john cage

john cage

knew we liked his thinking through keri smith‘s art:

cage_open

johncage

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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..

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notes/highlights:

democratic surround highlights on kindle

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.

imagine a world w/o like-dependency – able to live in a crowd because of the agency to have your tribe/your echo-chamber/your restorative niche – and/or all at your beckon call..

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.

happenings

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then Bruce suggested this:

silence by cage

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.

find the bravery to change your mind

one may fly if one is willing to give up walking

This cautious stepping is not characteristic of the possibilities

the adjacent possible unfolding via whimsy

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.

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.)

measuring is for efficiency.. not so much for effectiveness.. for fittingness..

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

no agenda

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

and ness

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

the plan – encourages non-aliveness non-authenticity

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 following in reverse order…

amzn.com/k/vi_Y7B5eTWWM… or outside the piano construction. The limited nature of this u-niverse of possibilities makes the events the…

amzn.com/k/4wIY0yG1Q7WX…Furthermore, as we know, sounds are e-vents in a field of possibilities, not only at the discrete points conventions have favored.

the story/dance – had to be beyond beyond.. zoom out again ness.. no raised eyebrows.. a quiet revolution..

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…

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/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/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…
adding more in reverse order from – or actually just all out of order..

amzn.com/k/fa_DRmQWSxCx… In Music for Piano I took the latter course. Structure no longer being present, that piece took place in any …

amzn.com/k/zHG03vSUQsih… In the case of tape, many COMPOSITION AS PROCESS/29 circumstances enter which ever so slightly, but nonethele…

too big to knowness… unless.. ginormously small.. ness amzn.com/k/mihjYnoHS0qj… When the density rose from one to sixteen, it was oft…

amzn.com/k/ADBS7vxbQcKP… This made possible the notation of a fraction, for example one-third of an eighth, without the necessity of n…

amzn.com/k/4gON_dE3R8W3… He must perform his function of giving form to the music in a way which is not consciously organized (and the…

Denise Pope’s research.. 95% as per direction (is that cheating or survival.?) amzn.com/k/gyFDXrqMS9Sh… Examples are provided by academ…

5 paragraph essay, algorithmized ness amzn.com/k/mxPXSVp1QTu2… form unvitalized by spontaneity brings about the death of all the other …

networked individualism.. as narrative for 100% of humanity.. amzn.com/k/OfcKegF2RQG2… He may do this in an organized way which may be …

pbl, gamification, et al… amzn.com/k/yA6DXClwRYaN… The function of the performer, in the case of The Art of the Fugue, is comparable …

amzn.com/k/XTX6HcTzRnqZ… Could music be composed (I do not mean improvised) not writing it in pencil or ink? The answer is no doubt Ye…

spinach or rock ness embedded.. amzn.com/k/bxo-Ay3UR6-m… Several men, three as a matter of fact, were out walking one day, and as they …

amzn.com/k/BG08L-Z1RFWs… he was explaining one day the meaning of a Chinese character—Yu, I believe it was—spending the whole time exp…

amzn.com/k/A4vKh4b7Q8GW… The mind may be used either to ignore ambient sounds, pitches other than the eighty-eight, durations which ar…

more in reverse order

amzn.com/k/CcO0xNxAQhWl…A performance of a composition which is indeterminate of its performance is necessarily unique. It cannot be repeated. When performed for a second time, the outcome is other than it was. Nothing therefore is accomplished by such a performance, since that performance cannot be grasped as an object in time. A recording of such a work has no more value than a postcard; it provides a knowledge of something that happened, whereas the action was a non-knowledge of something that had not yet happened.

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/S_oIqeeOTQGB… The performer therefore simply does what is to be done, not splitting his mind in two, not separating it from…

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 @davecormieramzn.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/JGGCKpV2Shm0… How is each performer to fulfill this function of being alert in an indeterminate situation? Does he need to …

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.

amzn.com/k/ooWe0lRBQLK4… In order to multiply the possible interpretations the composer gives a further permission—to read the cardboa…

amzn.com/k/hz4_ujKnRry7… The intolerable situation described is, of course, not a peculiarity of Indices, but a characteristic of West…

amzn.com/k/HLxlln_ZR220… That the Indices by Earle Brown was composed by means of tables of random numbers (used in a way which introd…

amzn.com/k/LMLgEnOhS0mk… The Music of Changes is an object more inhuman than human, since chance operations brought it into being. The…

amzn.com/k/iX8UmQLeSIiv… The function of the performer in the case of the Music of Changes is that of a contractor who, following an a…

adding more – reverse order

amzn.com/k/b3AfV9IrSoiz… Would we ever be able to get so that we thought the ugly sounds were beautiful?

