The Creative Act Let ws enier two inpetnt ator, the te pale the ran of ‘st the arson one anand on the eer the spstate who ter be ‘omer the pose. ‘Toll appears, the att at Ihe 4 edn ing who, fom ‘he abit beyond tne an paces ht way tt ering ‘we giveth atibteso aon tothe att we mst thn oy in he sate of coniamen the ett tt what Ye dang ce why he doing Allis deco in he atte easton of {he work et with pre inn ad camot a ante it + sl ‘aly spoken owen, or eve thang on. 8, Hot ise on "Trades snd the Inv Talk” verte: "The ore perfect the att the mre cpt separate a tim be th mat ho sales and the mind which cents, the ote ect wil he ind gt sod tranoate he psn which ee Mine of artis ste; oly 4 few than are diced cept by the spat and many ls agin ac cnet hy pa 1 the at sna, the att may sa rn lth fos that {54 gn hw vet at forthe edt he spatter tha his doctrine ake el vale md that, ly, ote I hes hin nthe peers of History. etme WO ae Fat son ane by Bey us ge that th stent wil nt et th th prov of many str ho ref thi nit Yl and bso way of thee ‘Seon Inthe eentve act-yet art hstory as coset deeded Spon the vue of = work ofa though cosine copy ‘Eesced fm he toned epuntons te a he aia man bing fl of the et nets towed ine sal sod the mle worl, play no le tala he agent fiom ‘tr, tow can one desert the phnamenn wh romp the spect (er to reac eral tothe work a? In ther word Haw doe this ‘eatin cme shout? “This phenanenc & comparable to a ansfernc fam the att 0 the agocttor inthe form ofan exthtc coma taking lace tough ‘the et ter, ch a pga, plane ome, at before we g father, Twat oat ut udestandg ofthe sword“ ur iho an att to aon ‘What ave ind hat at aye al, god or nde, bat, whateer ace rsd, we mat cal ar nd a atl a Ube same way ara bad enatin sila ation, “Thrfore, when fer 0a coset” wl ke undead tht 1 eer nt ely to tat, bat Lam yng tn deve the active ‘mechani ich produce at ina rwstend Tat rata good crndifews Th the cctv ct the ast goes fem intention t reznton tyogh a chain of tty sajetve recs is sug tad the relation esr of fo, patton, rls, decison, ‘Which also coat std mast not be Fly seasons a least on the ‘bet plane ‘The ret ofthis strgae a erence between the into end Censeqoety, n thn cn of reatone accompanying the create tank miming. Tl gap whch repre the nally of the ‘St to epee flys tron the ilerence beeen wt hei tended tore and di ele the penal at cof” cn ‘aed inthe wok Taher words the personal art coe” eke an amet! rsa betwen the sncrrened bot tended sod he enntentinaly pre, "To aid miupletndng. we must remember hat this at co fii” pal expe fa 2 Pa ba” ht Taw sat, which must eed as pre spa rr ass, by the ‘pecs, the dg of he conn as ring whatsoever eet. ‘The rst wc ake anther spect when Bh pect ex [Plnces the plencreem tama ng Ye Shang fnsrr oft, a ctl tation ha ae ihc, andthe vale o the spear Yo deters the weight of he ‘ork thet le spectator bigs the work In cota Cipherog aed ntereing i loner ats snd eu con. tthtion tothe sete at This bee mre biases pater ger Boal yerdct and meter seattatesforgten Apropos of “Readymades”EDITED BY MICHEL SANOUILLET & ELMER PETERSON, with 90 illustrations THE ESSENTIAL WRITINGS OF MARCEL DUCHAMP MARCEL DUCHAMP MARCEL DUCHAMP MARCEL DUCHAMP CEL DUCHAMP. CEL DUCHAMP. CEL DUCHAND CEL DU “Ns CEL DU CEL DU CEL CEL SEL tiuasano wuoson (EER) LONDON (@)0 500 ou ty % Preface enh pd yen: he en rh, ll been mc nc gt al nee of ec pe ed pes