FLUXLIST: Box for TRADE
Hello Fluxlist Friends: I just made an Art Box. It is about 3 inches by 4 by 4, with a clear top, and four compartments inside. Each compartment has something in it. What? You will have to see to find out. I am offering this box to 1 lucky (I assume) person in trade for something equally artistic and mysterious. The first person to email me with an offer will win the box! On your mark, get set... -Josh Ronsen http://www.nd.org/jronsen
FLUXLIST: text
While going through my files (piles, really), I came across the below text, which was performed by myself and three others 18 months ago. Now, I have no idea where the text came from: it is obviously some text I have altered (by substituting words), but I do not know what, or in what manner I did this. In a moment I am going to do a web search on the words I would never myself use (throne, "hue and cry," aristocratic). Regardless, it is an ineresting read. (whisper) The engagement obscures their movement. Subjects taken apart, theoretical. Theory is equivalence. Feelings, essentially artistic ideas, find art in life adhering to, but not entirely, logic. Ideology causes problems for serious culture. Without assistance, totality is no more than brief achievements in the world of high-current (not popular serious culture. Popular to most is individual genius. (pause) (spoken) Art, not serious culture, is a throne of contributions, occasionally from serious scientific research, occasionally the hue and cry of the superior and unknown. The aristocratic and theoretical leave a potent legacy, but total transformation remains available for few. The theoretical history of art leaves the artist a threat to serious culture, where original ideas fight the logical ones, the masses against art circles. I thought that art would be not art, but revolutionary creativity totally separated from existing culture. -Josh Ronsen http://www.nd.org/jronsen
FLUXLIST: Re: Macunias video
>>Hey, has anyone here who has the Sonic Youth 'Goodbye 20th Century' cd >>been able to get the Mancunias video to work in their computer? It keeps >>saying 'File Format Not Valid' on mine, and I even just recently >>downloaded the new version of Windows Media Player, which is supposed to >>be able to play nearly anything. Quicktime doesn't know what to do with >>it either. Make sure you have the correct CD loaded in. The CD jacket says it is on the second CD (where the audio track is). My video was on the first CD. This greatly enhances video performance. -Josh Ronsen http://www.nd.org/jronsen --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
FLUXLIST: Re: TIMEPIECE
Well, I guess I am finished with the timepiece project. I'm not so good with keeping to a fixed schedule. I missed a couple of days, and I discontinued the project while I was in Chicago the past couple of days. Now I need to have two rolls of film developed. What happens then? Do I send them somewhere? Should I hide them somewhere and let everyone find them? Or mail one photo to everybody on the list? I saw a screening of Tarkowsky's "The Sacrafice." In it, a line that is of particular interest to us (and I paraphrase here): "If only a person would perform the same task at the same time every day, the world would be changed." While in Chicago, I visited the Contempoary Museum of Art where I went through an exhibit of works by Tom Friedman. Wow. I won't go into great detail (maybe later, if anyone is interested), but I was amazed by some (many?) of his works, some of which seemed to be pure Fluxus anti-art. One piece was called "Curse" and it was an eleven-inch sphere of air on top a pedestal that was cursed by a witch. Another piece, displayed on the floor in a glass case, was a piece of paper about 3 foot square in which (as stated on the title plaque) every word of the English language was written. There was also a huge exhibit of works by Sol LeWitt, a name I've often read of, but I have never really seen much of his work. Now I have seen a lot of his work. Huge works involving geometric shapes and lines that would fill up an entire wall. His works played with an architectual precision of pure form and shape. I am glad my first exposure to his work was of so much stuff that would have been missing something if I had flipped through a book on him (there were also about 2 dozen books of his work on display under glass). Other things in Chicago: Harold's Chicken! Fred Anderson! Kevin Drumm! Edith Frost! A protest march for afforible housing with 5 effigies! Seeing the hatching egg sculpture in Hyde Park again (I used to walk by it everyday on my way to classes: It is called "Bird of Peace" or something, but it will always be the hatching egg sculpture to me)! Being awarded "Dog of the Day" by a homie on the El for lending him my pen (I wore this honor like a badge)! Searching for a copy of Charlie Christian's "Live at Carnigie Hall" and not finding it at 4 record stores! Looking for a copy of Nancy Cunard's biography at 4 bookstores and not finding it! Seeing how much my old neighborhood has changed in 7 years! Listening to my cousin tell stories of my grandfather (who died when I was 4 or 5) who owned a fish store in Brooklyn NY! Having a friend borrow a rare Romanian LP by Iancu Dumitrescu that I was able to tape a copy! Oh well. I'm back in Texas now. -Josh Ronsen http://www.nd.org/jronsen --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
FLUXLIST: Egg Sculpture in Chicago
It's taken me all day, but I have tracked down a photo of the "Egg Sculpture" I saw in Chicago. At times in college, I felt as if the sculpture was the only one who understood me... The photos I took probably won't be ready for another week. C'est beaux et profond, n'est-pas? http://cwn.uchicago.edu/1998s/04.30/news/grimace.html -Josh Ronsen http://www.nd.org/jronsen --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
FLUXLIST: Anti-Sinus Record
I am posting this to both the lowercase list and the Fluxlist, as I think it will interest people on both lists. I cam across the following bit in the book "Aldous Huxley: A Biography" by Sybille Bedford. On page 494, she quotes from a letter Huxley (one of my favorite writers) wrote in 1952: "And talking of unorthodoxies, I am asking a curious and interesting Danish acquaintance of mine, Dr. Christian Volf, who is an expert on hearing, to send me care of you [his bother Julian], one of the special recordings he has made for relief of sinus trouble. One listens through earphones to a record of synthetic sounds in the lowest musical octave and the effect is to give an intense internal massage, vibrating the bones of the skull... I have heard of many people who keep sinusitis at bay simply by listening to the record every morning before breakfast." Searches on "Christian Volf" on Altavista and Google have turned up nothing. -Josh Ronsen http://www.nd.org/jronsen --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
FLUXLIST: Timepiece disaster
I just got my film back that was supposed to contain my timepiece photos of the street in front of my house. Only two of the photos showed up. I am sure I had a roll of film with nothing but timepiece photos. Maybe I have misplaced that film. My photos from Chicago turned out ok, including photos of "the egg sculpture," (mentioned in an earlier post), the Harry Bertoia sculpture at the Standard Oil Building (with me and a friend "sounding" it), and the Harp Factory on Lake Street (this is the title of a Gastr del Sol record that I like). About half the photos I take never turn out. Oh well. Maybe next time. -Josh Ronsen http://www.nd.org/jronsen --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
FLUXLIST: Re: Peter Brotzmann
Go to http://www.shef.ac.uk/misc/rec/ps/efi/mbrotzm.html for brief bio, discography and audio video clips of Brotzmann. The bio doesn't mention direct connection, only that European improvising musicians in the '60s were "influenced" by Stockhausen, Cage, etc. -Josh Ronsen http://www.nd.org/jronsen --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
FLUXLIST: Josh's projects
Speaking of projects, I have two projects that I may have mentioned before, but I will mention again. 1) THE 39 WORDS -- Email me your postal address and I will send you a list of 39 words from a Laurence Durrell novel. You are to create a new prose text using these words in order, up to 500 words or so. The 4 textual responses I have gotten from this so far are amazing. 2) THE PIERRE BOULEZ PROJECT -- Send me a Pierre Boulez (who once wrote "all art of the past must be destroyed") recording or book or score, and I will destroy it in a brekekekexkoaxkoax performance. See my new web page (http://home.flash.net/~jronsen/boulez.html) for more details. So far I have 6CDs, 4LPs and promise of 1 book. I am aiming for at least 100 items. Please spread the word on these two projects. -Josh Ronsen http://www.nd.org/jronsen --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
FLUXLIST: Re: Devon's mystery project
"Devon Paulson" writes: >I have this project I have been working on over >the last few weeks. I am going to exhibit it, >along with some other concept projects, in >October. But you kids can be the first to do >this with me. Count me in. But the copyright of any work I participate in must be registered in my name, and I must be attributed as sole, soverign author of any work. I will send you (and anyone else involved) a form to sign stating your compliance with these (and a few other) legalities. Oops, I thought I was LaMonte Young there for a moment. Excuse me. I'm back to normal now. Sign me up. -Josh Ronsen PO Box 7896 Austin TX 78705 USA --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
FLUXLIST: Re: bike race
daniel constien writes: >The question I have is how can I get the audience involved in ways >that are more involved than just viewing? Any help that can be given >would be appreciated and noted accordingly. Well, here is what I think. You should have the audience be the ones who lift up the bikes (with riders still peddling) and move them. At a time appointed by the judges, the audience would go to their favorite cyclist and move them a few feet. There could be a rule that each audience member couldn't move the same bike twice in a row. This might add a touch of the ol' Flusus absurdity to events... What's going to be the prize for winning? Considering that a "normal" prize is something material and sationary (like a trophy), 1st prize for your race could be something immaterial and mobile, like the wind. -Josh Ronsen http://www.nd.org/jronsen --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
FLUXLIST: Ken Friedman
For the record, I like Ken Friedman and will miss his enlightening, intelligent, educational and WORTHWHILE posts very much. I, too, wish there were more "intellectual" discussions on this this, but I assume that everyone else knows more about Fluxux/art than I, so I feel as if I have little to offer in a discussion. And discuss with Ken? I have pages and pages of his posts printed out in a little booklet (edition of 1) that I use as reference material. So, to the vocal minority of Ken Friedman haters, I shake my hands at you. -Josh Ronsen http://www.nd.org/jronsen --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
FLUXLIST: Re: strange things in the mail?
