both outline and mask. Modernity's desire for collecting, for cataloguing, and finally for displaying suggests the indispensability of dust and dusting.

"Large Glass" as a work "always and happily at the mercy of time"
(Hays again)
[Does a separate Time Yardstick exist to use to measure whether being "at the mercy of time" is something that "always" happens?]