Re: FLUXLIST: Music in NYC
Lord Hasenpfeffer <[EMAIL PROTECTED]>wrote > > I hear that Yoko's afraid to do it because of the George Harrison stabbing. > > Lamp Piece. > > Myke I suggest Lamb Piece sounds better with stabbing Bertrand
Re: FLUXLIST: Turc flux trix
I tried a quick translation of your text, you do have some strange politic debates in your country... I could name hundreds of better subject matters for your deputy to discuss about... ;-) Bertrand. > Can somebody translate this into English? I am Turkish and would like to > know what this is all about. I can get the main idea. This is about the > Turkish government recalling high school math books because it thought > they had "formulae" implying PKK (A separatist Kurdish party). Anyway, > gimme a translation and I'll give you more info about it. TURQUERIE : VERS LA SUPPRESSION DES LETTRES " P " ET " K " DANS LES turkish trick: toward the suppression of the letters P and K in the turkish school books? > > MANUELS SCOLAIRES EN TURQUIE ? Le ministère turc de l'éducation nationale a the turkish government asked to the publishers of the school book Can Mathematik to suppress the > > demandé aux éditeurs du manuel scolaire Can Matematik de supprimer les > > lettres " P " et " K " des problèmes d'équation. Le ministère a exigé que letters P and K of the equation problems. The minister has asked that > > les lettres " E ", " G ", " F " et " H " soient utilisées en algèbre pour the letters E G F and H be used in maths in order to avoid unconvenient interpretations > > éviter " des interprétations inconvenables " trouvant que cela pourrait finding that it coulb evoke thez kurdish organization of PKK (Kurdish Party of Workers). > > évoquer l'organisation kurde PKK (le parti des travailleurs du Kurdistan ). > > La question avait même été discutée jusqu'au Parlement turc, lorsqu'un The question was even discussed in the Turkish parliament, when a deputy > > député du parti de la Juste Voie (DYP), Saffet Arikan Beduk, a interpellé of the party of the just way, Saffet Afrikan Beduk, asked by a motion to the minister > > > > par une motion le ministre de l'éducation nationale Metin Bostancioglu: of the National Education Metin Bostancioglu: > > "Considerez-vous que cela soit approprié pour nos enfants d'écrire de leur "Do you consider that it is appropriate for our children to write with thier own pens > > propre stylo ces lettres, qui conduit à penser au PKK ? ". Ce dernier n'a those letters, who lead to think to the PKK?" The latter didn't lose it's time > > pas perdu son temps, il a d'abord demandé le retrait du livre des ventes and asked first the return of the book, then some modifications and informed > > exigé les modifications et informé le député S.A. Beduk. Ankara va-t-il the Deputy Beduk. Will Ankara gets its obsession untill the suppression > > pousser son obsession éradicatrice jusqu'à supprimer tout bonnement les > > lettres " P " et " K " de son alphabet ? Ne craignant pas le ridicule, les of the letters P and K of its alphabet? Not afraid by its stupidity, the turkish authorities > > autorités turques avaient déjà décidé de remplacer les lampes vertes des had already decided to replace the green bulbs of > > feux tricolores du trafic par des lampes bleues dans les provinces kurdes the traffic lights by blue ones in the kurdish areas > > car le vert, le rouge et le jaune sont les trois couleurs " séparatistes " du drapeau kurde. because the green, the yellow and the red are the three sepratistes colors of the Kurdish flag. > > (...) > > > > Le ministre turc de l'agriculture, Hüsnü Yusuf Gökalp, du parti de l'Action The turkish minister of agriculture, Hüsnü Yusuf Gökalp, of the party of the Nationalist Action > > nationaliste a annoncé le 3 janvier 2000 qu'il avait donné les announced the 3rd of January 2000 that he had given > > instructions nécessaires à ce qu'une nouvelle race de vaches, purement the needed instructions in order that a new race of cows, purely turkish, > > turque, soient reproduites en Turquie. be reproduced in Turky. > > > > (...) > > >
Re: FLUXLIST: Yams
> << Yipes--I sent off that post before I read this. Another Popeye fan, how > touching. >> > > And Popeye's not as narcissistic as God, who says "I Am that I Am". (I Am, > therefore I Am -- might have given God a more philosophical sounding nature, > rather than his "my way or the highway" attitude.) Whereas Popeye says humbly > "I yam what I yam, and that's all that I yam." > > (My spell checker wants me to replace the name Popeye with Pope! I think this > suggests a divine link . . .) Anything to do with this pope eye, George Brecht Water Yam? What you see is what you see...
Re: FLUXLIST: Re: FLUXLIST-digest V2 #473
Craig wrote: >I have found some tangential connections between Fluxus folks and > Letterists (etc), but nothing really literal (any avtual > connections -- letters/collaborations/meetings? -- that anyone > might know about between Fluxus and CoBrA). Between Fluxus and Cobra, I d'on't know anything, but I'm sure that some very early Fluxus pieces were performed by Ben and Serge III Oldenbourg at the Festival de la Libre Expression at the american Center of Paris in 1964 and 1965 where Situationnists and letterists performed concrete poetry too. All the more, the adventure of the Cedille qui sourit in Villefranche sur mer, with Filliou and Brecht, which became a meeting point for the french avant-garde and hte Nice school allowed a lot of meetings between those tendancies. The friendship of Brecht and Filliou with someone like Marcel Broodthaers, a former concrete poet ant letterist, can be the beginning of an evidence. Bertrand
FLUXLIST: Letterism and Fluxus
Craig wrote: >I have found some tangential connections between Fluxus folks and> Letterists (etc), but nothing really literal (any avtual> connections -- letters/collaborations/meetings? -- that anyone> might know about between Fluxus and CoBrA). I remember some others very early contacts between the Fluxus bunch and the Letterists, Situationists happened at the Festum Fluxorum of the American Center of Paris in Dec. 1962. François Dufrêne, at that time in the Nouveau Réalistes group, interpreted his "Tombeau de Pierre Larousse", his masterwork of letterist concrete poetry. He used to be one of the very first participant of the Letterism with Isidore Isou, when he was still at school (at about 16, the manifest of the letterism he signed was printed in 1947), and took his distance with the movement in the early 5O's, and built the Internationale lettriste with Guy Debord, which was to become the Internationale Situationniste a bit later. He was the first in France to use a tape recorder to make his poetry, and developed the Megapneume concept with Wolman. And indeed, he participated to the Festum Fluxorum, with Daniel Spoerri, who later had his book published by Dick Higgins (anecdoted topography of chance, french version first published in Feb. 1962 by the gallery Lawrence in Paris)
FLUXLIST: Satie et alii
Dear Ken, dear Sol, I' found this quote out of Dick Higgins' "Boredom and Danger" (in Foew&ombwhnw), and thought it would be of some help... "But it is still a very long way from the musical expressionism, which merely denies that the entertainment are at all to a point, to the situation in which boredom and other, related feelings might actually play a part. In music the key personality in this development, as in many others, is Erik Satie. Satie composed a piece short before World War I, Vieux sequins et vieilles cuirasses, a characteristically programmatic piece in which he spoofs the military and the glories of nationalism. At the end of the piece there an eight-beat passage evocative of old marches and patriotic songs, but which is to be repeated 380 times. In performance the satirical intent of this repetition comes through very clearly, but at the same time other very interesting results begin to appear. The music first becomes o familiar that it seems extremely offensive and objectionable. But after that the mind slowly becomes incapable of taking further offense, and a very strange, euphoric acceptance and enjoyment begin to set in. Satie appears to have been fascinated be this effect because he also wrote Vexations (published in John Cages article in Art News Annual 1958), an utterly serious 32-bar piece (although the bar-lines are not written in) intended to be played very softly and very slowly 840 times. Today, it is usually done by a team of pianists, and lasts over a period of roughly 25 hours. Is it boring? Only at first? After a while the euphoria I have mentioned begins to intensify. By the time the piece is over, the silence is absolutely numbing, so much of an environment the piece become." If my remenbers are good, DIck Higgins pointed out later in the same article the fact that Cage was the great rediscoverer of Satie as soon as in the thirties I'd like to write more, but i hardly have the time to read my posts... Bertrand
