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So welcome to this talk
and we're pleased to welcome Leo
Dyson and Marcus
Zimmerman.
Hi.
Khelil is a researcher focusing
on the social communities around
constructed languages, and that can
be, for example, language like Esperanto,
but also a language like Python.
And he's currently working at the Academy
of Fine Arts in Vienna in
a research project on artists
books that simplify that.
He was the keynote speaker at
events like the US Electronica
Transmedia LED Awards
and.
Marcus has studied computer
science in Berlin and
he has studied also architecture in
Vienna, Buenos Aires.
And since then he has participated
in various projects, exhibits
and lectures.
And together they will be diving
into the world of art today for
us and introduce the Fluxus
movement and especially compared the
ideals of the Fluxus movement with
tools and methods of online communities.
Today, it's a very interesting topic.
The name of the talk is Fluxus
Cannot Save the World.
What Hacking Has to do with avant garde
art of the 1960s.
So please help me welcome again
round applause for Marcus and Leo.
Future Fluxus.
12 Fluxus ideas,
one, globalism to
unity of art and life,
three and four media for
Experimentalism.
By chance, six
playfulness, seven
simplicity, eight complicatedness,
nine exemplars Chavism,
10 specificity,
11 Presence and time.
12 musicality.
Future Fluxus.
Well, Fluxus ideas
one globalism to
unity of art and life,
three, Intermedia
for Experimentalism.
Five chance, six
playfulness, seven
simplicity, eight complicatedness,
nine exemplar terrorism,
10 specificity,
11 presence in Time.
12 musicality.
So how come welcome,
this talk will be in English
because English is a combination
of behavior in a semiotic system,
the English language that more
people understand than German.
And one of the
12 ideas that you have heard of Fluxus is
globalism.
So please always choose
the language that more people understand,
you know, that this might be a trap for a
lot of projects,
but but we should we should acknowledge
the fact.
Now, thank you very much for attending
today.
I want to make a
short presentation
of what the presentation should be and
that the presentation we
we have been researching Marcus Zimmerman
and me for the last five years.
And we sort of apologize
about the future in Fluxus,
it was really for an application
in Vienna that we had to do it,
but that that is a little
history, our history, but which is quite
interesting.
But we were in a in an interesting,
real experimental project
with the city administration.
They invited us to renew
their ways of dealing with this.
And and when we got
resistance, we tried to
resist the resistance.
And this is the future.
And Fluxus, which made
this possible.
How did this come?
Yes, I have been teaching in the Academy
of Fine Arts as
a media philosopher.
So imagine you have students of
restoration of architecture,
some people from the philosophy
department of the university.
You have painters, you have people who
print.
So you have to all academic arts.
And I tried to invite them
to understand before it happens
what will come in their future from
people who program.
Is it possible at all to do art
in programing?
Is it possible at all to do art
in mathematics?
So these these things we talked about
and so we talked also
about networked communities
and the arts of the 60s
and 70s especially,
so there was a situation, as I could see,
that there was art and language and we
will.
Come to that and
the aim is then before we
come to Fluxus and then the
price question, is Fluxus still alive?
Can an art movement be alive without
people, no, art
is a form of tradition.
If you don't decide
to be in the tradition,
you won't be able to deliver
and transfer, it has
to be a French
media theoretician calls
one very important thing
that we can decide to do is to transfer
a tradition.
Of course, this is an avant garde
tradition. This is a transition of
tongue in cheek, of being irreverent
to institutions, to museums, etc..
So in a way, what we hear today is
the 68 ideas.
Where have they gone?
Do we have to now
as a culture, we are in deep
doo doo, as Spielberg would say
in our culture at the moment.
I think if you have been listening to
some of the other talks,
you will know that we have to be quite
inventive, not only as individuals, but
as groups.
Maybe we have to be more inventive to
clarify and polarize design
goals for specific technical
parts, but also for how
do museums,
how can they work together to save
the privacy?
That's a very interesting question,
though.
Because we pay a lot of tax money not
only to the secret services, but only to
the armed services of our
societies.
Now, when I was teaching the students,
I could see that there was one
movement which calls itself the
movement.
I could see that they call themselves
Fluxus and
somebody says, look, this is this, and
we will hear some of these definitions
and others say the special thing about
Fluxus is that it is undefinable.
OK, so they frustrate
you in the beginning. If you're a
scientist, you want to have clear
concepts and you want to say one, two,
three.
