ASTRONAUTS ee noe 5 a oe 0 BES < BAe Be 385 ® nee e ‘i 2 = be 92 & ) /FFu/® g ye ee a hiss 3Aa NV MIT YSVN YYOMNIOTO Vi of NIDWIA PF ONINY VaaWVS FHL ¥ “SNN'D JO AMVNOLLOIG W GNY YadVdSMIN G10 ‘¥ E60 TIMANI' SHAVNDS YAdVd ‘SITOUID NIGOOM NOWWOD JHL4C AYOLSIH LYOHS ¥ 1) wvaud . JHL 40 NOILVSITIVLIN AHL CIV OL (= et ‘i aAN INTERNATIONAL COLLECTION. Dadaism and Today's Avant-garde Raoul Hausmann Poetry and Theatre John Arden ‘Who Are the Situationists? Jorgen Nash The Concrete Poets of Brazil Decio Pignatari Advance Through Obscenity? Maurice Girodias, Programmed Art Bruno Munari Back to the Wall Allen Ginsberg Letters as Picture and Language Franz Mon Culture and Technology ‘Marshall McLuhan cory and Practice of Text Max Bense From a lettet Diter Rot The Development of Group Zero Oxo Piene The Literary Techniques of Lady Sutcon-Smith W. S. Burroughs Paradada 30. Dom Sylvester Houedard The Vienna Group 34 Konrad Bayer The Use of Computers to Make Semantic ‘Toy Models of Language Margaret Mastetman In the Event R. Watts 28 Poems & | Filmscrip:Dirhnertes Pen ee ‘movement which incorporated ‘theartist into his period and it showed ‘both the artist and the public that, ‘under the onslaught of social changes, ‘he. eternal” values of “beautiful truth” or true beauty” decom- pposed into poor academical nothings. But Dada wes not only’ an-over- compensation of protest. "Dada wat ‘more than Dada”: it wad the nega- tion of cartesian logic, it was sensitive vo-chazard, it was based én “ creative indifference ”. ‘Dada did-not fouind a school, and Dada’ refused to continue when it ‘saw its Limits, “Therefore someone who has been conicrete object, eg. in the ready ‘mades of Duchamp and Man Ray, in Hausmann’ collages and photo- wontages and Schwivers’s material pictures, Yet vulgar materialism was avoided, by itoay and absurdity, ‘Let us look at Neodadaism : first ‘of alli takes sides with the object as “thing in itself” which Deda Aenied, The Neoiladsists believe that they are substituting “nature” for fam, Since the great exhibition of sssemblagesinthe Museum of Modem Art in New York in 1961, and the RAOUL HAUSMANN : But the collages of. the Dadaists, the sculptures of Arp, the waste-paper pceares of Schwitters, always show 8 constructive idea 5 in spite of their ‘anti-art tendency, they remain art ‘George Maciunas, of the Neodade- istic. “ Fhumus” group. of ‘Americin students ia Germany, claims to prefer the real rotten tomato to the painted ‘one j or he finds the fight of a bird or ofa butterfly “cnscrete and beauti- fol”. He declares that there is no Dadaism and Today's Avant-Garde nailed and “ coled ” toa plank; which ‘Be intends to be sold as. work of art Ie has, become fashionable to say that the Parisian lerrits invented a new arto painting : the letter-picture. ‘But remember the gigantic book called HADO, which the Oberdada Baader fabricated with torn posers, oF may poster-poems which 1 exhibited at the ape i Hi hi £ l 475 Al H h | i i i rhea! it ue ile Hit tte Htjobert Graves has, in many books ‘and essays, declared his view of the purpose of poetry, which I under- stand as being the celebration of the ‘Muse—seen by the ancients as a mani fold goddess, but comprehensible in modern psychological terms as the forces of birth, fertility and sexual ‘power, the feminine tendemess of life {and the irreversible deprivations of ility of visual communication and expression by means of polatized light, witha view tq securing images ‘whose colour transformations are according to nature and not accord- ing to somebody’s personal tastes, The technical answer is to use polarizing filters, introducing colourless materials of varying stratification berween the’ t¥0 Sikers, ‘These stratifcations and thicknesses determine and define the areas of colour, while the rotation of one of the Ste allows the colours themselves to be varied over the full range. Such experi ments have been demonstrated in feveral cities, most recently in Tokyo, where they were shown at the Museum of Modem Art in 1960 to the accompaniment of affinities with concrete sculptire, Dut ‘they remain frigments of an infinitely extendable scales! they ‘an be taken to pieces, recomposed ‘and changed, subject each: time to” ‘modification by the conditions, of ‘the. environment, ‘More complex researches began in 1945. with the creation of kinetic objects whose make-up could “be varied, driven by small clockwork ‘motors. Thisled tothe study of artistic programming, from which the current examples of programmed art result. Such objects have mo connection ‘with other forms of kinetic art that still ‘make use of surrealist or neo-dada ‘effects; they are rather the result of ‘Figorous programming, which defines their materials, form and mathematical ‘kinetic combinations, Generally they take the shape of small viewing screens, where formal and chromatic changes can be seen as un-stable {images against new! field, oF one subject to. quantitative, but not formally ‘specified, limitations, A work of static art calls first for a scheme, a design, a technical prepars- tion which may be ether conven tional of unconventional, A work of programmed art demands aa acta é of its own, consisting first eal in the exit coabibiment af the ‘essage 10 be communicated and in the choice of means of expression, nin uenced by sexe, ance teste sylade preconceptions (nus use is often. made of tettnicaly combinations. This is where com- puters can be of use to predict or ‘tablish possibilities. Computers have’ ‘been used in the arts in Italy (a) by ‘used for the film Moire. which Pic- cardo and I made at the Monte Olimpino studio this year. Finally comes what we may call “good design,” i.e, the projection of the object, the: apparatus itself or ita container. The aim here ‘is to ‘neutral container, The forms, colours and transformations will vary ccording to the selection and pro- gramming of means. and ‘materials. ‘Thus i is not just a form ot & com- fon” undergoing changes (ts ‘with Calder, Tinguely and:co,) but continual series of formal transforma tions, Iniggine’ an iron sculpture ‘being destroyed, then reduced to dust ‘and sprinkled evenly over an alumi-