Critical text
Found in 61 Collections and/or Records:
Etchings 1978 - 1982 / Cage, John., 1982
Etchings l978 - l982 / Cage, John., 1982
Eye. No.26/Fall / Cage J ; Satie E ; Feldman M ; Knowles A ; Higgins D ; Ono Y ; Phillips T ; Zwart P ; Heller S ; Heartfeld J ; Lissitzky E ; Rodchenko A ; Stepanova V ; Telingater S ; Carson D ; Tschichold J ; Eno B., 1997
John Walters contributes a lengthy, well illustrated essay, "Sound, code, image," that describes visual musical scores that composers use to liberate their sound from its five-line grid. He claims these scores are graphic designs of music. Steven Heller traces the history of picture magazines from German, Russian, Dutch and finally the American Life magazine. He notes that these visual narratives succeeded until the advent of television. Julia Thrift describes the radical magazines published for political purposes on duplicators, copy machines and now on the internet in her essay, "Do-it-yourself." -- Source of annotation: Marvin or Ruth Sackner.
I-VI: The Charles Eliot Norton Lectures, 1988-1989 / Cage, John., 1990
The subjects of the tape cassettes are Questions and Answers, and, Reading Mesostic IV. They are stored in the Cage portfolio box with other material. -- Source of annotation: Marvin or Ruth Sackner.
[Interview with Pierre Restany] / Hubaut, Joel ; Brian Holmes, translator ; Satie E ; Cage J., 1996
Consists of a critical introduction of Hubaut's work by Restany followed by an interview of Hubaut which was the subject of a conference held March 28, 1994 at l'l.U.F.M. di Calvados. Restany begins his remarks, "...Joel Hubaut, for he is among the protagonists of the third generation of the postwar period, someone who, precisely, has also identified his work with life. Life, for Joel Hubaut is above all a linguistic phenomenon... Language is like life, it has highs and lows..." -- Source of annotation: Marvin or Ruth Sackner.
Inverted Utopias: Avant-Garde Art in Latin America / Mari Carmen Ramirez, curator ; Hector OLea, curator ; Bense M ; Brett G ; Adorno T ; Agam Y ; Bann S ; Beckett S ; Blake W ; Borges J ; Cage J ; Camintzer L ; DeCampos A ; DeCampos H ; Clark L ; Dias A ; VanDoesburg T ; Duchamp M ; Ferrari L ; Fontana L ; Friedeberg P ; Goeritz M ; Grunewald JL ; Huidobro V ; Joyce J ; Kandinsky V ; Klee P ; Lissitzky E ; Malevich K ; Mallarme S ; Manzoni P ; McLuhan M ; Oiticica H ; Paz O ; Reverdy P ; Schendel M ; Tatlin V ; Torres-Garcia J ; Vigo EA ; Weiner L ; Wittgenstein L ; Solar X., 2004
Curated by Mari Carmen Ramirez and Hector Olea who organized this first large-scale overview of the avant-garde in Latin America during the twentieth century. Many Latin American works predated artistic works from Europe and the United States and challenged traditional notions of art and science. the catalogue and exhibition are organized into six conceptual areas or "constellations": Universal and Vernacular: Play and Grief; Progression and Rupture; Vibrational and Stationary; Touch and Gaze; Cryptic and Committed. Leon Ferrari contributed an illustrated essay "The Written Word." Hector Olea's illustrated essay on Leon Ferrari is titled "From the Drawing to Texts to the Texture of Poetry." -- Source of annotation: Marvin or Ruth Sackner.
Joglars. No.3 / Clark Coolidge, editor ; Saroyan A ; Cage J ; Perreault J ; Mayer B ; Koller J ; Rexroth K ; Metcalf P ; Dawson F ; Morgan E ; Finlay IH ; Collom J ; Houedard DS ; Furnival A ; Fernbach-Flarscheim C ; Basara B., 1966
John Furnival's concrete poem "Devil Trip" is the cover design. -- Source of annotation: Marvin or Ruth Sackner.
John Cage: I-VI / Rockwell, John; Cage J., 1990
Letters of Marshal McLuhan / McLuhan, Marshall ; Burroughs WS ; Miller J ; Cage J ; Ford FM ; Joyce J ; Kostelanetz R ; Lewis WP ; Mallarme S ; Schafer RM ; Steinberg S ; Pound E., 1987
The letters reprinted in chronologic order with minimal annotations were selected and edited by Matie Molinari, Corinne McLuhan and William Toye. They provide a background to McLuhans's life and intellectual growth and reveal his staggering knowledge of the literature of the great writers and thinkers who inspired him to achieve his penetrating insights into the age of electronic communication and become its most renowned interpreter. -- Source of annotation: Marvin or Ruth Sackner.
Lettre Documentaire: Praecisio. No.49 / Geof Huth ; Gomringer E ; Cage J., 1992
Huth discusses silence in the context of Gomringer's poem, "Silencio" and Cage's music. -- Source of annotation: Marvin or Ruth Sackner.
Life Drained of Colour / Feaver, William; Phillips T; Cage J; Johns J; Cunningham M., 1989
Tom Phillips' "The Portrait Works" at the Portrait Gallery, London is unfavorably reviewed. -- Source of annotation: Marvin or Ruth Sackner.
Master of Several Arts / Kostelanetz, Richard; Cage J., 1979
Kostelanetz reviews "Empty Words" and "Writings through Finnegans Wake" by John Cage. -- Source of annotation: Marvin or Ruth Sackner.