But this could be a bit the same
reason why it's hard to write a history
of Fluxus, but actually because it's 50
years old or over 50 years,
it is not at all impossible.
Right. It's it's it's behind
us. But if you try to write
about, for instance, the college computer
club 95 to 2000 a history,
it's not so easy to do it.
Why? Because the computer club is a very
horizontal presence
in time environment, a
mailing list.
Headlocks.
Announcements, flame wars.
Yeah, so we have to reread
them and then nice enough
people from the 95 to 2000
from the computer would still be living.
So we can work with four people for two
months and then we send them the draft
so they can see because they are
empirically time witnesses
of the presence in time, which is now 20
years ago.
Now, this is what Michael said, he could
also see that
they are still living Fluxus people.
Yeah. So when we started in 2010,
we asked some friends whether they have
friends who know whether those people
are still living because in 62 it started
and yes, they are and you will see them,
which is great.
And so now this
is from from
the web, of course.
And some people say some of the Fluxus
says we invented the web, actually.
So but they are not very loud
and this. But maybe they're correct.
Maybe they're correct.
But of course, the question is, do did
they win the technicalities?
No, no. Most of that was concern
Darbar in the years before in America.
So what did they mean?
We invented the web.
I think they they
invented methods to
do things in distributed collaboration.
Which is which is quite
a fine tuning to work
with each other over time, but
I think this is something which
makes the quality and Fluxus
and that means that they are not such a
gated community.
Yeah,
and if you see here, it's also very
interesting, the normal one, two, three,
that all the philosophers do.
Yeah, there's only one world.
No, the world is divided or
you go more on the dialectical Hegelian
to say, nah, there's always the third
option lurking in the background.
And here we
start with the one, the Fluxus that most
art collectors and art historians care
about at this time.
We're talking about around the millennium
here 2000, 15 years ago.
So Fluxus with Mattsson us, we will
see of him also.
Matsuno is a.
Impresario, they call him, he's
not the leader. He wasn't the center,
but he had this very
they called him a detail man.
Yeah, he was very, very sure
about what Fluxus values should be and
which artists should be on it.
And if some artists went ideologically
or with a funny work or in a too big
institution with too money, he would
say, I have 100
name list of Fluxus in New York
and I'm John Pike is out now,
but I have some other people I can put
in. So yeah,
this is actually a very important
anecdote in the Fluxus history that
John Pike and others visited us
on the deathbed to say it's OK
again.
Also in the.
So what we're talking about here is oral
culture.
I would claim that the house computer
club in a lot of aspects of the
communication is an oral culture.
In the medium of jets and
message boards and mailing lists.
And our coaches are always
normally you do interviews and then they
come up with stories and say X went to
that and then they had to struggle and
then they came on.
And now, yes, this was it.
So this is how myths and legends
are also building.
And that is quite good for a community.
But it can you know, the the
the helpful ingredient can become a
poison that can be too little or too
much.
So also, there has to be a collective
intelligence to make a
very improbable status
of a large distributed community
of many intelligence, as many people
living in very different countries,
which is actually what is evolving
now.
And maybe it's it's there
is no way for anybody
to hinder and to have an obstacle
in front of the fact that we will become
a global culture.
But maybe we become a totally
surveilled global culture.
We can go everywhere, but nothing is
different in the sense of somebody
else has more memory of me than my best
friends.
All right, that's not a good start for
freedom, but
of course, we are here and we we applied
for a talk to
to start something rather.
Of course, we want to
convey you some information about
the deep history of what
is Fluxus today.
It started really in the First World War,
maybe even earlier.
But in the First World War, there's a
cluster of people coming together in the
daytime movement.
And then the question is whether it's
still living.
And and now you can make I could
say, please become a known artist
of the Fluxus tradition
alive, come to our club.
But we would know where is our club,
right. It's a bit like the Pirate Bay.
People are
the there on
the the lawyers of
the NPA in America, the
the people who said, are you sharing?
You're stealing our films.
And they thought that the pirate Birand,
who had the idea for The Pirate Bay
Torrent website, a website for sharing
stuff, sharing films,
books, everything, they thought
there would be a like anarchist
army of 20 people, you know,
having a big room with guns
and want to want to free the copying
of everything.
But actually, it was just free for
students in two or three towns,
you know, having for the gentleman or
but they had an idea.
And the idea was to be resilient.
