Archive for the ‘Ciber’ Category

John Cage

Posted: April 20, 2012 in 2012, Azar, Ciber

 

John Cage
ThomasBlochJohnCage.jpg

John Cage (a la izquierda) en 1988.
Nombre John Cage
Nacimiento 5 de septiembre de 1912
Bandera de los Estados Unidos Estados Unidos
Fallecimiento 12 de agosto de 1992, 79 años
Bandera de los Estados Unidos Estados Unidos
Nacionalidad estadounidense
Ocupación compositorfilósofoartistapintor

John Milton Cage Jr. (Los Ángeles5 de septiembre de 1912 – Nueva York12 de agosto de 1992) fue un compositor, instrumentista, filósofoteórico musicalpoetaartistapintor, aficionado a la micología y a su vez recolector de setas estadounidense. Pionero de la música aleatoria, de la música electrónica y del uso no estándar de instrumentos musicales, Cage fue una de las figuras principales del avant garde de posguerra. Los críticos le han aplaudido como uno de los compositores estadounidenses más influyentes del siglo XX.1 2 Fue decisivo en el desarrollo de la danza moderna, principalmente a través de su asociación el coreógrafo Merce Cunningham.

Entre sus maestros estuvieron Henry Cowell (1933) y Arnold Schoenberg (1933–35), ambos conocidos por sus innovaciones radicales en la música, pero la principal influencia sobre el trabajo de Cage se encuentra en diferentes culturas orientales. A través de sus estudios de filosofía india y budismo zen a finales de los años 1940, Cage llegó a la idea de la música aleatoria o música controlada por azar, que comenzó a componer en 1951. El I Ching, un antiguo texto chino clásico sobre eventos cambiantes, se convirtió en la herramienta compositiva habitual de Cage durante el resto de su vida.

Cage es conocido principalmente por su composición de 4′33″, tres movimientos que se interpretan sin tocar una sola nota. Otra famosa creación de Cage es el piano preparado, para el que escribió numerosas obras relacionadas con la danza y varias piezas para concierto.

Contenido

[ocultar]

[editar]Música

[editar]Primeros trabajos, estructura rítmica y nuevos acercamientos a la armonía

Las primeras piezas completas de Cage se han perdido. De acuerdo al compositor, sus primeros trabajos eran piezas muy cortas para piano, compuestas utilizando complejos procedimientos matemáticos y a las que les faltaba “atractivo sensual y poder expresivo”.3 Cage comenzó entonces a producir piezas improvisando y escribiendo después el resultado, hasta que Richard Buhlig le remarcó la importancia de la estructura. La mayor parte de los trabajos de los primeros años 1930 son altamente cromáticos y traicionan el interés de Cage en el contrapunto.

Pronto después, Cage comenzó a escribir música percusiva y música para danza moderna, utilizando una técnica que colocaba la estructura rítmica de la pieza al frente de la misma. Las proporciones utilizadas, denominadas por Cage “proporciones anidadas”, se convirtieron en una característica regular de su música durante los años 1940. La técnica fue elevada a una gran complejidad en piezas posteriores.

Hacia finales de los años 1940, Cage comenzó a desarrollar diferentes métodos para romper con la armonía tradicional. Por ejemplo, su obra String Quartet in Four Parts(1950) fue compuesta mediante un número de gamas o acordes con una instrumentación fija. La pieza progresa de una gama a otra. En cada ocasión, esa gama se selecciona en función de si contiene la nota necesaria para la melodía, de modo que el resto de notas no forman ninguna armonía direccional. Su Concerto for prepared piano(1950–51) utilizaba un sistema de tablas de duración, dinámicas, melodías, etc., de las cuales Cage escogía utilizando patrones geométricos simples.

[editar]Azar

La adivinación del I Ching requiere obtener un hexagrama por generación al azar para después leer un capítulo asociado con ese hexagrama.

Junto con las proporciones anidadas, Cage comenzó a utilizar sistemas de tablas para diferentes trabajos de piano, como Music of Changes (1951), donde el material era seleccionado exclusivamente de tablas utilizando el I Ching. Toda la música de Cage desde 1951 fue compuesta utilizando procedimientos de azar, habitualmente el I Ching. Los estudios de Cage son extremadamente difíciles de interpretar.

Otra serie de trabajos aplicaron procesos azarosos a música preexistente de otros compositores, como Cheap Imitation (1969) basado en Erik Satie), Some of “The Harmony of Maine” (1978) basado en Belcher) e Hymns and Variations (1979).

[editar]Improvisación

Al utilizar procesos de azar con el objeto de eliminar los gustos del compositor o intérprete de la música, el desinterés de Cage por el concepto de improvisación era patente, una forma de trabajo inevitablemente unida a las preferencias del intérprete. No obstante, en toda una serie de trabajos desde los años 1970 el compositor encontró la forma de incorporar la improvisación. En Child of Tree (1975) y Branches (1976) se pide a los intérpretes que utilicen ciertas especies de plantas como instrumentos, por ejemplo el cactus. La estructura de estas piezas está determinada a través del azar de sus elecciones, siendo este el resultado musical.

[editar]Arte visual, escritos y otras actividades

Aunque Cage comenzó a pintar en su juventud, dejó esta actividad para concentrarse en la música. Su primer proyecto visual maduro, Not Wanting to Say Anything About Marcel, data de 1969. El trabajo comprende dos litografías y un grupo de lo que Cage llamaba plexigramas: impresiones de seda sobre paneles de plexiglás. Tanto los paneles como las litografías consisten en trozos y piezas de palabras en diferentes fuentes, todo ello gobernado por operaciones de azar.

Desde 1978 hasta su fallecimiento Cage trabajó en Crown Point Press, produciendo diferentes series de impresiones cada año. Su primer proyecto completado aquí fue el grabado Score Without Parts (1978), creado a partir de instrucciones totalmente anotadas y basado en combinaciones de dibujos de Henry David Thoreau. Fue continuado, el mismo año, por Seven Day Diary, que Cage pintó con los ojos cerrados pero que fue creado bajo una estricta estructura desarrollado utilizando métodos de azar. Finalmente, los dibujos de Thoreau fueron la base de sus últimos trabajos, producidos en 1978, Signals.

Entre 1979 y 1982 Cage produjo toda una serie de grabados grandes: Changes and Disappearances (1979–80), On the Surface (1980–82) y Déreau (1982). Fueron los últimos trabajos creados bajo la técnica del grabado. En 1983 comenzó a utilizar diferentes materiales no convencionales como algodón batido o espuma, y posteriormente utilizó piedras y fuego (EninkaVariationsRyoanji, etc.) para crear sus trabajos visuales. En 1988–1990 creó acuarelas en el Mountain Lake Workshop. La única película producida por Cage fue desarrollada para Number Pieces, comisionada por el compositor y director Henning Lohner. Fue completada solo semanas antes de la muerte de Cage en 1992.One11 está formada completamente por imágenees determinadas por el encendido azaroso de la luz eléctrica.

Durante su vida adulta, Cage tuvo una importante actividad como escrito y profesor. Algunas de sus clases fueron incluidas en diferentes libros publicados por Cage, el primero de los cuales fue Silence: Lectures and Writings (1961). Silence incluía no simples lecciones magistrales, sino también textos ejecutados en formatos experimentales y trabajos como Lecture on Nothing (1959), compuestos en estructuras rítmicas.

Cage fue también un ávido micólogo aficionad, fundando la New York Mycological Society con cuatro amigos.

[editar]Recepción e influencia

Las obras anteriores a la etapa del azar de Cage, particularmente las piezas de finales de los años 1940 como Sonatas e Interludios, le granjearon una considerable aclamación de la crítica, llegando a interpretarse las Sonatas en el Carnegie Hall en 1949. Sin embargo, la adopción por Cage de las operaciones de azar en 1951 le costaron un buen número de enemistades, y provocaron numerosas críticas de otros compositores. Adherentes del serialismo como Pierre Boulez y Karlheinz Stockhausendescartaron la música indeterminada. Prominentes críticos del serialismo, como el compositor griego Iannis Xenakis, fueron igualmente hostiles hacia Cage.

