Between Vorticism, the post-WW2 Independent Group and the “Cybernetic Serendipity” exhibit of 1968, elements of a working-class internationalism emerge that define both the circumstances of a revolutionary art and its methodology, founded upon a confrontation with the aesthetico-political ideology of work as alienated surplus-production. In positioning art-work as “general commodity” (Bataille) against the commodification of the “artwork” as artefact of an impoverished aesthetic labour, the avant-garde subverts the tragic view of history presented by Peter Burger in the supposed failure of the avant-garde to resist appropriation to the “culture industry.” In contrast, the radical tendencies represented by such artists as Henri Gaudier-Brzeska, Eduardo Paolozzi and Gustav Metzger and persisting in the work of Laura Oldfield Ford, for example, can be regarded as a discourse of irrecuperability, born of the “impoverishment” of aesthetico-political totalisation as it succumbs to the excessive labour required to sustain the illusion of itself. And just as this failure of totalisation is always to some extent an aestheticisation, so too it ultimately constitutes the work of the avant-garde.

中文翻译：

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“地球上的野蛮人”：先锋派与反文明起义

在涡旋主义，第二次世界大战后的独立组织与1968年的“网络化偶然事件”展览之间，工人阶级的国际主义元素在界定美学和政治意识形态的基础上出现，它们定义了革命艺术的环境及其方法论。工作被疏远为剩余生产。在将艺术品定位为“一般商品”（Bataille）而不是将“艺术品”商品化为贫困的审美劳动的产物时，先锋派颠覆了彼得·伯格（Peter Burger）在假定的先锋派失败中所呈现的历史悲剧观。 -前卫以抵制对“文化产业”的侵占。与此相反，例如Henri Gaudier-Brzeska，Eduardo Paolozzi和Gustav Metzger等艺术家所代表的激进倾向，并在Laura Oldfield Ford的作品中坚持不懈，可以被认为是一种不可回收性的话语，它源于美学-政治总计的“贫困”，因为它屈服于维持自身幻觉所需的过多劳动。就像总的失败在某种程度上总是美化一样，它最终也构成了前卫的作品。