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ust as collage is an augmentation of the world as image on various levels, so too my work using Photoshop is a method of working in layers, transparencies, and electronically as an augmentation of collage by building up close networking patterns between images, texts and letters that likewise make up the basic equipment for both Finnegans Wake and Ulysses, and La mariée mise à nu par ses célibataires, même.

Duchamp’s oeuvre networks from the Glass and its Notes at its centre through his other writings, readymades, objects and pictures of all kinds. The “working” elements of the Glass besides the Green Box Notes are manipulated by a mental networking of the spectator’s thoughts through 3 and 4 dimensional equivalents of electronic space, the presence of water and also gas; in other words all the basic conveniences of the Modern Home including the TV which, as several wits have suggested, is an electronic Four Dimensional space.

Before long we realize that the Large Glass is the shape and form of what used to be called a slide for a projector, which, if the Glass were made small enough, could be projected onto an almost infinitely large screen.

The Bride of the Glass exists as a projection from a 4th Dimension, as are our thoughts: as the images of the TV montage hit us like a bullet. Joyce’s creation of words – a form of alchemy – likewise finds its equivalent in Duchamp where so called “ordinary” objects become something else through manipulation of ideologies, philosophical propositions and positions, the chemistry of science and of poetry in a desultory rendition of machinic longing and ultimate repetitive failure in the “act” of coitus.

oth the Glass project and Finnegans Wake are cyclical: the Wake for instance ends with the word “the”, intimating its “to-be” connection with the opening refrain of the book “riverrun” (sounding like erinnerung -the German word for “Memory”).

Like people who can of course imagine and narrate stories in which their lives are regarded as being reproducible through generation Joyce and Duchamp’s “life stories” are based on repetition, reproduction, recovery and renewal that have significant meanings for generative connections from past generations to future generations, and for the imaginations of continuities of multiple human lives within different historical eras, hence Joyce’s re-writing in the Wake (as some scholars think) of the book of Genesis, and also Duchamp’s interest in “reproduction” in every sense.


he Zoomify image on the site in its present state is an accumulation of trials and trails to see if it were at all possible to deal with the visual and the written Image. The essays I have since written were intended to accompany the learning process and reading process that this image, sometimes in a tortuous way, displays. In it we find traces of designed DNA, Adam and Eve borrowed from the Northern Renaissance engravings of Albrecht Dürer, some painterly works by Rembrandt who I have associated with Shem the Penman from Finnegans Wake and as one artist who Duchamp annotated for a never-made ready-made (ready-maid!).

The Large Glass and several notes that accompanied Duchamp’s project may be seen as well as the nomenclature of the different parts of its machinery.

Joyce Ulysses was censored by the US government for obscenity and Duchamp’s work by and large occupies itself with themes of a sexual nature: therefore there are images on this work taken from pornographic sites and run through a filter in order to add a whiff of consistent human needs and playfulness to it.

he most enduring geometrical element in this work, the Tesseract, appears many times since the Tesseract is a 2 dimensional figure of a 4 dimensional space. Many artists during the first decades of the 20th century were intrigued by the 4th dimension and also mysticism, and we also find writers and particularly poets too who at this time were reading works of sense and nonsense on the Fourth Dimension. Books like Flatland by Edwin Abbott (1885) became somewhat notorious.

Books on the 4th dimension are as available today, that use words like “Tetraspace” to likewise discuss the 4th dimension, and the word “tesseract” can be found in Finnegans Wake (100.35) in connection with Joyce’s Shaun the Post who in one rendition of his passage through the book rides the night sky in a coach with “sex insides” (six insides) which would be a coach or a box equivalent to the Egyptian Myth of Osiris and his death and rebirth.

Finnegans Wake and the Glass with its Notes lead us in our imagination over vast terrains of poetic landscapes occupied by technologies dating from ancient time and ancient places and cities including Greek legends, like Persephone, the embodiment of the Earth's fertility Duchamp mentions in his notes.

As Above So Below is a talismanic phrase, which is associated with Hermeticism -a set of philosophical-religious beliefs based on Hellenistic Egyptian writings attributed to Hermes Trismegistus, the representation of the congruence of the Egyptian god Thoth and the Greek Hermes: transmutations in Joyce and Duchamp take a cue, as it were, from all such forms of human thought to the present day as forms of alchemy.

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