By stepping out of the given, conventional area covered by artistic media, the intermedia artist does not (as opposed to erroneous intermedia-definitions, deriving from the misunderstood Gesamtkunstwerk) come to the impasse of the combination of artistic media, as is done by some working in Mixed-media and Multi-media, instead, hse objectifies hir work as new name, new definition, that is new medium out of the non-artistic media or out of the potentialities lying among them.* The intermedia artist shapes non-art or lifts up contents from the infinitesimal infra-thin sphere between the non-artistic media.**

* We don't consider the Tactilism and the Eat-art as intermedia, since they relate as conventional media to the senses. °

** The latter are characteristically informal.

° Here, let us remark that the Tantric Tactilism's illuminating art originates from a culture far from modern Europe, it far precedes the pale roughness and velvet ot the Futurist Tactilists and is known till today in only a small circle. The classical works of Eat-art are generally also unknown by the public, for example: the Chinese emperor's breakfast, the wine transfigurated from water, the multiplicated loaves, the mind expanding food of the Shaman, the witches' kitchen, the Hawaiian punches made according to secret recipies, or - with the exception of being probably more widely known - the Holy Wafer.^ At the same time they are much more efficient in torture than the auditive and visual arts, and they are used at all times in a wide range. They are often experienced as spontaneous natural incidents in times of sickness (famine) and hunger (epidemics) just as the wind blows the grains of sand under the eyelids, auditively in strange, ravishing harmonies or visually as the sun sets behind the army's warehouse. Let us add to all this, that while millions of people can live without the arts relating to hearing or seeing, the same millions haven't acquired the large scale forms of the world of proportions which relates to the senses of touch and taste.^^ ^ Comp.: The Eat-art work of both Daniel Spoerri and the Fluxus are related more closely to the zoo of the Paris Commune functioning as a soup-kitchen than to works prepared with traditional recipes.

^^ Take for example the cannibals who with their gawky music, dance, rhymed saying, tattoo-body painting and carving, haven't gone further in even Eat-art than this simple culinary antimetabole.

(chorus):

We don't live because we eat, we live to eat, pam-pam,

We don't live to eat, we live because we eat, pam-pam,

We don't live because we eat, we eat because we live, pam-pam,

We don't live to eat, we eat to live, pam-pam,

We don't eat because we live, we eat to live, pam-pam,

We don't eat to live, we eat because we live, pam-pam,

We don't eat because we live, we live to eat, pam-pam,

We don't eat to live, we live because we eat, pam-pam.

(group a:)

We die because we eat, pam-pam,

We die to eat, pam-pam

We die to be, pam-pam,

You die because we eat, pam-pam,

You di e so we can eat, pam-pam,

You die so we can be, pam-pam,

We areyou, pam-pam,

You are we, pam-pam,

Long live Death, pam-pam! Pam-pam!

(group b:)

We die because you eat, pam-pam,

We die so you can eat, pam-pam,

We die so you can be, pam-pam,

You die because you eat, pam-pam,

You die to eat, pam-pam,

You die to be, pam-pam,

You are we, pam-pam,

We are you, pam-pam,

Long live Death, pam-pam! Pam-pam! (Subsistence Level-rite song - collected by the IPUT on the Grand-Menou Island, 1990.)