Concept Graffiti

Children do have bizarre noise-making sessions as play. This is quoted from the Schoreditch experimental musical school of 1969. Laughter should be part of education should not be questioned (yet it is). George Maciunas described Fluxus this way as: a fusion of Spike Jones, gags, games, Vaudeville, Cage, and Duchamp.

Fluxus was emotional in nature yet had an ethical argument, too, contained within anti-art. Does one need formality and extreme education to make art or play music? Does art always need to be polished to perfection? Western education “plays” music but where is the play in play, or is that word almost a mockery of what play really is? These seem like important questions.

There was, I think, an ideal within Fluxus that everyone could be doing art all the time, with anything, at any age, ideas, movements, pretend conversations, just anywhere. Fluxus, I think, had the idea of eliminating the glass wall, if you will, between art and the now, thereby lacking formal (expensive) setting up of a performance. Could that mean that perfect art is a kind of social engineering? Maybe so. I love to look at the old-blues singers. Anyone could maybe use everyday objects to make music, just anytime and as often as possible.

Graffiti may also express underlying social and political messages.

It is at this point that my question could about a re-definition of music itself (ontology? epistemology?) and so I think of all musical elements, notes or noises, equivalent things– rather than rules. Is the idea here that art could be: always, anywhere, anytime and for no reason at all. I can see this coming to an head. Is there a place for rustic (archaic) art ideas? Or, “concept graffiti?” This kind of thinking dethrones critics as well as any institutionalized judgements. Art might reconfigured to be reflecting on itself, a kind of ontological introspection of art back onto itself; i.e., what is the value of noise?

Play: for enjoyment and recreation, especially by children.

Yet play tends to be not taken seriously by adults in school; art and intuition comes so naturally to children but not so for us. Cage references natural processes, and he asks about the nature of art and music, so the idea of describing abstract ideas and conceptualism to my young son, Julian, seems profound in its own way, at least I think so. In this I am avoiding ethics and logic but accessing an emotional sort of intuitive side. My point would be not that kids can be as analytical as adults, but so purely emotional without over thinking in ways that our sort of brand of capitalism demands of us as adults.

Lighten the mood; encourage those on your team to poke a little fun at you once in a while, and at events that undoubtedly will go sideways.

I hired my son to do a set of graphical, musical scores on index cards after showing him Sol Lewitt. My DFluxus Fluxmanifesto, by George Maciunas, 1971rag Art project last month was partly play as we laughed and went out to eat, but it was also a serious expression of feeling. So too, the Schoreditch school in London was whimsical yet profound. The idea of situation leads to connections in my mind that cannot be arrived at logically. I am ranting a bit ethically here but play is based on emotions. – On the morning of December 25th and with a foot of snow falling, we did a musical piece made up of found objects, laughter, sudden ideas, noises– and the pretend obedience to a cellphone timer.

My work at IMRC is playful, and it is easy to feel that it’s not really appreciated as serious art.