"So it was that I gave about 1949 my Lecture on Nothing at the Artists Club on Eighth Street in New York City (started by Robert Motherwell), which predated the popular one associated with Philip Pavia, Bill de Kooning, et al. ). This Lecture on Nothing was written in the same rhythmic structure I employed at the time in my musical compositions (Sonatas and Interludes, Three Dances, etc.) . One of the structural divisions was the repetition, some fourteen times, of a single page in which occurred the refrain, If anyone is sleepy let him go to sleep. Jeanne Reynal, I remember, stood up part way through, screamed, and then said, while I continued speaking, John, I dearly love you, but I cant bear another minute. She then walked out. Later, during the question period, I gave one of six previously prepared answers regardless of the question asked. This was a reflection of my engagement in Zen."
John Milton Cage Jr. was an American composer, artist, and music theorist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential composers of the 20th century. He was also instrumental in the development of modern dance, mostly t
"I believe that the use of noise to make music will continue and increase until we reach a music produced through the use of electrical instruments which will make available for musical purposes any and all sounds that can be heard. Photoelectric, film and mechanical mediums for the synthetic production of music will be explored."
John Cage"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."
John Cage"I have nothing to say/ and I am saying it/ and that is poetry/ as I need it."
John Cage"We need not destroy the past. It is gone."
John Cage"...WHEREAS, IN THE PAST, THE POINT OF DISAGREEMENT HAS BEEN BETWEEN DISSONANCE AND CONSONANCE, IT WILL BE, IN THE IMMEDIATE FUTURE, BETWEEN NOISE AND SO-CALLED MUSICAL SOUNDS."
John Cage"I cant speak or write German, but Iam overjoyed because I have bought one of your pictures. Now it is in me. I write music. You are my teacher."
John Cage"The wound is the place where the Light enters you."
Rumi"yes is a pleasant country... love is a deeper season than reason"
E. E. Cummings"true lovers in each happening of their hearts live longer than all which and every who"
E. E. Cummings"What concerns me fundamentaly is a meteoric burlesk melodrama, born of the immemorial adage love will find a way."
E. E. Cummings"Who made you glorious as the gates of heaven Beneath the keen full moon? Who bade the sun Clothe you with rainbows? Who, with living flower Of loveliest blue, spread garlands at your feet? God! let the torrents, like a shout of nations, Answer! and let the ice-plains echo, God! God! sing, ye meadow-streams, with gladsome voice! Ye pine-groves, with your soft and soul-like sounds! And they too have a voice, yon piles of snow, And in their perilous fall shall thunder, God!"
Samuel Taylor Coleridge"Unchanged within, to see all changed without, Is a blank lot and hard to bear, no doubt. Yet why at others Wanings shouldst thou fret? Then only mightst thou feel a just regret, Hadst thou withheld thy love or hid thy light In selfish forethought of neglect and slight."
Samuel Taylor Coleridge