Start Amherst dating scene

Amherst dating scene

By the end of 1961 before An Anthology of Chance Operations From there, he continued his contact with the New York artists and with artists like Benjamin Patterson, whom he met in Europe, by September 1962 was joined by Dick Higgins and Alison Knowles, who traveled to Europe to help him promote a second planned publication to be called "Fluxus", the first of a series of "yearbooks" of artists' works.

One performance in particular, Piano Activities by Philip Corner, became notorious by challenging the important status of the piano in post-war German homes.

The score—which asks for any number of performers to, among other things, "play", "pluck or tap", "scratch or rub", "drop objects" on, "act on strings with", "strike soundboard, pins, lid or drag various kinds of objects across them" and "act in any way on underside of piano"—resulted in the total destruction of a piano when performed by Maciunas, Higgins and others at Wiesbaden.

Using 'anti-art and artistic banalities', Fluxus would fight the 'traditional artificialities of art'.

In 1962, Maciunas, Higgins and Knowles, traveled to Europe to promote the planned Fluxus publication with concerts of antique musical instruments.

After attending courses on Zen Buddhism taught by D. Suzuki, Cage taught a series of classes in Experimental Composition from 1957 to 1959 at the New School for Social Research in New York City, which explored notions of chance and indeterminacy in art, and with the score as the basis for compositions, which could be performed in potentially infinite ways.

Some of the artists and musicians who became involved in Fluxus, including Jackson Mac Low, La Monte Young, George Brecht, Al Hansen, and Dick Higgins attended Cage's classes.

I note with much pleasure what you said about German neodadaists—but I think even the Americans should not use the term "neodadaism" because neo means nothing and -ism is old-fashioned. It seems to me much better, because it's new, and dada is historic.