is said that
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Either Useful
he suffered from espionage by foreign secret agents and had to overcome s
comprehension. Although the experiment showed satisfying results, the Spanish Navy did not rec
7th Kitakyushu Biennale, Kitakyushu Municipal Museum of Art, March 31, 2003, pp.13-19.
rI'l9t=*Wi~;9.Q~rso
adopt his proposal for the development of a submarine unit. Disappointed with this refusal, Peral
EitherUsefulorUseless: Reviv
ingafter
Inve
ntivene
ssinvention. As a promising businessman and engineer, Peral constructe
1891
patenting
his
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providing them with power plants of his own invention. But he died soon after, getting a he
INAGAShigemi
Philippines.
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Juan de la Cierva (1895-1936) was born at the year of Peral's death. At the age of 25 ; he inve
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at the top, capable of semi-vertical take off. The invention was patented as the Autogiro in
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search
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But
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inr
1936,
atan
the age
o
f
f
i
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e
ri
nt
h
eSpanishNavyandc
o
n
s
t
r
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.Juaninventors
del
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r
v
ai
sdeeply
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o
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Spania
rdthe
who
i
n
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e
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dt
h
eA
u
t
o
g
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r
o，a
Both
these
Spanish
were
marked
by
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Age
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Inventions
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ecomme
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teda
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emilitary
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n And
predecessor0
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o
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t
e.
adventurous
lives.
of
their
inventions
were
eventually
to
purposes.
Spain
recognized as useful by Spanish Navy contemporaries. When the helicopter was put into practice
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However，t
h
e
i
ri
n
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s
sd
i
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tforgotten
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s
a
r
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yp
romis
ethemaPeral's
l
o
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t
u
n
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el
i
l
e
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l
s
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s
a
a
cP
e
r
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(
8
5
1
as
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invention
was
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to
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la1
Cerva's
i
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8
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o
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htorpedoesi
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8
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.I
t
could not survive later innovations. It is true that both Peral and de la Cierva believed in the usef
i
ss
a
i
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h
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t he s
u
f
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o overc
ome
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(inag
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or
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(in
des
la
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their
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t
h
eS
pan
ishN
avyd
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o
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e
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o
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l
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eexperiment
shoof
wethese
ds
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t
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s
f
y
i
n
gr
e
s
u
l
t
s，
to
be
Both
Spanish
creators
put
their
passion
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i
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r
o
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edevelopment0
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ubmar
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e
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I
r
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Spani
sh
Nav(in-)valua
yi
n
their
lives
toin
their
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endeavors.
their
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their
e
r
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o
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hed
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Art
an
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dis-interest-edness
P
h
i
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p
p
i
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s
Why did I begin this essay by mentioning these two inventors? My intention is to focus attenti
Juandel
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r
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r
may
bet
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that
modern
art
is A
defined
inventions
of
uselessness.
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in p
his
Critique
o
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tt
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1920a
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aismo
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Emmanuel
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artistic
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at
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roducedpurposes
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andh
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s de
Dis-interested-ness,
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，
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h
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Subjectively
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value
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Both0
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atI
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tjudgment
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in
creations.
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sort
spiritual
detachment
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material
world's
value
utility
ya
p
p
l
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o
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l
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yp
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r
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.A
nd y
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t，P
r
a
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s
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o
t
adventurous l
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s
. Both 0
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h
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e
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here
refers
tom
the
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ise
no
longer
regarded
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and
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the
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l
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r
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yt
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a
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yand
(metaphysically)
aimless
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u
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i
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s
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l
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t
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.utilities,
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However,
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Both0
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.Th
eys
a
c
r
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c
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encourages
and
supports
such
useless
people
as
the
life
of
the
artists
t
h
e
i
rl
i
v
e
st
ot
h
e
i
rdoomede
n
d
e
a
v
o
r
s
.We
ret
h
e
i
rl
i
v
e
evo
tedt
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e
l
e
s
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ste0
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t
h
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r(
i
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)
v
a
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a
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l
edetached
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l
e
n
t
つ from any utilitarian interests
an
image
artists
who
are
"autonomy
ofsd
art"
implies
such
their own disinterested (i.e. "artistic") creations.
A吋 asanacto
fdis-interest-edness
This idea of "autonomy," however, tends to overlook the requisite necessary conditions withou
Whyd
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e
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i
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s
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n
e
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s
.I
t pre
be
sustained.
