surrealist ghostliness

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University of Nebraska - Lincoln

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University of Nebraska Press

4-1-2013

Surrealist GhostlinessKatharine Conley

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Conley Katharine Surrealist Ghostliness (2013) University of Nebraska Press -- Sample Books and Chapters Paper 191hpdigitalcommonsunleduunpresssamples191



Surrealist Ghostliness

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S U R R E A L I S T

GHOSTLINESS

Katharine Conley


Lincoln and London

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copy 2013 by the Board o Regents o

the University o Nebraska

Acknowledgments or the use o

previously published material appear

on page xx which constitutes an

extension o the copyright page

All rights reserved

Manuactured in the United States o America

Publication o this volume was assistedby unds rom the Arts amp Humanities

Division or the Faculty o Arts amp

Sciences at Dartmouth College

Library o Congress

Cataloging-in-Publication Data

Conley Katharine 1956ndash

Surrealist ghostliness Katharine Conley

pages cm Includes bibliographical

reerences and index

983113983123983106983118 978-0-8032-2659-3

(hardback alk paper)

1 Surrealismmdash Temes motives I itle

9831189831284565983123898310766 2013

70904063mdash dc23 2012049901

Set in Minion by Laura Wellington

Designed by Nathan Putens

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For Marian who helped me see ghostliness

And for Richard always

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List o Illustrations viii

Preace xi

Acknowledgments xvii

Introduction 1048625

1048625 Te Cinematic Whirl o Man

Rayrsquos Ghostly Objects 10486261048625

1048626 Claude Cahunrsquos Exploration o theAutobiographical Human 10486281048629

1048627 Te Ethnographic Automatism

o Brassaiuml and Daliacutersquos

Involuntary Sculptures 10486301048633

1048628 Te Ghostliness in Lee Millerrsquos

Egyptian Landscapes 10486331048625 1048629 Dorothea anningrsquos Gothic

Ghostliness 104862510486251048633

1048630 Francesca Woodmanrsquos

Ghostly Interior Maps 104862510486291048625

1048631 Pierre Alechinskyrsquos Ghostly

Palimpsests 104862510486311048633

1048632 Susan Hillerrsquos Freudian Ghosts 104862601048625

Conclusion 104862610486261048631

Notes 104862610486271048627

Bibliography 104862610486291048631

Index 104862610486311048629

Contents

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1048625 Hans Holbein Te Ambassadors xiii

1048626 Marcel Duchamp Bottlerack 10486250

1048627 Man Ray Self-Portrait 10486261048626

1048628 Man Ray La Femme 10486261048627

1048629 Man Ray LrsquoHomme 10486261048627

1048630 Man Ray Champs deacutelicieux

(Rayogram) 10486261048628

1048631 Man Ray still rom

Retour agrave la raison 10486271048625

1048632 Man Ray Rrose Seacutelavy

(Marcel Duchamp) 10486281048630

1048633 Man Ray Hommage agrave

D A F de Sade 10486281048631

10486250 Claude Cahun Untitled 10486290

10486251048625 Claude Cahun Frontiegravere

humaine 10486291048632

10486251048626 Claude Cahun photomontage

rom Disavowals 10486291048633

10486251048627 Brassaiuml Sculptures involontaires 10486310

10486251048628 Lee Miller anja Ramm and theBelljar Variant on Hommage

agrave D A F de Sade 10486331048626

10486251048629 Lee Miller Under the Belljar 10486331048628

10486251048630 Lee Miller Exploding Hand 10486331048630

10486251048631 Lee Miller Nude Bent Forward 10486331048631

10486251048632 Lee Miller Domes of the Churchof the Virgin (al Adhra) Deir

el Soriano Monastery 104862501048625

Illustrations

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10486251048633 Lee Miller Te Procession (Bird

racks in the Sand) 104862501048627

10486260 Lee Miller Te Cloud Factory(Sacks of Cotton) 104862501048629

10486261048625 Lee Miller Portrait of Space 104862501048633

10486261048626 Lee Miller From the op of

the Great Pyramid 104862510486251048627

10486261048627 Dorothea anning Pelote drsquoeacutepingles

pouvant servir de feacutetiche 104862510486260 10486261048628 Dorothea anning

Childrenrsquos Games 104862510486261048628

10486261048629 Dorothea anning Eine

Kleine Nachtmusik 104862510486261048630

10486261048630 Dorothea anning Palaestra 104862510486261048632

10486261048631 Dorothea anning Birthday 104862510486261048633

10486261048632 Dorothea anning Premier peacuteril 104862510486271048628

10486261048633 Dorothea anning

Cinquiegraveme peacuteril 104862510486271048631

10486270 Dorothea anning Interior

with Sudden Joy 104862510486271048633

10486271048625 Dorothea anning Canapeacute

en temps de pluie 104862510486281048629

10486271048626 Dorothea anning Murmurs 104862510486281048631

10486271048627 Francesca Woodman House 3 104862510486291048628

10486271048628 Francesca Woodman

then at one point 104862510486291048631 10486271048629 Francesca Woodman

rom Space2 104862510486301048626

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10486271048630 Francesca Woodman Space2 104862510486301048630

10486271048631 Francesca Woodman Untitled 104862510486301048633


10486271048633 Francesca Woodman On

Being an Angel 104862510486311048626


rom Angel series 104862510486311048627


rom Angel series 104862510486311048628

10486281048626 Pierre Alechinsky Central Park 104862510486320

10486281048627 Pattern in Pierre Alechinskyrsquos

painting Central Park 104862510486321048630

10486281048628 Pierre Alechinsky Page

drsquoatlas universel (III) 104862510486331048627


drsquoatlas universel (VII) 104862510486331048629


drsquoatlas universel (X) 104862510486331048630

10486281048631 Susan Hiller From the

Freud Museum 104862601048626


Freud Museum 104862610486251048625


Freud Museum 104862610486260


Freud Museum 104862610486261048627

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xi

Preface

Surrealist Ghostliness began with the insight I had in 1048626000 that sur-realist perception was necessarily double and that anamorphosis

unctions well as a visual paradigm or this doubleness because o the

way surrealism purports to harness both our conscious and uncon-scious minds into a kind o idealized synthesis what Andreacute Bretonthe author o the 1047297rst two ldquoManiestoesrdquo o surrealism in 1048625104863310486261048628 and

1048625104863310486270 would call a resolution o old antinomies or a sublime point

As a result o this insight I wrote an exhibition catalogue essay on

surrealist love poetry called ldquoAnamorphic Loverdquo Tere or the 1047297rst

time I integrated ully an appreciation o surrealist visual art into my

more literary work paving the way or my ocus on art in SurrealistGhostliness As I was 1047297nishing my book on Robert Desnos in 1048626001048626

I realized that his tongue-twisting poetry produced in automatic

trances at the outset o the surrealist movement provided a textual

model or the double nature o surrealist perception Anamorphosison a visual level and Desnosrsquos ldquoRrose Seacutelavyrdquo playul punning poemson an aural and textual level require an analogous two-step process

o comprehension what I called a double take involving a 1047297rst lookor hearing ollowed by a second retroactive look or hearing

My interest in anamorphosis began with the standard image we

know o the urn that on a second look resolves into the silhouette

o two human aces looking at one another or the duck that trans-

orms into a rabbit I then turned to the picture-poems o GuillaumeApollinaire the French poet who coined the word surrealism in 1048625104863310486251048631

and who created his handwritten ldquocalligramsrdquo when he was a soldierin World War I decades beore the concrete poets identi1047297ed these

poems as early twentieth-century precursors to their own Apollinaire

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xii Preace

arranged the words on the page to replicate playully the objects hedescribed such as a tie a ountain or a heart First we see the picturethe letters make and read the words and then retroactively through

a mental double take we see that the two sign systemsmdash visual andtextualmdash represent two versions o the same thing two intense im-

ages literal and metaphoric with the dominant version standing inor conscious reality and the secondary version hiding like a ghost

behind it standing in or unconscious dream reality that we know

exists but have trouble seeing simultaneously with the conscious

reality Each version looks like the thing described but in a different

way Neither replicates the other exactly the two coexist yet it isdifficult to apprehend them both at the same time

Tis train o thought led me to the most amous anamorphic

painting Hans Holbeinrsquos sixteenth-century Ambassadors (1048625104862910486271048627 see

1047297g 1048625) which was created to hang next to a door so that it could be

seen head on and then once again over onersquos shoulder at the instanto leaving the room at which point the skull lying at the ambassadorsrsquo

eet springs into ocus as the ambassadors themselves ade into ablur Tis over-the-shoulder retrospective glance unctions like thedouble take Apollinairersquos poems invite when we realize these two

perspectives constitute two aspects o the same reality

Surrealist perception is anamorphic in a way similar to the mo-

ment when a viewer perceives Holbeinrsquos Ambassadors sideways andbackward when or an instant both aspects o the painting become

apparent at once We suddenly understand that underlying the glori-ous achievements o the magni1047297cently dressed men in the paintinglies the mortality that awaits themmdash that awaits us all On second

glance the suppressed primitive truth o mortality is even more realthan the overt reality most o us live by which is actually more o a

dreamlike antasy or it deludes us into believing that we will live

orever protected rom the inevitable by prosperity Te repressed

truth is more real than the reality we live consciously Te distinc-tion between these realities like a membrane or elusive line that is

always moving away rom us just out o reach dissolves in such a

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Preace xiii

way as to make them almost indistinguishable rom each other For

the surrealists the sublime point resides at the instant when onereality bleeds into another so that or an instant both sides o the

duality may be understood simultaneously

I 1047297rst understood this anamorphic paradigm as ghostly in 1048626001048627when I began to study Lee Millerrsquos Egyptian photographs rom the

1048625104863310486270s starting with her Domes o the Church o the Virgin (al Adhra)

Deir el Soriano Monastery (ca 1048625104863310486271048630) (see 1047297g 10486251048632) Here I discovered

the ghost o a womanrsquos nude body looking down at hersel hiddenin a landscape photograph o a monastery that or centuries had

housed only men as though the ghosts o all the monks rom the

1 Hans Holbein Te Ambassadors (1533) copy National Gallery London Art

Resource New York

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xiv Preace

past suddenly had succeeded in ul1047297lling a secret desire I was sure

this was not a mistake when I thought about Millerrsquos wry sense o

humor and then I began to 1047297nd ghost images in her other photo-

graphs it became clear to me that this anamorphic effect was at

once surrealist and ghostly Te ghostliness was con1047297rmed or me byher elegiac From the op of the Great Pyramid (ca 1048625104863310486271048631 see 1047297g 10486261048626)

shot when Miller knew she was soon to leave Egypt or Europe andan impending war which would provide the surrealists with new

ghosts beyond those o riends and amily rom the previous war

Te photograph hints at the ghostly presence o the photographer

hersel looking out at the landscape and also seems to invoke ghostsrom the distant past in dark anticipation o the upcoming war in

which Miller would enlist as an American photographer with the

US Army

Surrealist Ghostliness begins at the outset o the surrealist move-ment when the young surrealists listened entranced to Desnosrsquos

hypnotic utterings that sounded oracular and prophetic prooundly

ghostly and otherworldly and Desnosrsquos riend Man Raymdash the Ameri-can who recorded the movement photographically and later workedwith Millermdash began his experiments with 1047297lm I turn then to workscreated in dialogue with the movement rom the 1048625104863310486260s through the1048625104863310486330s including Millerrsquos Egyptian photographs Surrealist Ghostliness continues the exploration o surrealism I began in my 1047297rst book andpursues the sense my book on Desnos gave me o what it might eel

like to be haunted by someone by a ghost exhorting me to moveorward and complete a task that at times elt akin to conjuring notunlike the experience o all writers o critical biographies who openthemselves to a kind o willed haunting Tis book then allows meto see the movement as a whole in a historic sweep that allies it evenmore closely to the century into which I was born the century thatstill shapes our current era It also includes Americans such as Ray

Miller Dorothea anning Francesca Woodman and Susan Hillerwho like me were drawn to surrealism