The idea was to have the Pirate Bay
online, whatever they do, because
of the distributed technical
infrastructure and the many friends you
have on the world.
Which is still true, by the way, Pirate
Bay is still reachable,
but, you know, two of the people
who were then the technical inventors
were in jail and one is far
away and doesn't come back
to Sweden. So you pay a price also.
So the fluxes that most art collectors,
can you please go to the first
again?
So 80s till now.
He says that in 2000 around
Fluxus with Younus Fluxes after
Matsunami, New Directions and Fluxus.
So this is a Fluxus making this
Fluxus activities and events created by a
new generation of people drawn to Fluxus,
largely ignored at this time by
collectors and historians.
So that's also important.
You have to understand that there are
incremental phases where there
is a fruitful encounter of old and new
without anybody noticing.
Which I think happens to a lot of
communities here at the computer
club.
Yeah, when when old veterans who invented
the spreadsheets, you know, come to
come here and you you were really the
first human being to think of this,
which is a great anthropological feeling.
Yeah. That that actually we if
we work together or if we if we meet
in an interesting way, which the whole
Congress I think is and
it has very strict rules
and developed rules to make
13000 people possible.
Yeah.
So that's the sort of community social
design, what is
this? So we want to be open so we can't
allow people who push closeness
and say this is my freedom.
So all these dialectics of the
values that you convey and how
that really works in real time,
and now they go back and say unexplored
territory. That is our past.
Our developmental past.
Right.
So this looks as broadly focused on human
creativity, culture and consciousness as
that does not rely on the
issues of or agendas
or history of art for its meaning and
success. That's very important.
Fluxus defines itself as
being fed by outside of art.
And this is one of the 12 Fluxus ideas,
which is only the beginning.
Michael Zimmerman has done this this
trailer for our participation
in the Dawna Festival.
Now, I have some questions for you.
Somebody of, you know, the dawn of
festival crimps how many
super. So that's
somehow like a network performance
festival.
We were performing next to Laurie
Anderson, maybe you know her
from the 60s, 70s and and
James Blake, who was, you
know, limits to your love,
this guy.
But we were there to to do conceptual
interventions because, as you will see,
Fluxus has musical
values conceptualized for
social encounters.
Fluxus cannot save the world
is by itself, by a Fluxus,
its 2002, and
I just want to
want to let you IA's ring
a bit Benwood here, French foxiest
cause a little exhibition in
in Italy in 2002.
Fluxus cannot change the world.
What do you think were the talk before,
whether young people who sat at
Fluxus and we should start annotator
or was he himself?
You know, just frustrated by all these
years of very, very abstract
talking and whatever.
I don't know, but you could ask him,
actually, Ben, what he
I think has the most creative website
of a nearly 80 year old
in the world.
Because we got to know him, his grandson
is doing all the technicalities, and if
people come, they want to make interviews
and so they work together.
Collaboration, cooperation
is is a big
ideal influxes.
So please.
We now have.
We start in the 19th century.
OK, I'll ask you again, who knows Brian
Eno?
Right, who knows what
exactly would have to
do with Brian Eno.
OK, so that's like like two or
three percent
of those who know, you know,
who knows that Brian Eno was visiting
Julian Assange some weeks ago.
Just as many as as, you know,
that he had to do with subtheme,
so Brian Eno was was a student
at one of our great
teachers of media at Royal Ascot.
And Brian Eno is known for ambient
music, music that is not
there to tell you something,
in a way.
It's an interior design and
it can be great music because
Gray in the outside makes your
own thoughts
flow.
Your feelings are different
and something can be expressed coming
to the outside.
Depending on your articulation, Eric
Satie was one of the first
to write Modula ways,
not the first actually people like
Frescobaldi in the music history.
And so they had to look from the organ,
whether still people awake waiting for
the Christian thing about the eating.
Yeah.
So a very long row.
And so so he he he flipped the
page and he had modularized
kautz.
Yeah.
So so you can make endless pieces
of music because they
said you can, you can go this way
from this court or this way from this
court and then you can go circles which
of course mediocracy love Asaka
Aluf Reverb
and delay.
Wow.
Let's do something with it.
So Sarti and
we have three guests here
because we will now move
step by step from the 1910s
to the 1980s.
And then I invite you to fall into the
gap with me,
because I believe that from 78
to 91,
one or two years, more or less,
depending on what happens, because
history doesn't happen in clear years.
But but it also doesn't happen in
one five years or the other.
It's it's not important.
