John Cage Quotes

Power and profit structures're out of cahoots with current technology. Aware of new inventions, corporations put them aside, waiting for competitive reasons until they're obliged to use new gimmicks.

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. The sound of a truck at fifty miles per hour. Static between the stations. Rain. We want to capture and control these sounds, to use them not as sound effects but as musical instruments. Every film studio has a library of "sound effects" recorded on film. With a film phonograph it is now possible to control the amplitude and frequency of any one of these sounds and to give to it rhythms within or beyond the reach of the imagination. Given four film phonographs, we can compose and perform a quartet for explosive motor, wind, heartbeat, and landslide.

Veblen called it the price-system. Mills called it the Power Elite. It's probably no more than ninety-nine people who don't know what they are doing. They're involved in high finance. Fascinating form of gambling.

Sleep's what we need. It produces an emptiness in us into which sooner or later energies flow.

Each something is a celebration of the nothing that supports it.

While he rested, she asked, 'What's the difference between natives and outsiders?' 'Natives,' he replied, 'eat indoors and shit outdoors, outsiders eat outdoors and shit indoors.

Her playing which had been superb became merely correct. It was necessary to suggest a certain sloppiness, the playing of something that hadn't been written. Computer-made music-synthesized Blue Moon- presented same problem. Random elements introduced.

Until I die there will be sounds. And they will continue following my death. One need not fear about the future of music.

Whereas what we need is to fumble around in the darkness, because that's where our lives (not necessarily all of the time, but at least some of the time, and particularly when life gets problematical for us) takes place.

Before leaving the earth altogether, let us as: How does Music stand with respect to its instruments, their pitches, the scales, modes and rows, repeating themselves from octave to octave, the chords, harmonies, and tonalities, the beats, meters, and rhythms, the degrees of amplitude (pianissimo, piano, mezzo-piano, mezzo-forte, forte, fortissimo)? Though the majority go each day to the schools where these matters are taught, they read when time permits of Cape Canaveral, Ghana, and Seoul. And they’ve heard tell of the music synthesizer, magnetic tape. They take for granted the dials on radios and television sets. A tardy art, the art of Music. And why so slow? Is it because, once having learned a notation of pitches and durations, musicians will not give up their Greek? Children have been modern artists for years now. What is it about Music that sends not only the young but adults too as far into the past as they can conveniently go? The module? But our choices never reached around the globe, and in our laziness, when we changed over to the twelve-tone system, we just took the pitches of the previous music as though we were moving into a furnished apartment and had no time to even take the pictures off the walls. What excuse? That nowadays things are happening so quickly that we become thoughtless? Or were we clairvoyant and knew ahead of time that the need for furniture of any kind would disappear? (Whatever you place there in front of you sits established in the air.) The thing that was irrelevant to the structures we formerly made, and this was what kept us breathing, was what took place within them. Their emptiness we took for what it was – a place where anything could happen. That was one of the reasons we were able when circumstances became inviting (chances in consciousness, etc.) to go outside, where breathing is child’s play: no walls, not even the glass ones which, though we could see through them, killed the birds while they were flying.

The emotions - love, mirth, the heroic, wonder, tranquility, fear, anger, sorrow, disgust - are in the audience.

I have nothing to say/ and I am saying it/ and that is poetry/ as I need it.

What I'm proposing, to myself and other people, is what I often call the tourist attitude - that you act as though you've never been there before. So that you're not supposed to know anything about it. If you really get down to brass tacks, we have never been anywhere before.

One evening I was walking along Hollywood Boulevard, nothing much to do. I stopped and looked in the window of a stationary shop. A mechanized pen was suspended in space in such a way that, as a mechanized roll of paper passed by it, the pen went through the motions of the same penmanship exercises I had learned as a child in the third grade. Centrally placed in the window was an advertisement explaining the mechanical reasons for the perfection of the operation of the suspended mechanical pen. I was fascinated, for everything was going wrong. Then pen was tearing the paper to shreds and splattering in all over the window and on the advertisement, which, nevertheless, remained legible.

As I see it, poetry is not prose simply because poetry is in one way or another formalized. It is not poetry by reason of its content or ambiguity but by reason of its allowing musical elements (time, sound) to be introduced into the world of words. Thus, traditionally, information no matter how stuffy (e. g. the sutras and shastras of India) was transmitted in poetry. It was easier to grasp that way. Karl Shapiro may have been thinking along these lines when he wrote his Essay on Rime in poetry.