Re: FLUXLIST: mesostic/acrostic/exhaustic etc. - is there a mesoway?
That would be a rhopalic verse (only one 'l') Of text in which each word contains one more letter or syllable than the one preceding it. This word derives from the Greek rhopalos, for a club or cudgel which, like most of its kind, is thicker towards one end than the other. Though the English word is first recorded only at the end of the seventeenth century, the technique is almost certainly much older. It is commonly applied to poetry whose words advance each time by one syllable, or sometimes one foot, but it can also apply to prose. The classic example of the latter form was created by Dmitri Borgmann: I do not know where family doctors acquired illegibly perplexing handwriting; nevertheless, extraordinary pharmaceutical intellectuality, counterbalancing in-decipherability, transcendentalises intercommunications incompre-hensibleness, which manages the difficult feat of reaching a word of twenty letters. (David Crystal, who quotes this in his book Language Play, remarks: It would be ultraconscientiousness to go further. Even overintellectualisation, perhaps.) In poetry, such wordplay has also been described as snowball verse and wedge verse. Rod Stasick wrote: ...a kind of rhopallic verse or ... Rod
Re: FLUXLIST: 100% slapstick attraction
Oh! Ok, I get it! I was thinking in terms of 'in between' lines not letters. I get it. I'll try another... slapstick attraction Searching for your perfectLy opposing hysteriA, become more Pronounced with time Sparking a good discussion, from Theme park premIere of the sulfurous sCent of blasphemy memorabilia fill the parK of physicAl comedy long Time since Ive been slapsTick and musical mayhem foR fun filled smoky lAgoon system for the Couple speaking polish most heavily markeTed challengIng martial arts can be cOnsidered autheNtic oom-pah Rod Stasick wrote: On 2006 May 20, at 9:36 PM, Cecil Touchon wrote: around the city a brutiSh cop past antiquEs up-and-comeR generally fIts having my camera cOnfiscated I arrived inside which lay the groUndwork for the next wave not So far away, a giant once we crawLed out from under the countrY as a whole was outraged at the sham to take somE risks useD in non-musical ways an electric Guitar edgY is all about cutting, perhaps bleeding edge Cecil, I like how it looks. I wanted to use a bold spine too, but I thought that this list frowned on HTML. There are a some spots tho that don't fit the mesostic. Between the "S" and "E" there should be neither (you have an "S" in "past") " "E" and "R" ...you have an "E" in "up-and-comer" " "R" and "I" ...you have an "R" in "generally" " "I" and "O" ...you have an "I" in "having" " "O" and "U" ...you have an "O" in "groundwork" " "Y" and"E" ...you have an "E" in "whole" and "outraged" and "the" and "take" " "E" and "D" ...you have an "E" in "used" " "G" and "Y" ...you have a "G" in "edgy " "Y" and the beginning "S" ...you have a "S" in "is" and "perhaps" It's really a lot easier to master the 50% version first, because with that version you're only looking for one repeated letter between the two. After that version becomes "natural" to you, then you can step up to the 100% version where you're looking for both letters. Rod
Re: FLUXLIST: 100% slapstick attraction
oops! the i in martial and the n in considered! good eye. Searching for your perfectLy opposing hysteriA, become more Pronounced with time Sparking a good discussion, from Theme park premIere of the sulfurous sCent of blasphemy memorabilia fill the parK of physicAl comedy long Time since Ive been slapsTick and musical mayhem foR fun filled smoky lAgoon system for the Couple speaking polish most heavily markeTed challengIng martial arts can be cOnsidered autheNtic oom-pah I have added the following processes and restrictions... I use the spine (derived from spam) as a search phrase (the spine being slapstick attraction in this case) and conduct a search at google (or any search engine) then select each line of text from instances where the mesoletter I am looking for is present, then I copy the words in front that do not include it or the previous mesoletter and words after that do not include it or the mesoletter coming next. Once I have found a suitable phrase I paste it into my poem and then return to the search engine results and go the the next result down the list and search that document for the next line of text. etc. once I have compiled the material for the poem I then refine it by substracting out words that I don't feel are working. then double check the whole thing for correctness to the form. This way it is a mesostic but with a different 'collage' approach where a system is used to arrive at the poetic statement. are there any other conventions? Rod Stasick wrote: Good, until you get near the end. Can you find the two instances? R~~
FLUXLIST: mesostic rules
One other thing... it strikes me that cage uses this restriction on the letters to help give clarity to the poem as a whole and to highlight the featured letter since there are no other occurances of it close by. Also the rule of no other capital letters seems to be for the same clarity and aesthetic. Would you say that is correct rod? Or do you feel there are other reasons for these rules? Then it seems that you could also have the the spine make a curve, diagnal or other shape if you wanted. cecil
Re: FLUXLIST: Mesostics: repressive guidance
Hi Rod, Thanks for the lesson! I think I got it. So the restriction only carries to the following line and then you start over fresh right? Not to the rest of the poem right? and when you say not *followed* by as in next (in order) you find a word that has an E, but not followed by a P: does that mean directly followed by or do you mean the whole line of text can't contain that letter at all? you say You can't have any words that already have the following meso letter. so all words in line one would contain no E line two no P line three no R etc. is that right? and then make no corerections to tense or add any 'bridge material'. You say it 'implies the context of the original without including all of the words. So are you saying that you would leave out anywords from a found phrase that has the offending letter and otherwise keep the other words? Sorry that the lines got out of place when posted. Cecil Rod Stasick wrote: Hi Cecil, The first word Reparation can't be used because it already contains your next letter E (rEparation). You can't have any words that already have the following meso letter. I don't know what your original text was, so I can't do what you wanted to do, BUT I can create a mesostic based on repressive guidance and the text that you just gave us. Actually, it'll be unfinished because I don't have enough of your text. First you look for a word that has an R but DOESN'T have the following E: ouR next (in order) you find a word that has an E, but not followed by a P: govErnment then, a P not followed by an R: inausPicious etc...BUT, any wing words (words outside the word that has the mesoletter) can't have the following letter either, so this is part of it's genius - it 'implies the context of the original without including all of the words. ouR govErnment inausPicious to libeRty Engage in counterproductive, immoral baSed fundamentalS In contra-distinction to tyranny. I had to stop there, because even tho there are about 5 more words with the letter V in them, each one of them is followed by the letter E and therefore cannot be used. This is an example of a 50% mesostic. The 100% mesostic limits your word choices even more. Also, being true to it's nature, no words are normally given written changed tenses. The found tenses are kept. It has the distinct advantage of keeping (or giving) the text life - an ever changing perspective that brings new ideas and doesn't necessarily adhere to the old ones. Hope this helps! Rod On 2006 May 19, at 3:23 PM, Cecil Touchon wrote: hey rod, does this work? I took a found phrase from some spam mail (repressive guidance) then I used it as a search term in google then I took one phrase from each resultant web page in the order that they were returned as results finding a phrase that I liked and that contained the spinal letter for that line. [bracketted] elements were added to bind things together when needed. cecil Reparation shall be made [for] those who experienced our govErnment’s abuses of dissenters any form of government inausPicious to liberty, engage[d] in counteRrproductive, immoral pre-emptive war will make their decisions basEd on the four fundamentals. In contra- diStinction to tyranny their bizarre, oppressive tacticS with their own citizens is cause for consIderable concern used to castigate us as a political moVement revealing secrets concErning the security of the state. The liGht of operational experience constrained what they coUld ask entirely in an Indigenous language. Their ahistorical, fear-riDden, repressive approach [attracted] outsiders and reactionAries [who] urgently [a] call for unity calling attentioN to abuses at the highest levels poliCy reform groups all over the world declare never accede to state or cultural policiEs. Rotokas and Mura-Piraha have only 11 phonemes, the smallest on record. --- Now playing: Roger Reynolds - A Portrait Of Vanzetti (1962–63)
Re: FLUXLIST: Mesostics: repressive guidance
Thanks Allan! I really enjoyed making that work and the way of gathering the lines of text - one line from each document of the search results for the spinal phrase give a bit more structure than my regular way of constructing poems which are more haphazard. If I add the other restriction of each line omitting any words that contain the following spinal letter, then that could add another way to dismiss various phrases and select others - but I am not sure that is needed for my purposes. We'll see. Interesting. So since that is not quite a Mesostic as Rod mentions then I suppose I should come up with some other name like maybe search phrase or spam totems or something. I also do not like words arranged purely by chance as a final result. I do like how material, gathered by chance that is created by a system, allows for serendipity and some personal choices derived from insights caused by the material gathered. That gives the collage/found material element that I am looking for. I also like including a few words of my own [in the brackets] that, for me, gives a little extra touch of direction like adding shading to a form to force it to go behind or in front of something else or inclide it to flow in this or that direction. I like ambiguity but not total confusion or having things so criptic that others won't want to spend their time to figure it out. A certain amount of accessability, I think, is a good thing. I like Cage a lot but his way of working and the resultant works do not always satisfy me. I believe a work of art should inspire one to cherish it. Cecil Allan Revich wrote: Cecil, That is very cool! It will stay that way in my head whether it works or not ;-) Allan From: owner-FLUXLIST@scribble.com [mailto:owner-FLUXLIST@scribble.com] On Behalf Of Cecil Touchon Sent: Friday, May 19, 2006 4:24 PM To: FLUXLIST@scribble.com Subject: FLUXLIST: Mesostics: repressive guidance hey rod, does this work? I took a found phrase from some spam mail (repressive guidance) then I used it as a search term in google then I took one phrase from each resultant web page in the order that they were returned as results finding a phrase that I liked and that contained the spinal letter for that line. [bracketted] elements were added to bind things together when needed. cecil Reparation shall be made [for] those who experienced our govErnments abuses of dissenters any form of government inausPicious to liberty, engage[d] in counteRrproductive, immoral pre-emptive war will make their decisions basEd on the four fundamentals. In contra-diStinction to tyranny their bizarre, oppressive tacticS with their own citizens is cause for consIderable concern used to castigate us as a political moVement revealing secrets concErning the security of the state. The liGht of operational experience constrained what they coUld ask entirely in an Indigenous language. Their ahistorical, fear-riDden, repressive approach [attracted] outsiders and reactionAries [who] urgently [a] call for unity calling attentioN to abuses at the highest levels poliCy reform groups all over the world declare never accede to state or cultural policiEs.
FLUXLIST: 100% Seriously Edgy
around the city a brutiSh cop past antiquEs up-and-comeR generally fIts having my camera cOnfiscated I arrived inside which lay the groUndwork for the next wave not So far away, a giant once we crawLed out from under the countrY as a whole was outraged at the sham to take somE risks useD in non-musical ways an electric Guitar edgY is all about cutting, perhaps bleeding edge How about this one Rod? This should be a 100% unless I misunderstood in a given line I dismissed all but one occurance of the spinal letter and any instances of the following spinal letter. OR was it supposed to be the letter before and after? I guess I still don't have it right... you write; aLl cIvil testiNg but say: "between any two mesoletters, you can't have either." and yet in the word cIvil there is the letter 'L' which is inbetween mesoletters "L" and "N" That seems to not be correct unless I don't understand it right. cecil
FLUXLIST: Mesostics: repressive guidance
hey rod, does this work? I took a found phrase from some spam mail (repressive guidance) then I used it as a search term in google then I took one phrase from each resultant web page in the order that they were returned as results finding a phrase that I liked and that contained the spinal letter for that line. [bracketted] elements were added to bind things together when needed. cecil Reparation shall be made [for] those who experienced our govErnments abuses of dissenters any form of government inausPicious to liberty, engage[d] in counteRrproductive, immoral pre-emptive war will make their decisions basEd on the four fundamentals. In contra-diStinction to tyranny their bizarre, oppressive tacticS with their own citizens is cause for consIderable concern used to castigate us as a political moVement revealing secrets concErning the security of the state. The liGht of operational experience constrained what they coUld ask entirely in an Indigenous language. Their ahistorical, fear-riDden, repressive approach [attracted] outsiders and reactionAries [who] urgently [a] call for unity calling attentioN to abuses at the highest levels poliCy reform groups all over the world declare never accede to state or cultural policiEs.
Re: FLUXLIST: Baudrillard Quotation
In what way?
cecil
{ brad brace } wrote:
My understanding of Baudrillard 'changed' when I suddenly
encountered him in a Las Vegas casino elevator clutching a
big tub of nickels...
http://bbrace.net/chance.html
On Wed, 10 May 2006, Allan Revich wrote:
"Information can tell us everything. It has all the answers. But they are
answers to questions we have not asked, and which doubtless don't even
arise."
Jean Baudrillard
Re: FLUXLIST: Headline Haiku
Headlines: May 10, 2006 <> Britney Spears pregnant Iran leader attacks west Putin talks babies Cecil Touchon
Re: FLUXLIST: Headline Haiku
Headlines: May 10, 2006 How to be a man rejects health claim for green tea Dolphins like humans.