No, no.
Mostly two or three or five years.
They're the real thing happens.
This also is a human history
because people might be influenced by
a deer, but only two years later they
actually they
conceptualize how they can make
interesting stuff with it or
they they don't have fear
anymore.
They have the courage.
Very easy to say.
Cool, I'll do this.
Have you ever thought when Julian
Assange, for instance, decided
to I'm doing this?
You know, I think especially
in the computer club, there are hundreds
of people that wonder
what happened in this guy.
Yeah.
To do this.
And now I want you to wonder a second
time why Brian Eno visits him.
Because Brian Eno is very, very
sensitive to good social
interior design.
And and one of the most important
people to show us the dirt.
And to show us the third party members
that are watching when we want to get
to know each other and actually
without, I would say
that 90 percent of what's happening right
now is without big reason.
We are it's irrationality
of the interplay of institutions
and of some powers.
That are bringing us in big
trouble, but
so safety is something where
Digital Karaj or Foubert sort
of, you know, digital cameras.
Yes.
OK, so so we have
here Pantaloon.
And I think he is he is one of my first
people of the MTA, I call
it the 80s is where
I don't know what happened to distributed
art purchases.
Yeah, where are they now in the advert,
we say it was the time of keeping Bagger
and Pich, you know.
Got older and.
Yes, but we
have him here, we also have somebody from
the 90s when something
like the Fluxus movement
can reboot on HTML,
maybe on Beebs.
Yeah, what they call
and have practice as Maillot in
the 70s is very
easy to reboot in the 90s
with a new distributed structures
that you not only can say I want to be a
node and they a dance for us,
then you get the note.
Yeah, that no.
That said, don't dance for us.
Here is the software to make your note
and this note, you can make your own
mushrooming horizontally
in your town in your real space.
Wow.
So presence in time, curated
by yourself.
Bulletin board systems and then HTML,
et cetera. So let's go on.
What we see here happened through the
First World War,
people who were very anti-war
and they were.
Vehemently anti-war.
And one of them, there's a group of
people and also what what is
is now parallel or analogous
to the Fluxus 50, 60,
70 years later, is that the people
come from quite different disciplines.
If you're an opera, you have to know.
Singing You have to know stage design,
you have to know music.
Yeah. So so it's in itself
a art form.
So a lot of people came from theater,
but also they studied jurisdiction,
the law, and here we
have Huckerby and this is an important
moment. In the beginning of the Cabaret
Voltaire, he was calling himself the
Magic Bishop.
Yeah. And he had to be actually two
people had to carry
him into into the room at
Cabaret Voltaire.
And he was he was proclaiming
what a new religion, the death of
God again.
The death of God.
Uh, the BBC.
No, he was he was practicing
concrete poetry.
He was dealing with what I do here.
Dereel
this would be a bit more dada.
Is there an animal
going to death at the moment?
No, it's dada.
Yeah, but it's not something that
nice bourgeois men and women
would come in the door in the evening
to have the white wine in the white cube.
Yeah. So irreverence against bourgeois
representation.
Is is one value that you have here,
and it's called the Cabaret Voltaire.
And if you're interested more so, please
go to Dardar and
all of most of.
But.
Always decides it's good to have
multiple perspectives on one thing
and with these people, with these
like the Dove movement, Situationist,
Letairis Fluxus, it's
always good to to not only
go over one person into
the labyrinth.
Yeah.
So the next place
then we have.
Here is one of the first.
Dardar, part company, part
Tristan Sahhaf, that was next
to Huckerby, one of the most important.
So these people invented
the lot.
They had they had new ways to
to form objects and to make a mask
out of it that is now a
painting.
Or they said, yeah, let's let's totally
destructs the way we read a newspaper.
Let's have different layout.
Yeah, all that's let's to automatic
things that's not proclaim that our
talk and our language published
on paper is really, you know,
talking about the world.
Let's have the new eyes and new
ears developed
by going very structurally, very
analytically, very constructive, very
minimally.
Yeah. To how a structure
of an artwork is composed.
Let's go to the next, please.
So he is the Congress of the
constructivists data is
there, and I wouldn't
say, yeah, they were making fun,
but it's sometimes violent
fun and sometimes serious fun.
Yeah, if you only have the funds
gala for the east
situation, is Leatrice fluxes,
I think Fluxus is most fun.
The situation is a little fun.
There are a lot of a lot of it
has maybe to do with higer dialectic.
