The Afterlives of Indeterminacy

IF 0.3 2区 艺术学 0 MUSIC Contemporary Music Review Pub Date : 2022-05-04 DOI:10.1080/07494467.2022.2080467
Benjamin Piekut
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Abstract

This article explores composer John Cage’s turn to practice in the 1960s, placing it in a history of chance that extends into the nineteenth century, when the speculations of finance capitalism, the measurement of norms and their deviations, the statistical analysis of population and disease, and the assessment and management of risk all produced ways of calculating and mitigating risk. Cage and his primary collaborator, the pianist and electronic musician David Tudor, eschewed discrete, individual works and developed shared techniques and materials that flowed from night to night and problematised the notion of individual authorship. This improvisatory mode of action opened Cage up to complexities of indeterminacy that might have escaped him previously, most notably how one narrows the vast range of unforeseen possible outcomes by working with trusted partners and developing shared expectations and desires in a manner congruent with Michel Foucault’s classic definition of power: an action upon possible future or present actions. The article focuses on Cage’s work with the Merce Cunningham Dance Company, and especially Cunningham’s important Event format, as well as Tania Bruguera’s Tatlin’s Whisper #5 (2008), Cage’s Variations IV (1963), and Pauline Oliveros’s In Memoriam: Nikola Tesla, Cosmic Engineer (1969).
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不确定性的来世
这篇文章探讨了作曲家约翰·凯奇在20世纪60年代转向实践,将其置于一个延续到19世纪的偶然历史中,当时对金融资本主义的猜测、对规范及其偏差的测量、对人口和疾病的统计分析以及对风险的评估和管理都产生了计算和减轻风险的方法。凯奇和他的主要合作者,钢琴家和电子音乐家大卫·都铎,避开了离散的个人作品,开发了夜以继日的共享技术和材料,并对个人作者的概念提出了问题。这种即兴的行动方式让凯奇暴露出了以前可能逃脱的复杂性和不确定性,最值得注意的是,一个人如何通过与值得信赖的合作伙伴合作,以符合米歇尔·福柯对权力的经典定义的方式发展共同的期望和欲望,缩小大量不可预见的可能结果:对未来或当前可能行动的行动。这篇文章重点介绍了凯奇在默西·坎宁安舞蹈团的工作,尤其是坎宁安的重要活动形式,以及塔妮娅·布鲁格拉的《塔特林的口哨#5》(2008年)、凯奇的《变奏曲IV》(1963年)和宝琳·奥利韦罗斯的《记忆中:宇宙工程师尼古拉·特斯拉》(1969年)。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
1.00
自引率
25.00%
发文量
48
期刊介绍: Contemporary Music Review provides a forum for musicians and musicologists to discuss recent musical currents in both breadth and depth. The main concern of the journal is the critical study of music today in all its aspects—its techniques of performance and composition, texts and contexts, aesthetics, technologies, and relationships with other disciplines and currents of thought. The journal may also serve as a vehicle to communicate documentary materials, interviews, and other items of interest to contemporary music scholars. All articles are subjected to rigorous peer review before publication. Proposals for themed issues are welcomed.
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