A-ha! But what has been the strangest thing you've gotten by e-mail?! -Josh Ronsen http://www.nd.org/jronsen --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
FLUXLIST: Re: Josh and Devon
David Baptiste Chirot writes >apologies--meant to write: Dear Josh--and mutatated into Devon It is ok. There are many people who confuse me with Devon. I am used to it by now. In fact I am continuously mistaken for other people, although I think my looks are somewhat original (not necessarily beautific; certainly not! http://www.nd.org/jronsen/jmoog.jpg). Most times this takes me by surprise and I admit I am not the person they think they are talking to. I dream of someday pretending to be this other person, to see how far I can get into this other world of relationships (not in any malicious sense). -Josh Ronsen http://www.nd.org/jronsen --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
FLUXLIST: Re: FLUXLIST-digest V1 #426
Eric Andersen writes: >As Ben Patterson often puts is: If Ken Friedman didn't exist we would have >to invent him. To me, that sounds like a sincere compliment, i.e. if Ken were not worth having around, why would one invent him? Sol Nte writes: >Okay, Ken did annoy a few people with his netiquette notes and rants against >internet petitions but he more than made up for that with his posts on >Fluxus History etc. At least one person (me) appreciated Ken's netiquette sugestions. I can recall none of them that were illogical, uninformed or not sensible. I'm sorry Ken had to waste his time to do these things, but I was always glad when someone spoke up about them. Anyway, when I was in Chicago, a friend showed me a copy of Emmett Williams' "Sweethearts" book, published by Something Else Press, that he found for a dollar! It was a beautiful story/poem. Every page (read back to front like a Hebrew book) had words comprised entirely from the letters from the string "sweethearts" used in order, each line of each page used parts from the string. For example, one page might be (view with fixed-spaced font): she h a s a sweet h a t th a ts we t And the story builds on the tale of these two lovers and their ears, their tears, the sea, what they hear, etc. Very nice book. I am glad I saw it. -Josh Ronsen http://www.nd.org/jronsen ps: For the 39 words projects, I just finished my story last night. The beginnings of my original piece didn't stand up to the submissions I have from Seth Tisue, Daniel Russell, Joseph Zitt and Linda Woolman. My second attempt doesn't stand up either, but now it is in a strained crouching position... I thank every one for their interest in this project. --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
FLUXLIST: Re: FLUXLIST-digest V1 #437
Alan writes: >my problem is that i'm scared, i think. 7 years of cognative therapy and i >learned that at the point of "potential" success i break down. not how to >prevent this though! >i have several hundred unfinished pieces, unfinished so i dont know if there >any good or not, i cant succeed but i cant fail. >jist live in a frustrated state of limbo. I feel similarly. A sort of paraysis grips me whenever I think about "finishing" or presenting a piece of my art. Is it good enough? By this I mean, is it really worth anyone's time to look at/listen to? There are those who think that any creative enterprise has some worth. I do not agree with this. I think a lot of art (and I am mostly talking about music/sound art, as that is what I am most familiar with) is made just because people have become little "art factories" churning stuff out just because they have the means of production set up, and not due to any higher artistic impulse. I constantly scrutinize all of my work seeking for a trace of worth in it, to see if it could have any value to someone else besides me. It is rare that something passes my censors. Something I did yesterday, which I like greatly, a little rectangle of blurry colors: http://www.nd.org/jronsen/duchamp14.jpg Is that worthwhile? I think so, but I could be deluding myself. Art: what seperates art as a comodity in the capital-artistic machine from Art as a transcedental experience? Am I deluding myself into thinking that I could ever produce anything that wasn't the former? That is what scares me. -Josh Ronsen http://www.nd.org/jronsen ps: Alan, if you have several hundred unfinished pieces sitting around, habe you ever considered sending them to other people (us, for example!) to finish them, as a collaboration? That way, you would be freed from making that awful, terrifying leap to the Finished. It would be out of your hands, and you could blame the other person if the piece didn't turn out... Just a thought... --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
FLUXLIST: re: "higher artistic impulses"
Reed Altemus wrote: >Please elaborate on what you mean by a "higher artistic impulse". You mean like an >aesthetic innovation or just doing what is called "right work". I don't know if I can describe exactly what I am talking about. Everytime I try to define it, I come up with a contradictory explanation, or something that isn't what I mean. I keep running into "Whatever is communicated can only be falsehood and falsification; hence it is only falsehoods and falsifications that are communicated" (from Thomas Bernhard's autobiography which I am reading right now). To try and put as directly and simply as possible, and in a personal manner, so I know exactly what I am talking about: sometimes when I am creating something, I am Creative and what I do seems Special to me (and sometimes to other people as well), while other times, it is obvious that I am "going through the motions"; uninspired and what I do is not special, and I want to erase it or hide it. >I agree that self-control is desireable but too one must express the real thing with >the first white hot impulse and without second guessing yourself. This is true, but at some point I am always going to ask myself, "is this worth using up any of the world's natural resources to reproduce/distribute/etc?" or "is this worth having anyone else pay attention to it?" And sometimes those white-hot impulses lead to dead-ends! -Josh Ronsen http://www.nd.org/jronsen --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
FLUXLIST: Re: blurry
alan bowman writes (commenting on my piece of art at
http://www.nd.org/jronsen/duchamp14.jpg):
>I like this a lot, thanks!
>I'd like to see more.
>How did you do it?
Thank you for the compliment!
I hate giving away my secrets, I have so few of them. It was made in Photoshop, using
a series of intuitive, exploratory processes that I try to apply on everything
(usually my sound art). It is difficult to do this, many things happen that are deemed
"not worthy" and are erased or destroyed. Often times I feel lost, "without a map,"
struggling to get anywhere, never knowing around what corner that something "special"
will turn up.
That particular image started out as a scanned photo of a sculpture I made ("Homage a'
Marcel Duchamp"). I made a duplicate layer of the image, and applied some extreme blur
or distortion to the duplicate. Then, I took the difference between the two images.
Then I think I took the negative of the image, and applied a blur filter to it, or one
of the "artistic filters" (paint blobs, maybe). I can't remember exactly what I did.
If you saw the original photo, or the sculture, you'll see somewhat where everything
comes from, but that might weaken the final image (which looks to me like the Earth
orbiting around the Sun (the white part in the corner)).
I wish more were coming, but I weed most things out. Maybe someday another nice image
will pop up...
-Josh Ronsen
http://www.nd.org/jronsen
--== Sent via Deja.com http://www.deja.com/ ==--
Before you buy.
FLUXLIST: Re: Thomas Bernhard
Reed Altemus >Who is Thomas Bernhard, if you don't mind me asking? Thomas Bernard was an Austrian writer who died in 1989. His dozen or so novels (I have read all but 2 and a half that I know have been translated into English) are usually concerned with a male intellectual faced with a spiritual/existential crisis. The books typically cover suicide, insanity, frustration, guilt, anger, remorse, strong anti-Austrian/anti-German/anti-Catholic sentiments. The novel "Gargoyles" is about a writer who has been stuck on the first sentence of his book for seven years, unable to complete it. "Correction" (so extreme in its portrayal of insanity I was unable to complete it) is about a man who is sorting thru the writings of a friend who just killed himself. "Extinction" is about a man who must deal with the deaths of his estranged parents who were Nazi sympathizers and supporters during the War. Bernhard's rather unique writing style is a somewhat maddening stream-of-consciousness rant that fixates on certain words and phrases, constantly repeating and! modifying them, as musical phrases in a fugue evolve. His sentences can go on for pages, and often each book is a single unrelenting paragraph. He won many awards in Austria, but was hated by many for his anti-Austrian rants. According to the introduction of one of his novels, he had a play of his staged at the national theater in Vienna, where all of the high society people go. In the middle of the performance, he played a recording of a Nazi demonstration that was held right outside the theater in the 1930's and apparently attended by same high society people who were in the audience of the play. The introduction to the novel suggested that the audience members were outraged at being confronted with this scene from their past, and the next day the newspapers were filled with wishes that Bernhard leave Austria if he dislikes it. He was a fascinating, insightful, devious, perplexing writer. His writing is sometimes compared with Robert Musil. There is an interesting feature on him at http://www.spikemagazine.com/0299bernhard.htm -Josh Ronsen http://www.nd.org/jronsen --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
FLUXLIST: Re: FLUXLIST-digest V1 #443
Reed Altemus wrote: >"Special"... hmmm I have always disliked preciousness in art. I feel it is a high >art professional attitude and it should be >done away with. All the artists with their precious objects- I feel an instinctual >"NO" My attitude is more like: first invent >something, then make a decision whether to call it art or not. Maybe "Special" isn't the right word I should have used. "Worthwhile"? No, maybe "Special" is right. As I wrote before, sometimes I make things and they seem "Special," almost as if they have been given to me from someone else, someone who knows what they are doing. Other times, most of the time!, I come up with garbage. I don't mean "Special" as in "Valuable Artistic Property: Do Not Touch or Photograph!" The blurry color picture I mentioned (http://www.nd.org/jronsen/duchamp14.jpg): might be special. I certainly do not feel ashamed at having you look at it. The other images in that series will probably be erased when I need the hard drive space. The short short story I wrote in 5 minutes and is now being sent to Carol for modification is something that is NOT in any special; it was just a writing exercise, which turned into a mail art project in the hopes that other people could turn it into something special with their modifcations. Maybe this is the wrong way to look at art. One of the things I am interested in collage is when, let's say, taking a bunch of cut out words or colors and throwing them up in the air so they land on a canvas. One time the resulting piece is garbage, the next time it is a masterpiece to behold. >I know what you're talking about. Yes, I bore myself silly sometimes. Just today I >was working on a couple of things trying something >new and just because it was different from anything I had done before, I instantly >wanted to censor myself. My insecurities abound likewise. Except for writing, I hardly ever censor myself when creating art. I will try anything I can think of, or at least explore the possibilties in my mind. Then I censor! And erase! And delete! And tape over! >Well as far as natural resources goes, if you do printed stuff, do you do it on 100% >recycled paper? I do because I don't want any trees >to die for my art. As far as asking for people's attention goes, sometimes it isn't. >One way to make sure your work is worth people's time >is to have it reflect issues that "your group" are interested in, making it >pertinent and even useful. I don't focus too much on using recycled paper: I don't produce all that much and I do use a lot of items that have been rescued from the trash. Also, I know I am somewhat hypocritcal in my concerns for the environment, yet I spend so much time on my computer and making electroacoustic music and mailing things around the world... But that is a topic for another day! -Josh Ronsen http://www.nd.org/jronsen --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
FLUXLIST: Re: unfinished projects (from Fluxlist Box!)
