George Brecht

Warning: Page using Template:Infobox artist with

unknown parameter imagesize (this message is shown
only in preview).
Warning: Page using Template:Infobox artist with
unknown parameter bgcolour (this message is shown
only in preview).
George Brecht (August 27, 1926 December 5, 2008),
born George Ellis MacDiarmid, was an American
conceptual artist and avant-garde composer as well as a
professional chemist who worked as a consultant for companies including Pzer, Johnson & Johnson, and Mobil
Oil. He was a key member of, and inuence on, Fluxus,
the international group of avant-garde artists centred on
George Maciunas, having been involved with the group
from the rst performances in Wiesbaden 1962 until
Maciunas death in 1978.
One of the originators of 'participatory' art,[2] in which
the artwork can only be experienced by the active involvement of the viewer, he is most famous for his Event Scores
such as Drip Music 1962,[3] (see Video on YouTube) and
is widely seen as an important precursor to conceptual
art.[4][5][6] He described his own art as a way of ensuring
that the details of everyday life, the random constellations
of objects that surround us, stop going unnoticed. [7]

1
1.1

Biography

Koan, from the Toward Events Exhibition, Reuben Gallery, NY,

1959. (The wallpaper belongs to the gallery, not the artwork.)

Early life
control inspector, he took a job as a research chemist for
Johnson & Johnson in 1953, settling in New Jersey. Over
the next decade he would register 5 US patents and 2 copatents [9] including four patents for tampons.[10] His only
son Eric was born in New Jersey in 1953.

Brecht was born George Ellis MacDiarmid in New

York, August 27, 1926.[8] His father, also George Ellis
MacDiarmid,[1] was a professional autist who had toured
with John Philip Sousas marching band before settling in
New York to play bass ute for the Metropolitan Opera
Orchestra and the NBC Symphony Orchestra.[7] After his
fathers death from alcoholism when Brecht was 10 years
old,[1] he moved with his mother to Atlantic City, New
Jersey. He enlisted for military service in 1943, and it
was whilst he was stationed near the Black Forest, Germany, 1945, that he changed his surname to 'Brecht' 'not in reference to Bertolt Brecht, but because he liked
the sound of the name'.[7]

1.2 Toward events

Whilst working as a chemist (a job that he would keep
until 1965), Brecht became increasingly interested in art
that explored chance. Initially inuenced by Jackson Pollock, and Robert Rauschenberg - Rauschenbergs exhibition of grass seeds, Growing Painting, 1954, left 'a signicant impression on him' [9] - he began to formulate
ideas about 'chance method schemes that would eventually be printed as a booklet by the Something Else Press
as Chance Imagery (1957/66). The work was 'a system-

After World War II, he studied chemistry at the

Philadelphia College of Pharmacy & Science, nishing
his degree and marrying his rst wife Marceline in 1951.
After working briey for Charles Pzer & Co as a quality
1

atic investigation of the role of chance in the 20th century in the elds of science and avant-garde art... reveal[ing] his respect for Dadaist and surrealist projects
as well as for the more complex aspects of the work
of Marcel Duchamp, whom he considered the embodiment of the 'artist-researcher'.[11] Artworks in this period
included bed-sheets stained with ink he called Chance
Paintings.
In 1957, Brecht sought out the artist Robert Watts, after seeing his work exhibited at Douglass College, Rutgers University, where Watts taught. This led to lunch
meetings once a week for a number of years at a cafe
between the university and Brechts laboratory.[12] Watts
colleague Allan Kaprow would also regularly attend these
informal meetings. Discussions at these lunches would
lead directly to the setting up of the Yam Festival, 1962
63, by Watts and Brecht, seen as one of the most important precursors to Fluxus.[13] The meetings also led to
both Brecht and Kaprow attending John Cage's class at
The New School for Social Research, New York, often
driving down together from New Brunswick.

1.3

NEW YORK AVANT-GARDE

than mine. I needed more space to really work.