Neo-Dada: Redefining Art, 1958-62 / Susan Hapgood, curator ; Cage J ; Duchamp M ; Ono Y ; Schneemann C ; Schwitters K ; Berman W ; Brecht G ; Herms G ; Higgins D ; Knowles A ; Ben ; Higgins D ; Arman ; Kaprow A ; Spoerri D., 1994
Notations / Cage, John, editor ; Fernbach-Flarscheim C ; Filliou R ; Friedman K ; Hansen A ; Higgins D ; Johnson R ; Kaprow A ; Knizak M ; Knowles A ; MacLow J ; Ono Y ; Roth D ; Rothenberg J ; Ruhm G ; Satie E ; Schneemann C ; Williams E ; Young L., 1969
This book illustrates a collection of 255 music manuscripts whose selection by Cage was determined by circumstances. The text was the result of I-Ching chance operations which determined how many words were to be written by or about the 269 composers. Not only the number of words and the author, but the typography too - letter size, intensity and typeface - were all determined by chance operations. Alison Knowles served as co-editor and also designed the book. -- Source of annotation: Marvin or Ruth Sackner.
Notations / Cage, John, editor ; Fernbach-Flarscheim C ; Filliou R ; Friedman K ; Hansen A ; Higgins D ; Johnson R ; Kaprow A ; Knizak M ; Knowles A ; MacLow J ; Ono Y ; Roth D ; Rothenberg J ; Ruhm G ; Satie E ; Schneemann C ; Williams E ; Young L ; Andriessen H ; Andriessen L ; Ahhalt I ; Antoniou T ; Filiou R ; Ashley R ; Austin L ; Ay-O ; Babbitt M ; Gaburo K ; Bayle F ; Bedford D ; Behrman D ; Berio L ; Neuhaus M ; Bloch S ; Bodin LG ; Boulez P ; Bowles P ; Brecht G ; Brouwn S ; Brown E ; Brun H ; Bussotti S ; Byrd J ; Cacioppo G ; Cardew C ; Castiglione N ; Castillo G ; Chiari G ; Christiansen H ; Clementi A ; Colgrass M ; Conrad A ; Corner P ; Cowell HD ; Cross L ; Crumb G ; DeLeeuw T ; DePablo L ; Donatoni F ; Drew J ; Echarte P ; Ehrlich T ; Evangelisti F ; Feldman M ; Fine AM ; Haubenstock-Ramati R ; Gandini G ; Ginastera A ; Gladdys A ; Glanville-Hicks P ; Glick J ; Goldstein M ; Halffter C ; Hendricks B ; Hendricks G ; Hidalgo J ; Hiller La ; Hunt J ; Dufrene F ; Jones J ; Kagel M ; Kasemets U ; Kelemen M ; Klintberg B ; Komorous R ; Koepcke A ; Kosugi T ; Kotik P ; Krumm P ; Lieberman F ; Ligeti G ; Llinos N ; Logothetis A ; Lucier A ; Luening O ; Maginnis WJr ; Marchetti W ; Martirano S ; Mathews M ; Maxfield M ; Mestres-Quadreny JM ; Meyer-Denckman G ; Moran R ; Morthenson J ; Mumma G ; Nancarrow C ; Neuhaus M ; Oliveros P ; Otte H ; Paik NJ ; Simonetti GE ; Patterson B ; Pousseur H ; Reich S ; Watts R ; Riedl JA ; Riley T ; Rjewski F ; Rothenberg J ; Ruhm G ; Schaeffer P ; Schmit T ; Schnebel D ; Schneemann C ; Silva C ; Stegall SW ; Stockhausen K ; Tenney J ; Ten-Holt S ; Vostell W ; Tosco VFH ; Tudor D ; Goldstein M ; Vagvione H ; Varese E ; Williams E ; Wolff C ; Xenakis Y., 1969
This book illustrates a collection of 255 music manuscripts whose selection by Cage was determined by circumstances. The text was the result of I-Ching chance operations which determined how many words were to be written by or about the 269 composers. Not only the number of words and the author, but the typography too - letter size, intensity and typeface - were all determined by chance operations. Alison Knowles served as co-editor and also designed the book. The book is missing the dust jacket. it is complementary to another book held by the Sackner Archive of experimental music scores, "Spartito Preso" (1980) that emphasizes Italian composers. -- Source of annotation: Marvin or Ruth Sackner.
Numerals 1924-1977 / Ranier Crone, curator ; Andre C ; Cage J ; Denes A ; Martin K ; Mohr M ; Mallarme S ; Gaines C ; Darboven H ; Graham D., 1978
Exhibition was curated by Ranier Crone. -- Source of annotation: Marvin or Ruth Sackner.
od Joyce'a do liberatury (From Joyce to Liberature) / Bazarnik, Katarzyna, editor ; Joyce J ; Cage J ; Jarry A ; Johnson BS ; Danielewski M ; Butor M ; Mallarme S ; Federman R ; Bazarnik K ; Fajfer Z ; Drozdz S ; Derrida J ; Barthes R ; Beckett S ; Schmidt A ; Sterne L., 2002
This book is a collection of essays on Liberature and James Joyce's works held on Bloomsday in Krakow in 1999 and 2000. An English summary appears at the end of the book. The editor in her essay makes the point that all Joyce's books go round in circles beginning and ending with the same themes: family, death, resurrection or rebirth. The cover depicts a reproduction of Drozd's room installation of letters that was shown in the Beyond Geometry exhibition, LACMA and Miami Museum of Art 2004. -- Source of annotation: Marvin or Ruth Sackner.