Re: FLUXLIST: Visible Language
FLUXLIST@scribble.com writes: Dear Owen, Can you tell me exactly the title for the Visible Language issue that contains my little essay? Yours. Walter Sure Walter - it is the second one of the two volume set - it is: Visible Language 40.1 Fluxus After Fluxus. Owen
Re: FLUXLIST: Fw: Madame Hulot sez - A Message from Alison Knowles
FLUXLIST@scribble.com on Tuesday, June 20, 2006 at 9:58 AM -0500 wrote: I would be very interested in hearing the thoughts of both Alison and Hannah about the current status of Fluxus. If they are prepared to address the Dead/Alive/Both question head-on that would be very interesting, however their thoughts in a more general and less polemic format would also be welcome. I.E. What do you think about contemporary Fluxus practice and where do you see Fluxus going forward? Ann K mentioned her article in one of the issues of Visible Language in a prior post - if you are interested in the above you should really read it for the essay covers may important and related issues to the topic of fluxus as an onging concern/approach. It is titled What has Fluxus Created? (or did you mention this already Ann?) My own point of view is that there is a historical Fluxus that is what it is (not dead, but more set or determined in a way) but there is also fluxus as a view and practice that is alive an well. This is another way Fluxus is like Zen - both have a history and an ongoing praqctice that are related but not determined one (present, evloving and changing) by the other (past, more set if not fixed) - I had a great conversation with George Brecht a number of years ago about this concept and he agreed that this is a useful way of looking at Fluxus. Owen
Re: FLUXLIST: Fw: Madame Hulot sez - A Message from Alison Knowles
FLUXLIST@scribble.com on Tuesday, June 20, 2006 at 12:10 PM -0500 wrote: I think that the answers that I seek arise from two questions: 1) How to deal with critics, curators, and historians who insist that Fluxus only existed at a particular time in history, and that it only involved the group of atists who produced work that they called Fluxus within that time frame? I know that one could choose to either ignore or confront them - but what about a middle way towards mutual understanding? Yes, a middle way would seem the best - the curator types would have to admit that there is an ongoing tradition at least (and they are blind if they don't not see it) and the artists will have to admit that they are part of a tradition not the original group. Now, yes this is separation of new and old seems counter to aspects of a Fluxus sensibility and, in fact, it is counter - at the same time historical distinctions are still valid and useful. The same way context/history is not only necessary but central to how we make meaning in general it is valid in all aspects of understanding of the whole issue of Fluxus, what it is and what it is not. Fluxus' history and its current strains/traditions is a major focus of the two issue that Ken and i did not Visible language. I have a section of artists statements on Fluxus and its influence on them from 12 current practitioners (and several on the Fluxlist) including Alan Bowman, David-Baptiste Chirot, mekal and, Sol Nte, and Walter Cianciusi. In the end I personally will come down to a different question and that is is it interesting? (there is plenty of stuff called Fluxus that is not very interesting and much stuff that is not Fluxus that is quite interesting). 2) How to deal with issues within the current community of practitioners who seem divided between those that feel they are producing new Fluxus work and those who feel that they are producing new work, of no particular school or movement, but in the Fluxus tradition? Maybe these are both questions for which definitive answers can never be found and for which the only solution is ongoing dialogue... Well answers are always less interesting then good questions. As to how to address this - in part you have to let the artists speak for themselves, but also realize that the audience will also have their own voice in the matter. This way they the answer of is it new work or part of a tradition will be answered collectively by both artist and audience, kind of like the art coefficient idea of Duchamp's but applied not to is it art?, but what kind of art is it? By the way, could you or Ann post a link to a site from which issues of Visible Language can be ordered? http://www.id.iit.edu/visiblelanguage/ The web site is a little out of date so it does not list the issues, but they are 39.3 Fluxus and Legacy and 40.1 Fluxus After Fluxus and there is contact information about getting copies, it should be abut 20.00 for the double issue. Owen
Re: FLUXLIST: hey Owen Smith
FLUXLIST@scribble.com on Monday, May 15, 2006 at 2:46 PM -0500 wrote: could you email me off line please? I had a question for you and I don't have your email address. Thanks Madawg __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com Sure - my email is [EMAIL PROTECTED] Owen
Re: FLUXLIST: FLUXLIS
OK - I guess I have been lurking long enought and should respond to the querry. Ken Friedman and I just finished a double set of issues of the journal Visible Language. The first is Fluxus and Legacy. The second is Fluxus after Fluxus. This is the official version of the two issues: Fluxus and Legacy examines the relationship between Fluxus and a range of artistic and art historical concerns -- including the question of historical consciousness in the work of specific artists. Contributors include Bertrand Clavez on the relationship of Fluxus to the artistic practice of recent decades, Ina Blom on the historiographic dialectic of Ben Vautier's signature, and a special collection of conversations and notes by children of the Fluxus artists compiled by Hannah Higgins (herself a Fluxkid). Owen Smith examines Fluxus and learning strategies, and the issue ends with an inquiry into historiography and legacy by Smith and Ken Friedman. Fluxus after Fluxus examines the relationship of younger artists to the Fluxus work. Contributors include Anne Klefstad on the difficult question of legacy, Celia Pearce on games as art and the aesthetics of play, and a dozen contemporary artists on their view of -- and relation to -- Fluxus. In addition, Lisa Moren has organized a special collection of event scores titled Keep Walking Intently, blending traditional Fluxus scores with parallel works by other artists and an introduction by Ina Blom. Additionally there is a selection 10 artists' statgements on the importnace of fluxus for their work and ideas in contemporary practice. In the introduction, Friedmand and Smith discuss the dialectics of legacy, and Ken problematizes the question of legacy in a bibliographic essay on the literature of Fluxus that accompanies a selective bibliography on Fluxus from 1961 to 2004. Additionally if you Jelena (of anyone else) is interested I will be happy to send yo and essay I wrote in the mid 90s about what I called the fluxus world view (it was origianally published in the catalog Fluxus Virus). Since it is long and amnot sure that it is righ to send it to the list directly just send me you email off list and I will send it as an attachment. Here is a brief selection of the introduction of the essay: Playing with Difference: Fluxus as a World View. A consideration of Fluxus on the basis of identifiable visual distinctions (the use of collage/assemblage, a design sensibility, or a particular form of a work) or even seeming conceptual coherencies fails to recognize the more fundamental change in thinking: Fluxus no longer requires clarity of concept or purpose as it relates to communication. This can be most generally seen in the processes of creation in which Fluxus participates. These processes illustrate and enact the diacritical workings of communication (in art, language, music, etc); the joining of disparate elements from within established meanings (and in relation to expected actions) to create new and unexpected meanings and awarenesses. In Fluxus, processes are enacted to establish multiple possibilities and not set new transcendent orders or associations and thus Fluxus might seem to contain patterns of the absence or the ambiguity of meaning. To more fully recognize the nature of past Fluxus actions and even the possibilities for future actions I attempt to offer here a series of related ideas that can inform one as to the conceptual field in which Fluxus operates.1 Fluxus is by nature anti_reductivist, for it does not seek the illumination of some end or fact but celebrates the participation in a non_hierarchal density of experience. In this way Fluxus does not refer to a style or even a procedure as such but to the presence of a total of social activities. The attempt to place Fluxus in history falls into the positivist (in the sense that human knowledge derives from systematic study) as well as art historical trap of defining the presence of something by divining the presence of a core, whether it be of ideas, people or activities. Thus as the debate rages as to who was part of Fluxus and who wasn't, or when and where Fluxus existed, one of the most central and crucial aspects of Fluxus is often disregarded. Although some trace of Fluxus does exist in what was done and who did it, such a narrow view obscures the key to Fluxus, that which I call a world view. Owen FLUXLIST@scribble.com writes: you can also check on Hannah Higgins books and/or Owen Smith. Original Message Follows From: Kamen Nedev [EMAIL PROTECTED] Reply-To: FLUXLIST@scribble.com To: FLUXLIST@scribble.com Subject: Re: FLUXLIST: FLUXLIS Date: Tue, 2 May 2006 00:38:35 +0200 On 02/05/2006, at 0:26, Jelena Zoric wrote: I need an essay on fluxus ideology, on fluxus movement in general.
