Maciunas Learning Machines : from art history to a chronology of Fluxus


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This diagram is one of several versions that Maciunas made that traces the influences that he viewed as fundamental to Fluxus' development and operation. As the movement's founder, figurehead, and graphic designer, Maciunas was responsible for Fluxus' strong graphic identity, which is evident here, and one can also see Diagram of Historical Development through the lens of Maciunas' Learning Machines, which consisted of diagrams, maps, and lists that prized non-linearity and correlative overlap between various historical fields of knowledge.

George Maciunas was a Lithuanian artist, designer, and publisher. He coined the term "Fluxus" in to describe a network of artists, composers, and performers working in and in-between the fields of music, theater, and art. Fluxus Chronology. Vision of Networking.

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Maciunas' Learning Machines

Plain Narratives, Significant Narratives. Richard Kostelanetz, a Pioneer of Diagrammatics. Small-scale Model. See All Customer Reviews.

Knowledge as Art: Chance, Computability, and Improving Education

Shop Books. Add to Wishlist. USD Overview The art of cross-linked thinking consists in facilitating dealing with complexity and admitting new insights. About the Author Astrit Schmidt-Burkhardt is a historian of images. Show More. Average Review. Write a Review.


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A truly international network of artists, composers, and designers that developed in the s, Fluxus resists categorization as an art movement, collective, or group. It also defies traditional geographical, chronological, and medium-based approaches. He and other Fluxus artists created works that celebrate collaboration, the ephemeral, and the everyday—often inflected with a touch of playful anarchy. Aiming to circumvent both conventional aesthetics and the commercial art world, they urged both their colleagues and the public to approach life with a Fluxus attitude.

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The events were even more accessible. Exhibiting Fluxus today highlights yet another question: How can we maintain the defiant and playful spirit in which these objects were made, while at the same time safeguarding and preserving them for future audiences? What is art good for? This was a central question for Fluxus organizer George Maciunas, who devoted his life to analyzing the role of art throughout history and to proposing what it might be good for.

For Maciunas, art at its best is part of the social process, as it was from prehistoric times to the Renaissance no. In modern times, it has become imbued with a unique aura and seen as something to be evaluated by specialists and collected by museums. Fluxus artists took up the task of re-embedding art within everyday life, picking up where Dada and Russian Constructivist artists left off after World War I.

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WikiZero - George Maciunas

George Maciunas, Modes of apprehension: art, language, myth, science each to be used sparingly, as needed, like food, water, sleep. George Brecht, The natural state of life and mind is complexity. At this point, what art can offer. After that you may return to the complexity of life again, it may not be the same, or it may be, or you may never return, but that is your problem.


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  • Yoko Ono, Art is what makes life more interesting than art. Robert Filliou, n. One of the things—perhaps the most important thing—art is good for is interpreting life.

    History of Fluxus

    The sense of being present and engaged that art practice generates in both artist and viewer makes art very satisfying, no matter how it looks or sounds or smells or feels or tastes. We may be able to affect the rate of change but not the fact of it.


    • Which is a part of the theme.
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    • [PDF Download] Maciunas' Learning Machines: From Art History to a Chronology of Fluxus [Read].
    • It is much easier to grasp this reality intellectually than to realize and live it, but Fluxus invented some effective tools for accepting change in our lives. For example, embracing change can be a lot more satisfying than trying to fight it. In his Flux Corsage no. The plant will die eventually and so might your love. But neither will disappear.

      Their energy will have evolved into something else, as will yours. Its label instructs: 1. Give the water still form 2. Let the water lose its still form George Maciunas attempted to chart the changes modern humans have undergone in his Literate Man vs. Post-Literate Man no.

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      It began with the mailing of event cards. We fear what we have experienced, or have been taught to experience, as dangerous. Just being alive is dangerous, but being fearful does not help; in fact, it can be downright harmful. A classic example: a man is frightened by a piece of rope he mistakes for a snake. Once he sees it for what it is, his fear dissipates. Enacting it might express and thus dissipate your fear of danger, but it could also alarm your friends. They might choose to join in, of course—a group screaming session could be amusing.

      George Maciunas turned danger into a game.

      Maciunas Learning Machines : from art history to a chronology of Fluxus Maciunas Learning Machines : from art history to a chronology of Fluxus
      Maciunas Learning Machines : from art history to a chronology of Fluxus Maciunas Learning Machines : from art history to a chronology of Fluxus
      Maciunas Learning Machines : from art history to a chronology of Fluxus Maciunas Learning Machines : from art history to a chronology of Fluxus
      Maciunas Learning Machines : from art history to a chronology of Fluxus Maciunas Learning Machines : from art history to a chronology of Fluxus
      Maciunas Learning Machines : from art history to a chronology of Fluxus Maciunas Learning Machines : from art history to a chronology of Fluxus
      Maciunas Learning Machines : from art history to a chronology of Fluxus Maciunas Learning Machines : from art history to a chronology of Fluxus

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