Re: FLUXLIST: Headline Haiku
Headlines: May 10, 2006 Whirlpool cutting jobs Big trauma stuff happens Please, don't let me die
Re: FLUXLIST: Baudrillard Quotation
"all answers answer all questions." Jonh Cage Allan Revich wrote: Information can tell us everything. It has all the answers. But they are answers to questions we have not asked, and which doubtless don't even arise. Jean Baudrillard
Re: FLUXLIST: Headline Haiku
Good one! Allan Revich wrote: Headlines: May 10, 2006 Iran talks babies Britney Spears attacks Putin West leader pregnant Cecil Touchon Allan Revich From: owner-FLUXLIST@scribble.com [mailto:owner-FLUXLIST@scribble.com] On Behalf Of Cecil Touchon Sent: Wednesday, May 10, 2006 2:05 PM To: FLUXLIST@scribble.com Subject: Re: FLUXLIST: Headline Haiku Headlines: May 10, 2006 Britney Spears pregnant Iran leader attacks west Putin talks babies Cecil Touchon
FLUXLIST: nothing
Nothing is as nothing does.
Re: FLUXLIST: nothing
Is it? Cecil Bjrn Eriksson wrote: Nothing is no thing is some thing, is'nt it? /Bjrn - Original Message - From: Cecil Touchon To: FLUXLIST@scribble.com Sent: Friday, May 05, 2006 7:21 PM Subject: FLUXLIST: nothing Nothing is as nothing does.
Re: FLUXLIST: nothing
Does it? Cecil Kamen Nedev wrote: nothing means anything On 05/05/2006, at 22:36, Cecil Touchon wrote: Is it? Cecil Bjrn Eriksson wrote: Nothing is no thing is some thing, is'nt it? /Bjrn - Original Message - From: Cecil Touchon To: FLUXLIST@scribble.com Sent: Friday, May 05, 2006 7:21 PM Subject: FLUXLIST: nothing Nothing is as nothing does.
FLUXLIST: The nothing prayer
Our nothing who art in nothing Nothing be thy name thy nothing come, thy nothing done In nothing as it is in nowhere. Give us this day our daily nothing and forgive us our nothingness as we forgive nobody who do nothing to us And lead us nowhere but into nothing, but deliver us from nothing. Amen.
Re: FLUXLIST: Nothing Maxim
Yes! people fight over nothing all of the time. Allan Revich wrote: Nothing is worth fighting for.
Re: FLUXLIST: Headline Haiku
May 3 Headline Haiku I like my dogs grilled Half of offenders still free Moussaoui spared death http://www.telegraph.co.uk
Re: FLUXLIST: FLUXLIS
Yes here seem to be no new issues since 2002 is this a revamping of that magazine? I am interested in that as well. cecil Reid Wood wrote: Owen- When/how will this be published? I went to the Visible Language website, but didn't find info about it. Reid Reid Wood (State of Being) Haven't-Garde Art [EMAIL PROTECTED] http://havent-gardeart.blogspot.com On May 1, 2006, at 10:17 PM, Owen Smith wrote:
Re: FLUXLIST: Nothing Maxim
All arises from nothing and returns to nothing. All hail Nothing!
Re: FLUXLIST: Works lost on an abandoned blog
Hey Roger, do you want to add those to the workbook at the Flux Case? http://fluxcase.com cecil Roger Stevens wrote: I particularly like Solo For Loser and Clarinet -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]] On Behalf Of A Chair Sent: 25 April 2006 01:20 To: FLUXLIST@scribble.com Subject: *** SPAM *** FLUXLIST: Works lost on an abandoned blog I found these on a blog that I've since disowned four weeks after I started it, along with some mandalas: "Museo" Revolt! Several drummers (as many as possible) are to gather outside of warehouses, office buildings, music stores, or recording studios affiliated with major record labels and play simultaneously and as ostensibly as their abilities allow. They will only be guided by a stopwatch. When the stopwatch reaches 20'00", they are to dissemble and leave. Saturday, April 3rd, 2004 PIRATEWAR (A film) Get a camera. Use cardboard, glue, or any kind of craft/hobby to make pirate hats, swords, shields, and eyepatches. Gather 25 to 100 people and have them dress as pirates. To make the film, take your pirates to a large public area (i.e. a busy intersection) and have them battle to the "death" while yelling the worst pirate cliches they can think of. Continue for as long as possible and send the film to me (A Chair, 131 Vanesse Rd, Morrisville, VT, 05661) Wednesday, March 17th, 2004 Puzzle Piece Walk up to someone working on a puzzle. Pick up a piece at random and exclaim "if you don't do it, I'm going to eat this puzzle piece!" Before s/he can respond, yell "Do it!" Repeat twice, count to three, and then eat and walk away. Tuesday, March 23rd, 2004 Tube Piece Argue that everything is phallic or uterine. Tuesday, March 16th, 2004 Chicken Man Debone a chicken and pound it into a phallus. Cook until charred. Tuesday, March 23rd, 2004 Boot Piece Imagine what you can do with three boots and two feet. Monday, March 15th, 2004 For Pants Take four pairs of pants and perform any action, most duly encouraged is getting naked with them. Wednesday, March 17th, 2004 Solo For Loser and Clarinet Lose the clarinet and get a job. Tuesday, March 16th, 2004 Doctor Variations Perform surgery on a shoe, but clean every utensil with your tongue. Tuesday, March 16th, 2004 Story 1 Today, a bear. Wondered all over the green marshes and carelessly stumbled on fragments of complex rocks. It bellowed out, "Nobody knows what you do with your lungs!" Nobody knows what you do. There were too many to be alpha bets. It continued on its journey only to find a brass onion on a dead plate. Finally, the juxtaposed lemon vapors caught him off-guard and bit him. Two days later, he arrived at a garden admiring the colors of the rotting mammalian piano frame discarded by the apartment home. I sighed and exclaimed, "the nation guarantees." Tuesday, March 16th, 2004 Story 2 A melting imbecile watched as a tin can melted from the fire. Reflecting on his childhood, he saw the washing machine in a hospital. Later he ended his life by asking the shiny velvet gentleman to slit his pancreas. Wednesday, March 17th, 2004
FLUXLIST: Nothing is better - Abu Yazid Al-Bistami
Nothing is better for a man than to be without anything, having no asceticism, no theory, no practice. When he is without everything, he is with everything. Abu Yazid Al-Bistami
Re: FLUXLIST: Something and something well made at that
Thanks! That's better than half-wrong I suppose. Although I am not sure which half your talking about. Cecil Allan Revich wrote: Cecil, Well at least you are half-right! Allan From: owner-FLUXLIST@scribble.com [mailto:owner-FLUXLIST@scribble.com] On Behalf Of Cecil Touchon Sent: Saturday, April 22, 2006 3:59 PM To: FLUXLIST@scribble.com Subject: Re: FLUXLIST: Something and something well made at that Allan, I know and you know and everybody knows what is worth hanging on a wall - there is no supposing to it. On some walls I am sure nothing whatsoever is the very best solution. On many walls millions of things are worth hanging on them. On a museum wall some things, on a bathroom wall other things or perhaps nothing. On an exterior wall shadows are always a good choice. There is no challenge for an artist to merely withdraw and put forward nothing as the solution for being the most worth it thing and defer to the architect. Why should more be added you ask? becuase many of the unworth it things hanging on walls everywhere should be removed making space for more of the right things. If there is too much that is not worthless enough to through away, then it is time for storage closets so that works can be rotated. Anything that stays in storage too long or never comes back out may not be worth hanging on a wall, at least not for you but who are you to say it isn't worth it for somebody else? If you are so luck to have a wall then you and no one else has the privilage to be in control of what to hang on it. None of us are in control of what you hang on your wall. That's up to you my friend. If you are afraid of making the wrong choice then you can submit proposals to the Department of Approval of the international post dogmatist group and they well give you approval for a small fee. cecil http://postdogmatist.com Allan Revich wrote: Cecil, How can you suppose to know what "something worth hanging up on a wall" is? Who put you (or anybody - not just you, but me, or Alan, or any of us) in charge of making the decision about what is "worth looking at"? Nothing looks pretty good on many walls. I like the things on my walls. In all honesty I would feel honoured to have the things that you make on my walls too. But that's not the point. I think it is much more challenging to think about nothing. The world has enough stuff to go around. Why should I add more? Allan -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]] On Behalf Of Cecil Touchon Sent: Friday, April 21, 2006 11:36 PM To: FLUXLIST@scribble.com Subject: FLUXLIST: Something and something well made at that I say, dear Alan, I haven't the foggiest notion as to what your talking about. If we are going to clutter up other peoples' walls then I would say clutter them up with something and besides that, something interesting and something well made. Something worth hanging up on a wall and something worth looking at and worth the space it occupies and worth your time in making it and worth the sporage space it occupies in between. Cecil, new collages on view at http://cecil.touchon.com alan bowman wrote: Have we not had nothing crop up on fluxlist before? Perhaps we are all jus good for nothings but... does the act of posting an email entitled 'nothing', even if the body of the mail is empty, not constitute as something? i propose that we that we all make a concerted effort to forget nothing. only when it is truly forgotten by all of us will it be 'nothing'.
Re: FLUXLIST: Something and something well made at that
Allan, I know and you know and everybody knows what is worth hanging on a wall - there is no supposing to it. On some walls I am sure nothing whatsoever is the very best solution. On many walls millions of things are worth hanging on them. On a museum wall some things, on a bathroom wall other things or perhaps nothing. On an exterior wall shadows are always a good choice. There is no challenge for an artist to merely withdraw and put forward nothing as the solution for being the most worth it thing and defer to the architect. Why should more be added you ask? becuase many of the unworth it things hanging on walls everywhere should be removed making space for more of the right things. If there is too much that is not worthless enough to through away, then it is time for storage closets so that works can be rotated. Anything that stays in storage too long or never comes back out may not be worth hanging on a wall, at least not for you but who are you to say it isn't worth it for somebody else? If you are so luck to have a wall then you and no one else has the privilage to be in control of what to hang on it. None of us are in control of what you hang on your wall. That's up to you my friend. If you are afraid of making the wrong choice then you can submit proposals to the Department of Approval of the international post dogmatist group and they well give you approval for a small fee. cecil http://postdogmatist.com Allan Revich wrote: Cecil, How can you suppose to know what "something worth hanging up on a wall" is? Who put you (or anybody - not just you, but me, or Alan, or any of us) in charge of making the decision about what is "worth looking at"? Nothing looks pretty good on many walls. I like the things on my walls. In all honesty I would feel honoured to have the things that you make on my walls too. But that's not the point. I think it is much more challenging to think about nothing. The world has enough stuff to go around. Why should I add more? Allan -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]] On Behalf Of Cecil Touchon Sent: Friday, April 21, 2006 11:36 PM To: FLUXLIST@scribble.com Subject: FLUXLIST: Something and something well made at that I say, dear Alan, I haven't the foggiest notion as to what your talking about. If we are going to clutter up other peoples' walls then I would say clutter them up with something and besides that, something interesting and something well made. Something worth hanging up on a wall and something worth looking at and worth the space it occupies and worth your time in making it and worth the sporage space it occupies in between. Cecil, new collages on view at http://cecil.touchon.com alan bowman wrote: Have we not had nothing crop up on fluxlist before? Perhaps we are all jus good for nothings but... does the act of posting an email entitled 'nothing', even if the body of the mail is empty, not constitute as something? i propose that we that we all make a concerted effort to forget nothing. only when it is truly forgotten by all of us will it be 'nothing'.
