Silence Lectures And Writings Quotes

There is no such thing as an empty space or an empty time. There is always something to see, something to hear. In fact, try as we may to make a silence, we cannot.

As far as consistency of thought goes, I prefer inconsistency.

The emotions - love, mirth, the heroic, wonder, tranquility, fear, anger, sorrow, disgust - are in the audience.

The world is teeming; anything can happen.

The highest purpose is to have no purpose at all. This puts one in accordance with nature, in her manner of operation.

Artists talk a lot about freedom. So, recalling the expression "free as a bird," Morton Feldman went to a park one day and spent some time watching our feathered friends. When he came back, he said, "You know? They're not free: they're fighting over bits of food.

Which is more musical, a truck passing by a factory or a truck passing by a music school? Are the people inside the school musical and the ones outside unmusical? What if the ones inside can't hear very well, would that change my question?

So somebody has talent? So what? Dime a dozen. And we're overpopulated. Actually we have more food than we have people and more art. We've gotten to the point of burning food. When will we begin to burn our art?

If my work is accepted, I must move on to the point where it is not.

What is the purpose of writing music? One is, of course, not dealing with purposes but dealing with sounds. Or the answer must take the form of a paradox: a purposeful purposeless or a purposeless play. This play, however, is an affirmation of life--not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we’re living, which is so excellent once one gets one’s mind and one’s desires out of its way and lets it act of its own accord.

nothing is accomplished by writing a piece of music nothing is accomplished by hearing a piece of music nothing is accomplished by playing a piece of music our ears are now in excellent condition.

Men write more books. Men give more lectures. Men ask more questions after lectures. Men post more e-mail to Internet discussion groups. To say this is due to patriarchy is to beg the question of the behavior's origin. If men control society, why don't they just shut up and enjoy their supposed prerogatives? The answer is obvious when you consider sexual competition: men can't be quiet because that would give other men a chance to show off verbally. Men often bully women into silence, but this is usually to make room for their own verbal display. If men were dominating public language just to maintain patriarchy, that would qualify as a puzzling example of evolutionary altruism—a costly, risky individual act that helps all of one's sexual competitors (other males) as much as oneself. The ocean of male language that confronts modern women in bookstores, television, newspapers, classrooms, parliaments, and businesses does not necessarily come from a male conspiracy to deny women their voice. It may come from an evolutionary history of sexual selection in which the male motivation to talk was vital to their reproduction.

Whereas what we need is to fumble around in the darkness, because that's where our lives (not necessarily all of the time, but at least some of the time, and particularly when life gets problematical for us) takes place.

Now we have come to the end of the part about structure. However, it occurs to me to say more about structure.

Nothing more then nothing can be said. We make our lives by what we love. Being American, having been trained to be sentimental, I fought for noises … when the war came along, I decided to use only quiet sounds. There seemed to me to be no truth, no good, in anything big. Somebody asked Debussy how he wrote music. He said: “I take all the tones there are, leave out he one’s I don’t want, and use all the others”. Satie said: “When I was young, people told me; you’ll see when you’re fifty years old. Now I’m fifty. I’ve seen nothing”. Slowly as the talk goes on, we are getting nowhere – and that is a pleasure. It is not irritating to be where one is, it is only irritating to think one would like to be somewhere else. If anybody is sleepy, let him go to sleep. All I know about method is that when I’m not working I sometimes think I know something, but when I’m working, it is quit clear I know nothing.

Composing's one thing, performing's another, listening's a third. What can they have to do with one another?

...for we have found that by excluding we grow thin inside even though we may have an enormous bank account outside.

Our intention is to affirm this life, not to bring order out of chaos nor to suggest improvements in creation, but simply to wake up to the very life we’re living, which is so excellent once one gets one’s mind and desires out of its way and lets it act of its own accord. John Cage, Silence: Lectures and Writings

As I see it, poetry is not prose simply because poetry is in one way or another formalized. It is not poetry by reason of its content or ambiguity but by reason of its allowing musical elements (time, sound) to be introduced into the world of words. Thus, traditionally, information no matter how stuffy (e. g. the sutras and shastras of India) was transmitted in poetry. It was easier to grasp that way. Karl Shapiro may have been thinking along these lines when he wrote his Essay on Rime in poetry.

Dorothy Norman invited me to dinner in New York. There was a lady there from Philadelphia who was an authority on Buddhist art. When she found out I was interested in mushrooms, she said, “Have you an explanation of the symbolism involved in the death of the Buddha by his eating a mushroom?” I explained that I’d never been interested in symbolism; that I preferred just taking things as themselves, not as standing for other things. But then a few days later while rambling in the woods I got to thinking. I recalled the Indian concept of the relation of life and the seasons. Spring is Creation. Summer is Preservation. Fall is Destruction. Winter is Quiescence. Mushrooms grow most vigorously in the fall, the period of destruction, and the function of many of them is to bring about the final decay of rotting material. In fact, as I read somewhere, the world would be an impassible heap of old rubbish were it not for mushrooms and their capacity to get rid of it. So I wrote to the lady in Philadelphia. I said, “The function of mushrooms is to rid the world of old rubbish. The Buddha died a natural death.

Growing fast in sawdust

What’s most important in life cannot be said, only written – to give a slight twist to the well-known remark by Jacques Derrida. And so, in my fiction and poetry, I tried to put silent speech into words. But when I wrote plays, I could use silent speech – I could use silence – in a completely different way. All I had to do was write ‘pause’ and the silent speech was right there. This word ‘pause’ is without a doubt the most important word in my plays, and the one I use the most often: ‘long pause’, ‘short pause’, or just ‘pause’. There can be so much in these pauses ­– or so little. The fact that something cannot be said, the fact that something refuses to be said, or the fact that something is best said by not saying anything. But what I am quite sure speaks through these pauses the most is: silence.

As for the burden of saving the planet, destroyed largely by the limitless appetite of the great economic powers, it cannot fall, as is already to be feared, on those who are already destitute. At such moments in history, silence is not an option.