But George really came to life in that situation..... He became a leader; and immediately
he inuenced not only me, but everybody else:
Jackson Maclow, Higgins, Hansen. George Segal stopped by, and so did Dine, Whitman and
Oldenburg. Allan Kaprow [17]
Initially writing theatrical scores similar to Kaprows earliest Happenings, Brecht grew increasingly dissatised
with the didactic nature of these performances. After
performing in one such piece, Cage quipped that he'd
never felt so controlled before.[18] prompting Brecht
to pare the scores down to haiku-like statements, leaving space for radically dierent interpretations each time
the piece was performed. Brecht would later refer to
Cage as his 'liberator',[1] whilst, in the opinion of some
critics,[1][19] moving beyond Cages notion of music; Cage
was still writing scores to be performed. Brecht had replaced this with a world permeated with music. No matter what you do, he said, you're always hearing something. [1]
In October 1959, fresh from studying with Cage, Brecht

John Cage and the New School for So- organised his rst one-man show at the Reuben Gallery,
New York. Called Towards Events: An Arrangement, it
cial Research

Brecht studied with John Cage between 1958 and

1959,[14] during which time he invented, and then rened, the Event Score [15][16] which would become a central feature of Fluxus. Typically, Event Scores are simple instructions to complete everyday tasks which can be
performed publicly, privately, or negatively (i.e., deciding
not to perform them at all). These ideas would be taken
up and expanded upon up by La Monte Young, Yoko Ono
and many other avant-garde artists who passed through
these classes.[17] The two had originally met in 1957 when
Brecht heard that Cage was planning to hunt mushrooms
in the New Jersey area; he rang him up and invited him to
'stop by and say hello'. Cage accepted, and returned the
invitation; it was whilst Brecht, Kaprow and their families were visiting his house in Stony Point on the Hudson,
that Cage invited them to attend his classes in New York.
Ironically, musicians found the course far harder than the
visual artists who had enrolled;
Cage... was very keenly a philosophical
mind, not just an artists mind; his sense of
aesthetics was secondary and thought was primary. He impressed me immediately. So I
thought, well, who cares if hes a musician and
I'm a painter. This is unimportant. Its the
mind that transcends any medium.....
The rate of attrition was something erce.
The end result was that there were very few
musician types and the event nature of the
class became apparent. George Brechts understanding of an intimate situation was far greater

was neither an exhibition of objects or a performance, but

somewhere in between.[20] Comprising works that emphasised time, the works could be manipulated by the
viewer in various ways, revealing sounds, smells and tactile textures. One, Case, instructed viewers to unpack the
contents and to use them 'in ways appropriate to their nature.' This work would become Valoche (see ), the last
Fluxus multiple that George Maciunas, the 'Chairman' of
Fluxus, would work on before his death 19 years later.[21]

2 New York avant-garde

2.1 Flute Solo
In a frequently retold anecdote used to describe the origins of one of Brechts most personal Event Scores, the
artist recalled an incident when his father had a 'nervous
breakdown [22] ' during a rehearsal at the Metropolitan
Opera Orchestra;
'[A] soprano was bugging everybody with
temper tantrums during rehearsal. At a certain point the orchestra crashed onto a major
seventh and there was silence for the soprano
and ute cadenza. Nothing happened. The soprano looked into the orchestra pit and saw that
my father had completely taken apart his ute,
down to the last screw. (I used this idea in my
1962 FLUTE SOLO).' George Brecht [22]
Michael Nyman, the interviewer, responded that in
Brechts work sound-producing instruments [in the

