the following in reverse order…
knew we liked his thinking through keri smith‘s art:
learning about him through Fred Turner‘s democratic surround..
Fred starts talking about John (and black mtn college) about 10:40
Fred says he discovered a myth after his earlier book – that the children of the 60s weren’t rebelling from the 40s.. rather they were embracing them.. John Cage was one of those heroes in that realm
summer 1948 – with Bucky, et al; 1952 John returns and stages the first happening..
He hoped, he wrote, that there would soon be “a period of Music and not Musicians, just as during the four centuries of Gothic, there was Architecture not Architects. – Cage
In part, as art historian Branden Joseph has shown, Cage simply adopted Moholy’s therapeutic understanding of communication.19 Much as Moholy came to see photography as a way to extend the senses of his viewers and so to help them integrate the visual cacophony of the industrial world around them, so Cage began to build compositions that might extend the range of sounds whose beauty his listeners might appreciate, and so help them hear the sonic chaos of the modern world as music.
After his 1943 percussion concert at the Museum of Modern Art in New York, Cage put the case thus to a reporter from Time: “People may leave my concerts thinking they have heard ‘noise,’ but will then hear unsuspected beauty in their everyday life. This music has a therapeutic value for city dwellers. . . .”
In a February 1948 lecture at Vassar that was later published under the title “A Composer’s Confessions,” he put it this way: “Being involved in the complexities of a nation at war and a city in business-as-usual led me to know that there is a difference between large things and small things, between big organizations and two people alone in a room together. . . . My feeling was that beauty yet remains in intimate situations; that it is quite hopeless to think and act impressively in public terms. This attitude is escapist, but I believe that it is wise rather than foolish to escape from a bad situation.”
unless we are now able to better facilitate networked individualism in (or not in) the crowd. small is ginormous ness. zoom dance, c dot app, get pivot fractal thinking ness.. bowling alone/together alone.. whole new meaning.. ie: doug‘s (et al) harnessing human intellect.. in addition to ability to gather huge crowds – such as arab spring/occupy.. ability to keep individuation in those spaces.. so that the whole is bigger/deeper/more sustainably betterness ed..
Cage built the piece in such a way that he might offer his listeners the opportunity to feel the permanent emotions even as he himself remained indifferent to whether they in fact did or not.
it opened the ears of the listener to the randomness of nature and to the sounds of a world from which the use of music to intentionally transmit emotional messages—and so to manipulate the audience—had disappeared.
no agenda ness
“The in-the-heart path of music leads now to self-knowledge through self-denial, and its in-the-world path leads likewise to selflessness.”
It is this spiritual turn that critics have largely marked as the root of Cage’s later turn to indeterminacy.
indeterminacy – vague, incomplete, left doubtful, not certain, now, or established..
Cage wrote, the job of the composer was to build a new environment within which this shift toward a more decentralized, individuated agency could take place. In that sense, the composer resembled a postwar city planner. In the world of sound, Cage argued, “just as in a bombed-out city the opportunity to build again exists. This way one finds courage and a sense of necessity.
Only by surrounding the eye with new images and offering the individual the chance to link them together—that is, by asking both artists and viewers to speak a new language of vision—could designers begin to help individuals become psychologically whole
strange – because here it is again… assumption that fixing requires given/prescribe images… even with the silence ness of john cage in the room..
First, they asked individual viewers to select among a variety of images on display and integrate their selections into a single, individualized internal picture. In this way, according to Gestalt theory at least, viewers could experience true individuation—an experience that the USIA saw as central to undermining the massified psychology of Soviet communism.
yeah.. that.. over and over.. that. that’s individuation? that’s pbl as we know it.. right? partial freedom is not freedom ness..
In his class, Cage transmitted that legacy to a group of artists who were seeking to escape the confines of the genres in which they worked. His students, in turn, transformed it into a foundational framework for the quintessential mode of 1960s performance and protest: the Happening.
then Bruce suggested this:
links to free download
notes/highlights from silence…
Any sound at any point in this total sound-space can move to become a sound at any other point. But advantage can be taken of these possibilities only if one is willing to change one’s musical habits radically.
one may fly if one is willing to give up walking
This cautious stepping is not characteristic of the possibilities
This cautious stepping is not characteristic of the possibilities of magnetic tape, which is revealing to us that musical action or existence can occur at any point or along any line or curve or what have you in total sound-space; that we are, in fact, technically equipped to transform our contemporary awareness of nature’s manner of operation into art.
Again there is a parting of the ways. One has a choice. If he does not wish to give up his attempts to control sound, he may complicate his musical technique towards an approximation of the new possibilities and awareness. (I use the word “approximation” because a measuring mind can never finally measure nature.)
one may give up the desire to control sound, clear his mind of music, and set about discovering means to let sounds be themselves rather than vehicles for man-made theories or expressions of human sentiments
New music: new listening. Not an attempt to understand something that is being said, for, if something were being said, the sounds would be given the shapes of words. Just an attention to the activity of sounds
the interpretation of imperfections in the paper upon which one is writing may provide a music free from one’s memory and imagination
the composer resembles the maker of a camera who allows someone else to take the picture.
This also need not arouse alarm, for the coming into being of something new does not by that fact deprive what was of its proper place. Each thing has its own place, never takes the place of something else; and – the more things there are, as is said, the merrier
Thus where on a page a note appears will correspond to when in a time it is to occur.
