scholarly journals John Cage y su influencia en la obra del video artista Nam June Paik

2009 ◽  
pp. 237
Author(s):  
Íñigo Sarriugarte Gómez
Keyword(s):  
John Cage ◽  
Allen Ginsberg ◽  
I Ching ◽  
Merce Cunningham ◽  
El Sistema ◽  
Nam June Paik

En 1958, el artista coreano Nam June Paik (*1932; †2006) conoce en Alemania a John Cage (*1912; †1992), músico vanguardista, quien estaba profundamente interesado en el budismo zen. Su encuentro con Cage fue vital, ya que el compositor norteamericano convencerá a éste para que oriente su carrera hacia la vanguardia artística, dejando su faceta de pianista clásico. La filosofía de Cage queda reflejada en composiciones como 4’33’’, de 1952, donde el espectador no escucha el sonido del piano, ya que este no es tocado, sino un silencio que es entrecortado por el sonido ambiental. Hay varias versiones de esta pieza, marcándose los silencios mediante procesos al azar con el sistema del “I Ching”. En este sentido, el silencio empleado por John Cage se relaciona con la vacuidad del budismo zen. Igualmente, Paik hace uso del silencio en numerosos trabajos, como en “TV Clock” de 1963, donde se observan 24 televisiones manipuladas a color, a la vez que se siente el silencio, nuevamente entrecortado por las propias circunstancias momentáneas del espectador. Esta infl uencia del budismo zen en la música de Cage se observa cuando argumenta que la música compuesta de melodías tiene el mismo valor que el sonido dedicado por nosotros como ruidos. Este aspecto, entre otros, influyeron a Paik, cuyas video imágenes se definen como atributos de trabajos tradicionales que no impresionan a la audiencia, sino que sugieren condiciones variables. Algunas de sus obras relacionadas con la filosofía de Cage han sido “Hommage à John Cage” en 1959; “Estudio para pianoforte” de 1960; y “Global Grove” de 1973, donde Paik trabaja a modo de collage las imágenes de sus colaboradores vanguardistas John Cage, Allen Ginsberg y Merce Cunningham.

Joseph Beuys und die Musik

2021 ◽  
Author(s):  
Sigrun Hintzen
Keyword(s):  
John Cage ◽  
Unpublished Manuscript ◽  
Joseph Beuys ◽  
Nam June Paik ◽  
Erik Satie ◽  
Grand Piano

Joseph Beuys expanded his concept of art to include listening and conceived of sound as sculpture. Musical material runs through his work from early drawings to late performances. This book breaks down what the acoustic elements in Beuys' works, notations, symphonies and scores are all about. What does Beuys himself do at the grand piano, what are "Erdklavier" and "Innenton"? Beuys worked with John Cage, Nam June Paik and Henning Christiansen, felt close to Erik Satie. At the time, Sigrun Hintzen laid the foundation for research into Joseph Beuys' music. This unpublished manuscript is finally being made accessible to all those who want to get to know and understand "music as an inner disposition" in Beuys' work.

scholarly journals Análise musical de Six Melodies (1950), de John Cage: contexto e procedimentos composicionais

Opus ◽  
2018 ◽  
Vol 24 (1) ◽  
pp. 32
Author(s):  
Ana Leticia Crozetta Zomer ◽  
Guilherme Antonio Sauerbronn De Barros
Keyword(s):  
John Cage ◽  
Merce Cunningham

Neste trabalho apresentamos uma análise da obra Six Melodies, do compositor norte-americano John Cage (1912-1992). Criada em 1950, a obra pertence ao seu segundo período composicional, denominado Período Romântico (1938-1950) por Solomon (1998, 2002). A análise musical se deu a partir da investigação dos processos composicionais (micro-macrocosmic form e gamut technique), abordando aspectos formais e estruturais da obra. Dessa forma, procuramos revelar detalhes a respeito da estética de Cage durante seus primeiros anos como compositor e da influência que seu companheiro, Merce Cunningham, exerceu sobre as obras deste período. O estudo das técnicas composicionais desenvolvidas durante o Período Romântico reflete a mudança no pensamento estético-filosófico do compositor.