2.4

Other works

Event-Scores] have been made mute (the violin, in author, and appreciated Maciunas ability at organisation
Solo for Violin Viola Cello or Contrabass, is polished, and design.
not played), and non-sounding instruments, or noninstruments, for instance a comb (Comb Music, 1962) are
'The people in Fluxus had understood,
made sounding.[1] " Another piece, Solo for Wind Instruas Brecht explained, that concert halls, thement, contained the single instruction (putting it down).
aters, and art galleries were mummifying.
Instead, these artists found themselves preLater in his life, when asked about his father, Brecht
ferring streets, homes, and railway stations....
replied that "[he] gave up music-making in the mid-'30s
Maciunas recognized a radical political potenby lying down and not breathing any more on the couch
tial in all this forthrightly anti-institutional proat 165 W. 82nd Street, where we were living at the time.
[1]
duction, which was an important source for
his own deep commitment to it. Deploying
his expertise as a professional graphic designer,
Maciunas played an important role in project2.2 The Yam Festival
ing upon Fluxus whatever coherence it would
later seem to have had.' [27]
As Brechts interest in Event Scores began to dominate his
output, he started to mail small cards bearing the scores
to various friends like little enlightenments I wanted to Brecht would remain a prominent member of Fluxus uncommunicate to my friends who would know what to do til Maciunas death, 1978. His work was included in each
with them.[23] "
of the major Festum Fluxorum performances in Europe,
This method of distribution - soon to become known as 196263; in Fluxus 1, 1963, the rst Flux Yearbook; as
mail art - would become the basis for the buildup to the part of the various Fluxkits, collecting works by the group
Yam Festival (May backwards), mid 1962-May 1963, or- together; and was a key part of Flux performances and obganised with Robert Watts. The mailed scores were in- jects right up to the Flux Harpsichord Concert, 1976 and
tended to build anticipation for a month long series of the last Flux Cabinets. An indication of his importance
events held in New York and on George Segals farm, within the group is captured in a letter from Maciunas to
New Jersey. Featuring a large cross section of avant- Emmett Williams, April 1963, concerning plans Macigarde artists, the festival was based around the idea of unas had been formulating with the marxist intellectual
operating 'as an alternative to the gallery system, produc- Henry Flynt;
ing art that could not be bought'.[24] Artists participating
in the festival included Alison Knowles, Allan Kaprow,
John Cage, Al Hansen, Ay-O, Dick Higgins, Karlheinz
Stockhausen and Ray Johnson. The festival has come to
be seen as a proto-uxus event, involving many of the
same artists.
One of the recipients of the mail shots (as well as a participant in the festival) was La Monte Young. Young, a musician who had arrived in New York September 1960,[25]
had been asked to guest edit a special edition of Beatitude
East on avant-garde art, which evolved into the seminal
compendium, An Anthology Of Chance (see ) Brecht was
the rst artist listed in the compendium; the graphic designer and publisher of the book was George Maciunas,
who had been attending the same music classes, although
by now they were being given by Richard Maxeld.

2.3

'Bad news! George Brecht wants out of

Fluxus, thinks Fluxus is getting too aggressive (this newsletter No.6 [Propaganda through
pickets and demonstrations, sabotage and disruption]). So we will have to compromise, nd
a midpoint between Flynt, Paik & Brecht (if a
midway can be found!) It would be very bad
without Brecht. He is the best man in New
York (I think)....' [28]

It was Maciunas who conceived of (and published) Water

Yam, a collection of around 70 of Brechts event scores
packaged in a cardboard box [29] published in Wiesbaden,
April 1963. The rst Fluxbox, it was intended to be part
of a series of boxes containing the complete works of each
of the members of Fluxus. In keeping with Maciunas
principles, the boxes were neither numbered or signed,
George Maciunas and the beginnings and originally sold for $4.[30]

of Fluxus

Many of his other Fluxus multiples involved absurdist

puzzles which were impossible to resolve in a traditional
Fluxus was to grow out of Maciunas friendship with the manner (see ).
artists centred on these classes; his conception of Fluxus
was based on LEF, a communist organisation set up in
Russia in the 1920s to help create a new socialist cul- 2.4 Other works
ture [26] Whilst it is unlikely Brecht agreed with Maciunas
politically, he strongly agreed with the notion of the un- Whilst the pieces he made for the Fluxus cooperative
professional status of the artist, the de-privileging of the remain his most famous works, he continued to exhibit

