Teoría Incertidumbre #16
Fluxus and its influence
-Yoshi Wada – Earth Horns with Electronic Drone (Track 1) (2009)
-John Cage – Solos For Voice 2 (1967)
-COUM Transmissions – Nude Supper (The Sound of Porridge Bubbling) (1968)
Teoría Incertidumbre (Uncertainty Theory) is done for anyone.
It is created in darkness and released into nothingness.
Teoría Incertidumbre (Uncertainty Theory) becomes.
Teoría Incertidumbre (Uncertainty Theory) fails.
It moves between chaos and order and advances.
Teoría Incertidumbre (Uncertainty Theory) is an accident.
Teoría Incertidumbre (Uncertainty Theory) will remain and be lost.
To justify the elitist, professional and parasitic status of the artist in society,
must demonstrate the indispensable and exclusive character of the artist,
must demonstrate public dependence on him,
you must show that no one but the artist can make art.
Therefore, art must seem complex, pretentious, profound,
serious, intellectual, inspired, skilled, meaningful, theatrical,
it should seem calculable as a commodity,
so that it provides
an income to the artist.
To raise its value (the income of the artist and the gain of its sponsors), art is made to look weird, of limited quantity and therefore obtainable and
accessible only to the social elite and institutions.
To establish the non-professional status of the artist in society,
must demonstrate the dispensability and inclusiveness of the artist,
must demonstrate the self-sufficiency of the public,
you must show that everything can be art and anyone can do it.
Therefore, art-fun must be simple, fun, not pretentious,
concerned about insignificance, which does not require skills or essays
endless, that has no institutional value or as merchandise.
The value of art-fun must be reduced by making it unlimited,
mass produced, obtainable by all and eventually produced by all.
The art-fun fluxus is the rearguard without any pretense
impulse to participate in the “reach another level” competition with
the vanguard. Appeals for monostructural and non-theatrical qualities
of the simple natural event, a game or a joke. It’s the fusion
of Spike Jones’ Vaudeville, the joke, children’s games and Duchamp.
Manifesto on Art / Fluxus Art Amusement by George Maciunas, 1965
The Fluxus began when George Maciunas wrote a manifesto with which he intended to organize all the great European artists of the time to combat the “excessive” intellectuality and pretense of art. Fluxus, which in Latin means flow, then set out to put aside all the figures that at that time integrated the ‘bourgeois art’ stating that art is not a piece per se, but that any work, including life itself , It is a work of art. Reason why Fluxus turned out to be so experimental that it was called the ‘anti-art‘.
In music it was no different, the artists set out to break with all kinds of figure or genre established until that time except for the influence of who is surely the most influential musical figure of the last two centuries: John Cage, who without even knowing it performed the proto-Fluxus experiments (see the experiment ‘White Label’ in which Cage only gave a series of explanations to listen to assemble his own instrument with wooden objects and make it sound for hours or his most famous piece, ‘4 33’ , a song that is integrated only by silences).
Although for Fluxus anything can be art, in its time it did carry a series of rules within music. To begin with, for an artist to be Fluxus, he had to present his work in front of an audience in a kind of special performance due to the idea that music, like life, is just unique and unique moments.
A Fluxus artist cannot make music with musical instruments unless they are previously modified and implicitly have a particular purpose. Fluxus compositions are better on paper, as this requires that the listener be given the task of interpreting it for himself and therefore each time it is played it will sound different and will not have an ‘original’ version. Other characteristics, not written, follow the line of being completely impulsive and violent, given its nature of ‘let flow’.
Curiosities about Fluxus:
Much of the content of Fluxus, defies categorization according to established artistic disciplines, music, performance and the written word, often come together in hybrid forms.
In Fluxus, prolonged situations were aimed at blurring the lines between the interpreter and the public. Fluxus’ performances were generally short and simple.
The happening has no stage, it is the participation of the public interacting with the artists, it is simultaneity in the acoustic space.
Categories such as dissonance and noise lost all meaning and the dividing line between sound and musical sound disappeared. All sound had then become musical sound.
A space filled with an almost palpable sound develops around one’s body thus intensifying a sense of corporality and especially when the body receives the vibrations of the amplified sound.
The fact of downplaying time accentuates the spatiality of sound; Long sound can occupy and be heard differently in different rooms and from different points of the same room, it can also derive from one point to another.
The 4 factors that define the work of Fluxus: • Fluxus is an attitude, (it is not a movement or a style) • Fluxus is intermediate, (see what happens when different media are crossed) • His works are simple, (art is small, short texts and short performances). • Fluxus is fun (humor was an important element).
Genesis P-Orridge and COUM Transmissions
Before forming the group that would lead to the integration of mechanical sounds, concrete music and punk into a single genre, the industrial one, with Throbbing Gristle, Genesis was already making his own music talking to a group of fluxus performers called COUM Transmissions .
Within a presentation of COUM Transmissions you could see Genesis breaking bottles against the ground, shouting like locx, hitting with the rest of the group or the public, etc … It was very successful in New York and lx led to having many contacts that lx would later help in his literary and musical career.