Paik, Nam June (1932–2006)

2018 ◽  
Author(s):  
Chunghoon Shin
Keyword(s):  
Arnold Schoenberg ◽  
Electronic Media ◽  
John Cage ◽  
Alternative Mode ◽  
Art Form ◽  
American Artist ◽  
Japanese Colonial ◽  
The University ◽  
Nam June Paik ◽  
Private Music Lessons

Nam June Paik was a Korean-born American artist who achieved international notoriety for his destructive, neo-dada activities and visionary, esthetic experiments with electronic media. Born to a wealthy family in Seoul during Japanese colonial rule, Paik took private music lessons throughout his adolescence. After moving to Japan in 1951, he enrolled in the University of Tokyo, where he studied music, esthetics, and art history, graduating with a thesis on the composer Arnold Schoenberg in 1956. In the late 1950s and early 1960s, he turned away from the university setting to associate himself with a network of progressive artists such as John Cage and the Fluxus group. While studying in Germany in the late 1950s, Paik began exploring electronic media as an art form. Yet, far from being negative or polemical, Paik’s attitude toward the televisual environment was marked by a radical openness. He explored the esthetic potential of television and video in an all-encompassing way. Paik’s exploration encompassed manipulation of television signals or scan lines, videotape production, television transmission, live satellite telecast, video sculpture, and environment. Yet Paik was by no means naïve or conformist in his approach; instead, he hijacked broadcast signals, redressing one-way communication and rechanneling energy into an alternative mode of communication.

Black Mountain College

2018 ◽  
Author(s):  
Jeffrey Saletnik
Keyword(s):  
John Cage ◽  
Black Mountain College ◽  
Curricular Integration ◽  
Ernst Krenek ◽  
The Arts ◽  
Merce Cunningham ◽  
Willem De Kooning ◽  
Clement Greenberg ◽  
Buckminster Fuller ◽  
Black Mountain

Between 1933 and 1957, Black Mountain College served as an unlikely crucible of modernism. Despite its isolated location near Asheville, North Carolina, at various times its permanent and summer faculty included the likes of Anni Albers, Josef Albers, Ilya Bolotowsky, Jean Charlot, Lyonel Feininger, Joseph Fiore, Buckminster Fuller, Walter Gropius, Karen Karnes, Franz Kline, Willem de Kooning, Jacob Lawrence, Robert Motherwell, Beaumont Newhall, Amédée Ozenfant, Xanati Schawinsky, Ben Shahn, and Jack Tworkov. These artists and architects were joined by composers John Cage, Lou Harrison, Ernst Krenek, David Tudor, and Stefan Wolpe; writers and poets Robert Creeley, Charles Olsen, and M.C. Richards; as well as critic Clement Greenberg, musicologist Heinrich Jalowetz, and choreographer Merce Cunningham. There are few evident commonalities among the practices of this mix of European émigrés and Americans, yet the educationally progressive ethos of the College appealed to each of them. Its founding program was predicated upon a belief that the arts were central to higher education and that the practice of democracy would benefit from their curricular integration. Participation was prioritized in all activities, particularly in learning.

Introduction

2018 ◽  
Author(s):  
Carrie Rohman
Keyword(s):  
Virginia Woolf ◽  
John Cage ◽  
Art Making ◽  
Art Practices ◽  
Merce Cunningham ◽  
Isadora Duncan ◽  
The Aesthetic

Rather than looking primarily “beyond” ourselves to understand animals and aesthetics, I suggest we must also look “within” to identify a deep coincidence of the human and animal elaboration of life forces in bioaesthetic practices. A “bio-impulse” at the root of the aesthetic itself connects human artistic propensities to animality through strategies of excess, display, and intensification. Re-envisioning the aesthetic domain itself as trans-species in scope is ethically charged because our species must acknowledge the shared status of art-making, one of our most hallowed and formerly “exceptional” activities. In examining the work, theories, and art practices of Isadora Duncan, D. H. Lawrence, Virginia Woolf, Rachel Rosenthal, Merce Cunningham, and John Cage, I articulate ways to recognize and assess the entanglement of human and nonhuman aesthetic forces.

