By Stewart Home
" a lot of the knowledge is taken from vague resources and the booklet is key examining for someone attracted to the topic. It demystifies the political and creative practices of rivals to the dominant tradition and serves as a uncomplicated reference for a box principally undocumented in English. it's also engagingly sincere, unpretentious, wondering and fast in its impact" Artists Newsletter.
"Reflecting the uncategorisable element of artwork that hurls itself into visionary politics, the publication will have interaction political scientists, functionality artists and activists" Art and Text.
2. The Lettriste Movement.
3. The Lettriste foreign (1952-57).
4. the varsity Of Pataphysics, Nuclear artwork and the overseas circulate for an Imaginist Bauhaus.
5. From the "First global Congress of Liberated Artists" to the basis of the Situationist International.
6. The Situationist foreign in its heroic part (1957-62).
7. at the theoretical poverty of the Specto-Situationists and the valid prestige of the second one International.
8. The decline and fall of the Specto-Situationist critique.
9. The origins of Fluxus and the flow in its 'heroic' period.
10. the increase of the depoliticized Fluxus aesthetic.
11. Gustav Metzger and Auto-Destructive Art.
12. Dutch Provos, Kommune 1, Motherfuckers, Yippies and White Panthers.
13. Mail Art.
14. past Mail Art.
17. type War.
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Extra info for Assault on Culture: Utopian Currents from Lettrisme to Class War
In 1863, Huxley, Darwin’s great advocate, published Man’s Place in Nature, and this book was followed in 1864 by Wallace’s article in the Anthropological Review, similarly arguing for human evolution by natural selection. By the end of the 1870s, it was clear to many people that human history, every bit as much as geology and animal species, was not exempt from the concepts of uniformitarianism and evolution. Indeed, as long ago as 1836, Danish archaeologists had divided human antiquity into the now well-known Stone, Bronze and Iron Ages.
The Western world had learned that it had a deep past, its concept of humanity had undergone profound changes, and its yearning to know the truth about its origins had risen to a level of unprecedented intensity: finding evidence for ‘Human Origins’, be it stone artefacts, fossils or genes, had become an absorbing passion. The chasm created by the passing of, not merely Archbishop Ussher’s 6,000 or so, but 30,000 years, suddenly closed. ’ Despite the enormous time gap, he and his friends felt as if they could sense the ‘souls and spirits’ of the artists surrounding them; the hidden images invoked not only ‘scientific wonder’ but also awe and ‘spiritual’ proclivities.
Now, just over a century later, we ask how much we have learned since Cartailhac changed his mind. Certainly, our knowledge of the facts of Upper Palaeolithic art has increased enormously. We know of far more sites, both underground and in the open air; we have detailed inventories of the images in most of the major sites; many caves have been surveyed, and we have maps showing the precise location of each and every image; we know the dates of many of the images; we have huge collections of beautifully made portable art; caves and rock shelters have been meticulously excavated; we even know the ingredients of some of the paints that the ancient images-makers used.