title: Roman people

text: Roman self-identification among Greeks only began losing ground with the Greek War of Independence, when multiple factors saw the name 'Hellene' rise to replace it. Among these factors were that names such as "Hellene", "Hellas" and "Greece" were already in use for the country and its people by the other nations in Europe, the absence of the old Byzantine government to reinforce Roman identity, and the term "Romioi" becoming associated with those Greeks still under Ottoman rule rather than those actively fighting for independence. Thus, in the eyes of the independence movement, a Hellene was a brave and rebellious freedom fighter while a Roman was an idle slave under the Ottomans. The new Hellenic national identity was heavily focused on the cultural heritage of ancient Greece rather than medieval Byzantium, though adherence to Orthodox Christianity remained an important aspect of Greek identity. An identity re-oriented towards ancient Greece also worked in Greece's favour internationally. In Western Europe, the Greek War of Independence saw large-scale support owing to philhellenism, a sense of "civilisational debt" to the world of classical antiquity, rather than any actual interest in the modern country. Despite the modern Greeks bearing more resemblance to the medieval Byzantines than the Greeks of the ancient world, public interest in the revolt elsewhere in Europe hinged almost entirely on sentimental and intellectual attachments to a romanticised version of ancient Greece. Comparable uprisings against the Ottomans by other peoples in the Balkans, such as the First Serbian Uprising (1804–1814), had been almost entirely ignored in Western Europe.


title: Roman people

text: Many Greeks, particularly those outside the then newly founded Greek state, continued to refer to themselves as "Romioi" well into the 20th century. What Greek identity ought to be remained unresolved for a long time. As late as the 1930s, more than a century of the war of independence, Greek artists and authors still debated the contribution of Greece to European culture, and whether it should derive from a romantic fascination with classical antiquity, a nationalist dream of a restored Byzantine Empire, the strong oriental influence from the centuries of Ottoman rule or if it should be something entirely new, or "Neohellenic", reminding Europe that there was not only an ancient Greece, but also a modern one. The modern Greek people still sometimes use "Romioi" to refer to themselves, as well as the term "Romaic" ("Roman") to refer to their Modern Greek language. Roman identity also survives prominently in some of the Greek populations outside of Greece itself. For instance, Greeks in Ukraine, settled there as part of Catherine the Great's Greek Plan in the 18th century, maintain Roman identity, designating themselves as "Rumaioi". The term "Rum" or "Rumi" also sees continued usage by Turks and Arabs as a religious term for followers of the Greek Orthodox Church, not only those of Greek ethnicity.


title: Roman people

text: The vast majority of the Romance peoples that descended from the intermingling of Romans and Germanic peoples following the collapse of Roman political unity in the west diverged into groups that no longer identify as Romans. In the Alpine regions north of Italy however, Roman identity showed considerable tenacity. The Romansh people of Switzerland are descended from these populations, which in turn were descended from Romanised Rhaetians. Though most of the Romans of the region were assimilated by the Germanic tribes that settled there during the 5th and 6th centuries, the people who resisted assimilation became the Romansh people. In their own, Romansh language, they are called "rumantsch" or "romontsch", which derives from the Latin "romanice" ("Romance"). Roman identity also survives in the Romands, the French-speaking community of Switzerland, and their homeland, Romandy, which covers the western part of the country.


title: Roman people

text: In some regions, the Germanic word for the Romans (also used for western neighbours in general), "walhaz", became an ethnonym, although it is in many cases only attested centuries after the end of Roman rule in said regions. The term "walhaz" is the origin of the modern term 'Welsh', i.e. the people of Wales, and of the historical exonym 'Vlach', which was used through the Middle Ages and the Modern Period for various Balkan Romance peoples. As endonyms, Roman identification was maintained by several Balkan Romance peoples. Prominently, the Romanians call themselves "români" and their nation "România". How and when the Romanians came to adopt these names is not entirely clear, but one theory is the idea of Daco-Roman continuity, that the modern Romanians are descended from Daco-Romans that came about as a result of Roman colonisation following the conquest of Dacia by Trajan (98–117). The Aromanians, also of unclear origin, refer to themselves by various names, including "arumani", "armani", "aromani" and "rumani", all of which are etymologically derived from the Latin "Rōmānī". The Istro-Romanians sometimes identify as "rumeri" or similar terms, though these names have lost strength and Istro-Romanians often identify with their native villages instead. The Megleno-Romanians also identified as "rumâni" in the past, though this name was mostly replaced in favour of the term "vlasi" centuries ago. "Vlasi" is derived from "Vlach", in turn deriving from "walhaz".


title: Kimberly Loaiza

text: Kimberly Guadalupe Loaiza Martinez (born 12 December 1997), known artistically as Kimberly Loaiza, is a Mexican singer and internet personality.


title: Kimberly Loaiza

text: Kimberly Loaiza's created her Twitter account when she was fourteen years old. Five years later, in 2016, she started vlogging on YouTube with her first video on November 15, 2016. Loaiza traveled to Colombia for rhinoplasty surgery. Loaiza initially made makeup videos, hair tutorials, and trivia for girls; however, over the years her content changed to make more vlogs, challenges and tags with her friends. In 2019, Loaiza began a career in music and released her first single, Enamorarme; later, other singles included "More, Tequila and shot, Turn off the light, Our Agreement, Don't be jealous", among others.


title: Kimberly Loaiza

text: In 2020, Loaiza launched a clothing line, opened her own telephone company, broke the record of the most subscribers on YouTube for Spanish-speakers, and collaborated with other social media personalities such as James Charles. In 2021, Loaiza's partner, Juan de Dios Pantoja, appeared in a leaked video where he allegedly had sex with another woman. The scandal worsened when Lizbeth Rodríguez assured that she had the necessary evidence to expose Juan de Dios Pantoja's infidelity with Kevin Achutegui, a friend of Loaiza and is also known for being the personal photographer of both youtubers. After several videos defending himself, de Dios Pantoja apologized to Loaiza, who forgave him and they continued their relationship.


title: Kimberly Loaiza

text: In mid-2021, the "MTV MIAW 2021" awards were held. Loaiza was nominated for Icon MIAW, Creator of the Year, Couple on Fire (for her relationship with Juan de Dios Pantoja called "Jukilop") and Fandom of the Year.


title: Kimberly Loaiza

text: Loaiza has been in a relationship with Juan de Dios Pantoja since 2012. After six years of dating, they announced the arrival of their first child. In 2020, Loaiza revealed that she had married Juan de Dios Pantoja, also mentioning that they were expecting their second child. Soon afterwards, their second child was born.


title: Dennis Smith Jr.

text: Dennis Cliff Smith Jr. (born November 25, 1997) is an American professional basketball player for the Charlotte Hornets of the National Basketball Association (NBA). He attended North Carolina State University for one season of college basketball and earned second-team all-conference honors in the Atlantic Coast Conference (ACC) as a freshman as well as ACC Freshman of the Year.


title: Dennis Smith Jr.

text: Smith was selected ninth overall in the 2017 NBA draft by the Dallas Mavericks. Smith spent two seasons in Dallas before being traded to the New York Knicks in January 2019. He was traded to the Detroit Pistons in February 2021 and later joined the Portland Trail Blazers as a free agent in September of the same year.


title: Dennis Smith Jr.

text: Smith attended Trinity Christian School in Fayetteville, North Carolina. During his first year at Trinity Christian in 2013, Smith came off the bench on the varsity basketball team, where he averaged 9.2 points, 3.0 assist per game. On December 28, 2013, Smith scored 41 points in a 82–73 win over HCYA and future NBA player Justin Jackson. As a sophomore, Smith and Trinity Christian defeated Greenfield by one point to win the 2014 NCISAA 1-A State Championship, while Smith scored 21 points and was named MVP. During the season, Smith averaged, 17.6 points per game and 9.3 assists, 6.9 rebounds, and 2.4 steals per game. After the conclusion of his sophomore season, Smith participated in the NBPA Top 100 Camp on June 19, 2014, at John Paul Jones Arena in Virginia. Smith also competed in the 2014 Adidas Nations.


title: Dennis Smith Jr.

text: In his junior year, Smith and Trinity Christian played in the 2014–2015 High School OT Holiday Invitational Tournament at Needham B. Broughton High School in Raleigh. On December 26, 2014, Smith scored 23 points to help Trinity defeat Ravenscroft School (83–60). On December 29, 2014, Smith went head to head with an Orangeville Prep that featured future NBA players Jamal Murray and Thon Maker. Smith scored 38 points in a losing effort as Trinity Christian lost (79–75) in the semi-finals. On January 15, 2015, Smith scored 25 points in a 65–54 victory over Dudley High School. On February 2, 2015, Smith scored 17 points to defeat Cape Fear Christian Academy in the NCISAA 1-A quarterfinals. On February 11, 2015, in the last game of the season, Smith scored 33 points in a (90–58) loss to Word of God Christian Academy in the NCISAA 1-A Semi-finals. On the season, Smith averaged 22.2 points per game, 7.1 assists, 5.1 rebounds per game, and 3 steals, while leading the Crusaders to a (23–10) overall record. In 2015, he was named the Gatorade Basketball Player of the Year for North Carolina. Smith received surgery weeks later after the injury. Before the injury, in the summer of 2015, Smith competed on the Adidas Uprising Circuit for the AAU team, Team Loaded North Carolina (NC), alongside future NBA player Bam Adebayo. He led his team to victory in the Adidas Uprising Gauntlet Championship. Smith averaged 16.2 points, 4.8 rebounds, and 6.9 assists in 11 games on the circuit. On July 27, 2015, in a televised game on ESPNU, Smith recorded 29 points, 10 rebounds, and 8 assist in a 78–77 win over Kyle Guy and Indiana Elite. On August 10, 2015, while competing in an Adidas Nations event, Smith tore his ACL, but did not feel any serious pain or swelling in his knee. During surgery, Smith's doctors found that he had an extra ACL. He was originally ruled out for his entire senior season of high school but in between 2 weeks and 2 months, he claimed that he had become more explosive, with his vertical increasing by 8 inches.


title: Dennis Smith Jr.

text: Smith was rated a five-star recruit and was considered one of the best players and point guards in the 2016 high school class. He was ranked No. 7 overall recruit by 247sports, while Scout.com ranked him No. 10 in the Class of 2016. On September 10, 2015, Smith committed to NC State University, picking NC State over Duke, Wake Forest, North Carolina and Kentucky to play college basketball.


title: Dennis Smith Jr.

text: In December 2015, Smith decided to graduate early from Trinity Christian School and in January 2016 he enrolled at North Carolina State University. He decided to take the opportunity to get an early start on his first year by attending classes and rehabbing from his injury with the NC State medical staff before the start of the 2016–17 season. Smith began his freshman season playing in two exhibition games against Lynn University and Barton College. In his debut for the Wolfpack, Smith played 36 minutes and dished out five assists in an 81–79 victory against Georgia Southern. On November 21, 2016, Smith recorded a then career-high 24 points to go along with 8 assists, defeating Saint Joseph's University, 73–63, in the Paradise Jam tournament. On November 26, 2016, he scored a season-high 30 points, grabbed 6 rebounds, and tallied 7 assists to help NC State defeat Loyola University Chicago. On December 15, 2016, Smith recorded 22 points and 6 assists, leading NC State in a win over Appalachian State. On December 19, 2016, Smith earned ACC Freshman of the Week honors.


