Despite the slight differences in their classifications of post-human philosophizing, David Roden and Stefan Sorgner diverge when Sorgner seems to identify two grand narratives informing the shift from humanism to post/meta-humanism: from Being to Becoming; and from Dualism to Univocality. David Roden’s fictional speculations in Snuff Memories, on the other hand, envision a post-human future without either. This talk creates a context for these two grand narratives by demonstrating how central they were to the avant-garde strain of high modernism in the works and writings of Henri Robert Marcel Duchamp. We can locate Duchamp’s sources for these narratives in the mathematics of Henri Poincaré, and the philosophy of Henri Bergson, both of whom he read carefully. These narratives should be situated in relationship to a debate within the philosophy of science over competing paradigms: deterministic time-reversible and contingent time-irreversible models of physical systems. This debate is addressed polemically in the work of (Bergson-inspired) Ilya Prigogine, alone (1980) and with Isabelle Stengers (1979; 1984) in the wake of Prigogine’s 1977 Nobel Prize; and more thoroughly addressed in Stengers’ masterwork Cosmopolitics I and II (2010; 2011). Stengers locates the grounds for this debate in the inherent bias of western mathematics towards the reversible model of time. These competing paradigms also seem to play a role in the shift from a disembodied, computational-deterministic model of cognition exemplified by John von Neumann, to a contingently emergent model of embodied and enactive cognition exemplified by the work of Francisco Varela and others. I will begin with how Bergson’s work Creative Evolution (1907) informs Poincaré’s essay “On Mathematical Discovery” (1908), which in turn proves central to Duchamp’s pre-World War I writings (@1913) that eventually inform his posthumous masterwork Being Given: 1. The Waterfall; 2. The Illuminating Gas (1968). I will conclude by addressing how Duchamp defines art as “a creative act,” an event generated by a charged field “between artist and onlooker” involving the distinct cognitive processes of “delay” and “exposure,” and how Duchamp’s chess treatise on the endgame: Opposition and Sister Squares Reconciled (1932) can be read as an allegory of distributed aesthetic cognition.