I have been meaning to do Owen Smith's project from the Fluxlist Box, but I haven't been able to find a map of the US that will meet the needs of the project. I've asked my friends, I've asked my enemies, do I need to buy a map? Dearie me! Do you think it would be ok if I just went to a book store, unfolded their map and pinned it up on their wall for the duration of the project? I also have been planning on doing Alex Cook's "You are beautiful" project, but I have been too shy to actually do it. maybe I can mail the slips of paper to people... -Josh Ronsen http://www.nd.org/jronsen --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
FLUXLIST: Re: Ufinishe Proj
Roge writes about his Unfinishe Projec project... I have a project I have been working on for the past 31 years. I work on it everyday, seriously, but it never seems to be any nearer to completion. I've tried working on it outside, indoors, in collaboration with people, bringing various philosophies into it, I've even taken it into the shower. It's gone through many different stages, absrdity, Romantic tragedy, a bit of Fluxus-type stuff, hard-core American urban realism; it started off as a jejune primitivism that (according my family) was somewhat endearing, but the project has developed from there. The last thing I did to it was send an electronic communication to a group of other artists around the world to see if that would help the project progress (for it seems this group of artists have a number of perhaps similar unfinished projects). Sometimes I think I should just scrap it, and start all over from scratch, but I sort of want to see how it turns out. Maybe I will just send it all (kit and caboodle) to Roger and have! him sort it out... -Josh Ronsen http://www.nd.org/jronsen --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
FLUXLIST: index card trade
Howdy y'all, I was at the library this evening, just browsing (I love browsing through the library: so many subjects to read about). I was once again thinking of which Duchamp biography to read (any suggestions? I have been reading a string of biographies/autobiographies lately: Stanislaw Lem, Aldous Huxley, Nancy Cunard, Thomas Bernhard; who will be next?), and right above the Duchamp bios was that Oxford University Press book "Art Trends Since 1945" (or "Trends in Art Since 1945"?). Something compelled me to look in it, although I have looked in it before. Lo and behold, someone had left some index cards in it. One was blank, one had a sentence fragment on it, and the third, the third, had a 35-word definition of "Conceptual Art" scrawled on it. This last one I put in my pocket. Now, I am offering this index card to a lucky one of you, in fact, the first one who replies to me saying they want it. The only catch is that the winner has to send me a non-blank index card in return (or something roughly the size of an index card). I want to disqualify Ann K. because she finds Thomas Bernhard boring, but I possess a forgiving nature, so she may enter for the card. On your marks, get set... -Josh Ronsen http://www.nd.org/jronsen --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
FLUXLIST: Re: FLUXLIST-digest V1 #458
Reed Altemus wrote: >Josh, >I'd LOVE to see an original definition of conceptual art. >Send it to me! Sorry, the mysterious Kraagink (sounds like a title to a Xenakis piece, n'est-pas?) won the index card. Maybe he/she will be kind enough to share it with the list when they get it (or maybe, in parallel to my short short story that is being passed around (who has it now?), they will modify the index card and send it to someone else for further modication...) A poet friend of mine just sent me some defintions, she couldn't track down who devised them: INSTALLATION ART: 1. Room that you would not normally enter without a hard hat. 2. Amusement parks minus the amusement. 3. Poorly-made structures that exist to justify a manifesto. 4. Where the vacuous and the indignant conspire to depict the obvious. PERFORMANCE ART: When a person of limited talents, who can neither write, act, sing, dance nor play a musical instrument, stands in front of an audience of limited sense and fails at all five endeavors at once. Well, I guess that teaches us! >BTW I'm reading Lawrence Durell's The Black Book now. Can I participate >in yr Durell project? NO! Ok, I guess. Send me your postal address, and I will send you a list of 39 words that appear in Durrell's Nunquam. Your mission: compose a new text using the 39 words (in order preferably) that (preferably) tells a story or is instructional in some way (i.e. prose) (but be creative) (and have fun) (and be brilliant) (oh just forget the rules, ok?). I have started to read the Black Book twice in the past 15 years. I can't get past the first dozen pages. I even own it, and it has sat paitently on my shelves through 10 different apartments, waiting to fulfill its destiny. I could never get into his quartet of books or the quintet. I really wanted to read them. By the way, there is a Henry Flynt tape for sale at http://www.anomalous.com It is from the mid-80s, and on it Flynt plays violin. I think it is $15. If there are any Henry Flynt fans, you might want to be aware of this -Josh Ronsen http://www.nd.org/jronsen --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
FLUXLIST: DELETE THIS EMAIL: It has nothing to do with Fluxus
Actually, it has everything to do with Fluxus. Especially the period at the end of this sentence. -Josh Ronsen http://www.nd.org/jronsen --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
FLUXLIST: Fluxus: fun vs. non-fun
Timothy Porges writes: >i think the point i'm missing here has to do with fun. old fluxus had a lot >to do with fun, though it was often twee, Unitarian-church-basement fun. but >that was probably just me. > >So what's fun now? But Fluxus wasn't 100% fun, there was also the element of boredom, i.e. non-fun, that was a part of more than a few works. I am now thinking of Tomas Schmit's piece where he performs until the audience has left and the janitor asks him to leave the stage. That does not sound like fun to perform or watch. But I agree that humor was a large and important indegident in the Fluxus cupcake. Much of this humor, at least when I first started to learn of Fluxus (and similar events) in 1992 was of a good-natured shocking reaction; "They COULDN'T do that, could they?" I almost couldn't believe that people could 1) think up such things and 2) present them as art works/performances. I wasn't outraged; I loved it and laughed along with each piece I read about. And I think part of the humor, for me, was that in 1992 imagining the recation of these pieces in 1962 or whatever. Would these pieces have the same effect now? On us? Or would we just think "oh that's been done before"? -Josh Ronsen http://www.nd.org/jronsen --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
FLUXLIST: Re: Fluxus Workbook: Millenial Edition #1
Eryk Salvaggio <[EMAIL PROTECTED]> >Contrary to popular belief; the ideology of the fluxus movement, >as stated by George Maciunas, was to liberate art from everyday >life, to abolish legitimacy and aggrandizement of the artist. Do you mean "liberate" or "integrate"? I was under the impression that "art" was seperated from "life" and Fluxus activities tried to bring them together, or abolish the distinction, or at least make art "without being raised on a pedestal; it is simple, concrete, and everyone is able to produce it" (Gunter Berghaus). -Josh Ronsen http://www.nd.org/jronsen ps: 3 Events for Eryk Salvaggio 1. Raise art onto a pedestal. 2. Seperate art from life. 3. Loose all hope. --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
FLUXLIST: performance score
ERRATA SCORE Print spurious Errata notices and place them in books in a bookstore or library. -Josh Ronsen http://www.nd.org/jronsen --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
Re: FLUXLIST: thoughts on fluxus part 2
Sol Nte quotes Thomas Crow:
>"The performance need never take place for the piece to exist, though it is
>crucial that its enactment in time and space be realizable and
>epeatable( this is enough to distinguish such work from poetry)."
This is not an essential element of a Fluxus event/performance score. I can think of a
few scores that are undoable as written, or at least I can't believe were intended to
be actually performed ("crawl into the vagina of a living whale"), and this
impossibility is a hallmark of the possibility of Fluxus.
I do love the poetic flavor in many Fluxus scores. The best of them have a concise,
inticing flow that is difficult (for me) to emulate when I write a score. I want to
specify every little detail, almost as a laboratory experiment. It is difficult to let
go and just write "Steam."
-Josh Ronsen
http://www.nd.org/jronsen
--== Sent via Deja.com http://www.deja.com/ ==--
Before you buy.