My study o the artists presented here through the prism o ana-

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Preace xv

morphosis has taught me about the human condition as a constantnegotiation with our own mortality in which our beings are dividedbetween dreams and everyday realities between the psychic and

the mundanely material the latent and the maniestmdash the maniestat times holding more secrets than the of-probed latent content

o personal experience In the preace to my 1047297rst book Automatic

Woman (1048625104863310486331048630) I wrote about my discovery that scholarly lives ofenmirror personal histories and that my own academic writing had anautobiographical connection On a personal level Surrealist Ghostli-

ness has helped me to explore the interrelationship between maniestand latent realities in my own lie in my own amily story

mdash what

we tell others about our amily lie what others tell us and what weadmit only to ourselves More broadly with its ocus on the latent

and the visible the maniest and the ghostly this book points to

the ways surrealism activates the mechanism by which all literaturereveals the secret at the core o the human conditionmdash namely thatmortality implies a lie doubled by death a 1047297nitude within which

multiple baroque in1047297nitudes may be imagined Most o all I ound affirmation o a long-held belie that we live

experiences that are de1047297ned by what we intuit as much as by what wethink by what we eel to be the case as much as by what we believe

we know by our nonrational impulses as much as by our rationallyinormed perceptions o perceive ully we must perceive doubly

at once peripherally and directly not unlike the way we look at Te

Ambassadors We need to remain open to what lies in between thewords or images in order to appreciate them Te surrealists under-stood this both those who worked in the movementrsquos mainstream

and the several artists I present here who thrived at its margins

1047297nding their centers elsewhere With this book I hope to show howthis rational surrealist quest or the knowledge o what lies beyond

the rational anticipated the ways our contemporary lives which

we live in a state o perpetual and virtual reality have expanded toinclude what we do not ully understand in this increasingly post-

postmodern possibly even post-Enlightenment world

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xvii

Acknowledgments

I wish to thank those who have been generous about welcoming myquestions and theories as I approached their own work or that o

members o their amily most particularly Dorothea anning Pierre

Alechinsky Susan Hiller and ony and Roz Penrose I would nothave had the courage to do this work without your support I also

thank Val Nelson at the Jersey Archive who gave me advice about

1047297nding the house o Claude Cahun Pam Johnson o the Dorothea

anning Foundation and Archive and Katarina Jerinic o the Franc-esca Woodman Studio and Archive or their helpul encouragement I thank Dartmouth College or supporting me throughout the

composition and completion o this book in particular the 1047297nan-cial support I have received rom the Dean o the Faculty Office

and the Senior Faculty Fellowship I was awarded in 1048626001048627ndash01048628 at an

early critical moment I thank my colleagues in the Department o

French and Italian most notably Mary Jean Green Lynn Higgins

Roxana Verona Graziella Parati Virginia Swain J Kathleen Wine

Ioana Chitoran Andrea arnowski and David LaGuardia or their

sustained interest in my work Keith Walker or his suggestions andthe Ramon and Marguerite Guthrie Fund or help with permissionsand illustrations

I thank Jennier Mundy at the ate Modern or giving me the op-portunity to write about anamorphosis in relationship to surrealismor the 1047297rst time in 1048626000ndash1048626001048625 I thank also the graduate students

rom the Department o Romance Languages at the University o

Pennsylvania who invited me to present this topic in its early stagesand Dalia Judovitz Catherine Dana and Candace Lang rom the De-partment o French at Emory University who invited me to present a

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xviii Acknowledgments

version o the introduction as I was 1047297nishing it I also thank MarianEide and Richard J Golsan rom the Departments o English Frenchand Comparative Literature at exas 983137983078983149 University and William

Cloonan and Alec Hargreaves rom Florida State Universityrsquos Depart-ment o Modern Languages and Linguistics and the Winthrop-KingInstitute or their invitations to present early versions o chapters

1048628 and 1048631 I thank Maireacutead Hanrahan at University College London

Alyce Mahon at Cambridge University and Michael Sheringham atOxord University or their invitations to present chapters rom theproject and or the valuable eedback I received

I thank my colleagues in the Dean o the Faculty Office at Dart-

mouth or their collegiality humor and support during the years I

was writing the book most particularly Janet erp Chris Strenta

Amanda Bushor Kate Soule Erin Bennett Lindsay Whaley Rob

McClung Dave Kotz Nancy Marion Margaret McWilliams-PirainoJune Solsaa Craig Kauman Carissa Dowd Sherry Finnemore andKim Wind For material support I owe a debt to the deans and as-

sociate deans o aculty Carol Folt Michael Mastanduno and Le-onore Grenoble in particular or help with the illustrations I thankormer associate dean and provost Barry Scherr or always believingin my work And I thank the lively intellectual encouragement Irsquove

received at the colloquia organized at West Dean College in West

Sussex particularly rom Dawn Ades Roger (and Agnegraves) CardinalAlyce Mahon Elza Adamowicz and Sharon-Michi Kusunoki at the

annual 10486260th- and 10486261048625st-century French and Francophone Studies In-ternational colloquia the Modernist Studies Association meetingsand the Gradiva Seminar on Psychoanalysis and Literature

I thank my mentor and riend Gerry Prince I also wish to thankriends who have questioned advised and encouraged me includingKatherine Hart Kathleen Hart Laurie Monahan Jonathan EburneGeorgiana Colvile Dominique Carlat Olivier Bara Adam Jolles

Celeste Goodridge Benjamin Andreacuteo Jorge Pedraza Geacuterard Gas-arian Van Kelly Ronald M Green Donald Pease Gayle ZachmanJuliette Bianco Jim Jordan Joy Kenseth Martine Antle Annabel

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Acknowledgments xix

Martiacuten John Kopper Riley OrsquoConnor Amy Allen Mary Childers

David Getsy Barbara Kreiger Brian Kennedy Kristina Van Dyke

Melinda OrsquoNeal Mary Ann Caws Eric Santner Wendy Pelton HallNancy Forsythe Doreen Schweitzer Julie Tom and Shelby MorseI also thank ormer students who have helped to shape my thinkingespecially Jeannine Murray-Romaacuten Nomi Stone Susan Doheny

Silvia Ferreira Diana Jih Naari Ha Stephanie Nguyen Monique

Seguy and Kate Goldsborough I thank Kathryn Mammel or send-ing me photographs o the sites in Greece rom which Susan Hiller

collected some o her objects I thank Mostaa Heddaya who helped

me untangle the illustrations during one invaluable summerrsquos workas a James O Freedman Presidential Fellow I thank Hakan ell or

etymological advice (any error is my own) And I owe a special

thanks to Maureen Ragan or her help with the bibliography duringthe manuscriptrsquos 1047297nal stages

For technical support I am indebted to the Arts and Humani-

ties Resource Center o Dartmouth College in particular to Susan

Bibeau Tomas Garbelotti and Otmar Foelsche I want to thankthe staff at the Hanover Inn and the Dartmouth pool in particular

Barbara and Adrian at the Inn and Andy and Steve at the pool

At the University o Nebraska Press I wish to thank my editors

Ladette Randolph and Kristen Elias Rowley my able copyeditor

Judith Hoover and my production editor Sara Springsteen At Wil-liam and Mary I thank Caroline Hasenyager or her help with the

index and all the colleagues who inspire and support me every day I could not have completed this book without the kind hospital-ity o riends in France and the United Kingdom most particularlyClaude and Heacutelegravene Garache Marie-Claire and Maurice Dumas andespecially Jacques Polge and his sons Denis and Olivier and their

amilies as well as ony and Roz Penrose

I thank those members o my amily who helped me understand

the personal dimension o my scholarly interest in ghostliness mymother Jane Harris Conley and my sister and her husband Grace

and David Gumlock as well as the Stamelmans Walshes and Sun-

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xx Acknowledgments

shines especially our granddaughters Julia Eliza and Sophie Tis

book is dedicated to those who most helped me uncover the ghost-liness in my own amily story which gave me the answer to the

question o why I wrote this book my riend Marian Eide and my

husband Richard Stamelman I couldnrsquot have done it without you

Earlier versions o parts o the introduction and chapters 1048625 1048626 1048627 1048629 1048630and 1048632 appeared in the ollowing publications I thank the publishersor granting me permission to use this material

ldquoSurrealismrsquos Ghostly Automatic Bodyrdquo Sites Contemporary French

and Francophone Studies 104862510486291048627 (June 1048626010486251048625) 104862610486331048631ndash104862701048628 Reprinted by

permission o the publisher aylor amp Francis Ltd wwwtaylorand-ranciscom

ldquoLes objets-corps tournants de Man Rayrdquo in Arts litteacuterature et

langage du corps III Plaisir souffrance et sublimation ed Jean-MichelDevesa (Bordeaux Pleine Page Editeur 1048626001048631) 104862710486301048625ndash10486310

ldquoClaude Cahunrsquos Iconic Heads From lsquoTe Sadistic Judithrsquo to Hu-

man Frontier rdquo Papers of Surrealism 1048626 (Summer 1048626001048628) httpwwwsurrealismcentreacukpapersosurrealismjournal1048626indexhtm

ldquoModernist Primitivism in 1048625104863310486271048627 Brassaiumlrsquos Involuntary Sculptures

in Minotaurerdquo ModernismModernity 104862501048625 (1048626001048627) 104862510486261048631ndash10486280 copy 1048626001048627

by the Johns Hopkins University Press Reprinted with permission

by the Johns Hopkins University Press

ldquoLes reacutevolutions de Dorothea anningrdquo Pleine Marge 10486271048630 (Decem-

ber 1048626001048628) 104862510486281048630ndash10486311048629 ldquoA Swimmer between wo Worlds Francesca Woodmanrsquos Maps

o Interior Spacerdquo Journal o Surrealism and the Americas 10486261048626 (1048626001048632) jsaasueduindexphpjsa

ldquoNous habitons tous dans la maison de Freud Susan Hiller chez

Freud agrave Londresrdquo Gradiva 104862510486251048625 (1048626001048632) 10486291048625ndash10486301048628

Buy the Book



1

Introduction

Surrealism was a haunted movement rom the beginning It began

not quite our years afer the end o World War I with the responseo Andreacute Breton to Reneacute Crevelrsquos story about what he did over his

summer vacation Walking on a beach in 1048625104863310486261048626 Crevel met a mediumwho invited him to a seacuteance because she had ldquodiscerned particu-

lar mediumistic qualitiesrdquo in him resulting in what Breton called

Crevelrsquos ldquoldquospiritualistrsquo initiationrdquo (Lost 10486331048626) Breton and his riends

most o whom were involved with dada then decided to practice

on themselves the mediumistic techniques Crevel had learned hop-ing to reveal buried secrets within themselves because o what they

knew about Freudrsquos theory o the unconscious while at the sametime reusing ldquothe spiritualist viewpointrdquo and the possibility o any

ldquocommunication between the living and the deadrdquo (10486331048626) In his

essay ldquoTe Mediums Enterrdquo a curious title given his categorical re-

jection o spiritualism Breton identi1047297ed this practice or the 1047297rst

time as surrealism (in homage to Apollinaire) and described it as

ldquoa certain psychic automatism that corresponds rather well to the

dream staterdquo (10486330)983089 He thus claimed the legacy o spiritualism or thisnew Freudian-inspired avant-garde movement while simultaneouslyrepressing and transorming it into a ghost thus creating what I callsurrealist ghostliness983090

Spiritualism was launched in 1048625104863210486281048632 when the Fox sisters o Hydes- ville New York claimed to communicate with the dead through

knocking sounds in their house It spread quickly to Europe and

led to a rise in popularity o mediums and magnetic somnambu-lism otherwise known as hypnosis which was taken seriously by

scientists such as Camille Flammarion and Pierre and Marie Curie983091

Buy the Book



2 Introduction

It had originated with the French craze or Franz Anton Mesmerrsquos

theory o animal magnetism during the political upheaval o the

late eighteenth century a theory that destabilized the ascendency oEnlightenment thinking and concurred with the rise in popularity

in England o gothic 1047297ction by Ann Radcliffe and Matthew Lewis

Mesmerrsquos ldquodiscoveryrdquo o ldquoa primeval lsquoagent o naturersquordquo a ldquosuper1047297ne

1047298uid that penetrated and surrounded all bodiesrdquo that he claimed

could be used to ldquosupply Parisians with heat light electricity and

magnetismrdquo captivated his contemporaries as Robert Darnton

explains because like Newtonrsquos gravity and Franklinrsquos electricity

Mesmerrsquos 1047298uid con1047297rmed that human beings were ldquosurrounded by

wonderul invisible orcesrdquo (1048627ndash1048628 10486250) Subsequently despite Mesmerrsquosabhorrence o ldquosuperstitious and occult practices o all kindsrdquo his

theories paved the way or both nineteenth-century spiritualism

which also explored invisible orces and twentieth-century theorieso psychology and psychoanalysis (Crabtree 104862510486311048625)983092

983124983144983141 983111983151983156983144983145983139 983113983149983137983143983145983150983137983156983145983151983150

Surrealismrsquos historical link to the late eighteenth-centuryrsquos gothic

imagination suraces in Bretonrsquos 1048625104863310486261048628 ldquoManiesto o Surrealismrdquo in

his high praise o Lewisrsquos gothic novel Te Monk (1048625104863110486331048630) Breton makesit provocatively clear that he preers Lewisrsquos ghosts to Dostoyevskyrsquosrealism and holds up airy tales as exemplars o literary 1047297ction In

paying homage to Freud in the ldquoManiestordquomdash stating that he practiced

Freudrsquos methods while working as a medical auxiliary during WorldWar Imdash Breton embraces the creative practice o automatism signal-ing surrealismrsquos attachment to both o Mesmerrsquos legacies intentionaland unintentional the scienti1047297c and the spiritualist the Freudian

and the occult ( Manifestoes 10486261048627) When Breton effectively recast the

Cartesian cogito ldquoI think thereore I amrdquo in the second sentence o

the ldquoManiestordquo with the suggestion ldquoI dream thereore I amrdquo and

with the characterization o ldquoManrdquo as ldquothat inveterate dreamerrdquo heestablished surrealismrsquos dedication to exploring all the ways in which

Buy the Book



Introduction 3

nonrational psychic and paranormal phenomena may inorm the

understanding o human experience (1048627)

Although partly motivated by the ghosts o lost riends and theirown experiences in World War I with their appropriation o spiri-

tualist automatism the young surrealists transormed the ghosts

that practitioners o spiritualism sought to conjure into ephemeral

orces within the unconscious mind Te psychic orces they soughtto understand were like metaphorical versions o the ghosts o spiri-tualism which looked like bodiesmdash particularly those captured on

