Free digital copy of 'The Fluxus Reader' now available

Al Filreis

Time to say a few words about the new free digital edition of The Fluxus Reader. I think I originally learned about this book through my admiration of Craig Saper, who has an essay in it. Somehow, along the way, I began an email correspondence with Ken Friedman, editor of the book. (I know Ken as a Fluxus guy, but he is also a University Distinguished Professor and Dean of the Faculty of Design at the Swinburne University of Technology in Melbourne, Australia.)

I'm glad I have my own copy of The Fluxus Reader; it has been out of print for nearly a decade and a half. In the run-up to the 50th anniversary of Fluxus in 2012, Ken has been getting requests for copies, but he doesn't have any, and he doesn't know anyone who does. A recent Amazon search for used copies shows them running from $449 up to $2,500.

Ken has long wanted to make a free digital edition available, but the small typeface has made it difficult to get a clean copy. Then Rebecca Parker, manager of the Research Bank at the Swinburne University library, went to a service to have them prepare, digitize, and proof a digital edition of The Fluxus Reader. So now, I'm pleased to report, the free digital copy is available for download at:

http://hdl.handle.net/1959.3/42234

The book is an open access edition, configured for full search and accessible for copy and paste for scholars or students who wish to quote from it. All details and pages are identical with the print edition. The PDF files are set to print out on a full-page format for easy reading.

In his contract with the publisher, Ken kept the copyright of the book as editor. In making the digital edition of The Fluxus Reader available, Ken grants full permission for use in any format or medium. This, I want happily to emphasize, is a policy of Open Access in action. And why not, in our field, where significant profits are quite unlikely? Readership is far more important.

May 15, 2011

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DIGITAL PEDAGOGY: This was a magazine story published in 2001 about my use of e-media in teaching. “Postmodern poets focused on the process of their poetry, rather than on what the words in their poems actually said. The purpose was to make poetry and language new again. There's no better way to describe Filreis's teaching style. He uses technology to free class time for discussion, which to Filreis is more important than the course material itself. The point is to develop his students' ability to think critically, not to have memorized every last fact about Gertrude Stein. And yet, he said, through that active engagement with the material, students end up remembering more of the content.”

Click on the image.

ASHBERY PERFORMS STEVENS: In October of 1989, John Ashbery went to St. John's the Divine Cathedral in New York to be part of the induction of Wallace Stevens at the Poets' Corner. There was a vespers service and Ashbery read six sections of Stevens's "An Ordinary Evening in New Haven." Imagine that--that poem read at a vespers service! Anyway, I certainly don't know of another recording of Ashbery performing Stevens. Stevens was a fairly bad reader of his own poems. Ashbery is deemed by many to be an indifferent reader of his poems. (I don't agree, but understand the point.) But here, reading Stevens, Ashbery is marvelous. Here is a 7-minute recording of sections 3, 5, 12, 17, 18 and 30 of the Stevens poem that comes closest to real serial writing (seriality at the level of the section, anyway).

THE (ANTI)MODERN PRESIDENT. After looking at an abstract mural at the U.N. then President-elect Eisenhower said, “To be modern you don't have to be nuts.”

THE END OF THE LECTURE & PLANNING TO STAY. As often as I can, I call for the end of the lecture as we know it. I'm pretty serious about this - not often exaggerating on the point. Click here for one of many forays into the topic. Once you're there, click on the "end of the lecture" tag for still more. My thoughts on institutional politics and the arts were presented in a manifesto called "Planning to Stay" (published as a pamphlet by No Press); the text of that talk is available here.

KELLY WRITERS HOUSEPhiladelphia's PBS affiliate, WHYY-12, produces a TV show that in each episode features four centers for the arts and creativity in the Philadelphia region. For its winter 2010-11 program, the show devoted 15 minutes to the Kelly Writers House in a segment called “The Creative Campus.” To watch the video, click on the image above.

REPRESENTATIONS OF THE HOLOCAUSTI dislike Spielberg’s Schindler’s List intensely. It's a film, I think, that is very friendly toward sovereignty. For more on this minority view, click on the image above. I teach a course at Penn on representations of the Holocaust in literature and film every other fall semester.

In 2003 I founded and continue to direct the Center for Programs in Contemporary Writing at the University of Pennsylvania. CPCW brought together the university's writing programs and projects: Critical Writing, Creative Writing, the Kelly Writers House, PennSound, RealArts@PENN, Writers Without Borders, Creative Ventures, Jacket2, and more. For information and links to each of these projects, click on the logo above.