amzn.com/k/_BBmmyLrRzaw… Nor will the situation of sounds arising from actions which arise from their own centers be produced when sev…

cc.. et al..no? amzn.com/k/WA0CScfXTtGt… In connection with the physical time of the performance, where that performance involves sever…

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.

amzn.com/k/GNy93dcPQhGv… The musical recognition of the necessity of time is tardy with respect to the recognition of time on the part…

pd…. no? amzn.com/k/ff3hWg_BQBuE… Where an actual watch is used, it becomes possible to foresee the time, by reason of the steady pro…

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.

ha. flash mob ness.. amzn.com/k/S6VKRAHMQBSC… What is indicated, too, is a disposition of the performers, in the case of an ensemble in space…

amzn.com/k/nj9g2CToQqSr… The musical recognition of the necessity of space is tardy with respect to the recognition of space on the pa…

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.

amzn.com/k/duY0xjIhTLqi… In the case of the harmonious ensembles of European musical history, a fusion of sound was of the essence, an…

amzn.com/k/-1Qb9NIcQOme… If each act looks just like the previous one, that is because the player is deliberately striving for exact r…

amzn.com/k/5XD2lsQpTDyO… The player produces the same action repeatedly in order to get it right. But the repetition is not rote. Beca…

amzn.com/k/iz_yxeIxQ9Oj… Children come into the world burning to learn and genetically programmed with extraordinary capacities for le…

reverse from here:

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,.

amzn.com/k/heRQxlByROiA… UNFORTUNATELY EUROPEAN THINKING HAS BROUGHT IT ABOUT THAT ACTUAL THINGS THAT HAPPEN SUCH AS SUDDENLY LISTENIN…

amzn.com/k/C-D6P5QsRKaZ… MASTERPDZCES AND GENIUSES GO TOGETHER AND WHEN BY RUNNING FROM ONE TO THE OTHER WE MAKE LIFE SAFER THAN IT AC…

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/vsMWhAh2TzS6… UNFORTUNATELY EUROPEAN THINKING HAS BROUGHT IT ABOUT THAT ACTUAL THINGS THAT HAPPEN SUCH AS SUDDENLY LISTENING OR SUDDENLY SNEEZING ARE NOT CONSroERED PROFOUND.

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

ni amzn.com/k/MfWmtgyLQ1-v…Activity involving in a single process the many, turning them, even though some seem to be opposites, towards oneness, contributes to a good way of life.

amzn.com/k/0EkE9koFRluL… Any attempt to exclude the “irrational” is irrational. Any composing strategy which is wholly “rational” is irrational in the extreme. 62/SILENCE

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:

amzn.com/k/tBJvZRb0SGSM… We know two ways to unfocus attention: symmetry is one of them; the other is the over-all where each small pa…

amzn.com/k/PDTxAiOxTrOe… it’s something close to something he once found useful, and so could be recognized as his. Well, then, as a m…

the it is me ness amzn.com/k/n6BRXEPFTn2I… Ideas are not necessary. It is more useful to avoid having one, certainly avoid having seve…

amzn.com/k/0wKNtWXeSW2K… Beauty. His hands and his feet, fingers and toes long-jointed, are astonishing. They certify his work. And th…

amzn.com/k/kROJiUArSsSb… Our intention is to affirm this life, not to bring order out of chaos nor to suggest improvements in creation…

amzn.com/k/3KO2d04SS2Wk… The activity of movement, sound, and light, we believe, is expressive, but what it expresses is determined by…

amzn.com/k/FLa4Rb_iTDKE… a student turned to a teacher and said, “What does it mean?” The teacher’s reply was, “Relax, there are no sy…

amzn.com/k/ubtls9aRTFio… We are not, in these dances and music, saying something. We are simple-minded enough to think that if we were…

reverse from here:

amzn.com/k/2C2in2kpTdG1… Give any one thought a push : it falls down easily ; but the pusher and the pushed pro-duce that enter- tainment called a dis-cussion

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/WcMpOu7KSUqP… And since his eyes are connected to his mind, he can see what he looks at because his head is clear, unclutte…

amzn.com/k/3XfEq0fQT8SQ… I am trying to check my habits of seeing, to counter them for the sake of greater freshness. I am trying to b…

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/MG5diUL5RIaA… Perhaps it is because we’ve had it around so long so close to us without bothering to put it to use, which be…

amzn.com/k/X_vTeVj3RxOW… I noticed the streets were full of presents. Were he saying something in particular, he would have to focus t…

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/kRXDO2fURHSb… The blind can see again. Blind to what he has seen so that seeing this time is as though first seeing.

