Human Generated Data

Title

Fluxus (Its Historical Development and Relationship to Avant-Garde Movements)

Date

c.1966

People

Artist: George Maciunas, American 1931 - 1978

Publisher: Fluxus, American

Classification

Prints

Credit Line

Harvard Art Museums/Fogg Museum, Anonymous Loan, 73.1997

Copyright

© George Maciunas Foundation / Artists Rights Society (ARS), New York.

Human Generated Data

Title

Fluxus (Its Historical Development and Relationship to Avant-Garde Movements)

People

Artist: George Maciunas, American 1931 - 1978

Publisher: Fluxus, American

Date

c.1966

Classification

Prints

Credit Line

Harvard Art Museums/Fogg Museum, Anonymous Loan, 73.1997

Copyright

© George Maciunas Foundation / Artists Rights Society (ARS), New York.

Machine Generated Data

Tags

Amazon
created on 2019-04-05

Advertisement 98.6
Brochure 97.5
Paper 97.5
Flyer 97.5
Text 96.5
Poster 92.7
Label 63.8
Page 62.8

Clarifai
created on 2018-04-19

number 95.8
page 95.1
template 94.7
label 93.7
layout 90.9
form 90.7
administration 88.7
paper 88.7
information 87.2
presentation 87.2
vintage 86.3
text 85.8
business 85.2
diagram 84.3
document 83.8
time 82.9
card 81.8
no person 81.7
World Wide Web 81.5
stripe 81.4

Imagga
created on 2018-04-19

newspaper 69.9
product 50
crossword puzzle 50
creation 41
puzzle 40.4
text 30.6
game 28.8
book 27.7
business 27.4
menu 25.6
daily 23.8
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old 22.3
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fare 19.7
bible 19.6
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read 18.3
new 17.8
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antique 17.3
print 17
religious 16.9
letter 16.5
holy 16.4
finance 16.1
document 15.8
prayer 15.5
money 15.3
word 15.1
close 14.9
data 14.6
spiritual 14.4
creative 14.1
art 13.8
faith 13.4
god 13.4
element 13.2
detail 12.9
pages 12.7
open 12.6
office 12.1
cover 12
testament 11.9
gospel 11.9
definition 11.8
black 11.4
education 11.3
cloud 11.2
church 11.1
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scripture 10.9
decorative 10.9
decoration 10.9
association 10.8
vintage 10.8
financial 10.7
world 10.6
copy 10.6
food 10.5
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words 9.8
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saint 9.6
map 9.6
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modern 9.1
backdrop 9.1
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organizer 8.8
diary 8.8
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day 8.6
date 8.6
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easter 7.6
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cross 7.6
pattern 7.5
future 7.5
economy 7.4
template 7.3
wealth 7.2

Google
created on 2018-04-19

text 91.1
font 69.8
product design 59
product 55.4

Microsoft
created on 2018-04-19

text 96.5

Color Analysis

Feature analysis

Amazon

Poster 92.7%

Categories

Imagga

Captions

Azure OpenAI

Created by gpt-4 on 2024-12-10

This image appears to be a detailed textual and diagrammatic presentation of the conceptual and historical development of the art movement known as Fluxus, its relationship with avant-garde movements, and a commentary on the definition of art. The upper part of the image is mostly text, outlining the concepts and ideas associated with Fluxus, including the semantics of art and the attempt to define it by including or eliminating certain criteria. The categories outlined for this definition include "Artificial," "Nonfunctional: Leisure," and "Cultural," with respective elements to include and eliminate. The lower part of the image is a diagrammatic representation titled "Diagram no.2 (relationships of various post-1959 avant-garde movements)." It graphically depicts a web of influences among artists and art movements, utilizing arrows to illustrate the direction and strength of these influences. According to the legend at the top of the diagram, individuals and groups are categorized based on their association and activities with the Fluxus collective, with different shading representing various levels of involvement or detachment. Important artists and movements are listed, suggesting connections between them and how they influenced or were influenced by the Fluxus community. The diagram includes categories like Vaudeville, Cage, Natural Elements, Dada, etc., and lists individuals like George Brecht, La Monte Young, John Cage, Merce Cunningham, and others, implying that there is an intricate network of historical relationships that have played a role in the development of avant-garde art post-1959. The background color changes as it approaches the bottom, where the connections are presumably more contemporary to the time of the document's creation. It provides a rich historical and intellectual context for studying Fluxus and its place within the broader scope of artistic innovation. Please note that due to the complexity and size of the text and diagram, there might be additional details that are not fully described here.

