Название: MUSICAGE
Автор: John Cage
Издательство: Ingram
Жанр: Зарубежная прикладная и научно-популярная литература
isbn: 9780819571861
isbn:
JR: So, interestingly, that came to your mind after my talking about the mind as a strange attractor … and weather systems …
JC: And I really couldn’t tell whether the strange attractor was subjective or was “in the air.” And I don’t know whether you mean it to be one place or the other.
JR: Well that’s an interesting question.
JC: Yes, we don’t really know where it is, do we? Because the mind in Buddhist terms is part of the air, so to speak. Which is Mind with a big M, hmm? So the little—this mind and that mind—are Mind, and there’s a communion, hmm? In other words, there can be a flow. In fact there must be one, otherwise we can’t explain the fact that several people invent the same thing at the same time independently—or that these two artists deal with white—satisfactorily—over a shorter or a longer period of time, earlier or later.
JR: So in a way that would be like those two minds having similar local weather within a larger pattern. That’s interesting, because I was—I think you picked up on it—I was thinking more in terms of the mind creating the weather patterns rather than being subject to them.
JC: It could go in one direction or the other.
JR: In this respect I’m thinking about Jackson Mac Low, and connections between your work, along with the earlier question of time. Jackson talks about five temporal arts—music, dance, poetry, film, and video.
JC: That’s very good.
JR: That interested me because, though I think of poetry as involving time more than any other form of writing, I have been approaching it lately graphically too—as a spatial art.
JC: With Apollinaire it could go in the other direction. It can be in both. But this is close to Indian thinking. I forget what they call it, but there’s a term for the temporal arts. Of course they weren’t thinking about video. But they certainly thought of music and dancing—those are the two that make it real, don’t you think? And poetry.
JR: Yes, and this complex realism seems so far from the contemporary fascination with various forms of irony. (pause) Has irony as a vehicle of change, in the Kierkegaardian sense—as a mode that can move us from aesthetic to ethical to religious perspectives—has that played any part in your thinking or your work? (Pause.)
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