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.

Ed .. amzn.com/k/qGv7RhfGSvat… Over and over again I’ve found it impossible to memorize Rauschenberg’s paintings. I keep asking, “Have you changed it?” And then noticing while I’m looking it changes. 

amzn.com/k/2mlWoK4zQVCx… So technique, not having to do with the painting, has to do with who’s looking and who painted. People. Technique is: how are the people?

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/u9VotgBtS5eT…LECTURE ON SOMETHING To bring things up to date, let me say that I am as ever changing, while Feldman’s music seems more to continue than to change.

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/Ln7Wg-poTkus… does this, this beautiful profound object, this masterpiece, with Life? It has this to do with Life : that it is

amzn.com/k/DmchskmxQsuS… There are many serious problems confronting He must do it better, more beautifully, etc. than anybody else .

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.

amzn.com/k/qzO8CAflTDCf…Let no one imagine that in owning a recording he has the music. The very practice of music, and Feldman’s eminently, is a celebration that we own nothing

amzn.com/k/JABMgzsVSsac…All I know about method is that when I am not working I sometimes think I know something, but when I am working, it is quite clear that I know nothing.

amzn.com/k/nTa0EsREQOaf…Everybody has a song which is no song at all : it is a process of singing , and when you sing , you are where you are

 reverse from here:

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/0ET5Io44R06c… no-continuity will let us allow our lives with that happen in them to be simply what they are and not separate LECTURE ON S O M E T H I N G / 1 3 3

amzn.com/k/M1tRkyPAR_mL… All the somethings in the world begin to sense their at-one-ness when something happens that reminds them of nothing way the music so that its all of the things

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/NgTSunz-SWqa… Our poetry now is the realization that we possess nothing. Anything therefore ( Slap table ) is a delight (since we do not possess it) 40″ and thus need ( Cough ) not fear.

amzn.com/k/6HHcE-3NQhKs… Mostly, right now, there is painting and sculpture, and just as formerly when starting to be ab-stract, artists referred musical practices to show that what they were doing was valid, musicians, to explain what they “See, the painters and sculptors have been doing it for But we are still at the point where are clinging to the complicated torn-up competitive remnants of and, furthermore, a tradition that was always a of breaking with tradition, and further-more, a tradition that its ideas of counterpoint and harmony with its own but with all other traditions was out of step not only this

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/YQU-IcqLS52p… if you let it Each something When we it doesn’t drop. it supports itself. You don’t have to is a celebration of the nothing that supports it

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/zZ2KvIOlR6W8… “Why do you not do as I do? Letting go of your thoughts as though they were the cold ashes of a 10″ long dead fire?”

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.

-John Cage..youth is you (to whatever degree you decide) – #ideaconf14amzn.com/k/GOA0tKMSTOK-… I begin to hear the old sounds, the ones I had thought worn out, worn out by intellectualization, I begin to hear the old sounds as though they are not worn out.

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

the only structure cage

 

 

 

 

 

reverse from here:

amzn.com/k/TKDodIjTQjS7… Keeping one’s mind on the emptiness, on the space 10″ one can see anything can be in it, is, as a matter of fact, in it..

we carry our homes

amzn.com/k/BaBFSjvNQpad… Theatre takes place all the time wherever one is and art simply 40″ facilitates persuading one this is the case.

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/_hN4-EaoQMey… to avoid having progressions that would make one think of sounds that were not actually present to the ear.

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

amzn.com/k/iYsG6wL8T66j…Communication if it is required is a way of calling attention to one’s own psychology. 50″ If permitted, it takes place of its own accord, is for all the world inevitable.

cc @ellenjlamzn.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/gt7Rab4nTWG9… An error is simply a 170/SILENCE 23’00″ failure to adjust immediately from a preconception to an actuality.

amzn.com/k/Tam8CDdlQ42U…I will not disturb by my concern the structure of anything that is going to be acting; to act is miracle and needs everything and every me out of the way.