Re: FLUXLIST: Artists that use Computer/Digital as a medium
FLUXLIST@scribble.com writes: Does anybody know that if there's any (famous) artist that uses computer/digital stuff to make art, preferably the pioneering ones (i.e.[ http://en.wikipedia.org/wiki/Aldo_Giorgini ]Aldo Giorgini) Thanks! regards, There are literally thousands of interesting artists who use computers and in fact there are connections back into the history of Fluxus as well - in the early 1970s both Alison Knowles and Dick Higgins experimented with computers as did many others. And this is a tradition in relation to fluxus aesthetics that carries through to the Fluxlist today. . . . Some of the artists who I find on interest now are: Janet Zweig - [ http://www.janetzweig.com/ ]http://www.janetzweig.com/ Mark Napier - [ http://potatoland.com/ ]http://potatoland.com/ Natalie Bookchin - [ http://www.fondation-langlois.org/html/e/page.php?NumPage=289 ]http://www.fondation-langlois.org/html/e/page.php?NumPage=289 MTAA - [ http://www.mteww.com/ ]http://www.mteww.com/ Owen [ http://www.altarts.org/owensmith/ ]http://www.altarts.org/owensmith/
Re: FLUXLIST: RE: Phew! fluxbox II too (2)
I am still waiting as well since I never got mine either. . . . So Crispin what is up with this? If you can not or will not finish them maybe you should turn the contents over to someone who will (finish the boxes that is). Owen FLUXLIST@scribble.com writes: I didn't get one. Cecil Touchon Potter, Nick (Spotswood) wrote: Yeah Roger Im still waiting for my box II too. Crispins email below said that Carol I were next a year ago.. Hi Crispin ;) Nick. -Original Message- From: Crispin Webb [[ mailto:[EMAIL PROTECTED] ]mailto:[EMAIL PROTECTED] Sent: Wednesday, 11 August 2004 5:50 PM Subject: TWO BOXES THESE BOXES WERE MADE TONIGHT TO BE MAILED TO SEVERAL PEOPLE I HAVE ALSO MADE TWO FLUXLIST BOXES AND THEY WILL BE SENT OUT TO WALTER AND MERYL NICK AND CAROL ARE NEXT IM ON IT NO WORRIES THEY WILL BE ARRIVING ON YOUR DOORSTEP SOON CRISPIN =
Re: FLUXLIST: Mime-Version: 1.0
FLUXLIST@scribble.com writes: from the institute of fluxus brisbane, in australia. Wow! sounds impressive, the Institute of Fluxus Brisbane. Bertrand So, might I ask - what exactly is the Institute of Fluxus? Are you on line? or do you have examples of what you do? Owen
Re: FLUXLIST: FLUXBOX2
FLUXLIST@scribble.com on Monday, January 17, 2005 at 11:11 PM -0500 wrote: me neither: And I have not received mine either. . . . So Crispin (or Don), what is up with the box production? Owen
FLUXLIST: Fwd(2): Jackson Mac Low
Dear Friends, We are sad to announce that Jackson Mac Low died this morning at 11:30 a.m. at Cabrini hospital in New York from complications after a stroke he suffered on November 4th. He was 82. There will be no funeral, but he will be buried at Cedar Park Cemetery in Oradell, NJ. A memorial will be held in the future. Anne Tardos Mordecai-Mark Mac Low Clarinda Mac Low _ Anne Tardos [ http://www.annetardos.com ]www.annetardos.com +1 212 226 3346 +1 917 660 5552 +1 646 643 3004 Dear Friends, We are sad to announce that Jackson Mac Low died this morning at 11:30 a.m. at Cabrini hospital in New York from complications after a stroke he suffered on November 4th. He was 82. There will be no funeral, but he will be buried at Cedar Park Cemetery in Oradell, NJ. A memorial will be held in the future. Anne Tardos Mordecai-Mark Mac Low Clarinda Mac Low _Anne Tardoswww.annetardos.com+1 212 226 3346+1 917 660 5552+1 646 643 3004
Re: FLUXLIST: stats
[EMAIL PROTECTED] writes: I did that analysis for an article I wrote about Fluxlist that Owen and Ken were going to use. I did hear that it was finally going to be published but this was some months ago and I've not heard from Owen since so I assume it's not going to happen. Sol (and the rest of the list) - it is still going to happen - it just all keeps getting pushed back, now it seems that it will be the end of spring or summer of next year (2005). It will be a special issue of Visible Language on Fluxus today as an ongoing artistic form of expression such as that on the fluxlist (not just the historical stuff). Since the issue has come up here as a discussion item let me ask you all a question - I am still looking for a few women artists that see their work as part of the direct heritage of Fluxus. If you know of anyone or want to suggest yourself please email me off list at [EMAIL PROTECTED] Thanks, Owen
Re: FLUXLIST: allen bukoff
[EMAIL PROTECTED] writes: is allen bukoff still on the list? Allan - he should be - I think he is still the moderator for the list . . . Owen
FLUXLIST: I survived FLUXLIST and what is Fluxus?
Wow! All I did was not check my email for a couple of days and the list exploded with a flurry of posts. As I read through them what struck me was regardless of the nature and direction - what has beeen generated is a really interesting series of statements about fluxus, history, art, theory and the connections between them, so for a reader point of view thank you all. As some of you know I am currently editing a special issue of Visible Language on Fluxus, but not the usual historical stuff, more on fluxus as an ongoing aesthetic/cultural phenomena. I am planing/hopeing to include materials by artists who are not necessarily fluxus in the historical sense but have been influenced by or see their work and iideas in relation to fluxus - so all the posted comments have been very interesting for me to read and I have quite enjoyed all the variety of issues and statements. And in the end, I guess what it says to me is that fluxus is still alive, at least in relivance, otherwise not so many of you would feel the way you do, and that is a good thing. . . . I am also working on a piece for the issue that might be relivant to these discussions so I am sending it along. It is in rough draft format and I intend to expand it with more current practices/examples, but none-the-less I will include it here for your consisderation, and if you are not interested please just ignore the rest of this post. Owen Owen
Re: FLUXLIST: I survived FLUXLIST and what is Fluxus?
[EMAIL PROTECTED] writes: I am interested in the piece. Sorry the piece did not come throught the last time - here it is for anyone who is interested. Also Suse tell me more about this show, it sounds very interesting even if it did not happen this time. Owen As evidenced by the existence of this publication Fluxus is increasingly becoming the object of scholarly consideration. In the last ten years there have been an ever-increasing number of exhibitions, journal publications and even books on Fluxus. In light of this growing recognition and attention I would suggest that we should ask ourselves, What is the nature of the information that we are gaining and at what expense is this knowledge being accrued? It may seem peculiar to suggest that the acquisition of knowledge about Fluxus and the construction of a history of Fluxus is somehow detrimental, but I believe that this is often the case and I would therefore argue that we must consider not only the particulars through which a history of Fluxus might be developed but also what such a process does to our awareness/understanding of Fluxus or even to Fluxus itself. There are two principal concerns which should be addressed: the first is that many of the traditional accepted practices of history, art history, and cultural institutions such as museums, are directly in conflict with some of the basic attitudes that I feel lie behind many of the specific Fluxus works, events and productions. Second, I am inclined to argue that it is of greater value (in the loosest of terms) to gain a participatory knowing of Fluxus as a means to understanding its potentials than to discern, decipher and determine a fixed concrete knowledge of Fluxus through its history. This essay is not, however, intended to offer some countervailing truth to current or traditional practices, but rather it is a presentation of some of the concerns that are increasingly effecting my own ideas and emphasizes related to historical and philosophical considerations of Fluxus. Based on the belief that it is more enlightening (in the broadest of senses) to pursue an understanding of Fluxus, which requires a participation in it, than a knowledge of Fluxus, which traditionally assumes a critical or analytic distance from the object of knowledge, the basic tack that I am taking in this presentation is one of advocacy about the value of Fluxus (or what we have to learn from it). In general this advocacy is that of urging a shift from the search for knowledge as an objective pursuit of historical truth, to the active subjective search for interactive understanding. A principal aspect of the conflict between Fluxus and most historical methodologies is that the worldview associated with Fluxus is fundamentally connected to a rejection of the western tradition of the metaphysics of presence. This tradition consists of two interrelated biases: the privileging of the object (presence) over the act (absence) and the desire to explore and elaborate a pure, self-authenticating knowledge. As part of this logocentric bias art history is, at the present time, principally governed by the unwritten precept to trace the object under consideration back to its original context of production. The operational aspects of such a paradigm are principally structured around a view that the object in question is positioned in a evolutionary chain of events which the historian must trace back in order to read the intentions and conditions of the artist as the total and originary source of meaning or signification. The underlying essentialist rationale of this position further seeks to elaborate a coherent history of originality. To locate and determine internally consistent aspects of the object of consideration based on a general view of the nature of the world as comprised of conceptually and chronologically separable entities. But if one applies only these kinds of approaches and rationales to Fluxus the results are questionable because the Fluxus project exists in a direct, fundamental opposition to such assumptions. As I have argued elsewhere Fluxus is by nature anti-reductivist, for it does not seek the illumination of some end or fact but celebrates a participation in a non-hierarchal density of experience. In this way Fluxus does not refer to a style or even a procedure as such but to the presence of a total of social activities. The attempt to place Fluxus in history falls into the positivist (in the sense that human knowledge derives from systematic study) as well as historical trap of defining the presence of something by divining the presence of a core, whether it is of ideas, people or activities. To define Fluxus by traditional methods (to assign limits to nature of what is considered and consequently delimit its master codes) is to negate the value of such a definition. At issue then are the applicability of the means
Re: [Fwd: [Fwd: FLUXLIST: Fwd: Fluxus Query]]
[EMAIL PROTECTED] writes: hope this helps, bests, carol Richard Joly wrote: hello Carol, thanks. I would guess the images were done by Maciunas.. therefore maybe it's Billy, his widow who holds the copyright [ I think that's her name.] I'll forward this to some people who might know. Richard No this is incorrect Billie sold most if not all of her material to the Silvermans and to Sohm - the photos and their rights are owned by the Silvermans. Owen
FLUXLIST: FLUXLISTand the discussion of nothing
I just came across an action poem Filliou presented in 1965 called Le Filliou Ideal, which in his book he describes as the secret of Absolute Permanent Creation. The score of the poem reads: not deciding not choosing not wanting not owning aware of self wide awake SITTING QUIETLY DOING NOTHING After speaking these words to the audience, Filliou sat for a while in meditation
Re: FLUXLIST: new member
[EMAIL PROTECTED] writes: A.1.Waste Paper Co. Ltd. So Michael - out of curiosity what goes on at A.1.Waste Paper Co. Ltd. ? Welcome to the list, Owen
Re: FLUXLIST: Fwd: Artforumclassifieds.com
[EMAIL PROTECTED] writes: Isn't this begging for a fluxus/fluxlist project? --- Original Message --- From: Edu-News [EMAIL PROTECTED] Sent: Mon, 19 Apr 2004 12:51:05 -0700 Subject: Artforumclassifieds.com Funny you should mention this Allen - I just placed two adds on the site and it was quite easy and did not cost a thing. . . . Owen
Re: FLUXLIST: Thomas Kinkade? Not the most famous. John Berger?Not the first.