FLUXLIST: Art Junk SPRING CLEANING
If your getting rid of your art junk, sign it and send to the Ontological Museum's Department of Fluxus The Ontological Museum ATTN: COLLECTIONS DEPARTMENT OF FLUXUS 6955 Pinon Street Fort Worth, Texas 76116
Re: FLUXLIST: Book 2 - #100 - 9/24/2004 11:07 AM
In my opinion, any unsold artworks are assets that have not yet been converted to cash or other comodities. Then there are copyright, reproduction incomes possible. So I don't have any expiration dates on any artworks by me. Everybody else in almost every other field considers the ongoing value of their efforts. Why artists do not value what they do is a mystery to me and if one does not value his one work then -of course - it is hard to consider expending effort in creating a market for it. But hey, all the better for me, less glut in the market. But to be sure, the more artists needing and seeking a market, the more a market develops. Maybe we need to joinly do a campaigne encouraging people to buy more art products. You know like the milk industry. Got Art? Fluxus artists should not be encouraging the average idiot to make his own art we should be encouraging the average idiot to buy our art at low cost 'popular' prices. Sell them art kits in a box! Why not? We should all develop a fluxbooth and send each other fluxjunk to sell to Johnny Q Public; unlimited editions of stuff. unlimited collections of stuff! Stuff, stuff everywhere. That was one of the original impulses of fluxus wasn't it? A buddy invited me to go to a "by invitation only" Peter Max exhibition yesterday here in fort worth. It was a hoot. Peter Max has about a dozen roadees that set up a constantly traveling carnaval of Peter Max art junk ranging in price from about 2,000.00 to 20,000.00 or so. 40 exhibitions a year! He's doing the Thomas Kincade thing of making lithos and then slopping some details on them and selling them as "mixed media" original art. Then there he is, a guy that looks like Ben Stiller's dad, talking to 'collectors'. Meanwhile the roadees are working the crowd trying to catch that impulse buyer overcome by the proximity to pop fame. There are some little paintings on canvas and some on paper, all framed and the peter max book. When you start looking at it everything, he's got about 10 or 15 images that he paints over and over again without too much variation. It is kind of like a fluxus artist performing the same 15 scores over and over again. things like: Paint a sunset, Make a Print of that sunset, Paint on the print of the sunset, repeat above with an angel, a guy with an umbrella, etc. Frame everything in black, sell for uncomfortably high prices. only respond to potential marks with statements like, "You should buy it becuase you love it", "You shouldn't buy art for investment but for the love of it", "How much can you afford?", "That's my favorite one too", etc. It was wild. Cecil http://neoplasticism.com Rod Stasick wrote: Returning to Cecil... The physical dependance drives me cRaZy - mostly with music - my mind telling me that there's more than enuf sound on the web and the non-physical elsewhere to keep my fascinations ringing for the eternities after the honeymoon, but as stuff goes out the back door in almost trapezoid strictness, the squall-fed label profiteers paratroop onto my front lawn and queue up at the front, BUT, it soon becomes "0"s and "1"s - same with words, documents, and bits of detritus found in the garden (like this old "Pop Rocks" wrapper - both sides): http://stasick.org/presubstitution%20pentacoccous%20wartflower.tif http://stasick.org/you%20always%20end%20ere%20you%20begin.tif They become jumping off points for higher elements of creative work, but not necessarily in physical form. So, the question really becomes: To you, how important is the physicality of artwork - that you need to have it around you? It seems to me that these large scale works can't really be turned into "0"s and "1"s (except thru documentation, I suppose). Do those of you who create physical artworks on a larger scale (canvas, sculpture) have the problem of having too much creat(ed/ive) work. around the studio? Yes, of course, you want to sell stuff, but what of the stuff that you can't sell? Is there a "past-it's-sell-by-date" at some time where it's documented then discarded? Rod --- Now playing: Agitation Free - Sahara City On 1427 Rabiʻ I 18, at 8:37 AM, Cecil Touchon wrote: Book 2 - #100 - 9/24/2004 11:07 AM An Intelligence so Intriguing Everyone Listens So, a few days ago, I came to the conclusion I simply have too much stuff and need to rid myself of it at thoroughly discounted prices. I am consumed with collecting highly difficult to find pieces [of text] Needless to say, I was doing my best [to have a workable set] but I do not know how likely that is. I am simply foolishly excited over the prospect [of providing] you with some entertainment.::Bows:: I real
FLUXLIST: Something and something well made at that
I say, dear Alan, I haven't the foggiest notion as to what your talking about. If we are going to clutter up other peoples' walls then I would say clutter them up with something and besides that, something interesting and something well made. Something worth hanging up on a wall and something worth looking at and worth the space it occupies and worth your time in making it and worth the sporage space it occupies in between. Cecil, new collages on view at http://cecil.touchon.com alan bowman wrote: Have we not had nothing crop up on fluxlist before? Perhaps we are all jus good for nothings but... does the act of posting an email entitled 'nothing', even if the body of the mail is empty, not constitute as something? i propose that we that we all make a concerted effort to forget nothing. only when it is truly forgotten by all of us will it be 'nothing'.
Re: FLUXLIST: Today, nothing
Maybe we should put together a compilation CD called The Nothing Album or Nothin' but Nothing with those songs, cage 4.33, and whatever else. We could throw in Imagine and call the album Imagine Nothing or maybe Nothing to Imagine cecil http://0-0-0-0.com David-Baptiste Chirot wrote: there's also the old dylan and the band song too much of nothing-- and the hank williams song i aint got nothing but time From: Reid Wood [EMAIL PROTECTED] Reply-To: FLUXLIST@scribble.com To: FLUXLIST@scribble.com Subject: Re: FLUXLIST: Today, nothing Date: Wed, 19 Apr 2006 12:06:48 -0400 Do you remember the FUGS' song from the 60s that had the lyric: Monday nothing, Tuesday nothing, Wednesday, Thursday, nothing or something like that. Reid On Apr 19, 2006, at 10:52 AM, Allan Revich wrote: N o t h I n g April 19, 2006 Allan Revich _ Don’t just search. Find. Check out the new MSN Search! http://search.msn.click-url.com/go/onm00200636ave/direct/01/
Re: FLUXLIST: Today, nothing
oh right I remember that! We could include a track of that album. I wonder if we could get sued for copyright infringement? haha. Or we make up a track Marcel Marceau Live or Marcel Marceau performing (insert fluxus performace score) by (insert fluxus artist name) Possible Album Title: Much Ado about Nothing by 40 Big Names Rod Stasick wrote: On 1427 Rabiʻ I 20, at 11:34 AM, Cecil Touchon wrote: Maybe we should put together a compilation CD called The Nothing Album or Nothin' but Nothing with those songs, cage 4.33, and whatever else. We could throw in Imagine and call the album Imagine Nothing or maybe Nothing to Imagine The first recording that I bought was The Best of Marcel Marceau which consisted of silence (and final applause). R~~ --- Now playing: Magical Power Mako - ÉVÉãÉNÉçÅ[Éh
FLUXLIST: The Nothing Album
I an starting to get confused with all of the same subject headings so I thought I would start a string for the Album idea. Please chime in on the idea. past messages on topic No. But I used to sing a little ditty that went nothing, nothingnothing, nothing. Nothing, nothing, all day long. Nothing, nothingnothing, nothing. thats our little nothing song. From: owner-FLUXLIST@scribble.com [mailto:owner-FLUXLIST@scribble.com] On Behalf Of Reid Wood Sent: Wednesday, April 19, 2006 12:07 PM To: FLUXLIST@scribble.com Subject: Re: FLUXLIST: Today, nothing Do you remember the FUGS' song from the 60s that had the lyric: Monday nothing, Tuesday nothing, Wednesday, Thursday, nothing or something like that. Reid On Apr 19, 2006, at 10:52 AM, Allan Revich wrote: N o t h I n g April 19, 2006 Allan Revich oh right I remember that! We could include a track of that album. I wonder if we could get sued for copyright infringement? haha. Or we make up a track "Marcel Marceau Live" or "Marcel Marceau performing (insert fluxus performace score) by (insert fluxus artist name)" Possible Album Title: Much Ado about Nothing by 40 Big Names Theres that Lennon track on Mind Games Nutopian International Anthem. Rod Stasick wrote: On 1427 Rabi I 20, at 11:34 AM, Cecil Touchon wrote: Maybe we should put together a compilation CD called The Nothing Album or Nothin' but Nothing with those songs, cage 4.33, and whatever else. We could throw in "Imagine" and call the album "Imagine Nothing" or maybe "Nothing to Imagine" The first recording that I bought was "The Best of Marcel Marceau" which consisted of silence (and final applause). R~~
FLUXLIST: ABSTRACT SOUND POEM #002 - Friday, February 09, 2001
ABSTRACT SOUND POEM #002 - Friday, February 09, 2001 Tix tee toox ee bee-dee bee-dee bong, Hopper tee popperty single der song. Slupper-slom sloeppy-ur-doogle slimper spee Scom top-a-bop hop-a-mop tree Skintle too-broc-en-spoop fribble moxxen-fluber Axloppenstoor hopper-poppen der ebl bluber
FLUXLIST: ABSTRACT SOUND POEMS #001 - Friday, February 09, 2001
ABSTRACT SOUND POEMS #001 - Friday, February 09, 2001 Very simple warm-up: DEE BOOP DEE BOP Dee boop. Dee boop bop Dee-bee-dee boop bop Dee-bee-dee, dee-bee-dee, dee-bee-dee, doop bop Dee boppee dee bop. Dee bop bop. Dee dee dee bop Dee-dee dee bop Dee dee-dee bop Dee bop!
FLUXLIST: Book 2 - #100 - 9/24/2004 11:07 AM
Book 2 - #100 - 9/24/2004 11:07 AM An Intelligence so Intriguing Everyone Listens So, a few days ago, I came to the conclusion I simply have too much stuff and need to rid myself of it at thoroughly discounted prices. I am consumed with collecting highly difficult to find pieces [of text] Needless to say, I was doing my best [to have a workable set] but I do not know how likely that is. I am simply foolishly excited over the prospect [of providing] you with some entertainment.::Bows:: I realized, a tad too late, I spent almost my entire paycheck on Small [poetic] imperfections which fill me with shame. Another little tidbit that might be amusing on Tuesday night, shut off the inane chattering of your mind for a moment give it the old college try. [Don't worry if your] not learned in such things. I knew I had forgotten something; a more involving plot I was not even aware of this rule! um, opps. so much for that experiment eh? I have tried several different things nothing has worked of yet. Oh fiddlesticks, does anyone have any advice for poor me?
Re: FLUXLIST: Long picture!
Allan Revich wrote: cool From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]] On Behalf Of Bjrn Eriksson Sent: Monday, April 17, 2006 5:38 PM To: FLUXLIST@scribble.com Subject: FLUXLIST: Long picture! Just found this picture which has some unusual formatting, I think it is built up by 41 smaller pictures... and I think the "beginning" is at the bottom. http://ljudbilden.com/penonpaper /Bjrn That is a very cool drawing thats for the link. Cecil http://fluxcase.com
FLUXLIST: Karen Eliot is currently in england
Here is Karen Eliot of Neoist Society fame: http://kareneliot.com I can vouch for this Karen Eliot. I know her personally and talked with her just yesterday in fact. She has been in Spain the last few months and is currently in England with friends. This other Karen Eliot must be some other instance of or perhaps a personality splinter of my beloved Karen Eliot. Cecil http://neoist.org
Re: FLUXLIST: Pippin of chapped commiseration
Rod, Please take some photos of your whole collection for me befor you ebay it and send me the digital images for the ontological museum. I would love to see how it is all organized at your place. cecil Rod Stasick wrote: On 1427 Rabiʻ I 18, at 9:46 AM, Cecil Touchon wrote: I am so relieved by that Rod. Sometimes I feel that I am just beside myself on these issues until I notice I am sitting next to a mirror. Then you *are* beside yourself - which is the image tho? Too much stuff here too, but I'm easing into the world of "1"s and "0"s by conversion. It doesn't matter whether it's audio or physical detritus, it's moving towards that direction. I figure I can add to my income too with offers of claptrapitalism on eBay. Music: someone gets the recording they always wanted while I free up space, make some dough, and still have the audio. While the hearing was going a few months ago, I decided to work visually with leftovers and their ilk. Quite liberating really! You'll come full circle. R~~ --- Now playing: Houria Aichi - El Hachemi RANDOM RODIO: (often) rodcasting at: http://rodcast.dyndns.org:8000/listen.m3u "you won't like all of it"
Re: FLUXLIST: why is your self image an offensively shrill purple
Sheila Murphy wrote: why is the omicron no longer a daft blue? harken to heralded confit in a mint blue dorsal fin redact what you refine repair what you recoup condone what you confess compare what you unleash to what you ooze is anybody whistling? give me a deserved A for my conscience and I will bless you to smithereens unless that is . . . sheila e. murphy NICE ONE SHEILA I like the use of color. Cecil http://postminimalism.com
Re: FLUXLIST: More on Kaprow
Yes! To the Eternal Flow. Cheers! Cecil http://fluxcase.com Kamen Nedev wrote: Never thought I'd like what I found at ArtForum, but their choice of quote (epitaph? ha!) on Kaprow is cool: "Contemporary artists are not out to supplant recent modern art with a better kind," Kaprow said in 1966. "They wonder what art might be. Art and life are not simply commingled; the identity of each is uncertain." http://www.artforum.com/news/#news10764 Happy eternal flow to Allan. Best, Kamen Kamen Nedev c/Pelayo N38, 5 Izda. 28004 Madrid Espaa (+34) 649 77 80 37 [EMAIL PROTECTED] http://emitmedia.blogspot.com http://emit-es.blogspot.com http://emit.omweb.com
Re: FLUXLIST: COLLAGE CUT-OUT COLOUR: Vancouver
Thanks Brad!
This one:
http://douglasudellgallery.com/dynamic/artwork_detail.asp?ArtworkID=1680
is collage made of billboard paper on canvas with a glaze over it and
varnished.
This one:
http://douglasudellgallery.com/dynamic/artwork_detail.asp?ArtworkID=1681
is paper collaged over canvas and then a painting of a collage on top
This one:
http://douglasudellgallery.com/dynamic/artwork_detail.asp?ArtworkID=1675
is a painting of a collage
This one:
http://douglasudellgallery.com/dynamic/artwork_display.asp?ArtworkID=1677
is the collage that the above painting was made from
Once you have loaded both of the above it is intereting to toggle back
and forth to see the transformation of the collage to the painting.
That constitutes the various ways all of the works are made. So I
mostly from this point forward I will be doing collage on canvas or
paper and paintings on canvas with a paper underlayment (as opposed to
just on canvas which seems less satisfying to me)
Cecil
{ brad brace } wrote:
Nice work Cecil! (Are the paintings painted over collage
elements?)
http://bbrace.laughingsquid.net/screen-names2.html
On Thu, 6 Apr 2006, Cecil Touchon wrote:
Annoucement for my next show...
