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Intermedia

Intermedia is an art theory term coined by Fluxus artist and theorist Dick Higgins in 1965 to describe artistic works that conceptually fall between or integrate established media, such as visual art, music, poetry, theater, and performance, thereby challenging and dissolving the rigid boundaries that traditionally separated them.^[1] Unlike multimedia, which often juxtaposes distinct forms, intermedia emphasizes shared structures, translations, and dialectical relationships across media, fostering a more fluid and immediate mode of expression that reflects societal shifts toward simplicity and direct communication in the post-World War II era.^[2]^[3] The concept originated amid the 1950s and 1960s avant-garde movements, particularly Fluxus, as artists responded to technological advancements like television and mass media, which altered public sensitivities and rendered traditional artistic categories obsolete.^[1] Higgins, drawing on earlier precedents such as Marcel Duchamp's readymades (which blurred sculpture and everyday objects) and John Heartfield's photomontages (merging collage and photography), positioned intermedia as a tool for understanding emerging forms like Allan Kaprow's Happenings—improvisational events from 1958 that combined theater, visual art, and audience participation.^[1] His own works, including the 1958 light-based performance Stacked Deck, exemplified this by eliminating distinctions between performers and viewers through colored projections and spatial dynamics.^[1] Higgins elaborated on intermedia through his essay "Intermedia," published via his Something Else Press (1964–1974), which distributed experimental texts and reached an international audience of artists and theorists.^[1] In a 1966 statement, he argued that the breakdown of media stemmed from a "populist, non-compartmentalized mentality" suited to a classless society, urging artists to use these tools not just formally but to address social issues like war and labor crises explicitly.^[3] This framework influenced subsequent developments in digital art, where intermedia evolved to incorporate computational precision and cross-modal interactions, as seen in works by artists like Nam June Paik, who translated video signals into sculptural forms.^[2] The term's impact extends to contemporary practices in installation art, performance, and new media, providing a critical lens for analyzing hybrid forms that prioritize sensory flux and interdisciplinary dialogue over medium-specific purity.^[2] By reviving an earlier usage from Samuel Taylor Coleridge in 1812, Higgins transformed intermedia into a foundational concept for late-20th-century art theory, underscoring art's role as a versatile medium for cultural critique and innovation.^[1]

Origins

Coining of the Term

The term "intermedia" was coined by artist and theorist Dick Higgins in his essay "Intermedia," originally published in the inaugural issue of the Something Else Newsletter (Volume 1, Number 1) in February 1966 by Something Else Press, the experimental publishing house he had founded in 1963 to disseminate avant-garde works.^[1]^[4] Written in 1965 amid the burgeoning Fluxus movement, with which Higgins was closely affiliated, the essay articulated his motivation to name and conceptualize emerging art forms that occupied the conceptual spaces between established media categories, such as those blending elements of painting and poetry, in order to make such hybrid practices more accessible beyond specialist circles.^[1] The essay's initial reception was confined to a niche audience within avant-garde communities, as Something Else Press distributed around 10,000 copies to artists, critics, and subscribers, yet it established a seminal reference point that would underpin later theoretical discussions of intermedia.^[1]

Context in 1960s Avant-Garde Movements

The post-World War II experimental art scene in the United States and Europe marked a significant departure from the rigid formalisms of modernist purity, embracing instead ephemeral, participatory forms that integrated everyday life into artistic expression. In the U.S., this shift was epitomized by the rise of happenings, improvised events that blurred the lines between audience and performer while rejecting traditional theatrical or visual art hierarchies. Artist Allan Kaprow coined the term "happening" and staged the seminal 18 Happenings in 6 Parts in October 1959 at the Reuben Gallery in New York, drawing from influences like Jackson Pollock's action painting to create non-narrative, site-specific spectacles that emphasized process over product. Parallel developments in performance art across Europe and the U.S. further challenged modernist ideals of autonomy and purity, fostering an environment where art was seen as a social and sensory experience rather than an isolated aesthetic object.^[5]^[6]^[7] A key intellectual catalyst for this interdisciplinary ethos was composer John Cage's classes on experimental composition at the New School for Social Research in New York during the late 1950s, from 1956 to 1961, where he introduced concepts of chance operations and indeterminacy to liberate artistic creation from predetermined structures. Cage's teachings encouraged students to compose across media—incorporating sound, visuals, and performance—treating art as an open, collaborative process influenced by environmental contingencies rather than authorial control. Dick Higgins, who attended these classes in 1958, absorbed these ideas, which later informed his articulation of intermedia as a direct outcome of this pedagogical milieu.^[8]^[9]^[10]^[11] The formation of Fluxus in 1962, spearheaded by George Maciunas, amplified these tendencies through an international network of artists, composers, and poets who organized anti-art events to dismantle institutional boundaries between disciplines and everyday life. Emerging from Cage's influence and happenings, Fluxus promoted irreverent, low-cost performances and publications that blurred artistic categories, positioning art as accessible and anti-elitist. This boundary-blurring approach within Fluxus events provided a fertile ground for intermedia's conceptual development.^[12]^[13]^[14] Broader socio-political currents of the 1960s counterculture, including anti-establishment protests and a rejection of consumerist norms, intertwined with technological advances to enable hybrid artistic forms. The advent of portable sound recording devices, such as magnetic tape recorders, allowed artists to manipulate audio in real-time during performances, while the Sony Portapak video system introduced in 1967 democratized moving-image capture, facilitating experimental fusions of visual, auditory, and performative elements outside traditional studios. These innovations, amid the era's youth-driven rebellion, supported the creation of multimedia works that reflected a desire for integrated, experiential art.^[15]^[16]^[17]

