جستجوی مقالات مرتبط با کلیدواژه "فلاکسوس" در نشریات گروه "هنر و معماری"

The present study surveys the origins of the formation of Graphic Notation in John Cage’s works, the avant-garde composer of the twentieth century, and the reasons for the replacement of the visual and Prosy aspects instead of the traditional notation. This changes of the music notation system begin in his works from the early 1950 and his landmark is in the late 1960 and in his “Song Book”. Although, Cage’s famous composition of “Silence” or “4′33″ for any Instrument or Combination of Instruments”, is The beginning of the very important changes in his music and notation. In his notation methods, we can distinguish two major aspects: the first aspect, there is still the traditional notation, such as the staff, beat, time and duration, but, he has changed it in his notation methods, so, a performer is able to decide on some parts and to perform his interpretation of the scores. But, in the second aspects, started with time delay to his early notation, he relinquish all methods of the traditional notation and replace the picture or text elements instead of them. In this aspect, a performer interprets the totality of the scores.
The reasons of the present research is his attention to the contemporary and previous artists in the field of Graphic Notation and collect them in “Notation”, and his reference to the impact of the painters, poets and artists in the formation of his music in the collection of his writings and lectures. The purpose is to clarify the chronological trend of this impact and the achievement to the reasons of his tendency to the new ideas of his contemporary and previous movements. This research uses two methodes: Chronological and Descriptive-Analytic methodes, based on library resources, especially, reference to the writings and the remainder interviews of Cage. The chronological trend depicts on Cage’s influence of Futurism, Dada, and especially, Marinetti’s Futurist manifesto, called ” Destruction of Syntax- Imagination without strings-Words-in-Freedom” and his poetry book ,“Zang Tumb Tumb”, and the ideas raised by Russolo in his manifesto “The Art of Noises”, as well as, Mallarmé’s Concrete Poetry , Apollinaire’s ideas in Visual Poetry, the experiences of Sonia Delaunay and Blaise Cendrars, and his collaboration with Fluxus movement that tried to eliminate the boundaries between the arts.
The reasons for these tendency was the efforts to achieve the expressive manners proportional to his new musical ideas that its motivations hide in Futurism movement and the changes of the modern music. So, the changes of his notation can be divided into two periods: the first period represents the visual expression that reflected in the attitude of Mallarmé and Marinetti and includes the collection of the scores that have distorted graphically in order to convey the feelings. The second period, in addition to complete the first period, declares the concept of the Simultaneity in the Visual Poetry that influenced by the attitude of Apollinaire, and tries to reflect the concept of the music in his visual manifesto.

This research examines the development of the blending of arts and the blurring of their boundaries in Fluxus International Art Movement. Fluxus, the core of which was formed in the experimental composition classes of John Cage, included artists who employed diverse artistic media based on similarities of arts, to create various works with infinite possible interpretations. This collage-like and blended character, which dominates all Fluxus works, is evident in first Fluxus festivals and concerts conducted by George Maciunas, the self-proclaimed leader of the group, as well as in wide activities by other members in various fields. Dick Higgins considers this character the central feature of Fluxus works and refers to it as intermedia. Higgins’ intermedia schema conveys the view of Fluxus that there are no limitations neither on blending experiences from artistic fields with different levels nor on presenting a classification of the blending of arts itself, as the presence of Action Music in the center of this schema emphasizes its importance in the views of Fluxus. Thus, the present study intends to highlight the legacy inherited by Fluxus and the influence of early twentieth-century artistic traditions such as Futurism and Dadaism on Fluxus in the manifestos and diagrams of George Maciunas as well as on Higgins’ intermedia classifications of Fluxus activities. This paper seeks to identify the concepts that have influenced the necessity and possibility of blending arts in Fluxus and explore their evolution with the gradual development of Fluxus. The objective is revealing the perspective of Fluxus on the blending of arts and the development of this perspective during 1950s and 1960s. The research employs a descriptive-analytical method. It relies on library resources specially the writings and records of Fluxus activities.
The history of Fluxus involves two periods in the blending of arts. From late 1950s to the first half of 1960s, we can see the formation and flourishing of the idea of blending arts with a focus on Action Music that involves blends with simple, general, and concise actions. Therefore, the boundaries between arts are still clear. The blending of arts in this period, considering the tendency of Fluxus toward organization of sound and audio-visual elements, indicates the influence “simultaneity” from Cage’s first period. Starting from the second half of 1960s, the blending of arts inclines toward large-scale blending of modern media and technologies, and toward deep and global concepts. Therefore, it seems impossible to distinguish arts. The blending of arts in this period coincides with the development of “simultaneity” during Cage’s second period and in some cases, such as large-scale performance and use of some modern media, its impact on Cage’s concept of simultaneity should be acknowledged. We also witness an inverse interplay in the transformation of the scores of Fluxus and Cage. So that the text scores of Fluxus in the second period, under the influence of Cage, tend toward visual scores, while Cage’s graphic scores tend toward the text scores of Song Book where the impact of Fluxus on Cage is visible.