And, you know, to
the electricians who fight with each
other. What is the best third way
is a very nice situation to be
exploding, so.
Yes, this is just tell
you inside of the time
and of the stress of the First World War,
but in Switzerland
and Switzerland as neutral,
which means that if you're appalled by
what's happening, if you see how, let's
say, the 19th century.
Bourgeois world is sort of collapsing.
Yeah, they don't have new recipes,
they don't go new ways.
So what happens when sort of
fiery nationalisms become
national sects fighting each other?
That was Europe in the First World War.
This is what the European Union is built
against.
By the way, happened the second time
and always Germany using Germany's.
You know, I don't go to
war, um.
You didn't hear this.
It's about that we are so happy Europeans
that we are so happily live together.
So here we have Marcel
Duchamp next to Eloxatin.
He is one of the inspirations
of how he understood his art form.
He would say, God, things like
the real artist has already gone
underground.
How
do we compare him with Tintoretto,
Michelangelo?
Do we compare him with Gustav Mahler
so that Gustav Mahler has gone
underground, so that would
be the question that that we would start
off a discussion with in another category
because the people actually want to
become artists.
So this this is their history.
Infixes, I try to
present this for the ones
of you who are interested as something
that you you have to research for
yourself, actually there's a lot of DIY,
but also cognitive DIY
do so, you know, who
knows the readymades of what
readymades means that you put the norms
of the outside into the
unnormal museum space
where only unnormal masterpieces
are. So you put you put the unmuzzled
piece that was done in industrial
production and you put it into the white
cube, which
was a scandal at the beginning.
And of course, this guy knew that the
scandal would come.
So he would
you know, and then so he could push the
buttons of a bit more idiotic,
idiotically, people
of the art critic in Paris.
So he put an issue into
there from
the other fountain.
But normally the fountain is the man
urinating in the Renoir.
So that was a scandal then.
But then he also said, yeah, I'm bored by
art. I really readymades.
I look for objects that are
not really fascinating.
Me, that's much too loud.
I don't look for objects that bore
me.
Yeah. That had just nothing.
I look for objects that are in the gray
zone in between.
So so by recalibrating the
taste values,
you actually go go
to something that doesn't set
and so you can also see Fluxus
is not about making rubbish.
Yeah, but it has the esthetics and the
taste of.
Of Dushan in there.
Can we go on, please?
Yeah, then
we have after the Second World War in the
Second World War, really a Romanian
poet called ISOO was founding
the literacy movement.
And that was important because he
said, aha, you
have feelings and now
you want to express them maybe to
yourself.
You write poetry, maybe
to somebody else.
What will you use, German language,
that's a foreign thing
to feelings, because your feelings
might be differently structured, they
have a different tone, they have
different truth and reality
than any German who ever created
the word.
Right, so you come to the very special
section of experimental languages
where artists have created experimental
worlds, languages and can be
color codes and whatever,
but normally, of course.
So the dictionary is not enough to
express feelings.
That's a very deep understanding,
not only for artists, but maybe the
artist is the super normal human being
of his time.
Right, or the hyper normal or the normal,
normal or the normal, normal
nominal and.
So I break rules of German grammar and
syntax in order to get
to let to let our ears click again.
Because in constructivism Umberto
Martarano, may I ask you, who knows his
name, OK,
on D'Attoma Turana is a
Chilean biologist
who became the inspiration for Nicolas
Loman's system Theory of Social
Systems.
And he says, what is the language?
A language is functioning and there
if we coordinate our coordination
of behavior together.
Language is coordination of coordination
of behavior.
So he would say, you want to go this way
on the street and you want to
take a taxi, but the taxi comes from
the other side.
I saw him do this.
And then all you do is.
And immediately,
the taxi driver understands, aha, he
wants me to go in the other direction but
with me, so I have to change direction
and then he I will transport him.
He pays me.
That would be the coordination of
behavior that normally Konstantine have.
If now I do a.
And then I ran away,
the taxi driver has four reasons
to be pissed
right
now. I say I called the taxi
and I say I want to go from A to B in ten
minutes. And they say, yea, then
it's language, but the coordination also
works. It's just that it wasn't presence,
it was presence in time, but by media.
Agenda 2020,
Paris, the climate goals,
that is all coordination of behavior, of
course.
Yeah, how eager are we
to see texts of coordination, of behavior
of of countries and their politicians
to actually be
come reality that
we can see?