title: Dennis Smith Jr.

text: On January 4, 2017, Smith recorded a triple-double – 27 points, 11 rebounds, and 11 assists – in a win against the Virginia Tech Hokies, making him and Julius Hodge the only two NC State players to achieve this feat. On January 23, 2017, Smith scored a new career-high with 32 points and 6 assists in an 84–82 victory against the Duke Blue Devils, leading NC State to its first win at Cameron Indoor Stadium since 1995. Smith recorded his second triple-double – 13 points, 15 assists, and 11 rebounds – of the season on February 1 in a losing effort to Syracuse. He is the only player in ACC history to have recorded two triple-doubles against league opponents. On February 7, 2017, Smith earned his second ACC rookie of the week honor On February 21, 2017, Smith scored 18 points in a 71–69 win against Georgia Tech. On March 5, 2017, Smith was named ACC Rookie of the Year. Smith was additionally named to both Second team All-ACC and ACC All-Freshman teams. In 32 games for NC State in 2016–17, Smith averaged 18.1 points, 6.2 assists, and 1.9 steals per game.


title: Dennis Smith Jr.

text: After his freshman season, Smith announced his intention to forgo his final three years of collegiate eligibility and enter the 2017 NBA draft.


title: Dennis Smith Jr.

text: Smith was selected with the ninth overall pick in the 2017 NBA draft by the Dallas Mavericks. On July 5, 2017, he signed his rookie contract. While Smith would be out of action during the 2017 NBA Summer League in Orlando, he would return to action just in time for the event in Las Vegas. During the six games he played with the Mavericks out in Las Vegas, Smith recorded 17.3 points, 4.8 rebounds, 4.2 assists, and 2.2 steals per game in under 25.9 minutes of action, which earned him All-Summer League first-team honors.


title: Dennis Smith Jr.

text: On October 18, 2017, Smith made his debut in the Mavericks' season opener, a 117–111 loss to the Atlanta Hawks, where he scored 16 points and had 10 assists. On December 29, 2017, he recorded his first career triple-double with 21 points, 10 rebounds and 10 assists in a 128–120 win over the New Orleans Pelicans. He was 5 of 7 from 3-point range and 8 of 12 overall. At 20 years, 34 days, Smith became the sixth-youngest player in NBA history to have a triple-double, behind Lonzo Ball, Markelle Fultz, Luka Dončić and LeBron James. On May 22, 2018, he was named to the NBA All-Rookie Second Team.


title: Dennis Smith Jr.

text: On January 31, 2019, Smith was traded to the New York Knicks along with DeAndre Jordan, Wesley Matthews and two future first-round draft picks in exchange for Kristaps Porziņģis, Tim Hardaway Jr., Trey Burke and Courtney Lee. On April 9, Smith recorded 25 points and 5 assists in a 96–86 win against the Chicago Bulls.


title: Dennis Smith Jr.

text: On February 1, 2021, Smith was assigned to the Westchester Knicks, the affiliate of New York in the NBA G League.


title: Dennis Smith Jr.

text: On September 23, 2021, Smith signed with the Portland Trail Blazers. On February 16, 2022, he was diagnosed with a high-grade partial tear of the ulnar collateral ligament (UCL) in his right elbow, and was subsequently ruled out for three-to-four weeks. On February 21, he was waived.


title: Dennis Smith Jr.

text: On October 19, 2022, in his Hornets debut, Smith recorded 12 points, 2 rebounds, 4 assists, 2 blocks, and 2 steals, on 5-7 shooting, including 2-2 from three, all while playing 21 minutes off the bench on a 129-102 win over the San Antonio Spurs. On October 23, 2022, Smith scored 18 points and 6 assist in a 126-109 victory against the Atlanta Hawks.


title: Fluxus

text: Fluxus was an international, interdisciplinary community of artists, composers, designers and poets during the 1960s and 1970s who engaged in experimental art performances which emphasized the artistic process over the finished product. Fluxus is known for experimental contributions to different artistic media and disciplines and for generating new art forms. These art forms include intermedia, a term coined by Fluxus artist Dick Higgins; conceptual art, first developed by Henry Flynt, an artist contentiously associated with Fluxus; and video art, first pioneered by Nam June Paik and Wolf Vostell. Dutch gallerist and art critic describes Fluxus as "the most radical and experimental art movement of the sixties".


title: Fluxus

text: They produced performance "events", which included enactments of scores, "Neo-Dada" noise music, and time-based works, as well as concrete poetry, visual art, urban planning, architecture, design, literature, and publishing. Many Fluxus artists share anti-commercial and anti-art sensibilities. Fluxus is sometimes described as "intermedia". The ideas and practices of composer John Cage heavily influenced Fluxus. Especially, his notions that one should embark on an artwork without a conception of its end, and his understanding of the work as a site of interaction between artist and audience. The process of creating was privileged over the finished product. Another notable influence were the readymades of Marcel Duchamp, a French artist who was active in Dada (1916 – c. 1922). George Maciunas, largely considered to be the founder of this fluid movement, coined the name Fluxus in 1961 to title a proposed magazine.


title: Fluxus

text: Many artists of the 1960s took part in Fluxus activities, including Joseph Beuys, George Brecht, John Cage, Robert Filliou, Al Hansen, Dick Higgins, Bengt af Klintberg, Alison Knowles, Addi Køpcke, Yoko Ono, Nam June Paik, Shigeko Kubota, La Monte Young, Joseph Byrd, Ben Patterson, Daniel Spoerri, Ken Friedman, Terry Riley and Wolf Vostell. Not only were they a diverse community of collaborators who influenced each other, they were also, largely, friends. They collectively had what were, at the time, radical ideas about art and the role of art in society. The intersecting communities within Fluxus and the way that Fluxus developed in overlapping stages meant that participants each had very different ideas about what Fluxus was. Fluxus founder George Maciunas proposed a well known manifesto, but few considered Fluxus to be a true movement, and therefore the manifesto was not largely adopted. Instead, a series of festivals in Wiesbaden, Copenhagen, Stockholm, Amsterdam, London, and New York, gave rise to a loose but robust community with many similar beliefs. In keeping with the reputation Fluxus earned as a forum of experimentation, some Fluxus artists came to describe Fluxus as a laboratory. Fluxus played an important role in the broadening of what is considered art.


title: Fluxus

text: The origins of Fluxus lie in many of the concepts explored by composer John Cage in his experimental music of the 1930s through the 1960s. After attending courses on Zen Buddhism taught by D. T. Suzuki, Cage taught a series of classes in experimental composition from 1957 to 1959 at the New School for Social Research in New York City. These classes explored the notions of chance and indeterminacy in art, using music scores as a basis for compositions that could be performed in potentially infinite ways. Some of the artists and musicians who became involved in Fluxus, including Jackson Mac Low, La Monte Young, George Brecht, Al Hansen, and Dick Higgins attended Cage's classes. A major influence is found in the work of Marcel Duchamp. Also of importance was "Dada Poets and Painters", edited by Robert Motherwell, a book of translations of Dada texts that was widely read by members of Fluxus. The term anti-art, a precursor to Dada, was coined by Duchamp around 1913, when he created his first readymades from found objects (ordinary objects found or purchased and declared art). Indifferently chosen, readymades and altered readymades challenged the notion of art as an inherently optical experience, dependent on academic art skills. The most famous example is Duchamp's altered readymade "Fountain" (1917), a work which he signed "R. Mutt." While taking refuge from WWI in New York, in 1915 Duchamp formed a Dada group with Francis Picabia and American artist Man Ray. Other key members included Arthur Craven, Florine Stettheimer, and the Elsa von Freytag-Loringhoven, credited by some with proposing the idea for Fountain to Duchamp. By 1916 these artists, especially Duchamp, Man Ray, and Picabia, became the center for radical anti-art activities in New York City. Their artworks would inform Fluxus and conceptual art in general. In the late 1950s and very early 1960s, Fluxus and contemporaneous groups or movements, including Happenings, Nouveau réalisme, mail art, and action art in Japan, Austria, and other international locations were, often placed under the rubric of Neo-Dada".


title: Fluxus

text: A number of other contemporary events are credited as either anticipating Fluxus or as constituting proto-Fluxus events. The most commonly cited include the series of Chambers Street loft concerts, in New York, curated by Yoko Ono and La Monte Young in 1961, featuring pieces by Ono, Jackson Mac Low, Joseph Byrd, and Henry Flynt; the month-long "Yam" festival held in upstate New York by George Brecht and Robert Watts in May 1963 with Ray Johnson and Allan Kaprow (the culmination of a year's worth of Mail Art pieces); and a series of concerts held in Mary Bauermeister's studio, Cologne, 1960–61, featuring Nam June Paik and John Cage among many others. It was at one of these events in 1960, during his Etude pour Piano, that Paik leapt into the audience and cut John Cage's tie off, ran out of the concert hall, and then phoned the hall's organisers to announce the piece had ended. As one of the movement's founders, Dick Higgins, stated:


title: Fluxus

text: Fluxus started with the work, and then came together, applying the name Fluxus to work which already existed. It was as if it started in the middle of the situation, rather than at the beginning.


title: Fluxus

text: The American musician and artist La Monte Young had been enlisted to guest-edit an issue of a literary journal, "Beatitude East", and asked George Maciunas, a trained graphic designer, for help with the layout. Maciunas supplied the paper, design, and some money for publishing the anthology which contained the work of a more or less arbitrary group of New York avant-garde artists from that time. By the end of 1961 before "An Anthology of Chance Operations" was completed (it was finally published in 1963 by Mac Low and Young), Maciunas had moved to Germany to escape his creditors and work for the U.S. military. From there, he continued his contact with the New York artists and with artists like Benjamin Patterson, whom he met in Europe, by September 1962 was joined by Dick Higgins and Alison Knowles, who traveled to Europe to help him promote a second planned publication to be called "Fluxus", the first of a series of "yearbooks" of artists' works.


title: Fluxus

text: On September 25, 1965, the FluxOrchestra, with La Monte Young conducting, played at Carnegie Recital Hall in New York City with a poster and program designed by George Maciunas. Copies of the program were folded into paper airplane and launched during the evening, which included performances of "Falling Event" by Chieko Shiomi, "Symphony No. 3 'On the Floor from 'Clouds Scissors'" by George Brecht, "4 Pieces for Orchestra to La Monte Young" by Yoko Ono, "Disappearing Music for Face" by Shiomi, "Tactical Pieces for Orchestra" and "Olivetti Adding Machine in Memoriam for Adriano Olivetti" by Anthony Cox, "Trance for Orchestra" by Watts, "Sky Piece to Jesus Christ*" by Ono, "Octet for Winds 'In the Water' from 'Cloud Scissors" by Brecht, "Piece" by Shigeko Kubota, "1965 $50" by Young, "Piano Piece" by Tomas Schmit, "Sword Piece" by Cox, "Music for Late Afternoon Together With" by Shiomi, "2" by Watts, "c/t Trace" by Watts, "Intermission Event" by Willem de Ridder, "Moviee Music" by Stan Vanderbeek, "Mechanical Orchestra" by Joe Jones, and "Secret Room" by Ben Vautier.