COLLAGE CUT-OUT COLOUR: Vancouver
Group Show
April 9 - April 22
2-4 pm
http://douglasudellgallery.com/
Re: FLUXLIST: Re: new podcast material
{ brad brace } wrote:
oops, the suffix should be ALL CAPS
http://bbrace.net/VCLP0001.MP4
"airports for films": http://bbrace.net/VCLP0001.mp4
(the very first film on my new miniature v-cam)
AND
new!! view the 12hr-project on your mobile-phone:
browse bbrace.tamw.com
script language='_javascript_' type='text/_javascript_'
src=''/script
The effects of that camera are really cool. I love how the people look
walking by - just a little breeze of digital dust. What was that bright
light that appears out on the runway late in the recording? Is it
illegal taking video at an airport these days? Not that that should
stop any of us.
cecil
Re: FLUXLIST: poetry anthology NOT TOO LATe
Welcome Kraig Also check out http://fluxcase.com and http://fluxnexus.com I want to get something into the poetry anthology also. cecil Louis Lamper wrote: hi everyone, my name is kraig lamper and i'm new to the fluxlist. i'm a junior in college and i've been reading just about everything i can about fluxus as part of an undergraduate research project. i've absolutely fallen in love with it and i have been watching this list for a while, as well as the podcasts (i also purchased the fluxus anthology 2005). i look forward to buying a forthcoming poetry anthology and would like to contribute a poem or two if at all possible. thank you, kraig. I am rolling I am rolling I am rolling I am rolling I am rolling i am rolling i am rolling i am rolling i am rolling i'm rolling i'm rolling i'm rolling imrolling imrolling iroling irlin irn ir i .
FLUXLIST: Fluxasignments at The Flux Case
Some new Fluxasignments added to The Flux Case: http://fluxcase.com/fluxnexus-neil-horsky.html Cecil Touchon http://cecil.touchon.com
FLUXLIST: CALL FOR ARTISTS: WORK A YEAR IN CENTRAL AMERICA
Greetings all, I was talking to my buddies at artcorps up in the Boston area. This is a non-profit set up by New England Bio Labs where most of the collage museum collection was shown in a large exhibition 2 years ago. Roger Falcon asked me to mention to everyone that they are currently taking applications for artists to spend about a year in Central America. As experts in communication, artists can convey any message about health, protection of the environment, sustainable agriculture, or related topics by using their individual art disciplines as the tool. The idea is to have volunteer artists work within a non-governmental organization (NGO) in a developing country to help that NGO deliver their message more effectively. The artist will involve local residents in the art project. For example, a performing artist volunteer could guide children to create skits about health issues, a visual artist could help women design embroidered cloths with environmental themes, etc. http://collagemuseum.com/artcorp/ArtistPoster.pdf Their website is here: http://artcorp.org
FLUXLIST: “It’s just a goddamned piece of paper !”
“Stop throwing the Constitution in my face,” Bush screamed back. “It’s just a goddamned piece of paper!” http://www.prisonplanet.com/articles/december2005/091205pieceofpaper.htm
Re: FLUXLIST: Normal Where and Tear
On a similar subject Book 2 #29 12/19/00 5:12:15 PM <> This IS a surprise! "AS SEEN ON NATIONAL TV" A violation of the established rules of Convention cannot be defended, Let us bring out a distinction we are making here. Can someone please tell me a little more about what was happening upon the impressible hearts of the school-girls whose smiling observance they might chance passingly to arrest? I look in vain for something that makes sense. I see nothing but smoke and mirrors. I hear nothing but spin. What was the final and actual count? Have I missed that? Where can I find that information? Look, we don't want to waste your time...or ours Truth + Spin = Bullshit a connection may be simplistic at best It probably works for some people. People must be able to think they can find you There must be an indescribable air of refinement, A frisson of power. There is a subtle influence connected with this art which is not easily defined; we can all recognize it when we listen to them, and yet few of us could point out wherein the science lies you'll find the records easy to manipulate They don't mean anything, they don't mean anything at all. It's always well disguised. We come in through your speakers or we come in through your television set, like a lot of these other messages. But we're not really trying to sell anything. We do this because this is what we do. Cecil http://touchon.com
Re: FLUXLIST: Cecil Touchon Exhibitions in Los Angeles and Fort Worth
Hi Rod, The lunch today is at the Kimbell Museum. I might not make it becuase I have to be in Arlington cecil
Re: FLUXLIST: automatic poem #69((((((((((()))))))))))))))((((((((((())))))))))
hey Rod, anytime I click on your rodcasting link it always says connection refused cecil RANDOM RODIO: (often) rodcasting at: http://rodcast.dyndns.org:8000/listen.m3u you won't like all of it
FLUXLIST: Back to the fun.
Greetings all, I now have the two exhibitions hanging that have kept me so busy the last three months. They may be seen at http://touchon.com along with roughly a CD worth of my sound collage works and two books of collage poetry. I would especially be interested to hear any commentary on the show in Fort Worth called Visual Poetry. The exhibition when I first saw everything together really knocked me down. I personally was very happy with the feel of the gallery with these works in it. One of the rooms was almost completely yellow, black and white and it was interesting to 'bathe' in the color emanating from the works as a group. Hopefully I can now spend a bit more time doing some of the other things I love such as sound collages! Can anybody point me to a good and cheap or free program for editing sound and for converting files from wav to mp3? Also hi to Rod Stasick and Herb Levy whom I got to have lunch with this week. Thanks, Cecil
Re: FLUXLIST: Cecil Touchon Exhibitions in Los Angeles and Fort Worth
Bummer. Actually it was a great turnout maybe 100-150 people and some sales. OK my question is how did you end up at the emergency room? were you in an accident or something? happened to be walking past and got confused for a patient? live with said doctor? you were found strung out on poetry and cocaine? Your welcome to come over any time for a personal tour of the exhibit. What we came up with at my opening was to start a thursday noon lunchen meeting of whoever wants to show up and hang out to talk, collaborate, plan out things. It will be the Ontological Museum's Thursday Lunch at the Jazz Cafe on Montgomery Street thursdays at noon. Cecil http://touchon.com Rod Stasick wrote: On 1427 Muharram 16, at 10:48 PM, Cecil Touchon wrote: Opening this Saturday night... If your in the area stop in and say hi! This show is all brand new work created since arriving to Fort Worth 6 months ago. Show is Fort Worth, Texas http://cecil.touchon.com/show-wcca-06.html Cecil, I was going to surprise you by driving thru the ice and cold to pay a visit, but a young overanxious emergency room Doc decided to admit me to the hospital on Saturday morn (first time for me!) and I couldn't escape until nearly 18 hours later! Pretty useless and unnecessary, but I now have a medical file after 47 years that shows that I'm in great health. hmm... Are you going to be holding forth (or a fifth) at the gallery anytime soon? Rod --- Now playing: Codona - Codona Moon Dog RANDOM RODIO: (often) rodcasting at: http://rodcast.dyndns.org:8000/listen.m3u you won't like all of it
FLUXLIST: Cecil Touchon Exhibitions in Los Angeles and Fort Worth
Currently... Just back from this opening in LA where Bianca, a list member and collage artist came for the show. Thanks Bianca! This exhibit, since it was a last minute deal, was created with parts of two previous exhibitions and a few new works to fill in the gaps. The common theme was that it was all Mexico based work or inspired by my time there. Show is Los Angeles, California http://cecil.touchon.com/cachecontemporary0206.html Opening this Saturday night... If your in the area stop in and say hi! This show is all brand new work created since arriving to Fort Worth 6 months ago. Show is Fort Worth, Texas http://cecil.touchon.com/show-wcca-06.html Press Release for this show: http://cecil.touchon.com/pr-wcca-06.html Cecil http://cecil.touchon.com
FLUXLIST: Thirty Years of Fluxing Around - Cecil Touchon
I don't recall if I posted this. cecil Thirty Years of Fluxing Around - Cecil Touchon 1975-2005 <>There are those things which artists often do as their serious work and then there are all of the other things they do when they are playing and messing around in the studio or when hanging out with other artists. That range of other things tends to be fluxus-like in nature. More concept based, experimental, contemplative, humorous, and expressed in a kind of private short hand. When translated into a more public language you have work that may appear unfinished, tentative, and with a lot of open ended and very loose ends. I think of this kind of art making as more conversational than lecture-like in nature, more private, informal, ephemeral and downright immaterial. This kind of art activity is the product of a shared mercurial mind world where unfettered creativity, lucid imagination and the immediate cognition of a deeply intuitive mind are of the greatest value. I think this is why some like to relate Fluxus to Zen. I think Zen has a strong interest in this same range of mental activity in search of those moments of creative release and intuitive cognition of the spiritual world a more fluid state that we are normally not cognizant of. Not that I can claim to know anything about Zen or for that matter Fluxus. <> A lot of the well known Fluxsters are well known in part because of their interest in performance, theatre and experimental music/sound. These things tend to be done live and in public via scheduled performances, festivals and the like. <> I am primarily a visual artist. While I have engaged in the occasional performance, they have always been in the form of a personal ritual accomplished for my own internal reasons and have required no one other than myself as their witness with the location usually being my studio or out in nature. <> It was never my fortune or misfortune to ever meet up with any well known Fluxus people in person. I have never been that interested. I have never been very interested in meeting anybody that didnt find their way naturally into my life. Artists are happy to admire and interact from afar and across time and with the internet we are able to interact right in the contemporary moment with each other all over the world. <> So anything of mine that could be regarded as Fluxus-like over the years was developed in relative isolation until coming across the fluxlist gang on the internet around 1998-99. When I did I was amazed to find a family of people still working who shared a very strong affinity with my way of seeing the world. <> I spend a lot of time with Fluxus after that and was especially moved by Ken Friedmans amazingly clear headed way of looking at things. He may or may not be altogether right in all of his ideas I really couldnt say - but he is definitely clear headed about them and you have to admire that. I consider him an inspiration in my work since about the year 2000. <> My main Fluxus-like activities since that time are in the realm of collage poetry and collage sound works. I have also been compiling early works that fit the fluxus profile that go back to as early as 1975 meaning that this year 2005 represents a thirty year mark. <> Aside from these things, a broader activity of mine has been working to short circuit the idea that an art movement has a beginning, middle and end usually of a very short duration and involving a very small circle of associates. With the internet and mass communication I do not believe that movements have such a cut and dry history or that they involve so few people. <> I notice that things, especially ideas and the influence of objects that contain ideas, live in a continuum and spread like a virus into the minds of artists all over the world and across many generations. I do not believe historians want to deal with the fact that all art movements are still being played out by whatever artists decide to embody them. This spread across barriers I think is especially notable in Fluxus history with its use of an international mail network and the continued life and influence Fluxus clearly still has on the current internet generation. <> Art, since it is not fashion that is here today and gone tomorrow, moves in large multi generational waves and any artist is, at any given time, a conduit for one or several artistic trends. Artists embody the ideas that are still being played out and the tug is always between fresh, new adaptation and a love of nostalgic regress. Both have their place and should be experienced as pleasantly coexisting impulses. <> So, as the old Fluxus starts to dry out a bit and wrinkle, new blood should feel free to pick up anything anywhere and continue happily along. Let no one stop you, time is a sharp blade, the field always remains freshly plowed.
FLUXLIST: SOUND COLLAGE - new email group
Greetings all, For those of you with an interest is sound collage, that is, sound works that are constructed from parts taken from a diverse body of sources, Please consider joining the new email group SOUND COLLAGE at http://launch.groups.yahoo.com/group/soundcollage/ Share your sound collage works, discuss this sort of musical composition, software used to create your sound works, aesthetics, history and direction of this new media. Cecil Touchon http://ontologicalmuseum.org
FLUXLIST: non-objective collage poetry
A new exhibit of Suprematist non-objective collage poetry. http://suprematism.org/touchon002.html Watch for the collage museum's ad in artnews magazine in the december issue. Cecil Touchon http://cecil.touchon.com
Re: FLUXLIST: Fluxus Anthology 2005
Sol Nte wrote: Walter Cianciusi wrote: Dear Walter, Sorry, I have to withdraw. No offense, but I do not intend to appear on the same label as Ken Friedman, Sol Nte. Keep spirit high and all the bests, Eric Haha..Priceless! Sol. That should be his contribution!