This
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tautological
matter
ofl
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,t
for
taking
into
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nh
i
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r
i
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i
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e0
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F
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Jud
gmentof
(
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maybes
a
i
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h
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tmoderna
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e
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e
dresults
asi
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v
e
n
t
i
o
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0
1u
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e
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e
s
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n
e
s
.In
deed，i
in
the
self-negation
ofs
the
autonomy
in
So
as
sustain
illusion
autonomy,
EmmanuelKantd
e
l
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t
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e
s
tdetac
being
bothered
with
thep
prerequisites
of
that
very
autonomy.
Or
one
has
pretend
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be
rt
h
el
a
c
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cern t
o
any p
r
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c
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l pur
ses marks
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h
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e
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t
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e
s
s，o
makes
this
mirage
ofpo
autonomy
possible.
Therefore,
the
autonomy
of
art
floats o
u
to
b
j
e
c
t
i
v
e
l
yignorant
t
h
ew
i
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rs
o
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ldn
o
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S
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n
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l
u
e0
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t
h
e
i
r
nc
r
e
a
t
i
o
n，b
intentionally
blind
to,ow
and
willingly
negligent
and
of
one's
own
living
conditions.
u
t
i
l
i
t
yi
nt
h
e
s
ec
r
e
a
t
i
o
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s
.A s
o
r
t0
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p
i
r
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lSuch
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lromt
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em
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t
e
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i
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w
o
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l
d
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s
v
a
l
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e
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t
h
u
s
c
h
a
r
a
c
t
e
r
i
z
e
smoderna
r
i
s
t
i
c On
is
the
as
well
as
magic
sustaining
illusion
of
the
"autonomy
oft
art."
c
r
e
a
t
i
o
n
.(
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M
o
d
e
r
n
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e
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er
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efrom
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c
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nol
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It should be obvious that making a hit and winning popularity by no means guarantees an ideal paradise of artistic autonomy. Far
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Physically speaking, an artist usually has only one arm with which to paint (as Leonard Foujita reminds us with the title of his
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much
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the
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want to borrow a cat's paw" to explain that and being too busy for anything else. And a painter literally borrowed the paws of a cat to
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Within
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life
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rarely
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and
within
the
constraints
24
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aa
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1of
o
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armacomania，a
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and
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Was
be
pointed
out
that
such
an
image
Wolfgang
Amadeus
Mozart
ar
prodigious
child
who
died
prematurely?
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the
modern
artistic
value
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onto
ao
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oto
such
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the
essence
Mozart's
creation
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articulated
by
themi
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the
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mundane
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incapable
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bourgeois
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inferior
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fully
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his
servant
and
the
servant
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making
proof
his
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l
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o
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because
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the
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Mozart
could
not
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o
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nd extends to its creator.
supposed to have been victim. This compensation resulted in the glorification of van Gogh a
ded value in this circular
also economically encouraged the rise of price of his works in the art market, on the other hand
Naively believing in the greatness of a van Gogh implies involvement in the reinforcing and
genius.
Such
an
inv
the
avant-garde
myth
was
severely
criticized
p
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offt
the
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lost
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i
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h
ei
mages
creenedb
ym
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the
image
screened
by
management.
Ar
romantic
belief
in
the
capability
offa
anne
exceptional
individual
and
the
being
dependent
portion of about 11
illusion
that
such
anne
exceptional
talent
and
remarkable
achievement
may
beeu
universally
acknowledged
byyt
the
public
and
democratic
d
e
m
o
c
r
a
t
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ci
l
l
u
s
i
o
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h
a
ts
ucha
x
c
e
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t
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ta
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emarkablea
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s
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cknowledgedb
h
ep
u
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l
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c
i
t
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asa
l
r
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a
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yl
o
s
ti
t
scredibility.
