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John Cage was one of America's most renowned composers from the 1940s until his death in 1992. But he was also a much-admired writer and artist, and a uniquely attractive personality able to present his ideas engagingly wherever he went. As an interview subject he was a consummate professional.The main source of CageTalk: Dialogues with and about John Cage is a panoply of vivid and compulsively readable interviews given to Peter Dickinson in the late 1980s for a BBC Radio 3 documentary. The original BBC program lasted an hour but the full discussions with Cage and many of the main figures connected with him have remained unpublished until now.CageTalk also includes earlier BBC interviews with Cage, including ones by the renowned literary critic Frank Kermode and art critic David Sylvester. And the editor Peter Dickinson contributes little-known source material about Cage's Musicircus and Roaratorio as well as a substantial introduction exploring the multiple roles that Cage's varied and challenging output played during much of the twentieth century and continues to play in the early twenty-first.Apart from the long interview with Cage himself, there are discussions with Bonnie Bird, Earle Brown, Merce Cunningham, Minna Lederman, Otto Luening, Jackson Mac Low, Peadar Mercier, Pauline Oliveros, John Rockwell, Kurt Schwertsik, Karlheinz Stockhausen, Virgil Thomson, David Tudor, La Monte Young, and Paul Zukovsky. Most of the interviews were given to Peter Dickinson but there are others involving Rebecca Boyle, Anthony Cheevers, Michael Oliver, and Roger Smalley. ... Read more

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Customer Reviews (2)

imaginative scintillations
"The sententious critic puts me to sleep.I would prefer a critic of imaginative scintillations.He would not be sovereign, nor dressed in red.He would bear the lightning flashes of possible storms."--Michel Foucault

Corbett seems to operate according to Foucault's injunction, and bears quite a few lightning flashes, due to his playful imagination and the imagination of the cutting edge artists he covers."Extended Play" puts Cage and Clinton in the title, but actually focuses on free jazz/improvisation, not composition or funk.Corbett presents marvelous interviews with European free improvisers, including saxophonists Evan Parker and Peter Brotzmann, guitarist Derek Bailey, and drummer Han Bennink, as well as Americans Sun Ra (composer and bandleader),and Anthony Braxton (composer and reed player).He profiles fellow Chicagoans Hal Russell, Fred Anderson, Von Freeman, and EdwardWilkerson Jr. (the latter three all tenor players), English bassist and bandleader Barry Guy, and Sainkho Namtchylak, the only female Siberian Tuva singer in the ranks of European free improv.He does interview John Cage, which I found uninteresting, and George Clinton, which is tremendous.

Whether despite or because of his poststructuralist leanings (I'm with Evan Parker, who, according to Corbett, "...knows I'm a Continental-philosophy kinda guy, which is something he's certain that he isn't."), Corbett takes a stance clearly on the side of "optimism concerning the possibility of resistance," resistance in the realm of popular music against the capitalist status quo.

Presently overseeing the Unheard Music series for Atavistic Records in Chicago -- free jazz/improv tapes buried in the vaults until now -- John Corbett is doing his part to keep ALL the signifiers free!

Ushering in a new era of popular culture criticism?
Like Greil Marcus and Robert Palmer, Corbett looks at (popular?) culture as both a product of and a determinant of culture at large.As a postmodernist, he delves into genres that are largely devoid of quality criticism as few are up to the task.Actually he's probably more of a Nat Hantoff or Frank Kofsky of our time in that he's quick to support what may commonly be refered to as music that tries its listeners patience and willingness to explore. I used this book as a reference for my thesis and have recommended it to several people. ... Read more

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Sounds of the Inner Eye explores the artistic and biographical connection among three of the Pacific Northwestís most significant and highly respected artists.

Mark Tobey, often aligned with the abstract expressionists, was a pioneer in integrating elements of Asian art into mystical, calligraphic paintings. Morris Graves, known as something of an art world maverick, combined Eastern religious beliefs and a deep appreciation of the natural world in his work, focusing initially on the Northwestís birds and vegetation. John Cage, an avant-garde composer, philosopher, writer, and printmaker, began his visual creations with graphic representations of musical scores, and then evolved to include printmaking, drawing, and watercolor.

Sounds of the Inner Eye explores the lives and careers of these three men who were instrumental in leading a community of artists, patrons, and scholars into a deeper understanding of the potential and power of art and, in turn, had a large impact on much of what followed in modern art in America. Known as the Northwest Mystics, they were influenced by Eastern philosophies and the natural beauty of the Pacific Rim. Their legendary nickname has remained over time, helping to establish the Northwest as a center for artistic talent, worthy of the admiration of the international art community. ... Read more

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A major American thinker of the 20th century muses on anarchism. ... Read more

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An unnecessary enterprise
This book is, I regret to say, more or less an attempt by Wesleyan University Press to artificially expand their catalog of Cage's works. The observant among you will notice that this same text has already been printed once before, in Bucknell Press's _John Cage at 75_Wesleyan has played an incredibly important role in promoting Cage's writing for forty years now, but unfortunately this addition was just plain unnecessary.