FLUXLIST: Satie et alii bis
> that Cage was the great rediscoverer of Satie as soon as in the thirties > > Americans. How was it possible that he got forgotten und how unique was > he ? > > I think there is a permanent stream, how would you see the french > filmmakers ? > > Speaking of moviesand zen Sorry for this Heiko, but I'm french... and Satie wasn't that famous during his life, and was quite forgotten once dead. He still has here the sympathetic image of an obscure small piano teacher (which he was), even though every one knows the Morceau en forme de poire. French did have genius whose humor prevent us to think seriously about what they were doing (Jarry, Roussel, Brisset, Queneau, Perec, Chaissac, Filliou, Gasiorowski, and even Duchamp who was absolutely unknown in the fifties in France -not to speak of the thirties...). We always prefered dogmatics autocrats like Boulez or Breton, Dubuffet, Seurat or Ingres...). And this is a loud historical tendency: think to Voltaire and Diderot/Rousseau, Musset/Chateaubriand, Corneille/Racine, Rabelais, Villon /Du Bellay, Marot etc. Bertrand >
Re: FLUXLIST: boredom and danger
> hi everyone, > > i would very much appreciate knowing where i can find 'boredom and danger' > by higgins. > > thank you, > > joshthorpe.com It was published in Foew&ombhnw, a Dick Higgins essays and critics book, Something Else Press, 1966 or1967, I can't remelmber exactly right now.
Re: FLUXLIST: Recent posts
> > Even in his day, I think Mozart had a publisher. And his music wouldn't have > > survived if it hadn't been written down on paper. > > Still, his music was legitimately "released" and later embraced by the public > all without the assistance of "cover art" which was my point. To feel a sense > of illegitimacy about the state of one's music because it has no associated > cover art is a result of what man has done with Edison's original invention > and idea. As far as I know, such thoughts didn't exist before the existence > of recorded music. > Myke For sure, LP's covers had to wait until Edison to appear as a fruitful idea... however, it seems to me that written music, and I'm not only speaking of the enluminated religious song codexes of the medieval ages, used to be loudly illustrated, particularly when the were published, as far as music, since the Eighteenth century used to be known through publication of partitions in a large scale. XIXth century had even some of its best painters used to illustrate the partitions of the most advanced composer of their time, like the Nabis did with the Théatre de l'Oeuvre of Charles Lugné-Poe..
Re: FLUXLIST: Recent posts
> But were such covers generally considered "official" in the sense that > all later copies of the sheet music were supposed to be adorned with the > same graphics the way we treat LPs, CDs, cassettes, etc. these days? > Or was it OK to change things around from one printing to the next > or so perhaps after several years or whatever? > > Myke no of course, because the originality of the music was linked to the author, and not to the interpret, as the pop music did since. However, we only consider short periods of time, and nothing allows us to think that those fetish LP covers will always remain the same in the future... However, I'm fed up with those posts of music collectors: lp's maniacs already have their own lists and really don't have to invade this one. Bertrand. P.S. For Henry Flynt's concept art, you can find his text on line on the site Henry Flynt's Philosophy... the URL was given on the list some monthes ago...I'll try to find it back in my archives for tomorrow.
Re: FLUXLIST: useless art
> i just ordered "the four suits" by knowles, patterson, corner, and schmit > for $25 US from another bookseller. we'll see how it turns out. I found it less interesting. I've just bought myself Manifestos 1966, also published by Dick and the SEPress. Great, great, great, contributions. By the way, I'm looking for Visible Language, a 1992 issue dedicated to Fluxus. If ever anyone on the list has it... Josh, I can recommand you Jefferson's Birthday/Postface, one of Dick Higgins best's book, but slightly too expensive (I've never seen it under 200$!)
Re: FLUXLIST: useless art
- > Josh > You mean "Meaningless Work" right? It's also in An Anthology. I think I have > a copy of it on file which I could email to you if you like. > > RA if ever it wasn't to har to send a copy to me too... Bertrand. [EMAIL PROTECTED] By the way, may be we could begin some online fluxus library, with out of prints texts that we may have by our personnal libraries... Although, the problem of copyrights remains
Re: FLUXLIST: quest
> THREE AQUEOUS EVENTS > ice > water > steam It's George Brecht > What is the exact wording of one of Eric Andresens 'Opera Instruction', > which according to my mind goes like this: > > do try to and/or not to do something significant. There it is: Opera Instruction Do and/or don't do something universally. 1961 > I'd be greatful for help > > Lei Fo Your welcome. Bertrand >
Re: FLUXLIST: Fluxus History (Gutai Group)
- Message d'origine - De : Sol Nte <[EMAIL PROTECTED]> À : <[EMAIL PROTECTED]> Envoyé : jeudi 20 avril 2000 14:15 Objet : Re: FLUXLIST: Fluxus History (Gutai Group) > Heiko's thoughts on pre-Fluxus Fluxus remind me that I always wondered what > contact if any was made between artists that would become part of Fluxus and > the Gutai Group in Japan. > > Any thoughts/ info from you all would be much appreciated. Of course I'm > sure I've read something somewhere on this but to be honest I often find > myself forgetting various connections. Some things really stick in my head > and others just fly away. Dear Sol I'm answering your question late, but I wasn't at home those lasts weeks (MANY posts...) I know of an exhibition catalogue of Allan Kaprow of 1966, but I haven't read it yet (it has disappeared from the Library of the Centre Pompidou where it was kept). here is it: Assemblage, environments happenings, with a selection of scenarios by: 9 japanese of the Gutai group, Jean Jacques Lebel, Wolf Vostell, George Brecht, Kenneth Dewey, Milan Knizak, Allan Kaprow Harry N. Abrams editor, New York 1966, 343p, ill. SHall be an Artist Book. Hope you can find out something from this. BTW, if ever anyone has it, i'd like to get some copies
Re: FLUXLIST: Fwd: Help
> > I need to research some artists who have > > dealt with socio-economic issues and wonder > > if you could recommend any. try also Matthieu LAURETTE. Does very interesting things here in france: he's been making his living with the "satisfyed or paid back" products, systematically asking for his money.He even built a van with a moving exhibition of this work, and the way to be fed free by the consummer society. He also produced a video with all the samples of his apparitions on the T.V. (as a player in TV games, or as a spectator, when he is in the public and randomly appears on the screen. Bertrand
Re: FLUXLIST: Imagine
and I do not agree with the > >anarchist statement that "property is theft." > The phrase "property is theft" is from Proudhon. His view was not at all > simplistic, but based on a critique of the capital - labour relation... All the more that in this precise case, Proudhon was denying the solution of the collective property raised by Karl Marx: to him, collective property was the best way to create a social monster, unable to adapt himself to the various figures of each individual needs. this was the departure of a very deep rivalry between the two philospohers, culminating with the victory of Bakounin in the elections for the head of the first international, and with the two books "philosophy of misery"/"misery of philosophy", both wrote as pamphlets.
