In this thought-provoking work, Dorothee Brill examines notions of
shock and the senseless in Dada and Fluxus, pairing two distinctly
radical art movements that challenged the very notion and purpose
of art. Laying out a genealogy of surrealisms, she addresses the
senseless in artistic production as a strategy toward
shock--generally considered to be characteristic of the historical
avant-garde. Examining the changing correlation between the notions
of shock and the senseless in their artistic use in prewar Europe
and postwar America, Brill arrives at a new understanding of the
overstrained and generally pejorative catch phrase of "shock for
shock's sake."
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