Re: FLUXLIST: An Historical Atlas of Fluxlist - Proposal
How many fluxfolk are in the north texas region or close enough to drive in for an event? (DFW area) I just moved to fort worth texas from cuernavaca. We still have our things happening there but I wanted to get my 10 year old in a US school. Cecil Touchon fluxnexus.com Allan Revich wrote: Allan is in 2. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of JJ Sent: Thursday, November 03, 2005 11:32 AM To: FLUXLIST@scribble.com Subject: Re: FLUXLIST: An Historical Atlas of Fluxlist - Proposal Great Idea!! I'm definitely interested. Julie J. 1994-2004 10 Years of Fluxus Bucks! Surprising the Network one Fluxus Buck at a time... Mail me art---or a request for Fluxus Bucks! Dr. Victoria Fluxbuxenstein p.o. box 495522 Garland, TX 75049-5522 USA __ Yahoo! FareChase: Search multiple travel sites in one click. http://farechase.yahoo.com
Re: FLUXLIST: RE: Phew! fluxbox II too (2)
I didn't get one. Cecil Touchon Potter, Nick (Spotswood) wrote: Yeah Roger Im still waiting for my box II too. Crispins email below said that Carol I were next a year ago.. Hi Crispin ;) Nick. -Original Message- From: Crispin Webb [mailto:[EMAIL PROTECTED]] Sent: Wednesday, 11 August 2004 5:50 PM Subject: TWO BOXES THESE BOXES WERE MADE TONIGHT TO BE MAILED TO SEVERAL PEOPLE I HAVE ALSO MADE TWO FLUXLIST BOXES AND THEY WILL BE SENT OUT TO WALTER AND MERYL NICK AND CAROL ARE NEXT IM ON IT NO WORRIES THEY WILL BE ARRIVING ON YOUR DOORSTEP SOON CRISPIN = From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]] On Behalf Of Roger Stevens Sent: Friday, 29 July 2005 10:25 PM To: FLUXLIST@scribble.com Subject: FLUXLIST: Phew! Thats done then. I put the 1500 posts into subject groups. Okay until someone cleverly alters the title a bit. And I did skim them rather. But now tis done and they are all safely filed away in the archive. There was a lot of poetry there and not just from John. Maybe we should do another poetry book like Happy New Ears. I know we tried once and it fizzled out through lack of entries. But whaddya think? Id be happy to collate it again. Also I still havent received my Fluxlist Box Number Two. Is anyone else still waiting? Time for lunch. See you later. Roger
Re: FLUXLIST: BOYD AND FRIEDMAN PHOTOGRAPH
Yes I concur with Alan's astute observation... (love that photo) cecil [EMAIL PROTECTED] wrote: who's who? ken's on one side and don on the other.
Re: FLUXLIST: BOYD AND FRIEDMAN PHOTOGRAPH
and to clarify, Ken is the one with the glasses on with long sleeve shirt, standing on the step. Cecil Touchon wrote: Yes I concur with Alan's astute observation... (love that photo) cecil [EMAIL PROTECTED] wrote: who's who? ken's on one side and don on the other.
Re: FLUXLIST: FRIEDMAN AND BOYD PHOTOGRAPH
Again, Ken is the goofy looking one with some white spots all over him and casting a shaddow to the right (his left) and wearing a pair of shoes and smiling with shoulders slightly tilted toward Don. That should clear it up I would think. Cecil [EMAIL PROTECTED] wrote: just to be extra sure that we're all singing off the same hymnsheet here, Don is actually wearing glasses, a hat, trousers and is standing on one side of a step, whereas ken is wearing trousers, a hat and glasses and is standing on the 'other' side of the step and to clarify, Ken is the one with the glasses on with long sleeve shirt, standing on the step. Cecil Touchon wrote: Yes I concur with Alan's astute observation... (love that photo) cecil [EMAIL PROTECTED] wrote: who's who? ken's on one side and don on the other. Oh Odin's Underpants its a B(owman)LOG http://bowmansramblings.blogspot.com/ Visit the Freeformfreakout Organisation Online: www.freeformfreakoutorganisation.net
Re: FLUXLIST: rod .PHOTOGRAPH
Ken Dodd In some inscrutable way he looks like a cross between of G.W. Bush and... and Paul Wolfowitz [EMAIL PROTECTED] wrote: -Messaggio Originale- Da: Rod Stasick [EMAIL PROTECTED] ken-don Rod tch! pity i was rather hoping it was ken dodd http://www.chucklebutty.co.uk/kendodd.html --- Now playing: that ongoing inner battle, do i get a whisky or do i go to bed? Oh Odin's Underpants its a B(owman)LOG http://bowmansramblings.blogspot.com/ Visit the Freeformfreakout Organisation Online: www.freeformfreakoutorganisation.net
FLUXLIST: SPHERE OF INFLUENCE
SPHERE OF INFLUENCE Go into the middle of a large, dense crowd with a stick of chalk (and a chalk holder if you have one) moving backwards begin drawing a line into a circle aprox 14 feet in diamiter asking people to move out of your way as you draw the circle. As you complete the circle ask people to exit the circle through the remaining opening before closing the circle. Draw the circle closed with you in it. Keep moving around the circle perfecting the shape of it and keeping people out. For added fun, if you have 3 or 4 friends willing to participate you can add some additional elements. You dress in a suit or smock, your friends as body gaurds. Have friends keep people out of the circle while you stand on the middle. With friends as 'bouncers' leave a small opening in circle as a door and sell tickets to the crowd to be inside the circle or give away tickets selectively. In combination with # 2, have a radio (or musician) and make a micro disco out of the circle for people to dance. Cecil Touchon, 2005 for DDD (day de dada)
FLUXLIST: Exquisite Family Records
The Exquisite Family is under constrcution First results are on line at http://ontologicalmuseum.org/museum/exquisite-family/exquisite-002.html
Re: FLUXLIST: GIVING A RATS ASS
I don't have any rat's asses. where do you get those anyway? Cecil http://fluxnexus.com
FLUXLIST: The Exquisite Family
The Exquisite Family Records The Fantastic, Far Fetched, Outrageous, yet Highly Detailed Exploits and Rumors Thereof. An email group has been established for the purpose of creating the Exquisite Family Records. The archivist posts a old photograph or some other conversation piece, Members then fabricate a history based on a close observation of the photograph being as detailed as possible The archivist clarifies the details with questions compiling into a web document Other images and information are added based on researching the details proposed. Gradually an entire world is created around them. The Exquisite Family includes various generations, their friends, enemies, exploits etc. The central charactors are from the family name Exquisite. Group home page: http://groups.yahoo.com/group/exquisite_family Group email: [EMAIL PROTECTED] You are cordially invited to join this group and start working on what will become a website and hopefully the book and who knows, "The Exquisite Family, the movie (parts1,2 and 3)"!
Re: [fluxnexus] Re: FLUXLIST: FLUXUS AND THE PLASTIC ARTS
Good one Rod!! The Twelve Noble Moots [Meditation-0022] Consider the 12 fluxus ideas of Ken Friedman Is 12 the right number? Is it really some greater or lesser number? Is it actually some other group of criteria? Is there actually any criteria for determinng a fluxus work's fluxicity? Explain.
FLUXLIST: FLUXUS AND THE PLASTIC ARTS
Hi Rod and All, This is kind of funny listening to an answer to mail from two weeks ago (12-05-05)... I am starting to recreate drawings from 1975-77 for my upcoming 30 years of Fluxing Around Retrospective. First drawing is , take a sheet of paper (mine is 26.5 x 40 inches) and a new pen scribble on the paper till the ink runs out. It is kind of fun and takes a long time! I was thinking, if anyone would like to perforn this work and send the results for the retrospective it would be really cool. Results will be donated to the Ontological Museum. Cecil http://fluxnexus.com Rod Stasick wrote: The generation of Fluxus guys don't have much choice in the manner as to whether they're associated with the term Fluxus or not - especially in a world of naming in order to make something real - like taking snaps during your vacation: Eiffel Tower hardly exists, does it, unless pix are taken and passed around, huh? .etc.
FLUXLIST: THE SPAM POETRY GAME (#001)
Round One of the Spam Poetry Game is shaping up nicely. Still about 4 hours till the deadline. http://ontologicalmuseum.org/museum/spam-poetry-game-exhibit/index.html Cecil Touchon -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- ONTOLOGICAL MUSEUM http://ontologicalmuseum.org 307 Calle de las Piedras Cuernavaca, Morelos, Mexico, 62270 Tel. Cuernavaca +52 777 313 4675 New York City +1 646 405 7232 Los Angeles +1 323 284 5007 London +44 0207 01 96 363 ONTOLOGICAL MUSEUM CONSERVATORY #5-B PRIVADA PERICON INT. 4 Cuernavaca, Col. Miraval Morelos Mexico 62270 Tel: +52-777-317-0795 MUSEUM EMAIL [EMAIL PROTECTED]
Re: FLUXLIST: When [not] Clowning
heavy dude! That's an 8 ton poem. Cecil John M. Bennett wrote: When Ton Clowning Ton in my armpit Ton in my wallet. Ton in my fingernail. Ton in my aptitude. Ton in my flopper. Ton in my driver's seat. Ton in my bucket. Ton in my cash advance. John M. Bennett At 01:01 PM 5/23/2005 -0400, you wrote: When Not Clowning Not in your armpit. Not in your wallet. Not in your fingernail. Not in your aptitude. Not in your flopper. Not in your driver's seat. Not in your bucket. Not in your cash advance. Allan Revich The Fluxus Blog http://www.digitalsalon.com/weblog/ From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]] On Behalf Of John M. Bennett Sent: Monday, May 23, 2005 10:36 AM To: [EMAIL PROTECTED] Subject: FLUXLIST: When Clowning When Clowning Slack the ebuceci in your armpit. Bag the elzzip in your wallet. Sop the nig in your fingernail. Deep the llabhtom in your aptitude. Slake the gnitsiwt in your flopper. Buy the yrfhcnerf in your drivers seat. Lash the toofbulc in your bucket. Mime the koobenohp in your cash advance. John M. Bennett __ Dr. John M. Bennett Curator, Avant Writing Collection Rare Books Manuscripts Library The Ohio State University Libraries 1858 Neil Av Mall Columbus, OH 43210 USA (614) 292-3029 [EMAIL PROTECTED] www.johnmbennett.net ___ __ Dr. John M. Bennett Curator, Avant Writing Collection Rare Books Manuscripts Library The Ohio State University Libraries 1858 Neil Av Mall Columbus, OH 43210 USA (614) 292-3029 [EMAIL PROTECTED] www.johnmbennett.net ___
FLUXLIST: END OF ROUND ONE GAME ONE OF THE SPAM POETRY GAME
END OF ROUND ONE GAME ONE OF THE SPAM POETRY GAME Soon the results will be compiled by our panel of poetry experts. The results anounced soon Stay tuned for Round Two! Operators are standing by.
Re: FLUXLIST: Fluxdrink Time
Allan Revich wrote: Re: FLUXLIST: Fluxdrink Time A drink was drunk. Allan Revich The Fluxus Blog http://www.digitalsalon.com/weblog/ From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]] On Behalf Of Allan Revich Sent: Wednesday, May 18, 2005 9:43 AM To: FLUXLIST@scribble.com Subject: RE: FLUXLIST: Fluxdrink Time Friday May 20, 2005 6:00 PM EST - Fluxdrink I will raise a glass of Canadian beer in a Fluxtoast to Fluxus and the Fluxlist To honour this event I request that you post a Fluxdrink event story to the list. Random entries, simultaneous entries, and ripple effect entries are all welcome. Non-entries, and anti-entries are especially welcome. Allan From: owner-FLUXLIST@scribble.com [mailto:owner-FLUXLIST@scribble.com] On Behalf Of Ann Klefstad Sent: Monday, May 16, 2005 11:00 AM To: FLUXLIST@scribble.com Subject: Re: FLUXLIST: Fluxdrink Time Ach nei its my view that ingestion is a perfectly personal affair. But if people would like to note what theyre hoisting and if they wish why (what does the drink do to them, whats the desired result?) that would be lovely. As noted, I usually think of drinks as dissolving something and leaving something in its place (water solvent to thirst, precipitates gratitude; whiskey solvent to thought, precipitates presence; milk solvent to oreos, precipitates memory and/or shame, so often the same thing; gin and tonic solvent to winter, precipates the desire to shed shoes; etc etc) --perhaps interesting to play this. An agreed time solstice, Midummers Day? (I believe called in England, what, St. Johns Eve, or Beltane, or some such?) Sundown? So its not simultaneous but rippling like a wave over the surface of darkening earth? On 5/16/05 9:48 AM, "Allan Revich" [EMAIL PROTECTED] wrote: I was thinking that at an agreed time GMT we all get together virtually with the Fluxdrink our choice and raise a glass to the Fluxlist. Since Ann has asked the really hard intellectual-type questions, perhaps she can volunteer to score the Fluxdrink event? Allan From: owner-FLUXLIST@scribble.com [mailto:[EMAIL PROTECTED] On Behalf Of Ann Klefstad Sent: Monday, May 16, 2005 10:11 AM To: FLUXLIST@scribble.com Subject: Re: FLUXLIST: ALLANISM 8) Lets have a Fluxdrink together sometime soon! Allan Revich A Fluxdrink! What is it a solvent for? What does it precipitate? Recipes-- AK Drinking a corona as I type - Oh damn! all over the keyboard! Just kidding! haha Cheers! Cecil
FLUXLIST: IT IS TIME FOR AN INVESTIGATION - http://www.fas.org/butler/lehman2.html
http://www.fas.org/butler/lehman2.html If any government wants to they can easily charge any of us for at least 100 counts of SOMETHING and any one of us could most likely be held legally guilty of 95 of them. So what? So nobody is safe once these legalistic bureaucrats bead in on ANY particular individual - its just a matter of spin. Take the FBI for instance. Anyone who works for the bureau is a bureaucrat and if you put bureaucrat and investigation together they combine to make the word nightmare. Add to this that Publicity and Fashion work hand in hand and that the fashionable thing at the moment is to have a lot of publicity about finding terrorists, especially bio-terrorists coupled with the problem that they can't find any, then you have a high degree of probability that these bureaucrats, who need good publicity showing that they are doing something, are going to arrest the next best thing, outstanding citizens who have a resemblance to what they are looking for, like scientists, artists and, well... anybody. If, therefore, they investigated themselves bringing the full force of the bureaucratic investigative gaze down upon each one in turn and brought an appropriately selected 100 charges fitted to each individual. The FBI would be kept very busy up until each and every one of them is in prison for 96 counts of bullshit. This might be a good retirement program for the government in general. Prison for all. So we have to ask ourselves the question: Why isn't anyone in charge of this pack of bloodhounds training them to go after the fox instead of whatever is moving? Where is the sport if the hunting party has utterly no discrimination about what constitutes a good chase? What good fisherman doesn't release most of what he catches? If there is anything that begs attention just now it is that writers and poets, artists and designers, critics and philosophers take some time to contemplate how we might suggest some sort of simple litmus test or set of guiding principles for these bureaucrats to use so that they do not waste time, taxpayer resources and the lives of private citizens in the pursuit of 'justice'. They seem to have lost their way and need our help. Let us turn our astute eyes and ears and critical minds to these bureaucrats and fashion elegant solutions that might serve to protect us all and our mothers, sons and daughters from the cruel treatment of the bureaucratic wheel that crushes all before it. Let the proposals for the safe use of governmental power begin!