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..

24/7 ness – small is ginormous - still ness – to/as utopia ness

reverse from here:

art ist bot ist ness amzn.com/k/mTbM_BwtQ42R… Form is what interests everyone and fortunately it is wherever you are and there is no place where it isn’t.

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/7FWrhvVBQdWE… someone said Art should come from overhead. There was a social calendar and hours for breakfast but one day I saw a cardinal and the same 30″ day heard a woodpecker

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/rWme7GfSQwWp… There are two great dangers for magnetic tape: one is music (all the history and thinking about it); and the other is feeling obliged to have an instrument

lessig ness 1st thing 1st amzn.com/k/qicUKmRZSdy5… There is all the time in the world for studying music, 10″ but for living there is scarcely any time at all. 20″ For living takes place each instant

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):

Although we speak about going, I notice that we spend a lot of time waiting; that is, I wait. And when I tell others about it, they say they wait too.
Going into the unknown we have

no use for value judgments.

(I mean seeing things just as they are in their state of chaos).
The others don’t care so much about tradition, but hang on anyway.
It is remarkable what we are doing: even though we give the appearance of say that I knew where I was going but didin’t know what it would be like when I got there.
One of the noticeable things about our going is that we’re all going asking.
No question of will you or won’t you: we are inevitably going.  
[and so there's a period here - but i'm liking/choosing to go on with a phrase that's not capitalized]
and so don’t have to follow in someone’s footsteps even thought that’s what we’re taught to do. We can go anywhere, and if we can’t, we concentrate on finding a way to get exactly there (if we know where there is). There’s so much to do, it’s a waste of time to run around the house writing twelve-tone music. And that’s the only musical if one’s going to go in the same direction others go.
[another stream i think]:
We go foolishly where angels fear to tread (which is not to say that we do not tremble)

and in our happened to foolishness, we make connections where there had been separateness.

