Talking Ready-made
(Oulipian Duchamp - BO 131)

49  - §  1029  -  at the invitation of the journal “Etant donné / 
Marcel Duchamp” I meet with Jean Suquet, in his dwelling,   

49  1  On the day after the eve before,
          49  1  1  one of tomorrow’s thoroughly mapped regions: 
          they are indeed distinct from eves
                    49  1  1  1  which is why one says: “tomorrow is 
                    no eve”

49  2  during which I delivered a second talk, rather orally 
tiresome because the creakiness in my voice pained the 
beginnings of my long, profound parentheses 
          49  2  1  always hesitating over how they might be spoken 
                    49  2  1  1  and I fear I may have over 
                    hesitated, saying I was hesitant, stating that I 
                    had to return far into previous pages to locate 
                    the point of the parenthetical insertion, which 
                    is easily understood; but, by speaking in this 
                    manner, I had hoped to impart the exact trouble  
                    49  2  1  2  I can always test an other system 
                    in a subsequent discussion 

49  3 at the invitation of the journal “Etant donné / Marcel 
Duchamp”, I meet, in his dwelling, Jean Suquet, the man who sought
          49  3  1  as one pursues the Grail, or hunts the Beast 

49  4 for the entirety of his life, in the most removed recesses of 
the work, in the paintings, in the Boîtes, and in the Grand Verre, 
the “amour de loin” of MD, that trobar clus poet, the evaporating-
blinding-luminous trace, that obscure triangle,  

49  5  the wedded-Snark, the Lady of impenetrable senhal 
          49  3  1  the defining quality of all senhal 
                    49  3  1  1  revealing to those who know what he 
                    hides from the ignorant, all the while hiding 
                    some thing other than what he reveals, revealing 
                    some thing other than what he hides 
                              49  3  1  1  1  the trobar always 
                              undertakes ‘something other,’ 
                              simultaneously black within light, 
                              luminous in obscurity 

49  6 even self-same 
          49  4  1  even, even
50  - § 1030  - Intimidated as one is in the presence of passion and 
a tape recorder.    

50  1  Intimidated as one is in the presence of passion 
          50  1  1  and a tape recorder 

50  2  I dare not ask him, prolonging the analogical rails into early 
13th century Provence, if, within the climate of the trobar, 

50  3  one could fairly characterize the famous célibataires as 
          50  3  1  the ‘naysayers’ who interrupt the canso’s 
          passage to its necessarily hidden addressee 
          50  3  2  even if self-same 
          50  3  3  a troubadour always already being a lozengier 
          to himself .... 
                    50  3  3  1  and by kindness
                              50  3  3  1  1  a senhal to Joe 
                              Bousquet’s detractor

50  4 Upon leaving I repent for my silence 
          50  4  1  rehearsing what I could have said better, more 

50  5  and swear to repair it swiftly, epistolarily 
          50  5  1  oops! 

50  6  meanwhile I preemptively write answers to eighteen written 
questions and 
          50  6  1  seizing the occasion by the locks that 
          question 5 offers me
                    50  6  1  1  respond, in fact, rather beside the 
                    point, and yet
51  -  §  1031  -  On one occasion, I recreated, at length, a series 
of remarks,   

51  1 On one occasion, I recreated, at length, a series of remarks, 
culled from the mass of poetic remarks I’ve been accumulating for 
years, in slices of 317 
          51  1  1  ordered in a purely chronological fashion and 
          numbered like successive, instantaneous meditations 

51  2  under the general theme ‘Duchamp and the Oulipo’ 
          51  2  1  I limit my culling to the most recent remarks; 
          the earliest are not very removed from my moment  of entry  
          to the Oulipo 
                    51  2  1  1  at which time Duchamp’s absent 
                    presence surprised me
                    51  2  1  2  the reader 
                              51  2  1  2  1  I’ll profit from the 
                    51  2  1  3  is hereby invited to consult, with 
                    regards to Duchamp, (the Oulpian) Paul Braffort’s 