FLUXLIST: how can I do?
Dear all, I'm trying to send a poetry submission as an attachment (some random use of my scanner) but it doesn't appear on the list (even though it's the second time i send it). Is there anything wrong with those rtf files and the server? By the way,i'd like to inform all the fluxlisters of a symposium on John Cage in the American University of Paris, organuized by the University of Nanterre (my school also) the 12th andd 13th of june... If anyone is around and able to come, i'd be belighted to meet. I'll send the programm later, but i know that Tom Johnson, among others, is going to speak. best regards Bertrand. P.S.: Owen, did you receive my post, ( i'm not sure of the address i'm using )?
FLUXLIST: we had greater historical and critical reflection
De : Ken Friedman <[EMAIL PROTECTED]> À : Fluxlist <[EMAIL PROTECTED]> Envoyé : vendredi 23 juin 2000 20:16 Objet : FLUXLIST: Which "we" did Sol Nte represent as list administrator? > Here I will make a personal note of distinction. I was one of the > founders. I would like to have seen a slightly different kind of > list than the Fluxlist we have today. I would have enjoyed a > list in which we had greater historical and critical reflection. > Perhaps one day, I will try to develop such a list. As it is, I am > happy to remain a member. I read, I think, and I enjoy some of > the interactions. Some don't interest me. That's how it is. We are a few that would have liked to see such a list remain, with greater historical and critical reflexion. It's been more than a year since I came to this list for the first time, and I saw it changing progressively to reach today situation. I don't want to judge, but I saw some interesting question remaining without answer, lost in the flux (;-))=[ of absolutely empty mails. The guilt may be our, the scholars that have subscribed to the list and don't write enough, but I also know that our answers are longer to write than the the definitive declaration about the comparated advantages of napster, mp3, and big companies(oh my Lord), and that we hardly have the ability of following the rythm of the mutations of subject matters. Mail lists are wonderful medias for witz, but hard places for a true act of thinking -particuliarly when you're not a native english speaker as I am. And when we try to reach the same level of reacting time as the mp3's fans, we might make a misinterpretation and take an absolutely wrong way -as it happened to Ken when the Lord used Lightworks to show how unfair was MP3 to his shrimphonies (great idea, really). So may be it is our fault, but I really don't know how I could do to follow the posts' rythm (and to be honest, I shall say that I don't know how some of us do): I can't spend my day answering the last post that arrives, whereas I 'm slowly, but surely, snowed under with work. By the way, I remember some of those questions with no debate, no answer, and even no impact: Intermedia; The event and the question of the history of Fluxus raised by DB Chirot -which of course touchs me a lot for many reasons; and some other "light" problems, I won't look for right now (it's late, and I'd better sleep). > I say "thank you" to Sol for prompt, effective action, and I > thank every list administrator who does the work it takes to > keep this list up and running for those of us who take part. > SO DO I Bertrand.
Re: FLUXLIST: Breton removed?
- Message d'origine - De : R.Gancie/C.Parcelli <[EMAIL PROTECTED]> À : <[EMAIL PROTECTED]> Envoyé : vendredi 23 juin 2000 00:51 Objet : Re: FLUXLIST: Breton removed? > > One particularly > > memorable piece from that show was the French guy who canned his own feces > > and sold it as "artist's shit," with the price fixed to the price of gold. > > Manzoni, I think, perhaps Piero Manzoni? I found a website of the cans > that included some discussion on the difficulties such artwork poses for > the museum curator. But Manzoni's a conceptual artist, so who knows? > Maybe the cans are filled with conceptual waste. But I believe the cans > are in some museums... -rosalie Yes it's Manzoni -Italian not French- and yes the Artist shit cans are in museum-at least in France- and we even have someone here, an artist -a great one, Bernard Bazille- that made some renwed pascalian bet upon this can, bought one, and decided to open it as a work of action art. The point to him was: either there is shit, and even though those works are vangard fetishes, Manzoni as an artist is a shit, unable to transmogrify shit into gold either there is nothing in the can, so Manzoni is a thief, a hook, a liar, a buglar but not an artist. Either there is something else, and Manzoni is a genius, to have think that someone may open the can some day to KNOW. The whole thing, the bet, the closed can and the texts surrounding the performance was exhibited in the Museum of Contemporary Art of Marseille, and then, Bazille opened the box in public. And there is another can, anonymous inside it. Which means that Manzoni knew someone would open the can someday, not only to know, but to break the double taboo of the shit and of the art fetish -a bit like the Erased de Kooning of Rauschenberg. but it's still a fetish. More, it is a stronger fetish, because this happening has removed the whole comprehension of Manzoni art, and has confirmed its incredible deepness.
Re: FLUXLIST: RE: FLUXLIST-digest V1 #345
I don't think the Dadaists felt themselves > privledged, i.e. "card-carrying members of the Dada Club," to be able to do > such things You might be right, even though there use to be a real club Dada, in Berlin I think, as far as someone like Kurt Schwitters was clearly refused to enter in in 1919 -because of Huelsenbeck, if my remembers are good, who found him to much "petit-bourgeois" and in despite of the good will of Tristan Tzara. Bertrand
Re: FLUXLIST: Trial by e-jury
Even your now-dead high-fluxist-priest > advocated censuring my ideas online... and all this I don't mind but ONLY > if the lists are truly open, free and democratic. > > Free Fluxlist Now! > > > /:b FREE BRAD BRACE NOW!! LET HIM GO OUT OF THIS CENSURED PLACE NOW!! as he seems to ask for... bertrand
Re: FLUXLIST: Re: FLUXLIST-digest V1 #357
De : CHAMPOY <[EMAIL PROTECTED] > i'm trying to make artworks out of my feces by trying > to eat different kinds of foods and drinking some > edible coloringsany suggestions what other kinds > of food that i might eat to produce such a very > interesting effect on my feces. > > -champoy hate You should ask to Jaques Lizenne, a belgian artist, pope of deceptive art, who is doing exactly the same work for about twenty five years now. I'm also thinking to a french painter, now dead, called Gérard Gasiorowski, who, through thirty years of research on the possibility for the painting to survive in a death-of-the-painting-era, passed through a phase where he sought to be he own tube of paint. He produced at the end of the seventies, a great serie of "juices", figurative and primitive shit-paintings on paper, and another serie he called the "pies", which were some pies cooked in hoven, made out of his proper shit and aromatic herbs of Provence. Bertrand
Re: FLUXLIST: Re: trial [freedom from transgression]
- Message d'origine - De : David Baptiste Chirot <[EMAIL PROTECTED]> > She recounts walking with Picasso thrugh the streets of war time Paris (First > World War) and seeing camouflaged tanks-- > "we have already done that" Picasso says--in reference to Cubism. > Likewise Marinetti's Futurist Manifesto (1909) and other > manifestos, works and actions of Italian Futurism preceded their appearance > as military forms, actions--deaths--in the First World War. I'd add that the french army did asked to modern painters, amongst whom happened to be cubists painters, like André Mare, to work on the camouflage of the tanks, and to conceive them in the "camouflage section" of the Artillery corp as soon as the very beginning of 1915. On this subject, see the "camouflages" exhibition of 1997 in the Historial de la Grande Guerre of Peronne. Avant-garde IS a military term, but cubists were modern painters... not exactly the same world, isn't it?. Bertrand.
