the posted review is in reference to: Shiomi, Mieko A MUSICAL DICTIONARY OF 80 PEOPLE AROUND FLUXUS Koln: ? Records, 2002 Standard audio CD in jewel case with 16pp insert. Shiomi's short musical pieces are created from creating musical anagrams from pitches obtained from the person's name - from Ay-o to Young and Zazeela (each work is on average 50 seconds long).
I must say that although I am not surprised by the review, I did wonder if anyone else felt as I did that the reviewer only exposed that he has no knowledge of fluxus and or the whole tradition that fluxus is part of? and in answer to his question "who cares?" I do and I hope so should other fluxlisters. Usually I let these things go, but I am just in a pissy mood today. Hey on another matter I am writing an essay on fluxus as a part of a "prehistory of the internet" and I was wondering if any of you had any thought as to how or in what ways fluxus work, activities or ideas are related to (or presage) our current internet age? Not did they do any work on or for the internet but as a pretechnological approach - for example I am proposing that fluxus as it challenges and undermines traditional skill based notions of art is parallel to the opensource movement of today, or that as it is global or international it operated as a network of conceptual connected but geographically dispersed participants. Owen