Theoretical Framework

Core Definition and Principles

Intermedia refers to an artistic practice and theoretical concept that involves works occupying liminal spaces between established media, such as visual art, performance, and sound, by establishing structural continuities rather than discrete combinations. Coined by Fluxus artist Dick Higgins, the term describes art forms that fall conceptually between known media, thereby avoiding the connotations of "mixed media," which implies a mere juxtaposition of separate elements without conceptual fusion.^[18]^[3] At its core, intermedia embraces interdisciplinarity through overlapping structural elements across media, rejecting the modernist doctrine of medium-specificity that emphasized purity within individual forms like painting or sculpture. This approach prioritizes artistic process over static products, often incorporating viewer participation to blur boundaries between creator, artwork, and audience, and favoring ephemeral forms that highlight immediacy and transience. Higgins outlined these principles as a response to technological and social shifts, advocating for art that engages dialectically with multiple media to foster simplicity and direct impact in an era of mass communication.^[19]^[3] Higgins' theoretical framework draws on Marshall McLuhan's analyses of media as extensions of human perception, adapting them to art by contrasting "direct media"—traditional, compartmentalized forms—with intermedia's hybrid continuities that extend artistic expression beyond conventional limits. Philosophically, intermedia promotes an anti-hierarchical ethos, echoing Dada and Surrealism's disruption of artistic norms while updating them for 1960s technological contexts to enable democratic access to creative processes and outcomes.^[20]^[21] Intermedia differs from multimedia in its emphasis on fusing media boundaries to create transformative hybrids, rather than merely combining distinct elements additively. In multimedia, multiple media such as video and sound are juxtaposed within a single work while retaining their separate identities, often serving functional or illustrative purposes without structural integration.^[22] By contrast, intermedia seeks organic continuities and shared syntactic structures across media, blurring distinctions to generate new artistic forms that transcend the sum of their parts.^[2] This relational fusion in intermedia allows for processual interactions that challenge traditional categorizations, whereas multimedia typically prioritizes synchronous presentation without such synthesis.^[23] Similarly, intermedia stands apart from mixed media through its conceptual depth and transformative intent, avoiding superficial layering of materials. Mixed media involves combining elements from one medium into another—such as incorporating photographs into painting—without altering their essential properties or creating emergent forms.^[22] Intermedia, however, integrates media at a structural level to produce novel entities that reflect ongoing dialogues between forms, emphasizing conceptual evolution over mere aggregation.^[2] This distinction highlights intermedia's focus on boundary dissolution and hybrid innovation, as opposed to mixed media's additive approach that preserves individual media characteristics.^[24] The term intermedia has evolved since its 1960s inception, with post-1980s appropriations in digital media diluting its original emphasis on analog, performative hybrids. Early digital experiments, such as CD-ROM publications blending print with audio-visual content, expanded intermedia into technological realms, normalizing hybrid practices in publishing and art.^[25] However, this shift toward virtual networks and screen-based works often represses Fluxus's material and bodily focus, reframing intermedia as a precursor to disembodied digital interactivity and eroding its anti-establishment, concrete intent.^[26]

