ABSTRACT
This introduction presents an overview of the key concepts covered in the subsequent chapters of this book. The book demonstrates aspect of self-determination signified a marked departure from a state oriented politics of reform. It introduces the performative encounter as a communicative, interactive, political device used by the Berlin Dadaists, an avant-garde movement notorious for their anti-art position, to counter the rhetorics of war and the bourgeois ruling class. Politics is not only a politics of reflection and critique but also a politics of creation and failure, of experimentation. It is a gesture that recognizes its transformative potential not only, as Brian Holmes has asserted in the open, evolving context of a social movement outside the cliques and clienteles of the artistic game, but beyond those social movements themselves. The Faculty for Radical Aesthetics, established and coordinated by The European Institute for Progressive Cultural Policies defined radical aesthetics in a way that e.
