Viser opslag med etiketten John Cage. Vis alle opslag
Viser opslag med etiketten John Cage. Vis alle opslag

fredag den 5. august 2016

Intetheden æder sig ind på Donald Trump

fordi han intet har at tale om, men han taler alligevel, helt Cagesk (og Højholtsk og og Lethsk), but he aint' no Cage (eller Højholt eller Leth) - fra klumme af Benjamin Wallace-Well i The New Yorker:

"(...)
The American political stump speech is a highly specific form. At its best, it is about twenty minutes long, and thematically taut. Candidates begin by describing a local endeavor that illustrates a broader national challenge. (“I’m here in Pittsburgh to talk about nanotechnology, and how we’re going to grow our economy!”) They emphasize the urgency of the challenge, telling the stories of ordinary people who are stymied or suffering. The argument is that bad policy has been responsible for this suffering, and that good policy can end it. The candidates describe their own history, or at least their party’s history, of solving this kind of problem. There is often some gesture toward enduring national values (“The trees in Michigan are exactly the right height!”), and then the candidates suggest that the solution will begin with the listeners themselves: with their decency, their hard work, and, above all, their votes.
This form has severe limitations, but one saving virtue is that a conventional candidate, placed before an audience, almost always has something to say. Trump, however, does not. He has no political record to describe and no inclination to describe his party’s record. He does not recount the suffering of ordinary individuals because he has not met many of them. He does not have a deep understanding of the Obama Administration’s policies, and he has few policies of his own to explain. After he disastrously attacked the family of Humayun Khan, who was killed in action, in Iraq, the Republican Senator Roy Blunt, of Missouri, released a statement with his “advice” for Trump: to continue to “focus on jobs and national security and stop responding to every criticism whether its from a grieving family or Hillary Clinton.” But Trump does this in almost every speech: he talks about China stealing American jobs, about the threat of ISIS, and about the wall he intends to build along the Mexican border. That still leaves many, many minutes to fill.
Trump’s most obvious problem is that he speaks for so long, usually about an hour. For months, he filled the time with boasts and grievances, the boasts having mostly to do with his success in the polls. But now there is less to boast about; the polls look uniformly bad for him. In Daytona Beach, Trump gave them about a minute and moved on. “Trump used to spend 50% of message on polls,” the Republican consultant Michael Shannon pointed out on Twitter. “Now he has to fill that space. And it’s with things like Khans, fire marshals and babies.”
Those aren’t his only subjects, of course. It was telling that the video he imagined originated in a Fox News report. Cable news is Trump’s content-generation system; its controversies fill his podium hours. But, when the running cable-news controversy is about Trump himself, it has a way of trapping the candidate. Of course he chose to argue with Khizr Khan. What else would he talk about? In a way, that is the question for the ninety-five days until the election. In the long arc of the campaign, that is not so many days. But it is an awful lot of minutes to fill."

torsdag den 9. juni 2016

Champagnemusik

3 klip fra John Cages kærlighedsbreve til Merce Cunningham (citeret i denne blogpost):
Rain finally came + it’s beautifully cool. Wonder how long it will last. It was marvelous because it started suddenly and then was alternately terrific and gentle.
I think of you all the time and therefor have little to say that would not embarrass you, for instance my first feeling about the rain was that it was like you.
[…]
Love you.
(...)
Please be lonesome enough to come back in not too distant time.
[…]
I love you and often think of fancy reasons why: spirit is very close to me and mine, I sent it, close to you.
[…]
My whole desire is to run up and down the sea coast looking for you.
Love

cage_kiss

(...)
today is beautiful and i am dreaming of you and enigma and how we are together today: your words in my ears making [me] limp and taut by turns with delight. oh, i am sure we could use each other today.
i like to believe that you are writing my music now: god knows i’m not doing it, because it simply seems to happen. the pretissimo is incredible the way you are and is perhaps a description and song about you.
[…]
pardon the intrusion: but when in september will you be back? i would like to measure my breath in relation to the air between us."

