S I L E N C I N G T H E S O U N D E D S E L F John Cage and the American Experimental Tradition by 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 Intending in relation to "normal" Intention requires the mediation of some notion of Nonintention

just as understanding in what sense Cage's work is nonintentional must be mediated by the fact that he does it - Intends it

)L

I was thrilled to find this book. You see, John Skoyles taught me to write poetry when I was a creative writing student at Southern Methodist University in Dallas back in 1979 or so. I had come to his class with the usual fistful of crumpled "free verse" teenage angst, having written the blurbs for the high school yearbook and for a few of those misty-photo posters they put in classrooms, and knowing he'd be super impressed. He gently corrected my impression of what poems are supposed to be like while making us search ourselves for the kind of imagery that deserves its own poem. I still have the notebook of recommended works and classmates' work from that course on my bookshelf. I've now made the happy discovery that his prose is just as good as his poetry.

There is no denying the importance of John Cage as a composer as well as a writer. But even though this book is a necessary provocation for anyone who thinks they know what music is and should be, he is not a philosopher, and his ideas are often contradictory, naive and even romantic.

Romantic? Yes, I would say that for instance his idea of "sounds in themselves" and "nature" are romantic. Can we really eliminate all cultural impact and distortion just by refusing intention? I think not. Sounds are always inflected by history.

Still, I would not want a world without the challenge of his extreme stance.

Not just for musicians, but for anybody who is interested in music or philosophy. Cage's ideas presented in the work are fascinating in and of themselves, but even the manner in which he physically notates his thoughts on paper is amazing to see.

There's a common argument that his ideas (and this book) are overrated. I find this difficult to digest, especially when one considers the enormous impact Cage's writings and compositions have had on countless composers (basically anyone composing after 1950 has most likely taken a thing or two from the ideas in this book).

Sometimes he can be a little tough to follow in the book, as properly constructed sentences are not high up on Cage's list of priorities. However, this book has so much to offer that it is worth wading through the occasional slow spot.

So give it a whirl. Even if you don't like Cage's music, reading this book will give you insights into what he did that may change your mind or at least instill a newfound respect. At its best, this is inspiration of the highest sort.

I keep reading it year after year and I keep finding sections of it I've never seen before. magic. A the same time, I read the same part overs and over again years later and they just get better.

It's just a remarkable text.

You have to get it.

Biographical essays of well-known as well as fairly obscure musicians and industry types. Escott has made a career out of telling outrageous, sometimes salacious, tales -- he gets to the rawer, visceral side of the story pretty quickly, which is relatively easy when you're talking to folks who worked in the scraggly, scruffy early years of country, rock and blues. He's an engaging, consersational writer, and this latest collection is a delight. Includes essays on artists such as Dale Hawkins, Don Everly, Johnny Horton, Tim Hardin and a particularly cruel skewering of Pat Boone. In one of the most fascinating sections, Escott profiles the founders of record labels such as Decca, King, Starday and Hi -- a fascinating and very illuminating appoach to presenting the history of popular music. Beautifully laid out, well written and highly recommended.

This groundbreaking work offers the reader insight to the world of Stax in the sixties and seventies. It allows the reader to understand the forces behind the ascension and eventual decline of one of the greatest recording labels in the history of modern music. In the course of absorbing this wonderful book, the humble reader is able to gain an understanding of the societal, cultural, and racial catalysts for the music produced. In the latter part of the book, the reader sees the painful decline of Stax from their pinnacle to their nadir in the course of only a few short years.

Extremely highly recommended -- the best musical history book I have read.

Also recommended: The Complete Stax/Volt Singles, Volumes I, II, and III (box sets with excellent liner notes by Rob Bowman)

Also -- It Came from Memphis' for a good background on the lesser known, but nonetheless important musicians who originated in Memphis.

This Book was all that.Staxx is as Important as Motown.It's a Incredible Story.especially when A Black Label Blows up Down South in the 60's.you only ever here about Sun Records &Sam Phillips and his discovery of Elvis Presley.so this is Very Important on a Social Front.The Many Great Artists on Staxx.this Book is strong from start to Finish.

So we can't all make music like the Velvet Underground but mud pies are an art form achievable by virtually every humanoid life form. Of course there's a certain ammount of finesse that comes only with time and practice, but Cage's meticulous instructions exist as a solid framework for beginners in this sublime craft. The illustrations are just the sort of inspiration an amateur mud pie or cake maker needs to get those creative juices flowing.

Contrary to what the editorial review says, this is not a "good-natured satire". This book is both a serious and fun guide for making mud cakes and pies. Everybody can do it! The fact that the result might not be edible does not detract from the value of this little book. The illustrations are great, and the language is suited both for children and adults. If you have ever read Walter DeMaria's words on meaningless work, you will surely appreciate this book.

