Natasha Lushetich

Focusing on the Fluxus concept-practice of ‘art-amusement’, this article traces the cross-fertilisation of the legacy of experimental art and the popular medium of sports and games. It explores the ways in which intermediality, concretism, and chance operations come together to create a socio-aesthetic practice, which, while classifiable as ‘family entertainment’ in the sense that it is accessible to all regardless of age, skill, culture, or education, nevertheless produces a durable ‘shift in consciousness’. The article argues that it is through the deployment of Derrida's ‘blind tactics’ that a mutually structuring relationship is created between durable aesthetic satisfaction and instant gratification, ideality and corporeality, and that it is due to the dissolution of these formerly antagonistic relationships that ‘the game’ takes on a different shape. This new shape, which is paradoxical and solicits conceptually implausible behaviour from the player, redefines game-playing and all its constituent factors: the playing field, the field doxa, the stakes, and the goals, while at the same time creating a ludic-concretist game model of social interaction.

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