EUROPE

artworks within more traditional gallery spaces throughout the 1960s and 1970s. Many of these works played
with the notion of the Readymade, attempting to retain
the pieces functionality. Chairs feature in a lot of these
works; the earliest was Three Chair Events exhibited at
the Martha Jackson Gallery, NY, 1961.
Three Chair Events
Sitting on a black chair. Occurrence.
Yellow Chair. (Occurrence.)
On (or near) a white chair. Occurrence,
Spring 1961

For the exhibition, the white chair was spot-lit in the middle of the gallery with a stack of Three Chair Events scores
placed nearby on a window sill. The black chair was
placed in the bathroom, whilst the yellow chair was placed
outside on the street, and was being sat on by Claes Oldenburg's mother - deep in conversation - when Brecht arrived for the private view.[31] A later piece, Chair With A
History, 1966, part of a series Brecht worked on in Rome,
featured a chair with a red book placed on it inviting the
occupier to add 'whatever was happening' as part of an ongoing record of the chairs history [1] (see ). Other series
of works included signs - often readymade - with simple
statements on, such as 'Exit' or 'Notice Green' embossed
in a red sign next to 'Notice Red' embossed on a green
one (see ).
Brecht started a series called The Book of the Tumbler
on Fire in 1964, and exhibited the rst 56 at the Fischback Gallery NY in early 1965, shortly before leaving
the US. The pieces consisted of framed collages, made
of cotton-lled specimen boxes, designed to show the
continuity of unlike things. [32] Brecht would pursue this
series for over a decade, with each piece being referred
to as a 'page'.

3
3.1

Europe
The Cedilla That Smiles

Maciunas decision to picket a Stockhausen concert of

Originale in August 1964 is often seen as the point at
which the original, 'heroic' era of Fluxus splintered;[33]
the move seems to have alienated Brecht [34] who, whilst
not severing relations, left New York in the spring of
1965 for Europe, despite Cage allegedly spending a whole
evening trying to persuade him to stay.[35]
He arrived in Rome, April 1965; from there he moved to
Villefranche-sur-Mer, France, to start a shop, La Cdille
qui Sourit, (The Cedilla That Smiles), with the French
artist Robert Filliou, another member of Fluxus. The
shop was intended to explore ideas about the 'obtuse relationship(s) to the institution of language'[36] but instead

Untitled (Blackboard map of Europe) from the series Land Mass

Translocations, 1970, private collection, Vaduz

ushered in what he described cheerfully as accelerated

creative inactivity.[4]

3.2

Land Mass Translocations

After the shop closed in 1968, Brecht moved to London,

where he formed a new company, 'Brecht and MacDiarmid', which proposed a number of Land Mass Translocations. As a pilot project, Brecht suggested moving the
Isle of Wight westward to Portland Bill.

One of us (GB) proposed in 1966 that

the Arctic ice pack be interchanged with the
Antarctic, and in the winter of 1967-8, in London, the idea of moving England closer to the
equator presented itself. This intuition was reinforced by recent scientic studies which have
shown that England is being tilted... at a rate
such that areas of London 15 meters above sea
level or less will be submerged in 1500 years
time. Considering that London has been an inhabited place for at least 2000 years, this is
not as remote an event as it seems. In this
light, Brecht and MacDiarmid are undertaking research into the feasibility of moving land
masses over the surface of the earth..... Movement of the Isle of Wight would be a pilot
project for the larger translocation of England.
George Brecht, B.Sc.[37]
In November 1969, Cornelius Cardew's Scratch Orchestra (see ) performed Realization of the Journey of the Isle
of Wight Westwards by Iceberg to Tokyo Bay, a piece
based on Brechts Translocations, in London. Other
imagined moves included Cuba moving alongside Miami,
and Iceland moving next to Spain.