FLUXLIST: Bern Porter web page
http://www.aopoetry.com/bern.html --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
FLUXLIST: words as breadcrumbs
"Breadcrumbs" seems to be a collection of personal utterances, one every day... Very amusing if you like to read random, confusing, non sequiters... http://www.cs.northwestern.edu/~hunicke/breadcrumbs/index.html --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
FLUXLIST: new issue of Monk Mink Pink Punk
New online issue of my zine Monk Mink Pink Punk, featuring: --A long 10-year followup interview with keyboardist Anthony Coleman --A smart aleck defense of abstract art --Reviews of Israeli and Korean music --Writings on the work of John Cage and Dale Lloyd --Contributions by Jacob Green and Josh Russell A $15 value, available to you, now, for Free! http://home.grandecom.net/~jronsen/mmpp11/ -Josh Ronsen in Austin, Texas -- ___ Search for businesses by name, location, or phone number. -Lycos Yellow Pages http://r.lycos.com/r/yp_emailfooter/http://yellowpages.lycos.com/default.asp?SRC=lycos10
FLUXLIST: Re: new issue of Monk Mink Pink Punk
John M. Bennett wrote: > Good issue - I'm also a fan of gagaku and its Korean version, great > stuff, have been listening to it since I was a kid in Japan - I have an interest in Noh Theatre and its music. It is difficult to find. I only have 1 CD, and I have a copy of another record I downloaded. I've been thinking for years on how to compose something inspired by this. I made something on a 4-track recorder years ago that crudely imitates Noh music; it is goofy. The vocalizations in Noh music are supposedly cues to tempo/rhythm changes. -Josh -- ___ Search for businesses by name, location, or phone number. -Lycos Yellow Pages http://r.lycos.com/r/yp_emailfooter/http://yellowpages.lycos.com/default.asp?SRC=lycos10
FLUXLIST: Re: new issue of Monk Mink Pink Punk
mIEKAL aND wrote: > The issue is dated July 05... am I missing something or has time > stopped & no one told me? I am only half Jewish. The other half is sloth. Most of the issue was finished in July, but it has taken me this long to finially finish it. But at least it is finished. Should I change the July 05 dates to June 06 so it doesn't seem so back-dated? Maybe I could just change a word on each page so that they will be June 06 material... Rod Stasick wrote: > Did the issue on Dick Higgins take a back seat? I was planning on interviewing Dick, and had begun to exchange words with him, but because of my mixed heritage, cf above, the interview never happened. Moral of the story, unless you live in a tree, don't be a sloth. -Josh Ronsen in Austin, Texas -- ___ Search for businesses by name, location, or phone number. -Lycos Yellow Pages http://r.lycos.com/r/yp_emailfooter/http://yellowpages.lycos.com/default.asp?SRC=lycos10
FLUXLIST: FLUXLIST FUN PIECE #7
FLUXLIST FUN PIECE #7 1. Move to Texas. 2. Have some fun. -Josh Ronsen in Austin, Texas since June 18, 1993 ps: what are the other Fluxlist Fun Pieces? Join 18 million Eudora users by signing up for a free Eudora Web-Mail account at http://www.eudoramail.com
FLUXLIST: event score trade
When I saw the Yes Yoko Ono exhibit in Houston last (?) year, I walked away with many of her event scores printed on 2 inch square pieces of paper (I didn't steal them, they were there to be taken by the audience). I will mail you one of these scores, many written in 1961, if you mail me an event score of your own for me to perform at some future date. Here are some considerations: I don't eat pork, I don't take off my clothes in public and I generally avoid rolling around in bodily fluids. -Josh Ronsen 2001 Brentwood Austin Texas 78757 USA Join 18 million Eudora users by signing up for a free Eudora Web-Mail account at http://www.eudoramail.com
FLUXLIST: FLUXLIST FOOD PIECE #??
Ketchup Soup Ingredients: 1 Bottle Ketchup Directions: 1. Pour ketchup into bowls 2. Serve at room temperature Variations: 1. Serve chilled for summer outdoor picnic 2. Substitute tabasco sauce for ketchup for spicier effect Join 18 million Eudora users by signing up for a free Eudora Web-Mail account at http://www.eudoramail.com
FLUXLIST: ACME Observatory presented a concert of early FLUXUS works
See http://www.4-33.com/ for details. -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Re: not talking to you either
OK, specifically who is not talking to me? I have lost track. -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Re: easy reading materials
[EMAIL PROTECTED] wrote: >dont you all think that most of the fluxus books >are boring reading? Too much listing etc. are there >any fluxus books a slow reader would enjoy? I am working on a "FLUXUS FOR DUMMIES" book. Lots of pictures and diagrams, no big words, few names (and none of the difficult to pronounce ones), easy-to-follow instructions (think of dance steps with the black and white footprints)... Feel free to submit a chapter or "sidebar." I've still got about 200 pages to go. It would be great to get some material written by people who know very little about Fluxus (the ol' blind leading the blind effect). -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Re: FLUXLIST-digest V3 #348
Rod Stasick writes: >Crispin Webb leaves the 10,000th Fluxlist post! Maybe someone should repost the very first Fluxlist post in celebration. Rod, are you currently in Texas? -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Re: ken friedman on the list...
Ken Friedman is an informative, helpful writer and a wonderful correspondant and I feel honored to have been in contact with him. And even when I disagree with his views, I do so with respect. The amount of informative substance on Fluxlist has dramatically dropped since he left. I have collected many of his essays that he has posted on this list (and elsewhere on the net) into a little booklet "Ken Friedman on Fluxus" which exists in a very limited edition of 1 (if you're ever in Texas, stop by and borrow it!). Maybe before the end of the year I will make a list of links to his essays for those who did not see them when first posted. -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Re: listen
>So what does everyone on this list listen to? I am still very much interested in the modernist/avant-garde composers Ligeti, Xenakis, Nono, Scelsi, Stockhausen, and Cage and Feldman whose works exist on another level. Ligeti continually surprises me. I just listened to the recent Sony CD of his keyboard works: a new recording of his organ work "Harmonies" in which Ligeti himself lays his body on the organ bellows, and moving his body, produces a weird, unearthly sound morphology, as if the organ tones are fading in and out of reality. In previous versions of this work, power to the bellows was turned off and on to produce strange effects, but Ligeti's body manipulation takes these effects to the extreme. I have not yet heard Ligeti's "symphonic poem" for 100 metronomes, which was listed in an early Fluxus publication. I do not know the story of its creation or how it was included in the Fluxus publication. Anybody know the story? (here is a photo of a 1989 performance: http://www.schott-cms.com/nocache/gyl/cds/) Here is a photo of Boulez touching his chin while he looks at Ligeti: http://www.schott-cms.com/nocache/gyl/fotos/6,b38de0d8f95.html Here is an mp3 file of the carhorn prelude from his anti-anti-opera "Le Grande Macbre: http://www.schott-cms.com/12publish/cms/resources/gyl/6179d1c8360.mp3 The 2 versions I have heard previously have used electric horns: this version is seemingly done with old-fashioned horns. Other sampes can be found here: http://www.schott-cms.com/nocache/gyl/special/ton/ -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Re: "spirit of Fluxus"
Don Boyd writes: >The "Spirit" of Fluxus, as I understood it, what attracted me to it, was the >expansiveness, the willingness to support others and their ideas, in fact >forgiveness and inclusiveness. I don't see that in these recent exchanges. I've always been attracted to the darker side of Fluxus history, the expulsions, arguments, excommunications, the protest of Stockhausen by Henry Flynt and Tony Conrad (and Conrad's more recent protest of a LaMonte Young concert). If art is beautiful, must anti-art be ugly? But your point is taken, Don, and I hereby forgive those people on Fluxlist who recently were not talking to me... -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Re: ken friedman on the list...
Carol Starr wrote: >josh i agree with you about ken friedman and still feel it is a >great loss that he left the list. i too have a collection of the >essays he posted on the list. so perhaps there are two limited >editions, i wonder if >they are the same? Mine has a little photo of him about to toss a watermellon. Yours? -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Re: FLUXUS FOR DUMMIES
Don Boyd writes: >Josh, How about an "old snail mail address?" I was just kidding about working on Fluxus for Dummies book, but it would make a welcome addition to the more absurd titles in that series, like "Judism for Dummies" and "Doctorial Studies in High Energy Physics for Dummies." OK, the latter isn't real, but the other one is. A Fluxus for Dummies book would be good. For years I thought of taking a book on children's games written in the 1950s and modifying the text. The result could be very close to Fluxus for Dummies. There are a number of these books at my local library, but when I flip through them, I don't get any interesting ideas on how to procede. Don, if you send me anything, I still have some Yoko Ono event scores printed on small pieces of paper I could send in return. -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: FLUXLIST BOX #2?
