Journal of Aesthetics & Art Criticism. May2014, Vol. 72 Issue 2, p157-167. 11p. 3 Black and White Photographs.
Subjects
AESTHETICS, SILENCE, and PHILOSOPHY of language
Abstract
Comparisons of Ludwig Wittgenstein and John Cage typically focus on the 'later Wittgenstein' of the Philosophical Investigations. However, in this article I focus on the deep intellectual sympathy between the 'early Wittgenstein' of the Tractatus Logico-Philosophicus-with its evocative and controversial invocation of silence at the end, the famous proposition 7: 'Whereof we cannot speak, thereof we must be silent'-and Cage's equally evocative and controversial work on the same theme-his 'silent piece,' 4′33″. This sympathy expresses itself not only in the common aim of the two works (a mystical appreciation for the ordinary, everyday world that surrounds us) but also in a shared methodology for bringing about this aim (tracing the limits of language from within in order to transcend those very limits). In this sense, I argue that Cage's work gives a concrete, performative reality to Wittgenstein's early conception of language as well as the mystical revelation that lies behind it. [ABSTRACT FROM AUTHOR]
Journal of Aesthetics & Art Criticism. Winter2017, Vol. 75 Issue 1, p35-48. 14p.
Subjects
SOUND art, 20TH century music, PLATONISTS, and CONCERTS
Abstract
ABSTRACT This article discusses listening that is appropriate to sound art and the associated changes in the paradigms, or thought patterns, that occur so often when we move from visual to aural perception. The distinction between historically accepted and rejected sounds is used to show how putting sounds in cages has fashioned a form of listening and of life. Twentieth-century experimental music and, especially, the music and the reflections of John Cage have opened these cages of sound and at the same time weakened the visual paradigm for intellectual knowledge. This article examines sound art as a place where artistic practices coincide with certain theoretical issues centered on sound. The centrality of sound is approached first, and music and sound art are discussed in relation to space. Second, the attention to sound in the reception of prominent examples of sound art focuses on site-specific relationships with the city and with listening. The article concludes by affirming the need for an aesthetic reflection that takes into consideration the implications of these profound transformations. However, that is another cage yet to be opened. [ABSTRACT FROM AUTHOR]
Soliman, Mohamed A. R., Aguirre, Alexander O., Kuo, Cathleen C., Ruggiero, Nicco, Khan, Asham, Ghannam, Moleca M., Rho, Kyungduk, Jowdy, Patrick K., Mullin, Jeffrey P., and Pollina, John
Journal of Aesthetics & Art Criticism. Winter94, Vol. 52 Issue 1, p93. 6p.
Subjects
MUSICAL aesthetics
Abstract
Discusses the influence of John Cage in philosophy and music. Analysis of Cage's philosophy of music; Significance of Cage's ideas for the philosophy of art in general.
Analyzes the works of American composers John Cage and Mary Carr Moore. Silencing of the female voice within the dominant musical language; Analysis of the Greek play `The Euminides,' the last part of the `Oresteia' trilogy; Individuals who influenced Cage's music; Meeting between Cage and Moore; Moore's music as an imitation of Cage's.
Focuses on the musical extravaganza devised by John Cage and Merce Cunningham titled 'Variations V.' Description of stage set; Installation of the electronic visual stimuli; Documentation of the musical scores.
Musical Quarterly. Spring94, Vol. 78 Issue 1, p131. 18p. 5 Black and White Photographs, 1 Diagram.
Subjects
OPERA
Abstract
Discusses the synergetic dynamics of the chance-determined, musico-dramatic stage collage `Europeras 1 & 2,' by John Cage. Description of the stage operation, musical content, cast and extramusical elements; Jerrold Levinson on hybrid art form; Synthesis exemplified by Wagenerian music drama.
The article focuses on theory of silence in modernist American Poetry. It mentions twentieth century in American poetry witnessed the explicit problematization of silence in the works of the poet and composer John Cage and Ezra Pound introduced silence as an important element of modernist American poetry well before Cage. It also mentions role played by the human senses in the perception of the lyric and pragmatic philosopher John Dewey confessed a degree of perplexity.