This fact has led some towards the manufacture of multiple-tracked tapes and machines with a corresponding number of heads; while others—those who have accepted the sounds they do not intend—now realize that the score, the requiring that many parts be played in a particular togetherness, is not an accurate representation of how things are
These now compose parts but not scores, and the parts may be combined in any unthought ways. This means that each performance of such a piece of music is unique, as interesting to its composer as to others listening
It is easy to see again the parallel with nature, for even with leaves of the same tree, no two are exactly alike. The parallel in art is the sculpture with moving parts, the mobile.
It goes without saying that dissonances and noises are welcome in this new music. But so is the dominant seventh chord if it happens to put in an appearance.
Rehearsals have shown that this new music, whether for tape or for instruments, is more clearly heard when the several loud-speakers or performers are separated in space rather than grouped closely together. For this music is not concerned with harmoniousness as generally understood, where the quality of harmony results from a blending of several elements. Here we are concerned with the coexistence of dissimilars, and the central points where fusion occurs are many: the ears of the listeners wherever they are. This disharmony, to paraphrase Bergson’s statement about disorder, is simply a harmony to which many are unaccustomed.
Here we are concerned with the coexistence of dissimilars, and the central points where fusion occurs are many: the ears of the listeners wherever they are. This disharmony, to paraphrase Bergson’s statement about disorder, is simply a harmony to which many are unaccustomed
Emotion takes place in the person who has it. And sounds, when allowed to be themselves, do not require that those who hear them do so unfeelingly
And what is the purpose of writing music? One is, of course, not dealing with purposes but dealing with sounds. Or the answer must take the form of paradox: a purposeful purposelessness or a purposeless play. This play, however, is an affirmation of life—not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we’re living, which is so excellent once one gets one’s mind and one’s desires out of its way and lets it act of its own accord
..an affirmation of life—not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we’re living, which is so excellent once one gets one’s mind and one’s desires out of its way and lets it act of its own accord
the story/dance – had to be beyond beyond.. zoom out again ness.. no raised eyebrows.. a quiet revolution..
amzn.com/k/g2kdr64oSFya… In this situation, the universe within which the action is to take place is not preconceived.
a quiet revolution…. amzn.com/k/g7UD4YpDQhOa…Something more far-reaching is necessary: a composing of sounds within a u-niverse predicated upon the sounds themselves rather than upon the mind which can envisage their coming into being,
amzn.com/k/5HPBpkT7RKOJ… The question “How do we need to cautiously proceed in dual-istic terms?” was not consciously answered until t…
except perhaps . until we get to the banning of the banned.. starfish ness amzn.com/k/ljyfjcdXRray… One may conclude from this that in …
ha. like pilot math year. and most of life. requireds first.. as compromise and/or hack amzn.com/k/e5KoC_W9SeC0… Whether the charts we…
amzn.com/k/fIJEKFFORE6K… At each unit structural point, a chance operation determined which of the charts, numbers one, three, five, a…
amzn.com/k/xPa1Hb1FS96Y… Mobile meant that once any of the elements in a chart was used it disappeared to be replaced by a new one. Im…
amzn.com/k/gIUUh08qTYCa… Various other deviations from the original plan could be discovered on analysis: for instance, the addition o…
Cage – resonations with finding the thing you can’t not do.. amzn.com/k/HoJN0HgcT4q-…with a mind that has nothing to do, that mind is free to enter into the act of listening, hearing each sound just as it is, not as a phenomenon more or less approximating a preconception.
amzn.com/k/nSe1TJrlTRCo… who has entered an an-echoic chamber, a room made as silent as technologically possible, has heard there two …
amzn.com/k/PONs0gEQTWWU… These sounds (which are called silence only because they do not form part of a musical intention) may be depe…
amzn.com/k/0TE3WVvBSoGo… Formerly, silence was the time lapse between sounds, useful towards a variety of ends, among them that of tas…
amzn.com/k/XtadbDFSRNuU… structure is no longer a part of the composition means. The view taken is not of an activity the purpose of w…
amzn.com/k/cJXRaWhFT3K8… “material”— the sounds and silences of a composition) were, it seemed to me then, the proper concern of the m…
amzn.com/k/RrwU5M38SBqX… By “structure” was meant the division of a whole into parts; by “method,” the note-to-note procedure. Both st…
as we let it reach the limit of ginourmous smallness.. ie: networked individualism.. amzn.com/k/YbZGeFjTSmWr… fJThe structure, therefor…
totally describing art ist bot ist amzn.com/k/lPN1HAgaSoKO…Being indeterminate, though still present, it became apparent that structure was not necessary, even though it had certain uses. One of these u-ses was the determination of density, the determination, that is, of how many of the potentially present eight lines, each composed of sounds and silences, were actually to be present within a given small structural part, f Another use of the structure affected the charts of sounds and silences, amplitudes, durations, potentially active in the continuity.