Friends, Is it not time to start thinking of a second FluxList Box? I treasure the first one and I love showing it to visitors. While recently thinking of the Fluxus for Dummies book that will never get finished, I thought that a FluxList box is a project I could tend to completion. Who is in it with me? Should we have the same parameters as last time? I have not began to look for boxes. I would prefer that the theme of the box be kept free (i.e. open to any interpretation), but I would like to suggest two titles: a) Box #2: FluxList for Dummies b) FluxList Box for Peace However, everything is open for debate. -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Re: FLUXLIST BOX #2
The results of the first box can be found here: http://www.fluxus.org/FLUXLIST/box1/boxfram.html I think each person made 50 editions of a work and contributed $5 to cover postage and materials (the box). Everyone got 1 box with one of each submission. I do not remember what happened to the leftover boxes (if there were any). It is a beautiful and treasured project. -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: more Ligeti stories
A concurrent preoccupation was a strong influence of Duchampian dadaism. His 000, a satire of John Cage, has been described as the briefest composition ever written, and Cage is said to have been deeply offended; The Future of Music (1961) is scored for a mute speaker in front of an audience. But the most celebrated piece in this vein, the Poème symphonique of 1962, for 100 metronomes, is both a provocation and a peculiarly plastic expression of machinery gone awry, an idea incorporated compositionally in several works to memorable effect, the most famous example being the Meccanico movement of the Chamber Concerto, written some nine years later. -from http://www.sospeso.com/contents/composers_artists/ligeti.html The premiere [of Poeme symphonique] in Holland in l963 caused a great scandal. -from http://www.binaural.com/binnews2.html According to the Sony web page, Ligeti worked at the West German Radio electronic studio from 1957 to 1959, which makes sense as his two electronic works date from this time. Paik was there from 1958 to 1963. There doesn't seem to be much info online about the interestion of these two artists. -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Re: FLUXLIST Box #2
Owen writes: >I am willing to organize again, although I am also more >than willing to pass the mantel on if someone else wants >to take on the role of organizer for the project, Josh? >From my point of view, the first Box went so well that I think you SHOULD do it. >However, I am willing to do it. So far after a day or so, 16 people have expressed >interest in the project. If we go ahead with this, the box must be chosen. Any ideas? My wife suggests I go to "The Container Store" (yes, the U.S. has a chain of stores that specializes in stuff to put other stuff in...) and see if anything looks promising. I will also see what we have laying around the junk closets at school. There are some interesting boxes here, but not enough for this project. I think a CDR would be a great inclusion. -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Re: 0'00"
>What is Ligeti's 0'00" ? I assume it is a joke of Ligeti on Cage's 4'33" and not related to Cage's 0'00" from 1962 (subtitled 4'33" No. 2). "For all his pride in the piece, Cage maintained that his sole intervention was to alert listeners to ambient noise. His was a clear and humble statement of creative disownership. He raised no objection when younger composers built upon his breakthrough in 4'33" - notably when the German-based Hungarian Gyorgy Ligeti issued a concise version titled 0'00"." -from http://www.naxos.com/newDesign/fopinions.files/bopinions.files/opinions133.htm Although I do not take the above quote to be proof of anything w/o a precise citation. -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Re: 0'00"
Roger STEVENS writes: >- - or if you followed 4'33" with Ligeti's 0'00" rather than Cage's. >How would you be able to tell the difference? I have not found out what the score/instructions for Ligeti's piece are. The stage setup could be quite elaborate, although brief. On Cage's 0'00": The title isn't the length of the piece, but rather the (Zen) instant of "now" that occurs when the performer undertakes his "disciplined action." One could say the performer of 4'33" has a disciplined action, but this action, if you think about it, is paying attention to the passage of time, counting off the 3 movements of the piece. In 0'00" does not constrain the performer in such a way. The performer's (complete) attention is on the task, which unfolds however it unfolds and not due to the score. 0'00" is also interesting as it does not even specify the action, just the dynamic environment (maximun amplification). It was composed (and first performed) on October 24, 1962. I generally hate the who did something first game, but what Fluxus/pre-Fluxus event scores before this did not specify a particular action? It would become a common practice later (i.e. "performance with Mr. T." from 1964 (I assume)). -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Re: 0'00"
Roger Stevens writes: >so you could perform both of the Cage pieces at the same time. >That would be interesting. >And the 0'00" piece could actually last for 4'33" The two pieces could be performed at the same time, but Cage did not want the performance of 0'00" to be the performance of another score. It had to be a discliplined action fulfilling an obgligation to another. The first performance, by Cage, was writing the score as a gift for Yoko Ono and Toshi Ichiyanagi. Cage has also performed this piece by typing letters that needed to be answered. When I have performed this, I wrote a thank you note to a member of the audience (for showing up) and wrote a letter to a friend in Chicago. -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: More ideas about the box
I went to the Container Store last night. I don't like the idea of the store, a place to buy stuff to put your stuff in: I am totally a stuff qua stuff kind of guy myself. Some items I saw there that could be useful to us: a) Plastic bags: 9" x 12" plastic, ziploc: about $0.23 each b) Clear plastic jars: about 8" high, square base, with 6" diameter round top with plastic lid: $1 each (plastic is somewhat thin, you could squeeze the jar with your hand) c) tape cassette case made of translucent mylar-like plastic, with metal holder for a label in front: $7 d) display case for a softball made from clear plastic, case only opens by pulling apart the correct two sides (each side is U-shaped that fits together seamlessly): $5 (I do not know if a CDR will fit in here) e) an 8" clear plastic globe that comes apart in two halves: $2.50 marked down to $1.25 (I do not know if I could get 50 or 100 of these). I think the globe would be interesting. Each half has a part to tie a string to to hang the globe. I am sure we could get any of these items cheaper from an online source. -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Re: More ideas about the box
A paint can? http://www.containerstore.com/browse/Product.jhtml?PRODID=62625&CATID=262 We would have to get a round case for the CDR, at least for the 16oz can. -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Re: new subscription rules
brad brace wrote: >I think that karei should assume the role of >"list-administrator." I think we each should spend a day as list administrator. We can then each kick off, or invite (or neither) whomever we wanted. Things would even out at the end, unless the last administrator is a nihilist and kicks everyone off and disbands the list. Who here is a nihilist? -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Study reveals complex Republican culture
Something forwarded to me... Study reveals complex Republican culture by Roberto R. Bentley Remember how the television show "The Waltons" used to end each evening: Good night, John Boy. Good night, Mary Ellen. Good night, Grandpa. In Republican culture, there's a little less formal way to say good night: Ppppt. It's the spluttering "raspberry" sound that normal humans use in jest or sarcasm. Researchers say this vocalization, plus more than two dozen other signals and skills observed in wild Republicans, provide evidence that these great politicians show cultural variations. Their culture, described as geographically distinct behaviors, comes from observing and mimicking their peers. It goes above and beyond what's instinctive, and what they learn from their fathers. So who do young Republicans look to for role models in gaining this playful and productive know-how? "Those who have the money-raising skills are the coolest," said Carol van Schaik, professor of political anthropology at Duke University in Durham, North Carolina. Her research is published in this week's Political Science magazine. Many of the skills involved access to power, prestige and monetary wealth. Van Schaik and colleagues studied six different wild Republican populations on the East Coast. While the socially transmitted behaviors were often similar, there were geographic variations. That, say researchers, shows that distinct great conservative cultures exist, and may have been around for at least 140 years. "We used to think culture was something specific just to intellectuals and baby boomers, going back just sixty or seventy years," she said. Baby Boomer culture was first documented in the 1980s. For example, a "kiss squeak" is a common Republican signal. It is just like it sounds, the same exaggerated kiss sound a person might make to a child or in jest to a loved one. Van Schaik said the kiss squeak is used by Republicans when there is something near them that they like, such as a portfolio of stock options from a corporation receiving billions in government aid or perhaps a political opponent who is willing to cave in to empty patriotic rhetoric. "What we didn't know was how this signal varied," said Cheryl Knomf of Harvard University, co-author of the study. "For example, at the site of Raleigh, North Carolina, Republicans almost always grab a handful of money and produce the sound by kissing into the bills. At other sites they may use their fist, a flat ass, or nothing at all to amplify the sound. We had no idea of this fascinating variety," she said. Sometimes it's even more elaborate, van Schaik said. Some Republicans would pull off a bunch of bills from a money clip, fling their arms in a theatrical gesture, toss the money and let it rain down to draw as much attention to themselves as possible. "That way they made their campaign donors even more aware how much they appreciated contributions," said van Schaik. Yet these practices were never observed in Vermont. The practices common in one group and absent in another are of great interest to researchers. Scientists also discovered that the same gestures sometimes had different meanings in different conservative populations. Tearing a dollar bill along the mid-rib makes a nice shearing sound, van Schaik said. In one group, that action means "I'm ready to mate," while in another it means "I'm ready to sell out my political beliefs." An important distinction in any species culture! While some of the behaviors are playful, others are critical to survival. "Natural selection has favored the ability to have culture, because many of these actions have to do with skills," said van Schaik. For example, animals that don't use tools may not have access to the best food. Therefore, the "culture of copying" animals with an inventive spark isn't just for copying sake. The animal learns there's often a payoff as well: a long stick can relieve a hard- to- reach itch; a curled leaf can reach water in an out of the way place. >From the day they are born, Republicans will "suck up lucrative political favors from >anyone who comes close," said van Schaik. Youngsters spend seven or eight years in >close relationships with their fathers, then another four or five associating more >with juvenile peers and other conservatives before they are sexually mature adults. So how do Republican cultures differ from humans? Human culture is cumulative; great conservative culture is not. Knowledge and behavior are not passed on from one generation to the next. "Knowing how large deficit spending almost destroyed this country in the 1980s, you wouldnt think Republicans would destroy efforts to maintain a budget surplus to pay off the debt now," said van Schaik. "I would not be so quick to make those same mistakes now," she said, especially not by spending billions on a stupid idea like a Star Wars missile defens
FLUXLIST: Re: fluxy enough?
