Jarry mandated the inclusion of the apostrophe in the orthography "to avoid a simple pun," the pun possibly being patte à physique (leg of physics), as interpreted by Jarry-scholars Keith Beaumont and Roger Shattuck, or possibly pas ta physique (not your physics), or maybe pâte à physique (physics-dough).
The Collège de 'pataphysique, founded on May 11, 1948, in Paris, is a group of artists and writers interested in the philosophy of 'pataphysics. The motto of the college is Eadem mutata resurgo (I arise again the same though changed), and its head is His Magnificence, Baron Jean Mollet. According to Warren Motte, noted members of the college have included Noël Arnaud (Regent of General 'Pataphysics and Clinic of Rhetoriconosis, as well as Major Confirmant of the Order of the Grand Gidouille), Luc Étienne also known as Luc Etienne Périn (Regent), Latis (Private General Secretary to the Baron Vice-Curator), François Le Lionnais (Regent), Jean Lescure (Regent of Anabathmology), and Raymond Queneau (Transcendent Satrap). As such, its members are linked with Oulipo. Publications of the college include the Cahiers du Collège de 'Pataphysique and the Dossiers du Collège de 'Pataphysique.
The authors Raymond Queneau, Jean Genet, Eugene Ionesco, Boris Vian and Jean Ferry have described themselves as following the 'pataphysical tradition. Pataphysics and pataphysicians feature prominently in several linked works by science fiction writer Pat Murphy. The philosopher Jean Baudrillard is often described as a 'pataphysician and did consider himself as such for some part of his life. One American writer, Pablo Lopez, has even developed an extension of the "science" called the pataphor.
Although France had been always the center of the 'pataphysical globe, followers have grown up in different cities around the world. In 1966 Juan Esteban Fassio was commissioned to draw the map of the Collège de 'Pataphysique and its institutes abroad. In the 1950s, Buenos Aires and Milan were the first cities to have 'pataphysical institutes. London, Edinburgh, Budapest, and Liege — as well as many other European cities - caught up in the sixties. In the 1970s, Germany, Sweden, Switzerland, Canada, The Netherlands, and many other countries showed that the internationalization of 'pataphysics was irreversible.
In the 1960s 'pataphysics was used as a conceptual principle within various fine art forms, especially pop art and popular culture. Actual works within the 'pataphysical tradition tend to focus on the processes of their creation, and elements of chance or arbitrary choices are frequently key in those processes. Select pieces from Marcel Duchamp and John Cage characterize this. At around this time, Asger Jorn, a 'pataphysician and member of the Situationist International, referred to 'pataphysics as a new religion. Rube Goldberg and Heath Robinson were artists who contrived machines of a 'pataphysical bent.
During the Communist Era, a small group of 'pataphysicists in Czechoslovakia started a journal called PAKO, or Pataphysical Collegium. Apparently, Alfred Jarry's plays had a lasting impression on its underground philosophical scene.
Like ‘pataphysics itself, pataphors essentially describe two degrees of separation from reality (rather than merely one degree of separation, which is the world of metaphors and metaphysics). The pataphor may also be said to function as a critical tool, describing the world of "assumptions based on assumptions," such as belief systems or rhetoric run amok. The following is an example.
Arts: Restoration Comedy ; in His 1960 Film the Rebel, Tony Hancock Played a Talentless, Pretentious Artist. So Why Would Anyone Painstakingly Recreate His Fictional Works of Art? KEVIN JACKSON Tries to Explain
Sep 10, 2002; Paris, late one warm evening some 40 summers ago, and the hippest, most avant- garde party anywhere in this hip, avant-garde city...