amzn.com/k/LuoHKESETBCr… Thus, by introducing the action of method into the bod-y of the structure, and these two opposed in terms of …
amzn.com/k/6w1-NJgSTtq0… In contrast to a structure based on the frequency aspect of sound, tonality, that is, this rhythmic structure…
Community First Is a Brilliant Model to End Homelessness huff.to/1gI40hq by @MLFNOW via @HuffPostImpact I ⊕I-donate-my-voice.For-additional.info/click-the-link…
amzn.com/k/moSlgjOiQymZ… Magnetic tape opens the door providing one doesn’t immediately shut it by inventing a phonogene, or otherwise…
likes ness amzn.com/k/2iO39nliRO2Y… DOCTRINE/15 Question: And about pitches? Answer: It is true. Music is continually going up and down…
amzn.com/k/00USEvAKQq6x… Question: I have noticed that you write durations that are beyond the possibility of performance. Answer: Com…
amzn.com/k/I7NkJ9tvR9S5… In view, then, of a totality of possibilities, no knowing action is commensurate, since the character of the …
amzn.com/k/t0xtIyCYSSab… In view, then, of a totality of possibilities, no knowing action is commensurate, since the character of the …
amzn.com/k/mbwhOxFWRb2b… Are you deaf (by nature, choice, desire) or can you hear (externals, tympani, labyrinths in whack)?
interconnectedness. non ownership ness. amzn.com/k/Uuh71r12RSGd… The automatic minimum (see above) is two.
amzn.com/k/tn_Dund1QRuz… Relevant action is theatrical (music [imaginary separation of hearing from the other senses] does not exist),…
amzn.com/k/HbvCBKf0T2yk… It is inextricably synchronous with all other, sounds, non-sounds, which latter, received by other sets than …
networked individualism as freedom to be. there is no escape. this.. our sustain/thriv/ability.. amzn.com/k/0bclQ2INQ4qR… Urgent, uniqu…
amzn.com/k/JNLoH7VRQb-M… A sound does not view itself as thought, as ought, as needing another sound for its elucidation, as etc.; it …
amzn.com/k/xCerWp3XRy-e… For, when, after convincing oneself ignorantly that sound has, as its clearly defined opposite, silence, that…
amzn.com/k/XDAWsTZERu-s… Where, on the other hand, attention moves towards the observation and audition of many things at once, includ…
amzn.com/k/ADBS7vxbQcKP… This made possible the notation of a fraction, for example one-third of an eighth, without the necessity of n…
more in reverse order
amzn.com/k/4Q_7cfplTEO6…This is a lecture on composition which is indeterminate with respect to its performance. That composition is necessarily experimental. An experimental action is one the outcome of which is not forseen. Being unforseen, this action is not concerned with its excuse. Like the land, like the air, it needs none.
amzn.com/k/1hEzk0bOTGGo… “”Thoughts arise not to be collected and cherished but to be dropped as though they were void. Thoughts arise not to be collected and cherished but to be dropped as though they were rotten wood. Thoughts arise not to be collected and cherished but to be dropped as though they were pieces of stone. Thoughts arise not to be collected and cherished but to be dropped as though they were the cold ashes of a fire long dead.
art ist bot ist ness amzn.com/k/Ggp2Lzg5SrW7… He is therefore able, as before, to add two to two to get four, or to act in organized ways which on being subjected to analysis successfully are found to be more complex. But rather than concentrating his attention here, in the realm of relationships, variations, approximations, repetitions, logarithms, his attention is given inwardly and outwardly with reference to the structure of his mind to no matter what eventuality. Turning away from himself and his ego-sense of separation from other beings and things
-J Cage – re: obligation/oppression to define-ie: blended learning means little cc @amzn.com/k/czECKYY6SOuL… How is each performer to fulfill this function of being alert in an indeterminate situation? Does he need to proceed cautiously in dualistic terms? On the contrary, he needs his mind in one piece. His mind is too busy to spend time splitting itself into conscious and not-conscious parts. These parts, however, are still present. What has happened is simply a complete change of direction. Rather than making the not-conscious parts face the conscious part of the mind, the conscious part, by reason of the urgency and indeterminacy of the situation, turns towards the not-conscious parts
amzn.com/k/8i3N1oTqSjOC… The function of each performer in the case of Duo II for Pianists is comparable to that of a traveler who must constantly be catching trains the departures of which have not been announced but which are in the process of being announced. He must be continually ready to go, alert to the situation, and responsible. If he notices no cue, that fact itself is a cue calling for responses indeterminate within gamut limitations and time brackets. Thus he notices (or notices that he does not notice) a cue, adds time bracket to time bracket, determines his response to come (meanwhile also giving a response), and, as the second hand of a chronometer approaches the end of one bracket and the be ginning of the next, he prepares himself for the action to come (meanwhile still making an action), and, ..
networked individualism – amzn.com/k/YZjeNbYNRuqI… Inversions are a hallmark of the conscious mind. The composer’s identification (though not consciously so according to him) is therefore no longer with no matter what eventuality but rather with those events that are related by inversion. What might have been non-dualistic becomes dualistic. From a non-dualistic point of view, each thing and each being is seen at the center, and these centers are in a state of interpenetration and non-obstruction. From a dualistic point of view, on the other hand, each thing and each being is not seen: relationships are seen and interferences are seen. To avoid undesired interferences and to make one’s intentions clear, a dualistic point of view requires a careful integration of the opposites.
adding more – reverse order
amzn.com/k/B5q9MYahSpqd… III. Communication NlCHI NICHI KOBE KO NICHI: EVERY DAY IS A BEAUTIFUL DAY What if I ask thirty-two questions? What if I stop asking now and then? Will that make things clear? Is communication something made clear? What is communication?
amzn.com/k/-hQQ0xCbQ–8… About eleven o’clock we were out on the street walking along, and an American lady said, “How is it, Dr. Suzuki? We spend the evening asking you questions and nothing is decided.” Dr. Suzuki smiled and said, “That’s why I love philosophy: no one wins.