FLUXLIST: THE SPAM POETRY GAME (#001)
Below are some random words found 'as is' in some spam trash - you probably got a copy too! Please take this material and do with it what you will to create a poem. If you add words put them in brackets. If you remove anything put it as a remainder after the poem. Time limit 48 hours from this posting. send to [EMAIL PROTECTED] - Did raise, sure surface. Again, widely, I pass. Plant complete letter hundred fast high. Dog interest car letter. Ground, write, life hat, lay. North paint thought map. Among end night evening then much complete. Game, age grow a. Other row burn hand art and eye. Little field own for get use, mile. Left need by bat region. Ready either energy earth. I, men captain must, will me burn. Had, see, seem, was head sit. - Results will be donated to the Ontological Museum for a show later this year and documented online. Thanks, Cecil Touchon http://ontologicalmuseum.org http://collagepoetry.com
Re: FLUXLIST: RE: THE RATS ASS
Fluxus is the only actual group that can be identified with conceptual art over the duration of the last 40 years. They did not invent it nor were they the only ones doing it they are just merely the historically viable group that can be identified with conceptual art. So I am not sure that they need to be specifically recognized with any more than holding the name fluxus aloft and identifying it with concept art they were a handful among thousands of artists working the same field me included. I have been doing some version of it for 30 years now! For that yes, it is cool and for that we should continue with a flux tradition just because it is the only viable group name and why reinvent the wheel? (except for fun of course) Allan Revich wrote: On Giving a Rats Ass: It is an interesting problem, and one that we will probably continue to grapple with. I believe that Fluxus owes its existence to the first generation Fluxus group. I think that what that group started continues to exist independently of them. Like Crispin, I think we should honour the efforts of the first Fluxus group. Like Madawg, I don't think that we should worry about whether or not the remaining members of the first Fluxus group approve of our activities. Allan Revich The Fluxus Blog http://www.digitalsalon.com/weblog/ From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]] On Behalf Of [EMAIL PROTECTED] Sent: Thursday, May 19, 2005 3:44 PM To: FLUXLIST@scribble.com Subject: Re: FLUXLIST: GIVING A RATS ASS In a message dated 5/18/05 5:37:13 PM, [EMAIL PROTECTED] writes: I GIVE A RATS ASS about the old fluxus people what about don talk about someone from the old days of fluxus.. he has been at it for like 30 years.. history is important.. where would we be without it.. marinetti.. wanted us to burn the librarys i would be upset] if that had happened i use the library very very often // didn't mean to bite- I kind of give a rat's ass in that I do look back to see what happened before for some type of context. But Fluxus is a deal where you either get it or you don't. If you get it your work is automatically Fluxus because your work reflects you. To say that one is into Fluxus but doesn't do Fluxus work would seem to me impossible. In the same way artists get rejected their whole lives yet they continue to do their work-it's impossible to hide who you are in your work. Art's spiritual properties lie in this fact. Fluxus is MINE now it has little to do with Yoko or Joseph or Don. by Madawg
Re: FLUXLIST: Fluxus Plastic Parts Study Companion
[EMAIL PROTECTED] wrote: what to do with the papers from DRAWING PROJECT 001? Cecil roll then as tightly as you can and bind them. burn one end use to make the next set of drawings alan "one l" bowman Oh Odin's Underpants its a B(owman)LOG http://bowmansramblings.blogspot.com/ Hey would it work to then dip the roll in wax or kerosene, burn that end and then let the smoke come through the tube to make a fumage drawing? I'll have to experiment with that idea... That also sounds something like my... http://fluxcase.com/fluxnexus-cecil-touchon-scores.html Performance -002 Take one hundred of your drawings and burn them. Compress the ashes into a stick form and make new drawings. Repeat if desired. 1976 Also it could be fun to set the one end on fire and make drawings with it while it's burning.
Re: FLUXLIST: Fluxus Plastic Arts Studio Companion
A good studio is always run in a thrifty manner. So other than throwing them away what are your suggestions Reid for what to do with the papers from DRAWING PROJECT 001? Cecil Reid Wood wrote: Good project, but I'm not sure you need to save the drawing(s). Reid
FLUXLIST: Fluxus Plastic Arts Studio Companion - DRAWING PROJECT 001 expanded
OK then, DRAWING PROJECT 001 (for developing concentration and dexterity) Materials Large sheet of paper sharpened #4B Artist Drawing Pencil An Erasure On the floor or an adequately sized work table or desk lay out your sheet of paper. With your left hand (if your right handed or with your right of your left handed) take up the sharpened pencil In your other hand (hoping that you have two) take up the erasure. Begin drawing a line on the paper and as you do so begin erasing the line the best you can simultaneously Continue until pencil lead requires resharpening. Resharpen pencil Repeat as needed up to 30 minutes daily as a warm up until able to do exercise comfortably. Save drawings for a future project. Possible things to do with the drawings once you have mastered the technique. Make envelopes from them. [Reid Wood] (http://desktoppub.about.com/library/weekly/envelope.pdf) Leave them in the rain and allow them to naturally decompose. [Reid Wood]
FLUXLIST: ALLANISM
For all of the Allans involved maybe we should start allanism or allanon or maybe take the 'flux' out of fluxus and put allan in...well maybe that idea stinks: allanus. Cecil [EMAIL PROTECTED] wrote: Sorry again Allan! I don't know why I keep hitting the e cheaper than cocaine? Oh Odin's Underpants its a B(owman)LOG http://bowmansramblings.blogspot.com/
Re: FLUXLIST: ALLANISM
Al(l)(e/a)n That is really good. The master key to all of those confusing spellings. I was considering just Al for everybody. Cecil Allan Revich wrote: 1) Sorry again Allan! I don't know why I keep hitting the e (Old habits die hard! I appreciate that you are trying) 2) For all of the Allans involved maybe we should start allanism or allanon or maybe take the 'flux' out of fluxus and put allan in...well maybe that idea stinks: allanus. Cecil (Thanks for the offer, but the world has too many isms [and too many Al(l)(e/a)ns?] already google me and you will find mine I am pretty content with Fluxus, whatever it may be) 3) I like Alan Bowman 4) I like Cecil Touchon 5) I like Madawg 6) I like the Fluxlist 7) Lets all be friends 8) Lets have a Fluxdrink together sometime soon! Allan Revich From: owner-FLUXLIST@scribble.com [mailto:owner-FLUXLIST@scribble.com] On Behalf Of Cecil Touchon Sent: Monday, May 16, 2005 9:18 AM To: FLUXLIST@scribble.com Subject: FLUXLIST: ALLANISM For all of the Allans involved maybe we should start allanism or allanon or maybe take the 'flux' out of fluxus and put allan in...well maybe that idea stinks: allanus. Cecil [EMAIL PROTECTED] wrote: Sorry again Allan! I don't know why I keep hitting the e cheaper than cocaine? Oh Odin's Underpants its a B(owman)LOG http://bowmansramblings.blogspot.com/
Re: [fluxnexus] Re: FLUXLIST: FLUXUS AND THE PLASTIC ARTS
Hi Al(l)(e/a)n, Yes I am impressed with Ken's clear and direct thinking in a lot of his essays. I think he is really great. The bad part about it is, it is so clear that one tends not to question it and I wonder about that. I mean I wonder is it actually 12 or did he just like that number. Or he got tired because it was midnight and stopped at twelve or possibly just wanted to have several more than Dick Higgins nine points (maybe out of competition or for a joke.) Just becuase ken said it does that make it true? Were those elements actually present in fluxworks from the getgo? Of course not. Personally I think you could add a 100 more or possibly take out six if you stopped to think about it very deeply. That could be an interesting meditation. Meditation-0022 Consider the 12 fluxus ideas of Ken Friedman Is 12 the right number? Is it really some greater or lesser number? Is it actually some other group of criteria? Is there actually any criteria for determinng a fluxus work's fluxicity? Explain. Allan Revich wrote: BTW: I also agree with Ken Friedmans definition, which may in fact be the best of all, as it accomplishes both succinctness and inclusiveness: globalism, the unity of art and life, intermedia, experimentalism, chance, playfulness, simplicity, implicativeness, exemplativism, specificity, presence in time, and musicality.
FLUXLIST: THIS WILL BE OUR ABSOLUTE ENDEAVOR
Is your_family prepared for the next terrorist attack? My thoughts were; What kind of terror attack was this? I needed more information... but none of the cable or radio stations had information. Disaster/Problem! Sheer panic! Someone had punched the wrong button and the wrong tape was played My fears were real. My frustrations were real. My feeling of ineptness was real. I recommend you follow my lead and do the same! Available for a limited_time: HOW TO PREPARE FOR THE NEXT [FLUXUS EVENT] THIS WILL BE OUR ABSOLUTE ENDEAVOR We have sought to be in touch with you on a lot opportunities and we hope for you this time! Your current situation certifies you. However, based on the fact that our previous attempts to be in touch with you have failed, this will be our last attempt to lock you in. Please finalize this final step upon receiving this notice immediately, and complete your now. It's your decision. Make use of this final offer. going here will help you to do so. Apply Here.