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r
e
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i
b
i
l
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t
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vena
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t
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s
t
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e
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nd
e
m
o
c
r
a
t
i
cs
e
l
e
c
t
i
o
n
citizens
has
already
lost
its
Even
artists
who
have
clung
such
ar
romantic
dream
and
believed
in
democratic
selection
as to surpass Chri:
It w
would
beed
dumb
tooc
cling
toot
the
solitary
fabrication
offa
a(
(self-believed)
masterpiece
in
the
baseless
self-deceiving
hope
that
I
t
ouldb
umbt
l
i
n
gt
h
es
o
l
i
t
a
r
yf
a
b
r
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c
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t
i
o
no
s
e
l
f
b
e
l
i
e
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e
d
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asterpiecei
nt
h
eb
a
s
e
l
e
s
sand
ands
e
l
f
d
e
c
e
i
v
i
n
gh
opet
h
a
t
lying beyond the Ii
public bodies or
percentage. From
u
r
a
t
o
r
sa
ndp
r
o
t
e
c
t
o
r
sw
how
ouldh
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a
i
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lf
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e
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e
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r，
t
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s
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n
c
r
e
a
s
ey
ouro
wnp
romoters，c
own
promoters,
curators
and
protectors
who
would
help
you
obtain
social
fame
and
recognition.
And
if y
you
prefer,
it i
is
increase
your
using personal initi
n
o
tf
o
r
b
i
d
d
e
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ondemnt
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eh
y
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l
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ls
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o
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o
n.A
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forbidden
tooc
condemn
the
hypocrisy,
fakery
and
fallacies
offy
your
rivals
who
have
performed
successful
self-promotion.
Assa
a
In our everyda~
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mo
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ccused
ominantp
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social
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you
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dominant
power
players
and
authorities
offw
wickedness
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contestant,
av
victim
offs
and domestic wrec
v
i
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l
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ed
ominant m
arkets
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er
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o
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i
l
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ey
our
vice
. Y
You
propose
an
alternative
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the
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market
system.
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requested
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mobilize
your
wrecked structure
s
y
m
p
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t
h
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r
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c
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sn
o
ta
a
t
i
o
n
a
l
is
not
ar
rational
sympathizers
and
tooo
organize
as
systematic
counter-attack
using
your
own
initiative.
Escaping
into
one's
own
privacy
out objects for yOL
least in the conterr
S
uch a
r
e
s
c
r
i
p
t
i
o
nm
ay a
n
t
i
c
i
p
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t
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e
a
s
tt
wo o
p
p
o
s
i
t
er
e
a
c
t
i
o
n
s
. On
h
eo
ne h
and，a
m
b
i
t
i
o
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sa
r
t
i
s
t
s，e
agerf
o
r social
s
o
c
i
a
l
Such
a p
prescription
may
anticipate
att l
least
two
opposite
reactions.
On t
the
one
hand,
ambitious
artists,
eager
for
the risk of being cI
e
n
dto
t
of
o
l
l
o
wt
h
ec
a
p
i
t
a
l
i
s
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s
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odelb
o
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l
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n
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l
t
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r
a
lc
a
p
i
t
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.
lI
tm
ustb
emembered
r
e
c
o
g
n
i
t
i
o
n，
recognition
,t
tend
follow
the
capitalist
manager-artist
model
byym
mobilizing
am
maximum
offc
cultural
capital.
It
must
beer
remembered
that the younger g'
t
'ss
a
t
u
r
a
t
i
o
t
h
a
tt
h
en
umbero
h
o
s
ew
hoc
ans
u
c
c
e
s
s
f
u
l
l
ys
u
r
v
i
v
et
h
i
sr
a
c
ef
o
rf
amem
ayb
i
m
i
t
e
db
ecauseo
achm
arke
successfully
survive
this
race
for
fame
may
beel
limited
because
offe
each
market's
saturation
that
the
number
offt
those
who
can
reality, however, t
commercially turn their backs on such a predetermined course of embracing celebrity as upward mobility. While the first group
regards art and their artwork as tools for their promotion, the later group considers art to be useless, faithful to the definition of
modern art as a disinterested activity. While the first group with their orientation to business has an utilitarian view of art, the later
group tries to keep intact the autonomy of art by not requ iring any collateral exchange advantageous to their own creation. However
the autonomy in question is constantly menaced by the impracticability of such a creation, for evident lack of economical support. If
the former is treacherous to the cause of Modern art, the latter is faithful to the cause but the faithfulness cannot be maintained
without running the risk of bankruptcy and professional suicide.
e
@
~
L
.I
n
s
t
e
a
do
akings
o
l
i
t
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r
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f
o
r
tf
o
rt
h
ef
a
b
r
i
c
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t
i
o
no
nknown m
asterpiece，t
i
ould b
uchw
i
s
e
rto
t
o
a
cknowledgement
acknowledgement.