Created by gpt-4o-2024-05-13 on 2024-12-10

The image is a detailed diagram and explanatory text titled "FLUXUS (ITS HISTORICAL DEVELOPMENT AND RELATIONSHIP TO AVANT-GARDE MOVEMENTS)." It appears on a greenish paper background. ### Top Section: The top section of the document comprises text explaining the concepts of Fluxus and its relation to avant-garde movements. It discusses the definition of fine arts, noting the importance of differentiating between various human activities to narrow down what constitutes art. ### Definition of Art: A table in this section lists categories and specifies what should be included or eliminated: 1. **ARTIFICIAL**: - **Include**: all human creation. - **Eliminate**: natural events, objects, sub or un-conscious human acts (dreams, sleep, death). 2. **NONFUNCTIONAL/LEISURE**: - **Include**: non-essential to survival and material progress, games, jokes, sports, fine arts (past history shows less leisure equals less concern for these activities). - **Eliminate**: production of food, housing, utilities, transportation, maintenance of health, security, science and technology, crafts, education, documentation, communication (language). 3. **CULTURAL**: - **Include**: All with pretense to significance, profundity, seriousness, greatness, profundity, elevation of mind, institutional value, exclusiveness (fine arts only: literary, plastic, musical, kinetic). - **Eliminate**: Games, jokes, gags, sports. ### Fluxus Diagram (Diagram no. 1): This part attempts a definition through eliminating non-art categories perceived by people active in these categories. ### Relationships Diagram (Diagram no. 2): The section also details a visual representation of post-1959 avant-garde movements: - **Flow and Influence**: The lines and branches represent the development of Fluxus and other movements, indicating the source and strength of influences. - **Participants**: It lists individuals and groups based on their involvement with Fluxus at different times. - **Types of Involvement**: Categories denote the type of participation such as collective attitude, competitive attitude, and those who detached. Overall, the image serves as both a philosophical treatise on art categorization and a historical map of avant-garde movements, especially focusing on Fluxus' place within that context.

Anthropic Claude

Created by claude-3-haiku-20240307 on 2024-12-10

The image appears to be a diagram that provides an overview of the historical development and relationship of various avant-garde art movements. It discusses different categories and definitions of art, as well as the influences and characteristics of various avant-garde groups from the 1950s to 1960s. The diagram seems to be focused on analyzing and visualizing the connections and relationships between these artistic movements rather than identifying specific individuals.

Created by claude-3-5-sonnet-20241022 on 2024-12-10

This is a detailed diagram/chart explaining the historical development and relationships within the Fluxus art movement, particularly its connection to avant-garde movements. The image appears to be from an academic or historical document and consists of two main parts: 1. The upper portion contains a text explanation and a table that defines art categories through a process of inclusion and elimination. The table has three columns breaking down artificial, nonfunctional/leisure, and cultural categories. 2. The lower portion features a complex flowchart or diagram (labeled as "Diagram no. 2") showing the relationships between various post-1959 avant-garde movements. It's structured like a branching tree or network, with different lines showing influences and connections between various artists and movements. The diagram uses varying line thicknesses to indicate the strength of different influences and relationships. The document has a slightly yellowed, vintage appearance suggesting it's likely from the 1960s or 1970s. The text and diagrams are printed in black on a light background, and the overall design is very academic and systematic in its approach to categorizing and explaining the Fluxus movement and its relationship to other avant-garde art movements of the time.

