Lecture Quotes - page 3
At Black Mountain College in 1952, I organized an event that involved the paintings of Bob Rauschenberg, the dancing of Merce Cunningham, films, slides, phonograph records, radios, the poetries of w:Charles Olson and M. C. Richards recited from the tops of ladders, and the pianism of David Tudor, together with my 'Juilliard lecture', which ends: 'A piece of string, a sunset, each acts.' The audience was seated in the center of all this activity. Later that summer, vacationing in New England, I visited America's first synagogue, to discover that the congregation was there seated precisely the way I had arranged the audience at Black Mountain.
John Cage
So it was that I gave about 1949 my 'Lecture on Nothing' at the Artists' Club on Eighth Street in New York City (started by Robert Motherwell), which predated the popular one associated with Philip Pavia, Bill de Kooning, et al. ). This 'Lecture on Nothing' was written in the same rhythmic structure I employed at the time in my musical compositions (Sonatas and Interludes, Three Dances, etc.). One of the structural divisions was the repetition, some fourteen times, of a single page in which occurred the refrain, 'If anyone is sleepy let him go to sleep.' Jeanne Reynal, I remember, stood up part way through, screamed, and then said, while I continued speaking, 'John, I dearly love you, but I can't bear another minute.' She then walked out. Later, during the question period, I gave one of six previously prepared answers regardless of the question asked. This was a reflection of my engagement in Zen.
John Cage
Personally, I never met Knut Wicksell. I saw him once when he delivered a lecture in Oslo, but being an unassuming student at the time, I did not have the courage to talk to him. So my knowledge of his theory came only through his writings. That, however, was a very intense and absorbing form of making his acquaintance. Already from my early student days, I read his writings (in German and Swedish) avidly. And I continued to do so later.
When I started my study on Wicksell, I found that his works were not easy reading. Often it was only at the third or fourth reading that I grasped his ideas. Invariably, each new reading made me more and more enthusiastic. Sometimes it happened that I thought I had finally caught him in an inconsistency or in unclear thinking. Every time this happened, it turned out, however, that the error was mine.
Ragnar Frisch
[another part / version of Whistler's lecture:]
Nature contains the elements, in colour and form, of all pictures, as the keyboard contains the notes of all music. But the artist is born to pick, and choose, and group with science, these elements, that the result may be beautiful-as the musician gathers his notes, and forms his chords, until he bring forth from chaos glorious harmony. To say to the painter, that Nature is to be taken as she is, is to say to the player, that he may sit on the piano. That Nature is always right, is an assertion, artistically, as untrue, as it is one whose truth is universally taken for granted. Nature is very rarely right, to such an extent even, that it might almost be said that Nature is usually wrong: that is to say, the condition of things that shall bring about the perfection of harmony worthy a picture is rare, and not common at all.
James McNeill Whistler
... it's time for the opening lecture in Test Design 101: Consider: a woman claims to be a musician. You seat her at a piano and demand that she prove her claim. She cannot play the piano, and you conclude that her claim has been invalidated. Hardly. You see, the lady is a cellist....
You cannot challenge a claimant to do something they've never claimed they can do. That's why, at the JREF, we design a protocol only after the applicant has clearly stated (a) what they can do, (b) under what conditions, and (c) with what expected degree of success. And, the applicant must find the protocol appropriate, fair, agreeable, and adequate to prove their claim.
James Randi