John Cage, Other People Think (John Cage Trust, 2012), 11–12.
John Cage, 4'33", 1952 (1960) (C. F. Peters Edition 6777).
John Cage, 0'00", 1962 (C. F. Peters Edition 6796).
John Cage, Water Walk, 1959, score (Henmar Press, 1961).
John Cage, Etcetera, 1973 (C. F. Peters Edition 6812).
John Cage, Letter to Charles Hamm, May 1, 1973, John Cage Papers, Northwestern University, C70.51.
John Cage, Letter to Eleanor Hakim, December 23, 1979, John Cage Papers, Northwestern University, C189.102.
Ronald Nameth, John Cage: The 1st Musicircus (1968; VisionRainbow, 2006), DVD.
Bruce Zumstein, “Musicircus Rocks Stock Pavilion,” The Daily Illini, November 18, 1967, 1.
Charles Junkerman, “Modelling Anarchy: The Example of John Cage’s Musicircus,” Chicago Review, no. 4 (1993).
For more on Fontana Mix, see the John Cage Trust website →.
Judith Butler, Notes Toward a Performative Theory of Assembly (Harvard University Press, 2015), 20.
Cornelius Cardew, “John Cage—Ghost or Monster?,” Listener, May 4, 1972. Reprinted in Leonardo Music Journal, no. 8 (1998), 3–4.
Cardew, “John Cage—Ghost or Monster?”
N. Katherine Hayles, Unthought: The Power of the Cognitive Nonconscious (University of Chicago Press, 2017).
Gilles Deleuze, “Mediators,” in Negotiations 1972–1990 (Columbia University Press, 1990), 125.
The film was initiated and produced by composer Henning Lohner at Fernsehstudios München. See Henning Lohner, “The Making of Cage’s ***HTML*** <em>One<span style="font-size: small; vertical-align: super;">11</span></em>,” in Writings through John Cage’s Music, Poetry, and Art, ed. David W. Bernstein and Christopher Hatch (University of Chicago Press, 2001). This piece is one of Cage’s Number Pieces—late works composed between 1987 and 1992. Each piece is titled after the number of performers involved: solos are titled One, duos are Two, and so forth. The superscript indicates the sequence of the piece within the same-number group, e.g., <em>One<span style="font-size: small; vertical-align: super;">3</span></em>***HTML*** is the third iteration of the composition for a single performer.
Quoted in Lohner, “The Making of Cage’s ***HTML*** <em>One<span style="font-size: small; vertical-align: super;">11</span></em>***HTML***,” 287.
Jean‑François Lyotard, “Introduction: About the Human,” The Inhuman: Reflections on Time, trans. Geoffrey Bennington and Rachel Bowlby (Polity Press, 1988), 7.
“If the instrumental dimension of the cyborg was turned into an opportunity to generate transversal alliances with machines, suspending any appeal to identity politics, the data granularity of the instrument produces incomputable spaces in which subjectivity moves”—leading to a posthuman subjectivity that acts without reasoning. Luciana Parisi, “Instrumentality, or the Time of Inhuman Thinking,” Technospehere Magazine, April 15, 2017.
Achille Mbembe, Brutalism, trans. Steven Corcoran (Duke University Press, 2024), 5.
Rosi Braidotti, The Posthuman (Polity Press, 2013).