FLUXLIST: Proposal for a New FluxMember Starter Kit - Part One: A Collection of Ideas About Fluxus (expanded slightly)
A Collection of Ideas About Fluxus "...it was meant to be a long-lasting idea or tradition with continuing converts and practitioners. That is the way I look at it and that is the way I deal with it. I think it should be open to anyone who wants to practice it. " [Don Boyd] "I think what makes Fluxus so dynamic and interesting to me is that there is no definition - I wish people would just accept that. The appealing idea is that Fluxus is inclusive. Artists spend most of their careers being rejected which is why Fluxus is so refreshing..." [Dawg] "Fluxus is not a moment in history, or an art movement. Fluxus is a way of doing things, a tradition, and a way of life and death." [Dick Higgins]* "Fluxus is more valuable as an idea and a potential for social change than as a specific group of people or a collection of objects." [Ken Friedman "1) Fluxus makes the mundane magical., 2) Fluxus happens when one feels that life and art must be taken so, seriously, that it becomes impossible to take life or art seriously. 3) Ordinary acts and ordinary objects perceived in extraordinary ways." [Allan Revich] three obvious things about Fluxus by [Allen Bukoff] Fluxus is more than Art. It's bigger than that. To confine it to being understood as being primarily a phenomenon in the realm of art is to let it die. Fluxus can still be a vibrant and energetic force. By refusing or failing to recognize this for the last 20 years, you have been letting Fluxus die. Fluxus is bigger than you. Fluxus is bigger than the initial group or Fluxers, it's bigger than Maciunas. You guys didn't finish off or "complete" the Fluxus project, you just got it started! Many others have come to Fluxus with new Fluxus ideas and projects, and many of you haven't even bothered to notice. By confining Fluxus to yourselves, you are letting it die. "I have no idea how to answer!" [Alan Bowman] "Why on earth we would want to(say what it is)?" [Alan Bowman] "40 years after the first fluxus ventures the word has come to signify much more than it ever did and the world has come to expect more from fluxus than there ever was." [Alan Bowman] "Fluxus is the "event" according to George Brecht: putting the flower vase on the piano. Fluxus is the action of life/music: sending for a tango expert in order to be able to dance on stage. Fluxus is the creation of a relationship between life and art, Fluxus is gag, pleasure and shock, Fluxus is an attitude towards art, towards the non-art of anti-art, towards the negation of one's ego, Fluxus is the major part of the education as to John Cage, Dadaism and Zen, Fluxus is light and has a sense of humor." [Ben Vautier] "fluxus has been hijacked, adopted, assimilated, morphed, borrowed, plagiarised, reworked, overworked and overblown and we've made something else out of it." [Alan Bowman] "Fluxus is inside you, is part of how you are. It isn't just a bunch of things and dramas but is part of how you live. It is beyond words." [Dick Higgins] "Perhaps its time for a new fluxus manifesto." [Alan Bowman] "It is important that we define fluxus 'now'. [Alan Bowman] "Try to imagine being in a room with ben vautier, emmett williams, ay-o, jean dupuy, philip corner, yoko ono, nam june paik, takako saito, serge III, ken friedman, dick higgins, alison knowles, yoshi wada, geoff hendricks,larry miller, george brecht, etc, etc, etc.work out from there what fluxus is! and then look at your on work - what's the criteria?" [Alan Bowman] "In my expereience the people we know to have been involved in fluxus, don't really believe that it exists." [Alan Bowman] "Whats said about ducks might help out here ... If something walks and quakes like a duck it is, in all probability, a duck ... or perhaps it could be a drake ... so if SOMEthing looks, sounds smells, tastes and/or feels like fluxus, in all probability, it is fluxus . or it could be SOMETHINGfluxus masquerading as SOMETHINGneoist or visa versa ... then again it could be any number of things even ZENzing maybe? ... in all probability, its much easier trying to work out if youre a duck ... or a drake ... or SOMETHINGconcrete ... than it might be trying to work out whether or not youre fluxus ... the HARDbit, it seems, is knowing just exactly what fluxus looks, sounds smells, tastes and/or feels like." [Ray Norman] "Someone is going to have to take the horn by the bulls." [Alan Bowman] "Stop worrying about the past. If you want to be fluxus, be fluxus that's fine. But be prepared for opposition. Unfortunately the sheer inability to define fluxus as one concrete thing is always going to stir shit up. [Alan Bowman] "In Fluxus there has never been any attempt to agree on aims or methods; individuals with something unnameable in common have simply naturally coalesced to publish and perform their work. Perhaps this common something is a feeling that the bounds of art are much wider than they have conventionally seemed, or that art and
FLUXLIST: Fluxus Plastic Arts Studio Companion
OK Then. So I will begin. Feel free to chime in. THE ALL NEW FLUXNEXUS PLASTIC ARTS STUDIO COMPANION DRAWING WORKSHOP DRAWING PROJECT 001 (for developing concentration and dexterity) Materials Large sheet of paper sharpened #4B Artist Drawing Pencil An Erasure On the floor or an adequately sized work table or desk lay out your sheet of paper. With your left hand (if your right handed or with your right of your left handed) take up the sharpened pencil In your other hand (hoping that you have two) take up the erasure. Begin drawing a line on the paper and as you do so begin erasing the line the best you can simultaneously Continue until pencil lead requires resharpening. Resharpen pencil Repeat as needed up to 30 minutes daily as a warm up until able to do exercise comfortably. Save drawings for a future project.
Re: FLUXLIST: FLUXUS AND THE PLASTIC ARTS
Hi Allan, Thanks for responding. I was thinking more along the lines of Friedman's speculations (assuming other flux artists agree with him)... globalism, the unity of art and life, intermedia, experimentalism, chance, playfulness, simplicity, implicativeness, exemplativism, specificity, presence in time, and musicality. Using this idea, I would say any mature mondrian work is a fluxus painting (except that he was a little too early) Especially if other artist continue to take the simple idea and make more paintings in a neoplastic manner - rectilinear divisions , rectangles, black, white, blue, yellow and red. They are programatic, systemic, repeatable anonymous, global, experimental, concept based, chance based, simple, unadorned, minimal, nondecorative, exemplicative, implicative, specific, etc. It seems to me they have just about everything. Are they fluxus-like works or in line with a contemporary fluxus idea? Would an artist today doing them as such be a fluxus artist if he called himself one? Just about any modern glass skyscraper would also be a fluxus work would it not? Even a sort of oversized fluxkit if you will. I am also thinking, that, like neoplasticim, there are certain things that make a work of art specificly fluxus besides merely calling it fluxus. Qualities that, when you see a work of art with them you are inclined to say, that is an example of what fluxus is as expressed in the plastic arts. Cecil Allan Revich wrote: Cecil's Question: "I would like to start a discussion on how to identify a visual art work as a specifically fluxus art work other than being called a fluxus work or in a fluxus exhibition..." Allan's Answers; Part One: 1) The Easy Way - Put a label on it 2) The Other Easy Way - Have it made by one of the 1st gen Fluxus artists 3) Not so Easy Ways (my interpretations - possibly full of shyte - but they work OK for me) - Early Fluxus artists generally worked with two basic forms - Events and Fluxkits (object collections) - There also seemed to be a very strong ethic of DIY (do it yourself) for both the creation and distribution of the creations. - So, if you made it yourself, distributed it yourself, it was an event (or event score), or it was a collection of small objects assembled into a 'kit' and you called it fluxus - then it probably was Fluxus. 4) The Hard Way - You or somebody else is pretty sure that it has something to do with Fluxus, but it has nothing in common with items one through three (above). 5) The Really Hard Way - You are the only person in the whole universe who thinks the work is Fluxus. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]] On Behalf Of Cecil Touchon Sent: Saturday, May 14, 2005 11:42 PM To: FLUXLIST@scribble.com Subject: Re: FLUXLIST: FLUXUS AND THE PLASTIC ARTS This was the original message Allan I would like to start a discussion on how to identify a visual art work as a specificly fluxus art work other than being called a fluxus work or in a fluxus exhibition. Most fluxus works tend to be performance oriented. How do you go about making a specificly fluxus work of visual art? I would assume that we would consider Ken's 12 fluxus ideas and Dick's 9 points but they are normally thinking about portability and reproducibility as in scores it seems to me. I have a lot of my own ideas that I believe are important additional items when it comes to the visual arts that I would like to bring up if any one is interested in a discussion on the topic. For instance I don't really like chance in the purely mechanical sense as a working tool. Too dry, too meaningless, too uninteresting to be sustainable as an artistic practice from day to day. I prefer serendipity as a working premise which includes chance as a possible element but allows for interplay and discovery on the artist's part which I believe is very important. I also think that chance, randomness and chaos suggest a lack of knowing about thing beyond science such as those things of a spiritual nature. The patterns of life that one does not understand or recognise are called randomness or chaos but this is just a lack of recognition of the greater self organizing patterns of Life. How many on the list are primarily visual artists and what in your work makes it fluxus? Cecil Touchon http://cecil.touchon.com -- -- If you read this far, here is Part Two: "How many on the list are primarily visual artists and what in your work makes it fluxus"? - I don't know if I am "primarily" a visual artist. It is not (unfortunately) how I make a living. It is the primary form that my artwork takes, although I also play music, and do what I can to question the status quo. - Of my visual art, some has very little to do with fluxus (abstract acrylic paintings, figurative drawings), some is related to Fluxus but may or may not be what ot
Re: FLUXLIST: FLUXUS AND THE PLASTIC ARTS
In the list of the following I have not met a single one. None of them have met me and it is highly unlikely that any of us shall ever meet each other and that has always been a perfectly OK arrangement by me. ben vautier, emmett williams, ay-o, jean dupuy, philip corner, yoko ono, nam june paik, takako saito, serge III, ken friedman, dick higgins, alison knowles, yoshi wada, geoff hendricks, larry miller, george brecht, etc, etc, etc. I have never met Picasso, Duchamp, Leonardo or any of the old time cave painters or mayan scribes or rumi except occasionally in a dream now and again but I still know their work and I believe in a trans-temporal, trans-cultural, and trans corporal dialog. I don't believe people need to ever meet each other in person in order to converse with each other and consider each other's work and adopt what one thinks is important from each other. That is why we paint and write things down and keep records and photographs and documents of things. I think while a personal network is important for kicking around ideas for something like the current trajectory of what I will call the fluxnexus - which starts way before fluxus proper and continues far into the future from here moving out of mail networks into internet ones and beyond - we seem to be perfectly happy interacting with each other remotely and I think that is a great thing. Since this is the case, I have to wonder what we are doing holding together this network of aquantences that we have here on the list if it is not to keep a lot of these ideas from the fluxus vain alive and evolving. If this is the case and we are not willing to call ourselves fluxus artist then I say we should agree among ourselves to reconfigure the whole thing, call it a new name and start having so fun. This would call for throwing out the baby and the bathwater and possible keeping the bath tub itself as some sort of place to put ice and beer. Now let's conjecture that we do this among ourselves (I say as the fluxnexus) Then we should start to come up with some new rules of engagement that we invent as we go along and otherwise come up with a protocal of how to interact with fluxus works as in having fluxevenings, or reproducing things we like from the old stuff, make new and improved versions of everything under the new name, make it our own (what we want of it) and carry it with us to the future if viable. I think that id fluxus as an art form is invilved with adopting scientific mehods as a modus operandi then we should go back through and rething everything, conduct experiments and decided what is viable for the future what was just the fashion of the moment. then we will have a start on something new and fun and worth the bother. I don't think that the people on this list are merely a bunch of would be fluxus collectors who are trying to figure out how to trade old flux junk among ourselves. It seems to me that most people are artists on this list and if that is so, what the hell are we doing if we are not redifining this old shit and making it work for us if we truely feel a strong affinity for it. If that is the case we need to work together and do something more cool that what has been happening so far. Coming back to your question allan WHAT IS FLUXUS? I think we need to ask what's going to be fluxus (or fluxnexus) and start constructing our network of cooperative work. Meanwhile I am planning on a big blowout here in cuernavaca during october and november. Everyone is welcome to come down for some bar-b-que and beer (also mexican food, red wine and jack danials). Cecil Touchon http://fluxnexus.com [EMAIL PROTECTED] wrote: i read all three bits! a lull in my ADD or something else? i learned something allan = 48 alan = 38 therefore l = 10 tada perhaps.. anyway, thanks cecil for the full text and allan for your take on it. it's a very interesting area indeed. however, (oh mercy, here he goes agaian..!), i still think that it is important that we define fluxus 'now'. i am not a fluxus artist but i learned this the difficult way. i don't wish to be a fluxus artist, but i do wish to be considered as one who works in a way which can be likened to that thing called fluxus. i no longer feel the need to want to be associated with Fluxus, which i once did. i have had the great fortune to hang out with ay-o, emmett, alison, ben etc. i don't KNOW them, they're not my friends - i know i have the respect of at least ay-o and emmett because of time we have spent NOT talking about fluxus (short times!), the times we spent drinking red wine, the times i helped emmett cross roads in new york, the times ay-o went for coffee and always brought me a cookie! those time are so very special to me, and i namedrop blatantly here and proudly for someone who usually cannot tolerate such a thing. but the fact is that because of the time spent in fluxcompany i came to realise that i
Re: FLUXLIST: FLUXUS AND THE PLASTIC ARTS
d you all by now and found a new and younger gang of Fluxus rabble rousers to continue his mischievousness. I imagine him cooking up guerrilla art activities and staging "terrorist" art attacks against some of the collectors and historians who demean him and you by saying Fluxus was no bigger than him and no bigger than you. Fluxus has the potential to be a bigger, more vibrant and creative force in the world today than even the project George Maciunas imagined. Certainly the world's need for the expanded creativity and the knowing that Fluxus provides is greater than ever. Because of the availability of more publications and catalogs documenting Fluxus work and because of the internet, more people know more about Fluxus than ever before. Fluxus is attracting more people than ever before-as much outside the art world as in. More people than ever before want to participate in and make their own contribution to Fluxus. But you-the founders, the brave pioneers-have turned your backs on them. And you have turned your backs on a marvelous opportunity to expand your legacy and help Fluxus continue. Sincerely, Allen Bukoff, PhD Social Psychologist and Fluxus Artist Birmingham, Michigan --- And all of this leads back to the question What in the plastic arts can be thought of as a fluxus work and how does one go about the process of creating such a work (in terms of a working method or studio practices)? cecil touchon a FluxNexusist
Re: FLUXLIST: FLUXUS AND THE PLASTIC ARTS
Cecil Touchon wrote: "Allen Revich basicly suggests..." Sorry again Allan! I don't know why I keep hitting the e
Re: FLUXLIST: Commentary on the Unified Field of Dogma Theory - A Trans-Lingual Edition
I knew you would. Cecil llan Revich wrote: Thank you Cecil, I feel so much better now! Allan From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED]] On Behalf Of Cecil Touchon Sent: Friday, May 13, 2005 9:07 PM To: FLUXLIST@scribble.com Subject: FLUXLIST: Commentary on the Unified Field of Dogma Theory - A Trans-Lingual Edition What you have been waiting for... The Commentary on the Unified Field of Dogma Theory - A Trans-Lingual Edition http://0-0-0-0.com/ Cecil
Re: FLUXLIST: Fluxify Your World
So is that a zone where you are free to do fluxus stuff or a zone that is free from any fluxus stuff? Cecil Allan Revich wrote: Fluxify Your World With a sheet of Avery pressure-sensitive 2 inch by 4 inch labels and a colour printer you can turn anyplace in the world into a Fluxus Free Zone. Or print the file below onto a sheet of standard letter paper for cutting and pasting into collages or mail-art. The URL below leads to a printable Adobe PDF file. http://www.digitalsalon.com/revich/fluxus-free-zone-avery05263.pdf Allan Revich The Fluxus Blog http://www.digitalsalon.com/weblog/
Re: FLUXLIST: Fluxify Your World
Allan from your blogThere is also the matter of the label being Certified Official, as Fluxus is an entirely free-form anti-organization community where the idea of anybody or group declaring with authority that an event or object is official is antithetical to the Fluxus idea and ideals. Since it is impossible for anything Fluxus to be Certified Official, in the spirit of Fluxus, I have decided to label my labels as being Certified Official. That's very Post-Dogmatist of you! Here, here. http://postdogmatist.com THE OFFICIAL AVANT GARDE How about another label: CAUTION: FLUXUS EVENT ZONE How do you design one of those label sheets anyway? From Cecil Touchon COMING SOON! The Ontological Museum presents; Cecil Touchon: The Most Important Fluxus Artist in Latin America 30 years of fluxing around - 1975-2005: A Retrospective. October - November 2005 - Cuernavaca, Mexico Articles for the catalog to help me look important are welcome. (hehehe) In coordination with the Neoist World Congress/World's Fair The Fluxfest and Fluxhibit of the FluxNexus An Exhibition of Collage Art from Around the World from the International Museum of Collage, Assemblage and Construction And the Annual Post Luck Extravaganza and Bar-B-Q of the International Post-Dogmatist Group. Massurralists and others are welcome. You won't want to miss it, undoubtedly the most important gathering of the 21st century. All the big names will be present or represented including: General Johnny Q. Public (johnnyqpublic.com) who will be speaking about World Peace and the coming Post-Military Global Society. Monty Cantsin (http://montycantsin.com) Monty Cantsin (http://montycantsin.net) Monty Cantsin (http://montycantsin.org) Karen Eliot (http://KarenEliot.com) Reporters from Smile Magazine and the Post-Dogmatist Quarterly The Neoist Society (http://neoist.org) and quite possibly Brad Brace and Yoko Ono (somebody tell Yoko) and you if your coming. To name a few. The whole city is preparing for it. Allan Revich wrote: Fluxify Your World With a sheet of Avery pressure-sensitive 2 inch by 4 inch labels and a colour printer you can turn anyplace in the world into a Fluxus Free Zone. Or print the file below onto a sheet of standard letter paper for cutting and pasting into collages or mail-art. The URL below leads to a printable Adobe PDF file. http://www.digitalsalon.com/revich/fluxus-free-zone-avery05263.pdf Allan Revich The Fluxus Blog http://www.digitalsalon.com/weblog/
Re: FLUXLIST: The Neoist Society
[EMAIL PROTECTED] wrote: In a message dated 4/14/05 10:06:16 PM, [EMAIL PROTECTED] writes: Please see http://neoist.org to see the The All New and Improved Neoist Manifesto and participate in Smile Magazine - material now being considered. Your friends at, The Neoist Society the neoist meeting was yesterday-weren't you there Its also tomorrow. Get ready!