Cunningham, Merce (1919 – 2009)

2018 ◽  
Author(s):  
Roger F. Copeland
Keyword(s):  
Modern Dance ◽  
John Cage ◽  
Visual Artists ◽  
Martha Graham ◽  
Beliefs And Practices ◽  
Professional Career ◽  
Merce Cunningham ◽  
Classical Ballet ◽  
The Relationship ◽  
Classical Shape

One of the twentieth century’s most influential dancers and choreographers, Merce Cunningham re-defined the genre of modern dance. He began his professional career as a member of the Martha Graham Company in 1939. However, by 1953, when he founded his own company, he had repudiated many of the prevailing beliefs and practices of previous modern dance pioneers. Prior to Cunningham, most modern dance choreographers (including Graham) vehemently rejected the fundamentals of classical ballet. Cunningham, by contrast, re-incorporated ballet’s emphasis on classical shape, line, elevation and intricate footwork. He offset these balletic elements with eccentric tilts and twists of the torso, back and arms. In the early 1950s, in collaboration with the composer John Cage, Cunningham also pioneered the use of ‘chance methodologies’ as a choreographic tool. Together, Cunningham and Cage fundamentally re-conceived the relationship between movement and music which had characterised virtually all earlier genres of choreography. In Cunningham’s dances, movement, sound and décor all remained independent of one another. Yet the underlying concept of collaboration remained fundamental to Cunningham’s dances, with celebrated composers and visual artists creating sound scores and designs for the company. Over the course of a career that spanned more than 60 years, Cunningham choreographed over 200 dances including Root of an Unfocus (1944), Sixteen Dances For Soloist and Company of Three (1951) Septet (1953), Suite for Five in Space and Time (1956), Summerspace (1958), Rune (1959), Winterbranch (1964), Variations V (1965) Walkaround Time (1968), Rainforest (1968), Sounddance (1975), Torse (1976), Quartet (1982), Fabrications (1987), CRWDSPCR (l993) and BIPED (1999).

The Shiraz Arts Festival: Western Avant-Garde Arts in 1970s Iran

Leonardo ◽  
2007 ◽  
Vol 40 (1) ◽  
pp. 20-28 ◽  
Author(s):  
Robert Gluck
Keyword(s):  
Electronic Music ◽  
John Cage ◽  
Islamic Revolution ◽  
Karlheinz Stockhausen ◽  
Iannis Xenakis ◽  
Avant Garde ◽  
Peter Brook ◽  
Merce Cunningham ◽  
Arts Festival ◽  
Theater Directors

Iran in the 1970s was host to an array of electronic music and avant-garde arts. In the decade prior to the Islamic revolution, the Shiraz Arts Festival provided a showcase for composers, performers, dancers and theater directors from Iran and abroad, among them Iannis Xenakis, Peter Brook, John Cage, Gordon Mumma, David Tudor, Karlheinz Stockhausen and Merce Cunningham. A significant arts center, which was to include electronic music and recording studios, was planned as an outgrowth of the festival. While the complex politics of the Shah's regime and the approaching revolution brought these developments to an end, a younger generation of artists continued the festival's legacy.

scholarly journals Magnetic Memory: A Day-Long Video Tribute to Nam June Paik

2006 ◽  
Vol 60 (2) ◽  
pp. 12-16 ◽  
Author(s):  
Nicky Hamlyn
Keyword(s):  
New York ◽  
Magnetic Memory ◽  
John Cage ◽  
Yoko Ono ◽  
Nam June Paik

ABSTRACT This review of video work by Nam June Paik traces the artist's origins in the European Fluxus movement before his move to New York, where he lived until his death (in 2006) and collaborated with other artists including John Cage, Charlotte Moorman, and Yoko Ono.

Silence and Void

2016 ◽  
Author(s):  
Dieter Daniels
Keyword(s):  
Visual Arts ◽  
John Cage ◽  
Complex Relation ◽  
Different Types ◽  
Yves Klein ◽  
Nam June Paik ◽  
Bruce Nauman

The notorious “silent piece” 4'33 (1952) by John Cage is a seminal point of convergence for visual and acoustic arts: each performance of the piece offers an acoustic and visual uniqueness, which defies repetition. The equivalent in visual arts is Robert Rauschenberg’sWhite Paintings(1951), credited by Cage as inspirational. Around the same time and without knowing the works by Cage and Rauschenberg, Yves Klein and Guy Debord also created works related to silence, emptiness, and void. This chapter reflects on the similar and different types of absence, reduction, and various kinds of “nothingness” involved in these historical works. The legacy of the “aesthetics of absence” to the present day is presented in a typology of performing, recording, and remediating silence in works by Nam June Paik, Bruce Nauman, Manon De Boer, and others. The chapter also analyzes the complex relation of silence and void in these contemporary practices.

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