I - VI. Method Structure Intention Discipline Notation Indeterminacy Interpenetration Imitation Devotion Circumstances Variable Structure Nonunderstanding Contingency Inconsistency Performance.

Cage, John

ISBN 10: 0674440072 / ISBN 13: 9780674440074

Edité par Cambridge, Massachussetts/London, England. Harvard University Press., 1990

A propos de cet article

Erste Auflage. 29 x 21 cm. 452 S. OLeinen mit illustriertem und transparentem OUmschlag. Transparenter Umschlag etwas nachgedunkelt und berieben, Buchschnitt leicht angestaubt. Sonst gutes bis sehr gutes Exemplar. Teil der Reihe The Charles Eliot Norton Lectures, 1988/89. Durchgehend mit schwarz-weiß Abbildungen versehen. Text in Englisch.

N° de réf. du vendeur 1830EB

Détails bibliographiques

• Titre: I - VI. Method Structure Intention Discipline Notation Indeterminacy Interpenetration Imitation Devotion Circumstances Variable Structure Nonunderstanding Contingency Inconsistency Performance.
• Éditeur: Cambridge, Massachussetts/London, England. Harvard University Press.
• Date de parution: 1990
• Langue: anglais
• ISBN à 10 chiffres: 0674440072
• ISBN à 13 chiffres: 9780674440074
• Reliure: Couverture rigide
• État de la jaquette: Jaquette
• Catalogues du vendeur:
  • Kunst: Künstlerbücher / artist books

A propos de ce titre

Synopsis

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.