Cage and Fin

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cage came to see soundandsilence as inextricably related.

Silent Prayer

abstractly negate sound to produce

silence

(negation of Muzak as pervasive commercially produced music)

. . . . . . . . . 4'33''. . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . .

reattributes a positivity

to silence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . in its own right

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

anechoic chamber and the inability to escape

the pulsing of one's blood and ringing of the nervous system

Zen

being and nothingness

simultaneously

Da

da

space

between art and

life

Jackson Pollock's movement toward----------------------------> the ends

art that extended into life------------ opposite of -----------trompe l'oeil

past the medium of paint to include the medium of life

combines and assemblages

white

on

white had a religious undertone

white as being representative of the ultimate

the omniscient

the ascetic

white as returning to the two dimensionality of art

finality

in the point

where a circle

begins and ends

_____________________________________line

between ____________________determinate negation (formalist) and abstract negation

white paintings are a

i

r

ports for lights and enviroment

Malevich white on white

as a project ion screen that

succeeds in capturing

light like the impressionists

wanted glass architecture

that allows for themelange of

light and atmosphere

in creating space

that is as much art as it is life

not ground zero of painting,

"To write poetry after Auschwitz would be barbarous"

there are multiple ways of getting at a zero that doesn't exist

return to Nature and temporality

Rauschenberg grass and dirt paintings that deteriorate in their own time despite

human agency