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| − | = Fantastic Forgeries =
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| − | [[File:Rotorelief example2.jpg]]
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| − | '''Marcel Duchamp'''
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| − | Blainville 1887 - Neuilly sur Seine 1968
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| − | '''Rotoreliefs''' (optische schijven / Optical Disks)
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| − | 1935
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| − | Offsetlitho op karton
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| − | Offset Lithograph on cardboard
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| − | De ‘Rotoreliefs’ tonen Maercel Duchamps interesse in het weergeven van beweging op het platte vlak. Wanneer de schijven met
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| − | een bepaalde snelheiden draaien, ontstaat een illusie van diepte. De film ‘Anémic Cinéma’ laat vroegere versies van deze ’Rotoreliefs’
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| − | zien in combinatie met tekstuele zinspelingen. Voor de kunstenaar zijn de ‘Rotoreliefs’ niet alleen een artistiek, maar ook een
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| − | wetenschappelijk experiment dat zich richt op de waarneming van de toeschouwer.
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| − | The ’Rotoreliefs’ display Marcel Duchamp’s interest in the representation of movement on a flat surface. When the discs are
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| − | spun at a certain speed they create the illusion of depth. The film Anémic Cinéma’ shows early versions of these
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| − | ‘Rotoreliefs’ were an artistic and scientific experiment aimed at the viewer’s perception.
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| − | == Research ==
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| − | [[File:Anemic Cinema.png | 600 px]]
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| − | [https://www.youtube.com/watch?v=dXINTf8kXCc Watch the movie]
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| − | '''Anemic Cinema'''
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| − | https://en.wikipedia.org/wiki/Anemic_Cinema
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| − | Anemic Cinema or Anémic Cinéma (1926) is a Dadaist, surrealist, or experimental film made by Marcel Duchamp.
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| − | The film depicts whirling animated drawings—which Duchamp called Rotoreliefs—alternated with puns in French.
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| − | Duchamp signed the film with his alter ego name of Rrose Sélavy.
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| − | Rotoreliefs were a phase of Duchamp's spinning works. To make the optical "play toys" he painted designs on flat
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| − | cardboard circles and spun them on a phonograph turntable that when spinning the flat disks appeared 3-dimensional.
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| − | He had a printer run off 500 sets of six of the designs and set up a booth at a 1935 Paris inventors' show to sell them.
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| − | The venture was a financial disaster, but some optical scientists thought they might be of use in restoring 3-dimensional sight to people with one eye.[1]
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| − | In collaboration with Man Ray and Marc Allégret, Duchamp filmed early versions of the Rotoreliefs and they named the first film version Anémic Cinéma.
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| − | The Rotoreliefs are alternated with nine revolving disks with the following text in French, consisting of puns and alliteration by Duchamp
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| − | "Bains de gros thé pour grains de beauté sans trop de bengué." (BenGay was invented in France by Dr. Jules Bengué)
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| − | "L'enfant qui tète est un souffleur de chair chaude et n'aime pas le chou-fleur de serre-chaude."
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| − | "Si je te donne un sou, me donneras-tu une paire de ciseaux?"
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| − | "On demande des moustiques domestiques (demi-stock) pour la cure d'azote sur la côte d'azur.
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| − | "Inceste ou passion de famille, à coups trop tirés.
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| − | "Esquivons les ecchymoses des Esquimaux aux mots exquis.
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| − | "Avez-vous déjà mis la moëlle de l'épée dans le poêle de l'aimée?
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| − | "Parmi nos articles de quincaillerie paresseuse, nous recommandons le robinet qui s'arrête de couler quand on ne l'écoute pas."
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| − | "L'aspirant habite Javel et moi j'avais l'habite en spirale."
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| − | ----
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| − | [[File:Rotoreliefs-850.jpg | 1000 px]]
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| − | '''Optical Duchamp'''
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| − | http://www.abandon.nl/opical3.htm
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| − | In 1920 Duchamps special interest in motion and optical effects resulted in, what he called, 'rotoreliefs':
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| − | cardboard discs, printed with patterns creating an illusion of a 3D (spatial) object when turning around on
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| − | a 'phonograph' (record player) and especially for the rotorelief designed machines. Abstract figures, but
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| − | also objects such as a champagne glass or an egg-cup with an egg etc. where the 'motives' on these discs.
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| − | Maybe Duchamp hoped to realize the prophecy of Apollinaire that he was foreordained to 'be the conciliator of
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| − | art with people'. He rented a stand at the Concours Lépine, an annual fair for fancy domestic gadgets and general
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| − | inventions, and made a display with his rotoreliefs.
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| − | People were very interested, but nobody purchased any of the cardboard rotoreliefs: some rotoreliefs were for sale,
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| − | but there's reason to doubt this intention to be anything more than just another example of the inquisitive mind of Marcel Duchamp.
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| − | The rotorelief as an excursion to a non museal approach of the creative process however, is very real. Of course
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| − | Duchamp would humorously 'tone down' his act - as a result of his moderate (often referred to as nihilistic) philosophy
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| − | of life - but he wouldn't have made this 'invention' if he didn't take it very seriously as a creative process.
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| − | The 'déposée' (deposit) of the invention at the 'Tribunal de commerce de la Seine' in 1935 has to be -
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| − | almost beyond doubt - viewed in the same way: as an attempt to a non museal creative process.
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| − | In 1926 he also made a film "Anemic Cinema", in collaboration with Man Ray, based on the rotoreliefs and additional textual material.
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