Fluxus After Fluxus. Visible Language 40.1.
"Ken Friedman [email protected] [AIGAExperienceDesign]" <[email protected]> Wed, 20 Jan 2016 11:56:12 +0100
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Dear Colleagues,
Thanks to the journal Visible Language, you will now find a copy of the sec=
ond special issue on Fluxus that Owen Smith and I edited in 2005 on my Acad=
emia page at:
https://swinburne.academia.edu/KenFriedman
It is located in the section of materials and documents on Fluxus and Inter=
media. With a comprehensive bibliography on Fluxus from the beginning throu=
gh 2005, this issue is especially useful to historians, librarians, archivi=
sts, and bibliographers.
Friedman & Smith, eds. 2005. Fluxus After Fluxus. Visible Language 40.1.
Abstract: Legacy involves difficulties for those who inherit and for those =
who do not. History is both a gift and a burden when it involves art. It is=
equally problematic when it involves the Fluxus intermedia forms that hove=
r between art and life. This special issue of Visible Language =E2=80=94 Fl=
uxus After Fluxus =E2=80=94 explores the challenging questions of Fluxus le=
gacy. This includes the right to participate in a discourse network, canon =
formation, literature development, and the work of younger artists toward a=
heritage that some demand and others reject. These issues particularly tro=
uble the legacy of Fluxus. Fluxus was an invisible college, created by the =
artists, composers, designers, and architects who took part. It functioned =
as a laboratory of experimental ideas. Fluxus challenged art and the art wo=
rld on political and economic grounds using artistic means and philosophica=
l principles. The perception of Fluxus has changed in recent years. The shi=
ft in standing and status has been bound up with and transformed by the ins=
titutions that collect, preserve, and interpret historical artifacts and do=
cuments. These artifacts and documents once told different versions of the =
Fluxus story to an uninterested world. Today, they tell a complex and often=
misunderstood story to a world that is interested in Fluxus for the wrong =
reasons. This situation defeats Fluxus with the trappings of success. This =
special journal issue on Fluxus After Fluxus explores the dialectical and h=
ermeneutical work of recovery. It addresses the challenge of legacy by exam=
ining different aspects of the Fluxus legacy through multiple views.
Yours,
Ken Friedman
Ken Friedman, PhD, DSc (hc), FDRS | Editor-in-Chief | =E8=AE=BE=E8=AE=A1 Sh=
e Ji. The Journal of Design, Economics, and Innovation | Published by Tongj=
i University in Cooperation with Elsevier | URL: http://www.journals.elsevi=
er.com/she-ji-the-journal-of-design-economics-and-innovation/
Chair Professor of Design Innovation Studies | College of Design and Innova=
tion | Tongji University | Shanghai, China ||| University Distinguished Pro=
fessor | Centre for Design Innovation | Swinburne University of Technology =
| Melbourne, Australia=20
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<p>Dear Colleagues,<br>
<br>
Thanks to the journal Visible Language, you will now find a copy of the sec=
ond special issue on Fluxus that Owen Smith and I edited in 2005 on my Acad=
emia page at:<br>
<br>
https://swinburne.academia.edu/KenFriedman<br>
<br>
It is located in the section of materials and documents on Fluxus and Inter=
media. With a comprehensive bibliography on Fluxus from the beginning throu=
gh 2005, this issue is especially useful to historians, librarians, archivi=
sts, and bibliographers.<br>
<br>
Friedman & Smith, eds. 2005. Fluxus After Fluxus. Visible Language 40.1.<br=
>
<br>
Abstract: Legacy involves difficulties for those who inherit and for those =
who do not. History is both a gift and a burden when it involves art. It is=
equally problematic when it involves the Fluxus intermedia forms that hove=
r between art and life. This special issue of Visible Language =E2=80=94 Fl=
uxus After Fluxus =E2=80=94 explores the challenging questions of Fluxus le=
gacy. This includes the right to participate in a discourse network, canon =
formation, literature development, and the work of younger artists toward a=
heritage that some demand and others reject. These issues particularly tro=
uble the legacy of Fluxus. Fluxus was an invisible college, created by the =
artists, composers, designers, and architects who took part. It functioned =
as a laboratory of experimental ideas. Fluxus challenged art and the art wo=
rld on political and economic grounds using artistic means and philosophica=
l principles. The perception of Fluxus has changed in recent years. The shi=
ft in standing and status has been bound up with and transformed by the ins=
titutions that collect, preserve, and interpret historical artifacts and do=
cuments. These artifacts and documents once told different versions of the =
Fluxus story to an uninterested world. Today, they tell a complex and often=
misunderstood story to a world that is interested in Fluxus for the wrong =
reasons. This situation defeats Fluxus with the trappings of success. This =
special journal issue on Fluxus After Fluxus explores the dialectical and h=
ermeneutical work of recovery. It addresses the challenge of legacy by exam=
ining different aspects of the Fluxus legacy through multiple views.<br>
<br>
Yours,<br>
<br>
Ken Friedman<br>
<br>
Ken Friedman, PhD, DSc (hc), FDRS | Editor-in-Chief | =E8=AE=BE=E8=AE=A1 Sh=
e Ji. The Journal of Design, Economics, and Innovation | Published by Tongj=
i University in Cooperation with Elsevier | URL: http://www.journals.elsevi=
er.com/she-ji-the-journal-of-design-economics-and-innovation/<br>
<br>
Chair Professor of Design Innovation Studies | College of Design and Innova=
tion | Tongji University | Shanghai, China ||| University Distinguished Pro=
fessor | Centre for Design Innovation | Swinburne University of Technology =
| Melbourne, Australia <br>
<br>
--<br>
<br>
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