Si bien buena parte de la obra de Cage sigue siendo controvertida, su influencia se deja sentir en innumerables compositores, artistas y escritores. Tras la introducción del azar por Cage, Boulez, Stockhausen y Xenakis se mantuvieron críticos, si bien llegaron a adoptar los procesos azarosos en alguna de sus obras (aunque de manera mucho más restringida). Otros compositores que adoptaron algunos de los elementos de este enfoque incluyen a compositores como Witold Lutosławski o Mauricio Kagel.

Los experimentos de Cage con estructuras rítmicas y su interés en el sonido influyeron sobre un número aún mayor de compositores, comenzando por compañeros cercanos en Estados Unidos como Morton Feldman y Christian Wolff (y otros compositores estadounidenses como La Monte Young), y extendiéndose después a Europa. Prácticamente todos los compositores de la escuela experimental inglesa reconocen su influencia, estando entre ellos Michael ParsonsChristopher HobbsJohn White,Gavin Bryars, quien estudió bajo la tutela de Cage brevemente,4 e incluso Howard Skempton,5 un compositor aparentemente muy diferente de Cage. La influencia de Cage también es evidente en el Lejano Oriente. Uno de los compositores clásicos más prominentes del siglo XX, Tōru Takemitsu, estuvo influido por su música.

La influencia de Cage también ha sido reconocida por grupos de rock como Sonic Youth y Stereolab.6 7 Otros músicos bajo su influencia son el compositor de rock y guitarrista de jazz Frank Zappa,8 así como diferentes grupos y artistas de música noise. En realidad, se ha llegado a afirmar que el origen de este tipo de música está en la obra de Cage 4′33″.9 10 El desarrollo de la música electrónica también estuvo influenciado por Cage: hacia mediados de los años 1970 el sello Obscure Records de Brian Enopublicó diferentes obras de Cage.11 El piano preparado, que fue popularizado por Cage, es utilizado profusamente en el disco Drukqs publicado por Aphex Twin en 2001.12 El trabajo de Cage como musicólogo contribuyó a popularizar la música de Erik Satie,13 14 y su amistad con artistas expresionistas abstractos como Robert Rauschenbergcontribuyó a introducir sus ideas en el campo visual.

[editar]Obras seleccionadas

  • First Construction in Metal (1939)
  • Imaginary Landscape No. 1 (1939)
  • Living Room Music (1940)
  • Credo In Us (1942)
  • Four walls (1944)
  • Music for Marcel Duchamp (1947)
  • Sonatas e interludios (1948)
  • Music of Changes (1951)
  • 4′33″ (1952)
  • Radio Music (1956)
  • Fontana Mix (1958)
  • Cartridge Music (1960)
  • Variations II (1961)
  • 0’00 (4’33” No.2) (1962)
  • Cheap Imitation (1969)
  • HPSCHD (1969)
  • Branches (1976)
  • Litany for the Whale (1980)
  • Ryoanji (1983)
  • But What About the Noise of Crumpling Paper (1985)
  • Europeras 1 & 2 (1987)
  • Organ²/ASLSP (As Slow As Possible) (1987)
  • Four6 (1992)
  • Trio Seven Woodblocks
  • Solo n°43 (Songsbooks-1970)

[editar]Referencias

  1.  Leonard, George J. (1995). Into the Light of Things: The Art of the Commonplace from Wordsworth to John Cage. University of Chicago Press. p. 120. ISBN 9780226472539.
  2.  Greene, David Mason (2007). Greene’s Biographical Encyclopedia of Composers. Reproducing Piano Roll Fnd.. p. 1407). ISBN 9780385142786.
  3.  Pritchett 1993, 6.
  4.  «Gavin Bryars biography». Consultado el 15 de abril de 2011.
  5.  Potter, Keith. Skempton, HowardGrove Music Online, ed. L. Macy (consultado el 12 March de 2006), grovemusic.com (acceso con suscripcion).
  6.  Lopez, Antonio (Diciembre 1999 / Enero 2000). «Sonic Youth’s Thurston Moore: On punk music, staying fresh, amd the strange bridge between art and rock». Thirsty Ear Magazine. Consultado el 15 de abril de 2011.
  7.  Morris, Chris (17 de agosto de 1997). «Hold The Ketchup On That Stereolab editorial=Yahoo! Music». Consultado el 15 de abril de 2011.
  8.  Lowe, Kelly Fisher (2006). The Words and Music of Frank Zappa. Praeger Publishers. p. 57. ISBN 0-275-98779-5.
  9.  Paul Hegarty, Full With Noise: Theory and Japanese Noise Music, pp. 86-98 in Life in the Wires (2004) eds. Arthur Kroker & Marilouise Kroker, NWP Ctheory Books, Victoria, Canada
  10.  «John Cage – 4’33” (segunda parte)». Planeta Modular.
  11.  Jack, Adrian (1975). «“I Want to be a Magnet for Tapes” (entrevista con Brian Eno) editorial=Time Out». Consultado el 15 de abril de 2011.
  12.  Worby, Robert (23 de octubre de 2002). «Richard Aphex, John Cage and the Prepared Piano». Warp Records. Consultado el 15 de abril de 2011.
  13.  Orledge, Robert (1990). Satie the Composer. Cambridge University Press. p. 259. ISBN 9780521350372.
  14.  Shlomowitz, Matthew. 1999. Cage’s Place In the Reception of Satie. Part of the Ph.D. at the University of California at San Diego, USA. Available online.

[editar]Libros

  • J. Cage, Silencio, Madrid, Ardora, 2002, con bibliografía.
  • J. Cage, Escritos al oído, Murcia, Colegio de Aparejadores, 1999.
  • J. Cage, Pour les oiseaux, París, L’Herne, 2002, larga entrevista.

[editar]Enlaces externos

John Cage

Posted: April 20, 2012 in Azar, Ciber, Wikipedia

From Wikipedia, the free encyclopedia

John Cage

John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer, music theorist, writer, philosopher and artist.[1] A pioneer of indeterminacy in musicelectroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential American composers of the 20th century.[2][3][4][5] He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage’s romantic partner for most of their lives.[6][7]

Cage is perhaps best known for his 1952 composition 4′33″, which is performed in the absence of deliberate sound; musicians who present the work do nothing aside from their presence for the duration specified by the title. The content of the composition is not “four minutes and 33 seconds of silence,” as is sometimes assumed, but rather the sounds of the environment heard by the audience during performance.[8][9] The work’s challenge to assumed definitions about musicianship and musical experience made it a popular and controversial topic both in musicology and the broader aesthetics of art and performance. Cage was also a pioneer of the prepared piano (a piano with its sound altered by objects placed between or on its strings or hammers), for which he wrote numerous dance-related works and a few concert pieces. The best known of these is Sonatas and Interludes (1946–48).[10]

His teachers included Henry Cowell (1933) and Arnold Schoenberg (1933–35), both known for their radical innovations in music, but Cage’s major influences lay in various East and South Asian cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of aleatoric or chance-controlled music, which he started composing in 1951. The I Ching, an ancient Chinese classic text on changing events, became Cage’s standard composition tool for the rest of his life. In a 1957 lecture, Experimental Music, he described music as “a purposeless play” which 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”.[11]

Contents

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[edit]Life

[edit]1912–31: Early years

Cage was born in Los Angeles. His father John Milton Cage, Sr. (1886–1964) was an inventor, and his mother Lucretia (“Crete”) Harvey (1885–1969) worked intermittently as a journalist for the Los Angeles Times.[12] The family’s roots were deeply American: in a 1976 interview, Cage mentioned “a John Cage who helped [George] Washington in the surveying of Virginia”.[13] Cage described his mother as a woman with “a sense of society” who was “never happy”,[14] while his father is perhaps best characterized by his inventions: sometimes idealistic, such as a diesel-fueled submarine that gave off exhaust bubbles, the senior Cage being uninterested in an undetectable submarine,[12] others revolutionary and against the scientific norms, such as the “electrostatic field theory” of the universe.[n 1] John Milton Sr. taught his son that “if someone says ‘can’t’ that shows you what to do.” In 1944–45 Cage wrote two small character pieces dedicated to his parents: Crete and Dad. The latter is a short lively piece that ends abruptly, while “Crete” is a slightly longer, mostly melodic contrapuntal work.[15]