goes well with seeking of a platform. (even google, fb, twitter, not to mention lms ness) try 7 bill amzn.com/k/MN9k1br4Qqeb… Nor will the performers be huddled together in a group in the center of the audience. They must at least be disposed separately around the audience, if not, by approaching their disposition in the most radically realistic sense, actually disposed within the audience itself. In this latter case, the further separation of performer and audience will facilitate the independent action of each person, which will include mobility on the part of all.
affordance of echo chamber, while together, in ni – amzn.com/k/Mfy2GiHjTHu9… The separation of players in space when there is an ensemble is useful towards bringing about this non-obstruction and interpene-tration, which are of the essence. Furthermore, this separation in space will facilitate the independent action of each performer, who, not constrained by the performance of a part which has been extracted from a score, has turned his mind in the direction of no matter what eventuality. There is the possibility when people are crowded together that they will act like sheep rather than nobly. That is why separation in space is spoken of as facilitating independent action on the part of each performer.
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amzn.com/k/K2Lp33USTFut… Why is it so difficult for so many people to listen? Why do they start talking when there is something to hear? Do they have their ears not on the sides of their heads but situated inside their mouths 48/SILENCE so that when they hear something their first impulse is to start talking? The situation should be made more normal, don’t you think?
amzn.com/k/5Z4GuSbXTLm7… EACH AND EVERY THING IN ALL OF TIME AND SPACE IS RELATED TO EACH AND EVERY OTHER THING IN ALL OF TIME AND SPACE. THIS BEING SO THERE IS NO NEED TO CAUTIOUSLY PROCEED IN DUALISTIC TERMS OF SUCCESS AND FAILURE OR THE BEAUTIFUL AND THE UGLY OR GOOD AND EVIL BUT RATHER SIMPLY TO WALK ON “NOT WONDERING,.
too big to know ness.. dancing with interconnected ness amzn.com/k/TAOP86kkTamQ… WHEN ONE SAYS 46/SILENCE THAT THERE IS NO CAUSE AND EFFECT, WHAT IS MEANT IS THAT THERE ARE AN INCALCULABLE INFINITY OF CAUSES AND EFFECTS
amzn.com/k/-W4ttjKxQzaW… MASTERPDZCES AND GENIUSES GO TOGETHER AND WHEN BY RUNNING FROM ONE TO THE OTHER WE MAKE LIFE SAFER THAN IT ACTUALLY IS WERE APT NEVER TO KNOW THE DANGERS OF CONTEMPORARY MUSIC OR EVEN TO BE ABLE TO DRINK A GLASS OF WATER. TO HAVE SOMETHING BE A MASTERPD2CE YOU HAVE TO HAVE ENOUGH TIME TO CLASSD7Y IT AND MAKE IT CLASSICAL. BUT WITH CONTEMPORARY MUSIC THERE IS NO TIME TO DO ANYTHING LIKE CLASSIFYING. ALL YOU CAN DO IS SUDDENLY LISTEN.
more in reverse:
ni as mechanismamzn.com/k/vCYv-cEwSc2P… Atonality 6 has happened The disintegration of harmonic structure is commonly known as atonality. All that is meant is that two necessary elements in harmonic structure—the cadence, and modulating means—have lost their edge. Increasingly, they have become ambiguous, whereas their very existence as structural elements demands clarity (singleness of reference). Atonality is simply the maintenance of an ambiguous tonal state of affairs. It is the denial of harmony as a structural means. The problem of a composer in a musical world in this state is to supply another structural means,
jane costello ness
amzn.com/k/5m520YpeSuyE… Structure is properly mind-controlled. Both delight in precision, clarity, and the observance of rules. Whereas form wants only freedom to be. It belongs to the heart; and the law it observes, if indeed it submits to any, has never been and never will be written.
rather – already written on the heart..
amzn.com/k/TZ-OhLkcQ-2q… A “mistake” is beside the point, for once anything happens it authentically is.
– – – – – – –
What is the nature of an experimental action? It is simply an action the outcome of which is not foreseen. It is therefore very useful if one has decided that sounds are to come into their own, rather than being exploited to express sentiments or ideas of order.
reverse from here:
reverse from here:
amzn.com/k/OQCwBOTeTGeB… After dinner we were sitting around talking. David Tudor began doing some paper work in a corner, perhaps something to do with music, though I’m not sure. After a while there was a pause in the conversation, and someone said to David Tudor, “Why don’t you join the party?” He said, “I haven’t left it. This is how I keep you entertained.
amzn.com/k/WrWMyyMDT5uV… Painting relates to both art and life. Neither can be made. (I try to act in that gap between the two.) The nothingness in between is where for no reason at all every practical thing that one actually takes the time to do so stirs up the dregs that they’re no longer sitting as we thought on the bottom. All you need do is stretch canvas, make markings, and join. You have then turned on the switch that distinguishes man, his ability to change his mind:
amzn.com/k/00JVl3RgRmed… [since we moved away, the relatives write to say: Do you still want them?]), and so we are converted to the enjoyment of our possessions. Converted from what? From wanting what we don’t have, art as pained struggle. Setting out one day for a birthday party
amzn.com/k/X1YYspuWSQG5… Rauschenberg became the giver of gifts. Gifts, unexpected and unnecessary, are ways of saying Yes to how it is, a holiday. The gifts he gives are not picked up in distant lands but are things we already have
amzn.com/k/okO_ywlmRaSt… There is in Rauschenberg, between him and what he picks up to use, the quality of encounter. For the first time. If, as happens, there is a series of paintings containing such and such a material, it is as though the encounter was extended into a visit on the part of the stranger (who is divine). (In this way societies uninformed by artists coagulate their experiences into modes of communication in order to make mistakes.) Shortly the stranger leaves, leaving the door open
ni encounter ness amzn.com/k/GQYTBchgTHCv… 102/SILENCE Now in a metal box attached by a rope, the history kept by means of drawings of what was taken away and put in its place, of a painting constantly changing.