3.4

Last years

5
artist Stephan Kukowski (now Stephan Shakespeare). As in the case of the lecture model and
novel, this project challenges institutionalised
forms of representation and dissemination of
information.' [38]

3.4 Last years

Void Stone, 1987, Arp-Museum, Rolandseck

3.3

Translating the Hsin-Hsin-Ming

As part of his lifelong interest in Zen Buddhism, Brecht

began a focused study of the Chinese language with the
aim of translating the ancient text the Hsin-Hsin-Ming by
Seng Tsan, c600 AD, in 1976. The book, published in
1980, included three autonomous translations; an English
version by Brecht, a French one by Filliou and a German
version by A Fabri. It also included calligraphy by Takako
Saito.
Other works completed in this period include a series of Crystal Boxes, containing constantly transforming crystals; a performance and lecture 'with slides, music and reworks called The Chemistry of Music given
at the ICA; The Brunch Museum, an exhibition dedicated to relics associated with the (ctional) character
WE Brunch; a play entitled 'Silent Music' broadcast on
West German Radio as part of celebrations for John
Cages 75th birthday; and 3 large sculptures, called Void
Stones, commissioned for the Skulptur Projekte Mnster.
'[The Chemistry of Music & The Brunch
Museum are two of the] three projects that
Brecht called meta-creations. The rst, from
1968, is a slide-based lecture under the title
The Chemistry of Music, which oers a critique of the lecture format as the predominating method of teaching. The second, The
San Antonio Installation, is based on extracts
from a popular series of French detective novels by the author San Antonio. The excerpts
consist in an eccentric collection of articles
(many of them found in French ea markets)
which materialise details of the narrations and
which present a kind of antidote against passive experience in this case, the mechanical absorption of cheap literature. The third
project is The Brunch Museum, an ingenious
exhibited object of the life and work of W.
E. Brunch, an imaginary gure of great historical importance invented by Brecht and the

Whilst his work continued to be included in a number of

major group shows, by 1989 he would refer to himself
as 'retired from uxus.[1] Becoming increasingly reclusive, he only allowed two retrospectives of his work in
the last 30 years of his life; both were called 'A Heterospective' (loosely translated as a 'Collection of Othernesses). The second, a large museum exhibition that
was shown in Cologne and Barcelona, 200506, opened
with a simple sign marked 'End' and ended with another
stating 'Start'.[39]
In 2006 he won the prestigious Berliner Kunstpreis. From
late 1971 Brecht lived in Cologne, where he died, after a
number of years of failing health,[7] on 5 December 2008.
His rst marriage ended in 1963; he married for a second
time, to Hertha Klang, in 2002. He lived with Donna Jo
Brewer for a number of years between.
John Cage seems to think that if he contacts the most people possible, they (or someone) will understand. I think, if someone understands, they will contact me (my work, the
work). Leave the people alone. [40]

4 See also
An Anthology of Chance Operations
Fluxus at Rutgers University
Fluxus
George Maciunas
Robert Watts
John Cage
Variations, contemporaneous compositions by John
Cage
433, Cages most famous composition, 1952
Ray Johnson, a close friend and collaborator in
Brechts mail art
Something Else Press, run by Dick Higgins, publisher of 2 of Brechts works
Water Yam (artists book)
Fluxus 1, the rst Flux Yearbox
One and Three Chairs, an artwork by Joseph Kosuth, 1965

7 NOTES

References
Water Yam, George Brecht, Fluxus Edition, Wiesbaden and New York, 196370
V Tre, later cc V TRE, Fluxus Newspaper, edited
by George Brecht and George Maciunas, New York,
196379
Chance Imagery, George Brecht, Something Else
Press, New York, 1966

The rst edition of V TRE, 1963, edited by Brecht,

featuring contributions from Dieter Roth, Angus
Maclise and Jackson Mac Low
An Anthology of Chance, edited by La Monte
Young; a pdf on Ubuweb
Entrance to Exit, 1965; a Fluxlm by Brecht

Games at the Cedilla; or, The Cedilla Takes O, by

George Brecht & Robert Filliou, Something Else
Press, New York, 1967

A complete list of all Brechts multiples

An introduction to George Brechts Book of the Tumbler on Fire, Henry Martin, Multhipla Edizioni, Milan, 1978.