Instead
offm
making
solitary
effort
for
the
fabrication
offa
ann u
unknown
masterpiece,
it w
would
bee m
much
wiser
capacity for celebrities. On the other hand, those who are not eager to accumulate cultural capital and are unwilling to compete
-I
Fortunately or
and Akasegawa's
o
ne d
ay y
our t
a
l
e
n
tw
i
l
lb
ecognized b
o
c
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e
t
ya
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t
h
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ty
ou w
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l
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overed by
by h
onor a
nd w
eighed d
own b
u
b
l
i
c
talent
will
bee r
recognized
byy s
society
and
you
will
bee c
covered
honor
and
weighed
down
byy p
public
one
day
your
c
h
o
i
c
巴
choice.
D
How to save .
The cultural po
commercial
conjunctures
is
artistic
creation
is
affected
byyt
the
very
awareness
offt
the
marketing
strategy.
The
ups
and
downs
offc
a
r
t
i
s
t
i
cc
r
e
a
t
i
o
ni
sa
f
f
e
c
t
e
db
h
ev
e
r
ya
warenesso
h
em
a
r
k
e
t
i
n
gs
t
r
a
t
e
g
y.T
heu
psa
ndd
ownso
ommercialc
o
n
j
u
n
c
t
u
r
e
si
sno
no
r
e
a
l
i
z
e
d.
realized.
I
I
s
uggesta
i
n
t，f
i
o
ta
nswer，t
h
i
sq
u
e
s
t
i
o
n
.I
t
asnot
n
o
tu
n
t
i
lt
h
ea
r
t
i
s
th
asb
ecomec
onsciouso
ft
h
em
a
r
k
e
t
i
n
gm
echanismt
h
a
t
anna
answer,
toot
this
question.
It w
was
until
the
artist
has
become
conscious
of
the
marketing
mechanism
that
suggest
ah
hint,
if n
not
are
afflicted
with
disillusionment
and
suspicious
offt
the
(fallacious)
promise
offt
the
harmony
tooc
come,
which,
in
reality,
would
never
bee
w
hich，i
nr
e
a
l
i
t
y，
w
ouldn
everb
a
r
ea
f
f
l
i
c
t
e
dw
i
t
hd
i
s
i
l
l
u
s
i
o
n
m
e
n
ta
nds
u
s
p
i
c
i
o
u
so
h
e(
f
a
l
l
a
c
i
o
u
s
)p
romiseo
h
eh
armonyt
ome，
I
The permissibl
N
a
t
u
r
a
l
l
y，t
h
i
sd
oesn
o
ti
m
p
l
yt
h
a
tn
ot
a
l
e
n
ti
sn
eededt
e
l
lp
r
o
f
i
t
a
b
l
em
erchandise.E
achp
i
e
c
eo
orkw
i
t
ht
h
ea
r
t
i
s
t
'
so
wn
Naturally,
this
does
not
imply
that
no
talent
is
needed
toos
sell
profitable
merchandise.
Each
piece
offw
work
with
the
artist's
own
Anemia
offA
Art
and
its
Origin
A
nemiao
rta
ndi
t
sO
rigin
11
Exhibitin~
n
c
l
u
d
i
n
gJ
apan).U
n
w
i
l
l
i
n
g
l
y
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s
o
l
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t
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a
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r
e
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t
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d
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l
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r
m
i
tl
i
k
eu
ndertone i
nt
h
eO
r
i
e
n
t，i
ann i
isolated
individual
creator
(with
ann a
additional
flavor
off h
hermit-like
undertone
in
the
Orient,
including
Japan).
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t
h
a
nt
i
m
p
l
ee
mployed"
t
a
l
e
n
t
"o
h
ec
ompany
beea
as
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employed
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company.
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I
Daring to prom
And yet the pervel
imposes upon citiz
The shrinking 0
Japan once boastE
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example from the
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wild mouse skin m
The metier will be
D
a
r
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t
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erelya
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romt
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a
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rogramo
arketprinciples.
