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All things burn in the fulvid time of day, inert, failing to show by what art it dispersed, that nuptial excess craved by someone seeking a natural; and then I must waken to the first passion, erect, alone, beneath an age-old light, lilies! And one among you, a simple neophyte.

Stéphane Mallarmé, “A Faun in the Afternoon”

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He expresses contempt for base, ordinary language, such as that used in journalism, which offers no resistance to understanding and forgoes its proper magic by refering simply to fact.

Stéphane Mallarmé: Collected poems and other verses

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Textos revisados

Aram Saroyan, “Electric” Borges, “Funes el memorioso” Joseph Kosuth, “Art after philosophy” Peter Schjeldahl, “Wonderful cynicism: John Baldessari” José Luis Liñán, “Representación, concepto y formalismo: Gadamer, Kosuth y la desmaterialización de la obra artística” Peter Osborne, “Contemporary art is post-conceptual art” Art21, “John Baldessari: Just an artist” The New Yorker, “No more boring art: John Baldessari” Visual poetry: Basmajian, “Boundaries, limits and space” (1980) Basmajian, “The resurrection of the third happening” (1976) Baum, “Study” (2011) Blonk, “Flux de bouche” (1992) Bob Cobbing, “Sockless in sandals” (1985) Boudy, “When I was young one summer” (1972) Broodthaers, “Je hais le mouvement qui deplace les lignes” (1973) Ernst, “La femme 100 tetes” (1929) Otros: Peirce, “Casos degenerados” Mieke Bal, “Conceptos viajeros en las humanidades” Manuel Franquelo, “Cosas en una habitación: Una etnografía de lo insignificante” Georges Perec, “Lo infraordinario” Todorov, “Los dilemas de la memoria” José Francisco Guerrero Lobo, “Fragilidad e infraleve: Michel Foucault y Marcel Duchamp”

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