George Brecht at the-artists.org

Water Yam, George Brecht, Lebeer-Hossmann Edition, Brussels/Hamburg, 1986

Dutch Biography of Brecht

Fluxus Codex, Jon Hendricks, H.N. Abrams, New

York, 1988, ISBN 0-8109-0920-0
Notebooks / George Brecht ; edited by Dieter Daniels
with collaboration of Hermann Braun, vol 1-5, Walter Konig, c1991
Mr Fluxus, Emmett Williams and Ann Nol,
Thames and Hudson, New York, 1998, ISBN 0500-97461-6
Fluxus Experience by Hannah Higgins, University of
California Press, 2002, ISBN 0-520-22867-7
George Brecht: Events - A Heterospective, Verlag
der Buchhandlung Walther Konig, 2005, ISBN 388375-979-1
Petra Stegmann. The lunatics are on the loose
EUROPEAN FLUXUS FESTIVALS 1962-1977,
DOWN WITH ART!, Potsdam, 2012, ISBN 9783-9815579-0-9.
George Brecht: Museum Ludwig, Yve-Alain Bois,
ArtForum, 2006
George Brecht, Philosopher of Fluxus, Jill Johnston,
The Dance Insider, 2007

An article about Robert Watts, including an interview with Brecht about the Yam Festival

Some late multiples by Brecht

George Brecht retrospective

George Brecht Resources

George Brecht + James Tenney with George Maciunas, Entrance... (excerpt) 1:46 published on the
Tellus Audio Cassette Magazine
A good essay on Brecht by Anna Dezeuze
New York Times obituary

7 Notes
[1] The Johnston Letters, Jill Johnston
[2] George Brecht: Events, A Heterospective, Robinson,
Walter Knig, p36
[3] Essay on Brecht by Yve-Alain Bois
[4] Independent Obituary
[5] Brecht is the rst artist mentioned in the text of Lucy Lippards seminal history of Conceptual Art, Six years: the
dematerialization of the art object from 1966 to 1972, and
is referred to as 'Independently and in association with the
uxus group, Brecht has been making events that have
anticipated a stricter conceptual art since around 1960.'
Six Years, Lucy R Lippard, University of California Press,
1973, p11

Repository, 1961, a piece by Brecht in the collection

at MOMA

[6] Brecht used the term as early as 1957-58 in an essay

Project in Multiple Dimensions; 'The primary function
of my art seems to be an expression of maximum meaning with a minimal image, that is, the achievement of an
art of multiple implications, through simple, even austere,
means. This is accomplished, it seems to me, by making use of all available conceptual and material resources.'
Quoted in Theories and Documents of Contemporary Art,
K Stiles, P Selz, University of California Press, 1996 p333

Word Event Exit, 1961

[7] Obituary, New York Times

External links
The Something Else pamphlet Chance Imagery and
Book of the Tumbler on Fire available as 2 pdfs on
UbuWeb

[8] The reference to Halfway, Oregon, was a joke that appeared in an early uxus periodical. A more reliable date
is given in the book accompanying the major retrospective
in Cologne, 2005; George Brecht Events; A Heterospective, p306 Robinson, Walter Knig