Practice and Key Examples

Dick Higgins' Contributions

Dick Higgins (1938–1998) was an influential figure in experimental art, co-founding the Fluxus movement in 1962 and establishing Something Else Press in 1963, which he ran until 1973 before it ceased operations in 1974; through this imprint, he published and disseminated seminal texts and artworks advancing intermedia concepts.^[27]^[28] Higgins' practical contributions to intermedia are exemplified by his "Danger Music" series, composed between 1961 and 1962, which integrated performance art, sound elements, and deliberate risks to challenge conventional boundaries of artistic expression. A representative piece, Danger Music No. 17 (1962), features a score directing performers to repeatedly scream—"Scream! Scream! Scream! Scream! Scream! Scream!!"—before the lights are extinguished, heightening sensory disorientation and communal intensity.^[29]^[30] In his theoretical writings beyond the 1965 essay in which he first coined the term "intermedia," Higgins further elaborated on the evolution and interconnections of artistic media. His book A Dialectic of Centuries: Notes Towards a Theory of the New Arts (1978) traces historical developments across media forms, proposing a dialectical framework for understanding their ongoing hybridization in contemporary practice.^[31] Similarly, in Horizons: The Poetics and Theory of the Intermedia (1984), he employed diagrams to map relational dynamics among intermedia elements, illustrating how disparate art forms overlap and influence one another.^[27]^[32] Higgins pioneered polyartistry, demonstrating mastery across poetry, composition, performance, publishing, and visual arts to embody intermedia's fluid ethos. He also innovated "intermedia objects," hybrid sculptures like shoelike-mushroomlike forms that defy singular categorization, visually encapsulating the conceptual blending central to his work.^[27]^[19]

Works by Other Artists

Yoko Ono's *Cut Piece* (1964) exemplifies performative intermedia through its integration of audience interaction, body art, and conceptual poetry. In this work, first performed in Kyoto and later in New York at Carnegie Recital Hall on March 21, 1965, Ono knelt silently on stage while audience members used scissors to cut away pieces of her clothing, creating a dynamic interplay between performer vulnerability and participant agency.^[33] The piece, associated with Fluxus circles, invited collective participation to explore themes of exposure and non-resistance, blending physical presence with poetic silence. Nam June Paik's video installation TV Buddha (1974) represents structural intermedia by fusing sculpture, live video feedback, and Zen philosophy. The work features a closed-circuit setup where a small Buddha statue faces a camera that relays its image to a nearby television monitor, allowing the figure to "contemplate" its electronic reproduction in a loop of self-observation.^[34] Created during Paik's exploration of technology's meditative potential, it juxtaposes ancient iconography with modern media to evoke cycles of perception and illusion.^[35] The collaborative Fluxus event known as the Fluxus Symposium—formally the International Festival of the Newest Music—held in Wiesbaden, Germany, in September 1962, showcased ephemeral intermedia performances that merged music, visuals, and action. Organized by George Maciunas at the Städtisches Museum, the series of concerts included provocative actions like Philip Corner's Piano Activities, where performers dismantled and destroyed a piano, blending sonic experimentation with sculptural intervention and audience provocation.^[36] These events, drawing both amusement and outrage, highlighted Fluxus's emphasis on interdisciplinary happenings over conventional artistry.^[37] Alison Knowles's Shuffle (1961) illustrates a sound-poetry walk that integrates environment, text, and movement as intermedia. In this event score, performers quietly shuffle their feet—solo or in groups—entering, navigating around or through the audience, and exiting the performance space, producing subtle auditory rhythms from the friction of soles on floor.^[38] Premiered in New York at the Advertisers' Club in August 1963, it transforms mundane locomotion into a collective, immersive sonic experience tied to spatial dynamics.^[39] Robert Watts's event scores functioned as intermedia instructions, providing concise directives that combined performance, conceptual text, and everyday objects. For instance, his Casual Event (c. 1962) instructed the performer to drive to a filling station, inflate the right front tire until it bursts, change the tire, and continue, blending everyday actions with chance and absurdity.^[40] Developed within Fluxus networks, these scores encouraged interpretive flexibility, turning instructional language into hybrid activations of art and life.^[13] Many of these artists were influenced by Dick Higgins through shared Fluxus collaborations, which fostered intermedia experimentation across disciplines.