And that concomitant going makes us sometimes say that the glue is working or some such statement. The less we hold onto our going, the more death, deafness, and blindness, surrounds us or comes our way. Say then that we are of human awareness, …
again – parsing – and could very well be off – but spot on in my thinking/experience – going with supposed tos and timelines/beats/frames.. ie: stress about being late causes to be late and to not sleep – what does that mean when you don’t meet others’ timeline/supposed tos… 74% loc 4866:
One obligation is then dropped and things are done better when they’re done the first time. That, for it gets worse rather than better. If we have something to do, we don’t question whether it is worth while; we just do it.
The reason we wast our time so willingly is that our ideas about usefulness were so limited. When someone with his nose to the grindstone tells us we needn’t bother to so such and such, we get the (alter-) impression that’s something might interest us. We study how not to stick to our work. Of course, we have too much to do, (studying being interrupted, we try first in copying over neatly the course,) to do everything, and if we can’t, then, as a last resort, we choose, so that two thousand people can swim at once. We do not determine where we go by where we’d like to go.
“What would please us the most?” just now. They suggest an innovation in toys. There again, what we find most pleasing is not limited (the way they were.) to any papers.
carrying on from 76% loc 4956:
It takes time to find something you’re thinking of, but in the course things come up that one was not looking for. You might call living in chaos an exteriorization of the mind. It is as though the things in the room, in the world, in the woods, were the means of thinking.
In a grand sense, I do what you do and you do hat I do.
Thus it is economical for each one of us to be original. We get more done by not doing what someone else is doing. (This way we ca speed up history – we’re making.)
After all, we’re all the same species and we live on the same planet. And I am not who I was.
We are trying to go fast enough to catch up with ourselves. This helps to keep us ignorant of knowing where we are going.
Where do we go then? Do we turn around? Go back to the beginning and change everything? Or do we continue and give up what had seemed to be where we were going?
Well, I had no idea this was going to happen. I did have an idea something would happen. Ideas are one thing and is that what was meant by the Scripture, that we would be led by children?
(I asked the man at the toll booth what would be my best bet: If we are islands, he said just go straight ahead. I noted that the road shortly became very confusing. He said, do what is unnecessary.)
We take time, not and then, not to see what someone’s doing but what he did.
We see that to look at an object, a work of art, say, we have to see it as something happening, we are obliged to be able to go in all directions.
We don’t have to go anywhere: it comes to us.
Dropping everything and going is not as simple as it sounds. You find you forgot to go through your (silence) simple and quiet mind, that you failed to notice.
(We are doing only what is necessary.)
But here is a rub: that is only the case when somehow you’ve managed to drop everything.
We are losing our sense of values and we are getting increased awareness.
We are giving up pride and shame and getting interested in whatever comes our way or to which we get.
I was full of purpose. Ask me what it was and I couldn’t really tell you.
It is interesting when we hear that someone has traveled to a foreign country, on he was never in before. It is also interesting when we hear that someone has homes in various places all over the world.
And if we hear just static: it is a quiet readiness for whatever and the multiplicities are already in the making. We watch for signs and accept omens. Everything is an omen, so we continue doing and changing.
Do we have, if not ideas about what we’re doing, feelings about our actions, what we’ve made?
What is it that makes anyone say, “I can’t”? Busy doing something else? Shall we then find it a kind of hallucination which does not let us see clearly together?
Awareness and curiosity making our consciousness. We are glad to see that we are noticing what happens.
Asked what happened, we have to say we don’t know, or we could say we see more clearly but we can’t tell you what we see.
If we really did change, we shouldn’t have to bother about practicing. Of course, we’d gradually slip out of doing all the things we practiced. And then when we started going, it would be in a state of not knowing. We would be as interested as anybody else.
“Beware of setting out in search of something to tell you all of this: I am interesting”; and
“Beware of doing special things to make things more different than they are”;
“Beware in fact of the stop and start.”
What we need now is not indeed (disarmament and people marching in the streets but someone interested in modern art.) whether I’ll get there and whether the plans still hold and wether if they do  hold I’ll be able to get everything done that I have in mind to do.
left off at 86% loc 5615
This is our immediate and permanent condition and we just fail continually to notice it even when we think we agree. If, for instance, as may well have been the case, if someone procrastinated, then what?
Don’t I have eyes and a head and ears? They are not as good as they were (and also the metabolism) and perhaps they’re getting worse. We are (now told we are ) going mad. For instance: this needs to be aimless or you might say that is our aim.
It seems more like the something that could be done comes to our notice that somebody else did it before we (obliged to) did it. And generally speaking, it does come to our notice. A little bit of the scientific attitude, however, and you soon see that what was just done was not at all what was done before except as regards the general situation. There was, by way of example, a discontinuity of (thought, for instance,) particles, then there was emptiness (which now seems like a melody). Repetition?
What I assumed took place I looked for it in bookstores..
Is there a story in the fact (that we call someone to discover) that there is no answer?
And would you say such a story would be relevant or irrelevant to our subject: Was what I did interrupted by what happened? If so, it was not really doing.
And equally the other way: Does what I do interrupt the weather?
This is ridiculous, because the answer could be this or that and it could be refused or accepted by something no more solid than changes, very interesting changes.
He had done what he could to keep from getting in it. But once in the question arises: What keeps a story from becoming a subject and vice versa?

ideas have their power because they’re not fixed.. once they become fixed – they’re already dead.. – Grace Lee Boggs

We cannot know whether we are continuing or whether shortly there’s going to be an interruption, after which we will pick up where we left off. We have a way of knowing but we are conscientiously not using it. We are not going to go on playing games, even if the rules are downright fascinating.
We require a situation more like it really is – no rules at all.
Only when we make them win our games. Do they then? I wonder.
We are learning to say, “I know.”
i don’t know.. K Schulz
Another way to say is: We know perfectly well now that this has very much to do with everything else.
That seems gray, undifferentiated, and we inarticulate to seem to be boring. (“They are not boring but very interesting”) Everything is articulated.
There are temptations for us to stop what we’re doing and make a connection that will be overwhelming. But I’m losing my ability to make connections because the ones I do make so belittle the natural complexity. That is a kind of leaving in us. We are leaving our emotions where they are in each one of us.
left off at 90% 5880
One is not trying to put his emotion in someone else.
We are what we are doing but where would we go if we abandoned something? We only have to change our means of measuring to see how close we are to what we are doing. It is not an object; it is a process and it will go on probably for some time. It is difficult to know whether we will ever forget..
left off at 93% 6073

and not to the beginning again – reverse from here:

This turning is psychological and seems at first to be a giving up of everything that belongs to humanity—for a musician, the giving up of music. This psychological turning leads to the world of nature, where, gradually or suddenly, one sees that humanity and nature, not separate, are in this world together; that nothing was lost when everything was given away. In fact, everything is gained

facilitating serendipity via networked individualism…ness amzn.com/k/ZW-ZO2FKRduu…it is inevitable that one will see other things, and people too, if they happen to be there at the same time, through the network of wires

Many people, of course, have given up saying “experimental” about this new music. Instead, they either move to a halfway point and say “controversial” or depart to a greater distance and question whether this “music” is music at all.
Formerly, whenever anyone said the music I presented was experimental, I objected. It seemed to me that composers knew what they were doing, and that the experiments that had been made had taken place prior to the finished works, just as sketches are made before paintings and rehearsals precede performances. But, giving the matter further thought, I realized that there is ordinarily an essential difference between making a piece of music and hearing one. A composer knows his work as a woodsman knows a path he has traced and retraced, while a listener is confronted by the same work as one is in the woods by a plant he has never seen before. 
Now, on the other hand, times have changed; music has changed; and I no longer object to the word “experimental.” I use it in fact to describe all the music that especially interests me and to which I am devoted, whether someone else wrote it or I myself did. What has happened is that I have become a listener and the music has become something to hear.
M. C. Richards went to see the Bolshoi Ballet. She was delighted with the dancing. She said, “It’s not what they do; it’s the ardor with which they do it.” I said, “Yes: composition, performance, and audition or observation are really different things. They have next to nothing to do with one another.
THROUGH THE PRINCIPLE OF ORGANIZATION OR MAN’S COMMON ABILITY TO THINK. It was a Wednesday.
Before this happens, centers of experimental music must be established. In these centers, the new materials, oscillators, turntables, generators, means for amplifying small sounds, film phonographs, etc., available for use
Percussion music is a contemporary transition from keyboard-influenced music to the all-sound music of the future. Any sound is acceptable to the composer of percussion music; he explores the academically forbidden “non-musical” field of sound insofar as is manually possible
Schoenberg’s method assigns to each material, in a group of equal materials, its function with respect to the group. (Harmony assigned to each material, in a group of unequal materials, its function with respect to the fundamental or most important material in the group.) Schoenberg’s method is analogous to a society in which the emphasis is on the group and the integration of the individual in the group.
harmony injections needed if equity doesn’t exist.. ness
The composer (organizer of sound) will be faced not only with the entire field of sound but also with the entire field of time.
24/7 ness – getting us back to us in ginormously small ways. ie: at each other’s beckon call
It is now possible for composers to make music directly, without the assistance of intermediary performers. Any design repeated often enough on a sound track is audible. Two hundred and eighty circles per second on a sound track will produce one sound, whereas a portrait of Beethoven repeated fifty times per second on a sound track will have not only a different pitch but a different sound quality.
Any design repeated often enough on a sound track is audible.
Any design repeated often enough on a sound track is audible.
Any design repeated often enough on a sound track is audible.
Any design repeated often enough on a sound track is audible.
Any design repeated often enough on a sound track is audible.
WILL BE EXPLORED. WHEREAS, IN THE PAST, THE POINT OF DISAGREEMENT HAS BEEN BETWEEN DISSONANCE AND CONSONANCE, IT WILL BE, IN THE IMMEDIATE FUTURE, BETWEEN NOISE AND SO-CALLED MUSICAL SOUNDS. THE PRESENT METHODS OF WRITING MUSIC, PRINCIPALLY THOSE WHICH EMPLOY HARMONY AND ITS REFERENCE TO PARTICULAR STEPS IN THE FTELD OF SOUND, WELL BE INADEQUATE FOR THE COMPOSER, WHO WELL BE FACED WITH THE ENTTRE FEELD OF SOUND.
Thereministes act as censors, giving the public those sounds they think the public will like. We are shielded from new sound experiences.
common core, nclb, .. in strategically planning to prepare people.. we are leaving them/us least prepared.. by keeping them/us blind/asleep – beholden to supposed to’s
The Novachord and the Solovox are examples of this desire to imitate the past rather than construct the future. When Theremin provided an instrument with genuinely new possibilities, Thereministes did their utmost to make the instrument sound like some old instrument, giving it a sickeningly sweet vibrato, and performing upon it, with difficulty, masterpieces from the past. Although the instrument is capable of
If this word “music” is sacred and reserved for eighteenth- and nineteenth-century instruments, we can substitute a more meaningful term: organization of sound
education – organization of information..?
Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating.
Not all these pieces, of course, are unusual in form. Several were written to be printed—that is, to be seen rather than to be heard.
When M. C. Richards asked me why I didn’t one day give a conventional informative lecture, adding that that would be the most shocking thing I could do, I said, “I don’t give these lectures to surprise people, but out of a need for poetry
My intention has been, often, to say what I had to say in a way that would exemplify it; that would, conceivably, permit the listener to experience what I had to say rather than just hear about it.
It behooves us therefore to see each thing directly as it is,..