51  3  reprinting the numbers from my register of remarks,  while 
prefacing each with letters, respecting their order in the sequence, 
as follows 
          51  3  1  now interspersing 
                    51  3  1  1  in writing, when there’s space or, 
                    orally, as I present in the seminar  
          51  3  2   comments where necessary 
                    51  3  2  1  clarifications, corrections if need 
                              51  3  2  1  1  but without adding on
51  4  Some remarks
a - 3805 – The twentieth century harbored a dream, that of becoming, 
all by oneself, the entirety of the avant-garde (that dream was 
shared by Breton, Sollers, Debord, etc). 
          a 1 – and numerous others of greater or lesser note. 
          To be the avant-garde; to be alone as the avant-garde; 
          to be the avant-garde above all others. As noted by dada: 
          "there are those who antedated their manifestos in order 
          to have you believe that they had first come upon the idea 
          of their own greatness earlier than the others" 
          a 2 – it never hurts to reread the Sept Manifestes Dada, 
          from time to time 
          a 3 – besides, Duchamp was first and foremost dada; he 
          becomes surrealist 
          merely by convenience, idleness, and misunderstanding 
b - 3806 – The means by which Breton (and others) articulated this 
dream were naïve and crude. The more elegant expression was 
          – b1 –in a different register of elegance, more obviously 
          megalomaniacal to the cognoscenti, yet hidden to the 
          century’s ignorant, one might also 
          cite the general project envisioned by François Le 
                    - b 1   1 – whose name is absent from the 
                    Robert of proper names and the Larousse 2000! 
c - 3815 – Duchamp’s 1938 suit-case project (‘an album of 
approximately all the things I have produced’ (Letter to Katherine 
Dreier, 1935)) approximates the so-called Warburg ‘Mnemosyn’ project, 
except his is an auto-Mnemosyn. 
          - c 1  – for more on the Mnemosyn project see, in this same 
          work, my own, 
          chapter 1 of branche 5 [(La bibliothèque de Warburg)]
d  - 3816 - With the invention of the Ou-x-pos, F.L.L. (François Le 
Lionnais) outduchamped Duchamp. 
          - d 1 – I don’t know if, for FLL, it was a conscious effort 
          of one-upmanship 
e - 3817  -F.L.L. was a Duchamp-Douanier Rousseau. 
          - e 1 – in writing remark –e – I opted of the hypothesis 
          of a relatively naïve FLL. I’m less sure of that today, 
          being less naïve myself; hence d 1 . 
f - 3818  -F.L.L = François le Duchampi. 
          - f 1 – same caveat as e 1 
g - 3819 - That readymades are readymade-in-France or, more 
precisely, in French. 
          - g 1 – now I would even say ‘Frenchglish’ 
h - 3820 – These remarks (3815-3819) are impropperizations of 
          - h 1 – Popper, proper; propp; unfalsifiable propositions; 
          porno-flic poppers of stupefying images etc.
i - 3821 – “Duchamp” against the blowhards: abstract expressionism. 
          - i 1 – possibly excessive reflection; in fact, I longer 
          quite see the pertinence; and, there are so many other 
          contemporary blowhards	  
51  5
j - 3822 - Duchamp is not an artist; not a non-artist; not an 
anti-artist. Duchamp is a non-non-artist. 
          - j 1 – I know I am contradicting the received doxa in 
          Duchampian matters, just as I am contradicting numerous 
          claims by Duchamp himself; but this hypothesis appears to 
          unique in aligning attitudes that otherwise appear to be 
          contradictory. I’m not saying that contradictions are 
          impossible in Duchamp. Indeed, we could allow for 
          variations over time. Nonetheless… 
k - 3823  -What renders Duchamp relevant is never ex falso quodlibet. 
          - k 1 – anything but the ‘anything goes’ that some 
          néo-Duchampian artists have raised to the rank of dogma
l - 3824 – Rather, Duchamp’s art is une cosa tilleul-menthale.
          - k 1 no comment 
m - 3825 - Duchamp follows Alphonse Allais. And, going even further 
back, he follows the poet fascinated with essentially bachelor 
machines (the phonograph, color photography, and mechanisms for 
communicating with planets), Charles Cros 
          - m 1 Duchamp’s well-known interest in Alphonse Allais has 
          been excessively linked the latter’s attention to word 
          games. But let’s not forget Allais the experimenter, 
          friend to the discoverer of fluorine and future Nobel 
          prize winner, inventor of monochromes
                    - m 1 1  which he treat ‘à la duchamp’ by giving 
                    them titles 
          - m 2 as well as various machines, such as the one that 
          would eliminate rubber’s essential property, “the 
          elasticity that makes it improper for so many uses.”
n - 3826 - Readymades as incomprehensible without Rrose Sélavy 
          - n 1  coda on a theme I had already frequently evoked in 
          my previous remarks: the role played by language, more 
          precisely “Frenchglish”; and, in both cases, the 
          preponderant role accorded to fixed expressions, or 
          “langage cuit”  
          - n 2  statement of Duchmapian Desnos 
                    - n 2 1 let’s not forget that Desnos is the only 
                    Surrealist for whom Duchamp did not merely 
                    represent a Press-book prop for the sect; Desnos 
                    actually followed his example, in poetry  
                    - n 2  2  these precise conditions were
                    reproduced for Roussel. Contrary to Breton, 
                    Desnos took a passionate interest in what the 
                    author Impressions d’Afrique wrote
o - 3827  Rrose Sélavy (sayings): readymades of speech. 
