Download e-book for kindle: The Process That Is the World: by Joseph Edward Panzner

By Joseph Edward Panzner

Even though the song and philosophy of John Cage (1912-92) exert amazing impression on either the paintings international and pop culture, few students have tested the composer's perspectives on musical functionality and its strength for the cultivation of a extra simply and non-hierarchical society. Cage's experiments with probability operations and open-ended indeterminate ratings current major demanding situations to traditional tools of functionality research and overview. His compositional strategy represents a shift from the production of musical items (stable texts with which performances in attaining larger or lesser levels of constancy) to the construction of musical occasions (open-ended actions that suggest no authoritative courting to the performances generated), and hence calls for new interpretive and evaluative methods. those new methods supply exemplars of a method of moral judgment that forgoes the prescriptions supplied by means of types, ideas, ethical injunctions, and behavior. of their position, Cage demands an evaluative perform attuned to the specificities of every open-ended technique and the fabric events within which they're enacted - a convention that has profound useful, philosophical, and political implications not just for the functionality of track, yet for all times in a fancy and regularly altering world.

This undertaking addresses those functionality matters and their far-reaching ramifications by way of staging a rapprochement among Cage and modern thinkers pursuing comparable traces of inquiry. leader among those is Gilles Deleuze (1925-95), a thinker with whom Cage stocks an insistence at the primacy of distinction over balance, the privileging of approach over product, and resistance to restrictive functions of energy on the person point (through behavior and enculturation) and on the point of the collective (through rule-bound authority). via viewing Cage's track and writing in the course of the prism of his likeminded contemporaries, this research goals to illustrate the resonance among his distinctive standpoint at the ontological prestige of the musical paintings, at the moral calls for assumed by way of performers, and on his broader aspirations for a sustainable, leaderless destiny. because the international grows extra Cagean in its complexity, this research may still supply theoretical and useful help to Cage students, performers, and to all attracted to the intersection among artwork and politics on the sunrise of the twenty-first century.

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Additional info for The Process That Is the World: Cage/Deleuze/Events/Performances

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In tracing, there is no potential in the process of emergence that is not contained in the sensible form of the product. The emergence of difference is 11 Deleuze and Guattari, A Thousand Plateaus, 11-14. 12 Brian Massumi, “Like a Thought,” in A Shock to Thought: Expression after Deleuze and Guattari, ed. Brian Massumi (New York: Routledge, 2002), 8. 47 not treated as the consequence of the differing power of process, but as the emergence of subjective error—a failure of competence: A genetic axis is like an objective pivotal unity upon which successive stages are organized; a deep structure is more like a base sequence that can be broken down into another, transformational and subjective, dimension… A variation on the oldest form of thought.

31 While the essays included in this volume provide considerable expansion and explication of Deleuze’s philosophy in general and his musical philosophy in particular, they often approach music as a way of illuminating aspects of the philosophical framework rather than bringing the tools of Deleuze’s philosophy to bear on music per se. 32 More recently, Brian Hulse and Nick Nesbitt (a contributor to the Buchanan/Swiboda Deleuze and Music) compiled an important collection of essays that marks a shift in Deleuzian music studies.

16 All we devise, therefore, are copies of copies. Or perhaps worse – copies with no model at all. Something other than a “possibility” precedes these performances, something other than a clear and distinct conceptual mold.

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The Process That Is the World: Cage/Deleuze/Events/Performances by Joseph Edward Panzner

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