Meta Llama

Created by us.meta.llama3-2-11b-instruct-v1:0 on 2024-12-10

The image presents a comprehensive overview of the historical development and relationship to avant-garde movements of Fluxus, a pivotal art movement. The document is divided into three main sections: an introductory paragraph, a table outlining the definition of art derived from semantics and applicable to all past and present examples, and a detailed diagram illustrating the relationships between various art movements. * **Introduction** * The introduction provides a brief overview of Fluxus, describing it as "fashionable" among the avant-garde and the pretentious avant-garde to broaden and obscure the definition of fine arts to some ambiguous realm that includes practically everything. * It highlights the importance of Fluxus in eliminating categories not believed to be within the realm of fine arts by people active in these categories. * **Definition of Art** * The table outlines the definition of art derived from semantics and applicable to all past and present examples. * It includes three columns: "Artificial," "Nonfunctional: Leisure," and "Cultural." * Each column lists various categories, such as "all human creation," "non-essential to survival," and "all with pretense to significance." * The table provides a clear and concise definition of art, highlighting its broad scope and applicability to various fields. * **Diagram** * The diagram illustrates the relationships between various art movements, including Fluxus, Dada, Surrealism, and Pop Art. * It shows how these movements intersect and influence one another, demonstrating the complex and interconnected nature of art history. * The diagram is divided into sections, each representing a different art movement, with lines connecting them to indicate their relationships. In summary, the image provides a comprehensive overview of Fluxus, its definition, and its relationships to other art movements. The table and diagram work together to illustrate the complexity and interconnectedness of art history, highlighting the importance of Fluxus in shaping modern art.

Created by us.meta.llama3-2-90b-instruct-v1:0 on 2024-12-10

The image presents a comprehensive overview of the historical development and relationship to avant-garde movements, with a focus on Fluxus. The title, "Fluxus (its historical development and relationship to avant-garde movements)," is prominently displayed at the top. **Key Features:** * **Definition of Art:** The image defines art as derived from semantics and applicable to all past and present examples, following the process of elimination from broad categories to narrow categories. * **Elimination Process:** The elimination process involves removing categories that are not believed to be within the realm of fine arts by people active in these categories. * **Artificial and Nonfunctional Leisure:** The image highlights the artificial and nonfunctional leisure aspects of art, including natural events, objects, and human creation. * **Cultural Significance:** The image emphasizes the cultural significance of art, including games, jokes, past, sports, and literary, plastic, musical, kinetic. * **Historical Development:** The image provides a historical development of fluxus and related movements, including the influences upon various movements, the formation of fluxus, and the individuals active since the formation of fluxus. * **Relationships:** The image illustrates the relationships between various movements, including the influences upon various movements, the formation of fluxus, and the individuals active since the formation of fluxus. **Visual Representation:** The image features a large, black-and-white diagram that illustrates the relationships between various movements. The diagram is divided into several sections, each representing a different movement or category. The sections are connected by lines, indicating the relationships between them. **Conclusion:** In conclusion, the image provides a comprehensive overview of the historical development and relationship to avant-garde movements, with a focus on Fluxus. The image defines art as derived from semantics and applicable to all past and present examples, and highlights the artificial and nonfunctional leisure aspects of art. The image also emphasizes the cultural significance of art and provides a historical development of fluxus and related movements. The visual representation of the diagram illustrates the relationships between various movements, providing a clear and concise understanding of the topic.

Text analysis

Amazon

HISTORICAL
DEVELOPMENT
FLUXUS
FLUXUS HISTORICAL DEVELOPMENT AND RELATIONSHIP MOVEMENTS)
MOVEMENTS)
the
RELATIONSHIP
and
AND
DERIVED
INCLUDE
DERIVED SEMANTICS
SEMANTICS
3. CULTURAL
I.ARTIFICIAL:

