PULSE FIELD Audio Playlist

Date: Tuesday, January 23, 2003

Title: ‘FLUXUS: The Process is the Product’

Description: The Fluxus movement emerged in New York around 1960, then it took root in Europe, and eventually in its way to Japan. The movement encompassed a new aesthetic that had already appeared on three continents. That aesthetic encompasses a reductive gesturality, part Dada, part Bauhaus and part Zen, and presumes that all media and all artistic disciplines are fair game for combination and fusion. Fluxus presaged avant-garde developments over the last 40 years.

Fluxus objects and performances are characterized by minimalist but often expansive gestures based in scientific, philosophical, sociological, or other extra-artistic ideas and leavened with burlesque.

Yoko Ono is the best-known individual associated with Fluxus, but many artists have associated themselves with Fluxus since its emergence. In the '60s, when the Fluxus movement was most active, artists all over the globe worked in concert with a spontaneously generated but carefully maintained Fluxus network. Since then, Fluxus has endured not so much as a movement but as a sensibility--a way of fusing certain radical social attitudes with ever--evolving aesthetic practices. Initially received as little more than an international network of pranksters, the admittedly playful artists of Fluxus were, and remain, a network of radical visionaries who have sought to change political and social, as well as aesthetic, perception.

by Peter Frank

10:00 am

• The FLUXUS Anthology (48:02)

• Walter Marchetti, ‘Per la sete dell’orecchio’, 1976 (2:13)
• Juan Hidalgo, ‘Tamaran’,1974 (3:50)
• LaMonte Young, ‘Dream House’, 1973 (3:45)
• Ben Vautier, ‘Some ideas for FLUXUS’ 1989 (1:23)
• Wolf Vostell, ‘Elektronischer de-coll/age. Happening raum’ 1968 (3:00)
• Milan Knizak, ‘Broken Music Composition’ 1979 (3:26)
• Robert Filliou, ‘Imitating the Sound of the Birds’ 1979 (0:55)
• Alison Knowles, ‘Natural Assemblage. Le vrai corbeau’ 1984 (5:05)
• Emmett Williams, ‘Duet’ 1968 (1:50)
• John Cage, ‘Radio Music’ 1956 (4:32)
• Joseph Beuys, ‘Sonne stat reagan’ 1982 (3:03)
• Yoko Ono, ‘Toilette piece’ 1971 (0:30)
• Dick Higgins, ‘B.B. finally dreams about life, B.B.’s, you play it’ 1962 (1:35)
• Philip Corner, Car Passing at Night, country road in Maine’ 1988 (1:05)
• Eric Andersen, ‘The untactis of Music’ 1968 (2:32)
• Robert Watts, ‘Interview’ 1963 (1:25)
• Nam June Paik, ‘My Jubilee ist unverhemmet’ 1977 (5:15)
• Ken Friedman, ;Orchestra requiem variations’ 1967 (3:00)

11:00 am

• Nam June Paik, ‘WORKS 1958.1979’ (62:00)

12:00 pm

• Walter Marchetti (68:00)

• La Caccia 1965
• Adversus (Home-made electric music)1966
• Osmanthus (Home-made electric music) 1973

1:10 pm

• David Tudor, ‘Microphone’1973 (65:00)

2:15 pm

• Joe Jones, ‘Back & Forth Exhibition Sound’ 1985 (31:00)

***Program repeats

2:45 pm

• The FLUXUS Anthology (48:02)

• Walter Marchetti, ‘Per la sete dell’orecchio’, 1976 (2:13)
• Juan Hidalgo, ‘Tamaran’,1974 (3:50)
• LaMonte Young, ‘Dream House’, 1973 (3:45)
• Ben Vautier, ‘Some ideas for FLUXUS’ 1989 (1:23)
• Wolf Vostell, ‘Elektronischer de-coll/age. Happening raum’ 1968 (3:00)
• Milan Knizak, ‘Broken Music Composition’ 1979 (3:26)
• Robert Filliou, ‘Imitating the Sound of the Birds’ 1979 (0:55)
• Alison Knowles, ‘Natural Assemblage. Le vrai corbeau’ 1984 (5:05)
• Emmett Williams, ‘Duet’ 1968 (1:50)
• John Cage, ‘Radio Music’ 1956 (4:32)
• Joseph Beuys, ‘Sonne stat reagan’ 1982 (3:03)
• Yoko Ono, ‘Toilette piece’ 1971 (0:30)
• Dick Higgins, ‘B.B. finally dreams about life, B.B.’s, you play it’ 1962 (1:35)
• Philip Corner, Car Passing at Night, country road in Maine’ 1988 (1:05)
• Eric Andersen, ‘The untactis of Music’ 1968 (2:32)
• Robert Watts, ‘Interview’ 1963 (1:25)
• Nam June Paik, ‘My Jubilee ist unverhemmet’ 1977 (5:15)
• Ken Friedman, ;Orchestra requiem variations’ 1967 (3:00)

3:30 pm

• Milan Knizak,’Broken Music’1979 (51:00)

4:30 pm

• Philip Corner, ‘The Judson Years’ 1962.1963 (77:00)

***please use linked websites for further details of recordings,

www.ubu.com and

www.ArtCommotion.com/Issue2/VisualArts/#Fluxus

are especially extensive.