File spoon-archives/avant-garde.archive/avant-garde_1998/avant-garde.9805, message 25

Date: Fri, 29 May 1998 12:13:51 -0400
Subject: Re: Hello?

>Saul, it's not that I don't know who Cage was, but that I don't see how you
>arrive at the interpretation expressed by your initial post about him.
>I still don't.
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Malgosia, my  dear significant other;
My second post was not a response: but a mere supplement to my earlier one
.  How could you ever imagine that I  think that I need  inform you as to
whom John Cage was, I was justryingto locate him within the avant garde of
the 50's.

As to my reading of Cages aesthetic of indifference, detachment and
indeterminacy ( all of which has nothing to do with being meaningless but
just the inverse the impossiblity of wiling meaning) that will have to wait
till the weekend --for  it is premised the _belief_ that a  dialectical
inversion  arises when an author absenses themself so that art ( this
includes visual, acoustic and literary forms)  may  become the medium of
either non-reflexive experience or individuated audience interpretations.
If one is trying to dismantle  the authority that is engendered by
authorship  and intention within art -- there must be a rhyme and a reason
for this --  One voiew is it is an exploration of the role that authorship
plays the other is what are the aesthetic effects that can be achieved once
such control is abandoned or re-interpreted.    My comments on Cage have
two sources , first his effct on others who were intent on remaining
artists ( Johns, Rauschenberg etc) , secondly its an interpretation that
arises from trying to put Cage back into his becoming rather than placing
him in the context of what he became.  Remember in the late 40's and early
50's Cage is circumscribed by the concerns of serial music and those of
overcoming the metaphysics of transcendent subjectivism  so that music
might be what music is -- what ever that might be in the absence of
tradition and supposition. More later


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