title: Fluxus

text: Lithuanian-born George Maciunas coined the name Fluxus for art produced by a range of artists with a shared sensibility as an attempt to 'fuse... cultural, social, & political revolutionaries into [a] united front and action'. After fleeing Lithuania at the end of World War II, his family settled in New York, where he first met a group of avant-garde artists and musicians centered around John Cage and La Monte Young. After opening a short-lived art gallery on Madison Avenue, which showed work by Higgins, Yoko Ono, Jonas Mekas, Ray Johnson, Flynt and Young, Maciunas moved to Wiesbaden, West Germany, having taken a job as a graphic designer with the US Air Force in late 1961 after the gallery had gone bust. Maciunas first publicly coined the term "Fluxus" (meaning 'to flow') in a 'brochure prospectus' that he distributed to the audience at a festival he had organized, called "Aprés Cage; Kleinen Sommerfest" (After Cage; a Small Summer Festival), in Wuppertal, West Germany, 9 June 1962.


title: Fluxus

text: Maciunas was an avid art historian, and initially referred to fluxus as 'neo-dadaism' or 'renewed dadaism'. He wrote a number of letters to Raoul Hausmann, an original dadaist, outlining his ideas. Hausmann discouraged the use of the term;


title: Fluxus

text: I note with much pleasure what you said about German neodadaists—but I think even the Americans should not use the term "neodadaism" because neo means nothing and -ism is old-fashioned. Why not simply "Fluxus"? It seems to me much better, because it's new, and dada is historic.


title: Fluxus

text: As part of the festival, Maciunas wrote a lecture entitled 'Neo-Dada in the United States'. After an attempt to define 'Concretist Neo-Dada' art, he explained that Fluxus was opposed to the exclusion of the everyday from art. Using 'anti-art and artistic banalities', Fluxus would fight the 'traditional artificialities of art'. The lecture ended with the declaration "Anti-art is life, is nature, is true reality—it is one and all."


title: Fluxus

text: In 1962, Maciunas, Higgins and Knowles, traveled to Europe to promote the planned Fluxus publication with concerts of antique musical instruments. With the help of a group of artists including Joseph Beuys and Wolf Vostell, Maciunas eventually organised a series of "Fluxfests" across Western Europe. Starting with 14 concerts between 1 and 23 September 1962, at Wiesbaden, these "Fluxfests" presented work by musicians such as John Cage, Ligeti, Penderecki, Terry Riley and Brion Gysin alongside performance pieces written by Higgins, Knowles, George Brecht and Nam June Paik, Ben Patterson, Robert Filliou, and Emmett Williams, amongst many others. One performance in particular, "Piano Activities" by Philip Corner, became notorious by challenging the important status of the piano in post-war German homes.


title: Fluxus

text: The score—which asks for any number of performers to, among other things, "play", "pluck or tap", "scratch or rub", "drop objects" on, "act on strings with", "strike soundboard, pins, lid or drag various kinds of objects across them" and "act in any way on underside of piano"—resulted in the total destruction of a piano when performed by Maciunas, Higgins and others at Wiesbaden. The performance was considered scandalous enough to be shown on German television four times, with the introduction "The lunatics have escaped!"


title: Fluxus

text: At the end we did Corner's "Piano Activities" not according to his instructions since we systematically destroyed a piano which I bought for $5 and had to have it all cut up to throw it away, otherwise we would have had to pay movers, a very practical composition, but German sentiments about this "instrument of Chopin" were hurt and they made a row about it...


title: Fluxus

text: At the same time, Maciunas used his connections at work to start printing cheap mass-produced books and multiples by some of the artists that were involved in the performances. The first three to be printed were "Composition 1961" by La Monte Young see, "An Anthology of Chance Operations" edited by Young and Mac Low and "Water Yam", by George Brecht. "Water Yam", a series of event scores printed on small sheets of card and collected together in a cardboard box, was the first in a series of artworks that Maciunas printed that became known as "Fluxkits". Cheap, mass-produced and easily distributed, "Fluxkits" were originally intended to form an ever-expanding library of modern performance art. "Water Yam" was published in an edition of 1000 and originally cost $4. By April 1964, almost a year later, Maciunas still had 996 copies unsold.


title: Fluxus

text: Maciunas' original plan had been to design, edit and pay for each edition himself, in exchange for the copyright to be held by the collective. Profits were to be split 80/20 at first, in favor of the artist. Since most of the composers already had publishing deals, Fluxus quickly moved away from music toward performance and visual art. John Cage, for instance, never published work under the Fluxus moniker due to his contract with the music publishers Edition Peters.


title: Fluxus

text: Maciunas seemed to have a fantastic ability to get things done... if you had things to be printed he could get them printed. It's pretty hard in East Brunswick to get good offset printing. It's not impossible, but it's not so easy, and since I'm very lazy it was a relief to find somebody who could take the burden off my hands. So there was this guy Maciunas, a Lithuanian or Bulgarian, or somehow a refugee or whatever—beautifully dressed—"astonishing looking" would be a better adjective. He was somehow able to carry the whole thing off, without my having to go 57 miles to find a printer.


title: Fluxus

text: After his contract with the US Air Force was terminated due to ill health, Maciunas was forced to return to the US on 3 September 1963. Once back in New York, he set about organizing a series of street concerts and opened a new shop, the 'Fluxhall', on Canal Street.


title: Fluxus

text: 12 concerts, "away from the beaten track of the New York art scene", took place on Canal Street, 11 April to 23 May 1964. With photographs taken by Maciunas himself, pieces by Ben Vautier, Alison Knowles and Takehisa Kosugi were performed in the street for free, although in practice there was 'no audience to speak of' anyway.


title: Fluxus

text: The people in Fluxus had understood, as Brecht explained, that "concert halls, theaters, and art galleries" were "mummifying". Instead, these artists found themselves "preferring streets, homes, and railway stations..." Maciunas recognized a radical political potential in all this forthrightly anti-institutional production, which was an important source for his own deep commitment to it. Deploying his expertise as a professional graphic designer, Maciunas played an important role in projecting upon Fluxus whatever coherence it would later seem to have had.


title: Fluxus

text: Along with the New York shop, Maciunas built up a distribution network for the new art across Europe and later outlets in California and Japan. Gallery and mail order outlets were established in Amsterdam, Villefranche-Sur-Mer, Milan and London, amongst others. By 1965, the first anthology "Fluxus 1" was available, consisting of manila envelopes bolted together containing work by numerous artists who would later become famous including La Monte Young, Christo, Joseph Byrd and Yoko Ono. Other pieces available included packs of altered playing cards by George Brecht, sensory boxes by Ay-O, a regular newsletter with contributions by artists and musicians such as Ray Johnson and John Cale, and tin cans filled with poems, songs and recipes about beans by Alison Knowles (see). A videotape of George and Billy Maciunas' wedding was produced by Dimitri Devyatkin.


title: Fluxus

text: After returning to New York, Maciunas became reacquainted with Henry Flynt, who encouraged members of Fluxus to take a more overtly political stance. One of the results of these discussions was to set up a picket line at the American premiere of "Originale", a recent work by the German composer Karlheinz Stockhausen, 8 September 1964. Stockhausen was deemed a 'Cultural Imperialist' by Maciunas and Flynt, while other members vehemently disagreed. The result was members of Fluxus, such as Nam June Paik and Jackson Mac Low, crossing a picket line made up of other members, including Ben Vautier and Takako Saito who handed out leaflets denouncing Stockhausen as "a characteristic European-North American ruling-class Artist". Dick Higgins participated in the picket, and then coolly joined the other performers inside;


title: Fluxus

text: Maciunas and his friend Henry Flynt tried to get the Fluxus people to march around outside the circus with white cards that said Originale was bad. And they tried to say that the Fluxus people who were in the circus weren't Fluxus any more. That was silly, because it made a split. I thought it was funny, and so first I walked around with Maciunas and with Henry with a card, then I went inside and joined the circus; so both groups got angry with me. Oh well. Some people say that Fluxus died that day—I once thought so myself—but it turned out I was wrong.


title: Fluxus

text: The event, arranged by Charlotte Moorman as part of her "2nd Annual New York Avant Garde Festival", would cement animosities between Maciunas and her, with Maciunas frequently demanding that artists associated with Fluxus have nothing to do with the annual festival, and would often expel artists who ignored his demands. This hostility continued throughout Maciunas' life—much to Moorman's bemusement—despite her continued championing of Fluxus art and artists.


title: Fluxus

text: The picketing of "Originale" marked the high point of Maciunas' agitprop approach, an approach that estranged many of Fluxus' early proponents; Jackson Mac Low had resigned immediately after hearing 'antisocial' plans laid in April 1963, such as breaking down trucks under the Hudson River. Brecht threatened to quit on the same issue, and then left New York in the spring of 1965. Despite his continued allegiance to Fluxus ideals, Dick Higgins fell out with Maciunas around the same time, ostensibly over his setting up the Something Else Press which printed many texts by key Fluxus-related personalities and other members of the avant garde. Charlotte Moorman continued to present her Annual Avant Garde Festival in New York.


title: Fluxus

text: Such perceived insurrections in the coherence of Maciunas' leadership of Fluxus provided an opening for Fluxus to become increasingly influenced by Japanese members of the group. Since returning to Japan in 1961, Yoko Ono had been recommending colleagues look Maciunas up if they moved to New York; by the time she had returned, in early 1965, Hi Red Center, Shigeko Kubota, Takako Saito, Mieko Shiomi and Ay-O had all started to make work for Fluxus, often of a contemplative nature.


title: Fluxus

text: In 1969, Fluxus artist Joe Jones opened his "JJ Music Store" (aka "Tone Deaf Music Store") at 18 North Moore Street, where he presented his repetitive drone music machines. He created there an installation in the window so that anyone could press numerous door buttons to play the noise music machines displayed there. Jones also presented small musical installation performances there, alone or with other Fluxus artists, such as Yoko Ono and John Lennon, among others. From April 18th to June 12th, 1970, Ono and Lennon (aka Plastic Ono Band) presented a series of Fluxus art events and concerts there called "GRAPEFRUIT FLUXBANQUET". It was promoted with a poster designed by Fluxus leader George Maciunas. Performances included "Come Impersonating John Lennon & Yoko Ono, Grapefruit Banquet" (April 11-17) by George Maciunas, Yoshimasa Wada, Nye Ffarrabas (formerly Bici Forbes and Bici Forbes Hendricks), Geoffrey Hendricks, and Robert Watts; "Do It Yourself" (April 11-17) by Yoko Ono; "Tickets by John Lennon + Fluxagents" (April 18–24) with Wada, Ben Vautier and Maciunas; "Clinic by Yoko Ono + Hi Red Center" (April 25-May 1); "Blue Room by Yoko + Fluxmasterliars" (May 2-8); "Weight & Water by Yoko + Fluxfiremen" (May 9-15); "Capsule by Yoko + Flux Space Center" (May 16–22) with Maciunas, Paul Sharits, George Brecht, Ay-O, Ono, Watts, John Cavanaugh; "Portrait of John Lennon as a Young Cloud by Yoko + Everybody" (May 23–29); "The Store by Yoko + Fluxfactory" (May 30-June 5), with Ono, Maciunas, Wada, Ay-O; and finally "Examination by Yoko + Fluxschool" (June 6-12) with Ono, Geoffrey Hendricks, Watts, Mieko Shiomi and Robert Filliou.