          o 1 – such manipulations of fixed expression (langage 
          cuit) approximates the material bricolage of manufactured 
          o 2  an example, recounted by Mina Loy, appears in étant 
          donné Marcel Duchamp n°1 p.82 : One day, in 1917, Mina Loy 
          took a seat between, Arthur Cravan, whom she called the 
          Colossus, and Marcel: “Where the Colossus was heavy-handed, 
          Marcel possessed prestidigital ease; he knew how to 
          insinuate his hand under a woman’s bodice with utter grace. 
          One might well say,he ventured, his beautiful aerodynamic 
          face pressed up against mine, Madame, you have pretty 
          satin panties [Madame, vous avez un joli caleçon de satin]. 
          One might also say, he concluded with a naughty kiss, 
          Madame, you have a dirty slut’s slit [Madame, vous avez 
          un sale con de catin].” 
                    o 2  1 -  the permutations of consonants runs 
                    as follows: c-s-s ---> s-c-c; thus, not a strict 
                    spoonerism, yet the strategy is quite the same: 
                    first what one may say, then what one may not. 
51  6    
p - 3828 FLL’s major creation: the Oupoumpo. Oupoumpo refers 
(metaphorically and metaeuphorically) to the “inductive limit” (in a 
purely metaphorical sense, I’ll insist) of the ou-ou-.... - x - ....
-po- .... - po for all “x,” (supposedly 
managing adequate transformations from one “x” to another). 
          - p 1  I believe it necessary to modify the received 
          definition of the ou-x-po—recently laid bare—that the 
          Collège de Pataphysique seems intent on plying to its own 
          ends. In effect, for the varied and otherwise arbitrary 
          “x”s, that definition imagines the “ou-x-pos” as a disparate 
          collection in which the sole common feature is a rather 
          vague idea of potentiality
                    - p 1  1  - and often, as is evinced in the 
                    Oucinépo, of a purely pataphysical character
          - p  2  and the adoption, via simple transpositions, of 
          Oulipian techniques, mostly selected from the oldest and 
          simplest constraints. 
          - p 3 besides, it is clear that an ouvroir of “x” is of 
          interest if and only if two conditions are met:
          - the practiced constraints must be chosen in accordance 
          with the specific needs of the “x” at hand
          - the constraint systems of the ou-x-po in question must 
          illustrate, in the case of that “x,” the particularization 
          of a general and universal conception of potentiality. 
          - p 4 The principles of this conception, the future 
          foundation of the 0upoumpo, have not fully come to light.  
          - p 5 There is yet another condition integral to the 
          Oupoumpo, cast as the arch over the different “ou-x-pos,” 
          as the pillars that support and separate them (“coiffant”): 
          the “ou-x-pos” would be related via metaphors, interlinked 
          via “transitional morphisms.”  
          - p 6 The base material for a theory of Universal 
          Potentiality has, for the moment, only found expression 
          in the Oulipo, for the other ouvroirs, created later, are 
          still too closely its model. Today we have but crude 
          sketches of a possible Oupoumpo. 
- q - 3829 “Duchamp” against the blowpopulahards: Warhol, for 
          - q 8 He takes himself far too seriously. He ought not be 
          taken seriously. Duchamp, au contraire, does not take 
          himself seriously, yet he ought to be taken seriously.
- r  3830  By “Duchamp” I mean a certain abstraction-modelization of 
the well known Marcel Duchamp one rather removed from the darling of 
contemporary art theory and marketeering. 
- s  3831  I should also remark that I’ve begun writing “Duchamp” 
as DuDuchamp (as, in French, one says Lalangue). 
          - s 1 - like LaLangue, DuDuchamp is hard to grasp; it has 
          boojum aspects; it reminds me of Duduche, my sister’s cat, 
          daughter of Duchat, Georges Perec’s pussy. When some 
          unauthorized hand stretched out to pet her, she did not 
          scratch, did not protest, but so severely raised her hair 
          and arched her back that it was strictly impossible to 
          touch her, a gesture she completed utterly dispassionately 
          and with perfect politeness: very Duduchampian. 
- t  3832  (rem. 3825, 3828) The DuDuchamp heralds the Oupoumpo. 
          - t 1 the Oupoumpian project of Universal Potentiality will 
          need to account for DuDuchamp.  
          - t 2 that’s when pataphysics will find its real place 
- u  3833  The Oupoumpisme implies a radical oulipisme. 
          - u 1  one  aspect of a radical oulipisme: in examining 
          each constraint, separate the generalizable from the 
          non-generalizable in matters beyond language arts. More 
          particularly, for all specifically linguistic constraints, 
          examine which languages might exploit it, which not. 
                    - u 1  1  the lipogram, for example, begs that 
                    question; S+7 with yet more gravity 
- v  3834  The Oupoumpo, completed and corrected by DuDuchamp, brings 
into focus the quotient of naïveté native to the Oulipo’s first 
conception (possibly influenced by the word “literature”). 
          - v 1 I cannot be certain, truthfully speaking, that such 
          a “naïveté” inhabited the cofounders. Yet it seems to me 
          that it is behind FLL’s methods. As a result, he overlooks 
          the reach of his invention. 
                    - v 1  1  we, his disciples, we see further? Hmm. 
                    Perhaps that naïveté inhabits us. 
- w  3840  The idea of the readymade anticipates that of potentiality        

