Fluxus & ZAJ scores follow a radical approach, breaking free from the need to “represent” sounds through special symbols, and dragging notation into the fields of graphics, poetry and the visual arts, until it took on the status of an autonomous and complete work of art, that could be perfectly superimposed on the purely “visual” artistic research of the time.


The focus on music and sound led many artists to become interested in producing records. So in addition to recording “classical” music compositions, there was a boom in a whole range of experiences linked to documentation of the performances and happenings. Some independent record companies became interested in the phenomenon, leading to the development of chains dedicated to contemporary music, sound poetry and recordings made by the artists. The Cramps Record company started up in Italy, which, thanks to Gianni Sassi's awareness and the collaboration with Gianni-Emilio Simonetti, documents much of the experimental production in Italy and abroad.


Following Cage’s lesson, after exploring a series of strictly musical issues such as those related to concrete music, serialism and the production of electronic sound, Fluxus and ZAJ artists became interested little by little in the use of musical instruments as symbols, rather than as sources of sounds.