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Détournement, the reuse of preexisting artistic elements in a new ensemble, has been a constantly present tendency of the contemporary avant-garde, both before and since the formation of the SI. The two fundamental laws of détournement are the loss of importance of each detourned autonomous element — which may go so far as to completely lose its original sense — and at the same time the organization of another meaningful ensemble that confers on each element its new scope and effect.

Détournement has a peculiar power which obviously stems from the double meaning, from the enrichment of most of the terms by the coexistence within them of their old and new senses. Détournement is practical because it is so easy to use and because of its inexhaustible potential for reuse. Concerning the negligible effort required for détournement, we have already noted that "the cheapness of its products is the heavy artillery that breaks through all the Chinese walls of understanding" (A User's Guide to Détournement, May 1956). But these points would not by themselves justify recourse to this method, which the same text describes as "clashing head-on against all social and legal conventions." Détournement has a historical significance. What is it?

"Détournement is a game made possible by the capacity of devaluation," writes Jorn in his study Detourned Painting (May 1959), and he goes on to say that all the elements of the cultural past must be "reinvested" or disappear. Détournement is thus first of all a negation of the value of the previous organization of expression. It arises and grows increasingly stronger in the historical period of the decomposition of artistic expression. But at the same time, the attempts to reuse the "detournable bloc" as material for other ensembles express the search for a vaster construction, a new genre of creation at a higher level.
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