The Practice of Non-Duality


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 non-duality, which is the 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 interexpression of Kitaro Nishida, is that the practical philosophy of co-constitutivity arises from the logic of the intermedium. In pursuing this argument, the book does three things: (1) it theorises an oeuvre that has remained under-theorised due to its fundamentally non-discursive nature and in doing so reinstates Fluxus as an influential cultural, rather than a “merely” artistic paradigm; (2) it serves as a companion to thinking by doing since most Fluxus intermedia are ready-mades, and, as such, readily available in the everyday environment; and (3) it establishes the counter-hegemonic logic of fluxing while tracing its legacy in contemporary practices as diverse as the culture-jamming activism of The Yes Men, the paradoxical performance work of Song Dong and the pervasive game worlds of Blast Theory.

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Preliminary Material
Pages: i–xiv
Pages: 1–27
Pages: 29–70
Pages: 71–103
The Sensorium
Pages: 105–143
Pages: 243–265
Pages: 267–274
Natasha Lushetich is an artist, researcher and Lecturer in Performance at the University of Exeter, UK. Her specialist areas include intermedia, live art, performance and philosophy, and questions of identity and ideology. Her recent writings have appeared in Babilonia, Performance Research, TDR, Theatre Journal, Total Art Journal as well as in a number of edited collections.
"A valuable attempt to understand systematically how Fluxus is preoccupied with structures of power/authority and its convolutions, capable of moving from simple acts of refusal to deeper and open contestations of hierarchies, institutionalizations and cultural sedimentations. Such a pinning down of the research scope benefits both the central argument and its intuitive dispositions." – Flutur Troshani, University of Helsinki
Preface and Acknowledgements
Chapter One: Introduction
Chapter Two: Language
Chapter Three: Temporality
Chapter Four: The Sensorium
Chapter Five: Social Rites and Rituals
Chapter Six: Systems of Economic Exchange
Chapter Seven: Conclusion: The Logic and Legacy of Fluxing
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