[EMAIL PROTECTED] writes: ray wrote: Hi! Im eternally grateful Me? I'm still shocked: Is Kinkaid truly representing precisely what the American minds of our time desire? Is his escapism salving souls in droves? Or, has the use of the media truly succeeded in fundamentally brainwashing the masses into pre-ordained visions? Or,again, is it merely a light hearted love affair with the pretty/ugly? SOS! Yes and no to your points about American minds - Kinkaid is the visual equivalent of fast food for the art market, fast art anyone?- it looks good seems tasty and filling but in the end does not deliver what it seems to prior to imbibing. It has all the trappings of real art without requiring anything other than a checkbook or credit card, a kind of revenge of Kitsch on the art world - and remember that that they will always look good with your Hummel collection and over your Laura Ashley couch. In the end I do have to admit that I once made an art work with a Kinkaid print. . . . Owen
Re: FLUXLIST: Re: FLUX CAFE photos
[EMAIL PROTECTED] writes: 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). I have actually found it rather an interesting piece to perform - I have been the shavee once and the shaver twice - in fact I have been contemplating doing an essay on this particular piece for several years now it is so filled with interesting opposites - aggressive and passive, focused and dissipated ,etc. and if one really want to consider some of the early Fluxus work and the concept of action music it seems like sure a marker for both historical and performative reasons. Owen
Re: FLUXLIST: FLUX CAFE photos
[EMAIL PROTECTED] writes: http://homepage.mac.com/shawnfeeney/flux/PhotoAlbum16.html I am the one in the white shirt and black tie. Very nice Josh - so how did it feel to perform Danger Music No. 2? Owen
FLUXLIST: html, code and art
In light of some of your comments here is a little code art: !DOCTYPE HTML PUBLIC -//W3C//DTD HTML 4.01 Transitional//EN html head titlecode for art/title meta http-equiv=Content-Type content=text/html; charset=iso-8859-1 /headmeta name=art content=html body table width=720 height=689 border=0 cellpadding=0 cellspacing=10 bordercolor=#00 bgcolor=#00 tr bordercolor=#00 td width=157 height=199 bgcolor=#FFnbsp;/td td colspan=2 rowspan=2 bgcolor=#FFnbsp;/td /tr tr bordercolor=#00 td height=261 bgcolor=#FFnbsp;/td /tr tr bordercolor=#00 td rowspan=2 bgcolor=#FFnbsp;/td td width=444 rowspan=2 bgcolor=#FFnbsp;/td td width=69 height=83 bgcolor=#FFnbsp;/td /tr tr td bgcolor=#00nbsp;/td /tr /table /body /html
Re: FLUXLIST: REMOVE
[EMAIL PROTECTED] writes: REMOVE UNWANTED
Re: FLUXLIST: Danger Music in Leeds
Very nice secret fluxus - realization and context quite wonderful. Dick would, I am sure be, happy to hear of your performance. Owen
Re: FLUXLIST: Fw: Nam June Paik
[EMAIL PROTECTED] writes: Following Jon Hendricks, the anouncement sheets were done and distributed through Maciunas, but the actual posts were done by Paik (even if Jon Hendricks publishes an abstracts from letters from Maciunas to Paik and Bob Watts that can make one think the contrary ) I'm sure there were not many of them, and only between 1963 and the beginning of 1964 (anyway, before Paik left Germany), but the anouncements are more commons (Maciunas issued more than 150 of them) Codex is quite clear about that (see PP. 430-433 of the Fluxus Codex), but not complete about the diffusion. Yes Bertrand I know that Paik sent out some of them but I have also seen some that were clearly not sent out by Paik - or at least the handwriting of the address is clearly not Paik's and so I made an assumption (wrong?) that it was tomas' or maybe it was someone just helped him write the addresses?? The easiest would be to ask Paik, isn't it? Any volunteer? Yes it would but given his health I am not sure that would be a good idea, but then again it might be just the thing. . . . Bertrand. PS: however, my main problem remain: what the hell one could or should or would pay for several different copies? Very hard to tell, since there are so many variables, but since I have seen several small Paik posters and other printed materials from the same period go for 100-300 dollars (and higher) my somewhat educated guess is that they would be at least in this range if not a fair amount more. Owen
Re: FLUXLIST: Fwd: [fluxus-mail-art] Re: Theory on Fluxus
[EMAIL PROTECTED] writes: Yes - this is what I meant as well - one example I came across was a coin. So I assume that different coins were sent out as part of that edition. However, I don't know how many were included in that edition. Do you think the three fans you saw were the only ones in that issue, Owen? Yes, it is my guess that each issue was a kind of object that varied across the publication/issue - so one issue was a fan, one was chopsticks, one a coin, etc. Owen
FLUXLIST: new project
To all interested parties (and even if you are not). . . . The following site is a final beta version of a project I have been working on for the last year (on and off). Would be interested in any thoughts, comments or suggestions. The initial animated graphic is a Java script and might load a little slowly on a dialup connection (but it is just a spinning model of a DNA strand so you can ignore it if it is too slow to load). [ http://www.altarts.org/owensmith/ ]http://www.altarts.org/owensmith/ Thanks, Owen
Re: FLUXLIST: cafepress
[EMAIL PROTECTED] writes: It's all really easy and a high quality product, just like any professionally produced paperback. They warn you about layouts and margins etc. so you can get it right first time..I had no problems at all. You just pdf everything and jpegs for the cover..they have full instructions. Very cool Sol -I have a fluxlist related project that I think I am going to try to publish with/through them. will let people know more about this when a bit more of the details have been finalized. Owen
Re: FLUXLIST: Fwd: [fluxus-mail-art] Re: Theory on Fluxus
[EMAIL PROTECTED] writes: Just missing ours ;-) [ http://www.4t.fluxus.net ]www.4t.fluxus.net Bertrand PS: dear Candace, thanks a lot for the info related to Paik's Avant-Garde Hinduism, which leads me to assume that these posts were uniques and not multiples. All the best, Bertrand Bertrand they were both, if such a thing can be possible - none were exactly alike but many were similar - for example I have seen three fans that were sent as issues - to were similar but one was a fan but quite different in its particulars. Owen btw - i missed Candace's note and am interested - what did she say? (if you don't mind sharing) or Candace can you repost to me directly? (as an interested party)? Owen
Re: FLUXLIST: Fw: Nam June Paik
[EMAIL PROTECTED] writes: Thanks Bertrand. It seems that a composite of gathered information is the best way to understand these projects. They are only from the 60s, though, right? One would think there would be a little more knowledge about them. I'd be curious to know how many subscribers he had! Candace. As far as I can tell these were mostly done in 1963 before George Maciunas returned to the US. They were Paik's but were done (published) by either George (Maciunas) or tomas schmit (who was working as George's assistant till they had a falling out). I don't think that many were ever done although they were planned as unlimited multiples/publications. Owen
Re: FLUXLIST: Send Bush to the Moon in 2004
[EMAIL PROTECTED] writes: Make your own t-shirt. http://www.nutscape.com/Bush2004/ Allen this is great! - you should also set up an account with cafepress ( http://www.cafepress.com/cp/info/ ) for those who are not DIY people so that they can buy a pre-made one you could also throw in a nice graphic of this event in process (yea). If anyone else out there does not know of them it is a great way to get art/multiples out there with a minimum amount of front end cost. I have two accounts with them ( http://www.cafeshops.com/rhouse and http://www.cafeshops.com/helpken ) and am planing more. . . . Owen
Re: FLUXLIST: cafepress
[EMAIL PROTECTED] writes: Owen I agree cafepress is excellent. Have you tried their digital publishing facilities..perfect for short run perfect bound paperbacks.I created my first publication a couple of months ago and am intending to use the service for the cookbook when I have enough submissions. Sol - No - This is one of their services that I have not used but was very curious about and have thought about using - so how did you feel the process went and what was the quality of the finished publication? Owen
Re: FLUXLIST: Fw: Nam June Paik
[EMAIL PROTECTED] writes: Well apparently, this topic doesn't raise much reaction... :-) Maybe it's because it lacks of humour? Well, too bad Bertrand Sorry Bertrand meant to respond to this last week but got sidetracked. I have seen several examples of this publication in the Sohm archive. What it ended up being is that Paik would send out various materials, like a fan or a kerchief often with some other materials such as a note or short statement, but generally this publication was an object and not typical printed materials (those that I have seen). Owen