zoe marsh wrote: >How do I know if my work is suitably fluxy? If you show it to a High School art teacher or a specialist in pre-20th Century art and they say "that's rubish!"... you may be suitably fluxy, or fluxish. If janitors try to sweep your art off the floor, it may be suitably fluxy. If members of the audience ask, in the middle of your performance, "when does it begin?", you may be suitably fluxy. If Eric Andersen emails FluxList and states that the real Fluxus artists don't think of you as an artist, then you may be suitably fluxy. But seriously, I don't think anything was rejected from the first Box for not being fluxy enough, and every piece in my box is a fluxish delight. -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Re: not fluxy enough
brad} wrote: >hey Josh, saw your Boulez project mentioned in The >Wire (!) have you had many responses so far? For info on my Pierre Boulez Project, see http://home.flash.net/~jronsen/boulez.html I am collecting 100 Boulez records, books and scores to destroy them. This is an attempt to align Boulez's work with his repeated calls of "all art of the past must be destroyed." So far I have 25 records and books, and I think half of those come from my collection (the site needs to be updated). The web page is also the most comprehensive index of online information in English about composer, conductor and enigma Boulez. I have been collecting public reaction to the project at http://home.flash.net/~jronsen/boulezreactions.html People have called me a Nazi and another has suggested that I "get a life." Others question the project as art, but a majority of the reaction has been positive, but by people who do not own any Boulez records. I have emailed about 1000 people, radio stations, and magazines about the project. The Wire mention was great, but I do not think I have gotten any goods from it (yet). On the website, I need to add another Feldman quote about Cornelius Cardew learning guitar to play a Boulez piece (in the early 1960s). Feldman quips: that's like learning Dutch to read Kierkegaard. -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Re: FLUXLIST Box #2
I think Feb 8 is way too soon. I need time to think and plan and dream and scheme and plan and throw everything away and start over from stratch. I like the paint can idea with a CDR in it. Altoids box is too small, although perfect for another project, perhaps a project of tiny works of art? There are some wonderful teeny tiny paintings by Max Ernst at the Menil in Houston: paintings the size of postage stamps... As for the left over Fluxlist Box #1, maybe we can sell it to cover the expenses of Box #2. Who is the ebay addict on Fluxlist? -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Fluxus/FluxList democratic?
Was Fluxus democratic? From what I have read, and I really have not read much about any organizational meetings among the Fluxus artists, Fluxus was a very decentralized process, with people developing concerts, collections, books as they would, with out recourse to a higher governing body or submitting things to vote. Obviously Macinuas wanted to be charge, but he didn't own Fluxus, did not hold a copyright to the name Fluxus (as far as I know) nor was he in complete charge all Fluxus activities. FluxList is not democratic. There is a listowner(s) who hold the password to control the membership and attributes of the list. Nowhere has a FluxList Constitution been set up to establish laws/rules to vote on anything. The ongoing evolution of the FluxList Box #2 is a case in point. It has not been a democratic process: it has been an open debate in which a general consensus will be arrived at sooner or later, like the first box. People will assume roles and functions as they want. Was there ever a vote about anything in the first box? I remember agreeing that such-and-such was a good idea or not, and certainly someone may tally up responses to the list, but that is not voting. Democracy, in any complex form, demands a set of Laws that structure how the democracy will function. We do not have those Laws in FluxList, besides what is decided by the listowner, and I do not think those Laws existed in Fluxus. Is this a bad thing? Should FluxList be a democracy? In my opinion, no. It's an email discussion group, and as such there should be a listowner with certain powers of control over the list. I've been on many lists over the past 11-12 years and this seems to be best way to run a list. I do not see anything wrong with how the few people who have been kicked off the list, given that they were at least warned by the listowner about why they were being expelled. -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: more FluxList Box#2 thoughts...
I like the paint can idea, not so much a 1 gal container, I think that is too big, unless we are prepared to fill it. As I wrote previously, a small can, just big enough to fit the CDR into would be great. I like the cigar box idea too, but I think that may be a bit too small, if it is like the cigar boxes I have seen. I am sure there are boxes for Coney Island Footlong Cigars somewhere. Another thing we should discuss: is the theme of Box #2 to be free, i.e. no theme i.e. anything that strikes our fancy? I say yes, but I would be happy to work on a themed project as well. -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Re: baby octopi
I would teach it to be not ashamed about being an octopus, and to cultivate a healthy image of self. Then I would fry it up in butter and garlic and feel guilty for eating an unclean piece of food. -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: more on Ligeti and Fluxus
"At the end of the '50s and the beginning of the '60s came the happening movement from America. I was interested in an ambiguous way. I made some happenings--you know my piece for 100 metromonomes?--but I had the feeling I am not a happening person. You know the Fluxus group? I am not belonging there. After a time I had the feeling they take their job too seriously. And I am not serious like people like LaMonte Young and Geroge Brecht or even Cage. I will tell you exactly what is between me and these happening people. They believe that life is art and art is life. I appreciate very much Cage and many people, but my artistic credo is that art--every art--is not life. It is something artificial. And for me all the happenings are too dilletante. You see, I want, if I am the audience, to see a perfect music, or a perfect painting. I don't want to take part in it. I don't want that this fence between the piece and the audience be abolished. I don't want to get involved. It's the fe! ! e ling of distance. I am not saying that my opinion is for everybody." -Ligeti, interview in Music and Musicians, issue #263, v.22, #11, July 1974 Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: re: object/location
object: a blister location: on my finger -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: FluxListBox lateness
It is taking me longer to get my contribution together, but I will be sending something small in. -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Boulez Project Business cards
I had 250 business cards printed up for my Pierre Boulez Project (http://home.flash.net/~jronsen/boulez.html). If you want a few to send out, send me your address and they are are yours. Or if you would be so kind to post a few up at your local record store. Or pass out at parties. Or... -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Chicago
I, Josh Ronsen, will be in Chicago for 5 days in mid-June if anyone cares. This will be the first time I've been to Chicago since the last time I was there. I would love to meet other Fluxlisters. -Josh in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Alan Bowman mystery
Maybe this isn't a mystery for anybody else, but why does Alan Bowman live in Italy? Neither Alan nor Bowman sound particularly Italian. How/why did he go there? Any theories? Information coming directly from Alan will have to be dismissed as disinformation... -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Re: FLUXLIST-digest V4 #155
jonah hex >Josh Ronsen? Do you record music by another name? jonah hex writes: >Josh Ronsen? Do you record music by another name? I record and perform under the mouthfull brekekekexkoaxkoax and I also work with Frequency Curtain, the Gates Ensemble and with the Austin New Music Co-op. There are a handful of compilations that have brekekekexkoaxkoax recordings on them, and a small number of lovingly-assembled by hand tapes and CDRs out there. My brek... music ranges from free-improv prepared-guitar/drum duets, to acousmatic sound manipulations, to media samples (i.e. overdubbing four free jazz records ontop of each other) to theater actions which are difficult to capture on recordings. Performance is my primary interest and releasing records has not been a priority for me. I just had (what I was told) a very successful performance at the Intersect 6 show in Austin, a triple attack of manipulated sound, projected video and a slow-motion movement performance involving my handphones (small speakers mounted onto my hands) and simulated entrails issuing from my belly. Personal spaces were violated and people we re forced to tug at my simulated entrails. I have a "tape piece" in the FLUXLISTBOX1 and a audio contribution to the FLUXLISTBOX2, but I can't remember what it is. I hope to present something in Chicago next week, but no details as of yet... -Josh Ronsen http://home.flash.net/~jronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: sled beef
sled beef shank sled tea days laid masher bar-room nuts bust stern master porn bath giblet fill it half stern but bone is crash blackened fern were her paid days beef bled bunk? -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Re: while we wait
Where do we send the recording to? Can we sing along with the recording? Or add handclaps? There are two notable precursors I can think of at the moment: In 1990 or so, the rock band The Flaming Lips did a cover of the Byrds' song "Feel a Whole Better" by singing (screaming?) and playing very bad noise guitar over the Byrds' version of the song. Just recently, I recorded myself playing cello to a recording of vocalist Liz Tonne and drummer Johnny McLellan in an ongoing series of what I call "Imaginary Music." -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: NYC going-ons
I have a friend who is going to NYC this weekend. Anything interesting she should see? -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Fluxus mail art
mail art project posted on http://www.mail-art.de THEME: Political / Resistant Mail Art Comment: This is a call for political/resistant mail art, in the tradition of old fluxus stuff. Info: For my project please send me any medium that deal with any technique. Deadline: none Artist: r. Maria Cristina Aguiar / 172-05379-040 - Rio Pequeno / São Paulo - SP / Brazil / -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: voice project