[30] Price listed in the Fluxus Preview Review, July 1963,

quoted in the Fluxus Codex, Hendricks, Abrams, 1989
p217

[9] George Brecht Events; A Heterospective, p306 Robinson,

Walter Knig 2005

[32] A Heterospective, p144

[31] A Heterospective, p56

[33] The Origins of Culture Stewart Home

[10] He was suciently proud of these to include these patents

in his Heterospective, Cologne 2005

[34] Drama/theatre/performance By Simon Shepherd, Mick

Wallis, p93

[11] Essay on Brecht by Julia Robinson, for MACBA,

Barcelona

[35] Brecht for Beginners, Anna Dezeuze

[12] An Interview with George Brecht

[36] George Brecht Events; A Heterospective, Robinson, Walter Knig p318

[13] Essay on Fluxus by Michael Corris, MOMA online

[14] According to Julia Robinson, the rst event score was
'Time-table Music', in which the whole class went to
Grand Central Station 'where they used train timetables
to create a composition, timing their visual, auditory and
perceptual observations at the site.' see
[15] Kristine Stiles & Peter Selz, Theories and Documents of
Contemporary Art: A Sourcebook of Artists Writings (Second Edition, Revised and Expanded by Kristine Stiles)
University of California Press 2012, p. 333
[16] Alison Knowles Website
[17] Allan Kaprow in conversation with Sidney Simon, early
70s. Quoted in George Brecht Events; A Heterospective,
Robinson, Walter Knig p264
[18] Quoted in George Brecht, by Yve-Alain Bois
[19] George Brecht, Oxford Art Online
[20] George Brecht Events; A Heterospective, Robinson, Walter Knig p34
[21] Koan, from the same show, would also be considered as
a Fluxus multiple, but only got so far as two incomplete
maquettes, renamed 'A Question or More'. See Fluxus
Codex, p183
[22] GB in interview with Michael Nyman, quoted in George
Brecht Events; A Heterospective, Robinson, Walter Knig
p284
[23] Brecht quoted in A Heterospective, p70
[24] A Heterospective, p68
[25] Four musical minimalists: La Monte Young, Terry Riley,
Steve Reich, Philip Glass By Keith Potter, p49
[26] LEF program:'LEF shall agitate art with the ideas of the
commune , opening for art the road to tomorrow.'
[27] Brecht quoted in A Heterospective, p118
[28] George Maciunas quoted in Mr Fluxus, E Williams and A
Noel, Thames and Hudson, 1997, p95-96
[29] Or wooden in the case of the de-luxe edition, or plastic in
later editions

[37] George Brecht quoted in Land Mass Translocations information sheet, 1969
[38] Museum of Contemporary Art, Barcelona
[39] Guardian Obituary.
[40] George Brecht c1977, quoted in A Heterospective, p8

8 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

Text and image sources, contributors, and licenses

8.1

Text

George Brecht Source: https://en.wikipedia.org/wiki/George_Brecht?oldid=704755303 Contributors: Hyacinth, Phil Boswell, Bearcat,

Sunny256, Antandrus, D6, Jayjg, Arevich, Bender235, Giraedata, Rje, Clubmarx, Drbreznjev, Redvers, Tabletop, Sparkit, Mayumashu, Florian huber, FlaBot, Ground Zero, AllyD, RussBot, Welsh, SmackBot, Chris the speller, Bluebot, Sheepdontswim, Wizardman,
Fuzzy510, Vanisaac, Scottandrewhutchins, Modernist, Hjijch, Hullaballoo Wolfowitz, Waacstats, TXiKiBoT, Sephleachim, Qaswa, Da
Joe, ImageRemovalBot, Alexbot, AlexGWU, RogDel, MystBot, Franciselliott, Addbot, Voodoopoodle, Lightbot, Yobot, Taxisfolder, Valueyou, Obersachsebot, P Cezanne, Fixer88, Gerda Arendt, RjwilmsiBot, Helpful Pixie Bot, Casa5tavira, VIAFbot, Creambutter, Jaime
munoz1987, KasparBot, Oanab906 and Anonymous: 29

8.2

Images

File:George_Brecht_-_Void_Stone_01.JPG Source: https://upload.wikimedia.org/wikipedia/commons/0/0f/George_Brecht_-_Void_

Stone_01.JPG License: Public domain Contributors: Own work Original artist: Warburg
File:Koan.jpg Source: https://upload.wikimedia.org/wikipedia/en/c/c8/Koan.jpg License: Fair use Contributors:
George Brecht Events; A Heterospective, Robinson, Walter Knig
Original artist: ?
File:LandMassTranslocations.jpg Source: https://upload.wikimedia.org/wikipedia/en/7/7f/LandMassTranslocations.jpg License: Fair
use Contributors:
George Brecht Events; A Heterospective, Robinson, Walter Knig
Original artist: ?

8.3

Content license

Creative Commons Attribution-Share Alike 3.0