Re: FLUXLIST: Introduction
[EMAIL PROTECTED] writes: I guess there's hardly another place on the web with a higher percentage of allans (or alans) How come? Yes, i think we have reached or limit, or this might have to be renamed the al/lanlist, not the fluxlist.. . . . . Owen
Re: FLUXLIST: re:exotic ties traveling the globe
[EMAIL PROTECTED] writes: I have in my possession two rather exotic looking ties, which I will send to two gentleman who would be willing to wear them out for a day, be photographed, and then send the tie on to another gentleman who will do the same. Hopefully the ties will travel constantly, and will provide many photos and letters for a website documenting the journey! Please respond with your address if you are interested!! Amy Baylaurel Casey Amy - i will volunteer to be one of your tie wearers. . . . Owen
Re: FLUXLIST: 4'33 on BBC3
[EMAIL PROTECTED] writes: They usually keep performances on their site - so you may be able to listen to it another time too if you miss Friday. Candace. Yes indeed thanks Candice - also some other great links and stuff to the [ http://www.musicnow.co.uk/scratch.html ]Scratch Orchestra and the [ http://www.users.waitrose.com/~chobbs/index.html ]Experimental Music Catalog and the up coming program Sex Drugs and Four Minutes of Silence on Thursday 26 April at 11.30am on BBC Radio 4 [ http://www.bbc.co.uk/radio4/discover/archive_features/17.shtml ]http://www.bbc.co.uk/radio4/discover/archive_features/17.shtml
FLUXLIST: message from Ken for the New Year
In One Year and Out the Other On New Year's Eve, make a telephone call from one time zone to another so that you are conducting a conversation between people located in two years. -- Ken Friedman December 31, 1975 Dear Friend, This score is your invitation to participate in a performance for the New Year that friends and I have performed every year since 1975. The first performance took place on New Year's Eve 1975-1976. It started before midnight in Springfield, Ohio calling forward to Dick Higgins, Christo, and Nam June Paik in New York. After midnight local time, it ended with calls back to Tom Garver and Natasha Nicholson in California. I have performed this work every year since then, frequently calling Tom Garver, Peter Frank, Judy Hoffberg, Newton and Helen Harrison, Abraham Friedman and the late Dick Higgins. The arrival of new media gave rise to new modes of performance. On New Year's of 1992-1993 I used telefax for the first time in performing this work, sent telefax messages with the score to Christo and Jeanne-Claude Christo, Peter Frank, Abraham and Shirley Friedman, Dick Higgins, Hong Hee Kim-Cheon, Choong-Sup and Yeong Lim, Karen and David Moss. In recent years, email has extended the performance to network of friends and colleagues. The ability to share and forward email messages means that increasingly large numbers of people perform the event each year using email. Friends tell me that mobile telephone technology now enables new enactments in which people at different New Year gatherings simultaneously call to friends in many locations, receiving return calls from different time zones shortly after. In the Swedish country village where I live with my wife Ditte and our dog Jacob, the annual New Year gathering is generally quiet. We always cook a light supper of lobster and asparagus. In my hermeneutical interpretation of the meal, the meat of lobster represents the New Year emerging from the shell of the old, while the asparagus signifies the green growth of spring. This year, the menu will expand with an appetizer of cantaloupe and thin slices of twice-baked ham glazed in egg mustard and bread crumbs. We will follow this with avocado sprinkled with apple cider vinegar. Catharina Stenqvist and Eva Oesterberg will join us for dinner as they often do. Jacob's grandson, Sixten, will come with them. (Jacob and Sixten will not be sharing our lobster. Their menu will consist of an appetizer of two cheeses, Skaane Prestost and Gruyere, followed by a lightly grilled steak. It is New Year, after all, and my postmodern rendition of the St. Francis role requires a dinner for all creatures in the house.) After dinner, we will stroll around the 800-year-old village church and accompany Eva, Cattis, and Sixten homeward as village families explode the annual fireworks display. That will be my New Year's celebration. I hope your celebration will be warm, cheerful, and satisfying. One thing is certain, or reasonably certain, and that is the fact that a New Year is on the way. Here are my wishes for a wonderful 2004! Ken Friedman
Re: FLUXLIST: fluxus indians
[EMAIL PROTECTED] writes: Thanks owen i recieved your editions very nice. I will be mailing one to WOJTEC crispin Hey, they got there this time - Great! (my guess is that it worked this time since I insured them ) Owen
Re: FLUXLIST: fluxus indians
[EMAIL PROTECTED] writes: By the way, the defense went out very well (mention very honorable+ congratulations of the jury). Excellent Bertrand - well done and congratulations!! Owen
Re: FLUXLIST: Charles Krafft
[EMAIL PROTECTED] writes: Anyway thought I'd share this with y'all since I've not shared anything with the list for ages and ages and ages and ages and ages. But maybe you've already seen it, if so just enjoy again. Very nice sol - reminds me of some of the earlier work of a fav artist of mine (what I think of as delft tools series), Wim Delvoye: http://www.artnet.com/ag/fineartthumbnails.asp?aid=5088 check out the saw blades piece at the site - also did dump truck (full size) and even sewer pipe in delft blue and white designs. Owen
FLUXLIST: video event scores
OK, after many comments from members of the fluxlist I have recompressed the videos to make them much smaller for those of you on slow connections. The quality has dropped a bit but not too badly and now those of you who commented can view them (i hope) without each taking a half hour to load. Again they are available at: http://www.altarts.org/trans/splash.html Let me know if these work better for you. . . . . Also in case any of you might be interested in participating I have just modified (redesigned) an older project called Trace Image you can see this at: http://www.altarts.org/tracker/index.html Owen
Re: FLUXLIST: FLUX BOX II Important. this one
[EMAIL PROTECTED] writes: I am still waitingon owen and Sol to contribute but i want to get this rolling. If i do recieve more contributions to the box I will forward the pieces to those who have gotten their box. Yes I have been bad and since the first versions got lost in the mail I have just not followed through with remaking them. The cards are now at the printer again and I should be able to send you the new pieces by the middle of next week. On another front -here is one of the other things that I have been working on and not doing the work for the box: http://www.altarts.org/trans/splash.html Because these are video files with sound if you are on a dial-up connection they will be slow (very) to load - sorry. . . . Owen
Re: FLUXLIST: FLUX BOX II Important. this one
[EMAIL PROTECTED] writes: Ill let you know when i get it up and running. do you want a link on my artist network for your transitions. Sure - that is fine if you want to Crispin. Thanks, Owen
Re: FLUXLIST: Fwd: OBSESSIVE CONSUMPTION NEEDS YOUR HELP!!!
Kate - just sent off the receipt to you here is the related info on the purchase [EMAIL PROTECTED] writes: name: Owen Smith location: Orono, Maine age: 44 occupation: Artist Why did you buy this item: For an art project related to economics, originality and creativity Where did you buy this item: Ebay How much did it cost: .21 cents plus 19.95 shipping and handling (thus the real price is 20.16) Ranking: ? Let me know if you need anything else. Owen
Re: FLUXLIST: Fwd: OBSESSIVE CONSUMPTION NEEDS YOUR HELP!!!
Sorry - meant to send this to Kate not the list but since I have - the object is a painting of Van Gogh's Starry Night 100% HAND PAINTED AND SIGNED BY THE ARTIST - i have purchased about 10 of them so far for this project by different vendors. the URL is: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItemitem=3632652280category=551rd=1 Owen [EMAIL PROTECTED] writes: Awww come on, Owen. Tell us what the object was. Can you share the ebay url? Kate - just sent off the receipt to you here is the related info on the purchase [EMAIL PROTECTED] writes: name: Owen Smith location: Orono, Maine age: 44 occupation: Artist Why did you buy this item: For an art project related to economics, originality and creativity Where did you buy this item: Ebay How much did it cost: .21 cents plus 19.95 shipping and handling (thus the real price is 20.16) Ranking: ? Let me know if you need anything else. Owen
Re: FLUXLIST: Fwd: OBSESSIVE CONSUMPTION NEEDS YOUR HELP!!!