amzn.com/k/rB1kwr3IQiWX…Everything is so much the same, one becomes acutely aware of the differences, and quickly. And where, as here, the intention is unchanging, it is clear that the differences are unintentional, as unintended as they were in the white paintings where nothing was done. Out of seeing, do I move into poetry? And is this a poetry in which Eisenhower could have disappeared and the Mona Lisa taken his place? I think so but I do not see so
amzn.com/k/xgGYzp2ER0Sa… icicles. There, dripping water is frozen into object. The icicles all go down. Winter more than the others is the season of quiescence. There is no dripping when the paint is squeezed from a tube. But there is the same acceptance of what happens and no tendency towards gesture or arrangement. This changes the notion of what is beautiful. By fixing papers to canvas and then painting with black paint, black became infinite and previously unnoticed.
reverse from here:
amzn.com/k/csy2qsKuSVSM…The fire whose light illuminates the mountain and makes it pleasing, does not shine far. In the same way beautiful form suffices to brighten and throw light upon mat-ters of lesser moment But important questions cannot be decided in this way . They require greater earnestness
amzn.com/k/GIH_9YXZSq-J…For instance: someone said, “Art should come from within; then it is profound.” But it seems to me Art goes within, and I don’t see the need for “should” or ‘then” or “it” or ‘pro-found.” When Art comes from within , which is what it was for so long doing, it be—came a thing which seemed to elevate the man who made it a-bove those who ob-served it or heard it and the artist was considered a genius or given a rating: First, Second, No Good , until finally riding in a bus or subway: so proudly he signs his work like a manufacture
amzn.com/k/1YhmwKPfQ5Wr…And the footnote goes on: “Tranquil beauty: clarity within, quiet without . This is the tran-quillity of pure contemplation. When desire is silenced and the will comes to rest , the world as i-dea becomes manifest . In this aspect the world is beautiful and re-moved from the struggle for existence. This is the world of Art. However, contemplation alone will not put the will to rest abso-lutely. It will a-waken again and then all the beauty of form will appear to have been only a brief moment of exaltation.
amzn.com/k/Oq5vs94aQGKK…This goes to explain what Feldman means when he says that he is associated with all of the sounds, and so can foresee what will happen even though he has not written the particular notes down as other composers do When a com-poser feels a responsibility to make, rather than accept, he e-liminates from the area of possibility all those events that do not suggest the at that point in time vogue of profund-ity. For he takes himself seriously, wishes to be considered great, and he thereby diminishes his love and in-creases his fear and concern about what people will think
ni one ness amzn.com/k/9WoHRg-6RcSu…He has changed to accepting whatever comes of the consequences such an individual more impressively, what, precisely, have to do separate from it. is to be unafraid or to be full of that love which comes from a sense of at-one-ness with whatever
amzn.com/k/GYOy9vBLShKy…It is difficult to talk when you have something to say precisely because of the words which keep making us say in the way which the words need to stick to and not in the Way which we need for living.
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amzn.com/k/nnqhIFS6T4-r… What they have in mind is self-preservation. And what is that self-preservation but only a preservation from life? Whereas life without death is no longer life but only self-preservation. (This by the way is another reason why recordings are not music .
having to have first an idea… amzn.com/k/GV078P3BSPGJ… To do the opposite is clownish, that is: clinging or trying to force life into one’s own i-dea of it, of what it should be, is on-ly absurd. The ab- surdity comes from the artificiality of it, of not living, but of having to have first an idea about how one should do it and then stumblingly trying.
amzn.com/k/14KgXDpDQ1mD… The concept: beginning middle and meaning comes from a sense of self which separates itself from what it considers to be the rest of life. But this attitude is untenable unless one insists on stopping life and bringing it to an end
amzn.com/k/JBeYtSk9RbKG… one thing and writing music is another and being interrupted while writing music is still an-other and a backache too. They all go together and it’s a continuity that is not a continuity that is being clung to or in-sisted upon. The moment it be—comes a special continuity of I am composing and nothing else should happen, then the rest of life is nothing but a series of interruptions, pleasant or catastrophic as the case may be. The truth, however, is that it is more like Feldman’s music — anything may happen and it all does go together. There is no rest of life. Life is one
amzn.com/k/SjPUMOHrSO-3… People say, sometimes , timidly: I know nothing about music but I know what I like. But the important questions are answered by not liking only but disliking and accepting equally what one likes and dislikes. Otherwise there is no access to the dark night of the soul
amzn.com/k/H_LzEsaGQhmc… They give him and his art character, useless in this situation for anyone to say is good or not good. Because we are in the direct it is. If you don’t like it you may choose to But if you avoid it that’s a pity, because it re- very closely, and life and it are essentially a cause for joy
amzn.com/k/Kmzeu2oQSLC8… What is possessed is nothing. No-continuity. No melody. That is to say that is not acceptable, one is in accord with life, as at any and choosing is just like the old picking and choosing except that one takes as just another one of the somethings any consequence of nothing, one diminished the something in one: Character. At any moment one is free to take on character again, but then it is without fear, full of life and love.