p
r
i
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c
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p
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e
s
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self-willing
issm
merely
ad
deviation
from
the
rational
program
offm
market
Daring
toop
promote
these
candidates
offs
age of modern artist, as
ing Japan) . Unwillingly
Itaneously an employee
ons is more important for
'istic production company
A
ndy
e
tt
h
ep
e
r
v
e
r
s
i
t
yo
n
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e
s
t
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n
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tw
orthyo
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v
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s
t
m
e
n
ti
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l
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g
e
de
xtravagancem
onopolizedb
rominent
And
yet
the
perversity
offi
investing
innt
those
who
are
not
worthy
offi
investment
issa
ap
privileged
extravagance
monopolized
byyp
prominent
p
a
t
r
o
n
s
. Exhibiting
E
x
h
i
b
i
t
i
n
go
ne'
so
wnb
enevolentc
a
p
a
c
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t
yt
akea
assivea
ndo
s
t
e
n
t
a
t
i
o
u
sw
astei
a
n
i
f
e
s
t
a
t
i
o
no
h
es
p
i
r
i
to
benevolent
capacity
toom
make
a m
massive
and
ostentatious
waste
issa
a m
manifestation
offt
the
spirit
off
patrons.
one's
own
p
o
t
l
a
t
c
h，w
hichm
ayg
a
i
nu
nexpectedp
u
b
l
i
ca
pprova
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lO
ncea
g
a
i
nb
e
n
e
f
i
c
i
a
r
i
e
so
ucha
e
n
e
v
o
l
e
n
te
xtravagancea
r
eq
u
i
t
el
i
m
i
t
e
d
public
approval.
Once
again
beneficiaries
offs
such
ab
benevolent
extravagance
are
quite
limited
potlatch,
which
may
gain
unexpected
ue t
h
ec
a
p
r
i
c
i
o
u
sn
a
t
u
r
eo
h
ea
lmost i
n
c
i
d
e
n
t
a
lf
a
v
o
r:t
h
e
i
umber a
nd t
h
e
i
ra
r
t
i
s
t
i
cq
u
a
l
i
t
yr
emains q
u
e
s
t
i
o
n
a
b
l
e，d
inn n
number
and
their
artistic
quality
remains
questionable,
due
too t
the
capricious
nature
offt
the
almost
incidental
favor:
the
i
n
d
i
s
c
r
i
m
i
n
a
t
ed
i
s
c
r
i
m
i
n
a
t
i
o
no
a
l
e
n
.
t
indiscriminate
discrimination
offt
talent.
T
he p
e
r
m
i
s
s
i
b
l
em
argin f
o
rs
uch a
na
r
i
s
t
o
c
r
a
t
i
cw
himsy o
i
m
l
e
s
si
n
v
e
s
t
m
e
n
tb
ecomes s
h
a
l
l
o
w
e
ri
t
a
g
n
a
t
i
n
ge
conomic
The
permissible
margin
for
such
an
aristocratic
whimsy
offa
aimless
investment
becomes
shallower
inn s
stagnating
economic
ork with the artist's own
h
e
r
ei
n
l
ya
l
i
mp
o
s
s
i
b
i
l
i
t
yo
e
c
e
i
v
i
n
ga
r
e
c
e
s
s
i
o
n
s
.D
uet
h
er
e
c
e
n
tr
e
i
n
f
o
r
c
e
m
e
n
to
c
c
r
e
d
i
t
a
t
i
o
na
ndexternal
e
x
t
e
r
n
a
lestimations,
e
s
t
i
m
a
t
i
o
n
s，t
there
isso
only
as
slim
possibility
offr
receiving
a
recessions.
Due
toot
the
recent
reinforcement
offa
accreditation
and
,iently critical attention at
ima
nde
xpectedo
utcomeo
h
einvestment.
investmen
.
tA
ndy
e
ta
n
s
uddenp
r
o
m
o
t
i
o
nw
i
t
h
o
u
tp
r
e
v
i
o
u
s
l
yc
o
n
v
i
n
c
i
n
gi
n
v
e
s
t
o
r
so
h
eu
t
i
l
i
t
y，a
previously
convincing
investors
offt
the
utility,
aim
and
expected
outcome
offt
the
And
yet
an
sudden
promotion
without
ch piece shows notable
a
i
m
l
e
s
ss
e
l
f
i
n
d
u
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young
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How
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lercial conjunctures is no
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nd more than half of the
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e
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orrt
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offd
difficult
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through
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artist
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too
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law
systems
which
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each
country
with
his
project
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This
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physical
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intellectual
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the
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.T
h
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Andt
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~al
performance of artistic
indicates
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his
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also
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the
mechanism
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the
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with
rIn
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r
e
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reveals
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the
social
conventions.
which
the
artist
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and
w
hicht
h
ea
r
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r
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o
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If
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absurd,
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think
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o
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h
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ka
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h
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t
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e
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n
a
t
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v
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roposedb
I
fy
ouf
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f
f
o
r
tr
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c
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l
o
u
so
bsurd，t
almost
simultaneously.
