New York, 1916

With Hidden Noise
or A Bruit Secret

Original Version: Easter 1916, New York
Philadelphia Museum of Art
The Louise and Walter Arensberg Collection
ball of twine pressed between two brass plates
joined by four long screws
assisted readymade11.4 x 12.9 x 13 cm

This Readymade was a collaborative exercise that Duchamp completed with the help of his
friend Walter Arensberg. Duchamp instructed Arensberg to loosen the long screws holding the construction together, place a small object inside the ball of twine, and not inform him or anyone else what it was. What rattles inside when With Hidden Noise is shaken remains a mystery to this day. Duchamp explained in a 1956 interview,

"Before I finished it Arensberg put something inside the ball of twine, and never told me what it was, and I didn't want to know. It was a sort of secret between us, and it makes noise, so we called this a Ready-made with a hidden noise. Listen to it. I don't know; I will never know whether it is a diamond or a coin" (Sanouillet & Peterson 135).

As a result, this piece is designed for action and not just to be looked at.

http://arthist.binghamton.edu/duchamp/Hidden%20Noise.html

Wilshire Boulevard, 1969

Lanton Mills is a Western. Sort of.
The sparse plot recounts the story of two cowboys (Terrence Malick as “Tilman” and Harry Dean Stanton as “Lanton Mills”) who set off on horseback to rob a bank. On the way, they stop to see their boss, the “Old Man”, only to discover he has been murdered by another cowboy, John Sparks (Warren Oates). After Oates announces his claim to fame as the “slowest gun in the West” Stanton cursorily shoots him (an easy feat given cowboy Sparks' leisurely draw time!). It seems to take forever for Oates to die, and his dying is punctuated by lots of nonsensical banter and funny business. At last the two protagonists ride off again through the scrubbrush. There is a fade-to-black and in the next shot reveals our two heroes riding their horses in the middle of traffic on Wilshire Boulevard. A muscle car follows slowly behind them, and there is no hint to whether or not the cowboys are surprised by their new surroundings. They enter the bank, a glass-doored, orange-carpeted behemoth, and suddenly they seem to notice they're out of place. Gun cocked, Stanton falteringly declares “Nobody get upset now!” in a voice so soft no one hears him. Meanwhile, Malick delightedly grabs publicity brochures and office equipment off the desks, apparently thinking that they are some form of money. With the help of their antiquated guns, the two finally succeed in robbing a teller of two sacks of “petty cash,” but not before he pushes the emergency button.
What makes this sudden time shift intriguing is its uncertain parameters. Have the cowboys actually time-traveled, falling out in a world completely foreign to them? A comment the Malick character makes when he hears the police sirens belies this idea. He mutters wryly: “Well, it all goes to show, you can't hear radar.”

http://www.rohstoff-filmmagazin.org/contributions/Terence_Malick_Schwartzman.html