An essential book for anyone interested in John Cage's music or post-war classical music. It gives a comprehensive view of Cage's entire life as well as his thoughts on music, covering his time both before and after discovering Zen. David Revill writes in a matter of fact, straightforward manner, without infusing the book with his personal opinions, although his percussion background comes through when he describes the rhythmic details of Cage's compositions. Overall a fine introduction to Cage's thought, but be sure to hear his music as well.

David Revill's book presents cage in a far more accessible manner than some previous biographies, not accessible in the aesthetic sense, but as ease of reading. Cage's work is frequently presented with lots of Cagean technical jargon. In other words, unless you've done a scholarly study and analysis of "Silence," they are difficult to understand. Revill brings Cage as a human being to the reader, without too much theory. Moreover, this book seems to show more intimately, Cage as a man-- not as name. I would highly recommend this book to both those seeking information for research, and understanding of Cage's complex aesthetic philosophy.

This is a very entertaining collection of interviews. Duckworth takes his time to explore the issues sufficiently deeply with his interlocutors. Hence, there is substance to the book: it certainly is more than a loose collection of freewheeling conversations. And I am grateful for the fact that Bill Duckworth expanded his survey beyond the obvious collection of Minimalists and Cage. I knew nothing about Pauline Oliveros, Glen Branca or La Monte Young and came away refreshed from reading all their stories. I was generally satisfied by the way Duckworth steers the interviews. The tone is relaxed, sometimes earnest, sometimes tongue-in-cheeck. He is at his very best in the long, sometimes rambling conversations with La Monte Young and John Zorn. But in other cases - such as with the more rigorous and perhaps intellectually more intimidating personality of Steve Reich - Duckworth rigidly sticks to his agenda and fails to capture a number of potentially interesting tangents. The interview with John Cage is outright funny in the way Duckworth fails to catch on with what Cage really tries to get across. He keeps asking the wrong questions whilst Cage, with dwindling patience, is making broad excursions in conceptual hyperspace. But if Duckworth fails to capture a number of interesting opportunities to dig deeper in some of the interviews, this remains a very valuable collection, at least for those new to the whole field of American experimental music.

Willian Duckworth is marvelous at asking questions,he is so natural at it that he makes you feel you have known his guests all your life. He allows everyone to feel at home, at ease,like catching more flies with sugar quip. Like asking John Cage for instance, "I don't have a very good understanding of what your early musical training was like,". or to La Monte Young, asking if he is the "father of minimalism", I guess it doesn't matter now, since most of what is discussed has played itself out. Here Duckworth interviews creators of primary creative genres of Americana leaning toward the achievements of all the various,nefarious "isms", experimentalism, minimalism, well just intonation doesn't fit, and the ubiquitously opaque post-modernity. And progressing from who are considered the Mammas and Pappas to the younger generation.The genre of Interviews seem to be occurring with greater frequency,speaking of one of the features of post-modernity. It is the most immediate way of knowing someone's art, aesthetic, how they feel about the world,about politics, or how they don't feel. Obsessions are explored in these interviews,as with John Zorn's early buying jags of recordings,jazz etc.,and formative years as with La Monte Young and his obsessions with sound, listening to telephone generators,or machines, the inherent drone in these industrial objects,Also professional associations, and disassociations with the New York scene,Fluxus which includes,just about everyone here interviewed is probed, with nice discussions of the early years of performance art in New York City. Education away from academia was an important component of American music,sorry to say, with those of the post war-generation turning to the east, and World Music, as Steve Reich, Phil Glass,Lou Harrison, Pauline Oliveros and La Monte Young. Young in particular reflects on his education with Pandit Pran Nath on intonation and improvisation and learning it with Marian Zazeela.Professional associations, how to survive by being a performance artist, Duckworth pursues and explores with Meridith Monk and Laurie Anderson, finding gigs in New York City or Europe again was everyone's passion.How do you work? is also a wonderful question, Monk reflects that she has to work all the time to feel attached, whereas she knows composers who don't work for months and claim to feel they don't lose anything. How creators get into ,what they get into, as Ben Johnston reflects on his early education with instrument iconoclast Harry Partch, how Partch taught Johnston to sing fractional tones, an eleventh/sixteenth, and how Partch would devote mornings to music, and afternoons to physical work, building sheds,or home extensions,or gathering wood. Also Johnston speaks about his wonderful string quartets, the Seventh in particular which is based on an 100-tone scale, and how we come to understand it via the relationships it represents rather than hearing 100 isolated tones. With Lou Harrison we have almost a history of American music, in that his life traversed through the primary achievements, the interests in World Music, Tunings, percussion music, and extended techniques,living on both coasts. But Harrison claims he was always a melodic composer, he had to sing whatever he wrote first, to attach himself to the world of sound, no matter how complex his music became.Some interviews are boring however as the the one with Phillip Glass where he simply recounts his life, and his interests, there was not a spirit of adventure, of discovery.Whereas Milton Babbitt has wonderful reflections on his early studies in music with Roger Sessions, and how Babbitt felt he needed to start over. The interview with Christian Wolff was over before it got interesting,Wolff primarily discussed his early music, the pieces associated with the Cage School(Cage,Feldman,Brown,Wolff)(nice photo of them)instead of traversing the set of problematics of dealing with political imagery. That question came as the very last one."Are you still writing political music?". Duckworth admirably gives nice introductions to each composer, and makes you feel the center of where creativity occurs, what excites an artist,and where challenge and repose occurs within music.One good question here always was"When did you first hear of John Cage", or what was the first piece of "so and so" you heard. This makes for a marvelous discussion on what were the initial indeliable moments on one's creative life. Not everyone is gifted at interviews it is a conditioned and practiced art. This work is a great model toward that genre.