1047297lm by spirit photographymdash but were in act only traces o bodies

matter lef over afer death yet retaining psychic awareness an abilityto communicate and the double knowledge o lie and the aferlieo lie beore and afer death Unconstrained by mortal chronology

or rules o behavior spiritualist ghosts are simultaneously threaten-ing and inspiring in their reedom symbols o rebellion against ateand the constraints o mortality While the surrealists rejected the

ghosts o spiritualism they retained the subversive ghostliness o the

gothic imagination that had spawned those ghosts Teir embrace oautomatism signaled a desire to explore the undamentally ghostly

experience o opening onesel up to whatever might be hidden withinthe psyche intentionally putting onesel into a trance state in orderto access otherwise repressed thoughts words and images buried

in the unconscious mind

By 1048625104863310486271048627 however although in keeping with his early spiritualist-

in1047298ected titles Te Magnetic Fields (1048625104863310486260) and ldquoTe Mediums Enterrdquo(1048625104863310486261048626) Bretonrsquos use o mediumistic art to illustrate ldquoTe Automatic

Messagerdquo contradicts his argument in the essay against spiritual-

ismrsquos goal o accessing outside spirits in avor o the surrealistsrsquo goalo accessing ghostly voices within the sel He thus once again a-

1047297rms the link between spiritualism and surrealism in his negation

o spiritualism eleven years afer his negation o it in ldquoTe Medi-

ums Enterrdquo while the plentiul illustrations present spiritualism asa signi1047297cant orebear Roger Cardinal con1047297rms that these ldquoimages

Buy the Book



4 Introduction

directly lifed rom Spiritualist publications create an impact in

their own right oregrounding the complementary discussion o visual automatism and mediumistic creativityrdquo (ldquoBretonrdquo 10486261048628ndash10486261048629) By1048625104863310486281048633 however when he coounded the Compagnie de lrsquoArt Brut withJean Dubuffet Breton 1047297nally explored openly the correspondencesbetween surrealist and mediumistic and spiritualist art at which hehad only hinted in 1048625104863310486271048627 (see Cardinal Outsider ) By the 1048625104863310486290s sur-

realism was well established and spiritualist automatism no longerthreatened surrealismrsquos Freudian appropriation o it Breton even

included admiring essays on mediumistic and spiritualist art rom

the 1048625104863310486290s in the book version o Surrealism and Painting (1048625104863310486301048630)983093 Teghost o spiritualism could cease to be repressed and denied and

was 1047297nally allowed to coexist with the movement that had sought

to replace it

Surrealist ghostliness as a concept names both the repressed

historical legacy o spiritualist automatism and the ghostliness o

surrealist psychic experimentation More broadly the prooundly

ghostly aspect o all human psychic experience could be attributedto Bretonian surrealism according to Foucault who in an interviewgiven shortly afer Bretonrsquos death in 1048625104863310486301048630 credited Breton with havingwiped out ldquoboundaries o provinces that were once well establishedrdquoFoucault attributed a new ldquounity o our culturerdquo in the ldquodomains

o ethnology art history the history o religions linguistics and

psychoanalysisrdquo to ldquothe person and the work o Andreacute Breton He

was both the spreader and gatherer o all this agitation in modernexperiencerdquo ( Aesthetics 104862510486311048628)

Foucaultrsquos use o the word agitation appropriately identi1047297es the

unknown within the sel to which Breton 1047297ercely advocated re-

ceptive attunement Tis constitutes surrealist automatismrsquos most

ghostly aspect and extends the injunction o Arthur Rimbaud a

surrealist orebear to 1047297nd the other within the sel and let it speak

ldquoI is someone elserdquo Rimbaud wrote in May 1048625104863210486311048625 (ldquo Je est un autrerdquo)ldquoI am present at this birth o my thoughtrdquo (Complete 104862701048629) For the

surrealists as or Freud inner voices have the potential to shed light

Buy the Book



Introduction 5

on the human condition divided as it is between conscious and un-conscious perception In ldquoTe Automatic Messagerdquo Breton describesthe inner voices that surace during the automatic experience as

communicating a ldquosubliminal messagerdquo that speaks in a language

ldquowhich has nothing supernatural about itrdquo while at the same time

insisting that that language remains ldquoor each and every one o us

the vehicle o revelationrdquo using religious terminology to describea psychological phenomenon (Break 104862510486271048632) Te gothic the ascina-

tion with magnetism the rise o spiritualism the establishment o

psychoanalysis and the exploration in literature and art o psychic

phenomena trace a trajectory that extends rom the eighteenth cen-tury to the twentieth and joins spiritualism to surrealism

983124983144983141 983120983155983161983139983144983145983139 983111983141983151983143983154983137983152983144983161 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155

Te psychic geography o surrealist ghostliness extends rom Europeto North America as the twentieth century progresses I study hereeight examples o works or bodies o work by artists and writers

who explore ghostliness rom mainstream surrealism to its distantperiphery rom 1048625104863310486261048627 to the 1048625104863310486330s Tese artists and writers all usedautomatic experience as a point o departure or examining the

ghostly in their work In chapter 1048625 I discuss the ghostly liveliness

o inanimate objects in Man Rayrsquos early 1047297lms Emak Bakia (1048625104863310486261048627)

LrsquoEtoile de mer (1048625104863310486261048632) and Les Mystegraveres du chacircteau du deacute (1048625104863310486261048633) In

chapter 1048626 I examine how Claude Cahun questions the human in her

ambiguous sel-portraits rom the 1048625104863310486260s and speci1047297cally in Frontiegraverehumaine (Human Frontier ) rom 1048625104863310486270 which highlights the ghostlytruth o human mortality In chapter 1048627 I look at Brassaiumlrsquos and SalvadorDaliacutersquos irreverent examinations o the sacred in modern European

society through Daliacutersquos essay on Art Nouveau architecture and Brassaiumlrsquosphotographs o ound objects rom 1048625104863310486271048627 that like Rayrsquos inanimate

objects resonate with a ghostly inner lie Chapter 1048628 completes the

study o surrealist ghostliness in the 1048625104863310486270s with an analysis o theempty landscapes shot by Lee Miller in which she playully reveals

ghostly human orms

Buy the Book



6 Introduction

In chapter 1048629 I investigate Dorothea anningrsquos disturbingly ghostlyanimation o domestic space in her turn rom painting to sculpturein the mid-twentieth century Chapter 1048630 illuminates the surrealist

ghostliness the young American photographer Francesca Woodmaninvested in her studies o the permeable parameters o time and spacecharacteristic o the baroque in her series o sel-portraits rom the1048625104863310486310s Chapter 1048631 1047297nds surrealist ghostliness in Pierre Alechinskyrsquos

1048625104863310486320s paintings on nineteenth-century maps in which he reenvi-

sions European history as a ghost within the present while blend-

ing intensely personal and political concerns Chapter 1048632 concludes

this study o surrealist ghostliness with Susan Hillerrsquos mimicking oFreudrsquos personal collection in From the Freud Museum (1048625104863310486331048625ndash10486331048631)

Tis work incorporates her eminist and postmodern experience

haunted by the ghosts o Freud the Holocaust and the cold war

Whether or not they identi1047297ed themselves as surrealist all o theseartists and writers enter into dialogue with mainstream surrealismTey respond to Bretonrsquos recipe or making surrealism in the ldquoMani-

estordquo and to the implicit invitation to participate ully in what I havecalled the ldquosurrealist conversationrdquo as surrealists like Louis AragonRobert Desnos and Max Ernst did983094 Tis conversation also includeswomen who had a place at the surrealist ldquobanquetrdquo as anning putit thanks to the open invitation or everyone to participate in the

ldquoManiestordquo and later in ldquoTe Automatic Messagerdquo where Breton

declared ldquoEvery man and every woman deserves to be convinced

o their ability to tap into this language at will which has nothingsupernatural about itrdquo (anning Birthday 10486251048625 Breton Break 104862510486271048632) In

the nature o most collectives there was a dominant voice that o

Breton but there was room or other voices too a space or dialoguethat Breton tried to guarantee in the literary art journals he edited

until his death in 1048625104863310486301048630

Why does surrealist ghostliness become apparent now in the

twenty-1047297rst century like a lost photographic negative emerging outo developing 1047298uid Is it tied to a global response to the turn o the

century or example the events o September 1048626001048625 which produced

Buy the Book



Introduction 7

a heightened sense o vulnerability in the West or to a desire to

believe we might overcome mortality and never lose ourselves or

our loved ones despite the truth about mortality that we all know

the truth unveiled in Te Ambassadors (see 1047297g 1048625) Could it be con-nected to related cultural phenomena such as a renewed interest inthe supernatural maniest in 1047297lms like Te Sixth Sense (1048625104863310486331048633) Te

Blair Witch Project (1048625104863310486331048633) Te Others (1048626001048625) wilight (1048626001048632) or

Paranormal Activity (1048626001048633) television shows like Buffy the Vampire

Slayer (1048625104863310486331048631) Charmed (1048625104863310486331048632) or Te Ghost Whisperer (1048626001048629) or

novels like oni Morrisonrsquos Beloved (1048625104863310486321048631) or books by best-selling

authors such as Anne Rice Stephenie Meyer or J K Rowling and

more recently art exhibitions like Te Perfect Medium (1048626001048628ndash01048629)

curated by Cleacutement Cheacuteroux and Andreas Fischer about the link

between photography and spiritualism

Interest in the ghostly has also been maniest in academic cul-

ture such as Derridarsquos Spectres of Marx (1048625104863310486331048628) in which he re1047298ects

on Marx and Shakespeare and exhorts his listeners ldquoto learn to live

with ghostsrdquo because ldquotime is out o jointrdquo (xviii 10486251048633) or his ArchiveFever (1048625104863310486331048630) in which he shows how Freudrsquos theories about the

unconscious necessarily incorporate ghosts Marina Warner in herencyclopedic Phantasmagoria (1048626001048630) theorizes ldquoa new model o sub-

jectivityrdquo linked to the virtual realities available through the Internet(104862710486311048632) and Avery Gordon in her sociological study Ghostly Matters (1048625104863310486331048631) argues eloquently that ghostliness is a way o knowing and

being in the world In Te Unconcept (1048626010486251048625) Anneleen Masscheleinidenti1047297es the Freudian uncanny the psychoanalytical corollary to

surrealist ghostliness as ldquoa late-twentieth-century theoretical concept rdquoor similar reasons (1048628) ldquoIn various disciplinesrdquo she argues ldquothe con-cept o the uncanny 1047297ts within a larger research program that ocuseson haunting the spectral ghosts and telepathy as a material phe-

nomena in culture and societyrdquo (104862510486281048628) Te current ascination with

the paranormal the supernatural and the psychic is the result o thenormalization o the phantasmatic o acts o psychic doubling thatoccurred throughout the twentieth century beginning with Freud it

Buy the Book



8 Introduction

makes visible the degree to which an avant-garde movement linkedto the arts like surrealism was invested in the phantasmatic

983110983151983157983154 983107983144983137983154983137983139983156983141983154983145983155983156983145983139983155 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155

Surrealist ghostliness may be identi1047297ed by a series o our primary

characteristics all o which will be explored in this book Te 1047297rst

o these characteristics reveals a recognizable link to spiritualism

namely its trace as the repressed ghost o surrealism and as a ghostthat has sprung back into popular culture at the beginning o the

twenty-1047297rst century

Te second characteristic o surrealist ghostliness consists in therhythm o automatism as characterized by alternations between mo-ments o suspension and moments o 1047298ow Suspension here means

the conscious and concentrated direction o thought toward pure

receptivity at the outset o automatic practice all conscious activ-

ity is suspended as one alls into a trance Flow on the other hand

describes the rush o automatic words images and voices that 1047298ood

consciousness in sensual ways Flow is another way to character-ize the sensation Foucault evoked when he described Breton as ldquoa

swimmer between two words [who] traverses an imaginary space

that had never been discovered beore himrdquo ( Aesthetics 104862510486311048627)

Te oscillating doubleness o the automatic rhythm o suspensionand 1047298ow also characterizes another surrealist practice that surreal-

ist ghostliness illuminatesmdash that o the impulse to create archives

Jonathan Eburne has argued that the surrealist desire to collect visible in Bretonrsquos extensive personal collection re1047298ects ldquothe sus-

pensive unction o the archiverdquo because o the way such a collectionserves as ldquoa means or distinguishing and dislodging epistemologicalcertaintyrdquo and simultaneously appeals to and de1047297es ldquothe tendency

or knowledge to systematize itsel rdquo (ldquoBretonrsquos Wallrdquo 10486261048625 10486281048626) Indeedthe surrealists explicitly rejected the modes o categorization that

typiy state-sanctioned archives983095 John Roberts identi1047297es surreal-ismrsquos propensity or the ldquocounter-archiverdquo with the surrealistsrsquo taste

or photographs that document aspects o human existence that

Buy the Book



Introduction 9

would rarely 1047297nd their way into a municipal archive such as Cahunrsquosintimate portraits o hersel in multiple disguises which constitute

an almost archival study o alternative identities or a European

woman o her generation (104862501048630) Tese doubles or hersel ghostly

presences captured on 1047297lm emblematize the way all archives are

ghosts o previous times traces o something lost that speak to thepresent and uture out o the past