Like taxi driver drives, I give them
money. They talk about climate change
goals, it actually happens.
All right, so the first lie of language
can be that you promise something which
you don't hold to,
of course.
Yeah,
and and if I pay you with
my tax money, the last thing
you should ever do because you got thrown
out of the job is to lie
to my parliamentarian's
baby.
Have you ever seen generals
lie to my parliamentarians
in the last years openly,
without the law, without the text of the
law, sending them to the other place
where liars are kept to think
about it?
Here you can see how the promises
of democracy and so on have to be
taken double serious, serious,
serious, serious, serious, because the
coordination of behavior is important.
My coordination of behavior might be
collected in the NSA
because metadata is a language in the
sense that it's coordination of
coordination, behavior, you understand.
If somebody else knows more about me
and he's not controlled by my
libertarian's.
I'm in deep doo doo, as Spielberg would
say.
I know I think this is a younger guy
says it's good, let's come back to
this.
Now, John Cage, he
puts a lot of musicality into
the Fluxus movement.
John Cage.
Found out he was gay at the end of the
Second World War.
This is something you don't often hear.
And he had his boyfriend, Mosi
Cunningham, and his Catholic
upbringing gave him a lot of
weight, a lot of guilt feelings.
And so he listened to
one of the maybe most important
philosophers of the 20th century dies
at Suzuki, who was invited to Columbia,
that Suzuki had the problem to have
Nagasaki and Hiroshima
burdened Japanese to
tell them why this is honorable
to live from now on,
you know, because they have a very,
very strong pride
culture in Japan.
But this does Suzuki came and
this inspired cage
to have an enhanced notion of what
is music, an enhanced notion of what the
composer should do, and hence
Knowshon means it's media theory.
Interesting new notation.
Don't use the five lines
only or maybe not at all.
The thing is, now that the later Fluxus
will come from people, a lot of them
that were composition students with
John Cage.
In the late 50s.
So a lot of them thought about music,
something very immaterial and something
incredibly physical, you
don't get any music without physics.
So let's go on, we have 20 minutes,
15 minutes, DUCHARME
You can see here he was
a very
decent is a master
of not caring.
Yeah, and you can see it here,
he just looks at his own play and
not at the moment, and they played some
chess together. That's the latest here.
But it's a very important image.
Let's go on, please.
And of course, what we
see here is actually a that's already
19th century, but that's the mad
dictator.
So people were so
frustrated by the
closeness of the society around them
that they made theater plays with an
absurdly fat,
stupid.
Gluttonous dictator,
but just puts everything around him in
turmoil.
That's why and that is
the the name giver of the upswept,
you know, over Web, who knows of a web.
OK, so so just
think of Ubu, that's the king
and WEAP, this is the most
important archive
about all the art that I'm talking
about now. Data is toiletries,
Situationist Fluxus.
And then not all artists are obliged
to be part of a movement that they then
say it doesn't exist,
right. So artists are coming
and they're Trickster's.
Sometimes some artists are really
like this.
But, uh, but the Web
is important for research
in the arts. Ketamine's.
Let's go on.
Right, and now.
Added language is a is
another thing I wanted to point to, to
these English painters that started
going into the theory or theory
of means, what sort of society
is now or has been that made
the representative art that made the
oh, I want to have the landscape painting
from this guy and I pay
a lot of money to have it at home.
It says the content of this painting is
invisible, the character and dimension of
the content are to be kept permanently
secret, known only to the artist.
Sounds a bit like sort of a
NASA exhibition
contribution by some artist.
Also, Yoko Ono was was
important for the early Fluxus.
She she gave her apartment
in the early 60s for the Fluxus
people to meet.
Let's go on.
And now I want to come slowly
here you see a computer and it's
8800, which is
already 1975.
Why am I talking about this?
Because it is.
Not the personal computer,
it's not you and me and everybody here
that can afford it today
in Aldy Modu 399
499 and you have
a power machine.
Great.
So everybody can have it.
So now I have the
first guest.
Faloon can you just come.
Because I have to skip a bit, Latrice and
Situationist, but the slides will be
online.
Um, can you just tell me,
is it. Yes.
So who knows Pantaloon already?
Wow, OK,
I know me best.
OK, so Pantaloon and then untangles
are our early friends of some
teachers that I know,
the so-called Menials Dirty and Vango
TV, Rentech
Band or whatever, but who
made quite beautiful poetic project
like this here?
