To Duchamp, an artist's nominative act—the declaration itself regardless of the object—was itself the art. He could choose anything indifferent to, or even in spite of, its aesthetic merits.
He could, moreover, no longer be tempted to the Grubber, for all chocolate and sweets were taboo.
[…]my argument is that, by the first decades of the twentieth century, the popular-highbrow distinction in literature had already dissolved into nobrow art.
However, there are also numerous actions supervisors can take in order to encourage intern proaction.
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