In thinking about the papers objects and thought stored in

Freudrsquos house in London Derrida ascribes a ldquoshifingrdquo quality to

the notion o the archive in Archive Fever that resembles the rhythmo suspension and 1047298ow o surrealist automatism In the case o the

archive this rhythm is linked to the tension the desire or archiviza-tion stimulates between the death drivemdash triggering a retrospectiveinstinct to memorializemdash and the lie orce which aces the uture

Tis oscillating ldquoshifing 1047297gurerdquo o a notion thus yokes together theimpulse to stop time with the impulse to rush orward and thereby

mimics the equally alternating rhythm o automatism (Derrida

Archive 10486261048633) Te third characteristic o surrealist ghostliness involves the sen-sual aspects o surrealist experience Foucault evokes this charac-

teristic with his metaphor o swimming thus describing surrealist

automatic writing as an intensely experiential ldquoraw and naked actrdquo

( Aesthetics 104862510486311048627) Although surrealism had a consistently strong visualcomponent the surrealists were also attracted to the creation o

works that depended on touch beginning with collage which wasadopted as a technique by dada artists who later became surrealistssuch as Ernst983096 Janine Milea even ascribes ldquoa orm o embodied or

tactile knowingrdquo to the surrealistsrsquo courting o ldquodisturbancerdquo (Please 10486251048631)983097 ouch was a key actor in the dada and surrealist ascination

with objects beginning with Marcel Duchamprsquos invention o the

readymade a ound object turned away rom its original unction

such as an industrial bottle dryer used in caeacutes renamed Bottlerack (1048625104863310486251048628 see 1047297g 1048626) and displayed in a gallery By the 1048625104863310486260s Ray had

begun to create assisted readymades such as his Cadeau (Gif 1048625104863310486261048625)

Buy the Book



10 Introduction

an iron impractically studded with nails adding an emotional andsurrealistically psychological aspect that re1047298ects Rayrsquos eelings aboutwork in the garment industry which could have been his ate

Linked to a political rejection o ldquohighrdquo art in avor o art that

could be made by anyone the pursuit o art that involved touch

allied the surrealists with what Martin Jay afer Rosalind Krauss

has identi1047297ed as a ldquocrisis o visual primacyrdquo in France during this

period (104862610486251048626) Later this crisis would maniest itsel in the dissidentsurrealist Georges Bataillersquos embrace o ldquobaserdquo materialism ldquoderivedrom the bodily experience o materialityrdquo and in the surrealist crazeor making objects (Jay 104862610486261048632) Such a ldquohaptic aestheticrdquo has been

identi1047297ed broadly by Adam Jolles as a ldquotactile turnrdquo in surrealism

tied to ristan zararsquos essays on Arican art In 1048625104863310486271048627 in ldquoConcerninga Certain Automatism o asterdquo zara identi1047297es the attraction to

Arican art as ldquobound to an intrauterine account o the world thatoriginated with tactile representationrdquo (in Jolles 10486271048630) He links tactil-ity to ldquoour most powerul desires those that are latent and eternalrdquo

2 Marcel Duchamp

Bottlerack (1961 replica

o 1914 original) copy 2011

Artists Rights Society

(983137983154983155) New York 983137983140983137983143983152

Paris Succession MarcelDuchamp Philadelphia

Museum o Art Gif o

Jacqueline Paul and

Peter Matisse in memory

o their mother Alexina

Duchamp 1998

Buy the Book



Introduction 11

because they are ldquoprenatalrdquo tied to memory and ldquothe satisactions

offered by substances that can be touchedrdquo (ldquoConcerningrdquo 104862610486251048627 104862601048633)Te patina on Arican objects that makes them ldquopreciousrdquo stands asldquoproo that the object has already answered the intrauterine desireso a whole series o individualsrdquo desires that in Western culture havebeen submitted to a transerence to visual experience (104862610486250)

zararsquos claim that objects we touch daily such as buttons eggcupsand childrenrsquos toys can acquire ldquototemicrdquo status akin to the patina

that makes an Arican statue ldquopreciousrdquo anticipates and supplementsthe argument made three years later by Walter Benjamin in ldquoTe

Work o Art in the Age o Reproductionrdquo (zara ldquoConcerningrdquo 104862610486251048626)983089983088zararsquos patina which comes rom generations o handling that in-

volves an erosion o the original material out o which a golden glowemerges parallels Benjaminrsquos understanding o aura as irrevocably

tied to withering even shriveling For Benjamin aura is linked to

uniqueness and history reproductions substitute what he views

avorably (because they are nonelitist) as ldquoa plurality o copies or a

unique existencerdquo Mechanical reproduction ldquowithersrdquo ldquothe aura othe work o artrdquo which is linked ldquoto the history which it has experi-

encedrdquo (Benjamin Illuminations 104862610486261048625) What Benjamin leaves out ohis argument is the possibility that a mechanically produced object

such as a toy (a material corollary to a mechanically reproduced

image) through the acquisition o ldquohistoryrdquo by handling (zararsquos

patina) might be reinvested with ldquoaurardquo because the desire it awakens

reactivates a ritualistic unction Te reactivated ldquocult valuerdquo thenconorms to the occult meaning o aura as a luminous substance sur-rounding a person or a thing possibly blurring boundaries betweenperson and thing (104862610486261048628)

Although it was precisely this occult meaning o aura rom whichBenjamin wished to distance himsel as Miriam Bratu Hansen ar-

gues he remained ambivalent about the aura (104862710486271048631ndash10486271048632) Hansen

ascribes Benjaminrsquos insistence on the aura as ldquoa phenomenon indeclinerdquo to the political climate o the time It expediently allowed

him to introduce a term with occult associations into Marxist debates

Buy the Book



12 Introduction

while also seeking ldquoto counter the bungled (capitalist-imperialist)

adaptation o technology that 1047297rst exploded in World War One andwas leading to the ascist conquest o Europerdquo (104862710486271048632) She views in hisoverall mode o theorizing the concept o aura dialectically as ldquoopento the uturerdquo despite his emphasis on the aurarsquos decline on ldquoa past

whose ghostly apparition projects into the presentrdquo (104862710486281048633 104862710486281048625)

One o the multiple de1047297nitions o aura Hansen 1047297nds in Benjaminrsquoswork rom the 1048625104863310486270s echoes the link between a person and an objectzara suggests through the parallelism he draws between the patinaon Arican objects and childhood toys (Hansen 104862710486271048633) ldquoo perceive the

aura o an object we look at means to invest it with the ability to lookat us in returnrdquo Benjamin states in ldquoOn Some Motis in Baudelairerdquo(104862510486321048632) For zara the auratic connection that blurs the boundaries

between person and thing (going back to the occultist sense o aura)is inevitably linked to touch We experience an objectrsquos totemic valuewhen we touch it Tis activation o a latent orce within a maniestlyordinary thing an irrational yet powerul and intense desire buried

in an industrially manuactured object rendered precious by touchconorms to the paradigm o surrealist ghostliness as a nonrationalexperience and as double having latent and maniest aspects that

orceully and visibly coexist983089983089

As well as touching touch also maniests itsel as the sense o

being touched the experience o envelopment o the risson linkedto ghostliness that Foucault identi1047297ed as characteristic o Bretonian

surrealism Ernst a pioneer in dada collage described this eeling oenvelopment linked to touch in paintings he made in 1048625104863310486271048628 One o

these had the subtitle Effect o a ouch suggesting the eeling at oncephysical sexual and emotional o being touched by someone Simi-larly when he wrote in ldquoBeyond Paintingrdquo (1048625104863310486271048630) ldquoBlind swimmer Ihave made mysel a seerrdquo he was reerring to the kind o inner visionand insight stimulated by the experience o sensual envelopment that

is more connected to touch than to any o the other senses (104862510486261048626) Te ourth and most dominant characteristic o surrealist ghost-liness involves three paradigmatic mechanisms or doubling and

Buy the Book



Introduction 13

creating ghosts within surrealismmdash textual visual and corporealmdash allo which have their origin in surrealist automatism 1047297rst explored

through automatic trances at the outset o the movement Te 1047297rst

o these textual puns were typical o the automatic nonsense po-

ems spoken by Desnos during the surrealistsrsquo 1047297rst experiments withldquoautomatic sleepsrdquo that served to launch the movement in 1048625104863310486261048626 Tatall Duchamp had been publishing tongue-twisting nonsense poemsin the proto-surrealist journal Litteacuterature under the signature o hispunning alter ego Rrose Seacutelavy (eacuteros crsquoest la vie see 1047297g 1048632) On one

o the 1047297rst nights o ldquoautomatic sleepsrdquo conducted in Bretonrsquos apart-ment Desnos was challenged by Francis Picabia to speak an Rrose

Seacutelavyndashtype poem while in a hypnotic trance Desnos complied andbegan to produce one-line tongue-twisting punning poems in seriesHe later published 104862510486290 o them in Corps et biens using Duchamprsquos

pseudonym Rrose Seacutelavy as the title

With Desnosrsquos ldquoRrose Seacutelavyrdquo poems the version on the page

and in the ear is doubled by another ofen more logical ghost Te

nonsense poem ldquoime is an agile eagle in a templerdquo (ldquoLe temps est unaigle agile dans un templerdquo) or example is doubled by a series o tru-isms all based on rational realities time 1047298ies (like an eagle) an eagleis noble nobility is admired as i it were (in) a temple time governsus as assuredly as a noble eagle symbol in a temple and surrealist

timemdash dreamtimemdash is agile in the sense that it does not ollow strictchronology Surrealist time 1047298ies the way a bird does with swoops

and halts soaring and gliding speedily in 1047297ts and starts it does notollow the intervals typical o a Western clock Te reader-listener othis poem makes all o these associations unconsciously because othe resemblances between the way the words look and soundmdash the

way they ldquomake loverdquo to produce meaning as Breton wrote in an

admiring essay (time temple agile eagle temps temple aigle agileBreton Lost 104862501048626 translation modi1047297ed)983089983090 A nonsense poem makes

sense partly in the way the puns create ghostly doubles that intercon-nect all the words and meanings to emphasize the ghostliness that

typi1047297ed those early surrealist experiments with automatic trances

Buy the Book



14 Introduction

because o the mysterious at times oracular pronouncements ut-

tered by the participants Furthermore as Marie-Paule Berranger

argues his puns help to ldquorender more visible the physical existenceo wordsrdquo they show that words lead a double lie (104862501048630 my transla-tion) Desnosrsquos punning poems with double meanings maniest andlatent content set the stage paradigmatically or the ghostly objectsthat would become characteristic o the movement

Visual doubles or puns as paradigms or surrealist ghostliness havetheir origin in the exquisite corpse game invented in 1048625104863310486261048629 initially

as a group word-play game whereby each person added a word to asentence without seeing any o the other words Te 1047297rst sentence

produced by the game gave it its name ldquoTe exquisite corpse will

drink the young winerdquo Te game quickly evolved rom a verbal to

a visual ormat each person added a body part rom head to toe or vice versa without being able to see what others had drawn Tese

games yielded antastically unrealistic bodies tied together by a singleghostly double the body o a real human being or possibly even

a corpse Te body deormed by the game nonetheless makes onethink o a nondeormed body that can still be identi1047297ed by the headthe torso the legs the eet As with Desnosrsquos ldquoRrose Seacutelavyrdquo poemsit is the more rationally recognizable orm that serves as the ldquoghostrdquoto the surrealist nonsense pun

Te double image o the exquisite corpse whereby we see one

thing and imagine another may best be characterized as anamorphic

In the same way we almost hear another poem when we hear or reada ldquoRrose Seacutelavyrdquo poem since as Marie-Claire Dumas asserts these

poems old back on themselves saying the same thing twice (104862710486250)983089983091Anamorphosis rom the Greek or ldquoormrdquo morph seen ldquobackwardrdquoana or understood retrospectively identi1047297es a process o percep-

tion that requires a double takemdash a 1047297rst look ollowed by a second

retrospective glance As described in the preace Holbeinrsquos painting

Te Ambassadors stands as the most amous visual example o ana-morphosis983089983092 In LrsquoArt Magique (1048625104863310486291048631) Breton recognized this paintingas an important precedent to surrealism because its anamorphosis

Buy the Book



Introduction 15

offers a ldquodouble reading o the universerdquo to the viewer (104862610486251048627 my trans-lation)983089983093 At the eet o two magni1047297cently dressed men standing in

ront o a beautiully rendered table with objects on it representing

human achievements in knowledge travel and commerce lies an

indiscernible blob that comes into ocus as an elongated human skullonly when looked at sideways with the lateral backward glance madepossible by the door on the paintingrsquos right Tis skull points to the

underlying reality o mortality that subtends the main image like anunwanted ghost under any record o human achievement despite allaccomplishment possible within a human lie each and every one

one o us will die will become a corpse a thing Te painting as a

whole works something like Desnosrsquos ldquoRrose Seacutelavyrdquo poems and likeexquisite corpse drawings in that 1047297rst we see one reality and then wesee another Within the phenomenon o surrealist ghostliness two

aspects o the same human experience coexist

Surrealist anamorphosis varies a great deal rom actual anamor-phic paintings by Daliacute in which two concurrent images overlap to

much more subtle examples where there are only hints o a doubleimage embedded in the work such as in Millerrsquos Egyptian landscapesAnamorphosis is widely prevalent in surrealist art and represents thestrongest evidence o surrealist ghostliness as a uniying phenomenonthroughout the movement In this book I consider the anamorphic

qualities o the works I analyze and in each case these anamorphosesunderscore the presence o surrealist ghostliness I believe that the

anamorphic qualities o surrealist ghostliness resonate at this historicand cultural moment because o the recent revolution in technologylinked to the normalization o the Internet and its widespread use

which has also generated a prolieration o subjectivities in the virtualworld (e-mail Facebook and witter) and because o the layering

effect and depth that computers have given to the screen transorm-ing it rom a two-dimensional into a three-dimensional space