For a project, please record a mono .aiff file (44.1kHz, 16-bit) of you saying brekekekexkoaxkoax Email the file to me at [EMAIL PROTECTED] Thanks in advance, -Josh Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: translated quotes
Ben Vautier just sent me a bunch of quotes related to Fluxus (Im on Ben Vautiers email list!). Some of the quotes are in French, so I will translate them for you here. Some are quite odd and dont make much sense. Maybe Ben typed them in wrong. -Josh Ronsen in Austin, Texas Tous les goûts sont dans la nature (Présence Panchounette) ALL THE GEESE ARE EATING NATURE. Les abrutis ne voient le beau que dans les belles choses (Arthur Cravan) THE AIRBRUSH REMOVES PURPLE BRUISES FROM PRETTY WOMEN. Si quelqu'un trouvait quelque chose de vraiment neuf, je recommencerais tout (Erik Satie) SO SOMETHING FELL ON YOUR HEAD, I RECOMMEND IT! (that Satie ) Où apparaît l'art la vie disparaît (Francis Picabia) WHERE ART APPEARS FLIES ARE NOT FAR BEHIND. Tous les grands artistes sont des amateurs (Erik Satie) ALL THE FAT ARTISTS SOUND LIKE BUGLES. Il faudrait arriver à utiliser notre expérience quelle qu'elle soit (John Cage) WE CANNOT USE OUR EXPERIENCE OF SMELLING WOMEN. Si vous voyez chez moi une enseigne avec le mot SILENCE, est-ce que vous allez vous arrêter de parler ? (Georges Brecht) SO YOU WANT ME TO IMAGINE THE WORD SILENCE, BUT CAN YOU STOP ME FROM PEALING [POTATOES]? Jessaie dêtre dépaysé par ce que je suis en train de faire (Eric Satie) I WRITE ESSAYS I DESPISE BECAUSE THEN I CAN AVOID [TAKING] TRAINS Fluxus, c'est celui qui le dit qui l'est (Alain Gibertie) FLUXUS, WE DONT LIKE IT BUT WE EAT IT. Le nouveau toujours le nouveau mais cest vieux comme le monde (Francis Picabia) LUNCH TODAY IS LUNCH BUT WE DONT HAVE ICE CREAM. Si je rate tant pis cest que javais rien dans le ventre (Eric Satie) SO I LIKE TO PISS IN TENTS AND THEN RUN AWAY. Errare humanum, fluare divinum est (Henry Martin) WHEN MANKIND FAILS, THE GODS DRINK. Mai fluxare domani quello che puoi fluxare oggi. (Henry Martin) THIS ISNT FRENCH SO YOU HAVE TO WORK IT OUT YOURSELF. Où apparaît l'art la vie disparaît (Francis Picabia) APPAERENTLY ART ATTRACTS FLIES. L'art est un produit pharmaceutique pour imbéciles (Francis Picabia) ART PRODUCES AGARIAN IDIOTS. Tout art d'avant-garde est plutôt une investigation philosophique, une recherche de vérités qu'une activité purement esthétique (Allan Kaprow) EVERY ART COMES BEFORE PLUM JUICE WHEN PHILOSPHERS INVESTIGATE RAYON TROUSERS THAT HAVE ACTIVE STAINS. Qu'est ce qu'un happening ? Assumer un acte qui s'accomplit dans la vie quotidienne, habituelle, distraitement presque sans s'en apercevoir comme un acte signifiant (Giuseppe Chiari) WHATS HAPPENING? ASSUME THAT YOU ARE ADDICTED TO THE SPEAKERPHONE AND PEOPLE STOP CALLING YOU SO YOU NEVER FIND OUT WHAT IS SIGNIFICANT. Tout Fluxus est une bande d'enfants gâtés (Nam June Paik) EVERY FLUXUS IN ON [8-TRACK] TAPE FOR CHILDREN. Il ny a pas de problème quune ne puisse résoudre (Mon père) YOU WONT RUN OUT OF GAS IF YOU DONT ACT LIKE A PUSSY. La fonction première de mon art me semble être lexpression dune signification maximum pour une image minimum. (George Brecht) I FIRST USE ART TO SCRUB SIGNIFICANT EXPRESSIONS FROM MY MIRROR. Cest beau non pas parce que cela change en beauté mais parce que ça change (John Cage) IT IS GOOD THAT YOU DID NOT BECOME A ROLL OF QUARTERS BECAUSE I NEED TO USE THE [PAY] PHONE. Chaque mot que je dis contribue au mensonge de lart (La Monte Young) CASHING CHECKS IS MY CONTRIBUTION TO ART Que faites-vous ? A quoi pensez vous ? Faites autre chose Pensez à autre chose (Robert Filliou) DID YOU FART? DID YOU HAVE TO DO IT HERE? FART ELSEWHERE IF YOU HAVE TO DO THAT. Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Re: FLUXLIST-digest V4 #201
>>>>Tous les gouts sont dans la nature >>>>(Presence Panchounette) >>>> >>>>ALL THE GEESE ARE EATING NATURE. >> >>Camille translates this one as "All the tastes are in nature"... >>quite a bit different from "All the geese are eating nature" It seems like Camille is trying to protect those geese. How did she start working for the liberal goose agenda? -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Re: Scores for Anne
Here is another one, Anne, if you need it: Piano Performance Psychoanalyze a paino -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: performance with stones
In December, the Austin New Music Co-Op will present an evening of performances using stones and rocks. Pieces by John Gibson, Christian Wolff, Pauline Oliveros and NMC members will be performed. Outside the performance space, there will be a number of installations using rocks. I am thinking about doing an installation/performance (I will also be performing in the ensemble). My idea is to kneel down by a pile of stones and a sign that reads "let he who is without sin cast the first stone." This is a simple idea (although rich in implications), and I am sure it has been done before. But who? When? Where? Any help will be greatly appreciated. -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Re: Fluxuations
mIEKAL aND wrote: >I'll reprint the books with the correct >track configurations (& spell Rod Stasick's name correctly this time) Misspelling Rod's name is almost a rite of passage! The FLuxations CD has to be craziest CD I have, and I have a lot of crazy CDs... Any update on the Box? -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
Re: FLUXLIST: Fluxlist Cookbook
What is the status of the Fluxlist Cookbook? How many recipies have been collected? Here is my latest creation: MSG Soup 1 quart water 3 Tbsp MSG (flavor enhancer) Boil water and stir in MSG. Serve warm. -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: photos of rapid flux...
http://home.flash.net/~jronsen/fluxus.html ...photos of me doing "27 More or Less Authentic Fluxus Performances in 9 Minutes or Less" in 1998. Enjoy, -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Re: The Mask Event
Amy Baylaurel Casey wrote: >i've always wanted to figure out how to wear >jello... You could: 1. put 1000 packs of jello into bathtub full of water, climb in and let it set (perhaps would only work in winter with no heat). When jello sets around you, get out of tub. 2. Put gelled jello next to body and wrap yourself up with plastic wrap. I know someone who did this with meat. Jello would probably smell less. In either case, please take pictures! -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: FLUX CAFE in Austin, Texas
PRESS RELEASE DATE: FEBRUARY 16, 2004 FOR IMMEDIATE RELEASE KILL DATE: March 1, 2004 Contact: Josh Ronsen [EMAIL PROTECTED] 512-533-9741 LOCAL PERFORMANCE ARTISTS PRESENT FLUX CAFE TO PERFORM WORKS OF 1960s FLUXUS COLLECTIVE A unique evening of performances in the vibrant style of Fluxus, the late 20th-century art collective. February 28, 2004 at 8:00 PM Church of the Friendly Ghost 209 Pedernales Austin, Texas Admission: Free (performances will cost between $.10 and $50.00) Flux Cafe is a unique performance event celebrating the challenging work of the Fluxus artists of the 1960s and 1970s. Flux Cafe will feature performances of pieces by artists associated with Fluxus, including Dick Higgins,Yoko Ono and Nam June Paik, as well as a few new pieces in the vein of Fluxus. The show is being presented by Alex Keller and Josh Ronsen, two contemporary artists based in Austin. Keller and Ronsen will be joined by Elana Logsdon and the Austin New Music Co-Op for the performances. In the Fluxus tradition of challenging the audience, admission will be Free and the audience will order pieces a la carte. Alex Keller says The Flux Cafe asks the audience to be a consumer, and decide what pieces will happen when. Admission will be free, but in order to see a piece performed you will have to select it on a menu and order it from the waitstaff. The costs of pieces will vary from ten cents to fifty dollars. It might be possible to show up and see an evening of performances without spending a dime. No piece will be performed more than once, some may not be performed at all, and some will be performed simultaneously. It¹s possible that nothing will happen at all. What is Fluxus? Josh Ronsen says FLUXUS is a name used to describe the activities and objects of a group of artists mainly living in New York City in the 1960s, but Fluxus happened around the world. It is not an artistic movement, but more of a brand name of absurdity, humor, dedication, simplicity, art, anti-art, and anti-anti-art. Its detractors, including Pierre Boulez, called it Neo-Dada. Its supporters called it Zen Vaudeville. Fluxus tried to cross every line, break every barrier, destroy every unquestioned convention about art, music and life. There is a beautiful conciseness, like a Zen koan, to a perfect Fluxus performance score, and a austere business-like approach to its realization. For additional information, including press-ready photographs, please contact Josh Ronsen at [EMAIL PROTECTED] or 512-533-9741. BIOS: Alex Keller Alex Keller is a artist based in Austin, Texas. In his work, which usually uses sound, he explores ideas of narrative, generation/degeneration, and process. Alex¹s pieces can take the form of field recordings, sound design, performance, instrument invention, installation and digital media. Elana Logsdon Elana Logsdon lives in Austin, Texas and creates performance works and good food. She is interested in most human communication situations and loves the act of observation. Josh Ronsen Josh Ronsen has also performed and recorded with Frequency Curtain, the Gates Ensemble, the Austin New Music Co-Op, Jacob Green, David Gross, Joseph Zitt, Steev Hise, Rick Reed, Jeff Filla, Jason Pierce, Carmen Resendez, Erg, ECFA, Prrr, Batrachomyomachia and Pedestrian. Austin New Music Co-Op The Austin New Music Co-op is a community of composers and performers from the Austin area dedicated to increasing awareness and understanding of new music. We create opportunities for performance, education, and composition of adventurous sound. We advocate and present a wide range of innovative and compelling new works and provide a unique environment for collaboration and the free exchange of musical ideas. Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Re: it's not art it's html
I, too, think email sent to FluxList should be text only. I get a lot of HTML junk in my daily digests, and also a lot of repeated text sent in replies. Both of these make reading FluxList more of a chore than the useful fun it should be. -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: FLUX CAFE photos
http://homepage.mac.com/shawnfeeney/flux/PhotoAlbum16.html I am the one in the white shirt and black tie. More details later, -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Re: FLUX CAFE photos
Owen Smith asks:
>Very nice Josh - so how did it feel to perform Danger Music No. 2?
