Sentir la complexité, dire l’inconsistant

The philosophy of art and the linguistic sciences have not given much thought to the issue of art’s logos, even though it is a determining factor in artistic practice: how the discourse of art is linked to the sensorial perception of works. By analysing the theoretical and plastic works of two artists deeply concerned by these issues, Paul Klee and Marcel Duchamp, we try to understand how the phenomenal moment of perception works together with elements of an intelligible, abstract nature. Klee’s plastic thinking leads us to perceive the complexity of sensation, the vibration which puts an object in motion and gives it a function (natural or aesthetic). On the other hand, the meta-logic of possibility in Duchamp’s work announces a way of speaking about art inextricably linked to an art of speaking. Inspired by previous research, among others an idea suggested by Louis Marin and a variety of comments made by Jean-François Lyotard, we hereby pursue our research into semiotic spaces and note the pluri-vocal architectonic of diversity in art, which works, on another scale, through topological projection.