Re: FLUXLIST: Time pieces ...
I also think of Roman Opalka, who is making his 1- infinite, 1965, which is a continuous counting work, started by one, two, three, four, five etc. ad infinitum. He writes the numbers in write with oil on black painted canvases, and each time he ends with a canvas, he shoots a photo selfportraict, always with the same frame. This picture is to be exhibited with the painting. It's a great meditative work I like very much. Since the 70's, he adds one per cent of white in the black he uses for the bottom of the painting, each time he changes of canvas. Though, the numbers written ( he has reached the billions I think) progressively disappear in the painting which is becoming clearer and clearer...And you can see the death at work on his face all those 35 years of countless counting.
FLUXLIST: WANTED
Dear all, As some of you may know I'm working on Fluxus for my PhD. I write to all of you today because I'm looking for some documents that some of you might have, and which are unable in France. I'm looking for the wole collection of the Something Else Newsletter (of course not the originals, xerox will be far enough), and, in the same conditions, of the Fluxus News Policy Letter. I've found a complete collection of V TRE here in Paris, and some issues of De/coll-age, Wolf Vostell review, but quite an uncomplete collection, and I'm also looking for the Fluxus Preview Review -still not the original. Thanks for all of you for the help, indications, xerox, support etc. you can bring to me. à très bientôt, j'espère. Bertrand
Re: FLUXLIST: Re: devon'srequest
. > > > This is, btw, a very Flux-before-the-fact book. Who has read it here? I did, some years ago. Really great thing. Announcing most of pataphysics et al.
Re: FLUXLIST: Tristram Shandy
I read those books from Sterne, the Journey, and of course Tristram Shandy, which I remind as a most delightful book, with amazing litterary and poetic inventions, and a remarkable sense of humor. Moreover, it is one of the first novel to play with the categories of the representation of time and space in litterature (as Voltaire did later in his Candide, but in much less brillant way): by the permanent exploration of all the enable means (and meanings) of the litterary creation, but also of the act of writing itself, Sterne blows up the frame of the fiction, the page as the format, the use of letters and words as unique ways of expression in litterature, and the classic construction of the novel. To me, there is a before and an after Tristram Shandy in the litterature history. I might suggest also the lecture of "a Modest Proposal", an actual speech of Sterne at the Lord Chamber in which he denounces the starvation in Ireland by proposing various way of cooking babies to fight the lack of food. I've never read Finnegan's Wake, but Dubliners, Self Portrait and Ulysses remain as some of my best moments as reader -even if I didn't read them twice- which I can only compare to the pleasure I felt by reading Jarry, Lautréamont, Proust, Rabelais, Sade and some others amongst who I like to live, like Mallarmé, Jean Pierre Brisset, or Raymond Roussel. I kept a long silent those last weeks, because I was moving to the west of France, in Bretagne, and also because my first baby is born the 23 rd of august, and this has (and is still) occupied me a LOT. THat's why I needed some time to read all the 560 mails I had received from the list. So I've learned only recently the departure of Ken Friedmann. I'm sad of this new, and I think that it means a no return point: with the quiting of Ken, Fluxlist might have lost the remaining Flux of its name, after the death of Dick Higgins. One may think that Eric Andersen is still here to keep the original fluxus spirit present in the list (bad taste, bad jokes, bad faith, megalomania and paranoia), one can also think that Ken's unsubscribing is of no matter, as far as this list is no more interesting in basically working on Fluxus. I don't think Ken left because of the poor and recurrent paranoic attacks of Andersen and Tamas, but because of the poor interest for Fluxus we demonstrated. And this is why I dont think of this list -which I liked a lot- as the Fluxlist anymore. Bertrand - Message d'origine - De : Roger Stevens <[EMAIL PROTECTED]> À : <[EMAIL PROTECTED]> Envoyé : mercredi 13 septembre 2000 15:38 Objet : Re: FLUXLIST: Tristram Shandy > Badgergirl writes > > >Wait a minute now! I've read both Finnegan's Wake and Ulysses. > > Wow! Every word of Finnegan's Wake? On every page? You didn't skip bits? > If this is true then I am very impressed. > > >I've read Ulysses several times, it's one of my top 5 favorite books. > > So - what are your top 5 books? > > XXX > Roger > > > > >
Re: FLUXLIST: index card/Duchamp
> > I was once again thinking of which Duchamp biography to read (any suggestions? > I would say Calvin Tomkins or Pierre Cabanne. You can also try to find the "Interviews with Marcel Duchamp" of¨Pierre Cabanne (I d'on't if it has been translated from french -original title is Entretiens avec Marcel Duchamp), the very best book on Duchamp I know because itis a book OF Duchamp On Duchamp: Cabann is a rather stupid interviewer, but Duchamp manage to answer intelligently to his dumb questions
Re: FLUXLIST: Tristram Shandy
> > Sterne at the Lord Chamber in which he denounces the starvation in Ireland > > by proposing various way of cooking babies to fight the lack of food. > > Isnt this by Swift ? > > Who is much faster and much more readable IMHO. You're absolutely right...I'd better sleep more, it's good for memory (and take my books out of the boxes that remain) > >
Re: FLUXLIST: response to Bertrand
De : Sol Nte <[EMAIL PROTECTED]> À : <[EMAIL PROTECTED]> Envoyé : jeudi 14 septembre 2000 11:09 Objet : FLUXLIST: response to Bertrand > Bertrand wrote: > > >I kept a long silent those last weeks, because I was moving to the west of > France, in Bretagne, and also because my first baby is born the 23 rd of > august, and this has (and is still) occupied me a LOT. < > > Congratulations Bertrand...boy or girl? > Boy... name is Gaëtan... and he tends to confuse nights and days, which don't allows me sleeping much...but I love him and anything he's doing.
Re: FLUXLIST: response Sol
Disco wrote > I don't know much about Fluxus. I know the few stories I have heard on this > list and the basic facts. Things I have read and learned but my well of > knowledge regaurding Fluxus isn't that deep. so dig into it > I find what I do know extremely > interesting and am eager to learn more. modest huh? ;-))) > I, also, feel it is a bit of a community but I enjoy that. It is what makes > me feel comfortable to talk and have even made friends. > I certainly wouldn't feel comfortable leading any kind of disscusion as I am > not that educated in the Fluxus way What do you mean by not being that educated in the fluxus way?