Cage’s first experiences with music were from private piano teachers in the Greater Los Angeles area and several relatives, particularly his aunt Phoebe Harvey who introduced him to the piano music of the 19th century. He received first piano lessons when he was in the fourth grade at school, but although he liked music, he expressed more interest in sight reading than in developing virtuoso piano technique, and apparently was not thinking of composition.[16] By 1928 Cage was convinced that he wanted to be a writer. That year he graduated from Los Angeles High School as a valedictorian[17] and enrolled at Pomona CollegeClaremont. However, in 1930 he dropped out, having come to believe that “college was of no use to a writer”[18] after an incident described in the 1991 autobiographical statement:

I was shocked at college to see one hundred of my classmates in the library all reading copies of the same book. Instead of doing as they did, I went into the stacks and read the first book written by an author whose name began with Z. I received the highest grade in the class. That convinced me that the institution was not being run correctly. I left.[14]

Cage persuaded his parents that a trip to Europe would be more beneficial to a future writer than college studies.[19] He subsequently hitchhiked to Galveston and sailed to Le Havre, where he took a train to Paris.[20] Cage stayed in Europe for some 18 months, trying his hand at various forms of art. First he studied Gothic and Greek architecture, but decided he was not interested enough in architecture to dedicate his life to it.[18] He then took up painting, poetry and music. It was in Europe that he first heard the music of contemporary composers (such as Igor Stravinsky and Paul Hindemith) and finally got to know the music of Johann Sebastian Bach, which he had not experienced before.

After several months in Paris, Cage’s enthusiasm for America was revived after he read Walt Whitman‘s Leaves of Grass – he wanted to return immediately, but his parents, with whom he regularly exchanged letters during the entire trip, persuaded him to stay in Europe for a little longer and explore the continent.[21] Cage started travelling, visited various places in France, Germany and Spain, as well as Capri and, most importantly, Majorca, where he started composing.[22] His first compositions were created using dense mathematical formulae, but Cage was displeased with the results and left the finished pieces behind when he left.[23] Cage’s association with theatre also started in Europe: during a walk in Seville he witnessed, in his own words, “the multiplicity of simultaneous visual and audible events all going together in one’s experience and producing enjoyment.”[24]

[edit]1931–36: Apprenticeship

Cage returned to the United States in 1931.[23] He went to Santa Monica, California, where he made a living partly by giving small, private lectures on contemporary art. He got to know various important figures of the Southern California art world, such as pianist Richard Buhlig (who became his first teacher[25]) and arts patron Galka Scheyer.[18] By 1933 Cage decided to concentrate on music rather than painting. “The people who heard my music had better things to say about it than the people who looked at my paintings had to say about my paintings”, Cage later explained.[18] In 1933 he sent some of his compositions to Henry Cowell; the reply was a “rather vague letter”,[26] in which Cowell suggested that Cage study with Arnold Schoenberg—Cage’s musical ideas at the time included composition based on a 25-tone row, somewhat similar to Schoenberg’s twelve-tone technique.[27] Cowell mentioned, however, that before approaching Schoenberg, Cage should take some preliminary lessons, and recommended Adolph Weiss, a former Schoenberg pupil.[28]

Following Cowell’s advice, Cage travelled to New York City in 1933 and started studying with Weiss as well as taking lessons from Cowell himself at The New School.[25] He supported himself financially by taking up a job washing walls at a Brooklyn YWCA.[29] Cage’s routine during that period was apparently very tiring, with just four hours of sleep on most nights, and four hours of composition every day starting at 4 am.[29][30] Several months later, still in 1933, Cage became sufficiently good at composition to approach Schoenberg.[n 2] He could not afford Schoenberg’s price, however, and when he mentioned it, the older composer asked whether Cage would devote his life to music. After Cage replied that he would, Schoenberg offered to tutor him free of charge.[31]

Cage studied with Schoenberg in California: first at USC and then at UCLA, as well as privately.[25] The older composer became one of the biggest influences on Cage, who “literally worshipped him”,[32] particularly as an example of how to live one’s life being a composer.[30] The vow Cage gave, to dedicate his life to music, was apparently still important some 40 years later, when Cage “had no need for it [i.e. writing music]”, he continued composing partly because of the promise he gave.[33] Schoenberg’s methods and their influence on Cage are well documented by Cage himself in various lectures and writings. Particularly well-known is the conversation mentioned in the 1958 lectureIndeterminacy:

After I had been studying with him for two years, Schoenberg said, “In order to write music, you must have a feeling for harmony.” I explained to him that I had no feeling for harmony. He then said that I would always encounter an obstacle, that it would be as though I came to a wall through which I could not pass. I said, “In that case I will devote my life to beating my head against that wall.”[34]

Cage studied with Schoenberg for two years, but although he admired his teacher, he decided to leave after Schoenberg told the assembled students that he was trying to make it impossible for them to write music. Much later, Cage recounted the incident: “[…] When he said that, I revolted, not against him, but against what he had said. I determined then and there, more than ever before, to write music.”[32] Although Schoenberg never complimented Cage on his compositions during these two years, in a later interview he said that none of his American pupils were interesting, except Cage: “Of course he’s not a composer, but he’s an inventor—of genius.”[32]

At some point in 1934–35, during his studies with Schoenberg, Cage was working at his mother’s arts and crafts shop, where he met artist Xenia Andreyevna Kashevaroff. She was an Alaskan-born daughter of a Russian priest; her work encompassed fine bookbinding, sculpture and collage. Although Cage was involved in a relationship with Don Sample when he met Xenia, he fell in love immediately. Cage and Kashevaroff were married in the desert at Yuma, Arizona, on June 7, 1935.[35]

[edit]1937–49: Modern dance and Eastern influences

The newly married couple first lived with Cage’s parents in Pacific Palisades, then moved to Hollywood.[36] During 1936–38 Cage changed numerous jobs, including one that started his lifelong association with modern dance: dance accompanist at UCLA. He produced music for choreographies and at one point taught a course on “Musical Accompaniments for Rhythmic Expression” at UCLA, with his aunt Phoebe.[37] It was during that time that Cage first started experimenting with unorthodox instruments, such as household items, metal sheets, and so on. This was inspired by Oskar Fischinger, who told Cage that “everything in the world has a spirit that can be released through its sound.” Although Cage did not share the idea of spirits, these words inspired him to begin exploring the sounds produced by hitting various non-musical objects.[37][38]

In 1938, with help from a fellow Cowell student Lou Harrison, Cage became a faculty member at Mills College, teaching the same program as at UCLA, and collaborating with choreographer Marian van Tuyl. Several famous dance groups were present, and Cage’s interest in modern dance grew further.[37] After several months he left and moved toSeattle, Washington, where he found work as composer and accompanist for choreographer Bonnie Bird at the Cornish College of the Arts. The Cornish School years proved to be a particularly important period in Cage’s life. Aside from teaching and working as accompanist, Cage organized a percussion ensemble that toured the West Coast and brought the composer his first fame. His reputation was enhanced further with the invention of the prepared piano—a piano which has had its sound altered by objects placed on, beneath or between the strings—in 1940. This concept was originally intended for a performance staged in a room too small to include a full percussion ensemble. It was also at the Cornish School that Cage met a number of people who became lifelong friends, such as painter Mark Tobey and dancer Merce Cunningham. The latter was to become Cage’s lifelong partner and collaborator.

Cage left Seattle in the summer of 1941 after the painter László Moholy-Nagy invited him to teach at the Chicago School of Design. The composer accepted partly because he hoped to find opportunities in Chicago, that were not available in Seattle, to organize a center for experimental music. These opportunities, however, did not materialize. Cage taught at the Chicago School of Design and worked as accompanist and composer at the University of Chicago. At one point, his reputation as percussion composer landed him a commission from the Columbia Broadcasting System to compose a soundtrack for a radio play by Kenneth Patchen. The result, The City Wears a Slouch Hat, was received well, and Cage deduced that more important commissions would follow. Hoping to find these, he left Chicago for New York City in the spring of 1942.