Legacy and Influence

Impact on Contemporary Art

Intermedia's emphasis on fusing disparate artistic elements has profoundly shaped post-1970s performance and installation practices, providing a conceptual basis for hybrid forms that integrate multiple sensory and narrative layers. This influence is evident in the evolution of video installations, where artists like Bill Viola have drawn on intermedia's boundary-dissolving ethos to combine visual imagery, immersive soundscapes, and temporal manipulations, creating experiential works that transcend traditional media constraints.^[41] Viola's installations, such as those exploring human emotion and transcendence through slowed-motion projections, exemplify how intermedia principles adapted to electronic media, fostering installations that engage viewers in multisensory dialogues. In digital realms, intermedia's legacy manifests in net art and virtual reality experiences, where analog-era boundary-blurring translates into code-driven interactivity and glitch aesthetics. Pioneering net artists JODI (Joan Heemskerk and Dirk Paesmans) adapted these principles in their 1990s works, such as dysfunctional websites that expose the underlying code and errors of digital interfaces, echoing intermedia's fusion of form and content to critique technological mediation.^[42] This extension revitalized intermedia's experimental spirit in online environments, influencing VR projects that prioritize user interaction over fixed narratives.^[43] Intermedia concepts also underpin contemporary movements like relational aesthetics, as articulated by Nicolas Bourriaud in 1998, which builds on Fluxus and intermedia's participatory ethos to emphasize social encounters and inter-human relations in art.^[44] In bio art, this hybridity informs practices that merge biological materials with technological and performative elements to address ecological and ethical issues, as seen in exhibitions featuring living tissues alongside digital interfaces.^[45] These movements leverage intermedia's core idea of media synthesis to tackle pressing social concerns through collaborative, interdisciplinary forms. The global dissemination of intermedia has been particularly notable in non-Western contexts since the 2000s, with festivals promoting cultural fusion across traditional and contemporary media. In Asia, the International Intermedia Art Festival, initiated by the China Academy of Art, exemplifies this adoption, gathering artists from diverse regions to explore hybrid works that blend local cultural motifs with global digital and performative techniques.^[46] Such events underscore intermedia's adaptability, fostering cross-cultural dialogues that extend its influence beyond Euro-American origins.

Role in Academia and Theory

Since the 1970s, intermedia has been institutionalized in academic settings through dedicated programs and departments that emphasize interdisciplinary artistic practices blending visual, performance, and technological media. The University of California, San Diego's Department of Visual Arts, established in 1966, evolved in the 1970s into a pioneering hub for conceptual and experimental approaches, including intermedia strategies, where faculty and MFA students explored boundary-pushing works in photography, performance, and installation that integrated multiple media forms.^[47] Similarly, Concordia University's Intermedia (Video, Performance and Electronic Arts) program in Montreal has provided a structured curriculum for students to investigate relationships between emerging technologies, video art, sound, and performance, grounding practices in historical and intellectual contexts of intermedia.^[48] Theoretical discourse on intermedia has expanded beyond its artistic origins, influencing broader fields like media and cultural studies while prompting critiques of its foundational assumptions. Parallels have been drawn between Dick Higgins' concept of intermedia and Julia Kristeva's 1966 formulation of intertextuality, both emerging in the mid-1960s to challenge rigid boundaries—intermedia in artistic media fusion and intertextuality in textual mosaics—thus enriching discussions on hybridity across disciplines.^[49] Later applications, such as in disability studies during the 1990s, have adapted intermedia principles to examine embodiment and representation, though direct linkages remain exploratory rather than central to core theory. Key publications and conferences have sustained scholarly engagement with intermedia since the 1970s. The Intermedia journal, published from 1974 to 1979 in Los Angeles and San Francisco under editor Harley Lond, functioned as an interdisciplinary platform for arts, resources, and communications, featuring contributions that documented and theorized media convergences central to the field.^[50] Fluxus-influenced symposia and events, such as sessions at the annual College Art Association conferences, have perpetuated discussions on intermedia's experimental legacy, often revisiting Higgins' foundational writings to analyze its evolution in performance and multimedia contexts.^[51] Additionally, archives of Dick Higgins' works at Wesleyan University, including poetry projects and Fluxus-related materials, have shaped academic curricula by offering primary sources for studying intermedia's historical development and interdisciplinary applications.^[52] In the current academic landscape, intermedia is increasingly integrated into media studies programs, where it informs analyses of convergent technologies and hybrid forms. Debates persist on the distinctions between original analog intermedia—rooted in physical and performative fusions—and digital extensions, with scholars arguing that computational media both fulfills and complicates Higgins' vision by enabling seamless but less tactile integrations.^[53] Twenty-first-century revisions to intermedia theory emphasize updating its framework for contemporary contexts, including expanded definitions that accommodate networked and interactive digital practices while addressing gaps in early formulations.^[54]

References

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