Te third and last paradigmatic mechanism or doubling andrevealing surrealist ghostliness involves the human bodymdash what I

call the corporeal pun based on the literalness o Bretonrsquos analogy

Buy the Book



16 Introduction

between a surrealist body and a recording machine which makes

it more o a pun than a metaphor Te surrealist interchangeability

o a body with a machine began with Bretonrsquos contention in the

ldquoManiestordquo that true surrealists are human beings able to transormthemselves into receptacles ldquoo so many echoesrdquo into ldquomodest record-

ing instrumentsrdquo at once inanimate and sentient passively receptiveand insightully able to interpret the sounds and echoes that imprintthemselves on the unconscious beore emerging into consciousness( Maniestoes 10486261048631ndash10486261048632) Human beings and recording instruments sharea propensity or receptivity In the automatic trance the surrealist

surrenders all control over mind and body in order to capture as

many voices words and images as possible as they bubble up romthe unconscious Te recording machine is not only like the body

it is the same as the bodymdash a corporeal pun Body and machine arealike in their most salient eature o receptivity

Te body as machine has a deadly corollary as well a machine

is a thing and the body will become a thing when it dies when it

becomes reduced to the skull hidden as a blob in Holbeinrsquos Ambas-sadors Tis is the uture that arrests our attention as though it werean eye looking back at us which is exactly how the psychoanalyst

Jacques Lacan who was closely allied with the surrealists in the

early 1048625104863310486270s describes the ldquo1047298ying ormrdquo o Holbeinrsquos skull (Four 10486330)Tat skull that looks back at us with the truth o our own mortalityldquoopens up the abyss o the search or a meaningmdash nothing is what it

seems to berdquo explains Slavoj Žižek about Lacanrsquos reading o Holbein(10486331048625) Tis sudden knowledge o what we repress every daymdash the

knowable unknowable uture that levels human experiencemdash this

conrontation with the reality o ghostliness is captured by Breton

in his metaphor o the human being as a recording instrument

wo other surrealists use objects to describe the body in an au-

tomatic trance and these objects are also receptacles ldquoo so many

echoesrdquo like Bretonrsquos recording instrument Desnosrsquos body-bottlerom ldquoI You Knewrdquo and Paul Eluardrsquos body-house rom ldquoTe Wordrdquo(both published in 1048625104863310486261048630) describe the automatic experience as ghostly

Buy the Book



Introduction 17

because o the reduction o the body to a thing that looks like and

sounds like a human being in the manner o a pun and because o

the images and sensations that pass through these receptacles In

ldquoI You Knewrdquo Desnos imagines his body as ldquothe night bottle o thepoetrdquo transormed into a baroque space o contained in1047297nity capableo capturing a alling star Ten in a suspended moment o separa-tion rom the immediacy o the experience he detaches himsel

corks the bottle that is himsel and watches rom the outside ldquothe

star enclosed within the glass the constellations that come to lie

against the sidesrdquo (Essential 104862510486291048631 translation modi1047297ed) In Eluardrsquos

ldquoTe Wordrdquo the sensation o space takes place outside o the body

which in this poem is represented as a house with windows or eyesthat shut slowly at the moment o sunset as a shadow alls across

the accedilade Te ldquowordrdquo comes rom outside and ldquoslidesrdquo over the

roo animating the house Although it ldquono longer know[s] whorsquos

in chargerdquo in a manner typical o the trance the word slipping intothe body-house can ldquonakedly loverdquo like a living being and express

pride ldquoI am old but here Irsquom beautiulrdquo (Capital 10486261048627) In each case apoetic trance allows the poet to discover previously unknown voicesburied within

All o these body-objects whereby an inanimate thing stands in

as a metaphor or corporeal pun or a human being who has mo-

mentarily suspended all willed conscious activity or the sake o therevelations the 1047298ow o automatic practice brings have their corollary

in the 1048625104863310486270s with the development o the surrealist object out o thedada readymade Te surrealists imbued objects ound or made witha psychoanalytic unction leading the person who 1047297nds or makes

them to striking insights ldquoTe ound object seems to me suddenly tobalance two levels o every different re1047298ectionrdquo explains Breton ldquolikethose sudden atmospheric condensations which make conductors

out o regions that were not beore producing 1047298ashes o lightningrdquo

( Mad 10486271048627) Te ound object can ldquoenlarge the universe causing it torelinquish some o its opacityrdquo since we live in a ldquo forest of symbolsrdquo

that can provoke ldquosudden earrdquo (10486251048629)

Buy the Book



18 Introduction

Breton uses the words latencies and forces to compare objects to

human bodies suggesting a sentient animate quality to undamen-tally inanimate things He did this in 1048625104863310486271048630 three years afer Freudrsquos

essay ldquoTe Uncannyrdquo was published in French translation or the

1047297rst time In ldquoTe Uncannyrdquo Freud identi1047297es in psychoanalytic termsthe constellation o phenomena I call surrealist ghostliness these

are uncanny or ghostly experiences like that o mistaking a doll or

a living human being Te attribution o psychological latencies to

objects was codi1047297ed by Breton in ldquoCrisis o the Objectrdquo where he

identi1047297es the latent orces ound in the surrealist object (ldquoCriserdquo

10486261048628)983089983094 Tese orces while made up o psychological eelings rom

desire to anger are impenetrable because they arise rom the clash-ing conjunction o con1047298icting realities rom the utilitarian unctiono Duchamprsquos Bottlerack or instance with its modernist elegance

which paradoxically makes sense o this practical toolrsquos place in an

art gallery Tis clash operates according to the paradigm Breton

established in the ldquoManiestordquo or the surrealist image as a collision

o ldquodistant realitiesrdquo Tis ldquo juxtaposition of two more or less distantrealitiesrdquo generates energy and orces which Breton compares to anelectric spark generative o shock a ldquoluminous phenomenonrdquo akinto an instant o insight or revelation ( Manifestoes 10486260 10486271048631)983089983095

Having been ound collected turned away rom its original unc-tion and displayed by a surrealist the object represses its ldquomaniestlierdquo its transormation generates a veritable orce 1047297eld (champs de

orce) whereby what was ormerly maniest becomes latent revealingghostly energies inherent in the objectrsquos ormer maniest lie983089983096 In a

short article Breton published about the 1048625104863310486271048630 surrealist exhibition oobjects he describes objects as capable o releasing surplus ldquopoetic

energy ound almost everywhere in a latent staterdquo983089983097 Using lan-

guage reminiscent o surrealismrsquos spiritualist origins Breton suggeststhat objects provide access to psychological revelation through the

release o this ldquolatent energyrdquo a release that creates what I call ghost-liness Objects o the sort explored in this book have the ability to

inorm humans about themselves as i they were thoughtul sentient

Buy the Book



beings in other words just as surrealist human beings still them-

selves like objects in order to attune themselves more thoroughly

to the world around them Tis is because Bretonian ldquosubjective

realityrdquo as Michael Sheringham explains ldquois not hidden deep insideus so much as scattered around the perceptual world where we canpiece it together rom our sensory reactionsrdquo (10486311048625)983090983088 Tese points oreerence outside o ourselves such as objects help us to make senseo what emerges in a ghostly way out o the unconscious through

attuned receptivity

Te prism o ghostliness allows a retrospective look at surrealism

that continues all the way back to late eighteenth-century challengesto Cartesian rationalism a period that the art historian J Clark

locates at the beginning o modernism983090983089 I argue in Surrealist Ghostli-

ness that the ghostliness that haunted automatism historically ex-

perientially and poetically remained imprinted on the movementrsquosworks throughout its history Ghostliness as a keystone idea uni1047297es

a movement with disparate artistic practices it concentrates on thecommon thread the ghostly legacy o automatism weaves through

the movementrsquos thought and works its punning texts and anamor-

phic images its vision o the human body as uncannily like and

not like the thing it will become in death its tacit way o accepting

mortality Trough surrealist ghostliness surrealism insisted that

we know more than we think we know more than we can see in

ront o us and that human beings are capable o a wisdom that isat least as intuitive emotional and instinctive as it is rational Tis

book shows how the surrealists and those who were in dialogue withthem explored that wisdom in a way that was ultimately hopeul

thus creating a solid basis or urther exploration o psychic realitiesin the twenty-1047297rst century



Surrealist Ghostliness

Buy the Book



Buy the Book



S U R R E A L I S T

GHOSTLINESS

Katharine Conley


Lincoln and London

Buy the Book









All rights reserved





Library o Congress





reerences and index

983113983123983106983118 978-0-8032-2659-3



9831189831284565983123898310766 2013

70904063mdash dc23 2012049901



Buy the Book





Buy the Book



Buy the Book




Preace xi











Ghostliness 104862510486251048633




Palimpsests 104862510486311048633


Conclusion 104862610486261048631

Notes 104862610486271048627

Bibliography 104862610486291048631

Index 104862610486311048629

Contents

Buy the Book






1048628 Man Ray La Femme 10486261048627



(Rayogram) 10486261048628






D A F de Sade 10486281048631



humaine 10486291048632











Illustrations

Buy the Book




















with Sudden Joy 104862510486271048633


en temps de pluie 104862510486281048629





rom Space2 104862510486301048626

Buy the Book







Being an Angel 104862510486311048626


rom Angel series 104862510486311048627


rom Angel series 104862510486311048628











Freud Museum 104862601048626


Freud Museum 104862610486251048625


Freud Museum 104862610486260


Freud Museum 104862610486261048627

Buy the Book



xi

Preface



















Buy the Book



xii Preace






















Buy the Book



Preace xiii










Resource New York

Buy the Book



xiv Preace











US Army







Buy the Book



Preace xv






mdash what














Buy the Book



Buy the Book



xvii

Acknowledgments

















Buy the Book



















Buy the Book



Acknowledgments xix






















Buy the Book



xx Acknowledgments






















Buy the Book



1

Introduction



















Buy the Book



2 Introduction














983124983144983141 983111983151983156983144983145983139 983113983149983137983143983145983150983137983156983145983151983150










Buy the Book



Introduction 3





















Buy the Book



4 Introduction







to replace it















Buy the Book



Introduction 5









983124983144983141 983120983155983161983139983144983145983139 983111983141983151983143983154983137983152983144983161 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155











ghostly human orms

Buy the Book



6 Introduction




















Buy the Book



Introduction 7























Buy the Book



8 Introduction


983110983151983157983154 983107983144983137983154983137983139983156983141983154983145983155983156983145983139983155 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155





















Buy the Book



Introduction 9






















Buy the Book



10 Introduction










2 Marcel Duchamp




(983137983154983155) New York 983137983140983137983143983152


Museum o Art Gif o

Jacqueline Paul and



Duchamp 1998

Buy the Book



Introduction 11




















Buy the Book



12 Introduction














Buy the Book



Introduction 13

















Buy the Book



14 Introduction


















Buy the Book



Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















Buy the Book



18 Introduction






















Buy the Book







attuned receptivity

















Buy the Book



S U R R E A L I S T

GHOSTLINESS

Katharine Conley


Lincoln and London

Buy the Book









All rights reserved





Library o Congress





reerences and index

983113983123983106983118 978-0-8032-2659-3



9831189831284565983123898310766 2013

70904063mdash dc23 2012049901



Buy the Book





Buy the Book



Buy the Book




Preace xi











Ghostliness 104862510486251048633




Palimpsests 104862510486311048633


Conclusion 104862610486261048631

Notes 104862610486271048627

Bibliography 104862610486291048631

Index 104862610486311048629

Contents

Buy the Book






1048628 Man Ray La Femme 10486261048627



(Rayogram) 10486261048628






D A F de Sade 10486281048631



humaine 10486291048632











Illustrations

Buy the Book




















with Sudden Joy 104862510486271048633


en temps de pluie 104862510486281048629





rom Space2 104862510486301048626

Buy the Book







Being an Angel 104862510486311048626


rom Angel series 104862510486311048627


rom Angel series 104862510486311048628











Freud Museum 104862601048626


Freud Museum 104862610486251048625


Freud Museum 104862610486260


Freud Museum 104862610486261048627

Buy the Book



xi

Preface



















Buy the Book



xii Preace






















Buy the Book



Preace xiii










Resource New York

Buy the Book



xiv Preace











US Army







Buy the Book



Preace xv






mdash what














Buy the Book



Buy the Book



xvii

Acknowledgments

















Buy the Book



















Buy the Book



Acknowledgments xix






















Buy the Book



xx Acknowledgments






















Buy the Book



1

Introduction



















Buy the Book



2 Introduction














983124983144983141 983111983151983156983144983145983139 983113983149983137983143983145983150983137983156983145983151983150










