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Cage in Principle

Cage in Principle Cage in PrinCiPle George Quasha BOOK REVIEWED: Kay Larson, Where the Heart Beats: John Cage, Zen Buddhism, and the Inner Life of Artists. New York: Penguin Press, 2012. My intention has been, often, to say what I had to say in a way that would exemplify it; that would, conceivably, permit the listener to experience what I had to say rather than just hear about it. John Cage ohn Cage’s commitment to direct experience in writing, expressed in this first of many citations in Kay Larson’s extraordinary new biography, states a core intention of his writing and lecture-performance, and it seems designed to alert Larson’s reader to an unusual agenda of her own book: to do much as Cage himself would do. That’s because Where the Heart Beats is far more than a biography in the classical sense, of which there are already useful, if limited, precedents.1 Larson sets her intentions at the level of Cage’s out of a deeply felt conviction that what is at stake in his life, work, and influence is of the greatest importance. She presents this in terms of historical impact on artists and art of all kinds, but also with respect to http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

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References (4)

Publisher
MIT Press
Copyright
© 2012 George Quasha
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/PAJJ_a_00110
Publisher site
See Article on Publisher Site

Abstract

Cage in PrinCiPle George Quasha BOOK REVIEWED: Kay Larson, Where the Heart Beats: John Cage, Zen Buddhism, and the Inner Life of Artists. New York: Penguin Press, 2012. My intention has been, often, to say what I had to say in a way that would exemplify it; that would, conceivably, permit the listener to experience what I had to say rather than just hear about it. John Cage ohn Cage’s commitment to direct experience in writing, expressed in this first of many citations in Kay Larson’s extraordinary new biography, states a core intention of his writing and lecture-performance, and it seems designed to alert Larson’s reader to an unusual agenda of her own book: to do much as Cage himself would do. That’s because Where the Heart Beats is far more than a biography in the classical sense, of which there are already useful, if limited, precedents.1 Larson sets her intentions at the level of Cage’s out of a deeply felt conviction that what is at stake in his life, work, and influence is of the greatest importance. She presents this in terms of historical impact on artists and art of all kinds, but also with respect to

Journal

PAJ: A Journal of Performance and ArtMIT Press

Published: Sep 1, 2012

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