The idea of the Fluxus movement piqued my interest in a similar fashion that the Dada movement did when it was presented as a class topic. It appears to be a more chaotic and experimental version of the Dada movement, where it does have its roots, but it would be incorrect to simplify Fluxus to that of a second Dada movement. The most notable of these that displays the difference between the two movements was the concept of “Danger music” created by the Fluxus movement. By definition, it is a genre of music that puts the performer, the audience, or both, in some sort of danger, whether it be physical, mental, or emotional. The original “Danger Music” concept was a series of instructions in 43 different pieces. The most notable is Danger Music No.17 which would go on to influence much of the noise scene around the world.
As for the rest of these pieces, or at least the ones that I could find the original documents of, they all have intentionally vague instructions. This was in part due to the fundamental concept of Fluxus as being performance art that anyone could reproduce, questioning the validity of the “artist” title, by allowing anyone to participate in the performance, and even encouraging this. The premise of danger music does this whether the audience or bystanders desire to be in the piece or not. Another danger music piece that explores this is No.15 in which the instructions say to “work with butter and eggs for a time.” It is demonstrated in the video below at the 8-minute mark, though the rest cover another bunch of food-related Fluxus art pieces.
As for the influence of Fluxus and Danger Music on the modern noise scene, I happened to come by a group from Japan named “HANATARASH.” They do what is more standard in abusing audio equipment to make the ugliest sounds as loud as possible, either by throwing props around the microphone or yelling directly into the microphone, as seen in this particular performance. I had sort of known about the group before but didn’t really delve into their endeavors until now.
Another notable piece that I feel fits the general progression of the movement was their “Bulldozer Gig” in 1985. As shown through pictures in the video below.
https://martonpracticum2021.com 