This week’s doodle is a collaborative piece by myself and Mike Russell. I hope you like it. The drawing was created by myself using chance methods and then the colour was added by Mike.
Each person, I repeat, is free to experience his own emotions. But they are no more important than ordering chicken! That means that you can’t dwell on them, you must learn how to detach yourself from them.
I have always been very fond of working in a team. It is a way of working which conforms to chance’s way of necessarily liquidating the habits of the ego.
While in the case of the ashtray, we are indeed dealing with an object. It would be extremely interesting to place it in a little anechoic chamber and to listen to it through a suitable sound system.
Chance, as I use it, is not something that I must control, nor that must control me. It is not the chance of the physicist. But that does not mean the physicist’s chance shouldn’t exist.
But the contrast between the freedom of sounds and the non-freedom of the dancers should give them the idea that a ballet is an encounter, a collision, and not just a unison.
It’s time for the Monday Poem 🙂 I hope you enjoy it.
The Sentences as Girl whose of Friendly Come to – a fluxus chance poem
Or way that
from before but
an account that move.
as exhilarating because emerges is disjunction between
communicated with we should suggested a small-c conservative.
was not unknown in the 1890s,
child benefit age,
and took with Stalin’s Russia
A good book about a remarkable man,
which scoundrels take refuge:
all sides in of
That their own good-natured
like a wooden
-a chance poem by Jay S
Charles Hartman discusses several methods of automatic generation of poetry in his book The Virtual Muse. – Good old Wikipedia
for Gopi – a Fluxus chance poem
Both spiritual and material. Above, loudly chant the glories of
a small group of English men of
to worship with him.
Some to serve as a
performed through this
Chance Operations are methods of generating poetry independent of the author’s will. A chance operation can be almost anything from throwing darts and rolling dice, to the ancient Chinese divination method, I-Ching, and even sophisticated computer programs. Most poems created by chance operations use some original text as their source, be it the newspaper, an encyclopedia, or a famous work of literature. The purpose of such a practice is to play against the poet’s intentions and ego, while creating unusual syntax and images. The resulting poems allow the reader to take part in producing meaning from the work. The roots of using chance operations to generate poetry are generally traced to the Dada movement in Western Europe in the early and mid-twentieth-century, involving writers such as André Breton, Louis Aragon, Tristan Tzara, Philippe Soupault, and Paul Éluard. The Dadaists were deeply interested in the subconscious, and they believed that the mind would create associations and meaning from any text, including those generated through random selections. – Poets.org
I have been creating visual art and poetry using chance methods for years. The above poem uses a random number system and takes words from a beautiful book about The Gopis’ Song Of Separation.
Sometimes I use news articles, works of fiction or song lyrics. Which one is of course left to chance. I’d be quite happy to share the instructions on how to create a piece if anyone is interested, or you can develop your own system!
Examining the Odd is the perfect place to share chance art in any form, so please get in touch if you make your own and you want to share it.
The Unauthorized Biography
article mushrooms below article Production
student Tara Lisa are what caused the man
Jake who was the father of Alice was the daughter of the Grecian as the free Film
from for Victoria and Hazard Laurie
was the number 2
girl was always Daisy and she would pretend to be brave Sheriff
seems to have made a few verbal changes through his ankle, exactly similar.
Re-settling them on
an unquestioning pair of shoulders, the annihilation of a nation however, back to the table, the future or the dark-haired girl from the what had happened, and in which one becomes aware of facts and ideas which to him, molehill here and coming towards him across long interval of peace during his bomb had fallen altered,
the eyes could give you away dear. Was perfectly possible. He had been suspected of countless hysterical and heretical tendencies. The records too much. But to tell him with a damned impersonal screen, is the definitive and final third edition, they’re good enough, prefer to stick together and though, throughout time and space he had the face which all humanity and life everywhere had burst from not knowing at what he was supposing and that was it for before then there had been the past not only changed, down regular as said Martin and the point is, a cat o’ nine tails. A fireplace roars, as he leans across to check multitudes of ravenous people. Remember this. Know yours.
Cheryl Penn’s venture into musical composition is so noteworthy I had to blog it. Most of the IUOMA members are aware of Cheryl’s group for the study and advancement of Ruud Janssen’s Fluxus word “ZALOP,” given legs by the enthusiasm of visual poet Eduardo Cardoso of Portugal. – International Union of Mail Artists
Well-known Fluxus artists include George Maciunas, Joseph Beuys, Emmett Williams, Yoko Ono and Nam June Paik. It was Maciunas who got the movement started. Many of these artists were creating Fluxus-style work before they got together and Maciunas created the movement.
When it comes to poetry, Fluxus concentrates on visual poetry; where the language is not necessarily representative and the visual appearance is more important, and concrete poetry; again, visuals are more important than content, but where visual poetry is often visually artistic/aesthetic, concrete poetry tends to focus more on shape, placement and typography.
Fluxus was inspired heavily by Marcel Duchamp and artist and composer John Cage, particularly drawing upon their chance methods and the intention to create something with no purpose or pre-determined idea.
In September 1962, that was Wiesbaden and that was the beginning of Fluxus as performance festival. It was simply performance… What distinguished me was that I belonged to the European faction, because my friends were Europeans, and soon after Dusseldorf, George Maciunas went back to the United States and started the Fluxus thing in the United States… I remained in Europe, and Fluxus became something very important in Europe, much more so than in America, thanks to Beuys, Vostell, Ren≠ Block and other people who believed in Fluxus in a much more serious way than in the United States. These were very accomplished artists, and they were involved in Fluxus and people took note. They explained what Fluxus was, different from what I thought or what Dick thought, and it remains a very very European phenomenon. George was Lithuanian-born himself and had spent the first part of his life in Europe, shaped by these things… He was the “immigrant boy”… No one called himself or herself a Fluxus artist in New York who could match a Vostell or a Beuys or a Kopke or others who remained in Europe and had an entirely different approach. People who made Fluxus created a glorious scene in Europe–Eric Anderson, Kopke, and we did not come out of nowhere, because we had been doing things… My Opera was first done in the 1950s, and so much of my work was done before Fluxus. I knew Vostell, Spoerri, Beuys, Filliou, Ben Patterson and Nam June before there was a Fluxus… I was very close to Spoerri and Filliou. The first performance of Opera in 1959 was with Spoerri and Klaus Bremen and myself in the Keller Club in the Castle in Darmstadt. Daniel was very active in theater at the time, he comes from ballet–the poetry that has come to be identified with me as Fluxus was all there before. It was my work that many people regard as Fluxus work that La Monte saw and that caused Maciunas to phone me and say that I’m coming over to talk about Fluxus. So many of the Americans allegedly came out of John Cage’s class. – Emmett Williams
I recently posted my own Fluxus poem on Examining the Odd. My method involves using chance methods to select words from an article and display them in a poetic form. The chance method is used to decide the article, each word, how many words and how they’re placed.
Decide how many words long you want your poem to be. Draw that number of words from the linen bag, making sure to arrange the words in the order that you drew them from the bag. You may alter your poem in three ways. You may remove up to three words from your poem. You may rearrange the order of two words. You may add any word of your choosing to your poem. Draw one more word from the bag to title your poem. Copy down the poem into this booklet, and add any extra art if you like. Please return the words to the bag. – An alternative method from Fluxuslab
decision tackle right – A Fluxus-style chance poem
to go into Under the current
more, they giving that the social care
those of our country no by
ahead of the