Play sound
Performed in 1958 by Arline Carmen (voice) and John Cage (closed piano). This is one of the rare recordings of Cage performing his own instrumental music.

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In New York, the Cages first stayed with painter Max Ernst and Peggy Guggenheim. Through them, Cage met numerous important artists such as Piet MondrianAndré BretonJackson PollockMarcel Duchamp, and many others. Guggenheim was very supportive: the Cages could stay with her and Ernst for any length of time, and she offered to organize a concert of Cage’s music at the opening of her gallery, which included paying for transportation of Cage’s percussion instruments from Chicago. However, after she learned that Cage secured another concert, at the Museum of Modern Art, Guggenheim withdrew all support, and, even after the ultimately successful MoMA concert, Cage was left homeless, unemployed and penniless. The commissions he hoped for did not happen. He and Xenia spent the summer of 1942 with dancer Jean Erdman and her husband. Without the percussion instruments, Cage again turned to prepared piano, producing a substantial body of works for performances by various choreographers, including Merce Cunningham, who moved to New York City several years earlier. Cage and Cunningham eventually became romantically involved, and Cage’s marriage, already breaking up during the early 1940s, ended in divorce in 1945. Cunningham remained Cage’s partner for the rest of his life. Cage also countered the lack of percussion instruments by writing, on one occasion, for voice and closed piano: the resulting piece, The Wonderful Widow of Eighteen Springs (1942), quickly became popular and was performed by the celebrated duo of Cathy Berberian and Luciano Berio.[39]

Like his personal life, Cage’s artistic life went through a crisis in mid-1940s. The composer was experiencing a growing disillusionment with the idea of music as means of communication: the public rarely accepted his work, and Cage himself, too, had trouble understanding the music of his colleagues. In early 1946 Cage agreed to tutor Gita Sarabhai, an Indian musician who came to the US to study Western music. In return, he asked her to teach him about Indian music and philosophy.[40] Cage also attended, in late 1940s and early 1950s, D. T. Suzuki‘s lectures on Zen Buddhism,[41] and read the works of Ananda K. Coomaraswamy.[25] The first fruits of these studies were works inspired by Indian concepts: Sonatas and Interludes for prepared piano, String Quartet in Four Parts, and others. Cage accepted the goal of music as explained to him by Sarabhai: “to sober and quiet the mind, thus rendering it susceptible to divine influences”.[42]

Early in 1946, his former teacher Richard Buhlig arranged for Cage to meet Berlin-born pianist Grete Sultan, who had escaped from Nazi persecution to New York in 1941.[43]They became close, lifelong friends, and Cage later dedicated part of his Music for Piano (Cage) and his monumental piano cycle Etudes Australes to her.

[edit]1950s: Discovering chance

Sonatas and Interludes were received well by the public. After a 1949 performance at Carnegie Hall, New York, Cage received a grant from the Guggenheim Foundation, which enabled him to make a trip to Europe, where he met composers such as Olivier Messiaen and Pierre Boulez. More important, however, was Cage’s chance encounter withMorton Feldman in New York City in early 1950. Both composers attended a New York Philharmonic Orchestra concert, where the orchestra performed Anton Webern‘sSymphony, op. 21, followed by a piece by Sergei Rachmaninoff. Cage felt so overwhelmed by Webern’s piece that he left before the Rachmaninoff; and in the lobby, he met Feldman, who was leaving for the same reason.[44] The two composers quickly became friends; some time later Cage, Feldman, Earle Brown, David Tudor and Cage’s pupilChristian Wolff came to be referred to as “the New York school.”[45][46]

In early 1951, Wolff presented Cage with a copy of the I Ching[47]—a Chinese classic text which describes a symbol system used to identify order in chance events. This version of the I Ching was the first complete English translation and had been published by Wolff’s father, Kurt Wolff of Pantheon Books in 1950. The I Ching is commonly used for divination, but for Cage it became a tool to compose using chance. To compose a piece of music, Cage would come up with questions to ask the I Ching; the book would then be used in much the same way as it is used for divination. For Cage, this meant “imitating nature in its manner of operation”:[48][49] his lifelong interest in sound itself culminated in an approach that yielded works in which sounds were free from the composer’s will:

When I hear what we call music, it seems to me that someone is talking. And talking about his feelings, or about his ideas of relationships. But when I hear traffic, the sound of traffic—here on Sixth Avenue, for instance—I don’t have the feeling that anyone is talking. I have the feeling that sound is acting. And I love the activity of sound […] I don’t need sound to talk to me.[50]

Although Cage had used chance on a few earlier occasions, most notably in the third movement of Concerto for Prepared Piano and Chamber Orchestra (1950–51),[51] the I Ching opened new possibilities in this field for him. The first results of the new approach were Imaginary Landscape No. 4 for 12 radio receivers, and Music of Changes for piano. The latter work was written for David Tudor,[52] whom Cage met through Feldman—another friendship that lasted until Cage’s death.[n 3] Tudor premiered most of Cage’s works until the early 1960s, when he stopped performing on the piano and concentrated on electronic music. The I Ching became Cage’s standard tool for composition: he used it in practically every work composed after 1951.

Despite the fame Sonatas and Interludes earned him, and the connections he cultivated with American and European composers and musicians, Cage was quite poor. Although he still had an apartment, at 326 Monroe Street (which he occupied since around 1946) his financial situation in 1951 worsened so much that, while working on Music of Changes, he prepared a set of instructions for Tudor as to how to complete the piece in the event of his death.[53] Nevertheless, Cage managed to survive and maintained an active artistic life, giving lectures, performances, etc. In 1952–53 he completed another mammoth project—the Williams Mix, a piece of tape music, which Earle Brownhelped to put together.[54] Also in 1952, Cage wrote down the piece that became his most well-known and most controversial creation: 4′33″. The score instructs the performer not to play the instrument during the entire duration of the piece—four minutes, thirty-three seconds—and is meant to be perceived as consisting of the sounds of the environment that the listeners hear while it is performed. Cage conceived “a silent piece” years earlier, but was reluctant to write it down; and indeed, the premiere (given by Tudor on August 29, 1952 at Woodstock, New York) caused an uproar in the audience.[55] The reaction to 4′33″ was just a part of the larger picture, however: on the whole, it was the adoption of chance procedures that had disastrous consequences for Cage’s reputation. The press, which used to react favorably to earlier percussion and prepared piano music, ignored his new works, and many valuable friendships and connections were lost. Pierre Boulez, who used to promote Cage’s work in Europe, was opposed to Cage’s use of chance, and so were other composers who came to prominence during the 1950s, i.e. Karlheinz Stockhausen and Iannis Xenakis.[56]

From 1953 onwards, Cage was busy composing music for modern dance, particularly Cunningham’s dances (Cage’s partner adopted chance too, out of fascination for the movement of the human body), as well as developing new methods of using chance, in a series of works he referred to as The Ten Thousand Things. In Summer 1954 he moved out from New York and settled in a cooperative community in Stony Point, New York. The composer’s financial situation gradually improved: in late 1954 he and Tudor were able to embark on a European tour. From 1956 to 1961 Cage taught classes in experimental composition at The New School, and during 1956–58 he also worked as an art director of a typography.[57] Among the works completed during the last years of the decade were Concert for Piano and Orchestra (1957–58), a seminal work in the history of graphic notation, and Variations I (1958).

