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Fluxus and Noise music

Fluxus and Noise music
Fluxus—a name taken from a Latin word meaning "flow, flux" (noun); "flowing, fluid" (adj.)[1]—is an international network of artists, composers and designers noted for blending different artistic media and disciplines in the 1960s. They have been active in Neo-Dada noise music and visual art as well as literature, urban planning, architecture, and design. Fluxus is sometimes described as intermedia. The Fluxus movement... developed its 'anti-art', anti-commercial aesthetics under the leadership of George Maciunas. Fluxus staged a series of festivals in Paris, Copenhagen, Amsterdam, London and New York, with avant-garde performances often spilling out into the street. Most of the experimental artists of the period, including Joseph Beuys, Yoko Ono and Nam June Paik, took part in Fluxus events. History to 1965[edit] Origins[edit] Flux Year Box 2, c.1967, a Flux box edited and produced by George Maciunas, containing works by many early Fluxus artists. Early Fluxus and Neo-Dada[edit]

Fluxus Movement, Artists and Major Works | The Art Story "In Fluxus there has never been any attempt to agree on aims or methods; individuals with something unnamable in common have simply naturally coalesced to publish and perform their work. Perhaps this common thing is a feeling that the bounds of art are much wider than they have conventionally seemed, or that art and certain long established bounds are no longer very useful." Synopsis Fluxus was a loosely organized group of artists that spanned the globe, but had an especially strong presence in New York City. Key Ideas Unlike previous artistic movements, Fluxus sought to change the history of the world, not just the history of art. A central Fluxus tenet was to dismiss and mock the elitist world of "high art" and to find any way possible to bring art to the masses, much in keeping with the social climate of the 1960s. Fluxus art involved the viewer, relying on the element of chance to shape the ultimate outcome of the piece. Most Important Art Beginnings Concepts and Styles Fluxus and Zen

Noise music Tellus13 Noise music is a term used to describe varieties of avant-garde music and sound art that may use elements such as cacophony, dissonance, atonality, noise, indeterminacy, and repetition in their realization. Noise music can feature distortion, various types of acoustically or electronically generated noise, randomly produced electronic signals, and non-traditional musical instruments. Noise music may also incorporate manipulated recordings, static, hiss and hum, feedback, live machine sounds, custom noise software, circuit bent instruments, and non-musical vocal elements that push noise towards the ecstatic.[1] The Futurist art movement was important for the development of the noise aesthetic, as was the Dada art movement, and later the Surrealist and Fluxus art movements, specifically the Fluxus artists Joe Jones and Takehisa Kosugi.[2] During the early 1900s a number of art music practitioners began exploring atonality.

In Search of Lost Art: Kurt Schwitters’s Merzbau Kurt Schwitters. Picture with Light Center. 1919. Cut-and-pasted colored paper and printed paper, watercolor, oil, and pencil on board. Purchase. © 2012 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn It was a gray, humid day in Hannover, Germany, and I was on a mission: to experience the Merzbau, a room-sized, living sculptural construction by artist Kurt Schwitters. Kurt Schwitters was an early 20th-century Dada artist whose elegant collages are a touchstone of MoMA’s collection. Schwitters’ art was more than just the collage object itself. The Hannover Merzbau by Kurt Schwitters. Schwitters worked on the Hanover Merzbau from around 1923 until 1937, when he fled to Norway to escape the threat of Nazi Germany. One way is through photographs from the time. But these photographs only capture what the Merzbau looked like in one particular instant. The Sprengel Museum in Hannover. A visitor inside the Sprengel Museum’s Merzbau reconstruction.

Boring Formless Nonsense Boring Formless Nonsense intervenes in an aesthetics of failure that has largely been delimited by the visual arts and its avant-garde legacies. It focuses on contemporary experimental composition in which failure rubs shoulders with the categories of chance, noise, and obscurity. In these works we hear failure anew. We hear boredom, formlessness, and nonsense in a way that gives new purchase to aesthetic, philosophical, and ethical questions that falter in their negative capability. The Aesthetics of Noise Published by DATANOM Edited by Pelle Krøgholt ISBN 87-988955-0-8 Copyright 2002 by Sangild & DATANOM All rights reserved Contact: datanom@datanom.com Link to Publisher: DATANOM Noise can blow your head out. Noise is rage. Noise is ecstatic. Noise is psychedelic. Noise is often on the edge between annoyance and bliss. [p. 3] After defining noise and giving a brief history of noise in music, I will take a closer look at Sonic Youth, My Bloody Valentine, Merzbow and Curd Duca as four very different aesthetic approaches to noise. What is noise? A. [p. 5] metaphors are derived from the spectrum of color so that 'white noise' is a signal ideally containing all of the audible frequencies at the same time, like an untuned radio. B. [p. 6] C. The history of noise – a brief sketch 2 The origin of music was in principle a process of purifying certain sounds by filtering out the irregular sounds, the noise. [p. 8] [p. 9] hence that all sound is music. [p. 10] [p. 13] British, more melodic, variant.

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