Google

FLUXUS (ITS HISTORICAL DEVELOPMENT AND RELATION SHIP TO AVANT-GARDE MOVEMENTS Today it is fashionable among the avant-garde and the pretending avant-garde to broaden and obscure the definition of fine arts to some ambiguous realm that includes practically everything. Such broad- mindedness although very convenient in shortcutting all analytical thought, has nevertheless the disadvantage of also shortcutting the semantics and thus communication through words. Elimination of borders makes art nonexistent as an entity, since it is an opposite or the existence of a non-art that defines art as an entity Since fluxus activities occur at the border or even beyond the border of art, it is of utmost importance to the comprehension of fluxus and its development, that this borderline be rationaly defined Diagram no.1 attempts at such a definition by the process of eliminating categories not believed to be within the realm of fine arts by people active in these categories DEFINITION OF ART DERIVED FROM SEMANTICS AND APP LICABLE TO ALL PAST AND PRESENT EXAMPLES. (definition follows the process of elimination, from broad categories to narrow category INCLUDE ELIMINATE 1. ARTIFICIAL: all human creation natural events, objects, sub or un-conscious human acts, (dreams, sleep, death) 2. NONFUNCTIONAL: non essential to survival production of food, housing, utilities, transportation maintainance of health, security non essential to material progress science and technology, crafts. games, jokes, sports, fine arts.*education, documentation, communication (language) 3. CULTURAL all with pretence to significance, games, jokes, gags, sports profundity, seriousness, greatness, institutional value, exclusiveness. FINE ARTS** only literary, plastic, musical, kinetic. * Past history shows that the less people have leisure, the less their concern for all these leisure activities. Note the activities in games, sports and fine arts among aristocrats versus coal miners. **Dictionary definition of fine arts: "art which is concerned with the creation of objects of imagination and taste for their own sake and without relation to the utility of the object produced." Since the hi storical development of fluxus and related movements are not linear as a chronological commentary would be, but rather planometrical, a diagram would describe the development and relationships more efficiently Diagram no.2 (relationships of various post-1959 avant-garde movements) Influences upon various movements is indicated by the source of influence and the strength of influence (varying thicknesses of connecting links) Within fluxus group there are 4 categories indicated: 1) individuals active in similar activities prior to formation of fluxus collective, then becoming active within fluxus and still active up to the present day, (only George Brecht and Ben Vautier fill this category) 2) individuals active since the formation of fluxus and still active within fluxus 3) individuals active independently of fluxus since the formation of fluxus, but presently within fluxus; 4) individuals active within fluxus since the formation of fluxus but having since then detached themselves on following motiv ations: a) anticollective attitude, excessive individualism, desire for personal glory, prima dona complex (Mac Low, Schmit, Williams, Nam June Paik, Dick Higgins, Kosugi), b) opportunism, joining rival groups offering greater publicity (Paik, Kosugi, c) competitive attitude, forming rival operations (Higgins, Knowles, Paik). These categories are indicated by lines leading in or out of each name. Lines leading away from the fluxus column indicate the approximate date such individuals detached themselves from fluxus GAG CHARLIE CHAPLIN SPIKE JONES HOFFMAN MILAN KNIZAK TAKAKO SAITO ERIC ANDERSEN JOE JONES WILLEM DE RIDDER GEORGE MACIUNAS PHILIP CORNER DICK HIGGINS JEFF BERNER SHIGEKO KUBOTA FREDERIC LIEBERMAN ALISON KNOWLES BENJAMIN PATTERSON , NAM JUNE PAIK JACKSON MAC LOW KOSUGI TOMAS SCHMIT EMMETT WILLIAMS HI RED CENTER YOKO ONO BEN VAUTIER LA MONTE YOUNG RAY JOHNSON