Anonymous

Intermedia, Multi-media
Another trend in art which has been associated with the term postmodern is the use of a number of different media
together. Intermedia, a term coined by Dick Higgins and meant to convey new art forms along the lines of Fluxus,
concrete poetry, found objects, performance art, and computer art. Higgins was the publisher of the Something Else
Press, a concrete poet married to artist Alison Knowles and an admirer of Marcel Duchamp. Ihab Hassan includes,
"Intermedia, the fusion of forms, the confusion of realms," in his list of the characteristics of postmodern art.
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One
of the most common forms of "multi-media art" is the use of video-tape and CRT monitors, termed video art. While
the theory of combining multiple arts into one art is quite old, and has been revived periodically, the postmodern
manifestation is often in combination with performance art, where the dramatic subtext is removed, and what is left
is the specific statements of the artist in question or the conceptual statement of their action.
Fluxus
Fluxus was named and loosely organized in 1962 by George Maciunas (1931
–
78), a Lithuanian-born American
artist. Fluxus traces its beginnings to John Cage's 1957 to 1959 Experimental Composition classes at the New School
for Social Research in New York City. Many of his students were artists working in other media with little or no
background in music. Cage's students included Fluxus founding members Jackson Mac Low, Al Hansen, George
Brecht and Dick Higgins.
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. 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

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Modernism
14
colleagues.
Andreas Huyssen criticises attempts to claim Fluxus for postmodernism as, "either the master-code of
postmodernism or the ultimately unrepresentable art movement 
– 
as it were, postmodernism's sublime." 
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Instead
he sees Fluxus as a major Neo-Dadaist phenomena within the avant-garde tradition. It did not represent a major
advance in the development of artistic strategies, though it did express a rebellion against, "the administered culture
of the 1950s, in which a moderate, domesticated modernism served as ideological prop to the Cold War."
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