Re: FLUXLIST: response to Bertrand
Reed Altemus wrote > How about: yes, I have several books by Something Else: Anthology of Concrete > Poetry, Annotated Topography of Chance, FOEW, and Jefferson's > Birthday/Postface. > I have just finished reading all of them, anyone else read any of these and > would > like to start a discussion about any of them? > > Reed I own myself some others: Games at the Cedilla, a primer of Happenings, Four suits, and some of the one you have (FOEW, Jefferson's birthday). My edition of annotated topography of chance is a french one (I think it's from Lebeer Hossman ed., so it's belgian, like my "ample food"). And yes, I would like to start a discussion about any of them (and particularly Postface, who is fascinating me) Bertrand > > >
Re: FLUXLIST: Tired of Fluxus?
> Now, there's an interesting point about Fluxus it'll continue until > people tire of it. > I wonder how many of the original fluxus artists are tired of it? this is a very good question. It's amazing to see how much the original fluxus bunch came to be tired of Fluxus very soon in the "movement" history. But they came back to Maciunas later on (pima donnas...) and it wasn't the same already (I think of the very end of the sixities and the beginning of the seventies). Then came the great Fluxus shows, who were already some kind of revivals ( Fluxshoe, Wiesbaden 82 and 92). Were they tired of Fluxus at that time? Were they exploiting the nostalgia vein? were they truly fluxus artist, even though their actual practices had changed a lot since 62-64? I wonder if the sense of the celebration of Fluxus in Wiesbaden is not something like those festivals of old handcraft trades. > > One problem for Fluxus today is that if new people interested in Fluxus > ideas are not able to make contact with and learn from the Fluxus founders > there is a danger of breaking the continuum of activity required to preserve > the name Fluxus as a useful label for contemporary work. You're certainly right, but are the Fluxus founders interested in sharing their fluxknowledge and legitimity? The ridiculous way that Eric Andersen still say that Ken Friedman came to late to be a truly Fluxus artist, the long controversy we had last year about new and old Fluxus and the use of the Fluxus word for contemporary work of young artists, are quite eloquent in this occurence. Bertrand
Re: FLUXLIST: Fluxus, of course
> so, what things interest me, well many but > in regard to Fluxus I'm fascinated by Something Else Press publicationsI > have my own small collection of them which may grow if I win the lottery or > become a highwayman, what really intrigues me is the clever printing > techniques.. I also have some of the SEP books, and I'm sure that we have almost the whole collection amongst the Fluxlisters. And some other things of interest. We also have the way of contacting the copyright owners of most of the Fluxus publications. Why not putting this in common? buiding an online perfect Fluxus library with the most important publications?-and I don't speak of xeroxing them illegaly, we are a too nice litle community to do such things. No, just trying to build something else, open, free, and documented. Anyone interesting in doing this? > One thing about Fluxus is an inventiveness despite limited > materials/resources and it is that approach that fascinates I believe. yes, we have a word for that in french: "bricolage", which rhymes so well with "collage" sometime. But what is also astonishing in Fluxus, is the care, and the rigor, who animated each fluxus publication, thanks to people like Maciunas and Dick Higgins. Bertrand
Re: FLUXLIST: Tristram Shandy
- Message d'origine - De : Heiko Recktenwald <[EMAIL PROTECTED]> À : <[EMAIL PROTECTED]> Envoyé : vendredi 15 septembre 2000 00:25 Objet : Re: FLUXLIST: Tristram Shandy > > > Isnt this by Swift ? > > > > > > Who is much faster and much more readable IMHO. > > > > > > You're absolutely right...I'd better sleep more, it's good for memory (and > > take my books out of the boxes that remain) > > > > Btw, I have the first french translation of TS ;-) > > Or the second, somewhere in the boxes.. I have it in a pocket edition :-)) > > More trivia, isnt bretany great ? ;-) right now ther's some kind of storm out there, and I can hee the waves on the sand. It's about 4 o'clock but, thanks to the lights of the town on the opposite side of the bay, I see the skiming sea in the dark through the windom of my room, just behind the screen of my P.C. I shall say that the shore begins at the end of my garden. Yes Bretany is great. > Is there some place in the US, which is called like Lands End (in > Cornwall) or Finisterre ? To be honest, I have to confess that I'm not in the Finisterre, but in the very beginning of the Bretagne, in Saint Nazaire (where there is a huge U-Boots Blockhaus left by the german in WWII: maybe one of my favorite place in France).
Re: FLUXLIST: Hansjorg Mayer
Sol wrote: > What I do like about Something Else Press and Hansjorg Mayer is that both > use a trade book format to convey artistic contents which I infinitely > prefer as an artist's book strategyI have never really got into, say > accordion books for example..they're very nice but the outside structure of > the book tells me what to expectwith Something Else Press titles the > contents are an esoteric mystery. Sure, but Fluxus editions frequently used "strange" editions format, like the rolls, not to speak of the boxes and the year boxes of course. Allison Knowles used a lot the rolls, and she actually did some very weird "books" (in particuliarly the gigantics ones). About the quality of its books, Dick Higgins often said that if you are an artist and an editor, then your books shall be done as well -and even better-as the ones done by professional editors. The question of the quality of the books of art was one of the determinant starting point of the S.E.P. (with the fact that Maciunas was alwys delayiong the publication of Jefferson's Birthday...) Bertrand
Re: FLUXLIST: response to Bertrand
dear Sol, once again I spent a long time without being able to follow the Fluxlist movement. I must say that your large mind openness (I'm not sure that this word exist) and your kindness is a true example of tolerance to me. > Bertrand, I agree with you. I don't know what happened exactly..guess it's > been a gradual process but the last few months have seen posts on Fluxus > disappear from the list. No-one seems to want to talk about Fluxus anymore. > Ken's departure doesn't have to be a turning point. We can still discuss > Fluxus but maybe it just doesn't feel the same anymore. this is exactly that that is in question: it just doesn't feel the same anymore, and nobody knows why. Maybe it'is because Fluxus is dead, and just its spirits remains, with many ones to want to hold it. Can Fluxus have lost its actuality in the very moment of its growing recognition? > To be honest it is a little disappointing now not to have the discussions > about Fluxus but there is a nice little community around this list and I > think that those friendship now drive the list rather than an interest in > Fluxus. Maybe someday we'll return to discussing Fluxus amongst friends in > the way we used to but until then there'll be something missing from the > Fluxlist. you're right, people on the list are a nice little comunity linked by friendly feelings, but they have sympathically killed the original spirit of the list -and I count myself amongst the murderers by my lazy complicity. Mea culpa, mea maxima culpa, but it's a bit late isn't it (all the more that there are some interesting things on the list)?
Re: FLUXLIST: Tired of Fluxus?