They transported the stolen not
to the west, but to the east.
They wanted to have a stone from the
granite of of Stonehenge
transported to Bangkok.
Why? Because somebody was invited to a
bank to a performance festival in Bangkok
and they said we don't come as tourists.
The travel bill will be the work
that we do.
But please, first, you know,
people from NASA,
of course, a little bit of part
of it. Yeah, I have 400
of the shares. If somebody wants to buy
some, send me an email.
How much?
Oh, good question.
Question.
So here you see said space.
You'll see an Austrian prince
and I think an Indian on the right.
Do you know this? No, no. It's Boomi
pool. OK, so
please, Badalona, you've been part of
this and now you
have been for many, many years fighting
for digital freedom.
Yeah.
How does it go together in your life in
the 18th?
You never say to what punk
on the stage. Yeah.
And in the punk movement,
you know, there some old
fat guys who tell something
about Fluxus. Perhaps it's
something in the behind of punk,
but you don't really care about them.
And you invited the whole Fluxus
thing again.
And we
we used the possibilities of art
to be absolutely free, inventing
ever see everything again
and making funny things.
And we never stand
on a stage and be very nice.
We like to do
things like that and it's
just for fun. You can try it out.
Sorry for bothering you and
maybe you look at your own future,
OK?
And one
time there comes a moment when you think,
you know, what will we do with it?
But what about the rest of the
society of the people?
You say they are not intelligent.
The family is the people who have not
the time to be just an art.
And we want to find out how we can use
art as a normal life.
And we we find out
that in art, the most important thing
is to communication, just about
communication and communication.
Congress.
Yes, it's for me
and really.
Wow.
And but
it's not that German hard
to bring people together.
And we find out it's a heck of a scene.
People coming together, they really
not like each other in the beginning,
perhaps times before they will
change the sides of a
street when they meet.
But you have one
thing you have to know.
You have to find out.
And so we come together in the
early years when the communication
Congress was in Hamburg,
still in the beginning in
the Satterberg House.
And you find out you can talk to people
you perhaps do not like
and learn to like them.
And it's very important to find, to
frame.
Of art around
to people to bring them together in
peace, and so we used
Erik Satie's music, his idea
of making music,
and as more to common bow
perhaps to interior
design, interior design of a
framework of your daily feeling.
And we make we made
events with piano
14 hours, one minute piece
all the time the same, and
making a room where you can sleep, you
can read. You just don't
have just to sit and
listen to it, but you can get
in contact with other people and have a
peaceful atmosphere.
And also, this Congress
has made an idea
of atmosphere mostly
built in the beginning
by violence ideas,
the founder of the Congress and Stephan
Vallerie, two guys, one
hippie, one tough guy who
wants a little bit
fascistic.
Really? No, not not really.
But really brought to power rigorous.
So you make this now, OK,
I do it. And and wow.
Very, very nice saying we
don't have security.
We have Angell's.
Yeah, it's absolutely an attitude
to and when you talk to the
people from the caterer, they
all say it's wonderful to work on this
Congress. Very nice people, absolutely
different from all other Congresses
they say will be here.
And this is a wonderful
thing to see how art becomes
the better way to live together.
I think it's enough.
Thanks.
I have some prospects about
my work.
Bring here when you go out, take it with
you and you will see what will Art
can become.
Thanks a lot.
By the way.
And now we
hope to start here, a project to get
the empty 80s, which I don't know, but
Pantaloon is already a little less empty
for me because in
78, not
only Matsue us we you heard of died,
but also somebody said Fluxus is dead.
And this man was from the Silverstein
collection.
Which had a lot of Fluxus pieces now in
art, if you have the best
collection of an art movement and
it's that, then it really
goes up in the value.
So some people, some people
may declare something dead to
profit from it.
Now, that's not nice, especially not with
fluxes, which doesn't come from art,
as they say.
Yeah, uh, so
you have the 80s that we I'm
asking here, for instance, I heard that
Van Hollen was asked by the Fluxus,
the participant use of boys,
to bring one of the first personal
computers to his
Duesseldorf Academy, very important
in the arts. And I'm John Pike.
And boys were in the Duesseldorf Academy.
So I want to get people who are really
eyewitnesses or to have firsthand
knowledge like a journalist.
You have to validate your sources also.
And but then comes the 90s
and in the 90s, maybe this is
where you start to come in the younger
ones of you, the BBC bulletin board
systems and the HTML
was invented and then something happened
in New York.
