Interdisciplinary art activities occurring between genres
For other uses, see Intermedia (disambiguation).
Intermedia is an art theory term coined in the mid-1960s by Fluxus artist Dick Higgins to describe the strategies of interdisciplinarity that occur within artworks existing between artistic genres.[1][2][3] It was also used by John Brockman to refer to works in expanded cinema that were associated with Jonas Mekas' Film-Makers’ Cinematheque.[4][5] Gene Youngblood also described intermedia, beginning in his Intermedia column for the Los Angeles Free Press beginning in 1967 as a part of a global network of multiple media that was expanding consciousness. Youngblood gathered and expanded upon intermedia ideas from this series of columns in his 1970 book Expanded Cinema, with an introduction by Buckminster Fuller. Over the years, intermedia has been used almost interchangeably with multi-media and more recently with the categories of digital media, technoetics, electronic media and post-conceptualism.
^Dick Higgins, Intermedia, re-published in Leonardo, vol 34, 2001, p49 - 54, with an Appendix by Hannah Higgins
^Hannah B. Higgins, "The Computational Word Works of Eric Andersen and Dick Higgins" in H. Higgins, & D. Kahn (eds), Mainframe experimentalism: Early digital computing in the experimental arts, p. 283.
^Friedman, Ken 2018. "Thinking About Dick Higgins", Fluxus, Intermedia, and the Something Else Press. Selected Writings by Dick Higgins. Steve Clay & Ken Friedman, eds., pp. 13-14.
^Jonas Mekas, “On the Plastic Inevitables and the Strobe Light (May 26, 1966),” in Movie Journal: The Rise of the New American Cinema, 1959–1971 (New York: Columbia University Press, 2016), 249–250.
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