52 - § 1000 – The idea of the readymade was an ironic anticipation of 
Oulipian potentiality

52  1  The idea of the readymade was an ironic anticipation of 
Oulipian poetentiality 
          52  1  1  t That is, it already implied a critique of its 
          most demented hopes.

52  2    
- x  3845 Duchamp’s “boxes” tend toward reproducibility. But not the 
mechanical reproducibility Benjamin thought through. Rather a de luxe 
- y  3899 Above all, the Great Glass is a language-game.
          - y 1 Welll, nearly. My remarks occasionally overstep an 
          all too clear thinking. 
- z  3900  On  Duchamp’s tomb: “Besides, others always die". The 
operative word is “besides.” 
          - z 1  it enjoys the same status as “self-same”
- aa  3901  Neo-duchampians must be told: du champ! du champ!   
- ab  3902  (rem. 3822; ici ‘j’) Reiterating: not a painter.   

52  3    
- ac  3942  Duchamp works in language arts. 
          - ac 1  but that’s too weak: he works, above all, the art 
          of language 

52  4    
- ad  3943  Mr Tomkins (Duchamp’s biographer) does not know that 
Duchamp is part of the Oulipo. He simply cannot understand Duchamp.   

52  5    
- ae  4081 - Duchamp: le title is the proper name of the work of art. 
see remark on Laforgue. 
          - ae 1  somewhere he states that it is the titles that 
          most please him in Laforgue.
- af  4082 - Duchamp: what’s not moot in his work, I mean what’s not 
yet claimed by art history, anticipates the Oulipo. 
          - af 1  and that which generalizes the Oulipo: the 
          - af 2 this said, the works themselves are not “moot” by 
          mere fact of having been absorbed by the art movement. 
          I withdraw “moot.”. 