title: Fluxus

text: As Fluxus gradually became more famous, Maciunas' ambitions for the sale of cheap multiples grew. The second flux-anthology, the "Fluxkit" (late 1964), collected together early 3D work made by the collective in a businessman's case, an idea borrowed directly from Duchamp's "Boite en Valise" Within a year, plans for a new anthology, "Fluxus 2", were in full swing to contain Flux films by John Cage and Yoko Ono (with hand held projectors provided), disrupted matchboxes and postcards by Ben Vautier, plastic food by Claes Oldenburg, FluxMedicine by Shigeko Kubota (containing empty pill packages), and artworks made of rocks, ink stamps, outdated travel tickets, undoable puzzles and a machine to facilitate humming.


title: Fluxus

text: Maciunas' belief in the collective extended to authorship; a number of pieces from this period were anonymous, mis-attributed, or have had their authorship since questioned. As a further complication, Maciunas was in the habit of dramatically changing ideas submitted by various artists before he put the works into production.


title: Fluxus

text: "Solid Plastic in Plastic Box", credited to Per Kirkeby 1967, for instance, had originally been realised by Kirkeby as a metal box, inscribed 'This Box Contains Wood'. When opened, the box would be found to contain sawdust. By the time the multiple had been manufactured by Maciunas, it was a block of solid plastic contained in a plastic box of the same color. Conversely, Maciunas assigned "Degree Face Clock", in which a clock face is measured out in 360°, to Kirkeby despite being an idea by Robert Watts;


title: Fluxus

text: Some years ago, when I spoke with Robert Watts about "Degree Face Clock" and "Compass Face Clock", he had recalled thinking up the idea himself and was surprised that George Maciunas advertised them as Per Kirkeby's. Watts shrugged and said that was the way George worked. There would be ideas in the air and Maciunas would assign the piece to one artist or another.


title: Fluxus

text: Other tactics from this time included Maciunas buying large amounts of plastic boxes wholesale, and handing them out to artists with the simple request to turn them into Fluxkits, and the use of the rapidly growing international network of artists to contribute items needed to complete works. Robert Watts' "Fluxatlas", 1973, for instance, contains small rocks sent by members of the group from around the world.


title: Fluxus

text: In addition to his numerous original compositions which have joined the collective's catalog of works, Larry Miller, associated with the group since 1969, has also been active as an interpreter of the "classic" scores and responsible for bringing the group's works to a wider public, blurring the lines between artist, producer and researcher. Besides Miller's own artistic work, he has also organized, reconstructed and performed at numerous Fluxus events and assembled an extensive collection of material on the history of Fluxus. Through Miller, Fluxus attracted media coverage such as the worldwide CNN coverage of "Off Limits" exhibit at Newark Museum, 1999. Other Miller activities as organizer, performer and presenter within the Fluxus milieu include "Performance in Fluxus Continue 1963–2003" at Musee d'Art et d'Art Contemporain in Nice; "Fluxus a la Carte" in Amsterdam; and "Centraal Fluxus Festival" at Centraal Museum, Utrecht, Netherlands. In 2004, for Geoff Hendricks' "Critical Mass: Happenings, Fluxus, Performance, Intermedia and Rutgers University 1958–1972", Miller reprised and updated the track and field events of the Flux Olympics, first presented in 1970. For "Do-it Yourself Fluxus" at AI – Art Interactive – in Cambridge, Massachusetts, Miller worked as the curatorial consultant for an exhibit of works that allowed viewers hands-on experience including the reconstruction of several sections of the historic "Flux Labyrinth", a massive and intricate maze that Miller originally constructed with George Maciunas at "Akademie der Künste", Berlin in 1976 and which included sections by several of the Fluxus artists. Miller created a new version of the "Flux Labyrinth" at the "In the Spirit of Fluxus" exhibit at the Walker Art Center in 1994, where Griel Marcus said, "Miller was... fine tuning the monster."


title: Fluxus

text: Fluxus women artists were founding members and contributed works in varying media and with differing content. Some made experimental and performative work having to do with the female body that created a powerful female presence, which existed within Fluxus from the group's beginning. This is illustrated by works such as Carolee Schneemann's "Interior Scroll", Yoko Ono's "Cut Piece", and Shigeko Kubota's "Vagina Painting". Women working within Fluxus were often simultaneously critiquing their position within a male dominated society while also exposing the inequalities within an art collective that claimed to be open and diverse. George Maciunas, in his rejection of Schneeman as a member of Fluxus, called her "guilty of Baroque tendencies, overt sexuality, and theatrical excess". "Interior Scroll" was a response to Schneemann's experience as a filmmaker in the 1950s and 1960s, when male filmmakers claimed that women should restrict themselves to dance.


title: Fluxus

text: In "An evening with Fluxus women: a roundtable discussion", hosted at New York University on 19 February 2009 by "Women & Performance: a journal of feminist theory" and the Department of Performance Studies, a passage from Mieko Shiomi reads "...the best thing about Fluxus, I think, is that there was no discrimination on the basis of nationality and gender. Fluxus was open to anyone who shared similar thoughts about art and life. That's why women artists could be so active without feeling any frustration."


title: Fluxus

text: Shigeo Kubota's "Vagina Painting" (1965), was performed by attaching a paintbrush dipped in red paint to her underwear, then applying it to a piece of paper while moving over it in a crouching position. The paint evoked menstrual blood. "Vagina Painting" has been interpreted as a critique of Jackson Pollock's action paintings, and the male-dominated abstract expressionist tradition.


title: Fluxus

text: A number of artists in the group were interested in setting up Flux communes, intending to 'bridge the gap between the artist community and the surrounding society' The first of these, La Cédille qui Sourit or "The Cedilla That Smiles", was set up in Villefranche-sur-Mer, France, by Robert Filliou and George Brecht, 1965–1968. Intended as an 'International Centre of Permanent Creation', the shop sold Fluxkits and other small wares as well as housing a 'non-school', boasting the motto "A carefree exchange of information and experience. No students, no teachers. Perfect licence, at times to listen at times to talk." In 1966, Maciunas, Watts and others took advantage of new legislation drafted to regenerate the area of Manhattan known as 'Hell's Hundred Acres', soon to become rebranded as SoHo, allowing artists to buy live/work spaces in an area that had been blighted due to a proposed 18-lane expressway along Broome Street. Led by Maciunas, plans were laid to start a series of real-estate developments in the area, designed to create an artists' community within a few streets of the FluxShop on Canal Street.


title: Fluxus

text: 'Maciunas wanted to establish collective workshops, food-buying cooperatives and theaters to link the strengths of various media together and bridge the gap between the artist community and the surrounding society'


title: Fluxus

text: The first warehouse, intended to house Maciunas, Watts, Christo & Jeanne-Claude, Jonas Mekas, La Monte Young and others, was located on Greene Street. Likening these communities to the soviet Kolkhozs, Maciunas didn't hesitate to adopt the title 'Chairman of Bldg. Co-Op' without first registering an office or becoming a member of the New York State Association of Realtors. FluxHousing Co-Operatives continued to redevelop the area over the next decade, and were widened to include plans to set up a "FluxIsland"- a suitable island was located near Antigua, but the money to buy and develop it remained unforthcoming- and finally a performance arts centre called the "FluxFarm" established in New Marlborough, Massachusetts. The plans were continually dogged by financial problems, constant run-ins with the New York authorities, and eventually resulted, on 8 November 1975, in Maciunas being severely beaten by thugs sent by an unpaid electrical contractor.


title: Fluxus

text: It is arguably said that Fluxus came to an end when its founder and leader George Maciunas died in 1978 from complications due to pancreatic cancer. Maciunas' funeral was held in typical Fluxus style where they dubbed the funeral "Fluxfeast and Wake", ate foods that were only black, white, or purple. Maciunas left behind his thoughts on Fluxus in a series of important video conversations called "Interview With George Maciunas" with Fluxus artist Larry Miller, which has been screened internationally and translated into numerous languages. Over the past 30 years, Miller has shot and collected Fluxus related materials including tapes on Joe Jones, Carolee Schneemann, Ben Vautier, Dick Higgins, and Alison Knowles, in addition to the 1978 Maciunas interview.


title: Fluxus

text: Maciunas moved to the Berkshire Mountains in Western Massachusetts in the late 1970s. Two decades earlier, after collecting paintings, the Boston art collector Jean Brown, and her late husband Leonard Brown, began to shift their focus to Dadaist and Surrealist art, manifestoes and periodicals. In 1971, after Mr. Brown's death, Mrs. Brown moved to Tyringham, and expanded into areas adjacent to Fluxus, including artists' books, concrete poetry, happenings, mail art and performance art. Maciunas helped turn her home, originally a Shaker seed house, into an important center for both Fluxus artists and scholars, with Mrs. Brown alternately cooking meals and showing guests her collection. Activities centered on a large archive room on the second floor built by Maciunas, who settled in nearby Great Barrington, where it was discovered that Maciunas developed cancer of the pancreas and liver in 1977.


title: Fluxus

text: Three months before his death, he married his friend and companion, the poet Billie Hutching. After a legal wedding in Lee, Massachusetts, the couple performed a "Fluxwedding" in a friend's loft in SoHo, 25 February 1978. The bride and groom traded clothing. Maciunas died on 9 May 1978 in a hospital in Boston.


title: Fluxus

text: After the death of George Maciunas a rift opened in Fluxus between a few collectors and curators who placed Fluxus as an art movement in a specific time frame (1962 to 1978), and the artists themselves, many of whom continued to see Fluxus as a living entity held together by its core values and world view. Different theorists and historians adopted each of these views. Fluxus is therefore referred to variously in the past or the present tense. While the definition of Fluxus was always a subject of controversy, the question is now significantly more complex due to the fact that many of the original artists who were still living when Maciunas died are now dead themselves.


