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By Stewart Home

" a lot of the data is taken from imprecise resources and the booklet is key studying for someone attracted to the topic. It demystifies the political and inventive practices of competitors to the dominant tradition and serves as a easy reference for a box principally undocumented in English. it's also engagingly sincere, unpretentious, wondering and speedy in its impact" Artists Newsletter.

"Reflecting the uncategorisable element of paintings that hurls itself into visionary politics, the publication will interact political scientists, functionality artists and activists" artwork and Text.

Contents:

Preface.
Introduction.
1. Cobra.
2. The Lettriste Movement.
3. The Lettriste foreign (1952-57).
4. the school Of Pataphysics, Nuclear artwork and the foreign move for an Imaginist Bauhaus.
5. From the "First international Congress of Liberated Artists" to the basis of the Situationist International.
6. The Situationist overseas in its heroic section (1957-62).
7. at the theoretical poverty of the Specto-Situationists and the valid prestige of the second one International.
8. The decline and fall of the Specto-Situationist critique.
9. The origins of Fluxus and the stream in its 'heroic' period.
10. the increase of the depoliticized Fluxus aesthetic.
11. Gustav Metzger and Auto-Destructive Art.
12. Dutch Provos, Kommune 1, Motherfuckers, Yippies and White Panthers.
13. Mail Art.
14. past Mail Art.
15. Punk.
16. Neoism.
17. classification War.
Conclusion.
Afterword.
Selected Bibliography.

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40 But this conceptual circuit also requires—it is perpetually in search of (this search being its history)—concrete material-technological support that will give the medium its operational body. Eventually, operational technology is declared normative. At that point, however, the Idea of the medium is also substantially transformed: its immaterial conceptual design acquires a thus far unprecedented degree of specificity by being forever related to the structural-material dynamics of the standardized apparatus.

For how else can one read “out loud” the blank, entirely content-less verse of Man Ray’s poem, but as purely carnal manifestations of mute sounds? In other words, the body, the conductor, and the converter mediating between images and sounds can only perform a Dumb Poem by acting itself out (through movements and contortions originating in the area of the mouth), after having been caught in the situation of not being able to discharge. Deprived of the possibility of a properly sonorous energetic/libidinal release, the body dynamically materializes what forever remain the “not-yet sounds”: sounds that ought to be articulated, but at the same time cannot be articulated for they remain unknown, unspecified by the poem.

As Friedrich Kittler authoritatively points out in his analysis of Christian Morgenstern’s work “The Great Lalula,” before this author’s “1905 collection Gallows Songs, no poem had existed as a small discourse network. Literary historians have sought classical-romantic models for these poems and have found some nonsense verse here and there.  . is at least speakable. 8 “Dumb poem” in Man Ray’s Return to Reason (1923) Opto-phonetic poetry, originating with Morgenstern and subsequently actively pursued by the Dadaists, is a type of inter-media practice in which meaning is “bracketed off ” (as in Morgenstern’s () or (;)), while the bracket itself (the desublimated physical substance of the media dispositif) is what is communicated in the process of infinite conversion of sounds into images and vice versa.

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