The procedure that's the global grapples with John Cage not only as a composer, yet as a thinker advocating for an ontology of distinction in line with the type posited by way of Gilles Deleuze. Cage's philosophy isn't easily a unique approach for composition, yet an intensive argument concerning the nature of truth itself, the development of matters inside of that fact, and the way during which subjectivity and a self-creative global exist in effective rigidity with each other. Over the process the research, those issues are built within the nation-states of the ontology of a musical paintings, functionality practices, ethics, and at last a learn of Cagean politics and the relationship among aesthetic event and the iteration of recent kinds of collective becoming-together. The imaginative and prescient of Cage that emerges via this examine isn't really easily that of the maverick composer or the “inventor of genius,” yet of a philosopher and artist responding to insights in regards to the world-as-process because it extends during the philosophical, inventive, and moral registers: the area as power for variance, reinvention, and everlasting revolution.
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Extra resources for The Process That Is the World: Cage/Deleuze/Events/Performances
In 1951, John Cage visits the anechoic chamber at Harvard collage. For years, he has been deeply interested by the competition of sound and silence, whose sole shared parameter is period. within the anechoic chamber, Cage expects to listen to silence, an absolute silence, a silence with in basic terms length. Cage hears anything else – “two sounds: one excessive, one low. ” the previous, in keeping with the engineer at Harvard, is the sound of Cage’s worried procedure in operation. The latter is the sound of blood coursing via his veins. The well-known lesson, as mythologized through Cage himself,
1 Cage in dialog with Stuart Kaufmann (1966). Quoted in speaking with Cage, 2d ed. , ed. Richard Kostelanetz (New York: Routledge, 2003), 221. 2 Gilles Deleuze and Claire Parnet, Dialogues II (New York: Columbia, 2002), p. vii. 1
is that there's “no such factor as silence,” and that what we more often than not settle for as silence is really the presence of accidental sound. The event of the anechoic chamber is a vital turning element for Cage – arguably the turning aspect in Cage’s compositional existence – and it marks the transition towards his experiments with probability and indeterminacy. This telling of the tale is vintage biography, and lots more and plenty has been made from its importance for Cage as a composer. yet there's an inexhaustible richness to the story of the anechoic chamber, one who a long way exceeds Cage’s personal telling or the hot makes an attempt to problem the veracity of his account. Cage’s recounting of the anechoic chamber adventure is a parable, a parable approximately occasions – the appearances of distinction. After the anechoic chamber, Cage is a brand new guy. The occasions of the chamber have replaced him, they've got refashioned the best way he can process the realm. sounds, insistent and agitating: a shock. anything which could purely be sensed, now not well-known, now not recollected. anything that provoked a suggestion. An stumble upon. The scene is way extra complex than it first turns out. a guy establishes a plan. there's not anything unintended or absent-minded in regards to the plan. He has rigorously selected his place, rigorously selected his method. it's sober and thought of – it calls for making plans and self-discipline, it calls for being within the correct position on the correct time. furthermore, it contains even more than simply his will. There’s a room that makes the development attainable. There’s tricks of expectation and shards of reminiscence surrounding the motion, circuits of anticipation and response that borrow from numerous prior encounters made attainable by means of an enormous array of individuals, locations, and issues. There’s a physique in non-stop and un-thought movement, jam-packed with fluctuations and relentless adaptations (blood increasing and contracting veins, nerves in vibration). not only a guy coming into a room, yet a posh state of affairs 2
that enfolds advanced fabric and immaterial elements.