SIMONE MORRIS STRUCTURAL SIMPLICITYWALTER DE MARIA HENRY FLYNT ROBERT MORRIS 2JOSEPH BEUYS z STANLEY BROUWN USE OF READY MADE WALTER DE MARIA ARTHUR KaPCKE TAKEHISA KOSUG ROBERT MORRIS TOMAS SCHMIT EMMETT WILLIAMS LA MONTE YOUNG GIUSEPPE CHIAR BRUITISM INDETERMINACY PHILIP CORNER CIA TOSHI ICHIY PIERRE MERCURE RICHARD MAXFIELD MERCE CUNNINGHAM ANN HALPRIN VONNE RAINER AILEEN PASSLOFF JACKSON MAC LOW EMMETT WILLIAMS NAM JUNE PAIK KEN DEWEY BENGT AF KLINTBERG ALLAN KAPROW CLAES OLDENBURG JIM DINE ROBERT WHITMAN AL HANSEN z VISUAL THEATRICAL EFFECTS SIMULTANEITY OF UNRELATED ACTS SYNTHETIC STRUCTURAL COMPLEXITY e n MIXTURE OF MEDIA
FLUXUS
(ITS
HISTORICAL
DEVELOPMENT
AND
RELATION
SHIP
TO
AVANT-GARDE
MOVEMENTS
Today
it
is
fashionable
among
the
avant-garde
and
pretending
to
broaden
obscure
definition
of
fine
arts
some
ambiguous
realm
that
includes
practically
everything.
Such
broad-
mindedness
although
very
convenient
in
shortcutting
all
analytical
thought,
has
nevertheless
disadvantage
also
semantics
thus
communication
through
words.
Elimination
borders
makes
art
nonexistent
as
an
entity,
since
opposite
or
existence
a
non-art
defines
entity
Since
fluxus
activities
occur
at
border
even
beyond
art,
utmost
importance
comprehension
its
development,
this
borderline
be
rationaly
defined
Diagram
no.1
attempts
such
by
process
eliminating
categories
not
believed
within
people
active
these
DEFINITION
OF
ART
DERIVED
FROM
SEMANTICS
APP
LICABLE
ALL
PAST
PRESENT
(definition
narrow
INCLUDE
1.
human
creation
natural
events,
objects,
(dreams,
sleep,
essential
production
documentation,
(language)
3.
CULTURAL
with
pretence
significance,
games,
jokes,
sports
seriousness,
greatness,
literary,
less
their
concern
for
versus
coal
miners.
**Dictionary
arts:
relation
hi
storical
commentary
would
be,
but
rather
planometrical,
no.2
various
post-1959
movements)
movements
indicated
source
influence
there
are
prior
formation
then
becoming
still
up
present
(only
George
Brecht
Vautier
fill
category)
2)
fluxus;
4)
individuals
detached
themselves
a)
anticollective
attitude,
excessive
prima
dona
Paik,
Higgins,
b)
joining
groups
(Higgins,
indicate
approximate
date
from
GAG
CHARLIE
CHAPLIN
SPIKE
JONES
HOFFMAN
MILAN
KNIZAK
TAKAKO
SAITO
ERIC
ANDERSEN
JOE
WILLEM
DE
RIDDER
GEORGE
MACIUNAS
PHILIP
CORNER
DICK
HIGGINS
JEFF
BERNER
SHIGEKO
KUBOTA
FREDERIC
LIEBERMAN
ALISON
KNOWLES
BENJAMIN
PATTERSON
,
NAM
JUNE
PAIK
JACKSON
MAC
LOW
KOSUGI
TOMAS
SCHMIT
EMMETT
WILLIAMS
HI
RED
CENTER
YOKO
ONO
BEN
VAUTIER
LA
MONTE
YOUNG
RAY
JOHNSON
SIMONE
MORRIS
STRUCTURAL
SIMPLICITYWALTER
MARIA
HENRY
FLYNT
ROBERT
2JOSEPH
BEUYS
z
STANLEY
BROUWN
USE
READY
MADE
WALTER
ARTHUR
KaPCKE
TAKEHISA
KOSUG
GIUSEPPE
CHIAR
BRUITISM
INDETERMINACY
CIA
TOSHI
ICHIY
PIERRE
MERCURE
RICHARD
MAXFIELD
MERCE
CUNNINGHAM
ANN
HALPRIN
VONNE
RAINER
AILEEN
PASSLOFF
KEN
DEWEY
BENGT
AF
KLINTBERG
ALLAN
KAPROW
CLAES
OLDENBURG
JIM
DINE
WHITMAN
AL
HANSEN
VISUAL
THEATRICAL
EFFECTS
SIMULTANEITY
UNRELATED
ACTS
SYNTHETIC
COMPLEXITY
e
n
MIXTURE
MEDIA
EXAMPLES.
follows
elimination,
broad
category
ELIMINATE
ARTIFICIAL:
sub
un-conscious
acts,
death)
2.
NONFUNCTIONAL:
non
survival
food,
housing,
utilities,
transportation
maintainance
health,
security
material
progress
science
technology,
crafts.
sports,
arts.*education,
gags,
profundity,
institutional
value,
exclusiveness.
FINE
ARTS**
only
plastic,
musical,
kinetic.
*
Past
history
shows
have
leisure,
leisure
activities.
Note
aristocrats
"art
which
concerned
objects
imagination
taste
own
sake
without
utility
object
produced."
development
related
linear
chronological
diagram
describe
relationships
more
efficiently
(relationships
Influences
upon
strength
(varying
thicknesses
connecting
links)
Within
group
4
indicated:
1)
similar
collective,
day,
Ben
3)
independently
fluxus,
presently
having
on
following
motiv
ations:
individualism,
desire
personal
glory,
complex
(Mac
Low,
Schmit,
Williams,
Nam
June
Dick
Kosugi),
opportunism,
rival
offering
greater
publicity
(Paik,
Kosugi,
c)
competitive
forming
operations
Knowles,
Paik).
These
lines
leading
out
each
name.
Lines
away
column