[EMAIL PROTECTED] writes: Owen, I immediately went, looked up and perused the other eBay items you've been bidding on during the last month...an interesting collage of stuff I learned new things, thanks! eBay still knocks me out. It is an amazing repository of collective human knowledge (produced voluntarily!) and a seemingly endless source of interesting activities and games (e.g., voyeuring/sampling someone else's interests and knowledge). Yes - it is interesting and many do not know that you can search by bidder to see what people have been up to. I have such diverse interests (or weird as the case may be) that Krista always says if anyone were to go through your studio and see what you have they would not know what to make of it or you. I particularly like ebay as a source of both inspiration and for art supplies. Owen
Re: FLUXLIST: UMBC symposium
[EMAIL PROTECTED] writes: All right I've been reading the emails about the symposium at UMBC and for the life of me I can't figure out where exactly it is. Maybe I'm just a little dense but could someone tell me! I would like to go. The conference is on the 16th - it is scheduled from 4-6 and the only location I have is the Albin O. Kuhn Library and Gallery at the University of Maryland, Baltimore County. The Performance by Alison and Larry is at 7:30 in the Recital Hall of the Fine Arts Building at UMBC. check out the web site for more infor at: http://www.umbc.edu/newsevents/releases/article.phtml?news_id=860 yoiu might also contact: Cynthia Wayne, Curator of Exhibits Phone: (410) 455-2270 Fax: (410) 455-1567 Email: [EMAIL PROTECTED] for more information.
Re: FLUXLIST: UMBC symposium
[EMAIL PROTECTED] writes: Hi Owen, Crispin and I are considering coming out for your symposium. Can we get more specifics, please? -Don Don and anyone else interested - First I realized that I got the date wrong in it is on the 16th not on the 17th. The web site for UMBC and the Gallery has complete information on the show, performances and presentations: http://www.umbc.edu/newsevents/releases/article.phtml?news_id=860 In case it does not load the following information about the events is posted by UMBC: Events on October 16th The exhibition of Intermedia: The Dick Higgins Collection will be enhanced by public programming. On October 16th from 4 to 6 p.m., a symposium will feature Hannah Higgins (University of Illinois at Chicago and daughter of Dick Higgins), Chris Thompson (Maine College of Art), Owen Smith (University of Maine), and co-moderators Kathy ODell (UMBC) and Lisa Moren (UMBC). A reception will follow from 6 to 7 p.m. At 7:30 p.m., Fluxus artists Alison Knowles and Larry Miller will present a performance with UMBC students in UMBCs Fine Arts Recital Hall. Their concert will be immediately followed at 8:30 by a concert by the Hoffmann/Goldstein Duo , which will include performances of three works by Dick Higgins ( Sparks ,Haydn in the Forest and Touch #1 for Piano ). All events are free. (For more information on the Hoffmann/Goldstein Duo concer.) Hope to see some of you Fluxlister there. . . . Owen
Re: FLUXLIST: UMBC symposium
[EMAIL PROTECTED] writes: I am planning to go to he Fluxus symposium at UMBC. the press release that I received stated that the symposium is on the 16th of October. I know you are a participant and am looking forward to hearing your talk. Has the date been changed to the 17th, as per you last e-mail? I don't want to show up to an empty auditorium!!! Any other logistic details, such as building and room, would be most appreciated. Thanks, Mari Mari - you are right and I am wrong - the conference is on the 16th - it is scheduled from 4-6 and the only location I have is the Albin O. Kuhn Library and Gallery. The Performance by Alison is at 7:30 in the Recital Hall of the Fine Arts Building at UMBC. Come up and say hello at the event, Hope to see you then, Owen
Re: FLUXLIST: am I still here?
Congratulations Bertrand - well done and all that! I hate to ask you this since I know that you just want to live a bit, but the fluxus geek scholar in me wants to know how one might be able to get a copy of your dissertation? No hurry on the answer just have a good time for a bit, eh? All the best, Owen BTW- if anyone on the list is in the Baltimore/Washington area you might be interested to know about the exhibition and Symposium on Dick Higgins at UMBC. The show, based around the materials from Dicks own collection (now at UMBC) is on for some time. The Symposium is on the 17th and after the paper presentations Alison and Larry will be performing in the evening. If anyone wants the specifics let me know and I will send it along.
Re: FLUXLIST: 2 things
Hey Crispin - I sent you a direct email a couple of days ago about my contribution to the Fluxlist box but have not gotten a reply - did you get it? Owen
Re: FLUXLIST: FLUX BOX II deadline
[EMAIL PROTECTED] writes: WEll it seems to don and I that time has come to finish the fluxbox and get on to other projects. Everyone who will be participating should have their editions and money 7.oo postage to me by august 1st. I will be sending them out about a week into the month of august. ITs been way to long and we need to complete this crispin Hey Crispin I never heard back from you - did you get my contribution? I sent it about 4 weeks ago it was a box about 11x14x10 with 50 glass viles in it. . . . I am concerned that it might have gone astray since I have not heard anything, so please let me know. . . . Owen
Re: FLUXLIST: In A Mine Boatdestroyer
[EMAIL PROTECTED] writes: I'm looking for the original version of Dick Higgins' In A Mine Boatdestroyer around the world, published in german in the 1982 wiesbaden catalogue. They used to have on Ubuweb, but it has now disappeared (I'm not even sure it was complete, anyway). if someone has it, i'd be rather glad to have it. thanks a lot Bertrand -I have several iterations of this essay -one of the first versions that I remember off the top of my head was published in the 1978 special issue of Flash Art on Fluxus. I also have the 82 catalog - so is a copy fine? Give me a postal address and I can send you a copy. Owen
Re: FLUXLIST: In A Mine Boatdestroyer
[EMAIL PROTECTED] writes: I have a text from Dick in Flash Art, but the title is; Some Thoughts on the context of FLuxus (pp. 34-38, in Flash Art n°84-85 oct.nov. 1978). Maybe there is another text, but I can't check it, because I don't have the Flash art issue, only xerox, and it may be incomplete. I might be wrong as well - I will check again I am sure that I have seen it elsewhere but maybe I am mis-remembering on the flash art issue. . . . - so are you all set with the english translation for the Wiesbaden catalog? Owen
Re: FLUXLIST: the toy box
[EMAIL PROTECTED] writes: Iwould be interested in a copyswap or cash? -Don _ I would also be interested in a copy - so please let me know about the specifics. . . . . Owen
Re: FLUXLIST: Vostell
[EMAIL PROTECTED] writes: In Happening and Fluxus Szeeman and Sohm say there is a article in Vernissage, a german newspaper, under the title Autobusplans als partitur, but don't give the year. Any clue anyone? Vostell himself lists the year as 1962 (although his is not necessarily proof) - in Wolf Vostell (Edition 17 Galerie Rene Block, 1969, p. 0404) under 1962 Vostell lists the following: 1962 Vostells Autobus Happening in Paris PC- Petit Ceinture 20 Boulevards Hope this helps, Owen
Re: FLUXLIST: rhizome
[EMAIL PROTECTED] writes: Can anyone on rhizome let me know when they started restricting access to members only and charging a membership fee. I'd not looked at their sight for a long time and wanted to check the artbase and don't understand why it's no longer freely publicly available. Sol - Yes it is a real pain - they started this about a month or a month and a half ago. It seems to be motivated less from restricting access (although that is what they have done) then form a concern that they were going to potentially fold for lack of funding. Owen
Re: FLUXLIST: rhizome
[EMAIL PROTECTED] writes: They lost a boat-load of subscribers and a host of goodwill, doing that. Yes, indeed - they lost me and although I think that they probably don't care, I do. . . . Owen
Re: FLUXLIST: Critical Mass: Happenings,
[EMAIL PROTECTED] writes: hello did anyone go to this show , and could offer comments ? I have not gotten to the show - but Geoff told me that it was up for a while more - till the end of April or so. From what I have been told it should be a very nice show and well worth a trip to see it. also - is there a catalog ? There is a catalog and it is quite nice - it is not out yet should be out in a month ( I was asked to review/edit the proofs that is how I know what is gong to be in the catalog even though it is not out yet). Owen
Re: FLUXLIST: prueba
[EMAIL PROTECTED] writes: i did not receive mails from list So does this mean that we are back on line???
Re: FLUXLIST: 4.33cm for guitar
[EMAIL PROTECTED] writes: possibly, coming soon bowman's 4.33cm for guitar. I like it Alan. . . .
Re: FLUXLIST: Fwd: George Brecht
[EMAIL PROTECTED] writes: Amyone out there have update or contact info about George Brecht? If so, please send to [EMAIL PROTECTED] Scott - Yes, George is still in Koln as the same address where he has lived for a number of years now, but he is very unresponsive and has little or no contact with any one other than one or two people. This has sadly been the case for more than 10 years. Owen
Re: FLUXLIST: ?
Fluxites - check out this online essay at the NYT (on things fluxish) http://www.nytimes.com/2003/01/19/arts/design/19COTT.html Owen
Re: FLUXLIST: HEEEEEELLLLLLLLLLPPPPPPPPPPPP!!!!!!!!!!!!!!!!!!!
[EMAIL PROTECTED] writes: how much, if any of this is relevant? I would at least like to make a decent effort at applying for this show. it's something that i've never done before - and it's probably about time i did. Alan - I would put it all in but break it into relevant sections: Performances (yours and others), Exhibitions (mail art, gallery and web stuff here as well?), professional work (gallery stuff) and so on. Owen
Re: RE: FLUXLIST: Playing Cards 1
[EMAIL PROTECTED] writes: Just want to clarify: you only need to send me one copy of your card. I will print the editions. Sorry for any confusion. However, feel free to send more than one design if you like. As for a deadline, how about April 1st? Is that reasonable? Sounds good - thanks Candace. . . .
Re: FLUXLIST: History? How long for a Ph.D.?