John Cage and Merce Cunningham at Black Mountain College, 1948 (Photograph courtesy of the John Cage Trust)

torsdag den 6. september 2012

Lyt til tavshed på Spotify

Man kan rent faktisk godt høre John Cages tavse klaverkoncert 4'33" på Spotify med en sær knitren ind over, der vel sagtens bare er lyden af nålen mod lp-pladen, hvis det ikke er en kolibris dirrende vinger, der TILFÆLDIGVIS er i nærheden - og tjek også Cages og David Tudors Variations med alskens kostelige Mad Men Era-støjkilder i munden på hinanden.

Frank / Cage, Ærlig / Bur

Ifølge Cage indeholder enhver lyd fire elementer: Tone, varighed, overtone, fylde. Stilheden, på den anden side, indeholder kun eet af disse elementer, nemlig varighed. For Cage er det derfor vigtigt, at han i sine rent rytmiske strukturer opgiver tonalitet: Han må give plads til varighed, til stilheden. Og det er en stilhed der altid kommer udefra; trafik fra gaden, en støj i rummet, nogen der synger i badeværelset. Alt dette fylder en pause ud i selve værket. Cage komponerer således sin musik for at vi skal få øje på den lyd, der ikke er i værket. Lyden af os selv, når vi lever. For ham er al lyd følgelig musik.
  Stilheden binder på denne måde den rytmiske struktur sammen. Spørgsmålet er da - og jeg stiller det til mig selv gang på gang, indtil nogen åbner en dør, en bog, og jeg kan se lige ind - spørgsmålet er, hvor megen plads stilheden bør indtage i forhold til lyden?
  Cage betragtede oprindeligt musikken som værende udafhængig af tid, dvs. at forholdet mellem lyd og stilhed ikke var noget tidsligt fænomen, men snarere et spørgsmål om tilfældighed: Når musikken slutter, hører vi måske en kop blive sat på et bord, en dør smække, en stol blive skubbet hen over et gulv. Eller vi hører stilhed. Men det er altsammen afhængigt af, hvad der tilfældigvis sker i rummet efter at musikken er hørt op. Musikken har ingen indflydelse på det der vil ske, og det skete har ingen indflydelse på musikken: Musik og handling er adskilte i tid.
  Senere ændrer Cage denne opfattelse. Han skriver i midten af 60'erne et værk for klokkespil, der opføres på en pigeskole i det sydvestlige Virginia. Før stykkets opførelse beder han klokkespilleren spille stykket - der består af ti dele spillet på begge sider af fem stykker krydsfinér - så længe som han selv ønsker det. den eneste betingelse Cage stiller, er at klokkespilleren forholder sig stille i lige så lang tid, som det tog ham at spille stykket, og derefter begynder forfra og holder pause igen og begynder forfra osv. med samme intervaller.
  Ved opførelsen står publikum udenfor og lytter til musikken. det er vidunderligt; de kan mærke hvordan stilheden spiller med: Pludselig er der ingen forskel mellem musik og ingen-musik. (jeg siger til mig selv, som om jeg også stod der, at det ikke kan passe: Den ingen-lyd de lytter til mellem de spillede dele, er sandt nok en del af musikken, men i virkeligheden lytter de ikke til stilhed; de lytter til en pause i musikken, hvor de selv er tavse: De lytter til deres egen tavshed. Og tavsheden bærer deres handling, overlagt; de tvinger sig selv til at være tavse, når musikken holder pause. Til sidst er der slet ingen forskel mellem stilhed og tavshed, eller mellem stilhed og musik: Der er ingen forskel mellem stilhed og tavshed og musik. Tingene udtrykker sig ikke længere igennem deres modsætning, men igennem deres symbolske sammenfald, deres gengivelse, gentagelse, af hinanden. Jeg har altså atter taget fejl: Det lyder altsammen ens).

