In the academic year 1992/93, after the idea of the in-between-state was presented in the Spectrum exhibition, we made one step ahead toward the extra-mythic element: the lectures were held about Fluxus. Intermedia appeared for the first time in a programatic form in Fluxus after the proposition of S. T. Coleridge in the beginning of the nineteenth century, transmitted later by Duchamp, then Cage through to Dick Higgins. The characteristics of Fluxus were set forth in detail** from aesthetic and social points of view (we had the occasion for some critical remarks also, especially on Ken Friedman's intermedia interpretations and Fluxus's self-indulgence regarding a sentimental hippie-influence and the uncertainty surrounding the notion of 'amusement').

The Fluxus-events are rich examples of intermedia activity because, from one angle, imitation, the main characteristic of the conventional media, hardly appears, from another angle, the sphere between art and non-art is activated, from the third angle, the performers themselves are in that intermedial activity-zone which exists both between the professional and the non-professional artists and between the artist and the public, while the fourth angle provides direct experience about that aesthetically defineable sphere which is found beyond the borders of elite-art, and finally, because the events are activating the potentialities of the in-between-meaning

The influence of individual and collective life-plans of Fluxus propositions is clearly derived from the principles of Subsistence-Level-Standard-art: to "switch off" us from the closed myth, "switch in" us to the open one, leaving us to ourselves in a reflectionless existence in the middle of our own creative imagination, at the infinitesimal infra-thin centre of the barely existing universe.

For the monthly Subsistence Minimum.

Budapest, September 1993. Tamás St.Auby the V. dispatcher of IPUT

* We were speaking about the sporadic predecessors, the Inconsequents, the Dadaists, and naturally about Marcel Duchamp, who coined the "infra-thin" sphere , who objectified latent elements from it in the intermedial zone, and who foresaw the future by fifty years, which means that our activity is beyond that, because the 'artist of the future' who will be necesarrely illegal (according to M. D.) has become legal already, if we can call an artist the one who works at an academy of fine art as a professional striker.'

** We analyzed in detail one video documentation of a Fluxconcert by Ben Vautier and then prepared that Fluxconcert, which was held exactly 20 years after the prohibited May 12, 1973. one, and was organized by the Foreign Artists Damp Studio (FADS) of IPUT in the Russian Cultural Center in four different places, with 24 people, including students, performing for the most part George Brecht's Water Yam, simultaneously. (Other authors were: George Maciunas, Robert Filliou, Ben Vautier, Emmett Williams, Robert Bozzi, Yoko Ono, La Monte Young, Tomas Schmit, Robert Watts, Henning Christiansen, Chieko Shiomi.)

*** The imitation is necessarily the property of the media, for the duty of the media is the representation of the manifested, that is, the already named maifested. Consequenty, if a named manifests itself without the media then it is not imitative, but itself (the 'life' as the Fluxus says) or if the nameless is manifested then it is realized as its own "first name" - in situ nascendi. We should mention that from this point of view the informal is intermedial, because each and every informal work is a "new name", although it is embodied in the media of fine art, what's more, we could extend all medial arts toward intermediality: in the end, ideally, they are also objectifying hidden potentialities. But there is no need for this extension, because firstly, the medial objectification is now able to do it only in exceptional cases, secondly because the intermedia fulfils this function much more radically, arriving to territories where the media, by their own nature, are unable to reach, thirdly, in the present historical moment, representation as such - actualized politically in the representative democracy - is obviously and necessarily judged negatively in front of the non-representative, direct manifestation, and finally, the concept of intermedia would loose its specific meaning, which we need to approach the extra-mythic.

° See our writing concerning this in the magazine Orpheus, 1993. no. 1., or the video documentation - unfortunately incomplete - in the archives of the Intermedia Department.