John Cage – författare

Without doubt the most influential American composer of the last half century, John Cage has had an enormous impact not only on music but on art, literature, the performing arts, and aesthetic thought in general. His insistent exploration of “nonintention” and his fruitful merging of Western and Eastern traditions have made him a powerful force in the world of the avant-garde.There have never been lectures like these: delivered at Harvard in 1988–89 as the Charles Eliot Norton Lectures, they were more like performances, as the audience heard them. Cage calls them “mesostics,” a literary form generated by chance (in this case computerized I-Ching chance) operations. Using the computer as an oracle in conjunction with a large source text, he happens upon ideas, which produce more ideas. Chance, and not Cage, makes the choices and central decisions. Such a form is rooted, Cage tells us in his introduction, in the belief that “all answers answer all questions.”Acting as a kind of counterpoint to the six texts here are transcripts (edited by Cage) of the provocative question-and-answer seminars that followed each presentation. Included with the book are two audiocassettes, one of Cage reading a mesostic (IV), allowing the listener to experience it as it was delivered, and one with a lively selection from the question-and-answer seminars that conveys the flavor of the event. The illustrations consist of fifteen different chance-determined prints from a single negative by Robert Mahon of the first autograph page of Cage’s Sixteen Dances (1951).I–VI is, in short, an experience of John Cage, where silences become words and words become silences, in arrangements that will disconcert and exercise our minds.

Includes lectures, essays, diaries and other writings, including 'How to Improve the World (You Will Only Make Matters Worse)' and 'Juilliard Lecture.'

Although literary historians generally connect the rise of the novel to the needs of the middle classes of England, Maiorino demonstrates that its deepest roots are in the culture of indigence that developed at the peripheries of ...

Cage voices his concerns on the nature and future of music, they ways of dancers, the West's interpretation of Eastern ideas in this thought provoking collection of anecdotes and epigrams.

This volume has brought together authors researching in Asia who redress this imbalance and describe what the West can learn from the East.

The Saturday Review said of him: €œCage possesses one of the rarest qualities of the true creator- that of an original mind- and whether that originality pleases, irritates, amuses or outrages is irrelevant.€ €œHe refuses to sermonize ...

A major American thinker of the 20th century muses on anarchism.

This selection of over five hundred letters gives us the life of John Cage with all the intelligence, wit, and inventiveness that made him such an important and groundbreaking composer and performer. The missives range from lengthy reports of his early trips to Europe in the 1930s through his years with the dancer Merce Cunningham, and shed new light on his growing eminence as an iconic performance artist of the American avant-garde. Cage's joie de vivre resounds in these letters - fully annotated throughout - in every phase of his career, and includes correspondence with Peter Yates, David Tudor, and Pierre Boulez, among others. Above all, they reveal his passionate interest in people, ideas, and the arts. The voice is one we recognize from his writings: singular, profound, irreverent, and funny. Not only will readers take pleasure in Cage's correspondence with and commentary about the people and events of a momentous and transformative time in the arts, they will also share in his meditations on the very nature of art. A deep pleasure to read, this volume presents an extraordinary portrait of a complex, brilliant man who challenged and changed the artistic currents of the twentieth century.

Written between the late '30s and the early '90s, these pieces by John Cage here acquire the permanence they deserve. Some have never been published before. Many appeared only in magazines, journals, and catalogues; others in concert programs and on record covers. Also included are the texts of lectures and – of crucial importance to the appreciation of his music – Cage's notes on the performance of his compositions, courtesy of his music publisher, C.F. Peters.

