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  • IS SILENCE FASHIONABLE?

    • 28 Oct 2010
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    Thom-yorke-two-minute-silence

     

    By Carlos A. Inada
    From São Paulo

    There seems to be a controversy in the world of silence. We’ve already published 2 posts on John Cage and silence (here and here), and the connections between Cage’s silence and meditative and creative issues may raise interesting questions.

    Recently 2 initiatives apparently give silence a “purpose”, in some senses pushing it to a fashionable mainstream. The first initiative is “CAGE AGAINST THE MACHINE” (in capital letters), and initially it was mainly a joke. Its author started a Facebook group “as something to amuse myself. I’ve got a bit of a history of creating ridiculous social networking things, and Facebook is a great platform for this sort of thing. […] But, for whatever reason, people responded to the idea of a ‘silent song’ in the top spot at Christmas, and the thing has grown and grown, to it’s current level of over 30000 members” (45000 members when I wrote this).

    So now “CAGE AGAINST THE MACHINE” is campaigning for having John Cage’s 4’33” as the number 1 in Christimas chart, as a kind of a follow-up of a similar campaign for having Rage Against the Machine as the number 1 in 2009. All revenues will go to charities.

    Some weeks ago another initiative was announced, of a silent charity record for Royal British Legion, with Thom Yorke, Bryan Ferry, Bob Hoskins and British Prime Minister David Cameron, among others. This “2 Minute Silence” track raised protests, in spite of the good intentions of the project:

    Personally I was slightly sickened to hear of the 2 minute ‘celeb’ silent track. Conspiracy and hypocrisy aside it’s ironically a ludicrous idea to attempt to lend some kind of genuine validity to an inherently absurd concept (a silent xmas number 1).

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  • FACING SILENCE

    • 3 Oct 2010
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    • John Cage Silence
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    Cage1

     

    This week’s issue of The New Yorker presents “Searching for silence”, an essay on the life and work of John Cage by Alex Ross. Ross describes

    the première of John Cage’s “4'33"” at the Maverick Concert Hall in Woodstock, New York, in 1952. It has been called the “silent piece,” but its purpose was to make people listen. “There's no such thing as silence,” Cage said, recalling the première. Cage’s mute manifesto has inspired reams of commentary. The composer and scholar Kyle Gann recent published No Such Thing as Silence: John Cage’s “4'33"”, which doubles as an incisive, stylish primer on Cage’s career. Cage, who died in 1992, remains an object of widespread scorn within classical music. In the visual arts, though, he long ago achieved monumental status. Cage is considered a co-inventor of “happenings” and performance art and the Fluxus movement essentially arose from classes that he taught at the New School, in the late nineteen-fifties.

    Currently, John Cage is also the theme of the exhibition The anarchy of silence: John Cage and experimental art, co-produced by the Museu d’Art Contemporani de Barcelona, the Henie Onstad Art Centre in Norway, and the Schunck Graspaleis in the Netherlands. The exhibition will be at Schunck until November 28th.

    What’s the meaning of Cage’s silence, both in music and in the visual arts? In “What silence taught John Cage: the story of 4'33"” (included in the catalogue of the Museu d’Art Contemporani de Barcelona’s exhibition), James Pritchett writes:

    So what are we to do with 4'33"? 

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