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Beuys used scores as a script or directions for his actions containing the basic outline and impetus for an event. He learned of the use of written scores from his Fluxus peers, who adapted this practice from musical performance. The conventional function of written scores in both Beuys' and Fluxus performances lay somewhere between a musical score and a theatrical script. In a less conventional sense, scores spanned a continuum between an idea and an object, a conceptual artwork and a relic of performance, often exhibiting an ambiguous, ephemeral, and poetic sensibility. Explaining the score for his action The Chief (1964), Beuys said, "Such a
performance always has a theory behind it, a Partitur or score, which
gives information without information. Acoustically it's like using
just the carrier wave as a conveyor of energy without loading it with
semantic information." |