[edit]1960s: Fame

Cage was affiliated with Wesleyan University and collaborated with members of its Music Department from the 1950s until his death in 1992. At the University, the philosopher, poet, and professor of classics Norman O. Brown befriended Cage, an association that proved fruitful to both.[citation needed] In 1960 the composer was appointed a Fellow on the faculty of the Center for Advanced Studies (now the Center for Humanities) in the Liberal Arts and Sciences at Wesleyan,[58] where he started teaching classes in experimental music. In October 1961, Wesleyan University Press published Silence, a collection of Cage’s lectures and writings on a wide variety of subjects, including the famous Lecture on Nothing that was composed using a complex time length scheme, much like some of Cage’s music. Silence was Cage’s first book.[n 4] He went on to publish five more. Silence, however, remained his most widely read and influential book.[25] In the early 1960s Cage began his lifelong association with C.F. Peters Corporation. Walter Hinrichsen, the president of the corporation, offered Cage an exclusive contract and instigated the publication of a catalogue of Cage’s works, which appeared in 1962.[57]

Edition Peters soon published a large number of scores by Cage, and this, together with the publication of Silence, led to much higher prominence for the composer than ever before—one of the positive consequences of this was that in 1965 Betty Freeman set up an annual grant for living expenses for Cage, to be issued from 1965 to his death.[59]But by mid-1960s Cage was receiving so many commissions and requests for appearances, that he was not able to fulfill them. This was accompanied by a busy touring schedule; Subsequently Cage’s compositional output from that decade was scant.[25] After the orchestral Atlas Eclipticalis (1961–62), a work based on star charts, which was fully notated, Cage gradually shifted to, in his own words, “music (not composition).” The score of 0′00″, completed in 1962, originally comprised a single sentence: “In a situation provided with maximum amplification, perform a disciplined action”, and in the first performance the disciplined action was Cage writing that sentence. The score ofVariations III (1962) abounds in instructions to the performers, but makes no references to music, musical instruments or sounds.

Many of the Variations and other 1960s pieces were in fact “happenings“, an art form established by Cage and his students in late 1950s. Cage’s “Experimental Composition” classes at The New School have become legendary as an American source of Fluxus, an international network of artists, composers, and designers. The majority of his students had little or no background in music. Most were artists. They included Jackson Mac LowAllan KaprowAl HansenGeorge Brecht, and Dick Higgins, as well as many others Cage invited unofficially. Famous pieces that resulted from the classes include George Brecht’s Time Table Music and Al Hansen’s Alice Denham in 48 Seconds.[60] As set forth by Cage, happenings were theatrical events that abandon the traditional concept of stage-audience and occur without a sense of definite duration. Instead, they are left to chance. They have a minimal script, with no plot. In fact, a “happening” is so-named because it occurs in the present, attempting to arrest the concept of passing time. Cage believed that theater was the closest route to integrating art and real life. The term “happenings” was coined by Allan Kaprow, one of his students, who defined it as a genre in the late fifties. Cage met Kaprow while on a mushroom hunt with George Segal and invited him to join his class. In following these developments Cage was strongly influenced by Antonin Artaud‘s seminal treatise The Theatre and Its Double, and the happenings of this period can be viewed as a forerunner to the ensuingFluxus movement. In October 1960, Mary Bauermeister‘s Cologne studio hosted a joint concert by Cage and the video artist Nam June Paik, who in the course of his Etude for Piano cut off Cage’s tie and then washed his co-performer’s hair with shampoo.[citation needed]

In 1967, Cage’s A Year from Monday was first published by Wesleyan University Press. Cage’s parents died during the decade: his father in 1964,[61] and his mother in 1969. Cage had their ashes scattered in Ramapo Mountains, near Stony Point, and asked for the same to be done to him after his death.[62]

[edit]1969–87: New departures

John Cage (right) with David Tudorat Shiraz Arts Festival 1971

Cage’s work from the sixties features some of his largest and most ambitious, not to mention socially utopian pieces, reflecting the mood of the era yet also his absorption of the writings of both Marshall McLuhan, on the effects of new media, and R. Buckminster Fuller, on the power of technology to promote social change. HPSCHD (1969), a gargantuan and long-running multimedia work made in collaboration with Lejaren Hiller, incorporated the mass superimposition of seven harpsichords playing chance-determined excerpts from the works of Cage, Hiller, and a potted history of canonical classics, with fifty-two tapes of computer-generated sounds, 6,400 slides of designs many supplied by NASA, and shown from sixty-four slide projectors, with forty motion-picture films. The piece was initially rendered in a five-hour performance at the University of Illinois in 1969, in which the audience arrived after the piece had begun and left before it ended, wandering freely around the auditorium in the time for which they were there.[citation needed]

However, also in 1969, Cage produced the first fully notated work in years: Cheap Imitation for piano. The piece is a chance-controlled reworking of Erik Satie’s Socrate, and, as both listeners and Cage himself noted, openly sympathetic to its source. Although Cage’s affection for Satie’s music was well-known, it was highly unusual for him to compose a personal work, one in which the composer ispresent. When asked about this apparent contradiction, Cage replied: “Obviously, Cheap Imitation lies outside of what may seem necessary in my work in general, and that’s disturbing. I’m the first to be disturbed by it.”[63] Cage’s fondness for the piece resulted in a recording—a rare occurrence, since Cage disliked making recordings of his music—made in 1976. Overall, Cheap Imitation marked a major change in Cage’s music: he turned again to writing fully notated works for traditional instruments, and tried out several new approaches, such as improvisation, which he previously discouraged, but was able to use in works from the 1970s, such as Child of Tree (1975).

Play sound
Performed by the composer in 1976, shortly before he had to retire from performing.

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Cheap Imitation became the last work Cage performed in public himself. Arthritis had troubled Cage since 1960, and by early 1970s his hands were painfully swollen and rendered him unable to perform.[64] Nevertheless, he still played Cheap Imitation during the 1970s,[65] before finally having to give up performing. Preparing manuscripts also became difficult: before, published versions of pieces were done in Cage’s calligraphic script; now, manuscripts for publication had to be completed by assistants. Matters were complicated further by David Tudor’s departure from performing, which happened in early 1970s. Tudor decided to concentrate on composition instead, and so Cage, for the first time in two decades, had to start relying on commissions from other performers, and their respective abilities. Such performers included Grete SultanPaul ZukofskyMargaret Leng Tan, and many others. Aside from music, Cage continued writing books of prose and poetry (mesostics). M was first published by Wesleyan University Press in 1973. In January 1978 Cage was invited by Kathan Brown of Crown Point Press to engage in printmaking, and Cage would go on to produce series of prints every year until his death; these, together with some late watercolors, constitute the largest portion of his extant visual art. In 1979 Cage’s Empty Words was first published by Wesleyan University Press.

[edit]1987–92: Final years and death

See also: Number Pieces

In 1987, Cage completed a piece called Two, for flute and piano, dedicated to performers Roberto Fabbriciani and Carlo Neri. The title referred to the number of performers needed; the music consisted of short notated fragments to be played at any tempo within the indicated time constraints. Cage went on to write some forty such pieces, one of the last being Eighty (1992, premiered in Munich on 28 October 2011), usually employing a variant of the same technique; together, these works are known as Number Pieces. The process of composition, in many of the later Number Pieces, was simple selection of pitch range and pitches from that range, using chance procedures;[25] the music has been linked to Cage’s anarchic leanings.[66] One11 (i.e. the eleventh piece for a single performer), completed in early 1992, was Cage’s first and only foray into film.

Another new direction, also taken in 1987, was opera: Cage produced five operas, all sharing the same title Europera, in 1987–91. Europeras I and II require greater forces than III, IV and V, which are on a chamber scale.

Already in the course of the eighties, Cage’s health worsened progressively: he suffered not only from arthritis, but also from sciatica and arteriosclerosis. He suffered a stroke that left the movement of his left leg restricted, and, in 1985, broke an arm. During this time, Cage pursued a macrobiotic diet.[67] Nevertheless, ever since arthritis started plaguing him, the composer was aware of his age, and, as biographer David Revill observed, “the fire which he began to incorporate in his visual work in 1985 is not only the fire he has set aside for so long—the fire of passion—but also fire as transitoriness and fragility.” On August 11, 1992, while preparing evening tea for himself and Cunningham, Cage suffered another stroke. He was taken to the nearest hospital, where he died on the morning of August 12.[68]

According to his wishes, Cage’s body was cremated, and the ashes scattered in the Ramapo Mountains, near Stony Point, New York,[69] the same place where Cage scattered the ashes of his parents, years before.[62] The composer’s death occurred only weeks before a celebration of his 80th birthday organized in Frankfurt by the composer Walter Zimmermann and the musicologist Stefan Schaedler was due to take place. However, the event went ahead as planned, including a performance of the Concert for Piano and Orchestra by David Tudor and Ensemble Modern.[3] Merce Cunningham lived another 17 years, dying of natural causes in July 2009.[70]

[edit]Music

[edit]Early works, rhythmic structure, and new approaches to harmony

Cage’s first completed pieces are currently lost. According to the composer, the earliest works were very short pieces for piano, composed using complex mathematical procedures and lacking in “sensual appeal and expressive power.”[71] Cage then started producing pieces by improvising and writing down the results, until Richard Buhligstressed to him the importance of structure. Most works from the early 1930s, such as Sonata for Clarinet (1933) and Composition for 3 Voices (1934), are highly chromaticand betray Cage’s interest in counterpoint. Around the same time, the composer also developed a type of a tone row technique with 25-note rows.[72] After studies with Schoenberg, who never taught dodecaphony to his students, Cage developed another tone row technique, in which the row was split into short motives, which would then be repeated and transposed according to a set of rules. This approach was first used in Two Pieces for Piano (c. 1935), and then, with modifications, in larger works such asMetamorphosis and Five Songs (both 1938).