Akasegawa
removes
the
external
label
assw
well
asst
the
tinned
salmon
contents
and
Akasegawa
Genpei
A
kasegawaG
enpeia
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h
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n
e
ds
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o
n
t
e
n
t
sa
nd
scale, an individual artist
label
again
onn t
the
interior
side
the
can,
before
tightly
soldering
the
can.
The
artist
then
claims
that
hee h
has
attaches
the
e
f
o
r
et
i
g
h
t
l
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o
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r
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r
t
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nc
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a
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h
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r
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o
ft
h
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; well as mentally, without
successfully
wrapped
and
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the
entire
world
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at
tiny
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can,
with
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only
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offa
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alone
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s
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3
ptional individual and the
portion
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about
00
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offt
the
air
which
still
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can.
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masterpiece
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conceptual
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mischievously
1
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h
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h
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o
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p
o
r
t
i
o
no
bout1
vledged by the public and
became
the
largest
container
ever
existing
innt
the
world.
The
Japanese
artist
took
advantage
offt
the
(topo)logical
trick
offi
inside
out
soo
b
ecamet
h
el
a
r
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e
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o
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t
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e
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v
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r
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d.T
heJ
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e(
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o
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l
o
g
i
c
a
lt
r
i
c
ko
n
s
i
d
eo
u
ts
id in democratic selection
in reality, would never be
asst
toos
surpass
Christo's
achievement.
.
t
a
urpassC
h
r
i
s
t
o
'
sa
chievemen
Fortunately
orru
unfortunately,
the
remaining
margin
offa
any
artistic
creation
is
confined
between
Christo's
megalomaniac
endeavors
F
o
r
t
u
n
a
t
e
l
yo
n
f
o吋u
n
a
t
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l
y，
t
h
er
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m
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argino
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o
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sc
o
n
f
i
n
e
db
etweenC
h
r
i
s
t
o・
sm
egalomaniace
ndeavors
and
Akasegawa's
minimalist
conception.
between
these
poles,
recent
patent
applications
are
concentrated
innn
nano-technology
a
ndA
kasegawa'sm
i
n
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.In
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e
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p
l
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t
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o
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sa
r
ec
o
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e
n
t
r
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t
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ano・t
e
c
h
n
o
l
o
g
y
self-deceiving hope that
lying
beyond
limit
of
human
of
technological
inventions
made
byyp
professional
researchers
belonging
too
I
y
i
n
gb
eyondthe
t
h
el
i
m
i
to
fh
umanperception.
p
e
r
c
e
p
t
i
o
n.Most
Mosto
fthe
t
h
et
e
c
h
n
o
l
o
g
i
c
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li
n
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e
n
t
i
o
n
sare
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r
em
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r
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e
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e
s
e
a
r
c
h
e
r
sb
e
l
o
n
g
i
n
gt
veighed down by public
public
bodies
orr p
private
enterprises,
and
the
probability
off i
inventions
byy i
independent
individuals
has
also
shrank
too a
a t
tiny
nd t
h
ep
r
o
b
a
b
i
l
i
t
yo
n
v
e
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t
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o
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sb
ndependent i
n
d
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u
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as a
l
s
os
hrankt
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p
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o
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so
r
i
v
a
t
ee
n
t
e
r
p
r
i
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e
s，a
j
would be much wiser to
elderly
alike,
people
have
already
lost
the
desire
and
hope
offi
inventing
anything
marvelous
percentage.
youngsters
toot
the
eopleh
avea
l
r
e
a
d
yl
o
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h
ed
e
s
i
r
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n
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e
n
t
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n
y
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arvelous
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ercentage.From
Fromy
o
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s
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e
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ion . And if you prefer, it is
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and
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amateurish
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u
s
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gp
e
r
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o
n
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r
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n
s
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r
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o
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s
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In
our
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a r
re-appropriation
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I
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e，we
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en
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ouseholdg
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iffy
you
remove
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ap
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iffy
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weapons iri the media wars. And paradoxically enough, even the open accusation made by the so-called marginal anti-re
activist-artists against commercialized mercenaries of being "merchants of death" has become a strategy of a self promo
resulting in the creation of? authoritarian hero(in) artists in the "politically correct" art market.
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role.
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