Fluxus 50 live documentiert © Stadtmuseum Wiesbaden
Maciunas and friends in New York in 1960. Due to
differences in political views among the publishers they stopped the magazine. After this, Maciunas’ AG Gallery had only a very short life as well.
Fleeing from his debts, Maciunas went back to the
continent in 1961. Inspired by the new atmosphere of the art scene there Maciunas wanted to pick up again the magazine business. In the year of 1962, Maciunas produced a music festival under the
same name as a fundraising and promotion event for the magazine that was to come.
UNCONSCIOUS ABSURD A certain Fluxus spirit was present as early as in
the 60s – artists and intellectuals scattered around the world were unconsciously or rather aimlessly creating works or experimenting by themselves,
擺的。 “fluxus”最早用於一本文化類雜誌名稱《激浪派》，這是1960年麥素納斯和好
友在紐約創辦的。後因政治分歧停止出版，隨後成立的AG畫廊也因經濟不景氣而終止 運營。1961年為了躲避債務麥素納斯逃回歐洲，全新的藝術氛圍讓他重燃了出版刊物 的夢想，基於提升雜誌知名度和募集資金的需要,1962年同名音樂節應運而生。
discontinuously. The most influential one among
無意識荒誕
Experimental Composition course, who exerted
其實激浪精神早在20世紀60年代就出現了，只是當時散落世界各地的成員們無意識或
Brecht, Al Hansen among many others. Only
作精神教父的約翰·凱奇（John Cage）的“實驗音樂（Experimental Composition）”
them was of course the great John Cage and his immense influences on Dick Higgins, George
when the Fluxus music festival took place did the members realized that they were not alone and
were in fact practicing in the spirit of Fluxus.Since then, they become known as the Fluxus-people,
無目的地進行著單獨、不連續的創作實驗。其中影響最為深遠的當屬被一部分成员视
課程，這為當時紐約先鋒派藝術家如迪克·希金斯（Dick Higgins）、喬治·布萊希特 （George Brecht）、艾爾·漢森（Al Hansen）等人帶來了曙光。直到激浪音樂節的正式
聚首，成員們才紛紛意識到過去幾年的藝術活動屬於激浪的範疇，也是從那時起他們 開始被稱作“激浪者（Fluxus-people）”，並以激浪為標誌繼續活躍在藝術舞臺。