amzn.com/k/c8e6FdBOSqyL… When nothing is se-curely possessed How many are there? They roll up at your feet. How many doors and windows are there in it? There is no end to the number of somethings and all of them (without exception) are ac-ceptable. If one gets suddenly proud and says for one reason or a-nother: I cannot accept this; then the whole freedom to accept any of the others vanishes. But if one maintains secure possession of nothing (what has been called poverty of spirit), then there is no limit is se-curely possessed one is free to accept any of the somethings
reverse from here:
amzn.com/k/SkJ6kO82RLSD… And we are (When we are very clearly.) actions for if the effects less fear, of the others. Out of that lack of regard for the others competitive, for as in those silences that are confident of each other’s nervousness, only a sense we will not feel occur friendship, of at-one-ness
his defn of disinterest amzn.com/k/VdJz34G-SrSN… Progress is out of the question. But inactivity is not what happens. There is always activity free from com-pulsion, done from disinterest, free to stop brooding and to observe the effects of our actions, proud, that pride keeps us from ob-serving
disinterest – as in – not interested in accolades/attention et al
amzn.com/k/ZJEziz6GR0uy…in accepting inner feeling themselves else difficulty? It is the simplest thing in the world to directly see: this is an orange; that is a frog; this is a man being proud; is a man thinking another man is proud; etc It all goes to-gether and doesn’t require that we try to improve it or feel our inferiority or superiority to it
amzn.com/k/TmPwvHDyTLux…living one is living, something the art; is a sort of experimental doesn’t stop when one is occupied making the art, that is, for example, now reading and nothing, one doesn’t stop should I be writing and when a lecture on being occupied making that Of course, I am — and going to the movies about nothing or eating an apple: concerto piano, and no blame. The continuity that is no continuity for-ever; and there is no problem With this exception: there those things that come from and full of pride and self-glory as separate from and finer on earth . But, actually, a-bout accepting is great difficulty a profound assert than anything where is the piano concerto? or explaining No “should” is going on whatever
amzn.com/k/Aecfj6LCSkyi… re-move the world from our shoulders we notice Where is the responsibility ? Responsibility is to oneself; irresponsibility to oneself which is to say responsibility to others and things comes a-long and the highest form of it is the calm acceptance of whatever
what will be will be
amzn.com/k/ZedsgJf6TFqR… We are in the presence not of a work but of an action which is implicitly Nothing has been said Nothing is communicated. And there is no use intellectual references. No thing in life requires a symbol what it is: a visible manifestation
amzn.com/k/TCxYcC6bQnCY… This brings us again If at any moment we approach that with a pre—conceived idea of what that moment will provide, and if, to furthermore, we pre-sume that having paid for it makes us safe about it, we simply start off on the wrong foot.
reverse from here:
amzn.com/k/GiwWEE3gS_ml…How can we speak of error when it is understood “psychology never again”? It should be clear from what I am saying that one’s one. Counterpoint is the same proposition as harmony 20″ except that it is more insidious. I noticed in 1938 that some young people were still interested in it. “Greater earnestness is required if one is going to solve the really important problems..
amzn.com/k/O5kBzWKBRVK9…Masterpieces & geniuses go together and when, by running from one to the other, we make life safer than it actually is, we’re apt never to know the dangers of contemporary music.
amzn.com/k/iXAKV3ljToOo…It may be objected that from this point of view anything goes. Actually anything does go,—but only when nothing is taken as the basis. In an utter emptiness 50″ anything can take place.
amzn.com/k/H1maMikXRwuI… Very frequently no one knows that contemporary music is or could be art. He simply thinks it was irritating. ( Clap ) Irritating one way or another 40″ that is to say keeping us from ossifying.
amzn.com/k/P7sDQmJQSpu5… The reason I am presently working 40″ with imperfections in paper is this: I am thus able to designate certain aspects of sound as though they were in a field, which 50″ of course they are. The sounds that had accidentally occurred while it was being played were in 45′ FOR A SPEAKER/1 57 lO’OO” no sense an interruption.
time in the day.. sucked right out of us. let’s slow. d o. w. n. amzn.com/k/NdpRIIlESoyc… The relationship of things happening at the same time is spontaneous and irrepressible. 50″ It is you yourself in the form you have that instant taken. To stop and figure it out takes time. 45′ FOR A SPEAKER/155 The only thing, pardon me, that I do not find.
no agenda.. ness. amzn.com/k/2oB5597tTxmt… The highest purpose is to have no purpose at all. This puts one in accord with nature in her manner of operation. If someone comes along and asks why?, there are answers. 30″ However there is a story I have found very helpful. What’s so interesting about technique anyway? What if there are twelve tones in a row? What row? This seeing of cause and effect is not emphasized but instead one makes an identification with what is here and now.
amzn.com/k/g9vaT15MTd-h… Composers are spoken of as having ears for music which generally means that nothing presented to their ears can be heard by them. Their ears are walled in with sounds 10″ of their own imagination.
amzn.com/k/vs0D-RIoR2WV… A technique to be useful (skillful, that is) must be such that it fails 50″ to control the elements subjected to it. Otherwise it is apt to become unclear. And listening is best in a state of mental emptiness.
amzn.com/k/d4CcWeJBTMSx… The principle called mobility-immobility is this: every thing is changing but while some things are changing others are not. 20″ Eventually those that were not 30″ changing begin suddenly to change 40″ et vice versa ad infinitum.
amzn.com/k/Ey7_vbMfS1ey… Harmony, so-called, is a forced abstract vertical relation which blots Out the spontaneous transmitting nature of each of the sounds forced into it. It is 10″ artificial and unrealistic.