52  6    
- ag  D, is a PL(agiarist)(by)ANT(icipation) of the Oulipo. 
(he’s what I call a PLANT)  
- ah  4083 - Ready-made: poetic genre.      

53  -  §  1033  -  All words are ready-mades.

53  1    
- ai  4084 – All words are ready-mades. Queneau underlines this fact 
in Le Chiendent. 
          - ai 1  Dictionaries and catalogues of manufacturing: same 
- aj  4085 – Fixed forms of expression boiled hard in the cauldron 
of poems. [Langage cuit dans le faitou des poèmes.]  

53  2    
- ak  4086 - Duchamp held an unassailable belief in the most 
conventional idea of art and literature. To think that what he does 
as an example of anti-art or anti-literature is utterly erroneous.  
He furthers art and literature by other, newer means. 
          - ak 1  FLL and Queneau did not commit this error of 
          judgment. In truth, they had learned the lessons of the 
          surrealist catastrophe. 

53  3    
- aL  4091 – The all-made in the c-all-dron [Le tout-fait dans le 
fait-tout (or faitout; word dated 1900 by the Petit Robert of 1970)] 
          - aL 1 Expressions as-phy-xiated. [langage cuit à 
- am  4093 - Duchamp (DuDuchamp) puts literature (or, more exactly 
literature under constraint) above art. He submits art to literature. 
          - am 1  see above
- an  4094 – MD: prefiguration of FLL.  
- ap  4095 - MD: a bit dandy, a bit farce (dandy-Dandin)   
- aq  4096 – From the stand point of tradition, meter and poetic 
forms are ready-mades of poetry. 
          - aq 1 but what of a  ready-made of an obsolete 
          manufactured object? Or, worse, entirely vanished? Such is 
          the state of abandoned meters. 

53  4    
- ar  4098 - (in a note from 1913 in Boîte Blanche: "can one 
create works (œuvres) that are not art?") again, the vast idea of 
          - ar 1  playing on the ambiguity oeuvre-art. The drift is 
          clear: all is art. Or else: nothing is art 
- as  4099 - readymade: ‘raie des vierges’ i.e. the object that has 
yet to be made (into a work). 
          - as 1  this is how I slip into wordplay, a practice 
          I would not recommend when talking about Duchamp is 
          at hand. 
                    - as 1  1  similarly, constructions like ‘an x 
                    is an x is an x is an x,’ ought to be avoided 
                    when speaking of Gertrude Stein 
                              - as 1  1  1  especially when it is 
                              forgotten that Stein’s formula, ‘A rose 
                              is a rose is a rose is a rose,’ boasts 
                              three roses to the right of the 

53  5    
- as  4100 - when classifying readymades, André Gervais 
differentiates between the ‘titled’ and ‘untitled.’ But they are 
always titled by their generic name. If there is a specific, 
explicit title, then readymade is always the subtitle. The title 
might well be oblique (c.f. bottle-rack or hedgehog). The same 
conditions apply to the sonnet; and, to all poetic form.   
53  6    
- at  4101 - MD’s defintion of the readymade - May 1960: 
"A ready-made: first, this is the word I’ve taken to designate a 
work of art which isn’t one; in other words, that isn’t a work made 
by hand, by the hand of the artist. It is a work of art that becomes 
a work of art because I, or the artist declares it a work of art 
without requiring the slightest intervention by the said artist’s 
hand.” This is not true. The hand of the artist is in the title, 
in the signature, it is everywhere. Le rest, the object, enjoys the 
same status as color in easel painting. 

- au  4102 Definition of the readymade – Oct. 1963: "... not the act 
of an artist, but of a non-artist, an artisan if you want". Certainly 
not ‘a non-artist.’ ‘Artisan,’ of course, see the Oulipo. 
          - au 1  - it’s reference to the Troubadours, and to the 
          Rhétoriqueurs, who call themselves ‘facteurs,’ makers. 
          Ouvroir, ouvrage d’art. [Workshop, work of art].
54  -  §  1034  - Gargantua’s ass-wipes, are they readymades?
54  1    
- av  4103 - Gargantua’s ass-wipes, are they readymades?   
- aw  4104 - (4101=at) Besides, Duchamp describes the title as 
‘invisible color.’   