Buy the Book



Introduction 3





















Buy the Book



4 Introduction







to replace it















Buy the Book



Introduction 5









983124983144983141 983120983155983161983139983144983145983139 983111983141983151983143983154983137983152983144983161 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155











ghostly human orms

Buy the Book



6 Introduction




















Buy the Book



Introduction 7























Buy the Book



8 Introduction


983110983151983157983154 983107983144983137983154983137983139983156983141983154983145983155983156983145983139983155 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155





















Buy the Book



Introduction 9






















Buy the Book



10 Introduction










2 Marcel Duchamp




(983137983154983155) New York 983137983140983137983143983152


Museum o Art Gif o

Jacqueline Paul and



Duchamp 1998

Buy the Book



Introduction 11




















Buy the Book



12 Introduction














Buy the Book



Introduction 13

















Buy the Book



14 Introduction


















Buy the Book



Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















Buy the Book



18 Introduction






















Buy the Book







attuned receptivity

















S U R R E A L I S T

GHOSTLINESS

Katharine Conley


Lincoln and London

Buy the Book









All rights reserved





Library o Congress





reerences and index

983113983123983106983118 978-0-8032-2659-3



9831189831284565983123898310766 2013

70904063mdash dc23 2012049901



Buy the Book





Buy the Book



Buy the Book




Preace xi











Ghostliness 104862510486251048633




Palimpsests 104862510486311048633


Conclusion 104862610486261048631

Notes 104862610486271048627

Bibliography 104862610486291048631

Index 104862610486311048629

Contents

Buy the Book






1048628 Man Ray La Femme 10486261048627



(Rayogram) 10486261048628






D A F de Sade 10486281048631



humaine 10486291048632











Illustrations

Buy the Book




















with Sudden Joy 104862510486271048633


en temps de pluie 104862510486281048629





rom Space2 104862510486301048626

Buy the Book







Being an Angel 104862510486311048626


rom Angel series 104862510486311048627


rom Angel series 104862510486311048628











Freud Museum 104862601048626


Freud Museum 104862610486251048625


Freud Museum 104862610486260


Freud Museum 104862610486261048627

Buy the Book



xi

Preface



















Buy the Book



xii Preace






















Buy the Book



Preace xiii










Resource New York

Buy the Book



xiv Preace











US Army







Buy the Book



Preace xv






mdash what














Buy the Book



Buy the Book



xvii

Acknowledgments

















Buy the Book



















Buy the Book



Acknowledgments xix






















Buy the Book



xx Acknowledgments






















Buy the Book



1

Introduction



















Buy the Book



2 Introduction














983124983144983141 983111983151983156983144983145983139 983113983149983137983143983145983150983137983156983145983151983150










Buy the Book



Introduction 3





















Buy the Book



4 Introduction







to replace it















Buy the Book



Introduction 5









983124983144983141 983120983155983161983139983144983145983139 983111983141983151983143983154983137983152983144983161 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155











ghostly human orms

Buy the Book



6 Introduction




















Buy the Book



Introduction 7























Buy the Book



8 Introduction


983110983151983157983154 983107983144983137983154983137983139983156983141983154983145983155983156983145983139983155 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155





















Buy the Book



Introduction 9






















Buy the Book



10 Introduction










2 Marcel Duchamp




(983137983154983155) New York 983137983140983137983143983152


Museum o Art Gif o

Jacqueline Paul and



Duchamp 1998

Buy the Book



Introduction 11




















Buy the Book



12 Introduction














Buy the Book



Introduction 13

















Buy the Book



14 Introduction


















Buy the Book



Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















Buy the Book



18 Introduction






















Buy the Book







attuned receptivity























All rights reserved





Library o Congress





reerences and index

983113983123983106983118 978-0-8032-2659-3



9831189831284565983123898310766 2013

70904063mdash dc23 2012049901



Buy the Book





Buy the Book



Buy the Book




Preace xi











Ghostliness 104862510486251048633




Palimpsests 104862510486311048633


Conclusion 104862610486261048631

Notes 104862610486271048627

Bibliography 104862610486291048631

Index 104862610486311048629

Contents

Buy the Book






1048628 Man Ray La Femme 10486261048627



(Rayogram) 10486261048628






D A F de Sade 10486281048631



humaine 10486291048632











Illustrations

Buy the Book




















with Sudden Joy 104862510486271048633


en temps de pluie 104862510486281048629





rom Space2 104862510486301048626

Buy the Book







Being an Angel 104862510486311048626


rom Angel series 104862510486311048627


rom Angel series 104862510486311048628











Freud Museum 104862601048626


Freud Museum 104862610486251048625


Freud Museum 104862610486260


Freud Museum 104862610486261048627

Buy the Book



xi

Preface



















Buy the Book



xii Preace






















Buy the Book



Preace xiii










Resource New York

Buy the Book



xiv Preace











US Army







Buy the Book



Preace xv






mdash what














Buy the Book



Buy the Book



xvii

Acknowledgments

















Buy the Book



















Buy the Book



Acknowledgments xix






















Buy the Book



xx Acknowledgments






















Buy the Book



1

Introduction



















Buy the Book



2 Introduction














983124983144983141 983111983151983156983144983145983139 983113983149983137983143983145983150983137983156983145983151983150










Buy the Book



Introduction 3





















Buy the Book



4 Introduction







to replace it















Buy the Book



Introduction 5









983124983144983141 983120983155983161983139983144983145983139 983111983141983151983143983154983137983152983144983161 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155











ghostly human orms

Buy the Book



6 Introduction




















Buy the Book



Introduction 7























Buy the Book



8 Introduction


983110983151983157983154 983107983144983137983154983137983139983156983141983154983145983155983156983145983139983155 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155





















Buy the Book



Introduction 9






















Buy the Book



10 Introduction










2 Marcel Duchamp




(983137983154983155) New York 983137983140983137983143983152


Museum o Art Gif o

Jacqueline Paul and



Duchamp 1998

Buy the Book



Introduction 11




















Buy the Book



12 Introduction














Buy the Book



Introduction 13

















Buy the Book



14 Introduction


















Buy the Book



Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















Buy the Book



18 Introduction






















Buy the Book







attuned receptivity



















Buy the Book



Buy the Book




Preace xi











Ghostliness 104862510486251048633




Palimpsests 104862510486311048633


Conclusion 104862610486261048631

Notes 104862610486271048627

Bibliography 104862610486291048631

Index 104862610486311048629

Contents

Buy the Book






1048628 Man Ray La Femme 10486261048627



(Rayogram) 10486261048628






D A F de Sade 10486281048631



humaine 10486291048632











Illustrations

Buy the Book




















with Sudden Joy 104862510486271048633


en temps de pluie 104862510486281048629





rom Space2 104862510486301048626

Buy the Book







Being an Angel 104862510486311048626


rom Angel series 104862510486311048627


rom Angel series 104862510486311048628











Freud Museum 104862601048626


Freud Museum 104862610486251048625


Freud Museum 104862610486260


Freud Museum 104862610486261048627

Buy the Book



xi

Preface



















Buy the Book



xii Preace






















Buy the Book



Preace xiii










Resource New York

Buy the Book



xiv Preace











US Army







Buy the Book



Preace xv






mdash what














Buy the Book



Buy the Book



xvii

Acknowledgments

















Buy the Book



















Buy the Book



Acknowledgments xix






















Buy the Book



xx Acknowledgments






















Buy the Book



1

Introduction



















Buy the Book



2 Introduction














983124983144983141 983111983151983156983144983145983139 983113983149983137983143983145983150983137983156983145983151983150










Buy the Book



Introduction 3





















Buy the Book



4 Introduction







to replace it















Buy the Book



Introduction 5









983124983144983141 983120983155983161983139983144983145983139 983111983141983151983143983154983137983152983144983161 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155











ghostly human orms

Buy the Book



6 Introduction




















Buy the Book



Introduction 7























Buy the Book



8 Introduction


983110983151983157983154 983107983144983137983154983137983139983156983141983154983145983155983156983145983139983155 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155





















Buy the Book



Introduction 9






















Buy the Book



10 Introduction










2 Marcel Duchamp




(983137983154983155) New York 983137983140983137983143983152


Museum o Art Gif o

Jacqueline Paul and



Duchamp 1998

Buy the Book



Introduction 11




















Buy the Book



12 Introduction














Buy the Book



Introduction 13

















Buy the Book



14 Introduction


















Buy the Book



Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















Buy the Book



18 Introduction






















Buy the Book







attuned receptivity

















Buy the Book




Preace xi











Ghostliness 104862510486251048633




Palimpsests 104862510486311048633


Conclusion 104862610486261048631

Notes 104862610486271048627

Bibliography 104862610486291048631

Index 104862610486311048629

Contents

Buy the Book






1048628 Man Ray La Femme 10486261048627



(Rayogram) 10486261048628






D A F de Sade 10486281048631



humaine 10486291048632











Illustrations

Buy the Book




















with Sudden Joy 104862510486271048633


en temps de pluie 104862510486281048629





rom Space2 104862510486301048626

Buy the Book







Being an Angel 104862510486311048626


rom Angel series 104862510486311048627


rom Angel series 104862510486311048628











Freud Museum 104862601048626


Freud Museum 104862610486251048625


Freud Museum 104862610486260


Freud Museum 104862610486261048627

Buy the Book



xi

Preface



















Buy the Book



xii Preace






















Buy the Book



Preace xiii










Resource New York

Buy the Book



xiv Preace











US Army







Buy the Book



Preace xv






mdash what














Buy the Book



Buy the Book



xvii

Acknowledgments

















Buy the Book



















Buy the Book



Acknowledgments xix






















Buy the Book



xx Acknowledgments






















Buy the Book



1

Introduction



















Buy the Book



2 Introduction














983124983144983141 983111983151983156983144983145983139 983113983149983137983143983145983150983137983156983145983151983150










Buy the Book



Introduction 3





















Buy the Book



4 Introduction







to replace it















Buy the Book



Introduction 5









983124983144983141 983120983155983161983139983144983145983139 983111983141983151983143983154983137983152983144983161 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155











ghostly human orms

Buy the Book



6 Introduction




















Buy the Book



Introduction 7























Buy the Book



8 Introduction


983110983151983157983154 983107983144983137983154983137983139983156983141983154983145983155983156983145983139983155 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155





















Buy the Book



Introduction 9






















Buy the Book



10 Introduction










2 Marcel Duchamp




(983137983154983155) New York 983137983140983137983143983152


Museum o Art Gif o

Jacqueline Paul and



Duchamp 1998

Buy the Book



Introduction 11




















Buy the Book



12 Introduction














Buy the Book



Introduction 13

















Buy the Book



14 Introduction


















Buy the Book



Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















Buy the Book



18 Introduction






















Buy the Book







attuned receptivity


















Preace xi











Ghostliness 104862510486251048633




Palimpsests 104862510486311048633


Conclusion 104862610486261048631

Notes 104862610486271048627

Bibliography 104862610486291048631

Index 104862610486311048629

Contents

Buy the Book






1048628 Man Ray La Femme 10486261048627



(Rayogram) 10486261048628






D A F de Sade 10486281048631



humaine 10486291048632











Illustrations

Buy the Book




















with Sudden Joy 104862510486271048633


en temps de pluie 104862510486281048629





rom Space2 104862510486301048626

Buy the Book







Being an Angel 104862510486311048626


rom Angel series 104862510486311048627


rom Angel series 104862510486311048628











Freud Museum 104862601048626


Freud Museum 104862610486251048625


Freud Museum 104862610486260


Freud Museum 104862610486261048627

Buy the Book



xi

Preface



















Buy the Book



xii Preace






















Buy the Book



Preace xiii










Resource New York

Buy the Book



xiv Preace











US Army







Buy the Book



Preace xv






mdash what














Buy the Book



Buy the Book



xvii

Acknowledgments

















Buy the Book



















Buy the Book



Acknowledgments xix






















Buy the Book



xx Acknowledgments






















Buy the Book



1

Introduction



















Buy the Book



2 Introduction














983124983144983141 983111983151983156983144983145983139 983113983149983137983143983145983150983137983156983145983151983150










Buy the Book



Introduction 3





















Buy the Book



4 Introduction







to replace it















Buy the Book



Introduction 5









983124983144983141 983120983155983161983139983144983145983139 983111983141983151983143983154983137983152983144983161 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155











ghostly human orms

Buy the Book



6 Introduction




















Buy the Book



Introduction 7























Buy the Book



8 Introduction


983110983151983157983154 983107983144983137983154983137983139983156983141983154983145983155983156983145983139983155 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155





