continuing 2nd time around- reverse from here:

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.

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
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.
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.
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.
Since so many inches of tape equal so many seconds of time, it has become more and more usual that notation is in space rather than in symbols of quarter, half, and sixteenth notes and so on

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

what tech (ni) wants… allows… and ness

the composer resembles the maker of a camera who allows someone else to take the picture.

or now.. rebuild/remix the idea of camera/image/documentation/memory….
Or, analogous to the Rorschach tests of psychology, the interpretation of imperfections in the paper upon which one is writing may provide a music free from one’s memory and imagination
Those involved with the composition of experimental music find ways and means to remove themselves from the activities of the sounds they make.

echo/anechoic. chamber ness..

New music: new listening.

This project will seem fearsome to many, but on examination it gives no cause for alarm.
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.
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.)

Ed ..life… and control…

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
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
The situation made available by these means is essentially a total sound-space, the limits of which are ear-determined only.
magnetic tape was 8/SILENCE used not simply to record performances of music but to make a new music that was possible only because of it.

now ni

And it is a striking coincidence that just now the technical means to produce such a free-ranging music are available.
2nd time – reverse from here
chance operations determined stability
only thing certain/stable – uncertainty/instability
 a-lone was free.
even separating words to model thinking
In contrast to a structure based on the frequency aspect of sound, tonality, that is, this rhythmic structure was as hospitable to non-musical sounds, noises, as it was to those of the conventional scales and instruments. For nothing about the structure was determined by the materials which were to occur in it; it was conceived, in fact, so that it could be as well expressed by the COMPOSITION AS PROCESS/19 absence of these materials as by their presence, flln terms of the opposition of freedom and law, a piece written ten years before the Sonatas and Interludes, Construction in Metal, presents the same relationship, but reversed: structure, method, and materials were all of them subjected to organization

ni as uncertain organization..

along a beach. The form was as natural as my taste permitted: so that where, as in all of the Sonatas and two of the Interludes, parts were to be repeated, the formal concern was to make the progress from the end of a section to its beginning seem inevitable.

like silence did for me – along a beach…

only structure was organized, quite roughly for the work as a whole, exactly, however, within each single piece.

ni ness.. discrimination toward non prejudice .

“material”— the sounds and silences of a composition) were, it seemed to me then, the proper concern of the mind (as opposed to the heart) (one’s ideas of order as opposed to one’s spontaneous actions); whereas the two last of these, namely method and material, together with form (the morphology of a continuity) were equally the proper concern of the heart. Composition, then, I viewed, ten years ago, as an activity integrating the oppo-sites, the rational and the irrational, bringing about, i- deally, a freely moving continuity within a strict division of parts, the sounds, their combination and succession being either logically related or arbitrarily chosen. fThe strict division of parts, the structure, was a function of the duration aspect of sound, since, of all the aspects of sound …
Why don’t you realize as I do that nothing is accomplished by writing, playing, or listening to music? Otherwise, deaf as a doornail, you will never be able to hear anything, even what’s well within earshot
By “structure” was meant the division of a whole into parts; by “method,” the note-to-note procedure. Both structure and method (and also

 

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water walk (actually cage in video) – 1960:

imaginary landscape

(so strange hearing this/reading this just after i had been experimented with the cello unleashed ness)

in the name of holocaust

4’33”

John’s dream

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posted by Maria:

where the heart beats

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.

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wikipedia small

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.”

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exhibit 2014 at moma:

there will never be silence

 

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more on silence


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