Re: FLUXLIST: FLUXUS AND THE PLASTIC ARTS
"end of discussion" Is that a promise? It was rather long winded. I sort of got bored working my way through it. Cecil [EMAIL PROTECTED] wrote: In a message dated 5/12/05 7:54:11 PM, [EMAIL PROTECTED] writes: I would like to start a discussion on how to identify a visual art work as a specificly fluxus art work o d9j0[9wquyr[0ohf3of3e98uf2hohe87f1329ghffbi;queuncp9fhfh-end of discussion-by Madawg
Re: FLUXLIST: FLUXUS AND THE PLASTIC ARTS
In the face of Eternity even stars are but fleeting sparks. There is nothing that is not ephemeral. So, in the grand scheme of how I see things I don't think duration is much of a qualifier in relation to art objects. I have to wonder if this is more a function of George Maciunas being a commercial artist and an eastern european. I understand from that angle the distain for collectable value and capitalization but I think this is a fashion of doing things that works against any artist who wishes to live out his days as one. This is a great idea for aristocrats and tenured professors who, after all, do not wish to lower the precieved value of their work to mere dollars and cents through having to be reduced to the unsavory business of selling it. Cecil David-Baptiste Chirot wrote: Cecil i don't pretend to know more than a little of Fluxus in the plastic arts--but the pieces i know ofmany struck me as being ephemeral--that is, they are in keeping with this: "the world as we see it is passing" (st paul)-- to me often the works were to be in tune with this, make the viewer aware of the ephemerality of things and seeing things in the passing of time-- i think this relates in many ways to the Eastern infuences in Fluxus-- the piece one is seeeing is making evident that this seeing is passing, is not fixed--and then piece itself is not fixed-- the first definition of "modernism" is from Baudelaire--he wrote that is the conjunction of the ephemeral and the eternal--the eternal with in the ephemeral-- to me the Fluxus pieces are examing this in a vareity of different ways-- these are just some thoughts from the little i have seen and know of the Fluxus pieces in plastic arts--suggestions--to perhaps consider (?)-- From: [EMAIL PROTECTED] Reply-To: FLUXLIST@scribble.com To: FLUXLIST@scribble.com Subject: Re: FLUXLIST: FLUXUS AND THE PLASTIC ARTS Date: Sat, 14 May 2005 14:23:35 EDT In a message dated 5/12/05 7:54:11 PM, [EMAIL PROTECTED] writes: I would like to start a discussion on how to identify a visual art work as a specificly fluxus art work o d9j0[9wquyr[0ohf3of3e98uf2hohe87f1329ghffbi;queuncp9fhfh-end of discussion-by Madawg Download your favorite songs at MSN Music - Over 1 million songs for just 99 each
Re: FLUXLIST: FLUXUS AND THE PLASTIC ARTS
This was the original message Allan I would like to start a discussion on how to identify a visual art work as a specificly fluxus art work other than being called a fluxus work or in a fluxus exhibition. Most fluxus works tend to be performance oriented. How do you go about making a specificly fluxus work of visual art? I would assume that we would consider Ken's 12 fluxus ideas and Dick's 9 points but they are normally thinking about portability and reproducibility as in scores it seems to me. I have a lot of my own ideas that I believe are important additional items when it comes to the visual arts that I would like to bring up if any one is interested in a discussion on the topic. For instance I don't really like chance in the purely mechanical sense as a working tool. Too dry, too meaningless, too uninteresting to be sustainable as an artistic practice from day to day. I prefer serendipity as a working premise which includes chance as a possible element but allows for interplay and discovery on the artist's part which I believe is very important. I also think that chance, randomness and chaos suggest a lack of knowing about thing beyond science such as those things of a spiritual nature. The patterns of life that one does not understand or recognise are called randomness or chaos but this is just a lack of recognition of the greater self organizing patterns of Life. How many on the list are primarily visual artists and what in your work makes it fluxus? Cecil Touchon http://cecil.touchon.com
FLUXLIST: Bakers 1/2 Dozen North American Collage Exchange - Deadline September 1st, 2005
Fellow Fluxists, A new exchange is underway hope you will participate. Cecil Touchon, Director -- Bakers 1/2 Dozen North American Collage Exchange - Deadline September 1st, 2005 An Exchange of the International Society of Assemblage and Collage Artists (ISACA web http://collagists.com) and The International Museum of Collage, Assemblage and Construction (IMCAC web http://collagemuseum.com) Deadline September 1st, 2005 This document may be found at http://collagemuseum.com/collage-exchange-0905.html OPEN TO ALL THEME: Portrait, Bust, Head, Face, Art of Personality, Character Building, Personage. Can be Digital, Photomontage or Collage Artists each make 7 collages, size 9" X 12" , and send them to arrive before September 1st, 2005. One collage is then retained to be part of the permanent collection of the International Museum of Collage, Assemblage and Construction, while remaining permanently on exhibition on the Museum's Internet site (http://collagemuseum.com) and exhibited in an show at the Museum in November '05 as well as considered for future traveling exhibitions and other projects. The other 6 are distributed into parcels which are sent back to each contributing artist. So you send 7 of yours, get back 6 others. Here's how it works: FAQ Quality / Curating / Acceptance? All work by adults 18 and older is accepted. Works will be sorted and exchanged as equally as possible according to quality. The intention of all of the Museum's exchanges is to establish a dialog andexchange of ideas about how to work in the mediums of collage and montage among colleagues. By exchanging actual examples we get to see first hand how each other works. This sis intended to lead to higher standards and more inspired and satisfying work. Join our email group at: http://groups.yahoo.com/group/collage/ Framed or mounted? No frames. 9" X 12" base using acid free mat board, watercolor paper, or other non acidic support of archival value Collages can be any size smaller, then attached to a 9X12 piece of thick watercolor paper or matted. Please use interleafing between collages. (Smooth newsprint, brown craft or white butcher paper work well if you don't have any acid free interleafing paper. I have noticed collages some times stick together. It may also be a good idea to individually place each work into an envelope or plastic enclosure. NOT TOO THICK. Please, no sharp big bits of metal sticking up or unruly 3D items. Keep it flat! Try to keep the maximum thickness down to less than 1/4 an inch. Originals, a series or copies? Works should be original hand constructed paper collages, each unique. If a digital collage or photo-montage is submitted, each should be printed at professional quality and such works should be original in that they are not reproductions of original works in other media and in a limited edition of no more that 15. If you not sure then contact me to discuss it before hand. If prints are used; prints of inferior quality (such as prints from typical home printer on cheap 20 pound letter paper for example) will not be accepted and will be returned to the artist. The usual rule-of-thumb is to make something you're proud enough to sign your name to and that you feel others will be proud to own. Please do not participate if you are unwilling or unable to give it your best effort. International Participants: For getting through Customs: Don't use plant material such as dried grass, twigs, berries On the package label list contents as "collages, for exhibition only" and write a low value. If a package is listed as being worth much more than $100 or so then Customs gets very interested. Any questions? So that we can keep an eye out for your package, let me know if you're going to take part. [EMAIL PROTECTED] Make 7 collages, on 9" X 12" (actual collage area may be smaller, but the 9 X 12 outer size makes packaging easier and less prone to damage). Send : your collages, write on the back of each: your name, this inventory #: 1/2BD-NA-09-05 and contact info: your name address on a sheet of paper, email address(and the URL of your own website if you've got one and want it listed) If you want to select which ones go to the IMCAC that's fine. Additionally, of you only want to donate a work to the museum and not participate in the exchange aspect that is fine too. Please feel free to include a file on yourself with materials about your work to keep on file at the Museum. Send $30.00USD plus return shipping cost (specify your prefered method of return). Can be a check from a US bank, [if you add 4% for the service charge you can use paypal, Visa, Mastercard (name, number and expiration date)] state clearly what your paying for. Dues paying members of ISACA or the IMCAC may take a $10.00 discount off the participation fee. Your membership helps to care for and promote the col
FLUXLIST: Commentary on the Unified Field of Dogma Theory - A Trans-Lingual Edition
What you have been waiting for... The Commentary on the Unified Field of Dogma Theory - A Trans-Lingual Edition http://0-0-0-0.com/ Cecil
Re: FLUXLIST: Visual/Concrete Poetry Site
I didn't see any of my stuff in there on those concrete or visual poetry pages. here is some of the latest http://neoist.org/neoist-manifesto.html - a translingual, transcultural, transtemporal manifesto - Just interpret it any way that suits! I am just starting on a fluxfesto (it will be red). I am also working on How to Make a Collage A kind of sequel to my Things to do with a Piece of Paper from the mid 70's. I would love to have some new instructions to add to it. Examples How to Make a Collage #001 Take some papers Glue them together into a collage. How to Make a Collage #002 Go for a walk pick up paper trash off the street return to studio arrange and glue into a collage. How to Make a Collage #003 Have a poster printed using your favorite typeface and color. Cut into roughly equal units. Shuffle units. glue into a grid-like structure to make a collage. etc. Allan Revich wrote: Fluxers who get their kix from fluxpoetry might find these sites interesting: http://www.thing.net/~grist/ld/lighthom.htm Includes some work from Fluxus artists, Alison Knowles, Dick Higgins, and George Brecht. http://www.concentric.net/~Lndb/padin/lcpcont.htm The author Clemente Padin includes essays and examples of poetry and mail art. Allan aarrR?
Re: FLUXLIST: Check it out There's me!
[EMAIL PROTECTED] wrote: In a message dated 5/11/05 7:40:23 PM, [EMAIL PROTECTED] writes: http://www.abartonline.com/html/nyviews_3_p5.html very nice! too bad no closeup close ups were on the next page above the christo stuff cecil
FLUXLIST: Check it out There's me!
Hey check out the Christo stuff and what? There's me! http://www.abartonline.com/html/nyviews_3_p5.html http://www.abartonline.com/html/nyviews_3_p6.html Cecil