Rhythmic proportions in Sonata III of Sonatas and Interludes for prepared piano

Soon after Cage started writing percussion music and music for modern dance, he started using a technique that placed the rhythmic structure of the piece into the foreground. In Imaginary Landscape No. 1 (1939) there are four large sections of 16, 17, 18, and 19 bars, and each section is divided into four subsections, the first three of which were all 5 bars long. First Construction (in Metal) (1939) expands on the concept: there are five sections of 4, 3, 2, 3, and 4 units respectively. Each unit contains 16 bars, and is divided the same way: 4 bars, 3 bars, 2 bars, etc. Finally, the musical content of the piece is based on sixteen motives.[73] Such “nested proportions”, as Cage called them, became a regular feature of his music throughout the 1940s. The technique was elevated to great complexity in later pieces such as Sonatas and Interludes for prepared piano (1946–48), in which many proportions used non-integer numbers (1¼, ¾, 1¼, ¾, 1½, and 1½ for Sonata I, for example),[74] or A Flower, a song for voice and closed piano, in which two sets of proportions are used simultaneously.[75]

In late 1940s, Cage started developing further methods of breaking away with traditional harmony. For instance, inString Quartet in Four Parts (1950) Cage first composed a number of gamuts: chords with fixed instrumentation. The piece progresses from one gamut to another. In each instance the gamut was selected only based on whether it contains the note necessary for the melody, and so the rest of the notes do not form any directional harmony.[25]Concerto for prepared piano (1950–51) used a system of charts of durations, dynamics, melodies, etc., from which Cage would choose using simple geometric patterns.[25] The last movement of the concerto, however, was a step towards using chance procedures, which Cage adopted soon afterwards.[76]

[edit]Chance

I Ching divination involves obtaining a hexagram by random generation (such as tossing coins), then reading the chapter associated with that hexagram.

Chart system was also used (along with nested proportions) for the large piano work Music of Changes (1951), only here material would be selected from the charts by using the I Ching. All of Cage’s music since 1951 was composed using chance procedures, most commonly using the I Ching. For example, works from Music for Piano were based on paper imperfections: the imperfections themselves provided pitches, and the I Ching was used to determine the methods of sound production, or the rhythms, etc.[77] A whole series of works was created by applying chance operations, i.e. the I Ching, to star chartsAtlas Eclipticalis (1961–62), and a series of etudes: Etudes Australes (1974–75), Freeman Etudes (1977–90), and Etudes Boreales(1978).[78] Cage’s etudes are all extremely difficult to perform, a characteristic dictated by Cage’s social and political views: the difficulty would ensure that “a performance would show that the impossible is not impossible”[79]—this being Cage’s answer to the notion that solving the world’s political and social problems is impossible.[80] Cage described himself as an anarchist, and was influenced by Henry David Thoreau.[n 5]

Another series of works applied chance procedures to pre-existing music by other composers: Cheap Imitation (1969; based onErik Satie), Some of “The Harmony of Maine” (1978; based on Belcher), and Hymns and Variations (1979). In these works, Cage would borrow the rhythmic structure of the originals and fill it with pitches determined through chance procedures, or just replace some of the originals’ pitches.[81] Yet another series of works, the so-called Number Pieces, all completed during the last five years of the composer’s life, make use of time brackets: the score consists of short fragments with indications of when to start and to end them (e.g. from anywhere between 1′15″ and 1′45″, and to anywhere from 2′00″ to 2′30″).[82]

Cage’s method of using the I Ching was far from simple randomization, however. The procedures varied from composition to composition, and were usually complex. For example, in the case of Cheap Imitation, the exact questions asked to the I Chingwere these:

  1. Which of the seven modes, if we take as modes the seven scales beginning on white notes and remaining on white notes, which of those am I using?
  2. Which of the twelve possible chromatic transpositions am I using?
  3. For this phrase for which this transposition of this mode will apply, which note am I using of the seven to imitate the note that Satie wrote?[83]

In another example of late music by Cage, Etudes Australes, the compositional procedure involved placing a transparent strip on the star chart, identifying the pitches from the chart, transferring them to paper, then asking the I Ching which of these pitches were to remain single, and which should become parts of aggregates (chords), and the aggregates were selected from a table of some 550 possible aggregates, compiled beforehand.[78][84]

Finally, some of Cage’s works, particularly those completed during the 1960s, feature instructions to the performer, rather than fully notated music. The score of Variations I(1958) presents the performer with six transparent squares, one with points of various sizes, five with five intersecting lines. The performer combines the squares and uses lines and points as a coordinate system, in which the lines are axes of various characteristics of the sounds, such as lowest frequency, simplest overtone structure, etc.[85]Some of Cage’s graphic scores (e.g. Concert for Piano and OrchestraFontana Mix (both 1958)) present the performer with similar difficulties. Still other works from the same period consist just of text instructions. The score of 0’00” (1962; also known as 4’33” No. 2) consists of a single sentence: “In a situation provided with maximum amplification, perform a disciplined action.” The first performance had Cage write that sentence.[86]

Musicircus (1967) simply invites the performers to assemble and play together. The first Musicircus featured multiple performers and groups in a large space who were all to commence and stop playing at two particular time periods, with instructions on when to play individually or in groups within these two periods. The result was a mass superimposition of many different musics on top of one another as determined by chance distribution, producing an event with a specifically theatric feel. Many Musicircuses have subsequently been held, and continue to occur even after Cage’s death. The English National Opera became the first opera company to hold a Cage Musicircus on 3 March 2012 at the London Colliseum.[87]. The ENO’s Musicircus featured artists including Led Zeppelin bassist John Paul Jones and composer Michael Finnissy alongside ENO Music Director Edward Gardner, the ENO Community Choir, ENO Opera Works singers, and a collective of professional and amateur talents performing in the bars and front of house at London’s Coliseum Opera House.[88]

This concept of circus was to remain important to Cage throughout his life and featured strongly in such pieces as Roaratorio, an Irish circus on Finnegans Wake (1979), a many-tiered rendering in sound of both his text Writing for the Second Time Through Finnegans Wake, and traditional musical and field recordings made around Ireland. The piece was based on James Joyce‘s famous novel, Finnegans Wake, which was one of Cage’s favorite books, and one from which he derived texts for several more of his works.

[edit]Improvisation

Since chance procedures were used by Cage to eliminate the composer’s and the performer’s likes and dislikes from music, Cage disliked the concept of improvisation, which is inevitably linked to the performer’s preferences. However, in a number of works beginning in the 1970s, he found ways to incorporate improvisation. In Child of Tree (1975) and Branches (1976) the performers are asked to use certain species of plants as instruments, for example the cactus. The structure of the pieces is determined through the chance of their choices, as is the musical output; the performers had no knowledge of the instruments. In Inlets (1977) the performers play large water-filled conch shells – by carefully tipping the shell several times, it is possible to achieve a bubble forming inside, which produced sound. Yet, as it is impossible to predict when this would happen, the performers had to continue tipping the shells – as a result the performance was dictated by pure chance.[89]

[edit]Visual art, writings, and other activities

Variations III, No. 14, a 1992 print by Cage from a series of 57.

