that movement produced the likes of robert rauschenberg:
http://www.pbs.org/wnet/americanmasters/database/rauschenberg_r.html merce cunningham:
http://www.merce.org & arthur penn:
http://www.ronaldbrucemeyer.com/reviews/bigman.htm while effecting many others such as twyla tharp:
http://www.achievement.org/autodoc/page/tha0bio-1i think it clearly more important to understand what we are talking about & we ain't talk'n bout no "Marylin Manson", or neil sedaka here, no sir.
beyond the horizon you & i are standing on & perhaps even looking at, it is the continuation of the expression of an art scrawled first on a cave wall in French tens of thousands of years ago, a sound of a bow after an arrows release, a reed blown while held between two human fingers with a gentle breath. the essentials.
cage studied with Schonberg
http://w3.rz-berlin.mpg.de/cmp/schonberg.html @ UCLA, himself lending much angst to the cycle of fifths itself by way of his atonal, 12 tone/tone poems & such.
art & music
can be 'corporate'; much of it is, fulfilling little more than the requirements to fill an audio, or visual space in an aesthetically pleasing way, no particular breaking of any new ground and that is fine & dandy. asking no; or indeed preferring no questions be asked of themselves, many prefer it. it is a form of 'binky', or safe-house. again, that's fine. folks of cage's caliber, however, seek ways to re-formulate a set of established means into a/the avant-gard what then becomes common to you & me.
with respect to music: during the inquisition (and believe me i understand the python adage "no one expects The Spanish Inquisition") composers were subject flame & pain of death, or dislocation, for combining whole, godly notes with
dissonance.
with respect to art: artists were made to suffer for little more than rendering a mole, or wart upon the gentle cheek of a monarch, noble, or aristocrat.
time marches on...
hubby has a line i've heard him deliver at openings & exhibitions when they ask him where contemporary artists view themselves in relation to their surroundings...and yes...'they' buy it,
"the contemporary artist can be seen with the tips of his toes curled round the edge of a tempest's cliff leaning into a great swirl of contemporaneous events, society, symbol & color theory, allegory & godhead, the droll & sorrow both of everyday, common life experience; pulling bits of expression that they then hand back into a contiguous time-line of human expression. if it is done right, there will be little duplication"cage was, many artists are: spacey, childlike, intense, non-sensical, intense over & again. others still make 'a living' producing works that have no more loft than what you would see in the exhibition of a manufactured home @ the state fair...
but when we lost cage...we lost an american master :hi:
http://www.pbs.org/wnet/americanmasters/database/cage_j.htmlhttp://images.google.com/images?q=robert+rauschenberg&hl=en&lr=&sa=N&tab=ii&oi=imagesthttp://www.culture.gouv.fr/culture/arcnat/chauvet/en