The only structure which permits of natural activity is one so flexible as not to be a structure; I write in order to hear; never do I hear and then write what I hear. Inspiration is not a special occasion
reverse from here:
amzn.com/k/ZM9MLodNTWyJ… He is most utterly indebted, not one who struggles to force his idea? and who would have had to remain, I have noticed. Calculated actions that are to go on together need not have been composed in the same 20″ way.
amzn.com/k/HXsTfOvATJGD…Organized 50″ ways of predicting the weather say for instance it is in all of its acoustical details. For a calculated theatrical activity I would say offhand that the minimum number of necessary actions going on at once is five. Bright people can clear up rather quickly perplexity arising from lower numbers
how many ness
cleaning the slate or no…. amzn.com/k/SfRwh-IMQcuQ…So that listening one takes as a spring-30″ board the first sound that comes along; the first something springs us into nothing and out of that nothing arises the next something; etc. like an alternating current.
amzn.com/k/kr_LoGSSR-KD…If it were the same purpose as when it has to do with another leaf it would be a coincidence, imitation of nature from which each leaf should hold on to the complete rule which would be free because it 10″ adds “in her manner of operation.” Then it will not be of its own unique position in space uniqueness, plagiarism of result, having a particular suchness, but active from “before operations begin.” ( Is eoctremely close to 20″ being here and now.)
amzn.com/k/WAN3tBDHSLGJ…Not one sound fears the silence that extinguishes it But if you avoid it, that’s a pity, because 40″ it resembles life very closely & life and it are essentially a cause for joy. People say, sometimes, timidly
cc @amzn.com/k/I_BGh2lrQfO0…It is necessary to see that there is not only a sharp distinction to be made between composing and listening but that although all things are different it is not their differences which are to be our concern but rather their uniquenesses and their infinite 50″ play of interpenetration with themselves and with us
amzn.com/k/oI1XmybOTWG-…What I think & what I feel can be my inspiration but it is then also my pair of blinders. To see one must go beyond the imagination and for that one must stand absolutely still as though 10″ in the center of a leap..
reverse from here:
about a boy ness amzn.com/k/aWfENb_US1aK… One loud-speaker is insufficient and so are two or three or four: five is 40″ when it seems to me to begin. What begins is our inability to comprehend, “that on the contrary chance ought to be very controlled.
It is only irritating to think one would like to be somewhere else. Here we are now.
amzn.com/k/gQwHxpJnSWqB… It is only irritating to think one would like to be somewhere else. Here we are now. 40″ It becomes gradually clear to us dull-witted musicians that interpenetration means that each one of these most honored ones of all is moving out in all directions. 50″ Penetrating & being penetrated no matter what the time.
amzn.com/k/wFDUbR4HRHCl… To realize this: one has to put a stop to studying music. 10″ The most enlivening thing about magnetic tape is this: whether we actually do it or not, everything we do do, say what we’re doing, is affected, radically, by it. Rhythm is not arithmetic.
amzn.com/k/9BTKnTE8ThOs… If you need several things at once, use one as the basis, and one motor. 50″ (Lean, cough) To befit be the present. Would it be a repetition? Only if we thought we owned it, but since we don’t, it is free 8t so are we. Most anybody knows about the future and (“No” of hand in air, lass sound) 37’00” how uncertain it is
amzn.com/k/yTt0ZJzbThqs… Now we have come to the end of the part about structure. That two or more 20″ things happen at the same time is It is entirely possible for something to their relationship: Synchronicity. That Break for instance means at the center moving out in all 30″ directions and then time is clearly Should one stop and mend it? luminous.
amzn.com/k/6SP1qov2Rayo… It just happened that the series of numbers which are at the basis of this work add up to 100 x 100 which is 10,000. This is pleasing, momentarily: The world, 35’00” the 10,000 things. But the title is simply minutes and seconds. Question to ask you: How do you need to cautiously proceed in dualistic terms?
amzn.com/k/I1GeOWjSRcS-… I am happy about all the experiences I have had with the prepared piano; for one thing it showed me how different two pianos are from one another 10″ and music (so-called) makes us think two pianos are the same. It isn’t true.
amzn.com/k/OU2Z31uYReqe… It is at the point 40″ of potentiality. (Yawn) I am working now to work without charts, without any support in total space. I see now by many slow transitions, one of which 50″ is tempo like streams (varying & not varying) that as long as one discriminates as I formerly did problems remain. Each one of us is thinking his own thoughts his own experience & each experience is changing & while we 45′ FOR A SPEAKER/1 81 34’00” are thinking (to get yourself in such a state of confusion that you think that a sound is not something to hear but rather something to look at)
amzn.com/k/uUz5iIwcR8Ct… A structure is like a bridge from nowhere 20″ (Lean on elbow) If something with respect to something else happens sooner or later everything is different but essentially nothing of any permanent importance has happened. I am talking 30″ & contemporary music is changing. Like life it changes. If it were not changing it would be dead.