Although Cage started painting in his youth, he gave it up in order to concentrate on music instead. His first mature visual project, Not Wanting to Say Anything About Marcel, dates from 1969. The work comprises two lithographs and a group of what Cage called plexigrams: silk screen printing on plexiglas panels. The panels and the lithographs all consist of bits and pieces of words in different typefaces, all governed by chance operations.[90]

From 1978 to his death Cage worked at Crown Point Press, producing series of prints every year. The earliest project completed there was the etching Score Without Parts (1978), created from fully notated instructions, and based on various combinations of drawings by Henry David Thoreau. This was followed, the same year, by Seven Day Diary, which Cage drew with his eyes closed, but which conformed to a strict structure developed using chance operations. Finally, Thoreau’s drawings informed the last works produced in 1978, Signals.[91]

Between 1979 and 1982 Cage produced a number of large series of prints: Changes and Disappearances (1979–80), On the Surface (1980–82), and Déreau (1982). These were the last works in which he used engraving.[92] In 1983 he started using various unconventional materials such as cotton batting, foam, etc., and then used stones and fire (EninkaVariations,Ryoanji, etc.) to create his visual works.[93] In 1988–1990 he produced watercolors at the Mountain Lake Workshop. The only film Cage produced was one of the Number PiecesOne11, commissioned by composer and film director Henning Lohner who worked with Cage to produce and direct the 90-minute monochrome film. It was completed only weeks before his death in 1992. One11 consists entirely of images of chance-determined play of electric light. It premiered in Cologne, Germany, on September 19, 1992, accompanied by the live performance of the orchestra piece 103.

Throughout his adult life, Cage was also active as lecturer and writer. Some of his lectures were included in several books he published, the first of which was Silence: Lectures and Writings (1961). Silence included not only simple lectures, but also texts executed in experimental layouts, and works such as Lecture on Nothing (1959), which were composed in rhythmic structures. Subsequent books also featured different types of content, from lectures on music to poetry—Cage’s mesostics.

Cage was also an avid amateur mycologist: he co-founded the New York Mycological Society with four friends,[57] and his mycology collection is presently housed by the Special Collections department of the McHenry Library at the University of California, Santa Cruz.

[edit]Reception and influence

Cage’s pre-chance works, particularly pieces from the late 1940s such as Sonatas and Interludes, earned him a considerable measure of critical acclaim: the Sonatas were performed at Carnegie Hall in 1949. However, Cage’s adoption of chance operations in 1951 cost him a number of friendships and led to numerous criticisms from fellow composers. Adherents of serialism such as Pierre Boulez and Karlheinz Stockhausen dismissed indeterminate music; Boulez, who was once on friendly terms with Cage, criticized him for “adoption of a philosophy tinged with Orientalism that masks a basic weakness in compositional technique.”[94] Prominent critics of serialism, such as the Greek composer Iannis Xenakis, were similarly hostile towards Cage: for Xenakis, the adoption of chance in music was “an abuse of language and […] an abrogation of a composer’s function.”[95]

An article by teacher and critic Michael SteinbergTradition and Responsibility, criticized avant-garde music in general:

The rise of music that is totally without social commitment also increases the separation between composer and public, and represents still another form of departure from tradition. The cynicism with which this particular departure seems to have been made is perfectly symbolized in John Cage’s account of a public lecture he had given: “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.” While Mr. Cage’s famous silent piece [i.e. 4′33″], or his Landscapes for a dozen radio receivers may be of little interest as music, they are of enormous importance historically as representing the complete abdication of the artist’s power.[96]

Cage’s aesthetic position was criticized by, among others, prominent writer and critic Douglas Kahn. In his 1999 book Noise, Water, Meat: A History of Sound in the Arts, Kahn acknowledged the influence Cage had on culture, but noted that “one of the central effects of Cage’s battery of silencing techniques was a silencing of the social.”[97]

While much of Cage’s work remains controversial, his influence on countless composers, artists, and writers is undeniable. After Cage introduced chance, Boulez, Stockhausen, and Xenakis remained critical, yet all adopted chance procedures in some of their works (although in a much more restricted manner); and Stockhausen’s piano writing in his later Klavierstücke was influenced by Cage’s Music of Changes and David Tudor.[98] Other composers who adopted chance procedures in their works includedWitold LutosławskiMauricio Kagel, and many others. Music in which some of the composition and/or performance is left to chance was labelled aleatoric music—a term popularized by Pierre BoulezHelmut Lachenmann‘s work was influenced by Cage’s work with extended techniques.[99]

Cage’s rhythmic structure experiments and his interest in sound influenced an even greater number of composers, starting at first with his close American associates Morton Feldman and Christian Wolff (and other American composers, such as La Monte Young), and then spreading to Europe. For example, almost all composers of the English experimental school acknowledge his influence: Michael ParsonsChristopher HobbsJohn White,[100] Gavin Bryars, who studied under Cage briefly,[101] and even Howard Skempton,[102] a composer seemingly very different from Cage, and one whose work has been described as “the emancipation of consonance.” Cage’s influence is also evident in the Far East: one of Japan’s most prominent classical composers of the 20th century, Tōru Takemitsu, was influenced by his music.[103]

Cage’s influence was also acknowledged by rock bands, such as Sonic Youth (who performed some of the Number Pieces[104]) and Stereolab (who named a song after Cage[105]), composer and rock and jazz guitarist Frank Zappa,[106] and various noise music artists and bands: indeed, one writer traced the origin of noise music to 4′33″.[107]The development of electronic music was also influenced by Cage: in the mid-1970s Brian Eno‘s label Obscure Records released works by Cage.[108] Prepared piano, which Cage popularized, is featured heavily on Aphex Twin‘s 2001 album Drukqs.[109] Cage’s work as musicologist helped popularize Erik Satie‘s music,[110][111] and his friendship with Abstract expressionist artists such as Robert Rauschenberg helped introduce his ideas into visual art. Cage’s ideas also found their way into sound design: for example,Academy Award-winning sound designer Gary Rydstrom cited Cage’s work as a major influence.[112]

Osho mentions John Cage as a great musician, one of the greatest of this century.[113]

[edit]Archives

  • The archive of the John Cage Trust is held at Bard College in upstate New York.[1].

[edit]Cultural references

  • Sonic Youth on their SYR4 album perform two realizations of Cage’s piece Six and one of Four8.
  • “John Cage Is Dead” is a track on Mickey Hart‘s Mystery Box album.
  • Who Put John Cage on the Guestlist? is the name of an album by Norwegian electronic research group Hemmelig Tempo.
  • “Jaune d’Oeuf en Cage” (“Yolk in a Cage”) is a track by David Fenech on his first album Grand Huit. It is a joke based on the John Cage / Jaune Cage homophone in French.
  • In the musical Rent, Cage’s name is mentioned during the song “La Vie Bohème” among other artists.

[edit]Footnotes

  1. ^ Cage quoted in Kostelanetz 2003, 1–2. Cage mentions a working model of the universe that his father had built, and that the scientists who saw it could not explain how it worked and refused to believe it.
  2. ^ Different sources give different details of their first meeting. Pritchett, in Grove, implies that Cage met Schoenberg in New York City: “Cage followed Schoenberg to Los Angeles in 1934”, however, in a 1976 interview quoted in Kostelanetz 2003, 5, Cage mentions that he “went to see him [Schoenberg] in Los Angeles.”
  3. ^ Recent research has shown that Cage may have met Tudor almost a decade earlier, in 1942, through Jean Erdman: Gann, Kyle (2008). “Cleaning Up a Life”. an ARTSJOURNAL weblog. Retrieved August 4, 2009.
  4. ^ Technically, it was his second, for Cage previously collaborated with Kathleen Hoover on a biographical volume on Virgil Thomson, which was published in 1959.
  5. ^ Cage self-identified as an anarchist in a 1985 interview: “I’m an anarchist. I don’t know whether the adjective is pure and simple, or philosophical, or what, but I don’t like government! And I don’t like institutions! And I don’t have any confidence in even good institutions.” John Cage at Seventy: An Interview by Stephen Montague. American Music, Summer 1985. Ubu.com. Accessed May 24, 2007.

