ENERGY FLOW ON THE GLASS:
Duchamp described the “Glass” as a “series of variations on ‘the law of gravity’” [Duchamp 1980, n.104]. In the upper ethereal realm of antigravity, the Bride is suspended free of weight. Her Apparatus transcends the gravitational pull. In the lower part, by contrast, the Bachelors are forever subject to the effects of gravity. Various falls or collisions dominate the operation of their Apparatus. The Bride has a “life centre” [Duchamp 1973, p.45] with internal energy. The Bachelors, “live on coal or other raw material drawn […] from their not them” [Duchamp 1973, p.45]. Such bipolar juxtaposition is best illustrated by an energy chart on the “Glass” ➈ that represents the Bride’s dream of the Bachelors as a “golden spiral” pattern and the Bachelors’ desire for the Bride as a “boustrophedon” pattern. On the one hand, the golden spiral is a logarithmic template in geometry whose growth factor is φ, the golden ratio. That is, a golden spiral gets wider by a factor of φ for every quarter turn it makes, before it dissipates after some turns, as observable in as variously sized forms of nature as the arms of a galaxy, or the shell of a nautilus. On the other hand, the boustrophedon pattern is a manner of writing that alternates between left to right and right to left directions. Literally meaning in Greek the “strophe” (turn) of the “bous” (ox), the boustrophedon pattern refers to the back and forth pattern of the farmer plowing his field with an ox, thus referring to the “agricultural instrument” mentioned in Duchamp’s “Note 78.” In this light, the Bride’s dream is smooth and her doom to fall from grace is tragic, whereas the Bachelors’s desire is jerky and their clumsiness produces a comical effect that saves them from extinction.

ARCHES & HELICOIDAL FLOW:
Introducing the boustrpohedon pattern on the visual of “Duchamp’s Bachelors Domain on Palmer’s Pavilion Night” ➉ creates an effect that happens to echo the arched patterns in the original photograph—the dominant lunette on the Pavilion’s façade, its domed towers at either end, and the sprawling canopy before it. The bacheloric desire’s helicoidal flow is in keeping with “the decorative lighting of […] the Pier Pavilion at Herne Bay.—garlands of lights against a black background,” which Duchamp describes in “Note 78.”

FURTHER INFLUENCE:
The fact of the matter is that the influence of “Grand Pavilion Illuminated” over the “Glass” is confined in the text of “Note 78.” However, using today’s technology their hypothetical attraction was offered a digital chance. Be that as it may, Herne Bay may have exerted further influence on Duchamp. Jeremy Millar’s speculation that the rare colony of digger wasps, found a mile or so along this coast, are especially active during August, might provide a plausible explanation for Duchamp’s decision to create the “Wasp, or Sex Cylinder” note, also in 1913.