Performance and Fluxus artists retroactively read as fighters against commodified attention

Evidence

Though the conceptual preoccupations of these various artists were of course different, and they each engaged with the social and political and artistic problems of their eras in various ways, from our vantage point in the age of addictive feeds and exploitative screen-tech, all of these creatives feel like vanguard attentionauts—forefighters in the battle to liberate hyper-commodified and cybernetically entailed human attention. — The Friends of Attention, Attensity!, 379

Categorization

• DEFINE: Introduces the vocabulary term ‘attentionauts’ and proposes that the enemy frame of ‘hyper-commodified’ attention retroactively defines these artists’ project.
• SEED: Seed for an essay: reframing art history’s performance/instructional lineage as a pre-digital resistance movement against attention extraction, before the extraction industry existed.
• XREF: connects to: Attention-activism art has a half-century lineage from Fluxus through Ono to Abramović — The Friends of Attention, Attensity!: A Manifesto of the…, 378; Amateur practice turns attention into a durable antidote to commodified quick-twitch culture — The Friends of Attention, Attensity!: A Manifesto of the…, 395; Performing at one-to-one scale deliberately neutralizes celebrity aura and asymmetry — Yves Citton, The Ecology of Attention, 300 (+1 more)
• yield-rescued: below the book’s yield-target cutoff, included anyway for connecting to: Attention-activism art has a half-century lineage from Fluxus through Ono to Abramović — The Friends of Attention, Attensity!: A Manifesto of the…, 378; Amateur practice turns attention into a durable antidote to commodified quick-twitch culture — The Friends of Attention, Attensity!: A Manifesto of the…, 395; Performing at one-to-one scale deliberately neutralizes celebrity aura and asymmetry — Yves Citton, The Ecology of Attention, 300 (+1 more)