title: Fluxus

text: Some have argued that the unique control that curator Jon Hendricks holds over a major historical Fluxus collection (the Gilbert and Lila Silverman collection) has enabled him to influence, through the numerous books and catalogues subsidized by the collection, the view that Fluxus died with Maciunas. Hendricks argues that Fluxus was a historical movement that occurred at a particular time, asserting that such central Fluxus artists as Dick Higgins and Nam June Paik could no longer label themselves as active Fluxus artists after 1978, and that contemporary artists influenced by Fluxus cannot lay claim to be Fluxus artists. The Museum of Modern Art makes the same claim dating the movement to the 1960s and 1970s. However, the influence of Fluxus continues today in multi-media digital art performances. In September, 2011 Other Minds presented a performance at the SOMArts building in San Francisco to celebrate the 50th anniversary of Fluxus. The performance was curated by Adam Fong who was also one of the performers along with Yoshi Wada, Alison Knowles, Hannah Higgins, Luciano Chessa and Adam Overton.


title: Fluxus

text: Others, including Hannah Higgins, daughter of fluxus artists Alison Knowles and Dick Higgins, assert that although Maciunas was a key participant, there were many more, including Fluxus co-founder Higgins, who continued to work within Fluxus after the death of Maciunas. The rise of the Internet in the 1990s enabled a vibrant post-Fluxus community to emerge online. After some of the original Fluxus artists from the 1960s and 1970s including Higgins, created online communities such as the Fluxlist, following their departure, younger artists, writers, musicians, and performers have attempted to continue their work in cyberspace. Many of the original Fluxus artists still working enjoy homages by younger Fluxus-influenced artists who stage events to commemorate Fluxus, but discourage the use of the "Fluxus" label by younger artists.


title: Fluxus

text: In 2018 the Los Angeles Philharmonic in its "Fluxus Festival" presented a fluxus performance incorporating John Cage's "Europeras 1 and 2" directed by Yuval Sharon. Fluxus artists continue to perform today on a smaller scale.


title: Fluxus

text: An immediate predecessor of Fluxus, according to Maciunas, was the Gutai group which promoted art as an anti-academic, psychophysical experience, an "art of matter as it is" as explained by Shiraga Kazuo in 1956. Gutai became connected with a sort of artistic mass-production, anticipating Fluxus's trademark, i.e., ambiguity between the cultivated and the trivial, between high and low. Indeed, avant-garde art in Japan tended toward informal rather than conceptual elements, radically opposing the extreme formality and symbolism found in Japanese art.


title: Fluxus

text: In the 1950s New York music scene there could be discerned many issues related to the post-war disenchantment experienced by many throughout the developed world. Such disillusionment in itself presented a case for commitment to Buddhism and Zen in everyday matters such as mental attitude, meditation, and approach to food and body care. It was also felt, however, that there was a general need for a more radical artistic sensibility. The themes of decay and of the inadequacy of the idea of modernity in artistic fields were adopted, partly from Duchamp and Dada and partly from consciousness of the uneasiness of living in contemporary society.


title: Fluxus

text: It is said that Fluxus challenged notions of representation, offering instead simple presentation. This, in fact, corresponds to a major difference between Western and Japanese art. Another important Fluxus characteristic was the elimination of perceived boundaries between art and life, a very prominent trend in post war art. This was exemplified by the work and writings of Josheph Beuys who stated, "every man is an artist." Fluxus's approach was an everyday, "economic" one as seen in the production of small objects made of paper and plastic. Again, this strongly corresponds with some of the fundamental characteristics of Japanese culture, i.e., the high artistic value of everyday acts and objects and the aesthetic appreciation of frugality. This also links with Japanese art, and the concept of shibumi, which may involve incompleteness, and supports the appreciation of bare objects, emphasizing subtlety rather than overtness. The renowned Japanese aesthetics scholar Onishi Yoshinori called the essence of Japanese art pantonomic because of the consciousness of no distinction between nature, art and life. Art is the way to approach life and nature/reality corresponding to actual existence.


title: Fluxus

text: Fluxus encouraged a "do-it-yourself" aesthetic, and valued simplicity over complexity. Like Dada before it, Fluxus included a strong current of anti-commercialism and an anti-art sensibility, disparaging the conventional market-driven art world in favor of an artist-centered creative practice. As Fluxus artist Robert Filliou wrote, however, Fluxus differed from Dada in its richer set of aspirations, and the positive social and communitarian aspirations of Fluxus far outweighed the anti-art tendency that also marked the group.


title: Fluxus

text: Among its early associates were Joseph Beuys, Dick Higgins, Davi Det Hompson, Nam June Paik, Wolf Vostell, La Monte Young, Joseph Byrd, Al Hansen and Yoko Ono who explored media ranging from performance art to poetry to experimental music to film. Taking the stance of opposition to the ideas of tradition and professionalism in the arts of their time, the Fluxus group shifted the emphasis from what an artist makes to the artist's personality, actions, and opinions. Throughout the 1960s and 1970s (their most active period) they staged "action" events, engaged in politics and public speaking, and produced sculptural works featuring unconventional materials. Their radically untraditional works included, for example, the video art of Nam June Paik and Charlotte Moorman and the performance art of Joseph Beuys and Wolf Vostell. During the early years of Fluxus, the often playful style of the Fluxus artists resulted in them being considered by some to be little more than a group of pranksters. Fluxus has also been compared to Dada and aspects of Pop Art and is seen as the starting point of mail art and no wave artists. Artists from succeeding generations such as Mark Bloch do not try to characterize themselves as Fluxus but create spinoffs such as Fluxpan or Jung Fluxus as a way of continuing some of the Fluxus ideas in a 21st-century, post-mail art context.


title: Fluxus

text: In terms of an artistic approach, Fluxus artists preferred to work with whatever materials were at hand, and either created their own work or collaborated in the creation process with their colleagues. Outsourcing part of the creative process to commercial fabricators was not usually part of Fluxus practice. Maciunas personally hand-assembled many of the Fluxus multiples and editions. While Maciunas assembled many objects by hand, he designed and intended them for mass production. Where multiple publishers produced signed, numbered objects in limited editions intended for sale at high prices, Maciunas produced open editions at low prices. Several other Fluxus publishers produced different kinds of Fluxus editions. The best known of these was the Something Else Press, established by Dick Higgins, probably the largest and most extensive Fluxus publisher, producing books in editions that ran from 1,500 copies to as many as 5,000 copies, all available at standard bookstore prices. Higgins created the term "intermedia" in a 1966 essay.


title: Fluxus

text: The art forms most closely associated with Fluxus are event scores and Fluxus boxes. Fluxus boxes (sometimes called Fluxkits or Fluxboxes) originated with George Maciunas who would gather collections of printed cards, games, and ideas, organizing them in small plastic or wooden boxes.


title: Fluxus

text: An event score, such as George Brecht's "Drip Music", is essentially a performance art script that is usually only a few lines long and consists of descriptions of actions to be performed rather than dialogue. Fluxus artists differentiate event scores from "happenings". Whereas happenings were sometimes complicated, lengthy performances meant to blur the lines between performer and audience, performance and reality, event performances were usually brief and simple. The event performances sought to elevate the banal, to be mindful of the mundane, and to frustrate the high culture of academic and market-driven music and art.


title: Fluxus

text: The idea of the event began in Henry Cowell's philosophy of music. Cowell, a teacher to John Cage and later to Dick Higgins, coined the term that Higgins and others later applied to short, terse descriptions of performable work. The term "score" is used in exactly the sense that one uses the term to describe a music score: a series of notes that allow anyone to perform the work, an idea linked both to what Nam June Paik labeled the "do it yourself" approach and to what Ken Friedman termed "musicality." While much is made of the do it yourself approach to art, it is vital to recognize that this idea emerges in music, and such important Fluxus artists as Paik, Higgins, or Corner began as composers, bringing to art the idea that each person can create the work by "doing it." This is what Friedman meant by musicality, extending the idea more radically to conclude that anyone can create work of any kind from a score, acknowledging the composer as the originator of the work while realizing the work freely and even interpreting it in far different ways from those the original composer might have done.


title: Fluxus

text: Other creative forms that have been adopted by Fluxus practitioners include collage, sound art, music, video, and poetry—especially visual poetry and concrete poetry.


title: Fluxus

text: Nam June Paik and his peers in the Fluxus art movement thoroughly understood the impact and importance of shock on the viewer. Fluxus artists believed that shock not only makes the viewer question their own reasoning, but is a means to awaken the viewer, "...from a perceptive lethargy furthered by habit." Paik himself described the shock factor in his Fluxus work: "People who come to my concerts or see my objects need to be transferred into another state of consciousness. They have to be high. And in order to put them into this state of highness, a little shock is required... Anyone who came to my exhibition saw the head and was high." Paik's "head" was that of a real cow displayed at the entrance to his exhibition, Exposition of Music—Electronic Television, located in the Galerie Parnass, Wuppertal, Germany in 1963.


title: Fluxus

text: Fluxus is similar in spirit to the earlier art movement of Dada, emphasizing the concept of anti-art and taking jabs at the seriousness of modern art. Fluxus artists used their minimal performances to highlight their perceived connections between everyday objects and art, similarly to Duchamp in pieces such as "Fountain". Fluxus art was often presented in "events", which Fluxus member George Brecht defined as "the smallest unit of a situation." The events consisted of a minimal instruction, opening the events to accidents and other unintended effects. Also contributing to the randomness of events was the integration of audience members into the performances, realizing Duchamp's notion of the viewer completing the art work.


title: Fluxus

text: The Fluxus artistic philosophy has been defined as a synthesis of four key factors that define the majority of Fluxus work:


title: Fluxus

text: There is a complexity in adequately charting a unified history of Fluxus. In "Fluxus: A brief History and Other Fictions", Owen Smith concedes that, with the emergence of new material published about Fluxus and its expansion into the present, its history must remain open. The resistance to being pigeonholed, and with the absence of a stable identity, Fluxus opened up to wide participation but also, from what would appear in history, closed off that possibility. Maciunas made frequent acts of excommunication between 1962 and 1978 which destabilized the collective. Kristine Stiles argues in one of her essays that the essence of Fluxus is "performative", while recently she feels that essence has been "eroded or threatened". Fluxus instead moved towards favoring the objects of publication, Stiles asserts: "Care must be taken that Fluxus is not transformed historically from a radical process and presentational art into a tradition static and representational art." With no leadership, no identifiable guidelines, no real collective strategy, no homogeneity in terms of practices, Fluxus cannot be handled through traditional critical tools. Fluxus is an indicator of this confusion. Fluxus therefore is nearly always a discourse on the failure of discourse.


title: Fluxus

text: Fluxus artists shared several characteristics including wit and "childlikeness", though they lacked a consistent identity as an artistic community. This vague self-identification allowed the group to include a variety of artists, including a large number of women. The possibility that Fluxus had more female members than any Western art group up to that point in history is particularly significant because Fluxus came on the heels of the white male-dominated abstract expressionism movement. However, despite the designed open-endedness of Fluxus, Maciunas insisted on maintaining unity in the collective. Because of this, Maciunas was accused of expelling certain members for deviating from what he perceived as the goals of Fluxus.