this book is a surprisingly accessible work on the lives of five important artists (duchamp, cage, tinguely, rauschenberg, and cunningham) of the avant-garde, each working from a different discipline. tomkins has gathered exhaustive biographical data on each artist and the reader gets the impression that he is good friends with each of them. his critical stance on the artwork discussed is respectful, and he refrains from using a lot of artworld jargon. a very entertaining read.

Not much help for one who is contemplating a cockatiel as a pet. Day-to-day maintenance is not detailed. It says to clean the cage - but no idea of how often. I wonder about droppings - not a word on the subject. Are they a problem? Doesn't mention that they can be VERY noisy pets, serious screamers. I don't want to purchase a cockatiel and 3 days later be wishing that I had not!

This book is very informative for a first-time cockatiel owner. And when I needed help with my cockatiel, Sammy, this book was a great help to me!

I can only hope that this is a particularly poor example of Carr's work. From the lumbering setup--two notches below a bad episode of "Diagnosis Murder"--to the stretch of a solution, "The Problem of the Wire Cage" tries hard but fails to impress, having all of the characteristics of a modern mystery potboiler, back before the cliches were cliches. Carr's dialog is snappy, and his writing can be nicely descriptive, but he seems intent on using genre conventions (e.g., the old "one of you here is the murderer" line), and the story never livens up as a result. I wanted to like this book, but the flashes of the author's charm were few and far between.

"The Problem of the Wire Cage (1939)" is the opposite of a locked-room mystery. In this book, a man is strangled to death on a sand tennis court. Only one set of footprints leads across the court--and they belong to the corpse.

Okay, whodunit? As usual in a 'Golden Age' mystery, there are lots of suspects and motives. The corpse was a particularly venomous sort of ladies man who never did an honest day's work. Everyone disliked him except for his adopted father, and that included his two discarded mistresses, his fiancée and the guy who keeps proposing marriage to her, and an acrobat.

Some of my favorite theories as presented by the various characters involved ice skates, sneaking up behind the victim by walking on one's hands, and making one's way to the middle of the court by creeping across the wire netting.

Then a second victim is murdered (taking out my favorite suspect), and Carr's gigantic Dr. Gideon Fell must clear up all of the false theories and discover the real murderer.

Carr plays fair with his readers. All of the clues needed to solve this mystery are presented, including (in my Bantam edition, at least) a diagram of the tennis court. The author demolishes the false theories with ponderous ease, including a hilarious passage where two well-meaning clue-hunters wreck several tennis courts by trying to prove that the murderer could have crept along the overhead netting. The solution involves a fairly complex set-up, but revolves around the particular relationship that the victim had with his murderer, so I don't think Carr was blind-siding his readers.

Although this author was an American most of his mysteries (including this one) are set in England. If you're a fan of the technical, or "Impossible! No one could have committed this murder!" mystery, "The Problem of the Wire Cage" should hold your interest through that proverbial rainy afternoon.

Carr is my favorite mystery writer of all time. I read this book over twenty years ago and most of his others, too. The set up for this story is classic. And you have the added fun of watching the police going off in the wrong direction based on faulty evidence while the heroes of the story stay one step ahead of them in pursuit of the solution to the puzzle. Carr is a master story teller, with a sublime gift of language and a silly streak. While the solution to this book is, perhaps, a bit creaky nowadays, it still is well worth the read. Few too many mystery writers these days would even attempt to create a story with this sort of complexity and panache. I keep looking but have not found one who can hold a candle to Carr.