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Henry Flynt (born 1940 in Greensboro, North Carolina) is a philosopher, avant-garde musician, anti-art activist and exhibited artist often associated with Conceptual Art, Fluxus and Nihilism. ==Background== Henry Flynt’s work devolves from what he calls cognitive nihilism; a concept he developed and first announced in the 1960 and 1961 drafts of a paper called ''Philosophy Proper.'' The 1961 draft was published in Milan with other early work in his book ''Blueprint for a Higher Civilization'' in 1975. Flynt refined these dispensations in the essay ''Is there language?'' that was published as ''Primary Study'' in 1964. In 1961 Flynt coined the term concept art〔The Times literary Supplement, August 6th, 1964, p. 688 "Henry Flynt concept art" .〕 in the Neo-Dada, proto-Fluxus book ''An Anthology of Chance Operations''〔Kristine Stiles & Peter Selz, ''Theories and Documents of Contemporary Art: A Sourcebook of Artists' Writings'' (Second Edition, Revised and Expanded by Kristine Stiles) University of California Press 2012, p. 955〕 (co-published by Jackson Mac Low and La Monte Young) that was released in 1963.〔Flynt, Henry. () "Essay: Concept Art. As published in ''An Anthology of Chance Operations'' (1963)〕 ''An Anthology of Chance Operations'' contained seminal works by Fluxus artists such as George Brecht and Dick Higgins. Flynt's ''concept art'', he maintained, devolved from cognitive nihilism, from insights about the vulnerabilities of logic and mathematics. Drawing on an exclusively syntactical paradigm of logic and mathematics, ''concept art''〔(Henry Flynt, "The Crystallization of Concept Art in 1961" )〕 was meant jointly to supersede mathematics and the formalistic music then current in serious art music circles. Therefore, Flynt maintained, to merit the label ''concept art'', a work had to be an object-critique of logic or mathematics or objective structure."〔Henry Flynt, "Concept-Art (1962)", Translated and introduced by Nicolas Feuillie, Les presses du réel, Avant-gardes, Dijon.〕 In 1962 Flynt began to campaign for an anti-art position.〔Michel Oren (1993) Anti-Art as the End of Cultural History, Performing Arts Journal, volume 15, issue 2.〕 Thus he demonstrated against cultural institutions in New York City (such as MOMA and Lincoln Center for the Performing Arts) with Tony Conrad and Jack Smith in 1963 and against the composer Karlheinz Stockhausen twice in 1964.〔Interview with Henry Flynt in The Village Voice, September 10th, 1964, by Susan Goodman, "Anti-Art Pickets Pick on Stockhausen" .〕 Flynt wanted avant-garde art to become superseded by the terms of ''veramusement'' and ''brend''—neologisms meaning approximately pure recreation. Flynt read publicly from his text ''From Culture to Veramusment'' at Walter De Maria's loft on February 28, 1963—an act which can be considered performance art. From about 1980, Flynt has given a great deal of time to two endeavors which did not achieve the notoriety of the early actions: his concepts of meta-technology 〔(Henry Flynt, "Lessons in Meta-Technology" )〕 and personhood theory.〔(Henry Flynt, "Personhood Theory: A Sketch" )〕 In 1987 he revived his "concept art" for tactical reasons; and spent seven years in the art world. Following that period, Flynt began to publish recorded but unreleased musical compositions. Over 10 audio CDs have appeared as of 2007. Flynt's writings on a wide variety of subjects are available on his website: (Henry Flynt: Philosophy ) 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Henry Flynt」の詳細全文を読む スポンサード リンク
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