Foraging for mushrooms with John Cage: writing, art, photography and ephemera from an idiosyncratic chapter in the composer's lifeImagined as an extended mushroom-foraging expedition, John Cage: A Mycological Foray gathers together Cage’s mushroom-themed compositions, photographs, illustrations and ephemera. Indeterminacy Stories and other writings by Cage are interwoven throughout the first volume within a central essay examining Cage’s enduring relationship with mycology. Also included is a transcript of Cage’s 1983 performance, MUSHROOMS et Variationes. The second volume is the inaugural reproduction of Cage’s 1972 portfolio, Mushroom Book, authored in collaboration with illustrator Lois Long and botanist Alexander H. Smith. Readers are thus drawn through the landscape of Cage’s mycologically centred oeuvre and interests, discovering assorted works, images, compositions, philosophies and ephemera, as one might encounter assorted fungi and flora while foraging.John Cage: A Mycological Foray constitutes a new, idiosyncratic chapter in Cage’s oeuvre, a departure from the composer’s more established narrative.American composer and music theorist John Cage (1912–92) was a pioneer of indeterminacy in music, electroacoustic music and a leading figure of the postwar avant-garde. His influence extended to the realms of dance, poetry, performance and visual art.

A superb introduction to the work of John Cage, celebrated minimalist composer, who died in 1992, aged 79 years. Printed in the style requested by the author, this book summarises his major works in one volume.

Now available in an expanded paperback edition, Diary registers Cage's assessment of the times in which he lived as well as his often uncanny portents about the world we live in now. With a great sense of play as well as purpose, Cage traverses vast territory, from the domestic minutiae of everyday life to ideas about how to feed the world. He used chance operations to determine not only the word count and the application of various typefaces but also the number of letters per line, the patterns of indentation, and in the case of Part Three, originally published by Something Else Press color. The unusual visual variances on the page become almost musical as language takes on a physical and aural presence.While Cage used chance operations to expand the possibilities of creating and shaping his work beyond the limitations of individual taste, Diary nonetheless accumulates into a complex reflection of Cage's sensibilities as a thinker and citizen of the world, illuminating his social and political awareness, as well as his idealism and sense of humor: it becomes an oblique but indelible portrait of one the most influential figures of the 20th-century American avant-garde.Collecting all eight parts into a single volume, co-editors Joe Biel and Richard Kraft also used chance operations to render the entire text in various combinations of the red and blue (used by Dick Higgins and Alison Knowles for Part Three) as well as to apply a single set of 18 fonts to the entire work. In the editors' note, Kraft and Biel elucidate the procedure of chance operations and demonstrate its application, giving readers a rare opportunity to see how the text is transformed.This expanded paperback edition reproduces the 2015 hardback edition, with a new essay by mycologist and Cage aficionado David Rose and, most important, with a significant addendum that includes many facsimile pages of Cage's handwritten notebook of a ninth part in progress, bringing the reader into compelling proximity to Cage's process and the raw material from which Diary was made.

These early letters from John Cage to Merce Cunningham will be revelatory for many. While the two are widely known as a dynamic, collaborative duo, the story of how and when they came together has never been fully told. In the 39 letters of this collection, spanning 1942 46, Cage shows himself to be a man falling deeply in love. When they first met at the Cornish School in Seattle in the 1930s, Cage was 26 to Cunningham's 19, their relationship was purely that of teacher and student, and Cage was also very much married.It was in Chicago that their romantic relationship would begin. Cage was teaching at Moholy-Nagy's School of Design when Cunningham passed through town as a dancer with the Martha Graham Company on March 14, 1942. The letters begin in January, but a week after Cunningham's performance, the essential correspondence begins. Cage's letters to Cunningham are passionate, distraught, romantic and confused, occasionally containing snippets of poetry and song. They are also more than love letters, with intimations that resonate with our experience of the later John Cage.Love, Icebox takes its shape from these letters transcribed, chronologically ordered and in some instances reproduced in facsimile. Laura Kuhn, Cage's assistant from 1986 to 1992 and now longtime director of the John Cage Trust, adds an introduction, postscript and running commentary. Photographic illustrations of their final 18th St loft, as well as personal and household objects left behind, remind us of the substance and rituals of a long-shared life.