title: Dabbs Greer

text: Robert William "Dabbs" Greer (April 2, 1917 – April 28, 2007) was an American character actor in film and television for over 60 years. With nearly 100 film roles and appearances in nearly 600 television episodes of various series, Greer may be best remembered as series regular Mr. Jonas in "Gunsmoke", as Coach Ossie Weiss in the sitcom "Hank", and as series regular Reverend Robert Alden in "Little House on the Prairie". Greer may be better known to later audiences as the 108-year-old version of the character played by Tom Hanks in 1999's "The Green Mile".


title: Dabbs Greer

text: Greer was born in Fairview, Missouri, the son of Bernice Irene (née Dabbs), a speech teacher, and Randall Alexander Greer, a druggist. Not long after, the family moved to the larger Anderson, Missouri, southwest, when Greer was an infant. At the age of eight, he began acting in children's theater productions. He attended Drury University in Springfield, Missouri, where he was a member of Theta Kappa Nu.


title: Dabbs Greer

text: After moving to Pasadena, California in 1943, he became an administrator and acting instructor at the Pasadena Playhouse.


title: Dabbs Greer

text: His film debut was as an extra in the 1938 film "Jesse James", which was filmed mainly around Pineville, Missouri. He told the "Neosho Daily News" in 2002, "They were paying $5 a day – a day! – to local people for being extras. That was really good money in those days, more money than we had seen in a long time." (The equivalent of $105 in 2022.)


title: Dabbs Greer

text: Greer appeared in three episodes of "Adventures of Superman", including the inaugural entry, "Superman on Earth" (1952), in which he was cast as the first person ever to be saved by Superman. He was the major guest star as a man framed for murder in "Five Minutes to Doom" (1954) and as an eccentric millionaire in "The Superman Silver Mine" (1958).


title: Dabbs Greer

text: Among hundreds of appearances in nearly 200 different television series, he played the role of the marshall in the two-part "King of the Dakotas" (1955) and as Ray in "Paper Gunman" of the NBC western anthology series "Frontier". In the 1956 movie "Hot Rod Girl," he played the auto repair shop owner Mr. Fry.


title: Dabbs Greer

text: In 1957, he appeared in the episode "Revenge" of the syndicated crime drama "Sheriff of Cochise" and as Sanders in the episode "My Horse Ajax" of NBC's children's western series "Fury". He guest-starred about this time on the syndicated adventure series "Whirlybirds" and "Rescue 8". He also appeared in an episode of "Richard Diamond, Private Detective".


title: Dabbs Greer

text: Greer was cast on the syndicated western series "Pony Express". He also guest-starred on three CBS western series: "Wanted: Dead or Alive", "Trackdown", and "Johnny Ringo". Thereafter, he appeared in the NBC modern western series "Empire" and also guest-starred on "Stoney Burke".


title: Dabbs Greer

text: Greer appeared in the 1957 episode "Ambush at Gila Gulch" of ABC's "Tombstone Territory", the 1957 episode "Rebel Christmas" of the Tod Andrews syndicated series "The Gray Ghost", and as Ed Grimes on the 1958 episode "312 Vertical" of the syndicated series "State Trooper". He appeared, too, in "It! The Terror from Beyond Space" (1958).


title: Dabbs Greer

text: Other appearances in 1959 included the episode "Peligroso" on NBC's western series "The Restless Gun", episodes of "Bat Masterson", and the syndicated "Man Without a Gun".


title: Dabbs Greer

text: From 1956 until 1974, Greer had a recurring role as storekeeper Mr. Jonas on the long-running TV series "Gunsmoke". He appeared in 42 episodes of the series. Occasionally, he would play someone other than Mr. Jonas. In one episode, he was Chester's uncle.


title: Dabbs Greer

text: In 1960, Greer appeared in the episode "Dark Fear" of CBS's anthology series "The DuPont Show with June Allyson".


title: Dabbs Greer

text: He was cast twice in "The Twilight Zone": the 1962 episode titled “Hocus-Pocus and Frisby" and the 1963 episode "Valley of the Shadow." Also in 1963, he was cast in a segment of Jack Palance's ABC circus drama "The Greatest Show on Earth".


title: Dabbs Greer

text: He appeared as a creepy corrupt policeman in the first episode of "The Fugitive" ("Fear in a Desert City,” first shown in September 1963). He returned for five more episodes, making him the most frequently cast guest actor of non-recurring roles on the series (tied with Richard Anderson).


title: Dabbs Greer

text: The 1960s brought Greer several more recurring roles in popular series, such as track coach Ossie Weiss in "Hank" and Sheriff Norris "Norrie" Coolidge in "The Ghost & Mrs. Muir". He also made eight appearances on the very popular series "The Rifleman", playing both good-guy and bad-guy characters.


title: Dabbs Greer

text: In 1962, on the ABC/WB western series "Lawman", in an episode titled "The Unmasked," Greer was cast in an entirely fictitious portrayal of Boston Corbett, the Union Army soldier who shot and mortally wounded John Wilkes Booth, the assassin of Abraham Lincoln.


title: Dabbs Greer

text: In 1963, Greer was cast as Jack Tabor in the "Perry Mason" episode "The Case of the Skeleton's Closet." He guest-starred in seven other "Perry Mason" episodes. He portrayed, for example, a drunkard in "The Case of the Left-Handed Liar," a murderer in three episodes ("The Case of the Prudent Prosecutor," "The Case of the Lavender Lipstick," and "The Case of the Ice-Cold Hands"), and a murder victim in "The Case of the Fugitive Nurse."


title: Dabbs Greer

text: Greer can also be seen in a 1964 episode of "Arrest and Trial", titled "The Black Flower," portraying a store owner wounded in a robbery. That same year he performed in an episode of "The Outer Limits", "The Children of Spider County," in which he is the protective father of a country girl who is enamored with the son of an extraterrestrial. Later, in 1967, Greer then played an alien himself, posing as a Catholic priest in "The Experiment," an episode of "The Invaders."


title: Dabbs Greer

text: As Reverend Alden, he had a prominent recurring role in the NBC series "Little House on the Prairie" from 1974 to 1983. Often cast as a minister, he performed the marriages of Rob and Laura Petrie on "The Dick Van Dyke Show" and Mike and Carol Brady on the first episode of "The Brady Bunch". From 1992 to 1996, he tended to the spiritual needs of the townfolk in fictional Rome, Wisconsin, as Reverend Henry Novotny in "Picket Fences". He also had a guest appearance on an episode of "Charles in Charge" in the role of Buzz Powell.


title: Dabbs Greer

text: In the May 9, 1991, episode of "L.A. Law", titled "On the Toad Again," he played a character addicted to a "high" produced by licking the skin secretions of psychoactive toads. In the 1997 film "Con Air", Greer appeared as the old man discovered hiding under a pickup truck at "Lerner Field."


title: Dabbs Greer

text: His final feature film was a prominent role as the 108-year-old version of the character played by Tom Hanks in 1999's "The Green Mile", 61 years after Greer was an extra in the 1938 film "Jesse James". Greer's last television performance was in a 2003 episode of "Lizzie McGuire".


title: Dabbs Greer

text: Most of Greer's nearly 100 movie roles and appearances in nearly 600 television episodes of various series had been in supporting roles, but he told the "Albany Times Union" in 2000 that "every character actor, in their own little sphere, is the lead."


title: Dabbs Greer

text: In an interview in April of 2003 with this contributor, Greer, a remarkably humble and kind man whose real persona can be seen in his many performances, as both a good guy and a bad guy (only with a dark “spin”) Greer said, “In 1949 I was teaching an acting class at the Pasadena Playhouse. I got a job as a gate keeper in Anthony Mann’s “The Reign of Terror”. This was to demonstrate to the class a practical way of getting acting roles. It was so much fun. In the role I was eating a chicken leg, and the director and I got along so well, that I found acting jobs afterward just kept coming my way. Not long after, that work became so lucrative that I no longer needed to teach. So I gave up the one and became an actor, full time.”


title: Dabbs Greer

text: In response to why he never got a nomination for his remarkable, sensitive performance in “The Green Mile”, though many thought it was worthy of a best supporting actor, if not a best actor nomination, Greer gently smiled. “Tom was supposed to portray the older character. I thought he was wonderful in the film. But as far as I know, there was trouble with the makeup. So I was hired. I guess the studio didn’t want it known as a fact as having been done by someone else; it was better if all credit went to Tom as both the younger and the older character.”


title: Dabbs Greer

text: Greer, who had moved to Pasadena, California in 1943, died on April 28, 2007, at Pasadena's Huntington Hospital after a battle with kidney failure and heart disease, not quite a month after his 90th birthday. He is interred in Peace Valley Cemetery in


title: Jimmy Pop

text: James Moyer Franks (born August 27, 1972), better known by his stage name Jimmy Pop (originally Jimmy Pop Ali), is an American rapper, singer, musician, and songwriter. He is best known as the lead vocalist, rhythm guitarist, primary songwriter, and one of the founding members of the rap rock band Bloodhound Gang.


title: Jimmy Pop

text: Pop was born in Trappe, Pennsylvania, the son of Alice Ann (born Moyer) and Richard Lee Franks. He is of German and Native American heritage, with Jewish ancestry. He was raised Lutheran, but ceased practicing as soon as his parents approved his request to do so.


title: Jimmy Pop

text: He graduated from Perkiomen Valley High School in 1990 and commenced studies in mass communication and history at Temple University in Philadelphia, Pennsylvania, where he met future Bloodhound Gang bassist "Evil" Jared Hasselhoff.


title: Jimmy Pop

text: Pop (then still going by his real name) played in a Depeche Mode cover band called Bang Chamber 8 with Mike Bowe (later known as Daddy Long Legs). Pop played guitar, while Bowe played bass and sang. In 1990, Bang Chamber 8 released a cassette of four original songs: "Wouldn't It Be Nice", "Birthday Boy", "Ice Cubes" and "War Chimes". These songs had nothing in common, lyrically or musically, with the Bloodhound Gang. "War Chimes" was written about Operation Desert Storm and featured a guitar solo from Pop at the end, who also provided the lead vocals. The synth line from "Birthday Boy" would be reused on a Bloodhound Gang track, "I'm the Least You Could Do", in 2005.


title: Jimmy Pop

text: Bang Chamber 8 split in 1991. In 1992, Pop and Daddy started a hip hop group called the Bloodhound Gang which later became more of an alternative rock band. Daddy Long Legs left the Bloodhound Gang to start Wolfpac in 1997.


title: Jimmy Pop

text: Pop collaborated with Bam Margera, Brandon DiCamillo, and Jess Margera as The DiCamillo Sisters to record a Christmas single titled "But Why's It So Cold?" along with an accompanying video. Pop collaborated with dance artist Tomcraft for a song called "Broadsword Calling Danny Boy" in 2006. The song is featured on Tomcraft's official MySpace. In 2007, Pop collaborated with German group Scooter for a song titled "The Shit That Killed Elvis", which was featured on their album "The Ultimate Aural Orgasm". Bam Margera can also be heard in the song's intro. The song reached number 2 in the German Hip Hop chart and remained there for two weeks. In 2010, Pop collaborated with German group Die Atzen for an English version of the song "Disco Pogo" which was featured on the "Jersey Shore" soundtrack. In 2022, he collaborated with Russian Hardbass group Russian Village Boys on their song “Daddy WTF?”, with its music video being released on February 22.


