by , ,
, and

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.”