Buy the Book



Introduction 9






















Buy the Book



10 Introduction










2 Marcel Duchamp




(983137983154983155) New York 983137983140983137983143983152


Museum o Art Gif o

Jacqueline Paul and



Duchamp 1998

Buy the Book



Introduction 11




















Buy the Book



12 Introduction














Buy the Book



Introduction 13

















Buy the Book



14 Introduction


















Buy the Book



Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















Buy the Book



18 Introduction






















Buy the Book







attuned receptivity




















1048628 Man Ray La Femme 10486261048627



(Rayogram) 10486261048628






D A F de Sade 10486281048631



humaine 10486291048632











Illustrations

Buy the Book




















with Sudden Joy 104862510486271048633


en temps de pluie 104862510486281048629





rom Space2 104862510486301048626

Buy the Book







Being an Angel 104862510486311048626


rom Angel series 104862510486311048627


rom Angel series 104862510486311048628











Freud Museum 104862601048626


Freud Museum 104862610486251048625


Freud Museum 104862610486260


Freud Museum 104862610486261048627

Buy the Book



xi

Preface



















Buy the Book



xii Preace






















Buy the Book



Preace xiii










Resource New York

Buy the Book



xiv Preace











US Army







Buy the Book



Preace xv






mdash what














Buy the Book



Buy the Book



xvii

Acknowledgments

















Buy the Book



















Buy the Book



Acknowledgments xix






















Buy the Book



xx Acknowledgments






















Buy the Book



1

Introduction



















Buy the Book



2 Introduction














983124983144983141 983111983151983156983144983145983139 983113983149983137983143983145983150983137983156983145983151983150










Buy the Book



Introduction 3





















Buy the Book



4 Introduction







to replace it















Buy the Book



Introduction 5









983124983144983141 983120983155983161983139983144983145983139 983111983141983151983143983154983137983152983144983161 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155











ghostly human orms

Buy the Book



6 Introduction




















Buy the Book



Introduction 7























Buy the Book



8 Introduction


983110983151983157983154 983107983144983137983154983137983139983156983141983154983145983155983156983145983139983155 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155





















Buy the Book



Introduction 9






















Buy the Book



10 Introduction










2 Marcel Duchamp




(983137983154983155) New York 983137983140983137983143983152


Museum o Art Gif o

Jacqueline Paul and



Duchamp 1998

Buy the Book



Introduction 11




















Buy the Book



12 Introduction














Buy the Book



Introduction 13

















Buy the Book



14 Introduction


















Buy the Book



Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















Buy the Book



18 Introduction






















Buy the Book







attuned receptivity


































with Sudden Joy 104862510486271048633


en temps de pluie 104862510486281048629





rom Space2 104862510486301048626

Buy the Book







Being an Angel 104862510486311048626


rom Angel series 104862510486311048627


rom Angel series 104862510486311048628











Freud Museum 104862601048626


Freud Museum 104862610486251048625


Freud Museum 104862610486260


Freud Museum 104862610486261048627

Buy the Book



xi

Preface



















Buy the Book



xii Preace






















Buy the Book



Preace xiii










Resource New York

Buy the Book



xiv Preace











US Army







Buy the Book



Preace xv






mdash what














Buy the Book



Buy the Book



xvii

Acknowledgments

















Buy the Book



















Buy the Book



Acknowledgments xix






















Buy the Book



xx Acknowledgments






















Buy the Book



1

Introduction



















Buy the Book



2 Introduction














983124983144983141 983111983151983156983144983145983139 983113983149983137983143983145983150983137983156983145983151983150










Buy the Book



Introduction 3





















Buy the Book



4 Introduction







to replace it















Buy the Book



Introduction 5









983124983144983141 983120983155983161983139983144983145983139 983111983141983151983143983154983137983152983144983161 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155











ghostly human orms

Buy the Book



6 Introduction




















Buy the Book



Introduction 7























Buy the Book



8 Introduction


983110983151983157983154 983107983144983137983154983137983139983156983141983154983145983155983156983145983139983155 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155





















Buy the Book



Introduction 9






















Buy the Book



10 Introduction










2 Marcel Duchamp




(983137983154983155) New York 983137983140983137983143983152


Museum o Art Gif o

Jacqueline Paul and



Duchamp 1998

Buy the Book



Introduction 11




















Buy the Book



12 Introduction














Buy the Book



Introduction 13

















Buy the Book



14 Introduction


















Buy the Book



Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















Buy the Book



18 Introduction






















Buy the Book







attuned receptivity





















Being an Angel 104862510486311048626


rom Angel series 104862510486311048627


rom Angel series 104862510486311048628











Freud Museum 104862601048626


Freud Museum 104862610486251048625


Freud Museum 104862610486260


Freud Museum 104862610486261048627

Buy the Book



xi

Preface



















Buy the Book



xii Preace






















Buy the Book



Preace xiii










Resource New York

Buy the Book



xiv Preace











US Army







Buy the Book



Preace xv






mdash what














Buy the Book



Buy the Book



xvii

Acknowledgments

















Buy the Book



















Buy the Book



Acknowledgments xix






















Buy the Book



xx Acknowledgments






















Buy the Book



1

Introduction



















Buy the Book



2 Introduction














983124983144983141 983111983151983156983144983145983139 983113983149983137983143983145983150983137983156983145983151983150










Buy the Book



Introduction 3





















Buy the Book



4 Introduction







to replace it















Buy the Book



Introduction 5









983124983144983141 983120983155983161983139983144983145983139 983111983141983151983143983154983137983152983144983161 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155











ghostly human orms

Buy the Book



6 Introduction




















Buy the Book



Introduction 7























Buy the Book



8 Introduction


983110983151983157983154 983107983144983137983154983137983139983156983141983154983145983155983156983145983139983155 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155





















Buy the Book



Introduction 9






















Buy the Book



10 Introduction










2 Marcel Duchamp




(983137983154983155) New York 983137983140983137983143983152


Museum o Art Gif o

Jacqueline Paul and



Duchamp 1998

Buy the Book



Introduction 11




















Buy the Book



12 Introduction














Buy the Book



Introduction 13

















Buy the Book



14 Introduction


















Buy the Book



Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















Buy the Book



18 Introduction






















Buy the Book







attuned receptivity

















xi

Preface



















Buy the Book



xii Preace






















Buy the Book



Preace xiii










Resource New York

Buy the Book



xiv Preace











US Army







Buy the Book



Preace xv






mdash what














Buy the Book



Buy the Book



xvii

Acknowledgments

















Buy the Book



















Buy the Book



Acknowledgments xix






















Buy the Book



xx Acknowledgments






















Buy the Book



1

Introduction



















Buy the Book



2 Introduction














983124983144983141 983111983151983156983144983145983139 983113983149983137983143983145983150983137983156983145983151983150










Buy the Book



Introduction 3





















Buy the Book



4 Introduction







to replace it















Buy the Book



Introduction 5









983124983144983141 983120983155983161983139983144983145983139 983111983141983151983143983154983137983152983144983161 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155











ghostly human orms

Buy the Book



6 Introduction




















Buy the Book



Introduction 7























Buy the Book



8 Introduction


983110983151983157983154 983107983144983137983154983137983139983156983141983154983145983155983156983145983139983155 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155





















Buy the Book



Introduction 9






















Buy the Book



10 Introduction










2 Marcel Duchamp




(983137983154983155) New York 983137983140983137983143983152


Museum o Art Gif o

Jacqueline Paul and



Duchamp 1998

Buy the Book



Introduction 11




















Buy the Book



12 Introduction














Buy the Book



Introduction 13

















Buy the Book



14 Introduction


















Buy the Book



Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















Buy the Book



18 Introduction






















Buy the Book







attuned receptivity

















xii Preace






















Buy the Book



Preace xiii










Resource New York

Buy the Book



xiv Preace











US Army







Buy the Book



Preace xv






mdash what














Buy the Book



Buy the Book



xvii

Acknowledgments

















Buy the Book



















Buy the Book



Acknowledgments xix






















Buy the Book



xx Acknowledgments






















Buy the Book



1

Introduction



















Buy the Book



2 Introduction














983124983144983141 983111983151983156983144983145983139 983113983149983137983143983145983150983137983156983145983151983150










Buy the Book



Introduction 3





















Buy the Book



4 Introduction







to replace it















Buy the Book



Introduction 5









983124983144983141 983120983155983161983139983144983145983139 983111983141983151983143983154983137983152983144983161 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155











ghostly human orms

Buy the Book



6 Introduction




















Buy the Book



Introduction 7























Buy the Book



8 Introduction


983110983151983157983154 983107983144983137983154983137983139983156983141983154983145983155983156983145983139983155 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155





















Buy the Book



Introduction 9






















Buy the Book



10 Introduction










2 Marcel Duchamp




(983137983154983155) New York 983137983140983137983143983152


Museum o Art Gif o

Jacqueline Paul and



Duchamp 1998

Buy the Book



Introduction 11




















Buy the Book



12 Introduction














Buy the Book



Introduction 13

















Buy the Book



14 Introduction


















Buy the Book



Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















Buy the Book



18 Introduction






















Buy the Book







attuned receptivity

















Preace xiii










Resource New York

Buy the Book



xiv Preace











US Army







Buy the Book



Preace xv






mdash what














Buy the Book



Buy the Book



xvii

Acknowledgments

















Buy the Book



















Buy the Book



Acknowledgments xix






















Buy the Book



xx Acknowledgments






















Buy the Book



1

Introduction



















Buy the Book



2 Introduction














983124983144983141 983111983151983156983144983145983139 983113983149983137983143983145983150983137983156983145983151983150










Buy the Book



Introduction 3





















Buy the Book



4 Introduction







to replace it















Buy the Book



Introduction 5









983124983144983141 983120983155983161983139983144983145983139 983111983141983151983143983154983137983152983144983161 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155











ghostly human orms

Buy the Book



6 Introduction




















Buy the Book



Introduction 7























Buy the Book



8 Introduction


983110983151983157983154 983107983144983137983154983137983139983156983141983154983145983155983156983145983139983155 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155





















Buy the Book



Introduction 9






















Buy the Book



10 Introduction










2 Marcel Duchamp




(983137983154983155) New York 983137983140983137983143983152


Museum o Art Gif o

Jacqueline Paul and



Duchamp 1998

Buy the Book



Introduction 11




















Buy the Book



12 Introduction














Buy the Book



Introduction 13

















Buy the Book



14 Introduction


















Buy the Book



Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















Buy the Book



18 Introduction






















Buy the Book







attuned receptivity

















xiv Preace











US Army







Buy the Book



Preace xv






mdash what














Buy the Book



Buy the Book



xvii

Acknowledgments

















Buy the Book



















Buy the Book



Acknowledgments xix






















Buy the Book



xx Acknowledgments






















Buy the Book



1

Introduction



















Buy the Book



2 Introduction














983124983144983141 983111983151983156983144983145983139 983113983149983137983143983145983150983137983156983145983151983150










Buy the Book



Introduction 3





















Buy the Book



4 Introduction







to replace it















Buy the Book



Introduction 5









983124983144983141 983120983155983161983139983144983145983139 983111983141983151983143983154983137983152983144983161 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155











ghostly human orms

Buy the Book



6 Introduction




















Buy the Book



Introduction 7























Buy the Book



8 Introduction


983110983151983157983154 983107983144983137983154983137983139983156983141983154983145983155983156983145983139983155 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155





















Buy the Book



Introduction 9






















Buy the Book



10 Introduction










2 Marcel Duchamp




(983137983154983155) New York 983137983140983137983143983152


Museum o Art Gif o

Jacqueline Paul and



Duchamp 1998

Buy the Book



Introduction 11




















Buy the Book



12 Introduction














Buy the Book



Introduction 13

















Buy the Book



14 Introduction


















Buy the Book



Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















Buy the Book



18 Introduction






















Buy the Book







attuned receptivity

















Preace xv






mdash what














Buy the Book



Buy the Book



xvii

Acknowledgments

















Buy the Book



















Buy the Book



Acknowledgments xix






















Buy the Book



xx Acknowledgments






















Buy the Book



1

Introduction



















Buy the Book



2 Introduction














983124983144983141 983111983151983156983144983145983139 983113983149983137983143983145983150983137983156983145983151983150










Buy the Book



Introduction 3





















Buy the Book



4 Introduction







to replace it















Buy the Book



Introduction 5









983124983144983141 983120983155983161983139983144983145983139 983111983141983151983143983154983137983152983144983161 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155











ghostly human orms

Buy the Book



6 Introduction




















Buy the Book



Introduction 7























Buy the Book



8 Introduction


983110983151983157983154 983107983144983137983154983137983139983156983141983154983145983155983156983145983139983155 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155





















Buy the Book



Introduction 9






















Buy the Book



10 Introduction










2 Marcel Duchamp




(983137983154983155) New York 983137983140983137983143983152


Museum o Art Gif o

Jacqueline Paul and



Duchamp 1998

Buy the Book



Introduction 11




















Buy the Book



12 Introduction














Buy the Book



Introduction 13

















Buy the Book



14 Introduction


















Buy the Book



Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















Buy the Book



18 Introduction






















Buy the Book







attuned receptivity

















Buy the Book



xvii

Acknowledgments

















Buy the Book



















Buy the Book



Acknowledgments xix






















Buy the Book



xx Acknowledgments






















Buy the Book



1

Introduction



















Buy the Book



2 Introduction














983124983144983141 983111983151983156983144983145983139 983113983149983137983143983145983150983137983156983145983151983150










Buy the Book



Introduction 3





















Buy the Book



4 Introduction







to replace it















Buy the Book



Introduction 5









983124983144983141 983120983155983161983139983144983145983139 983111983141983151983143983154983137983152983144983161 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155











ghostly human orms

Buy the Book



6 Introduction




















Buy the Book



Introduction 7























Buy the Book



8 Introduction


983110983151983157983154 983107983144983137983154983137983139983156983141983154983145983155983156983145983139983155 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155





