title: Jimmy Pop

text: Pop made an appearance in the "CKY" series of films, during a shopping cart race scene and slap fight in "CKY 4". He also appeared in an episode of "Viva La Bam" titled "Limo vs Lambo", in which Pop borrowed Bam Margera's Lamborghini without telling him, causing Margera to accuse his close friends (specifically Ryan Dunn) of doing the deed. He also appeared on the "Viva La Bam" episode "Rockstars", in which Don Vito and Phil Margera attempt to become rock stars, leading Jimmy Pop to French kiss Don Vito onstage.


title: Jimmy Pop

text: Pop has appeared on "The Dudesons", being one of the people throwing darts during the human dart board stunt with Jarppi Leppälä. Pop appeared with fellow Bloodhound Gang member Evil Jared Hasselhoff in the film "", directed by Bam Margera. They are credited in the film as Jimmy Pop Ali and Evil Jared “Hollywood” Hasselhoff. Pop also appears in Bam Margera's movie called "". He appears in the music video for the Oleander’s cover of "Boys Don't Cry".


title: Aditya Raj Kapoor

text: Aditya Raj Kapoor (born 1 July 1956) is an Indian film actor and filmmaker and retired businessman from the Kapoor family. He is the son of late actor Shammi Kapoor and actress Geeta Bali. Kapoor is best known for his work as an assistant director in several Hindi films and his English language directorial films like "Shamaal", "Don't Stop Dreaming" (2007) and "Sambar Salsa" (2007). His company has developed amusement parks in Mumbai and Delhi.


title: Aditya Raj Kapoor

text: Aditya Raj is the member of well known Kapoor family of Indian film industry. He was born to actor Shammi Kapoor and Geeta Bali. He is the grandson of actor Prithviraj Kapoor, cousin of actors Rishi Kapoor, Karan Kapoor, Randhir Kapoor and Rajiv Kapoor. He is uncle to actors Ranbir Kapoor, Karishma Kapoor and Kareena Kapoor. Aditya Raj Kapoor is married to Priti Kapoor and has two children, a son named Vishwapratap Raj Kapoor and a daughter Tulsi Kapoor.


title: Aditya Raj Kapoor

text: After finishing his school education, Kapoor started his professional career as an assistant director with his uncle Raj Kapoor for the 1973 romantic film "Bobby" and thereafter he worked as assistant director in films like "Satyam Shivam Sundaram" (1978), "Geraftaar" (1985), "Saajan" (1991), "Dil Tera Aashiq" (1993), "Papi Gudia" (1996) and "Aarzoo" (1999). After a hiatus from Bollywood, Kapoor made a comeback as writer and director of "Don't Stop Dreaming" and "Sambar Salsa" (both 2007).


title: Aditya Raj Kapoor

text: Kapoor's first important role as an actor came with Jagmohan Mundhra's "Chase" (2010). Previously he had appeared in minor roles in "Satyam Shivam Sundaram" – where he was Shashi Kapoor's body double and "Dil Tera Aashiq". Following "Chase" he played the role of a businessman who falls in love with a prostitute in "Mumbai 118". Kapoor also starred in "Diwangi Ne Had Kar Di" (2010), "Isi Life Mein" (2010), "Say Yes to Love" (2012) and "Yamla Pagla Deewana 2" (2011). In 2014 he participated in the bike-ride "India Hai" that covered several Indian states and some nearby countries like Nepal and Bhutan. In the same year Kapoor appeared in the Ashutosh Gowariker-directed television series "Everest". He also owns a truck and warehouse business. His construction company has developed the amusements parks Fantasy Land in Mumbai and Appu Ghar in Delhi.


title: Fanny and Alexander

text: Fanny and Alexander () is a 1982 period drama film written and directed by Ingmar Bergman. The plot focuses on two siblings and their large family in Uppsala, Sweden during the first decade of the twentieth century. Following the death of the eponymous children's father (Allan Edwall), their mother (Ewa Fröling) remarries a prominent bishop (Jan Malmsjö) who becomes abusive towards Alexander for his vivid imagination.


title: Fanny and Alexander

text: Bergman intended "Fanny and Alexander" to be his final picture before retiring, and his script is semi-autobiographical. The characters Alexander, Fanny and stepfather Edvard are based on himself, his sister Margareta and his father Erik Bergman, respectively. Many of the scenes were filmed on location in Uppsala. The documentary film "The Making of Fanny and Alexander" was made simultaneously with the feature and chronicles its production.


title: Fanny and Alexander

text: The production was originally conceived as a television miniseries and cut in that version, spanning 312 minutes; a 188-minute cut version was created later for cinematic release, although this version was in fact the one to be released first. The television version has since been released as a complete film, and both versions have been shown in theaters throughout the world. The 312-minute cut is one of the longest cinematic films in history.


title: Fanny and Alexander

text: The theatrical version was released to positive reviews. It won four Academy Awards, including for Best Foreign Language Film; three Guldbagge Awards, including Best Film; and other honours. "Fanny and Alexander" was followed by stage adaptations and further semi-autobiographical screenplays by Bergman, released as films in 1992: "The Best Intentions", directed by Bille August, and "Sunday's Children", directed by Daniel Bergman.


title: Fanny and Alexander

text: In 1907, young Alexander, his sister Fanny, and their well-to-do family, the Ekdahls, live in a Swedish town, running a moderately profitable theatre. At Christmastime, the Ekdahls hold a Nativity play and later a large Christmas party. The siblings' parents, Emilie and Oscar, are happily married until Oscar suddenly dies from a stroke. Shortly thereafter, Emilie marries Edvard Vergérus, the local bishop and a widower, and moves into his home where he lives with his mother, sister, aunt, and maids.


title: Fanny and Alexander

text: Emilie initially expects that she will be able to carry over the free, joyful qualities of her previous home into the marriage, but realises that Edvard's harsh authoritarian policies are unshakable. The relationship between the bishop and Alexander is especially cold, as Alexander invents stories, for which Edvard punishes him severely. As a result, Emilie asks for a divorce, which Edvard will not consent to; though she may leave the marriage, this would be legally considered desertion, placing the children in his custody. Meanwhile, the rest of the Ekdahl family has begun to worry about their condition, and Emilie secretly visits her former mother-in-law, Helena, revealing she is pregnant.


title: Fanny and Alexander

text: During Emilie's absence, Edvard confines the children to their bedroom, ostensibly for their safety. There, Alexander shares a story, claiming he was visited by the ghosts of the Vergérus family, who revealed the bishop was responsible for their deaths. The maid Justina reports the story to Edvard, who responds with corporal punishment. After Emilie returns, the Ekdahl family friend Isak Jacobi helps smuggle the children from the house. They live temporarily with Isak and his nephews in their store.


title: Fanny and Alexander

text: Emilie's former brothers-in-law confront Edvard to negotiate a divorce, using the children, the bishop's debts, and the threat of a public scandal for leverage, but Edvard is unmoved.


title: Fanny and Alexander

text: Emilie, now in the later stages of her pregnancy, refuses to restore the children to Edvard's home. Emilie allows Edvard to drink a large dosage of her bromide sedative. She explains to him, as the medication takes effect, that she intends to flee the home as he sleeps. He threatens to follow her family and ruin their lives, but falls unconscious. After she escapes, Edvard's dying Aunt Elsa accidentally overturns a gas lamp, setting her bedclothes, nightgown, and hair on fire. Engulfed in flames, she runs through the house, seeking Edvard's help, but he too, is set aflame. Although partially incapacitated by the sedative, he is able to disentangle himself from Aunt Elsa, but is badly burned and dies shortly thereafter.


title: Fanny and Alexander

text: Alexander had fantasised about his stepfather's death while living with Isak and his nephews Aron and Ismael Retzinsky. The mysterious Ismael explains that fantasy can become true as he dreams it.


title: Fanny and Alexander

text: The Ekdahl family reunites for the christening celebration of Emilie's and the late bishop's daughter as well as the extra-marital daughter of Alexander's uncle, Gustav Adolf, and the family maid, Maj. Alexander encounters the ghost of the bishop who knocks him to the floor, and tells him that he will never be free. Emilie, having inherited the theatre, hands Helena a copy of August Strindberg's play "A Dream Play" to read and tells her that they should perform it together onstage. Initially scoffing at the idea and declaring Strindberg a "misogynist," Helena takes to the idea and begins reading it to a sleeping Alexander.


title: Fanny and Alexander

text: Director Ingmar Bergman conceived of "Fanny and Alexander" while working on his 1980 film "From the Life of the Marionettes", and wrote the screenplay at Fårö in summer 1979. Bergman intended "Fanny and Alexander" to be his last feature film, although he wrote several screenplays afterwards and directed for television. He told the press he decided to retire, because, "I don't have the strength any more, neither psychologically nor physically". The screenplay was semi-autobiographical, attempting to portray Bergman's fondest memories in what he called a "happy and privileged" childhood; Alexander himself was meant as a representation of the young Ingmar. His recollections of his grandmother's home were a particular inspiration. He commented on his boyhood:


title: Fanny and Alexander

text: Bergman also recalled receiving his own magic lantern at age 10, from his aunt; in his autobiography, he described it as personally significant, and previously depicted a magic lantern in his 1972 "Cries and Whispers".


title: Fanny and Alexander

text: However, the Ekdahls do not entirely match the Bergmans. Ingmar's relationship with his sister Margareta during their shared childhood is depicted through the character Fanny, who is included in the title though she is not as large a character as Alexander. Bergman had previously modeled characters after his mother, Karin Åkerblom, as simultaneously "virgin and seductress": Emilie also fits that self-contradictory design.


title: Fanny and Alexander

text: Margareta and Ingmar's father was the strict Erik Bergman, a Lutheran pastor. Edvard is based on Erik, and like Edvard, Erik was raised in a family almost completely made up of women. Erik and Ingmar also often conflicted over "truth" and honesty, much as Edvard and Alexander do. The story Alexander tells of being sold to a circus resembles one Ingmar had told as a boy, and he was accosted by Erik much as Edvard lectures Alexander. However, Bergman also stated that "It has been suggested ... that 12-year-old Alexander is my alter-ego. But this is not quite true. "Fanny and Alexander" is a story, the chronicle of a middle-class, perhaps upper-middle-class family sticking closely together ... There's a lot of me in the Bishop, rather than in Alexander. He is haunted by his own devils".


title: Fanny and Alexander

text: Bergman proposed the project to producer Jörn Donner, who said he could provide the budget if all production and costume design crew would be Swedish. Bergman initially doubted that Sweden alone had the manpower, but eventually caved, Donner said. The estimated budget of 40 million SEK would make it the most costly Swedish film ever. To raise the $6 million, Donner and the Swedish Film Institute partnered with the French company Gaumont and West German TV. Bergman completed the screenplay by October 1980 and assembled a budget of $7 million, according to "New York".


