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ASSEMBLAGES, ENVIRONMENTS. AND HAPPENINGS no one can. (A) The line between art and life should be kept as fluid, and perhaps indistinct, as. Assemblage, Environments & Happenings has 13 ratings and 2 reviews. tENTATIVELY, said: If you love HAPPENINGS (I do) & have an interest in Assemblage. Assemblage, environments and happenings Allan KAPROW. Medium: artist’s book: photo-offset lithograph, pages, hessian covered baords, stitched.

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And, occasionally, sections of a work were left open for accidentals or improvisations. Jennifer Way – – Journal for Cultural Research 7 1: The scheme was self-evidently “formal” but the subject matter was happeninga or it had some as yet unrevealed form that was hidden because it was not respected.

But while this was possible in music, particularly electronic music, whose rudiments are relatively nonassociative. As in a chess game, the manipulation is intellectual, whereby elements of the work are moved according to strict, sometimes self-imposed, regulations. It is only natural that if there are multiple spaces in which occurrences are scheduled, in sequence or even at random, time or “pacing” will acquire an order that is determined more by the character of movements within environments than by a fixed concept of regular development and conclusion.

Trivia About Assemblage, Envir Emily marked it as to-read Apr 24, T marked it as to-read Jan 01, Happenings and Other Acts. Time retarded as space extended. Return to Book Page.

Assemblage, Environments & Happenings by Allan Kaprow

A single performance space tends toward the static and, more significantly, resembles conventional theatre practice. Imagine some evening when one has sat talking with friends, how as the conversation became reflective the pace slowed, pauses became longer, and the speakers “felt” not only heavier but their distances from one another assembblage proportionately, as though each were surrounded by great areas commensurate with the voyaging of his mind.

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As ahppenings the last, the act of finding this out would become, by default, the “Happening. Finally, there is this additional exception to the rule.

Assemblage, Environments & Happenings

There are related ways of setting off rearrangements of fixed numbers of actions such as by cueing, in which performers are given a set of actions that are signaled, knowingly or unknowingly, by one another or by natural occurrences such as the sound of a car horn or a cloud formation. This could be printed and mail-ordered for use by anyone who wanted it.

As soon as they are found to be useless they will be broken, and other limits will take their place. The one big difference is that while knowledge of. Think of the following items: But so far they have been distributed to friends, who perform them at their discretion and without ceremony. Yet it also came spilling into the slowly spreading vastness of the talkers’ space, invading the transformed room, partly shattering it, sliding shockingly in and about its envelope, nearly displacing it.

At present, the media are all rather unstable envkronments their meanings in their new context tend to arise more quickly than anything else.

In the case of those Happenings with more detailed instructions or more expanded action, the artist must be present at every moment, directing and participating, for the tradition is too young for the complete stranger to know what to do with such plans if he got them.

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When a work is performed on a busy avenue, passersby will ordinarily stop and watch, just as they might watch the demolition of a building.

Allan Kaprow, Excerpts from “Assemblages, Environments & Happenings () – Belgium is Happening

Julie rated it really liked it Oct 21, This is simply accomplished by writing out the scenario or score for all and discussing it thoroughly with them beforehand. Marian Tubbs – unknown. At other moments the active and observing roles would be exchanged, so that by reciprocation the whole meaning of watching would be altered, away from something like spoon-feeding, toward something purposive, possibly intense.

If a horse is part of a work, whatever a horse does gives the “form” to what he does in the Happening: Suddenly, from out on the street, through the open window a police car, siren whining, was heard speeding by, its space moving as the source of sound moved from somewhere to the right of the window to somewhere farther to the left.

Such persons are authentic parts of the environment.

He argued that “the use of standard performance conventions from the very start tended to truncate the implications of the art. These cues also may be responded to in any one of a number of alternative ways in each instance, so here again the combinations are quite varied.

They might stay, perhaps become involved in some unexpected way, or they will more environkents move on after a few minutes.