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Source text:
Cage, John «The Future of Music – Credo»
Cage, John «Composition as Process. Part II: Indeterminacy» Kostelanetz, Richard «Conversing with Cage»
Relevant passages:
Dieter Daniels «Media → Art / Art → Media
Forerunners of media art in the first half of the twentieth century» Dieter Daniels «Television-Art or anti-art?
Conflict and cooperation between the avant-garde and the mass media in the 1960s and 1970s» | 2 Golo Föllmer «Audio Art» | 2 Rudolf Frieling «Reality/Mediality
Hybrid Processes Between Art and Life» Söke Dinkla «Virtual Narrations
From the crisis of storytelling to new narration as mental potentiality» Oliver Grau «Immersion and Interaction
From Circular Frescoes to Interactive Image Spaces» Inke Arns «Interaction, Participation, Networking: Art and Telecommunication» | 2 Rudolf Frieling «Form Follows Format
Tensions, Museums, Media Technology, and Media Art» Dieter Daniels «Sound & Vision in Avantgarde & Mainstream » | 2 | 3 Golo Föllmer Julia Gerlach «Audiovisions. Music as an Intermedia Art Form.» Tjark Ihmels Julia Riedel «Generative Tools» Tjark Ihmels Julia Riedel «The Methodology of Generative Art» Tom Holert «Deserts of the Political - Michelangelo Antonioni, Robert Smithson and Michael Snow» Ivone Margulies «Toward a Corporeal Cinema: Theatricality in the \'70s» John Miller «No More Boring Art» Rudolf Frieling «The Archive, the Media, the Map and the Text» Steve Dietz «Public Sphere_s»
Works by John Cage:
4'33'' Europeras 1 & 2 Fontana Mix Imaginary Landscape No. 1 Imaginary Landscape No. 4 One11 and 103 The First Meeting of the Satie Society Variations V Variations VII Williams Mix Writing for the Second Time Through Finnegans Wake Writings through Finnegans Wake
Check as well:
John Cage
b 1912 (Los Angeles, USA)–1992 (New York); doyen of New Music and Acoustic Art; Zen philosopher; early use of tape recorder or radio as sound sources in composition, also worked with random procedures, based on I-Ging, an ancient Chinese book of oracles, and integrated everyday sounds into music.