> One of the problems with the Fluxlist is that it is so much based on > mythology and ignorance. one of the interesting thing with fluxus is that it is so much based on mythology and mythomany > E.g Bertrand wrote: "The ridiculous way that Eric Andersen still say that > Ken Friedman came to late to be a truly Fluxus artist." > > I never said that. What I did was to inform the list that none of the > artists initially associated with Fluxus ever saw Ken Friedman as an > artist. You did not inform the list, you claimed, from your point of view, that none etc. To us he seemed to be an agent and promoter. And that most of us > would have preferred that he promoted something else. Also with some satire > I pointed to the fact that he claims to have made Fluxus work i 1956, being > 6 years old and 6 years before the first festivals in 1962. > Be kind enough to quote me correctly. uh uh, the old "fluxus mozart" story (Wolf Vostell is to be said to have given this nickname to Ken Friedman)... so let me be exact, if not correct, in my quotation also. I bet you remember of this post Ken sent the 26 of August 1999, in answer to a former post of you: "I never claimed to have done Fluxus pieces in 1956. To the contrary, I have stated that I did not consider what I was doing to be art when I was a youngster in New London. I was doing things for which I had no name. Dick Higgins saw one of my pieces when I visited him in New York in 1966. On what he saw as the strength of that piece - a version of which became my first Fluxus box, >The Open and Shut Case< - he thought I ought to participate in Fluxus.[...] Dick sent me to meet George Maciunas. When I met George, he invited me to join Fluxus because of what I had been doing and framed these activities in the context of Fluxus. (Dick has written about that in an essay, I think for an exhibition at Emily Harvey Gallery.) George encouraged me to write down the various nameless things I had done. It is a fact that these pieces are included in my event scores. It is not a fact that I called them "Fluxus pieces" in 1956. This is the account I have always given.[...] As Dick explained the Fluxus Mozart title to me - and he's the one who told me about it -- Wolf Vostell liked my work. Wolf and I traded work several times over the years, so I had no reason to believe otherwise. Eric, on the other hand, disliked Wolf. Eric has often asserted that Wolf - Like Beuys - had no part in what Eric saw as real Fluxus work. Strange that Eric should know Wolf's mind so well at this late date. Unless, of course, Eric is channeling. To put this in perspective, Eric is the man who once explained that George Maciunas never understood anything about Fluxus, either. Of course, their dislike was mutual. George ultimately came to think of Eric as a self-aggrandizing egotist. If, on the other hand, Eric complains that George never understood Fluxus, perhaps it's because George lost interest in Eric's work after one or two projects." end of quotation Bertrand. > > > > > > > > > > > > > >
Re: FLUXLIST: response Sol
Owen Smith wrote (sorry, I keep trying to finsih with my late in posts...) jeudi 14 septembre 2000 17:24 Objet : Re: FLUXLIST: response Sol > Over the last few years as I have explored Fluxus I have become > increasingly dissatisfied with traditional scholarly or historical > approaches to the subject of Fluxus (mine included). As a wanna-be scholar I can understand your circumspection, which the usual circumpstection that any historian or scholar shall have to his subject. But what I seealso is, that all the people that have tried to work ON Fluxus as a subject of research or reflexion has come to such a careful attitude towards it. This might be approached to the openness claimed by Fluxus, and the direct approach that most of the people on the list can have with this subject. And I must admitt, that I cannot understand why Fluxus should avoid the historical perspective or be killed by it. Maybe it is the proof that I haven't work enought on it yet, or that I'm to thick to feel the necessity of this circumspection. The other common point of the Fluxus scholars is to say that Fluxus is too large to fit into an history that would choke it, leaving only a poor and dry skeletton of this lively "movement" (generally this excuse turns something like this: Filliou said art is what makes life more interesting than art, Fluxus is a flux of life into art, life is too complex to be reduced to history, so history will dry Fluxus untill it enters into the poor molds of the history of art). The problem is that I think it is exactly the contrary that may happen: historical and theorical researches are ways to show the richness and the variousness of Fluxus, because they are the best way to avoid the confinment of Fluxus into well, to well, known boundaries: we might not be able to hold the whole Fluxus thing into our hands, and this is good, but the more we will know, look, search and find new things about Fluxus, the more its amazing particuliarity will be obvious. I have to say that > one of the things that bothers me the most, both as an artist and as a > scholar, is ultimately that such approaches by themselves are unable to > either communicate the nature or joy of Fluxus type work. Fluxus is for > me no longer only a historical subject that I am either able to, or > even want to only objectively analyze. I have come to the realization > that to thoroughly communicate what I find of interest or significance > in Fluxus I can not approach it through solely traditional historical > methods or models. You're right, that's why I work on all the texts with an historical charachter wrotten by the FLuxus artists...And later on by all those scholars, critics, gallerists, collectors etc., all becoming member of the great Fluxus Familiy. Their number is amazing amongst the Fluxus Publicus (thanks to Simon ANderson for this denomination) and they are remarquable because they all try to offer an other way to write history...And that's what is interesting to me in this Fluxus adventure also: it shows some good chances to build a new methodology in writing and producing history of art. > Second, all who choose to continue to participate, will be become the > Fluxlist discussion-work groups (as Patterson suggests in the score), > or we could even divide into smaller sub groups, but I think that would > become a bit too unwieldy. So once we are formed into our > discussion-work group we should then (as mentioned by Patterson) > discuss the characteristics, problems, etc. of these models. > Then following these discussions those who are participating in our > discussion-work group (both actively and passively - yes even the > lurkers) should create and score a new composition in this discussed > genre, that is Fluxus and share them with the list. > > OK? Shall we go for it. . . . . . OK for me, I'll follow you.
Re: FLUXLIST: response Sol
De : Porges, Timothy <[EMAIL PROTECTED]> Envoyé : jeudi 14 septembre 2000 18:30 Objet : RE: FLUXLIST: response Sol > Young fluxus was constantly told then that it was nothing new, nothing > important, and so on. Amazing, what tyrannical old farts the dadaists turned > into. So what does this mean for us now? "An Anecdote Ionesco suscribed to one of our suspense poems. The one forwarded to him was Filliou's Branche Autonome of the Galerie Légitime. In May 1966 the following telephone conversation took place in Paris between Daniel Spoerri and Mme Ionesco. Spoerri: Is Ionesco in? Mme Ionesco: No he's out. Sp: My friend Filliou is here with me. You know Ionesco suscribded to one of his suspense-poems. What do you think of it? Mme Io: Well, it's a kind of joke ins't it? Sp: It's humoristic, yes. Mme Io: The Dadaist did that before Sp: Didn't the dadaist write Ionesco type plays 40 years ago? Mme Io: Perhaps. But Ionesco at least is serious. Reported from memory one year later by Robert." In Games at the Cedilla, or the Cedilla takes off, By George Brecht and Robert Filliou, Something Else Press 1967 This is such a wondreful answer from Mme Ionesco that I have nothing to say more.