It hurt! The electric clippers I borrowed were very old and it felt like my hair was
being ripped out. I first tried to do it myself, without a mirror, thinking it would
be buzz buzz buzz and done. It took a long time. Now I have no hair. I can't wait for
it to grow back in.
The evening was a success. I think everyone, audience and performers, enjoyed it. I
had asked members of the Austin New Music Co-Op (I play clarinet with them) to do some
of the Fluxus "orchestra" pieces, and then decided to have them do other pieces in
masse (like Ono's "Lighting Piece"). Some of them did not know anything about Fluxus
except for my brief description in discussing the project. For the Cafe idea, I had
two waitresses go through the audience and take orders (and money for each piece), so
we had no idea what was going to be performed or when. We had to have a quick huddle
backstage before each piece. "What are we doing" "Just go out there and at Bill's
command [the conductor], hit your head against the wall."
It turned out well. I will send the program list/menu in a later email.
Highlights included:
-Tying up the audience...
-The huge mess on stage...
-Walter's guitar solo he wrote me: but I, not knowing anything about firecrackers,
picked a smoker, not a popper, so only a lot of smoke came out of my guitar, no
sound...
-I wrote "Money Piece II" for the orchestra, in which the orchestra picks up change
from the stage. Bill, the conductor, had decided that we would take the stage, the
money would be sprinkled about, and at his downbeat we would start collecting. But one
of the players, trombonist Nick Smith, went crazy at the site of two dollars in change
and just lunged for the money without waiting for the command to start. I laughed. [in
"Money Piece I" I ask for a dollar bill from the audience and then rip it up. This I
did as well.]
-I have been studying Gyorgy Ligeti lately, and transcribing 2 interviews with him
from French, and Elana Logsdon and I read the alphabetical insults from his 1977 opera
Le Grande Macabre ("ravishing runt!" "swashbuckling swine!")
-Elana and Brandon Young read my play that I sent to the FluxList Box II with much
pathos and overacting (perfect!)
-playing fruit baseball: Nick Smith hit a single [grapefruit], but then was tagged out
while going to 2nd base.
In all, it was a lot of fun.
-Josh Ronsen
in Austin, Texas
Need a new email address that people can remember
Check out the new EudoraMail at
http://www.eudoramail.com
FLUXLIST: Re: FLUX CAFE photos
Carol Starr wrote: >hi josh >you are brave to do 'danger music #2'. >very inteesting event, thanks for the photos. Oh, it was hardly bravery. Foolhardy, maybe, but there was no danger in it (except to my dignity). -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Re: More excuses
May 7: too drunk to work May 8: too much work to get drunk -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: STORY UPDATE
So far I have 17 volunteers for the story, and I already have 3 sentences (not including my initial seed sentence). I am doing this by email, as I lack the paitence to do it by snail mail. Back to work, -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: collabrative story
My Fellow Fluxlisters, I am starting a new story project, an exquisite corpse. Let me know if you want to participate, and the more who do the better. I will send a sentence to the first person on the list, who then must write a second sentence and send it back to me. I will then send the second sentence to the next person on the list and so on. I will only write the first sentence. I plan on going through the list a few tmes. Who's in? -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Collabrative Story Update
We're now up to 14 sentences, 3 paragraphs, and continue to grow. If you emailed me or the List expressing interest in the story, your part of the story is on its way to you. The suspense is building! Please be paitent! Do not panic! Take a deep breath and relax your shoulders. Ask yourself the question, why is Shoulders spelt Shoulders in America and not Sholders? How would one spell the word meaning "one who shoulds?" I.e. shoulder, should-er, "He was always saying 'I should have done this,' 'I should have done that,' he would always be a shoulder." Anyway, the point is the story is on its way to you. -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: Re: Poetry
>> > Hard lessons from poetry class: Speech is free unless it's critical >> > By BILL HILL >> > Daytona Beach - News-journalonline.com >> > Last update: 15 May 2004 >> > >> > Bill Nevins, a New Mexico high school teacher and personal friend, was >>fired >> > last year and classes in poetry and the poetry club at Rio Rancho High >> > School were permanently terminated. Digging around the Internet, the principal's name is Gary Tripp and his email address is [EMAIL PROTECTED] The lawsuit brief can be found here: http://www1.law.ucla.edu/~volokh/blog_data/nevins.pdf Anyone disturbed by this should email Mr. Tripp. -Josh Ronsen in Austin, Texas Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com
FLUXLIST: performance scores?
Is someone still collecting scores for a new Fluxus Workbook? I have a new piece I dream about performing with my brekekekexkoaxkoax ensemble once I actually get an actual ensemble together. I am sure there is a piece similar to this somewhere ENSEMBLE SCORE 1. Announce start of piece. 2. Ensemble enters, sets up equipment, tunes up or otherwise get ready to perform. 3. Pause. 4. Ensemble breaks down equipment and removes fromstage. 5. Ensemble returns for applause. -Josh Ronsen http://www.nd.org/jronsen --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
FLUXLIST: RE: FFFO Damage Limitation and Apologies Div.
Anna Wombal writes: >It would appear that Bowman found the relevant document in his scanner, >whilst looking for a plectrum. This wouldn't have anything to do with the recent disappearence of all plectrums from the Ronsen (me) household, would it? Where was Mr. Bowman on the night of October 21st? Does he have any alibis? Suspiciously yours, -Josh Ronsen http://www.nd.org/jronsen --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
FLUXLIST: attachments
Heiko Recktenwald writes >I think after Ken with his 2400 baud modem left things are ok for >asttachments again. Hadnt wee numerous files here after that ? >As long as they arent bigger than they must be. bw instead of >millions of colors. I think Ken's arguments for not sending attachments to Fluxlist are still valid. There are better and more appropriate ways to exchange files. For people who get the digest version (me), attachments appear as a long string of garbled text, and don't they appear as such in the digest? A link to site to download files would be better and smarter, not that being better and smarter is a priority for all. -Josh Ronsen http://www.nd.org/jronsen --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
FLUXLIST: avantgarde?
Heiko Recktenwald writes: >When fluxus began in the Cage class, they were some of the >most avantgarde people of its time. Those who call themself >"fluxus" today are not. What does avantgarde mean, today? Who is avantgarde today? These are interesting questions and I do not know how to approach them. Don't hate me, but I have been reading an article about Online (Internet) Education in a recent issue of the New York Times Sunday Magazine. There is quote from a professor (my copy is at home) who is trying to get "top-notch" universities to let their faculty lecture for his online ed company: to paraphrase-- the avant-garde (in art) and capitalism as similar because they are both concerned with the "new." I disagree with this statement, or at least with the superficial aspects of it. My conception of the avant-garde is one of overturning established orders and ideologies, which I guess could be considered "new," but it is a new mentality. Capitalism is ALWAYS concerned with producing goods or services at a profit, and hasn't changed at all. There is a drive for new goods and markets and a silly marketing spin on Internet Business as "the New Economy" (tm), but it isn't. Now the relation between art and capitalism can be scary: is the avant-garde in art just the capitalist quest for new markets? Ack! I hope not. Maybe it has become that. For me, if the avant-garde is "overturning established orders and ideologies," the one it should be directed against is capitalism. I'd be interested in thoughts/reactions on this topic. -Josh Ronsen http://www.nd.org/jronsen --== Sent via Deja.com http://www.deja.com/ ==-- Before you buy.
FLUXLIST: Another giveaway from Josh R...
Yea! Fluxlist is back. I had sent out the below offer when Fluxlist was down and was wondering why no one claimed it. I am offering, for free, to the first person who claims it, 1 unopened package of Sponch. The only requirement is that you must have no idea what Sponch is, or attempt to find out before it arrives. Email me first, and it is yours (and maybe you will send me something of "equal" value in return, although Sponch is very much an unequaled thing in the world...). -Josh Ronsen http://www.nd.org/jronsen ps: whatever happened to my short short story that was being passed around for modifications/improvements? Did it fall into the hands of someone who loves it so much they are going to keep it? Who had it last? Has it been modified so much that it can't be mailed? DId someone eat it? --== Sent via Deja.com ==-- http://www.deja.com/
FLUXLIST: RE: painting
A recent digital painting: http://www.nd.org/jronsen/1124.jpg -Josh Ronsen --== Sent via Deja.com ==-- http://www.deja.com/
FLUXLIST: RE: Stasick's complicated pricing scheme....
Rod Stasick writes of his exhibit at the deYoung Museum: >Tickets: Tickets: $7 adults, $5 >seniors 65 and over, $4 youth >12-17, children under 12 free. >Admission is free the first >Wednesday of each month. Is there a discount for those who can spell Fluxlist? What about the first full moon of each month? Is there a high tides surcharge? Please tell us more about the exhibit? Will any of it be online? -Josh Ronsen http://www.nd.org --== Sent via Deja.com ==-- http://www.deja.com/