- fra Niels Franks essay "Tavshedens syv segl/ Cage, Gould, Reich: En kollektivroman" i Yucutan, 1993, stadigvæk den bedste tekst om Cage på dansk, og som jeg da vist hørte Frank sørgmodigt læse op på Aarhus Universitet, før det helt var 90'erne. Nu er Frank ikke længere sørmodig - det er han heller ikke rigtigt i essayet, han har bare ikke selv opdaget det endnu - hvilket gør det endnu mere uudholdeligt, at vi åbenbart skal vente helt til februar, før han udsender sin nye ROMAN! Nellies bog - spyt den ud, nu, du!

onsdag den 5. september 2012

Luk ingenting ud af buret! - Cage 100 i dag!


(efter at have skrevet kommentar/anmeldelse af Karl Aage Rasmussens anbefalelsesværdige monografi til fredagens WA Bøger) slår tilfældigt op, som han venligst har formanet os om at gøre, i hans bog M. Writings '67-'72:

Make a book that's edible.

Og slår så op i X. Writings '79-'82:

                        duchaMp telephones
                       from kAnsas
it's like nothing on eaRth  i feel as i did
                   before beComing a ghost
                          i havE no regrets
                           i weLcome whatever happens next

TILLYKKE TIL VORES LYKKELIGE, NYE ØRER

søndag den 17. juni 2012

Verdens bedste tidsskrift (med verdens dårligste navn)

er givetvis Art and Literature, med den blærende undertitel "An International Review" der udkom i 12 eksklusive numre 1964-67 redigeret af bl.a. og ikke mindst (i Frankrig dengang bosatte) John Ashbery. Jeg købte den anden dag 3 velholdte, aura-emmende numre, nr. 3 og 5 og 6, til den latterlige pris af 100 kr. pr. stk. i det cool Kirkegaards Antikvariat i Gunløgsgade, ingen ende på de gloriøse navne, der bidrager eller er oversat (af gloriøse oversætternavne), John Cage, André Masson, Georges Bataille, Roland Barthes, Robert Rauscenberg, Öyvind Fahlström (husk at se hans kostelige Bob Hope/Mao-demo-film på Louisianas Pink Caviar-udstilling), Boris Pasternak, David Hockney, Kenneth Kock, Donald Barthelme, Gerard Malanga (Warhols senere indpisker som følsom poet), Antonin Artaud, Max Jacob, Jasper Johns, Laura Riding, foruden Ashbery selv, både som digter og som oversætter, bl.a. af Max Jacobs forunderlige prosadigte fra Raflebægeret:

THE  CENTAUR

Yes! I have met the Centaur! It was on a road in Brittany: the round trees were spaced out over the embankment. He is a café-au-lait color; he has conspucient eyes and his croup is more like the tail of a serpent than the body of a horse. I felt too faint to speak to him and my family, watching us form a distance, was more frightened than I. Oh sun! What mysteries you illuminate around you.

Og fra samme nummer, nr. 3, Autumn - Winter 1964, 2 af John Cages "26 statements re Duchamp" (dengang stadig levende Marcel)

The check. The string he dropped. The Mona Lisa. The musical notes taken out of a hat. The glass. The toy shotgun painting. The things he found. Therefore, everything seen - every object, that is, plus the process of looking at it - is a Duchamp.

Duchamp showed the usefulness of addition (moustache). Rauschenberg showed the function of subtraction (De Kooning). Well, we look forward to multiplication and division. it is safe to assume that someone will learn trigonometry.

- snotgrøn redaktørmisundelse!

mandag den 11. juli 2011

London-sonet 19

 - tilegnet T. Hvid Kromann

bedste køb
efter 1½ time
alene i foyle's
boghandel,

i afdelingen for
sheet music,
hvor jeg pludselig
befandt mig:

noderne til
john cages 4'33",
her de første 3 sekunder: