Natasha Lushetich


The similarity between the masters of Zen and the masters of Fluxus is the extreme difficulty of explaining to the outside world what exactly they are the masters of.

Emmett Williams, Fluxus artist and concrete poet, My Life in Flux and Vice Versa

Focusing on the most definition-resistant art movement in history and departing from its two chief characteristics: intermediality and interactivity, this book develops an original theory of practice – the experiential philosophy of dynamic co-constitutivity. This is done by tracing the performativity of intermedial works (works that fall conceptually between the art and the life media, such as Bengt af Klintbergs’s event score: ‘Eat an orange as if it were an apple’) in five key areas of human experience: language, temporality, the sensorium, social rites and rituals, and systems of economic exchange.

The main argument, woven with the aid of the Derridian blind tactics, the Gramscian production of social life, and the Zen-derived inter-expression of Kitaro Nishida, is that the practical philosophy of co-constitutivity arises from the logic of the intermedium. In pursuing this argument, the book theorises an oeuvre that has remained under-theorised due to its fundamentally non-discursive nature and reinstates Fluxus as an influential cultural, rather than a ‘merely’ artistic paradigm. It also establishes a counter-hegemonic logic of fluxing by tracing its legacy in contemporary practices as diverse as the culture-jamming activism of The Yes Men, the paradoxical work of Song Dong and the pervasive game worlds of Blast Theory.

→ Fluxus The Practice of Non-Duality