Introduction

In 1919, on the occasion of the marriage of his sister, Marcel Duchamp—well known for pushing the boundaries of artistic experiences as well as the definition of ‘art’ itself—sent as a gift to the couple in Paris the Unhappy Readymade instructions: they had to suspend a geometry book by strings on their balcony, in midair, which was what they did. The wind blew through the volume, chose its own problems, turned and tore out the pages, creating with the rain and the sun unpredictable non-Euclidean shapes, transforming closed knowledge through the “facts of life”. This is one of the countless examples of the use of the natural and unpredictable force of the wind as an art instrument inspiring and nourishing the speculative reflection.