Assault on Culture

Assault on Culture

Stewart Home

Language: English

Pages: 128

ISBN: 1873176309

Format: PDF / Kindle (mobi) / ePub

German Expressionism 1915-1925: The Second Generation

Gardner's Art Through the Ages: A Global History, Volume 1 (13th Edition)

Impressionist Painting for the Landscape: Secrets for Successful Oil Painting

Cultures of Collecting (Reaktion Books - Critical Views)

Constructed Situations: A New History of the Situationist International (Marxism and Culture)











the 'idealist attitude' of 'right-wing thought'. Olmo, Verrone and Simondo, having refused to retract the text, were formally expelled from the SI at its second conference, held in Paris on 25/26 January '58. In March '58 Ralph Rumney, an English member of the Italian section, was expelled. According to Rumney,(2) the exclusion was the result of his failure to complete a psychogeographical report on time. Ironically, he a finished version of this photo-essay a day or two before he

the SI, Dieter Kunzelmann, Renee Nele and Uwe Lausen, would join Spur's ranks. Spur had much in common with both Jorn, who had 'discovered' them, and Constant. They had a shared belief in the collective, and non-competitive, production of art.(4) This was in stark contrast to the supersession of art proposed by Bernstein and Debord. Like Constant, Spur were developing concepts of play and of (wo)man as 'homo ludens', which had previously been outlined in a 1938 essay by the Dutch historian

the existence of a revolutionary proletariat'. Kotanyi replied to this by 'reminding' the Germans that in many 'advanced' capitalist countries wildcat strikes had 'multiplied'. This difference was not resolved, the Spur group simply agreed to retract its statement so as not 'to impede present situationist activity' On the last day of the conference, the SI held a 'public' meeting at the Institute Of Contemporary Arts in London's West End. Guy Atkins includes the following eye-witness report of

with Terry Riley's "Ear Piece For Audience": "The performer takes any object(s) such as a piece of paper, cardboard, plastic etc. and places it on his ear(s). He then produces the sound by rubbing, scratching, tapping or tearing it or simply dragging it across his ear, he also may just hold it there, it may be placed in counterpoint with any other piece of sound source." This, like many other pieces performed during the festival, was included in the - at that time - unpublished "An

revolution. The LI's activities were to be provisional, subject to 'experiment' and change. Thus while abandoning the literary endeavours of the LM, the LI proceeded to pursue certain architectural theories that had reached an embryonic formulation in the LM. By the time Isou came to write his "Manifeste pour Ie boulevessement de l'architecture" in 1966 (published 1968) there can be little doubt that he'd been influenced by the urban theory elaborated by the LI. In his manifesto Isou says that

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