Buy the Book



Introduction 9






















Buy the Book



10 Introduction










2 Marcel Duchamp




(983137983154983155) New York 983137983140983137983143983152


Museum o Art Gif o

Jacqueline Paul and



Duchamp 1998

Buy the Book



Introduction 11




















Buy the Book



12 Introduction














Buy the Book



Introduction 13

















Buy the Book



14 Introduction


















Buy the Book



Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















Buy the Book



18 Introduction






















Buy the Book







attuned receptivity

















xvii

Acknowledgments

















Buy the Book



















Buy the Book



Acknowledgments xix






















Buy the Book



xx Acknowledgments






















Buy the Book



1

Introduction



















Buy the Book



2 Introduction














983124983144983141 983111983151983156983144983145983139 983113983149983137983143983145983150983137983156983145983151983150










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Introduction 3





















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4 Introduction







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Introduction 5









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ghostly human orms

Buy the Book



6 Introduction




















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Introduction 7























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8 Introduction


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Buy the Book



Introduction 9






















Buy the Book



10 Introduction










2 Marcel Duchamp




(983137983154983155) New York 983137983140983137983143983152


Museum o Art Gif o

Jacqueline Paul and



Duchamp 1998

Buy the Book



Introduction 11




















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12 Introduction














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Introduction 13

















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14 Introduction


















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Introduction 15

















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16 Introduction





















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Introduction 17






















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18 Introduction






















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attuned receptivity

































Buy the Book



Acknowledgments xix






















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xx Acknowledgments






















Buy the Book



1

Introduction



















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2 Introduction














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Introduction 3





















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Introduction 5









983124983144983141 983120983155983161983139983144983145983139 983111983141983151983143983154983137983152983144983161 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155











ghostly human orms

Buy the Book



6 Introduction




















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Introduction 7























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8 Introduction


983110983151983157983154 983107983144983137983154983137983139983156983141983154983145983155983156983145983139983155 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155





















Buy the Book



Introduction 9






















Buy the Book



10 Introduction










2 Marcel Duchamp




(983137983154983155) New York 983137983140983137983143983152


Museum o Art Gif o

Jacqueline Paul and



Duchamp 1998

Buy the Book



Introduction 11




















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12 Introduction














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Introduction 13

















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14 Introduction


















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Introduction 15

















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16 Introduction





















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18 Introduction






















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attuned receptivity

















Acknowledgments xix






















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xx Acknowledgments






















Buy the Book



1

Introduction



















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2 Introduction














983124983144983141 983111983151983156983144983145983139 983113983149983137983143983145983150983137983156983145983151983150










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Introduction 3





















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4 Introduction







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Introduction 5









983124983144983141 983120983155983161983139983144983145983139 983111983141983151983143983154983137983152983144983161 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155











ghostly human orms

Buy the Book



6 Introduction




















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Introduction 7























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8 Introduction


983110983151983157983154 983107983144983137983154983137983139983156983141983154983145983155983156983145983139983155 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155





















Buy the Book



Introduction 9






















Buy the Book



10 Introduction










2 Marcel Duchamp




(983137983154983155) New York 983137983140983137983143983152


Museum o Art Gif o

Jacqueline Paul and



Duchamp 1998

Buy the Book



Introduction 11




















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12 Introduction














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Introduction 13

















Buy the Book



14 Introduction


















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Introduction 15

















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16 Introduction





















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Introduction 17






















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18 Introduction






















Buy the Book







attuned receptivity

















xx Acknowledgments






















Buy the Book



1

Introduction



















Buy the Book



2 Introduction














983124983144983141 983111983151983156983144983145983139 983113983149983137983143983145983150983137983156983145983151983150










Buy the Book



Introduction 3





















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4 Introduction







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Introduction 5









983124983144983141 983120983155983161983139983144983145983139 983111983141983151983143983154983137983152983144983161 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155











ghostly human orms

Buy the Book



6 Introduction




















Buy the Book



Introduction 7























Buy the Book



8 Introduction


983110983151983157983154 983107983144983137983154983137983139983156983141983154983145983155983156983145983139983155 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155





















Buy the Book



Introduction 9






















Buy the Book



10 Introduction










2 Marcel Duchamp




(983137983154983155) New York 983137983140983137983143983152


Museum o Art Gif o

Jacqueline Paul and



Duchamp 1998

Buy the Book



Introduction 11




















Buy the Book



12 Introduction














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Introduction 13

















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14 Introduction


















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Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















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18 Introduction






















Buy the Book







attuned receptivity

















1

Introduction



















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2 Introduction














983124983144983141 983111983151983156983144983145983139 983113983149983137983143983145983150983137983156983145983151983150










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Introduction 3





















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4 Introduction







to replace it















Buy the Book



Introduction 5









983124983144983141 983120983155983161983139983144983145983139 983111983141983151983143983154983137983152983144983161 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155











ghostly human orms

Buy the Book



6 Introduction




















Buy the Book



Introduction 7























Buy the Book



8 Introduction


983110983151983157983154 983107983144983137983154983137983139983156983141983154983145983155983156983145983139983155 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155





















Buy the Book



Introduction 9






















Buy the Book



10 Introduction










2 Marcel Duchamp




(983137983154983155) New York 983137983140983137983143983152


Museum o Art Gif o

Jacqueline Paul and



Duchamp 1998

Buy the Book



Introduction 11




















Buy the Book



12 Introduction














Buy the Book



Introduction 13

















Buy the Book



14 Introduction


















Buy the Book



Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















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18 Introduction






















Buy the Book







attuned receptivity

















2 Introduction














983124983144983141 983111983151983156983144983145983139 983113983149983137983143983145983150983137983156983145983151983150










Buy the Book



Introduction 3





















Buy the Book



4 Introduction







to replace it















Buy the Book



Introduction 5









983124983144983141 983120983155983161983139983144983145983139 983111983141983151983143983154983137983152983144983161 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155











ghostly human orms

Buy the Book



6 Introduction




















Buy the Book



Introduction 7























Buy the Book



8 Introduction


983110983151983157983154 983107983144983137983154983137983139983156983141983154983145983155983156983145983139983155 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155





















Buy the Book



Introduction 9






















Buy the Book



10 Introduction










2 Marcel Duchamp




(983137983154983155) New York 983137983140983137983143983152


Museum o Art Gif o

Jacqueline Paul and



Duchamp 1998

Buy the Book



Introduction 11




















Buy the Book



12 Introduction














Buy the Book



Introduction 13

















Buy the Book



14 Introduction


















Buy the Book



Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















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18 Introduction






















Buy the Book







attuned receptivity

















Introduction 3





















Buy the Book



4 Introduction







to replace it















Buy the Book



Introduction 5









983124983144983141 983120983155983161983139983144983145983139 983111983141983151983143983154983137983152983144983161 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155











ghostly human orms

Buy the Book



6 Introduction




















Buy the Book



Introduction 7























Buy the Book



8 Introduction


983110983151983157983154 983107983144983137983154983137983139983156983141983154983145983155983156983145983139983155 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155





















Buy the Book



Introduction 9






















Buy the Book



10 Introduction










2 Marcel Duchamp




(983137983154983155) New York 983137983140983137983143983152


Museum o Art Gif o

Jacqueline Paul and



Duchamp 1998

Buy the Book



Introduction 11




















Buy the Book



12 Introduction














Buy the Book



Introduction 13

















Buy the Book



14 Introduction


















Buy the Book



Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















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18 Introduction






















Buy the Book







attuned receptivity

















4 Introduction







to replace it















Buy the Book



Introduction 5









983124983144983141 983120983155983161983139983144983145983139 983111983141983151983143983154983137983152983144983161 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155











ghostly human orms

Buy the Book



6 Introduction




















Buy the Book



Introduction 7























Buy the Book



8 Introduction


983110983151983157983154 983107983144983137983154983137983139983156983141983154983145983155983156983145983139983155 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155





















Buy the Book



Introduction 9






















Buy the Book



10 Introduction










2 Marcel Duchamp




(983137983154983155) New York 983137983140983137983143983152


Museum o Art Gif o

Jacqueline Paul and



Duchamp 1998

Buy the Book



Introduction 11




















Buy the Book



12 Introduction














Buy the Book



Introduction 13

















Buy the Book



14 Introduction


















Buy the Book



Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















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18 Introduction






















Buy the Book







attuned receptivity

















Introduction 5









983124983144983141 983120983155983161983139983144983145983139 983111983141983151983143983154983137983152983144983161 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155











ghostly human orms

Buy the Book



6 Introduction




















Buy the Book



Introduction 7























Buy the Book



8 Introduction


983110983151983157983154 983107983144983137983154983137983139983156983141983154983145983155983156983145983139983155 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155





















Buy the Book



Introduction 9






















Buy the Book



10 Introduction










2 Marcel Duchamp




(983137983154983155) New York 983137983140983137983143983152


Museum o Art Gif o

Jacqueline Paul and



Duchamp 1998

Buy the Book



Introduction 11




















Buy the Book



12 Introduction














Buy the Book



Introduction 13

















Buy the Book



14 Introduction


















Buy the Book



Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















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18 Introduction






















Buy the Book







attuned receptivity

















6 Introduction




















Buy the Book



Introduction 7























Buy the Book



8 Introduction


983110983151983157983154 983107983144983137983154983137983139983156983141983154983145983155983156983145983139983155 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155





















Buy the Book



Introduction 9






















Buy the Book



10 Introduction










2 Marcel Duchamp




(983137983154983155) New York 983137983140983137983143983152


Museum o Art Gif o

Jacqueline Paul and



Duchamp 1998

Buy the Book



Introduction 11




















Buy the Book



12 Introduction














Buy the Book



Introduction 13

















Buy the Book



14 Introduction


















Buy the Book



Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















Buy the Book



18 Introduction






















Buy the Book







attuned receptivity

















Introduction 7























Buy the Book



8 Introduction


983110983151983157983154 983107983144983137983154983137983139983156983141983154983145983155983156983145983139983155 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155





















Buy the Book



Introduction 9






















Buy the Book



10 Introduction










2 Marcel Duchamp




(983137983154983155) New York 983137983140983137983143983152


Museum o Art Gif o

Jacqueline Paul and



Duchamp 1998

Buy the Book



Introduction 11




















Buy the Book



12 Introduction














Buy the Book



Introduction 13

















Buy the Book



14 Introduction


















Buy the Book



Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















Buy the Book



18 Introduction






















Buy the Book







attuned receptivity

















8 Introduction


983110983151983157983154 983107983144983137983154983137983139983156983141983154983145983155983156983145983139983155 983151983142 983123983157983154983154983141983137983148983145983155983156 983111983144983151983155983156983148983145983150983141983155983155





















Buy the Book



Introduction 9






















Buy the Book



10 Introduction










2 Marcel Duchamp




(983137983154983155) New York 983137983140983137983143983152


Museum o Art Gif o

Jacqueline Paul and



Duchamp 1998

Buy the Book



Introduction 11




















Buy the Book



12 Introduction














Buy the Book



Introduction 13

















Buy the Book



14 Introduction


















Buy the Book



Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















Buy the Book



18 Introduction






















Buy the Book







attuned receptivity

















Introduction 9






















Buy the Book



10 Introduction










2 Marcel Duchamp




(983137983154983155) New York 983137983140983137983143983152


Museum o Art Gif o

Jacqueline Paul and



Duchamp 1998

Buy the Book



Introduction 11




















Buy the Book



12 Introduction














Buy the Book



Introduction 13

















Buy the Book



14 Introduction


















Buy the Book



Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















Buy the Book



18 Introduction






















Buy the Book







attuned receptivity

















10 Introduction










2 Marcel Duchamp




(983137983154983155) New York 983137983140983137983143983152


Museum o Art Gif o

Jacqueline Paul and



Duchamp 1998

Buy the Book



Introduction 11




















Buy the Book



12 Introduction














Buy the Book



Introduction 13

















Buy the Book



14 Introduction


















Buy the Book



Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















Buy the Book



18 Introduction






















Buy the Book







attuned receptivity

















Introduction 11




















Buy the Book



12 Introduction














Buy the Book



Introduction 13

















Buy the Book



14 Introduction


















Buy the Book



Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















Buy the Book



18 Introduction






















Buy the Book







attuned receptivity

















12 Introduction














Buy the Book



Introduction 13

















Buy the Book



14 Introduction


















Buy the Book



Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















Buy the Book



18 Introduction






















Buy the Book







attuned receptivity

















Introduction 13

















Buy the Book



14 Introduction


















Buy the Book



Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















Buy the Book



18 Introduction






















Buy the Book







attuned receptivity

















14 Introduction


















Buy the Book



Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















Buy the Book



18 Introduction






















Buy the Book







attuned receptivity

















Introduction 15

















Buy the Book



16 Introduction





















Buy the Book



Introduction 17






















Buy the Book



18 Introduction






















Buy the Book







attuned receptivity

















16 Introduction





















Buy the Book



Introduction 17






















Buy the Book



18 Introduction






















Buy the Book







attuned receptivity

















Introduction 17






















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18 Introduction






















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18 Introduction






















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surrealist ghostliness

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