Tuesday, February 28, 2006

Ladislav Kupkovic

points

Jim Leftwich


long war event
(pataphysical resistance generator #1)

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1- elongate tomato mask dance

2- stairs forest knob debark

3- nose adventure gel lyric hat

4- ladder tossed set

5- moon desk swept fetish ladle

6- gardner medicinal snake nation

7- blink wire banker storm of frogs

8- then soon altitude under beak mirage

9- beats align unbalanced sense and blimp

10- hurl tigers enigma melted cubes

11- model rites askew tinder chaff

12- at handle ports flurry mobile

13- midst simmer annual conic print

14- toll snare frosted markers

15- delve lure garment twill

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instructions: make your own.

Tom Johnson

intervals

[....]

prose score

Monday, February 27, 2006

Takehisa Kosugi

Jim Leftwich

mobile

Dick Higgins


the artist

a metadrama


artist: "i'm hungry."
someone else: "here are twenty two ounces of honor."
artist: "i'm still hungry."
someone else: "here are twenty two more ounces of honor."

Dick Higgins


Statement about my "metadramas"

by Dick Higgins



One of the main genres of Fluxus pieces of the 1960s is and was
"events." These were first done before Fluxus, and came to be
conceptually framed as a sort of cognate of happenings, which were new
at the time-that is, intermedial, free-form pieces which lay
conceptually among the bounds of music, theater and visual art. Events
differed from happenings in that they were always as compressed as
possible, minimal statements that would provide a mental or emotional
impact. But, of course, they were highly abstract. I did them, George
Brecht did them, and others of the Fluxus artists did them also though,
for the most part, somewhat later than 1958 when George, I, AI Hansen
and others studied with John Cage in his class at the New School for
Social Research in New York, a story which has been told, more or less,
to death.

However, events made their point and the genre became well defined
over the years, through Fluxus concerts and individual performances and
works by, quite literally, hundreds of artists. In the sixties, when
purely formal explorations seemed essential to sweep away the overly
personal baggage of the 1960s, this was a positive thing. However, in
the 1980s, when personal expression has been minimized, and when art
performances, the heirs in some respect of happenings, often celebrate
boredom and almost always deal essentially with technical and formal
concerns, it seems more desirable to do pieces which are mainly minimal
emotional statements or narrative ones, complete with characterizations
in most cases. I had done a few such pieces previously, but not so
consciously as now. I call them "metadramas" because they must be
dramatic in order to satisfy the criterion, and, the "meta-" part
suggests that they are "next to" or "about" what they relate to-that
is, some are dramas about the drama, while others simply don't pretend
to be dramas but do point in that direction. I wrote about sixty of
them in the summer of 1985, destroyed most of them, and then noticed
that they seemed to define a genre to which the earlier events belong,
though not vice versa.

Barrytown, New York
18 September, 1985

Tom Johnson

[....]

points

prose score

Sunday, February 26, 2006

Herbert Brun

Jim Leftwich

points

George Brecht


Swim Puzzle

Red plastic box with label on the lid containing clam shell
and the score printed on card stock:
"Arrange the beads in such a way
the word CUAL never occurs."

Saturday, February 25, 2006

Tom Johnson

intervals

[....]

prose score

mobile

John Cage

intervals

George Brecht


Untitled

Three of them were the same size, and two were not.

Tom Johnson

ART / FLUXUS ART-AMUSEMENT

[....]

intervals

Friday, February 24, 2006

prose score

James Tenney

mobile

George Brecht


Three Dances

1.
Saliva
2.
Pause
Urination.
Pause.
3.
Perspiration.

Tom Johnson

[....]

sequence

mobile

Thursday, February 23, 2006

prose score

James Tenney

Jim Leftwich

Tom Johnson

sequence

[....]

prose score

mobile

Wednesday, February 22, 2006

Toru Takemitsu

Jim Leftwich

George Brecht


Symphony No. 5

I. before hearing
II. hearing
III. after hearing

Tom Johnson

sequence

[....]

prose score

mobile

Tuesday, February 21, 2006

Sylvano Bussotti