The artistic career of George Brecht began in the late fifties, while he was working as a research chemist in New Jersey. This dual situation enabled him to employ scientific models of the time to reflect upon experience, and to use art a means to represent his thoughts. In 1956-1957, he wrote a reference work entitled Chance Imagery, a systematic investigation of the role of chance in the 20th century in the fields of science and avant-garde art. The piece revealed 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'. At the same time he initiated a series of experiments he called 'Chance Paintings', randomly staining bed sheets with a clearly anti-pictorial, anti-representative intent. Brecht referred to these early attempts to convert time and chance into the basis of his work as a kind of 'corrected abstract expressionism'. In this period, which coincided with the death of Jackson Pollock, he struck up relationships with artists imparting classes at Rutgers University, in particular Allan Kaprow and Robert Watts with whom he co-signed a text (A multi-dimension project, 1957). The piece was an attempt overcome and go beyond the huge influence exerted at that time by abstract expressionism, in pursuit of a form of advanced art, radical conceptual practices and multimedia. Brecht’s closeness to John Cage, with whom he shared an interest for Oriental thinking, led him to attend the classes on 'Experimental Composition' Cage was giving in New York. He encouraged Brecht to look for new mediums for his creative practice, such as the generation of a new (musical) score by means of procedures involving chance and the use of surrounding noise employed as sound ready-mades. Brecht was convinced that 'experience in every dimension' could be highlighted and encapsulated in the shape of verbal scores and, from there, developed the concept of 'event scores' with which he structured the space and time of his work, at the same time inviting the audience to participate in the piece. This conceptual base was highly significant in the Fluxus context on the other side of the Atlantic, in which Brecht's event scores were widely known and performed. Fluxus began, in fact, in Wiesbaden (Germany) with a series of 'new music' concerts organised by George Maciunas using the radical scores created by Brecht and other artists in his circle, including Dick Higgins, Emmett Williams, Robert Filliou, Eric Andersen, Alison Knowles and Ben Vautier, among others. Accessed 08.04.2007 from http://members.chello.nl/j.seegers1/flux_files/brecht.html