amzn.com/k/AJDcbq-eSN2Z… Any kind of paper will do for seeing spots in it. When one gets around to copying on a second sheet what was given by a first it becomes clear. 50″ What? tape as being all-interesting can disappear. There are rumors of machines and cards
amzn.com/k/o2W67WqgRFq0… Is there anything else to say about structure? Yes, it goes on 30″ supporting everything: its only difficulty lies where struggle to support is already (Touch nose and ears; click) in process.
amzn.com/k/lDLYvY2CTlu1… In order to apply it to all of these various characteristics he necessarily reduces it to numbers. He has also found a math- 10″ ematical way of making a correspondence between rows. I remember as a child loving all the sounds even the unprepared ones; I liked them especially when itself in the jaws cheeks and tongue and the commentary says “The most superficial way of trying to influence others is through talk that has nothing real behind it
towards the end now – last quarter.. and the embedded story in a story ness is deeper still. so here – parsing out some resonating insight (ie: these phrases – or even words at times – are intermingled with other phrases/stories/words – so also note – i could have parsed not in the intended or non-intended manner – but i’m thinking john might be ok with that):
water walk (actually cage in video) – 1960:
(so strange hearing this/reading this just after i had been experimented with the cello unleashed ness)
in the name of holocaust
posted by Maria:
Our intention is to affirm this life, not to bring order out of chaos, nor to suggest improvements in creation, but simply to wake up to the very life we’re living, which is so excellent once one gets one’s mind and desires out of its way and lets it act of its own accord.
People frequently ask me if I’m faithful to the answers, or if I change them because I want to. I don’t change them because I want to. When I find myself at that point, in the position of someone who would change something — at that point I don’t change it, I change myself. It’s for that reason that I have said that instead of self-expression, I’m involved in self-alteration.
The only difficulty with ‘ephemeral and transitory poetics’ is their transitoriness. Exhibitions of Cage’s work seem to be lacking a central core, a cohesion. That unifying voice, of course, was supplied by Cage himself, and he has passed on. We celebrate change and yet we also feel its sting. Zen teachers say, though, just look around you. Where has he gone? He’s still speaking to us.
John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer, music theorist, writer, and artist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential American composers of the 20th century. He was also instrumental in the development ofmodern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage’s romantic partner for most of their lives.
Cage is perhaps best known for his 1952 composition 4′33″, which is performed in the absence of deliberate sound; musicians who present the work do nothing aside from being present for the duration specified by the title. The content of the composition is not “four minutes and 33 seconds of silence,” as is sometimes assumed, but rather the sounds of the environment heard by the audience during performance. The work’s challenge to assumed definitions about musicianship and musical experience made it a popular and controversial topic both in musicology and the broader aesthetics of art and performance. Cage was also a pioneer of the prepared piano (a piano with its sound altered by objects placed between or on its strings or hammers), for which he wrote numerous dance-related works and a few concert pieces. The best known of these is Sonatas and Interludes (1946–48).
His teachers included Henry Cowell (1933) and Arnold Schoenberg (1933–35), both known for their radical innovations in music, but Cage’s major influences lay in various East and South Asian cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of aleatoric or chance-controlled music, which he started composing in 1951. The I Ching, an ancient Chinese classic text on changing events, became Cage’s standard composition tool for the rest of his life. In a 1957 lecture, Experimental Music, he described music as “a purposeless play” which is “an affirmation of life – not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we’re living”.
Not only did he recommend the creation of soundscapes without linearity or structured climax, but he urged the physical separation of performers. Pulling them apart, he explained, facilitated their independence and allowed individual sounds to emerge “from their own centers.” Lest a recently de-Nazified German audience underestimate the political implications of this auditory model, Cage not so subtly reminded them that “There is the possibility when people are crowded together that they’ll act like sheep rather than nobly.”
exhibit 2014 at moma:
from Maria – on listening:
He talked, without amplification, and soon people in the audience shouted, “We can’t hear you, use the mic. We can’t hear you.” John Cage said, “You can, if you listen.” Everyone settled down, there was no more buzz, hum or rustling, there was silence, and John Cage spoke again, without the microphone, and everyone listened and heard perfectly.
more on silence
Christine Sun Kim – on unlearning sound etiquette..
another from Maria – a lesson on listening from John:
silence is not acoustic. it is a change of mind, a turning around,..
you can, if you listen.
again from Maria – art and silence
art as a form of constructive anarchy, and silence as a counterpoint to mutual reactivity — something that helps us enlarge rather than contract each other’s goodness.
It would be good if we could make our changes nonviolently. That’s how changes in art take place. The reason why we know we could have nonviolent social change is because we know we have nonviolent art change. We mustn’t believe that you can only change by killing because you can also change by creating.
My notion of how to proceed in a society to bring change is not to protest the thing that is evil, but rather to let it die its own death. And I think we can state that the power structure is dying because it cannot make any inspiring statements about what it is doing. I think that protests about these things, contrary to what has been said, will give it the kind of life that a fire is given when you fan it, and that it would be best to ignore it, put your attention elsewhere, take actions of another kind of positive nature, rather than to continue to give life to the negative by negating it.
we produce a society that is not bad by nature but that has been taught to be bad.
science of people ness
It is essential that we be convinced of the goodness of human nature, and we must act as though people are good.
Human beings, he reminds us, can goad one another toward evil or ennoble each other with the belief that we are, if given the chance, inherently good.