So basically in 91, vulcanized
founded the thing BBB's and he was
an artist, did a media work before
and played around with
computers and got a modem.
And first step at that time you went
online on a BBS.
That means like you're dialing up on
a modem and you had like,
you know, if they have the image up with
terminal interface and what
happened then, friends from Europe came
over to New York and saw the BBC
in New York running and the notes were
set it up in Cologne,
in Vienna, I think, oh, look at like 15
notes, Amsterdam, London, Rome,
and transfer data
on artists and political discourse
overnight because the traffic
rate was cheaper.
And so they established a place,
a mixture of online and virtual
community. Having a basement office
in New York and having an art discussion
and pushing art for was
being like always more on the fringe, out
of the institutions.
And behind was like you have like a
new independent.
So you call it bullshit, bullshit.
You're autonomous, you try to have
self organized systems and
you play around voices.
And at the end of the day, you always
laugh about yourself. That was like the
best thing about that.
We that was the first office
there. I only got to like 98
as a system administrator, 95.
They ran the first website, which is
still on online, which is called Old
Thing, but not in 98
and 95. That was 98.
I-Max calls that created the
communicator, which was like a
mistake based bulletin board system.
So you had all the functionality for PBS
attritional one in browser at
that time, it was quite mind blowing.
We had up to 8000 people
in that system where you had a
web streaming on videos with
two and three kilobits.
So you can imagine how big the quality
was like that.
And, uh,
threats projects that was like in
the office space audio streaming.
So we had like a live recording always
from our phone calls and support with
Verizon and some
other stuff. Video broadcasting from the
office additions was like for selling,
helping artists, selling the stuff.
And so we went in 97.
It used to be an ISP.
And being in this like art
background community, we had like
hilarious customers like YES-MAN.
I don't know who knows them.
The Congressman when I was the Yasmine
Yasmine, look them up there are if
you wanted to say who is their flux of
transition in it, of course you can ask
them. But of course in the Fluxus
it's also about also what is the work
and the work they work.
What influences be pranks.
Yeah, they they are Trickster's.
That trick corporations into
believing absolutely absurd stuff
as something normal in their world
so that Fluxus,
the the yes men save the
world. That's their prank.
Maybe fluxes cannot save the world.
So go to the Esman
to protect a Tesla
since it's now a topic again with an end
to deportation.
Aline's deportation class, an
Olympics are the catalog
website. So we catch up on like three
times ballbuster provider every time in
the New York Times. It's like a hilarious
time. We had electronic
disturbances yet, which was like at that
time announced distributed denial of
service attacks, which nowadays you can't
do any more because nobody has a sense of
humor anymore.
We are also, Toivo,
which was hilarious.
And by 2002,
we got the cutoff upstream provider
because they had too much trouble with us
and the site
is still up and running.
We are an ISP doing that,
decentralized work, a small community.
The question we are always asking
ourselves how we push that stuff
at that time, like in the late nineties
or early nineties, which was basically
like real online freedom, where at least
you thought it is how you transmit
this to 2015.
So what our next step will be probably.
You have in a community owned, backed
small boutique ISP where we
have entry to like some stuff
you shouldn't have entry to
and having a hardcore technical side
shout out to John Guayaba, who is
running the back end and.
Being like one of these, like little nice
speeches on the Web, are you
an artist?
I wouldn't call myself an artist.
No, I'm just playing around.
Thank you very much.
Right. And so far,
we are ending now early.
Yes, we are ending now or
do we have two minutes more or we should
stop. Start? No.
Yes. So
we should we should stop now
some of the videos that we
wanted to show you.
We will put online.
We are here to talk more if you're
interested. And
I'm not sure whether this talk is normal
or not normal for the car's
computer class, but we hope
that this is constant, that we work.
We wanted to show you some some
Fluxus concepts that we understood and
people that we thought have
similar analog conceptualization.
And this is constantly this
is presence in time.
Yeah, he is IMPAC implicate
liveness. He is really memorizing
this 90s DVD
esthetics, which we all forgot.
So is this sort of a nerd
melancholy in it also
then? Its simplicity because he does
what he does.
He just you know, he can do the work like
in one minute he's ready.
It's like very musical.
I can sing, I can sing everywhere.
And it's globalism.
Maybe a lot of people understand DVD.
And now as as it's
over, I want to thank you very
much for your attention and.
You do not have time for any questions.