54  2    
- ax  4105 - A photograph is a readymade of a piece of world: the 
artist’s hand is decisively implied in choosing the piece. 
          - ax 1  The manufacturer is implied in the arbitrary cut 
          of the negative 
- ay  4106 – Duchampian practice is a belated response to the 
invention of photography. 
          - ay 1  we have seen, we can see: photography’s imitation 
          of art; art’s imitation of photography; photography’s 
          imitation of art imitating nature; nature’s imitation of 
          photography, and many other methods. Duchampian strategy 
          consists of taking photography as creating ready-mades of 
          the world. 
- az  4107 - The moment of shooting the object that becomes a 
readymade is an illumination. Having become a work of literary art, 
the readymade bears the worn shadow of that illumination. That 
shadow follows it for the course of its life’s work. Photographs can 
seize it in one of its states. (see the note on Boîte verte) 
          - az 1  i can’t remember which. But it’s there.
- ba  4110 – When, speaking of Bicycle wheel, the first readymade to 
be recognized as such, after the fact, when, much later, Duchamp 
says, “I had not intended to make of it a work” or again “I did not 
call it a work of art,” he merely indicates that perhaps he 
continues to conserve the received idea of art. 
          - ba 1  and in any case, if that had really been his 
          intension, he not succeed. 
          - ba 2  and it is perfectly normal to consider a 
          ready-made a work of art. 
- bb  4111 - The familial resemblance of Duchamp’s readymades: they 
are material artifacts
          -bb 1 Duchamp, in an interview from 1965 (in Fin 6 
          [June, 2000]): “in sum, all these ready-mades are fairly 
          different one from the other… so different that there is 
          not, if you will… a familial  air between them …” Well! 
          To the contrary, I would say there is an overtly designed 
          resemblance between them: the ‘ready-made’ family. There is 
          more resemblance between them than between two paintings, 
          even by the same painter, even by the same painter depicting 
          the same ‘subject.’
- bc  4112 - (generalisation of a remark by H.P. Roché). Readymades 
are objects of meditation. 
          - bc 1  - the difference between the word in a dictionary 
          and the same word in a poem 
54  3    
- bd  4112bis  Extending the domain of the Oulipo: Readymades, for 
example. How? By considering that readymades are Laputian. 
          - bd 1  Swift is un PLANT (Plagiarist by Anticipation) of 
                    - bd 1  1  I’ve chosen the abbreviation PLANT in 
                    order to indicate that plagiarists anticipation 
                    are put where they are while waiting to be 
                    recognized for what they really are: Oulipian 
54  4    
- be  4122  When Duchamp is working for surrealism, from the thirties 
to the fifties, he really is on his game. Why? Because he takes works 
that have nothing to do with surrealism, like the ready-mades, and he 
turns them into surrealist art. The same gesture that transformed the 
non-artistic object into art becomes a gesture that renders banal the 
act of inventing the ready-made. 
          - be 1  what the surrealist are capable of admitting in the 
          ready-made is the avant-gardist act of destruction; that 
          is, the element of the practice that is most passée today  
          - be 2 perhaps I am being excessively severe. We might well 
          also reflect that Duchamp makes due with what he has—that 
          is, the support of the surrealists, even if they do not 
          really understand the deeper sense of his practice  

54  5    
- bf  4123  A poem I wrote, inspired by Duchamp:  

                              Poem beginning * 

          - bf 1  in the OULIPO-Compendium, the smart presentation/
          anthologie of the Oulipo in English (eds. Harry Mathews of 
          the Oulipo and Alistair Brotchie), there is a reprint of an 
          Oulipian prose poem by Duchamp, The, ‘written directly in 
          English,’ and followed by this set of instructions: "replace 
          each* with the word: the”
          - bf 2  voici le début du poème: 
          - bf 3  