[EMAIL PROTECTED] writes: Of course, I could be wrong. Owen Smith has a Ph.D. in art history and Bertrand Clavez is getting one. Perhaps they can tell us if there are any two year Ph.D. programs. No there are most certainly no Phd programs that take two years (most take between 5 and 10 years) - what might be a confusion is that you can complete most if not all of your course work in about two years but then you have a year to study and take your general exams and two to three years to do your research and write the dissertation, and this is for the US system - Bertrand, didn't you tell me that in France it can take up to 15 years to complete a Phd, with all of its teaching requirements? Owen
Re: FLUXLIST: .sdrac tsuj saw tahT .spooO
[EMAIL PROTECTED] writes: Alright. Send one edition of 50 to be made... So... if I wanted to include, say an alphabet block - that would be 50 alphabet blocks, one for each box...Yes? But you asked for one? 50 total from each contributing artist/person- one for each box, right? Make sure that you all carefully count - last time some of the contributors did not send a full fifty works. Owen
Re: RE: FLUXLIST: Playing Cards addendum...
[EMAIL PROTECTED] writes: Why not pursue both avenues in this card idea? I'd like to stick with my original idea about the cards from scratch, Sure - I am game count me in on your original card idea Candace. . . . Owen
Re: FLUXLIST: paint cans
[EMAIL PROTECTED] writes: Allright, I can see where the paintcan could be construed as so rather twee. Howza bout we go back to the Ziploc bag, or some other kind of low rent receptacle. Even a brown paper lunch bag could be used, the crinkling that would result from the bags repeated handling could be interesting (and the bag could be easily replaced by the owner if and when it rips). On the other hand, that could read as awfully cute as well. Perhaps it's too early in the morning for me to be pondering any of this OK, if people think that cans are out, there are still many other options for containers - for example how about paper or cardboard boxes (both biodegradable and recyclable!). check out the boxes at: http://www.papermart.com/box_welcome.htm - I like the tuck top boxes and the mailing tubes, we could even use one or more take our food boxes (only .16cents each) or maybe a diecut mailer - we can get a 100 5 x 5 x 5 boxes for $63 at: http://www.adcopackaging.com/diecutmailer.htm or Pyramid boxes at http://www.bayleysboxes.com/large%20pyramid%20box.html One of my favorite places, American Scientific and surplus has cases such as (to view any of these go to http://www.sciplus.com/ and type in the object number in the search filed box): A terrific charcoal grey plastic attache case, roughly 1 ft. sq. x 23/4 thick. It has a molded in handle and good quality plastic hinges and closure clasps. Inside is a parts tray, attached by a single piece of double sided tape. Pull hard and it will come right out to leave you an empty, fully useable single chamber. The parts tray is great too! Although flimsy black plastic, it is about 81/2 x 111/2 x 21/4 deep with a clear removable cover. It has (6) 13/4 sq x 1 deep compartments, (1) around 31/2 x 51/2 x 11/4 deep, (2) sized in between these extremes, and a tray for pencils or artists brushes. Trust us, this is a truly magnificent buy!! 30025 PLASTIC ATTACHE CASE$3.25 or Real Dremel® and almostrealDremel rotary tools will both feel right at home in Dremels 18 x 63/4 x 47/8 grayplastic toolbox. The nicelydetailed box has a ridged bottom, snap closures and a folddown handle. The 103/8 x 57/16 x 11/4 sliding, removeable bit tray has (2) wells and molded slots for specific bit sizes. A very nice gift for the person who has all the bits, but not a bit of storage. 34714 DREMEL CASE $4.95 or other interesting boxes like: Felt-Covered Treasure Box When you see this 4 x 7 x 2 dark blue box with gold trim, you imagine treasures insidesparkling diamond chokers, ruby bracelets, emerald nose rings. Sadly, the inside liner only has cutouts for a watch and a cheap bottle of cologne. But the liner can be removed easily. Lay some crumpled tissue in its place, and you have a gift box elegant enough to hold anniversary presents. Why not give her a selection of our fine eyeball products this year? 26308 JEWELRY BOX $0.75 Easter Bunny Box Hare it is again. Time for colored eggs and chocolate chicks. Our 51/2 x 25/8 x 2 pastel bunny box can hold all sorts of Easter treats. Its lithographed tin, with a removeable lid. Very cute. Very nicely priced. 31217 BUNNY BOX $3.00 Space Case Carry disks or other small stuff in this neat little Space Case Disk Box of frosted white thinwall plastic. It is 41/2 high x 43/4 wide x 23/8 thick, with a pullup handle, a blackplastic latch on the front, and an attractice planetary graphic on the back. Very spaceagey. 33948 DISK BOX$1.00 Slim Tin The gift solution to every guy on your list named Jim. Especially the ones that are fans of the WCW or blondes. The lithographed metal tin alternates the Slim Jim® logo with pix of Macho Man® Randy Savage and his lusty sidekick Gorgeous George. Its round, 91/2 tall x 41/4 dia, with a removable 1/2 deep lid. If you really like a Jim, you can fill his tin with that classic chewy sortofmeat treat, or with candy, pencils or a set of screwdrivers but its going to be empty when you get it. 32797 SLIM CANISTER $1.75 Or Live Bait, Maybe? What a cool box. Aircooled, even, since its made of mesh stretched over a covered wire frame. The mesh is woven from a natural fiber thats been dyed a pastel color (well choose the color for you). The 81/2 x 41/4 x 2 box has a selfhinged lid and a button closure with a fiber loop. It keeps you organized and neat while letting you see the pencils or jewelry or napkins or flatware or coupons or pill bottles in it! 31329 MESH BOX$1.00 Adopt-A-Logo Where do overruns and misprints go to find love? To us, so we can send them to you. These imprinted bags vary from about 3 x 5 to 8 x 8. Most are nylon, a few heavy cotton, most with zippers, some with woven handles, lots of different colors. All are wellmade, all very lovable. Organize your glove compartment, trunk, and other
Re: FLUXLIST: BOX 2 idea, remember this is open to anyone who wantsto be invo
[EMAIL PROTECTED] writes: Hate to jump in last-minute-like, but 75 is a lot more than last time and I don't think it'll fit in a cigar box unless it's all flat. Ann - 75 is the total number of the edition not the number of contributors, which I guess is about 30 or 35 right now. Owen
Re: FLUXLIST: more FluxList Box#2 thoughts...
[EMAIL PROTECTED] writes: 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 let it be free, other than Fluxus, fluxis, flxuist, fluxlist in spirit or kind. . . . Owen
FLUXLIST: box/ work sizes
[EMAIL PROTECTED] writes: so, have we decided what size the coffin will be as yet? dimensions please + number of participants (75?) /:b Since we are still working on the box how about for now we start with the items/works and set number and max dimensions - so how about the following Maximum size: 4 x 4 x 4 (approx 10cm square) Minimum size: none Edition size: 75 note: now if all do something in this maximum size range then we need a much bigger box, but let's give ourselves some room to work with. Just a suggestion so we can move ahead - Crispin and other what do you think? Owen
Re: FLUXLIST: THE BOX
[EMAIL PROTECTED] writes: Is it too late to sign up to be part of the BOX project even if it turns out to be a can? I don't think so - we really have not begun to do this so any and all are in (if they want). Owen
Re: FLUXLIST: THE CONTAINER IDEA
My vote of the mentioned containers (so far) would be for either the cigar box or the paint can (although I also still like the idea of the globe). I agree with Cecil that there is no hurry, let's do it but take the time to do it right. As to number I think that 50 is too small - if there end up being 30 or so contributors and we give or send another 10 to collections and archives, that only leaves 10 boxes, not enough for others to share - so my vote as to size of edition is a minimum of 75, but more likely 100, with maybe each contributor getting two boxes. . . Owen
Re: FLUXLIST: BOX IDEA Plastic video boxes
[EMAIL PROTECTED] writes: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItemcategory=309item=3303265409 check these out on ebay good idea and cheep Looks interesting and if they don't go higher are fairly cheep. I have seen a number of publications that were published in VHS boxes and they work fairly well - although the same issue of the plastic hinge breaking that we had with the first box will happen with these. The other issue is the spindle for the tapes - they will not allow anything to lie flat in the bottom. Although these seem good - based on my experiences with the first box I think that we need a bigger container. . . . . Owen
Re: FLUXLIST: More ideas about the box
[EMAIL PROTECTED] writes: I like the jar unless it's really to fragile, in that case I would go for the globe. Thanks for doing the research. May good ideas about containers - I think the globe sounds interesting, particularly if we can get them at a discount price (1.25 right?) - Josh just to see if this is a viable option can you see how many we could get? I think that we should aim for an edition size this time of at least 75 if not 100. . . . Also the globe (or other container for that matter) has many possibilities for doing/performing things with it - maybe we can all write performances to do with the container/globe, so in good Fluxus style it has a dual somewhat contradictory function - it is both the shipping container and a performance object itself. . . . Owen
Re: FLUXLIST: Re: More ideas about the box
[EMAIL PROTECTED] writes: A paint can? Cans are cool - I have published several multiples in cans and so I know that they can work very well - I also have a canning press so we could literally can or seal the box, so that would have to use an opener to get at the contents (kind of relates to mIEKAL's idea of the transformation of the box)- the only problem with this is my old supplier is out of business and I do not have a good supply of can blanks - but if anyone know of any that would be great. . . . Owen
Re: FLUXLIST: More ideas about the box
[EMAIL PROTECTED] writes: [process juju] I think it would be interesting to include a transcript of this design process. In particular it would start to give some indications of the relationship between ideas, brainstorming, online collaboration, decision-making (or not), the resulting object. Yes, this is a great idea - I have been developing a web site for several years (it unfortunately always get shuffled to the bottom of a to do stack ) called Art Object with a site of its own making - which is an online development forum for collaboration, development design and even production of multiples. In that sense, a box/object which is somehows dynamic would more mirroristically reflect the process we're participating in right now. Meaning a box which erodes, germinates, parses algorhythms, blurs recombines identities. Yes indeed good idea/ possibility - do yo know about the new biodegradable styrofoam? Maybe we can use containers out of this - i hear that over time even the humidity in the air will cause them to breakdown - a self timer to destruction, just like life. . . . Or for me the idea of using the box as an interactive item which the owner is instructed to use, modify or change is really interesting. [labels] Also I have access to color laser, spitting out a 100 labels of whatever would be no problem, as long as its on some kind of standard laser paper or laser stickers. Great thanks a lot- I also have a variety of printers that we can us. Owen
Re: FLUXLIST: More ideas about the box
[EMAIL PROTECTED] writes: Ahgg, no, don't use degradable anything, please! This is a librarian speaking! Ah, yes - One of my pieces (Salt Water) was purchased by a book arts collection and then sent back to me when they realized that the work consisted of a metal can filled with salt water (the work is not the can but the act of the corrosive salt eating through the can). The sphere sounds good, tho it would be hard, perhaps, to get a label to stick well to it. Have to use permanent labels, I guess. And be big enough to hold that CD. As to the CD size issue if we need we could use mini disks, but i think that Josh said that it was 8 so we should be OK if this is what we go with. . . . Owen
Re: FLUXLIST: More ideas about the box
[EMAIL PROTECTED] writes: I'm enjoying this box discussion so much I'm thinking it might be interesting to make containers the theme of this project. Lots of little individual-contributed containers, packed nicely together, holding only themselves. Well...okay...I'll just go back to lurking. Actually stay around Allen - i like this idea, containers could be a lot of different things from envelopes to boxes, jars, etc. also it deals with the ideas of packaging, presentation and containment. . . . So is a CD a container, or?
