On Sun, 24 Sep 2000, ann klefstad wrote:
> Isn't the notion of bodily presence I invoke below something that any of the
>philosophers
> of the linguistic turn would describe as essentialist, positivist, naive?
Possibly, but its worth considering too that, within the French context, the
critiqu
I'm being lazy and just hitting the reply button here, having just a little dab to add.
Isn't the notion of bodily presence I invoke below something that any of the
philosophers
of the linguistic turn would describe as essentialist, positivist, naive? Derrida's
critique of logocentrism, after all
I'm not sure if this got to the list. My apologies if it appears twice.
On Thu, 21 Sep 2000, Owen Smith wrote:
- the
> concept of difference is a potential model for looking at how
> intermedia functions as a kind of "not-media," or how the spaces
> between media types that intermedia exists in
On Fri, 22 Sep 2000, ann klefstad wrote:
> To me the subtext that produces D's
> discourse has to do with the post-Holocaust perception of the faithlessness of the
> body. A rhetoric was needed that both subverted and transcended physicality.
> Language filled the bill, became the human in lieu o
On George's and Owen's exchange:
I'd agree w/ George that "play" for Derrida isn't at all the same as "play" in the
sense that Flux or Amer. a-g would have used it. D's play is more like, say, the
"play" in a steering linkage or the "play" in a hinge. Some what you might call
wiggle.
And yeah,
[EMAIL PROTECTED],.Internet writes:
>Aren't all art works materially intermedial? Even paint has to go onto a
>surface and that surface isn't paint but another medium.
Sol - Not really - your example uses two materials but both are within
the same medium, so it is still a traditional single medi
[EMAIL PROTECTED],.Internet writes:
>Personally, you'd have to convince me, Owen, that the notions of
>intermedia and
>Derrida's difference are fruitfully related.
George - you raise a good point here (also that Dick was at the very
least suspicious of Derrida) and I am not sure that I can convi
Sol Nte quotes Thomas Crow:
>"The performance need never take place for the piece to exist, though it is
>crucial that its enactment in time and space be realizable and
>epeatable( this is enough to distinguish such work from poetry)."
This is not an essential element of a Fluxus event/performan
On Fri, 15 Sep 2000, Owen Smith wrote:
> Intermedial activity, such as many
> Fluxus type works, does not signify a new combination of pre-existing
> categories of approaches or media, but rather it is a more general and
> crucial questioning of knowledge and experience as either discrete or
> qua
Owen wrote:
>For one of the
most radical acts of Fluxus is to see all works as literary, musical ,
visual, and performative rather than just one form or another.<
I wonder if some of this was originally accidental due to the backgrounds of
Fluxus artists..Fluxus artists are probably the firs
How about this one:
Devon Paulson - Gallery Construction, 2000
Create a small construction of objects as to form a small sculpture. Go to a
Gallery (Museum may be supplimented) and leave it inside with the other art.
>From: [EMAIL PROTECTED]
>
>Alison Knowles - Giveaway Construction, 1963
>
Thoughts on Fluxus part 2 (of 3)
In a general sense all Fluxus activities seek to question meaning and
significance as fixed, pre-determined, or even determinable through the
functioning of what has been described as "higher social contracts,"
that is social situations as a manifestation of powe
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