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.

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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