Re: FLUXLIST: make that THREE and FOUR
[EMAIL PROTECTED] writes: Owen, Do you know any of the history of Fluxus as to how much editing George did? At various times quite a bit - although he often said that he only did this because the artists themselves asked for it. Many people came and went so there were never any that were out permanently - Dick was a case in point - for most of the mid 60s George maintained that the only 100% fluxman (as he called it) was Ben. Was Eric ever kicked out by George? Any others? Eric was never specifically excluded, but after he was involved in playing a trick on George (saying that they took a trip to the Soviet Union to do Fluxus Performances) George got quite mad at him, and threatened to throw him and others who he thought were involved out of Fluxus for undermining the possibility of Fluxus finding its home in the SU (this was George's idea in the early 1960s). The main person that George consistently seemed to direct his anger at was Charollote Moorman, not because she was Fluxus but because she was an organizer for the New York festival of the Avant Garde which he thought was a rival organization to Fluxus I know George and Dick Higgins had several disagreements but when I asked Dick about this he would not talk about it. Yes for a time they were not talking at all in the mid 1960s but by the end of the 60s they patched things up some what and Dick began to participate under the name Moma Glue and then but the middle 7os they had mostly made up and so Dick Fully participated in many of the performances in the late 70s. But in the Mid 60s George was often very angry at Dick for what he felt was abandoning Fluxus to start a rival organization meaning SEP. Ken said that George's Fluxus list got down to one or two people at one time. It was at 88 or so when he died but I do not have a record of who was on that list. Ken told me that I was included. -Don The two was after the blowup in after the Stockhausen Originale performance and the protest about it - where George says that everyone quit I have some interesting letters that George sent out later about this time. The lists were more something that he started doing in the late 1960s and early 1970s and he included them in his annual mailings that are reproduced in the Silverman addendum catalogs (and yes you are on them). Owen
Re: FLUXLIST: make that THREE and FOUR
[EMAIL PROTECTED] writes: Yes. As I have also stated backchannel: it is wrong to exclude people from an open list. /:b On Thu, 2 Jan 2003, Bertrand Clavez wrote: Dear Allen, I can't believe you've thrown away these fluxlisters! and if this is the case, I can't agree with such a choice. Tell me that I'm wrong in my inderstanding of this post. Best Bertrand Allen and others on the list - I must add my voice to these as well (to Bertrand and Brad)- I am concerned about some of these actions Allen and although I feel it is OK to remove someone who is a problem for/to the health of the list, I think we have to be cautious not to remove some one just because we do not like them or that they do not share our views. As some one else mentioned healthy disagreement is in fact quite good, we just have to be careful how we make this determination as to what is and is not healthy. Although I think that your first removal was justified, I don't agree with the others . . . in fact I find it quite odd that the one (?) remaining original participant in Fluxus on the fluxlist, Eric Andersen, has been removed. . . I know that Eric can seem confrontive at times, but I have to say so what? He is truly committed to what he believes (that is a good thing), you always know where he stands, does interesting work as an artist, is really a nice guy and has lived and worked Fluxus for forty years - all of which I know I can learn from and I am sure others as well. Just a few thoughts. . . . Owen
Re: FLUXLIST: Re: FLUXLIST BOX #2
[EMAIL PROTECTED] writes: 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). Josh has got it right - there were 50 copies made (although we only ended up with 47 full boxes since some contributions were not a full 50) with each participant contributing fifty copies of their contribution, Sol designed the label based on the online discussion of that to call the project (all the possible names are on the label), I got the boxes and assembled them wit the works and mailed out one to each contributor. The remaining boxes were sent to some public collections (archives like the Tate, the poetry collection in Buffalo, MOMA Library) and a few of the remaining were given out to requests (like Princess Petal). And I then made the web site as a way of archiving/indexing the contributions for the box as well as sharing it with those that were not able to participate. 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? Owen
Re: FLUXLIST: mIEKAL aND
[EMAIL PROTECTED] writes: as for the box, what is used for a box what are the dimensions? mIEKAL - This is a good place to start since it sets the nature and dimensions of the contributions (nothing that is 10 foot long). since I make a lot of multiples my self I have a lot of good sources for boxes and containers, the main issue is cost (times the number of boxes produced) we can go with anything from cardboard at less than .50c per box to metal display boxes at about 20.00 each. the boxes we used for the first Fluxlist box were purchased from Staples - they were school pencil boxes that they were closing out so they cost about 1.50 each. Owen
Re: FLUXLIST: make that THREE and FOUR
[EMAIL PROTECTED] writes: Owen, these are excuses. Can you name one worthwhile thing you have learned from Eric Anderson's posts to FLUXLIST? Can you produce one even minimally constructive post? His entire output on this list has been to 1. maintain his assertion that no one in real Fluxus considers Ken Friedman to be legitimate, and 2. that Fluxlist is a foolish enterprise, has nothing to do with Fluxus, and that those of us who participate are fools. Why would anyone even want to maintain membership on an email discussion list when this is their sole agenda? Eric Anderson is not a really nice guy, not on Fluxlist. Show me one nice guy post. Show me one post where he has ever contributed anything interesting or useful or beyond himself to this list, and I will stand corrected. I don't care if Eric was at Weisbaden in 1962 or if he has been involved in his own strain of Fluxus for 40 years. That does not excuse his behavior on this list and how he has treated others. He should be ashamed of himself. Sincerely, Allen Allen - I understand your point of view fully and I can't say that I disagree with you -I know that Eric has been hard on a number of people - yourself being one and Ken certainly being the other. So I do understand, but I just look at it another way. BUT the real point I wanted to make is not just about Eric, but about caution as we start to move from an open list to a more controlled one. . . . Owen
Re: FLUXLIST: Owen?