Also note that the text is littered with typographical errors that were not in the original. The layout and overall book design are beautiful however.

anarchic seems every bit more escapist, self-indulgent
John Cage was never an activist,at least not one that had tangible results toward change. His work remains amongst/ within the safe,complaisant corridors of escapist realms. He encouraged throughout his life,gently, cadre's of creators, all brilliant,provocative, interesting, and thought provoking, with a utopian flair to change the world.But to change what? Yet there is a grotesquely large gulf between these realms, opaque boundless chasms of artistic creations, notebooks, concepetual art, performance art, all spawned from the Cage Zen inspired pacifist anarchy.Yet what has this work changed as fascinanting as it remains???
It has been well known that the great anarchist thinkers that Cage utilizes here as Mikail Bakunin, Petr Kroputkin, and Murray Bookhin in the 20th Century hardly proved to mountpathways worth pursuing.They indulged in corrupt opportunists politics as those they criticized, as Kroputkin's affair with double dealings.And Bakunin spent most of his life in the Czar prisons. When he was released this rendered him a humble repenting pacifist inwardly. All their work simply remains as Cage's as fascinating, interesting, arresting probes,improvisations into history the 19th and 20 Centuries as a conceptual canvas, with an unreality for the utopian mind.
But the world still needs reform and correction,and change,there still is poverty, and malnutrition, and genocide, and corruption, and now more than ever with the turn within world politics after September 11 to Rightward magnetic attractions,with the reoccuring collapse of national currencies,(as Argentina, Brazil, South Korea)tied as a tyranny tied to the American Dollar$$ add to that the new face of corporate corruptions, as Enron which are coming more to the surface for the populace in the face of ever more speculative global capital greed within the financial world. In this light the plight and pursuit of anarchy seems infantile, accelerated to even more escapist self-indulgent, realms as Cage encourages.

There are some facinating moments in Cage's "Anarchy" here the very process of "reading" "interpreting" his mesostics, is a sense of the humanly performative, something we haven't lost the capacity for. Yet this is a self-absorbed endeavor, self-referential and need I say deeply masterbatory, hardly emancipatory in content.
We've lived admirably attentively through the revolution of the aesthetic,the conceptual, the Duchamp universe wrought with the carnage of the First World War,the Surrealists and made more transgressive,andirrational with the Second.

The Cage conceptual creative edifice was never one to gaze outward at this negative,odious impalletable world, Cage's creative magnetic fields were always one of a distant opaque, unexplainable future, made ever more distant and unreachable with each new work, further setting the light at the end of the tunnel ever further out of reach of humanity. ... Read more

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Thoughts about SILENCING THE SOUNDED SELF
S I L E N C I N G T HES O U N D E D S E L FJohn Cage and the American Experimental Traditionby Christopher Shultis[Northeastern U Press 1998]

what cart? what horse?

the intro lays out the poles of the study after noting that the inquiry "is governed by an assumption that an emphasis on process is a shared concern of all artists commonly regarded as *experimental*" (p.xvi) Shultis goes on to note that processes can be initiated in two ways

1) by a self controlling the process 2) by a self co-existing with process

next we are given 3 criteria against which to contrast those whose work fits with option 1 and option 2 - these are their attitudes about Nature, Symbolism, and the Unintentional

briefly

the is outside of Nature, separate from it, is IN the environment, seeks to know, use, etc // uses Symbolism in the same way that it uses nature as a means to an end //and is closed to the unintentional

the 'self coexistent with process' is inside Nature, not separate, part OF the environment // uses natural objects as themselves instead of as Symbolic of other things // & is open to the Unintentional

ok

so far this is all intro - where CS lays out the presuppositions of the study to follow - this is all enmeshed with a contrast between Emerson (who will be aligned with Charles Ives, Charles Olson - Projectivists) and Thoreau (Cage, Objectivists) part of what i like in all of this is that CS is very careful to state that the poles of his comparison are in some sense hypothetical - intentionally overdrawn - and that what he's interested in is the gray area between them & how consideration of Cage is useful to charting this space Emerson and the Charles' Olson and Ives - via their 'projectivist' stance (retro application warning) are in CS's view 'dualistic' - Thoreau, the Objectivists and Cage are 'nondualistic'

i changed the heading of this post from "review" to "thoughts" b/c i find that i'm basically in sympathy with the book - and as Shultis has been quite careful in delineating just what he is making claims about and what he is not i find it hard to do much more than agree with the main points of the book within their chosen and carefully staked ground

those who have an investment in Emerson or Thoreau might have differences or wish to debate terms but i have not these investments and so in addition to recommending the book to anyone interested in Cage's poetics as well as to Olsonites and fans of the Objectivists and others i'd like to ask some questions about the 'gray area between the poles' that Shultis' study highlights