          If you come into * linen, your time is thirsty because * 
          ink saw some wood intelligent enough to get giddiness from 
          a sister.
          - bf 4  only the title makes it into bf 4123; the text of 
          my poem results from substituting * for every occurrence 
          of the letters t-h-e in a poem by Zukofsky. I hereby offer 
          you lines 1 through 7  
          - bf 5 
          1     *  
          2     Voice of Jesus I. Rush singing  
          3                  in * wilderness  
          4     A boy’s best friend is his mo*r,  
          5     It’s your mo*r all * time.  
          6     Residue of Oedipus-faced wrecks  
          7     Creating out of * dead  
- bg  4124  The effect of distance,  of imperfection (4122) is 
accentuated by Breton’s veritably bovine incomprehension. For him, 
Duchamp works only as a commercial (advert). 
          - bg 1  (on 11/18/2000) Jean Suquet rightly points out 
          that I’m engaging in crude, primary, and summary 
- bh - 4125  ready-once-made 
          - bh 1  after so many years, ready-mades are like 
          Cléopâtre’s combs: so distant, so strange
- bi  4126  rm (ready-made)=photo in 3 dimensions  
- bj  4127  The ‘ final millimeter,’ where is art: the signature.   
- bk  4128  who says Duchamp says ready-made; reciprocally, who says 
ready-made says Duchamp. Are there rm s other than Duchamp’s? 
          - bk 1  project: turn all objets in the monde into r.m.: 
          entitle & sign. 
- bL  4129  In law, all rm s are Duchamp’s. 
          - bL 1  as we can say: all sonnets are Petrarque’s sonnets
- bm  4130  Duchamp appropriated the world of the manufactured, as 
composed of works of art.   

54  6    
- bn  4131  The polemic over Duchamp’s massive authorization of 
replicas of rm s is comical. But his 
answer, or his refusal to answer, is also comical. In fact, he did 
not know how or did not want to answer seriously. Duchamp had to 
replicate his rm s. Otherwise, over time they would cease to 
conserve (4125) their distinctive properties, which is contradictory.  
- bo  4132  Either little-a: an object from the manufactured world. 
Or rm(little-a): its ready-made; in other words, ‘little-a 
+ authenticator.’ Rm(little-a) is a work 
of art. But, according to Duchamp, it is also a non-work of art.  
He is right. But if non art, one can ready-make-it. One needs only 
replicate. It is therefore replication (rm(little-a)) that becomes 
the work (devient oeuvre). The operator rm can be applied 
several times. The rm must be replicated. Otherwise, it is but a 
work of art. 
- bp  4133  Prior to being replicated, an rm must be duplicated: its 
property as a non-work of art warrant it. An authenticated duplicate 
becomes a replica.  
- bq  4134  The replica, arising 
from the ready-made treatment itself as a object manufactured by the 
intermediary of the duplicates (which must be numerous), is not the 
contrafactum, itself a new version of the ready-made.   
- br  4135  The rm evinces a hatred of photography.   
- bs  4136  No ready-made is flat. 
          - bs 1  to my knowledge 
- bt  4137  In surveying the list of ready-mades, I see neither 
typescript, nor print media.   
- bu  4141 j’apelle [I caul] (sic, not a spelling mistake) that 
- bv  4142 Nevertheless, nothing so ‘manual’ as signature. It’s 
literal opposite of ‘curtailing one’s hands’ [‘se couper les mains’]. 
It’s keeping the absolute minimum, and in this respect Duchamp proves 
that he cannot ‘withdraw his hands’ [‘oter ses mains’].  
- bw  4143 In the infrathin slips the toungue.   
- bx  4146 Gilbert Lascault: "who speaks of Duchamp aught never 
refuse a possible play on words.’ Humm. To the contrary "... would 
be best advised to admit wordplay with extreme precaution.” 
- by  4147 Thierry de Duve’s definition of the ready-made: "It is a 
work of art reduced to enunciation: ‘ceci est de l’art.’” No. It is 
an artwork of poetry. 
          - by 1  not of literature: of poetry  	
          - by 2  poetry must take as its source  practical truth