American avant-garde composer (1912-1992)
John Cage (September 5, 1912 – August 12, 1992) was an American composer. A pioneer of chance music, electronic music and non-standard use of musical instruments. Cage was one of the leading figures of the post-war avantgarde and, in the opinion of many, the most influential American composer of the 20th century.
From: Wikiquote (CC BY-SA 4.0)
Pen Names:
Cage, Jr., John Milton
Alternative Names:
John Milton Cage Jr.
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John Milton Cage, Jr.
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John Milton, Jr. Cage
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J. C.
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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.
At Black Mountain College in 1952, I organized an event that involved the paintings of Bob Rauschenberg, the dancing of Merce Cunningham, films, slides, phonograph records, radios, the poetries of w:Charles Olson and M. C. Richards recited from the tops of ladders, and the pianism of David Tudor, together with my 'Juilliard lecture', which ends: 'A piece of string, a sunset, each acts.' The audience was seated in the center of all this activity. Later that summer, vacationing in New England, I visited America's first synagogue, to discover that the congregation was there seated precisely the way I had arranged the audience at Black Mountain.
We are living in a period in which many people have changed their mind about what the use of music is or could be for them. Something that doesn't speak or talk like a human being, that doesn't know its definition in the dictionary or its theory in the schools, that expresses itself simply by the fact of its vibrations. People paying attention to vibratory activity, not in reaction to a fixed ideal performance, but each time attentively to how it happens to be this time, not necessarily two times the same. A music that transports the listener to the moment where he is.
Nothing more then nothing can be said.
We make our lives by what we love.
Being American, having been trained to be sentimental, I fought for noises … when the war came along, I decided to use only quiet sounds. There seemed to me to be no truth, no good, in anything big.
Somebody asked Debussy how he wrote music. He said: “I take all the tones there are, leave out he one’s I don’t want, and use all the others”. Satie said: “When I was young, people told me; you’ll see when you’re fifty years old. Now I’m fifty. I’ve seen nothing”.
Slowly as the talk goes on, we are getting nowhere – and that is a pleasure.
It is not irritating to be where one is, it is only irritating to think one would like to be somewhere else.
If anybody is sleepy, let him go to sleep.
All I know about method is that when I’m not working I sometimes think I know something, but when I’m working, it is quit clear I know nothing.
There is one term of the problem which you are not taking into account: precisely, the world. The real. You say: the real, the world as it is. But it is not, it becomes! It moves, it changes! It doesn’t wait for us to change.. .It is more mobile than you can imagine. You are getting closer to this reality when you say as it 'presents itself'; that means that it is not there, existing as an object. The world, the real is not an object. It is a process.