by , ,
In this paper, we seek to the of linguistics vis-à-vis the of , via .
The Fluxus movement, at its peak in the 1960s and 1970s, was the of much of that followed. This , discipline-blending opposed and emphasized style, materials, and presentation, routinely the between performer and and between performance and .
Fluxist “happenings” overturned the notions of in . Similarly, our proposed new mode of our field seeks to the old boundaries and expectations of “serious” , academic “”, and “articles”.
to Fluxus were the of the John Cage, notorious for his piece 4’33”.
Cage was a composer of what some have “ ”—music where by chance.
He is also for his use of musical instruments and his of electronic music.
His are sometimes , but for the of music, which he described as “.”
Cage was also a writer.
He produced many texts, often to produce them, and using of font sizes, type faces, and .
the Fluxists’ of of art, postmodernism the social basis of almost any assertion, going so far as to (see ). Rather, has, by familiar , shifted our existence from “reality” to “”—that is, “.”
Thus “truth” can only be as a web of and social . There is no “” because these connections . By deconstructing “”, one can undermine the and that underpin them, revealing the “deeper” substance of , which the “superficial” of the .
from the of these is reader-response theory, which the reader as agent that imparts “” to a written work. Of utmost importance is the .
all of these notions back to the of , it becomes that the field’s insistence on , , and argumentation is . A foundation of stone can be and ; a foundation of is immune to .
has many valuable from Fluxus, Post-Modernism, and their ilk. Chief among them: “You can never twice.”