Re: FLUXLIST: To Name
- Message d'origine - De : Eric Andersen <[EMAIL PROTECTED]> À : Fluxlist <[EMAIL PROTECTED]> Envoyé : jeudi 30 novembre 2000 01:27 Objet : FLUXLIST: To Name > Dear Heiko, > > I wasn't concerned about naming things. And didn't deal with what could > be called Fluxus or not. I objected to your statement that Fluxus > started in Cage classes. It certainly did not. And it certainly did not > originate in New York. Dear Eric That's true, but some of the people that made Fluxus were in Cage or Maxfield's class (Dick Higgins, Maciunas, George Brecht, for example were there,AND in Wiesbaden), and Maciunas himself said that he was making something very next to Fluxus in New York in 1960/1961 with the AG Gallery. And parallely he began to use the term Fluxus for those activities (see the transcription of the videotaped interview with G.M. by Larry Miller of March 24,1978, published in FLUXUS Etc, Addenda 1. INK &New York ed. 1983, excerpts also in A VTRE EXTRA n°11, 1979). The problem is to decide what acception of the term FLUXUS one uses, and what historical point of view one chooses towards this phenomenon. It is obvious that Maciunas did had this word in head long before Wiesbaden to designate his activities with avant-garde art, it is also clear that what it became after 1962 is wider and broader than the single activism of Maciunas . Best regards. Bertrand
Re: FLUXLIST: To Name
Dear Eric, You're right in saying that the first appearance of the term Fluxus was for that lithuanian magazine, but saying that Maciunas had a very little insight into the experimental art scene is a bit strong. He organized the Musica Antica e Nova, with people like La Monte, Cage, Corner, Dick Higgins etc., he had already met Yoko Ono, and even if those concerts was far from having the intensity of the coming Fulxus concerts, they're in a range of matter quite related to them (not to speak of the -too- famous An Anthology he had worked on). About the use of the term Fluxus, I also remind you the card he did for the vernissage of the Galerie Légitime of R. Filliou (exhibiting works of Ben Patterson), which is signed "SNEAK PREVIEW Fluxus...". It was the 3/7/62, and those artists were to become Fluxus people. Anyway I don't agree with the Sivermann's point of view about Fluxus focused on Maciunas, and it's obvious that Fluxus was a trend amongst alot of similar researchs (Gutai, Letterism, Situationism, Neo-Dadaists, some of the Nouveau Realistes etc.), but Maciunas was the catalytisator of what became Fluxus. I've never had the chance to meet La Monte nor Mac Low, but I've read the article where Mac Low relates how Maciunas met NY avant-garde, giving himself the big role into it. And I also remember that Mac Low resigned of Fluxus after the Fluxus Policy Newsletter n°6. About the simplifications of first Maciunas writtings, not one of us could find them interesting, you say, but some ones of Fluxus did, because if not, Fluxus would'nt have exist. They're maybe dated, raw rhetoric, but they were efficient in their time and sufficient in their aim: to rise a collective feeling amongst a bunch of young artists who didn't know exactly what to do with their lonely, but complex and brilliant, reflexions, theories and pratices. Moreover, Maciunas had the ability, not only to agregate people that already knew each other, but also artists unknown of the others, that he had linked to his vision of Fluxus. Bertrand Clavez
Re: FLUXLIST: To Name
> For Bertrand: Yes, Maciunas had many, many wonderful talents, but theory > > was certainly not one of them.Only Ben Vautier could find any interest in Maciunas texts. The > rest of us just went along because we considered them completely > unimportant. We had our own opinions which differed a lot between us. If Maciunas had so short views on avant garde and theory, why did so many artists joined him around the Fluxus Network? Were they cynical, e.g. using his ability to raise concerts and to organise things, without finding any credibility in his conceptions? Maybe Owen would help on this question. Bertrand
Re: FLUXLIST: response to Bertrand
> Bertrand > > What do you think of Postface/JB as a history of Fluxus? What do you think of > Dick > Higgins' theater pieces? What about the "Danger Music" series- interesting? > > RA Dear Reed Postface/JB as a history of Fluxus is something evident to me: the typographical choice of inverting the impression is the pefect recflect of the two ways chose by DH to tell the history of Fluxus: it's the same amount of time, the same point of view (DH's), but two kind of representation of it. It clearly shows the representational, and though fictional even if true, work of the history writing. They can be linked to some other variations on the history writing published by Something Else Press: Al hansen's Primer of Happening and Brecht and Filliou's Game at the Cedilla, both based on raw material, published without apparent chronological order, but with a strong unity of time as in Postface/JB. Bertrand
Re: FLUXLIST: Re: James's question on Ben Vautier
> James wrote: > > >Can anyone tell me what this is --many thanks for any kind of info, > background, etc > > A white folder containing: > > Participations to the Festival of Non Art -- Anti Art -- Truth Art -- How > to Change Art and Mankind --That Took Place from the 1st to the 15th of > June 1969, in the World. (Festival Non Art -- Anti Art -- La Verite est > Art -- Comment Changer L'Art et L'Homme: Partout dans le mond, du Ier au 15 > Juin 1969). Fluxus, Nice 1963. Organized by Ben Vautier.< It sounds as the description of an archive folder, isnt'it? I know this is a bit stupid to say, but to try to answer you, I'd like to know what this folder is, because it's time diversity doesn't recall any specific publicationnn to me, but better a recollection around Ben Vautier's festivals.
FLUXLIST: Fluxus concert in France
Dear friends, first of all I would like to say that I'm really happy to see that the warrior spirit that invades all the medias and a good part of the people, has not reach the Fluxlist. Here in France we had to deal with terrorism in the past decades, even though it never reached those lasts culminations from far, but I can witness for the incredibly heavy atmosphere that is generated by such times, and the hysterical behaviour it can dragg with. Second, I would like to announce, and invite everyone that can, to join us in Annecy (in France, but very close to Geneva) the Sat. 27 of October, in the theater of Annecy (scène nationale de Bonlieu) at 20.30. We're (we is for the 4T FluXuS Association I created some time ago) organizing a Fluxus concert with Ben Vautier there. The entrance is free, and the place is huge (1000 seats!). Performers will be: Eric Andersen, Charles Dreyfus, Takako Saito, Ben Patterson and Ben Vautier (we also hope that John Armleder will be able to come). So all Fluxlisters and Fluxlovers are welcome (please let me know if you come, I'd enjoy to meet you), i'll send you all the informations to book your place if necessary. This concert is a prefiguration of the fluxus festivities we're organizing in France all through the year 2002: a flux festival and an international symposium are planned for the autumn 2002 as the climax of this fluxus season. I'll let you know everything about it soon... Bertrand
FLUXLIST: Fluxus concert in annecy
Dear Fluxlisters, here is an URL where you can find some images of the Fluxus Concert of Annecy http://performers.free.fr/fluxus/annecy.html The concert was really beautiful, ended in a happy mess with the paper pieces of Takako Saito and Ben Patterson. We spent two marvellous days with Eric Andersen, Ben Patterson, Takako Saito, Ben Vautier, Charles Dreyfus and the others, let me thank them all for this in the nam of 4T Fluxus. Great experience, truly. And the artists seems to have enjoyed a lot too. This constituted the opening evening of the 40 years of Fluxus in Nov. 2002 we are preparing in France. We are still negociating the location where the events will take place in Paris, but this concert, and its success (more than 500 peoples, for a concert which was almost not advertised), surely will help our work. We will soon release other images of the concert on the web (those are from Charles Dreyfus, and the site is the one of Richard Piegza). Bests, Bertrand and 4T FluXuS
Re: FLUXLIST: Fluxus concert in annecy
Dear fluxlisters, dear Sol sorry for the error in the address...and congratulations to Alan Bowman to have guessed the end of it! The concert was marvellous, and the audience was wonderfully receptive to the pieces played. Actually, we ended it being invaded by the people coming on stage, and I will always remember Ben Patterson, Ben Vautier, Eric Andersen and Takako Saito gathered on the side of the stage, looking to all those people having fun with the paper and the piano, as if this crazy beavior they had provoked, was their real work. > Sounds like a fantastic event. Wish I could've been there. I'll have to try > and get to Paris for the 40 years of Fluxus in Nov. 2002 please send details > to the list when the venue is finalised. Thank you for the compliments, you can be sure that I will inform the Fluxlist when we will have more precisions about this festival. For the moment we know what we want to do, we know whom is going to come (more or less as ever), and we almost know where we're going to do it. Anyway, 'm sure now that it ill be a great festival, because in France, FLuxus is absolutely nknown (or at least, what is known is a poor caricature of the works) > Thanks for posting these images, they are much appreciated :-) Oh in fact I've just posted the URL, the picture were made by a member of the association, the DV cam was from Charles Dreyfus, and it's him tat gave them to Richard Piegza, who did the job very quickly. The only thing we did, is to correct the mistakes in the titles, and to ask a link onto our association (4T FluXuS) to present our project. There it is. BTW, sorry not to have answer sooner to the mails about Annecy on the list, but Ben Patterson just came home for two days (he left this afternoon) and of course, I hadn't much time to get on the net for a while. This was fantastic, lot of fun, lot of discussion, some good wine, god meals and a very little sleep. You can imagine how happy I've been since monday. Bests, Bertrand.