if - as Cage said - his purpose was purposelessness or perhaps - that nonintention was his intention then he does partake of both poles he intends not to intend some i'm sure find this contradictory just as Shultis (and maybe Cage fans generally) see it as breaking with the dualistic logic one finds in Emerson but an insistence on nonduality

but i wonder

i think Cage probably wd have said something similar and affirmed in some way what i hear Shultis affirming in his book

but still i wonder whether it might be that Cage's position implies less a 'nondual' situation than a multiple one - i've read statements wherein he speaks against 'unity' in favor of 'multiplicity'

is 'unity' a dualistic notion - maybe so but is non-dualism also built on a notion of unity ? one without any outside ?

so cd it be that Cage's position has less to do with an argument between 1 and 2 but instead poses in some way an argument for a 3rd position ?

in the Peircean triad each element necessarily mediates between the other two Cage's intention to be nonintentional mediates between the poles of Shultis' study

likewise understanding what Cage is Intendingin relation to "normal" Intentionrequires the mediation of some notion of Nonintention

just as understanding in what sense Cage's workis nonintentional must be mediatedby the fact that he does it - Intends it

)L ... Read more

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Exhibition catalogue from the concerts and discussions on Cage that took place in the EAC of Castello, Spain. John Cage: Imaginary Landscapes, Concerts and Musicircus, are the contents of the catalogue that documents the exhibition, of the same title, realized in the Espai d'Art Contemporani de Castello. Apart from having a section of theoretical texts developed by Joan Cervero, Francisco Ramos, Carmen Pardo, Vicente Carreton Cano and Richard Kostelanetz, the catalogue also reflects on each of the activities that were realized during the exhibition, (concerts, operas, dance, auditions and pedagogic concerts, workshops, lectures, conferences, meetings and round table discussions). Lastly, the publication contains a biography on Cage, a chronology, including a chronologic list of his work, discography, bibliography and filmography about the composer. ... Read more

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Der Erwerb des Buches enthält gleichzeitig die kostenlose Mitgliedschaft im Buchklub des Verlags zum Ausprobieren - dort können Sie von über einer Million Bücher ohne weitere Kosten auswählen. Das Buch besteht aus Wikipedia-Artikeln: Marilyn Monroe, Michael Jackson, Jodie Foster, Angelina Jolie, Roland Emmerich, Leonardo DiCaprio, John Cage, Gwyneth Paltrow, Mia Farrow, Larry Niven, Forrest J Ackerman, Bret Easton Ellis, Juliette Lewis, Bridget Fonda, Laura Dern, Willis E. Lamb, Liza Minnelli, Anna May Wong, Charles Bukowski, James Horner, Dr. Dre, Beck, Jerry Goldsmith, Brittany Murphy, Kristen Stewart, Ice Cube, Iva Ikuko Toguri D'Aquino, Dustin Hoffman, Raymond Feist, Tony Thomas, Liste der Söhne und Töchter der Stadt Los Angeles, Steve McQueen, Helen Hunt, John Randall Hennigan, Mike Love, Michael Bay, Antonio Villaraigosa, Johnny Horton, David Carradine, Eric Dolphy, Marion Jones, Meredith Michaels-Beerbaum, Dick Lane, Fay Bainter, Elroy Hirsch, Edith Penrose, Wolfgang Petersen, Nikki Reed, Saaphyri Windsor, Steve Lukather, Frank Gehry, James Newton Howard, Jake Gyllenhaal, Ollie Matson, Bobby Hutcherson, Thora Birch, Hadda Brooks, Ry Cooder, Lynn Carlin, Val Kilmer, Marilyn Hassett, Cosma Shiva Hagen, James Ellroy, Christina Applegate, Katey Sagal, George Takei, Misty May-Treanor, Jeff Bridges, Richard Chamberlain, Jamie Lee Curtis, David Crosby, Etta James, Richard Farnsworth, Arthur Lubin, Melina Perez, David Faustino, Harry Turtledove, Patrice Rushen, Isamu Noguchi, Juanita Moore, Hollywood Forever Cemetery, Leigh Brackett, Daron Malakian, Emily Osment, Tom Russell, Carmit Bachar, David Paich, Jeffrey Burns, Arthur Janov, Eddie Constantine, Eva Mendes, Miranda Cosgrove, Zooey Deschanel, Sophia Bush, Henry Kuttner, Larry Allen, Don Bachardy, Clea DuVall, Joe Flanigan, Kerry King, Ray Harryhausen, Leo McCarey, James Saito, Ron Mix, Chris Hillman, James Cromwell, Paul McCarthy, Steve Douglas, Jackie Cooper, Ashley Judd, L...http://booksllc.net/?l=de&id=16882 ... Read more