[EMAIL PROTECTED] writes: Owen, i'm curious if my e-mail gets to you as i send it, because I keep getting error e-mail message that your *.edu server can't receive my mail. Or they come to you with the delay? Did you get my last reply? Mindaugas - Some seem to be coming through, but I think that some are not - are you sending to me at this email or at [EMAIL PROTECTED]? The server has been shut down here a couple of time recently for service so that might be the problem, I am not sure. The last message I received from you was dated January 1st and it had your mailing address (I will send the book out tomorrow to you). Now on to your two points - the person I wanted to refer to is not Lindbergh (this was somehow a spelling checker mistake) but Landsbergis - and I am sure that this is the correspondence that you mentioned in the book looking into Fire and this is I am sure the book that i am looking for not the Mekas book (which I have a copy of in French, it was just published with a film by Mekas) - is it possible to get a copy of the book? I do not want to ask too much, but if you would translate the letters that would be a great help - although I have a friend here who could also do it. But either way I would also like a copy of the whole book as well for my library . All the best for the New Year, Owen
Re: FLUXLIST: mIEKAL aND
[EMAIL PROTECTED] writes: actually what I was thinking of was having a cdr inside of the fluxbox Im offering to donate the blanks do all the dubbing provided were still talking 50-100 copy range. OK, that's what I thought as well - the first box had a CD, but it was by one of the contributors not a compilation. being one of the small press dinosaurs, I always vote for extra copies to spread around. I agree, not that you are a dinosaur, but more to spread around. . . . Owen
Re: FLUXLIST: MY FLUXBOX BROKE :-(
[EMAIL PROTECTED] writes: So my box broke at the hinges has anybody else had that problem yet? happy new year BTW! CECIL Yes, one of the unfortunate sides of using the form of plastic boxes (cheep, with flexi hinges) that we did. . . . Owen
Re: FLUXLIST: Re: FLUXLIST Box #2
[EMAIL PROTECTED] writes: what about some wooden boxes custom made down here in mexico? cecil Sounds like a very interesting idea Cecil - what are the options and costs of such a venture?? - Maybe it does not even have to be custom, might there be some wooden boxes made for some other use that we can creatively reuse? Fluxlist in tomatillo crates, i like it. . . . Owen
Re: FLUXLIST: Re: FLUXLIST Box #2
[EMAIL PROTECTED] writes: That could be a cool idea... how about we each come up with a box, put our contribution if 50 or whatever number works into it, ship it and then the central clearing house shuffles up the boxes so that no one gets the one they sent? I hope that makes sense. cecil This makes sense but - we would have to each contribute more that 1 - follow the logic - if there were say 25 contributing artists and we wanted to do an edition of 100 then each person would have to contribute four boxes, right? We would also need to set some parameters (min and max size) and design a label that would be flexible enough to accommodate the different sizes and types of boxes. Owen
Re: FLUXLIST: FLUXLIST BOX #2?
I second and third Josh's and Melissa's ideas about a second box for/of the fluxlist. I am also happy to help out in any way needed along with contributing. It seems to me that there are two aspects that would be nice to work into this project: 1. a collection of scores since there have been several nice ones posted to the list, so this could be a compilation of those already posted as well as new ones; 2. More along the lines of Melissa's idea of a box of multiples or the like (that is what you were thinking wasn't it Melissa?) I have more ideas, but let's see what others think. . . . Owen
Re: FLUXLIST: greets from Lithuania!
[EMAIL PROTECTED] writes: Here, in Lithuania, one really decent Fluxus book was published some time ago. Though i'm not sure if it's translated to other languages, but it has got some great pieces from Maciunas mom's diary, thoughts of Jonas Mekas and other fluxers (you know who they are) with all documents and photos etc. Mindaugas - is this a small black book (I saw the book when I met with Landsbergis at the Paris fluxus conference in November)? If this is the one that I am thinking of is it still available? Can one get copies? If you can get a copy I am very interested in getting one and would be willing to trade you a copy of my book on Fluxus and Maciunas (Fluxus: the history of an attitude, San Diego State University Press, 1998) for one of them. My book is an historical analysis of the history of fluxus from the late 1950s through the time of Maciunas' death in the late 1970s. Anyway let me know if this is possible or of interest to you. All the Best, Owen Dr. Owen F. Smith Professor of Art and New Media University of Maine Orono, Maine
Re: FLUXLIST: gossip ?
[EMAIL PROTECTED] writes: Searched the web for gossip. Results 1 - 10 of about 2,870,000. brilliant ! thanks. ps : Searched the web for urinals. Results 1 - 10 of about 71,800. Search took 0.12 seconds. richard Searched the web for gossip about urinals. Results 1 - 10 of about 2,040. Search took 0.20 seconds.
Re: FLUXLIST: yoko / toronto /catalog
[EMAIL PROTECTED] writes: this is weird. the notice says it's about 160p . . . you are probably right - I was just guessing since I did not have the book in front of me - it is about 5.5x8.5 paper and about 3/8 thick. I know that a similar title was published in Lithuania about 2 years ago, but I'm not sure if that the same thing, now translated into French. Different book - I recently saw the Lithuanian book and it is quite different, interesting with a lot of good stuff about Maciunas and his Lithuanian connections/ roots. Of particular note are the reproduction of a number of letters between Maciuans and Landsbergis in the mid late 1960s btw : who is jean michel bouhours ? Not sure could he be the editor and/or translator for/of the Mekas materials? I was there - it was a really boring very crowded q/a session, with way too many journalists wanting to ask 'toronto questions' [ do you like our city , do you remember the live peace festival etc ] and way too few art questions. From all the press I've read and video I've seen, she usually and consistently says not all her stuff is fluxus, so they shouldn't all be confused mixed and put into one big pot. I don't remember her saying such a thing in Toronto. I'll try to find my notes, and/or get a dub of the audio a friend recorded. Well, I was not there so I can not say for sure - but this story was told to me by the person that asked the question and she said that she has it on tape. She said that Yoko acted rather perturbed that she was asked about Fluxus and not her work and that shortly after asking the question she was cut off by Jon Hendricks. I will ask her again for more details. . . . . Owen
Re: FLUXLIST: ?? Jonas Mekas Presente Flux Friends
Excellent info Bertrand - thanks. . . . Owen
Re: FLUXLIST: ?? Jonas Mekas Presente Flux Friends
[EMAIL PROTECTED] writes: Jonas Mekas Presente Flux Friends - George Maciunas,Yoko Ono,John Lennon Centre Georges Pompidou ; ISBN: 284426137X ; (2002/10) Can anyone point to an online bookshop in Paris, or maybe one in Nice for in person purchase [ a friend will be there in January] ? Richard - you can just get it directly from the bookshop at the Pompidou - there are two versions one is just a 40 or so page book and the other is a cardboard box set that has the book along with a PAL tape that has footage by Jonas on and about the friends (although as an interesting side note I recently learned that at the press conference for her show in Toronto Yoko claimed (when asked) that she had no connection to Fluxus). My recommendation is to by the box set and it is only 45 euros, well worth it. Owen
Re: FLUXLIST: Fluxus Codex remaindered...
[EMAIL PROTECTED] writes: Greetings... Don't know if this is old news or new news or good news, but... I was at Moe's in Berkeley on Saturday and they had Fluxus Codex remaindered at $48 plus the new Fluxus Experience book. My wallet came in handy. Neal - I hate to say this now, but if you go to half.com you can get a copy for 30.00 dollars or so (so maybe you can return it??)- so for those of you not on the left coast you can order it by the web from www.half.com, or I am sure that other on line dealers have it for a reduced price as well. I picked up a copy Saturday from a1techbooks and here is the info: 1) Fluxus Codex (Book) - CONFIRMED Jon Hendricks Hardcover, 1988 Condition: Brand New Price: $30.81 Owen
Re: Subject: FLUXLIST: more bookcases...
[EMAIL PROTECTED] writes: Hi, I will be very interested in reading more about this volume Richard I got Hannah's book last week and read it on the plane to the Paris Fluxus symposium and I can say that the book is great - it is easy to read, informative and gives some new and interesting insights into Fluxus. It should be top on anyone's list that is interested in Fluxus. Owen
Re: FLUXLIST: A review...
the posted review is in reference to: Shiomi, Mieko A MUSICAL DICTIONARY OF 80 PEOPLE AROUND FLUXUS Koln: ? Records, 2002 Standard audio CD in jewel case with 16pp insert. Shiomi's short musical pieces are created from creating musical anagrams from pitches obtained from the person's name - from Ay-o to Young and Zazeela (each work is on average 50 seconds long). I must say that although I am not surprised by the review, I did wonder if anyone else felt as I did that the reviewer only exposed that he has no knowledge of fluxus and or the whole tradition that fluxus is part of? and in answer to his question who cares? I do and I hope so should other fluxlisters. Usually I let these things go, but I am just in a pissy mood today. Hey on another matter I am writing an essay on fluxus as a part of a prehistory of the internet and I was wondering if any of you had any thought as to how or in what ways fluxus work, activities or ideas are related to (or presage) our current internet age? Not did they do any work on or for the internet but as a pretechnological approach - for example I am proposing that fluxus as it challenges and undermines traditional skill based notions of art is parallel to the opensource movement of today, or that as it is global or international it operated as a network of conceptual connected but geographically dispersed participants. Owen
Re: FLUXLIST: Inspiration
[EMAIL PROTECTED] writes: Never seen Better Homes and Gardens magazine but have some old pet care books for unusual pets (e.g. crocodiles, just bought the book but never found anywhere selling crocodiles :( ) published by TFH Publications I think, very cool. In the same category I like old 30s-50s mags on DIY stuff like Popular Mechanics. On another front Sol how abut going to a discount import store or a tag sale and looking for art materials I often find that just looking through such collections give me thoughts even if it is not for/ with any of the specifics. For a similar supply of stuff on the web try American Scientific and Surplus http://www.sciplus.com/ Another interesting site by a group of artists (2) who are always doing interesting stuff is M.River T.Whid Art Associates' online artwork at http://www.mteww.com/ Make sure to check out the new project of doing updates to classic works from the 60s and 70s Owen