title: Fanny and Alexander

text: The project was announced in October 1980 with Liv Ullmann, Max von Sydow and Erland Josephson in lead roles; von Sydow was cast as Edvard, the bishop who Ingmar told the press resembled Erik Bergman. However, negotiations to secure von Sydow became troubled as he continued to act more in productions beyond Sweden, and as his agent demanded a larger salary. Edvard was recast with Jan Malmsjö, whom Bergman had worked with before in "Scenes from a Marriage". In 1981, Ullmann also rejected the role of Emilie, due to a scheduling conflict, though in 2013 she remarked "I still don't know why I did that".


title: Fanny and Alexander

text: Bertil Guve was 10 when cast as Alexander. Bergman had seen Guve in a television film by Lasse Hallström and called for an audition with Guve, though the boy did not know who Bergman was. Bergman ultimately cast Guve, without sharing the story of "Fanny and Alexander" with him, recognising his imagination when he told a story about killing his own grandfather during the audition. Guve also said, "I asked Ingmar later why he chose me. He said it was because I acted with my eyes". Child actress Pernilla Allwin was cast as Fanny, and she and Guve regarded each other as rivals when they first met and began working; Bergman identified with this sibling rivalry.


title: Fanny and Alexander

text: Other actors like Harriet Andersson, Gunnar Björnstrand and Jarl Kulle, had previously appeared in Bergman's filmography. Björnstrand was developing Alzheimer's syndrome, making it difficult for him to memorise his dialogue, but he was still awarded a small role. Veteran actress Gunn Wållgren was cast as Helena, despite the fact that she was suffering from cancer, often concealing her pain during shots. "Fanny and Alexander" marked the final film appearances of both Björnstrand and Wållgren.


title: Fanny and Alexander

text: Pernilla Wallgren (later August) was cast, out of a state school where she was studying the stage, for what became her breakthrough role. August later explained she received a message inviting her to read the screenplay, and she did not know how the filmmakers knew of her. She had developed an interest in acting after seeing Bergman's "Cries and Whispers", and wanted a part like Kari Sylwan's in a film one day. Bergman also cast some of his real-life children, including Mats Bergman as Isak's nephew Aron, and Anna Bergman as Hanna Schwartz; Linn Ullmann was to play Alexander's older sister Amanda, but when Linn's school refused to give her a break for production, her father cut the character. His ex-wife Käbi Laretei was cast as an aunt. In total, there were 60 characters with lines, and over 1,200 extras.


title: Fanny and Alexander

text: Art director Anna Asp was given six months before production to prepare, and started by building miniature models and drawing sets. With respect to the Ekdahl home, Bergman envisioned his real-life grandmother's Uppsala residence as a model. She had one apartment in the residence, whereas the other apartment belonged to Erik Bergman and his family. Asp designed Oscar and Emilie's apartment with an Art Nouveau style. For the bishop's house, Asp sought a design that would be frightening while still being a plausible home for a man of the church, and found inspiration from a photograph of a castle in a magazine. In designing Isak's residence, Asp worked from Bergman's memory of a Jewish antiques shop owner, looking for a labyrinth-style.


title: Fanny and Alexander

text: Costume designer Marik Vos was tasked to oversee a project requiring 250 costumes for the principal actors, along with over 1,000 costumes for the extras. She allowed the testing of the vast majority of fabric samples to determine how they appeared in photography, with Bergman demanding to see as many of the test shots as he could. Vos also co-ordinated colours with Asp.


title: Fanny and Alexander

text: Principal photography began in Uppsala, Sweden, lasting from 7 September 1981 to 22 March 1982. The filmmakers began shooting around Uppsala streets, which municipal leaders allowed the crew to redecorate. Scenes were shot in chronological order, and Guve only learned the thrust of the story was his conflict with his stepfather during production. On the first day of photography, Bergman decided to stage a pillow fight, which the apprehensive Wallgren credited for putting her at ease. It also endeared the director to the child actors. Guve developed a generally amiable relationship with Bergman and later Pernilla Allwin, and Allwin and Guve's habit of playing on bicycles between filming would dirty their costumes and cause the crew to rush to clean them. Guve also conflicted with Bergman when he laughed during a shoot, at which point Bergman reprimanded him and said that it was "the most outrageous, the most unprofessional behaviour" he had ever seen. While production meant full-time days during the workweek, Guve remained in school by spending the weekend on homework.


title: Fanny and Alexander

text: Scenes were shot outside of Uppsala Cathedral, with the crew conflicting with the dean over whether an antenna could be removed. For Edvard's house, shooting moved to Upplandsmuseet, Uppsala County's museum. For interiors, the same sets in Uppsala and the Swedish Film Institute were used to portray multiple places.


title: Fanny and Alexander

text: With Bergman suffering from influenza, his colleagues substituted for him in shooting Oscar's funeral scene with 500 extras and a brass band. At one point during production, a crossbeam fell over in the studio and nearly hit Bergman and cinematographer Sven Nykvist. Other crew were injured in workplace accidents. One injury took place when a male stunt performer portraying the burning Aunt Elsa was actually burned by spilled napalm. Much of the production was recorded by Bergman and Arne Carlsson for the 1984 documentary, "The Making of Fanny and Alexander".


title: Fanny and Alexander

text: Critic Michiko Kakutani identified "Fanny and Alexander" as sharing marriage-drama and domestic themes as his "Thirst" (1949), "Scenes from a Marriage" (1973) and "From the Life of the Marionettes". In contrast, academic Linda Haverty expressed surprise at Bergman including fantastical elements such as ghosts and telepathy as they were a departure from the psychological horror of his work in the 1960s and 1970s, for this "Bildungsroman" story. Professor Frank Gado argued in his 1986 book "The Passion of Ingmar Bergman" that "Fanny and Alexander" is "actually two films, which, except that they concern members of the same family, are dramatically separate entities. The glow that warmed audiences radiates from only an outer layer; its core is as chilling as any of Bergman's fictions".


title: Fanny and Alexander

text: Academic Egil Törnqvist identified the character Gustav Adolf with secular merriment, while Alexander and Isak inhabit a world filled with the supernatural and evil. Critic Dave Kehr interpreted the fairy tale style as a product of the story being told from Alexander's perspective, coloured with "myth and legend". Alexander experiences "visions of ghosts or dream visions alongside everyday reality", author Laura Hubner wrote. The sequence these visions are seen in may be significant. After being punished by Edvard for telling a story about how the Vergérus family died, Alexander is haunted by the ghosts of the family who deny Edvard's culpability, suggesting Edvard frightened Alexander into seeing this new vision. Writer Mas'ud Zavarzadeh rationalised Alexander's visions as a product of the character being "an artist in the making". Zavarzadeh further noted, "He is involved in the construction of a more genuine and stable reality than the one that surrounds him".


title: Fanny and Alexander

text: As indicated by Gustav Adolf's final speech, most of the Ekdahls do not spend much time grappling with the meaning of life. Zavarzadeh also contrasted Alexander to another of his uncles, Carl, a scholar who relies on logic but who is reduced to an absurdity, at one point entertaining the children with his flatulence. Törnqvist considered the surname of the characters to be inspired by Henrik Ibsen's 1884 play "The Wild Duck", and that it made the name Ekdal synonymous with characters who cope with illusions about reality. "Fanny and Alexander" adds an H to Ekdal, giving it an aristocratic air, Törnqvist added.


title: Fanny and Alexander

text: Huber cited academics Marilyn Johns Blackwell and Törnqvist in support of the point that, despite the title, Alexander is the lead role and Fanny is a minor character; Blackwell added that imagination is "largely gendered as male". Concurring that Fanny is a minor character, Kehr further argued that Alexander influences the plot to a lesser degree than the adult characters, but remains the focus in the storytelling.


title: Fanny and Alexander

text: In the end, Helena reads from August Strindberg's 1902 play "A Dream Play": "Anything can happen, all is possible and probable. Time and space do not exist. On an insignificant foundation of reality, imagination spins out and weaves new patterns". As with "A Dream Play", "Fanny and Alexander" explores "the unreality of life itself". Gado suggested the quote refers to memories and imagination, and that all of Bergman's filmography could be dreams forming parts of one dream.


title: Fanny and Alexander

text: "Film Quarterly" essayist Jarrod Hayes concluded the conflict between Alexander and Edvard is a "clash of two Titans", as Edvard summons "the power of "an" image, God, Alexander has the power of "the" Image". Törnqvist observed Alexander's father Oscar wears white while his stepfather Edvard wears black, signifying they represent good and evil. Academic Amir Cohen-Shalev also observed contrasts between Oscar and Edvard, Oscar as "well-meaning, loving but passive", and Edvard, as a far more strict man of the church, in the mold of Erik Bergman. Cohen-Shalev argued Edvard disguises his emotional shortcomings with his bourgeois veneer and "glib, affected piety". While espousing his devotion, Edvard personally may have secretly lost his belief, and he conflicts with Alexander with "doublethink": using "love" to mean "hate". Following Oscar's death, Cohen-Shalev argued Emilie chooses to marry Edvard because she is frightened as to how empty she is: "I could not understand why nothing really happened, why I never felt really happy".


title: Fanny and Alexander

text: The story makes multiple references to William Shakespeare's play "Hamlet"; According to Scott-Douglas, Alexander observes Oscar playing "Hamlet"'s Ghost before he dies, and afterwards appears as a ghost, while Alexander acquires a new abusive stepfather. This made "theatre and reality seem indistinguishable". Cohen-Shalev argued Oscar being reduced to a ghost is his punishment for never truly living, and losing his life. Törnqvist wrote the "triangle" of Alexander, Emilie and Edvard is explicitly explained with Emilie's reference to "Hamlet", and the characters Hamlet, Queen Gertrude and King Claudius: "Don't act Hamlet, my son. I'm not Queen Gertrude, your kind stepfather is no king of Denmark, and this is not Elsinore Castle, even if it does look gloomy". Emilie, like Gertrude, is also portrayed as unfaithful, with Bergman's screenplay suggesting Oscar is not Alexander's biological father: in the Nativity play, Oscar plays Joseph. According to Helena, Oscar fell impotent after Fanny's birth, and Emilie afterwards conducted circumspect affairs.


title: Fanny and Alexander

text: By framing Edvard as "stepfather-king", the story becomes a battle between "infanticide and parricide", where killing Edvard is associated with Alexander's "artistic/sexual emancipation", scholar Arnold L. Weinstein wrote. Törnqvist wrote Alexander displays an "erotic attraction to his mother", combined with a hatred for his stepfather, referencing the Oedipus complex. Author Viveka Nyberg identified Oedipal themes as pervasive, suggesting Alexander believes he may have killed both his father and stepfather in competition for his mother's love. Nyberg described Emilie as "beautiful and aloof in equal measure", and she cares for her children but concerns herself more with other things. Alexander's story of being sold to the circus reflects his feelings of his mother forsaking him. While Alexander appears to admire Oscar and his imagination, Alexander also listens in on his parents' interactions, and sleeps in Maj's bed, with Maj acting as stand-in mother and an object of sexual desire.