Re: FLUXLIST: on off on off off on
> >... does today have some kind of numerological significance? > > > >101001 Yes It's my 31st birthday Bertrand P.S.: Don't forget the FLuxus concert in Annecy 27th of October (or is there no one interested in FLuxus here?) Great Names, Huge Place To Fill (1000seats), Good Fluxus Goodies etc.
FLUXLIST: where is my mail?
Thought I had sent a mail two days ago... Maybe, I did something wrong. Anyway, there is the content: hello, sorry to bother with my question. Nothing to do with the remove-me-from-fluxlist-affair... just that I've changed my address, and would like to receive the fluxlist at [EMAIL PROTECTED] instead of [EMAIL PROTECTED] . What else? Think I will meet Mr. Bowman in Genova (the town is not that big, so we can meet, ain't we Alan?:now, thanks to the picture you've released on the net, I know what you look like, and it won't be like at Emily's opening in Venice, where we were in same place, talking with Ay-o, without knowing you were you, and I was I (?). We will arrive the 14th in the morning (alas, alack, I can't be off my work before the 13th; you can figure out that this drives me crazy!!)... Here in Paris, things are progressing slowly toward a true festival: hard job to make it happening!!! France always had, since the beginning in 1962, a big problem with Fluxus...Anyway, we have some little pleasures sometimes, like yesterday: The Rozenberg Museum is in Paris those days, performing and exhibiting their collections (Museum of the perversions of the Violin). Amongst their activities, they invited Ben Patterson to come and perform here. So he took his train in Genova, where he was installating the exhibition, and performed a wonderful "Dental Bach": Sat in front of blackboard where he had written a score for violin by Bach, he played a duo with a violonist, himself with a double bass made with a huge teethbrush.After having played some notes, in normal use, he suddenly put the brush-bass into water (a big aquarium), put a whole tube of toothpaste on it, and then began to wipe out, notes after notes while the violonist was playing them, the score on the blackboard with the brush. Great, Great, great time. I made some pictures, but very few, and I have to wait untill they're developped. If they're good, I'll send them on Fluxlist. Bests, Bertrand
Re: FLUXLIST: Fwd: I need informations
> Sounds great Alan - out of curiosity how long did Zyklus take to perform? and did you end up spilling any on purpose? I could tell things... But Alan was very careful untill the end... but the end of the evening (Larry Miller and Ann Noel convinced him to go for dinner and to let the museum be closed, as far as everybody was already gone...). Anyway, he had great endurace to keep on doing it with the crowd walking across the circle to see the other events, kicking the bottles etc. Bertrand.
Re: FLUXLIST: The real old thing
> Whats all the fuss with Eric Andersen? I'm already a more "established > artist" than Eric Andersen, > and I am 22 years old. I don't understand, you're an established artist, and you're still smelling Fluxus ass? c'mon, you can't be established and try to be fluxus, that's how Eric is XXX year old, and still not established: he is Fluxus ... . Let's not worry about him, he is no one, > holding on to a movement > whose heyday he tried his hardest to prevent and now demands attention > now that it has passed. Oh, I see... so you're not like all those young artists wanting to grasp a bit of the glory of Fluxus by doing expressionistic boring pieces, so this is not the reason why you're on Fluxlist...It's a good point for you. Let see what you'll be in 40 years, O.K.? Bertrand.
FLUXLIST: 4T Fluxus
Dear Fluxlisters, if you want to, you can go to see our website at www.4t.fluxus.net where you will find informations about our Fluxus Festival in France in November 2002...It is still under construction, so it's only in french for the moment, 9but a eglish versio should arrive soon. You can seesome pictures of Gnova and Annecy in the Fluxorama section (special mention for Alan Bowman's Zyklus) Bests Bertrand
Re: FLUXLIST:by the by...
Tintinnabulation is of common use in French, as much as the verb "tintinnabuler", but I didn't know it was invented: who's the author? (Lewis Carrol? James Joyce? Barbara Cartland?) Bertrand > I must admit, it says a lot about an artist when an invented word becomes > part of language. > Do you think that in itself is fluxus?
Re: FLUXLIST: Re: by the by...
> but i really liked barbara cartland, bertrand You mean, as an author? ... There is another nice word in French, maybe with the same origin : Tintamarre, which describe an astounding noise, but done vith an intention (like a military orchestra tuning their instruments, or like Fluxus artists playing "piano activities" ;-) Bertrand
Re: FLUXLIST: 4T Fluxus
Thank you Allen, I hope to put the english version on line by next week, but it's a bit hard here... Anyway, we added some new stuff, like the very nice performance of Ben Patterson in Paris titled Dental Bach. www.4t.fluxus.net Bertrand > Thanks, Bertrand. Good website. Website is a treat. > > Fluxlisters, if you visit this site, explore the various pages & links to > find quite a few recent performance photos. > >
Tr: FLUXLIST: Re: by the by...
> > > but i really liked barbara cartland, bertrand > You mean, as an author? ... > There is another nice word in French, maybe with the same origin : > Tintamarre, which describe an astounding noise, but done vith an intention > (like a military orchestra tuning > their instruments, or like Fluxus artists playing "piano activities" ;-) > Bertrand > > >
Re: FLUXLIST: 4T Fluxus
> Thank you Allen, I hope to put the english version on line by next week, but > it's a bit hard here... > Anyway, we added some new stuff, like the very nice performance of Ben > Patterson in Paris titled Dental Bach. > www.4t.fluxus.net > > Bertrand > > > > Thanks, Bertrand. Good website. Website is a treat. > > > > Fluxlisters, if you visit this site, explore the various pages & links to > > find quite a few recent performance photos. > > > > > > >