[edit]Notes

  1. ^ Davies, Hugh. “Cage, John”, Grove Art Online, Oxford University Press (accessed February 20 2007), groveart.com (subscription access).
  2. ^ Pritchett, Grove: “He has had a greater impact on music in the 20th century than any other American composer.”
  3. a b “John Cage, 79, a Minimalist Enchanted With Sound, Dies”New York Times. August 13, 1992. Retrieved July 21, 2007. “John Cage, the prolific and influential composer whose Minimalist works have long been a driving force in the world of music, dance and art, died yesterday at St. Vincent’s Hospital in Manhattan. He was 79 years old and lived in Manhattan.”
  4. ^ Leonard, George J. (1995). Into the Light of Things: The Art of the Commonplace from Wordsworth to John Cage. University of Chicago Press. p. 120 (“…when Harvard University Press called him, in a 1990 book advertisement, “without a doubt the most influential composer of the last half-century,” amazingly, that was too modest.”).ISBN 978-0-226-47253-9.
  5. ^ Greene, David Mason (2007). Greene’s Biographical Encyclopedia of Composers. Reproducing Piano Roll Fnd.. p. 1407 (“[…] John Cage is probably the most influential … of all American composers to date.”). ISBN 978-0-385-14278-6.
  6. ^ Perloff, Junkerman, 1994, 93.
  7. ^ Bernstein, Hatch, 2001, 43–45.
  8. ^ Kostelanetz 2003, 69–70
  9. ^ Reviews cited in Fetterman 1996, 69
  10. ^ Nicholls 2002, 80: “Most critics agree that Sonatas and Interludes (1946–48) is the finest composition of Cage’s early period.”
  11. ^ Cage 1973, 12.
  12. a b Nicholls 2002, 4.
  13. ^ Cage quoted in Kostelanetz 2003, 1. For details on Cage’s ancestry, see, for example, Nicholls 2002, 4–6.
  14. a b Cage, John (1991). “An Autobiographical Statement”. Southwest Review. Retrieved March 14, 2007.
  15. ^ Recording and notes: John Cage – Complete Piano Music Vol.7: Pieces 1933–1950. Steffen Schleiermacher (piano). MDG 613 0789-2.
  16. ^ Kostelanetz 2003, 2.
  17. ^ Nicholls 2002, 21.
  18. a b c d Kostelanetz 2003, 4.
  19. ^ Nicholls 2002, 8.
  20. ^ Perloff, Junkerman, 1994, 79.
  21. ^ Perloff, Junkerman 1994, 80.
  22. ^ Nicholls 2002, 22.
  23. a b Perloff, Junkerman, 1994, 81.
  24. ^ Cage quoted in Perloff, Junkerman, 1994, 81.
  25. a b c d e f g h i Pritchett, Grove.
  26. ^ Cage quoted in Nicholls 2002, 24.
  27. ^ Kostelanetz 2003, 61.
  28. ^ Nicholls 2002, 24.
  29. a b Kostelanetz 2003, 7.
  30. a b Pritchett 2003, 9.
  31. ^ This conversation was recounted many times by Cage himself: see Silence, p. 261;A Year from Monday, p. 44; interviews quoted in Kostelanetz 2003, pp. 5, 105; etc.
  32. a b c Kostelanetz 2003, 6.
  33. ^ Cage interview quoted in Kostelanetz 2003, 105.
  34. ^ Cage 1973, 260.
  35. ^ For details on Cage’s first meeting with Xenia, see Kostelanetz 2003, 7–8; for details on Cage’s homosexual relationship with Don Sample, an American he met in Europe, as well as details on the Cage-Kashevaroff marriage, see Perloff, Junkerman 1994, 81, 86.
  36. ^ Perloff, Junkerman, 86
  37. a b c Revill 1993, 55.
  38. ^ Kostelanetz 2003, 43.
  39. ^ Reinhardt, Lauriejean. John Cage’s “The Wonderful Widow of Eighteen Springs”, 7.Available online.
  40. ^ Cage 1973, 127.
  41. ^ Revill 1993, 108.
  42. ^ Cage 1973, 158.
  43. ^ Bredow 2012.
  44. ^ Revill 1993, 101.
  45. ^ Pritchett 1993, 105.
  46. ^ Nicholls 2002, 101.
  47. ^ Kostelanetz 2003, 68.
  48. ^ Pritchett 1993, 97.
  49. ^ Revill 1993, 91.
  50. ^ John Cage, in an interview with Miroslav Sebestik, 1991. From: Listen, documentary by Miroslav Sebestik. ARTE France Développement, 2003.
  51. ^ Pritchett 1993, 71.
  52. ^ Pritchett 1993, 78.
  53. ^ Revill 1993, 142.
  54. ^ Revill 1993, 143–149.
  55. ^ Revill 1993, 166.
  56. ^ Revill 1993, 174
  57. a b c Emmerik, Paul van (2009). “A John Cage Compendium”. Paul van Emmerik. Retrieved August 6, 2009.
  58. ^ “Guide to the Center for Advanced Studies Records, 1958 – 1969”. Wesleyan University. Retrieved September 4, 2010.
  59. ^ “The Many Views of Betty Freeman: Betty Freeman’s Commissions”. NewMusicBox. 2000. Retrieved August 8, 2009.
  60. ^ Alex Ross (December 4, 1992). “S.E.M. Evokes John Cage as Teacher”The New York Times. Retrieved October 6, 2010.
  61. ^ Revill 1993, 208.
  62. a b Revill 1993, 228.
  63. ^ Pritchett, James. 2004. “John Cage: Imitations/Transformations“. In James Pritchett, Writings on John Cage (and others). (Online resource, accessed June 5, 2008)
  64. ^ Revill 1993, 247.
  65. ^ Fetterman 1996, 191.
  66. ^ Haskins 2004.
  67. ^ Revill 1993, 295.
  68. ^ Kostelanetz, Richard. 2000. John Cage: Writer: Selected Texts, xvii. Cooper Square Press, 2nd edition. ISBN 978-0-8154-1034-8
  69. ^ “John Cage (1912–1992) – Find A Grave Memorial”. January 1, 2000. Retrieved August 3, 2009.
  70. ^ “Dance great Cunningham dies at 90”BBC News. July 28, 2009. Retrieved September 3, 2009.
  71. ^ Pritchett 1993, 6.
  72. ^ Pritchett 1993, 7.
  73. ^ Nicholls 2002, 71–74.
  74. ^ Pritchett 1993, 29–33.
  75. ^ Notes in the score: A Flower. Edition Peters 6711. Copyright 1960 by Henmar Press.
  76. ^ Pritchett, James. 1988. “From Choice to Chance: John Cage’s Concerto for Prepared Piano.” Perspectives of New Music 26, no. 1 (Fall): 50–81.
  77. ^ Pritchett 1993, 94.
  78. a b Nicholls 2002, 139.
  79. ^ Perloff, Junkerman 1994, 140.
  80. ^ Pritchett, James. 1994a. “John Cage: Freeman Etudes“, CD liner notes to: John Cage, Freeman Etudes (Books 1 and 2) (Irvine Arditti, violin), Mode 32. (Accessed August 14, 2008)
  81. ^ Pritchett 1993, 197.
  82. ^ Pritchett 1993, 200.
  83. ^ Kostelanetz 2003, 84.
  84. ^ Kostelanetz 2003, 92.
  85. ^ Pritchett 1993, 136.
  86. ^ Pritchett 1993, 144–146.
  87. ^ http://classical-iconoclast.blogspot.com/2012/01/eno-presents-john-cage-musicircus.html
  88. ^ http://www.eno.org/see-whats-on/productions/production-page.php?&itemid=2007
  89. ^ Kostelanetz 2004, 92–96.
  90. ^ Nicholls 2002, 112–113.
  91. ^ Nicholls 2002, 113–115.
  92. ^ Nicholls 2002, 115–118.
  93. ^ Nicholls 2002, 118–122.
  94. ^ Boulez, Pierre. 1964. Alea. Perspectives of New Music, Vol. 3, No. 1 (Autumn – Winter, 1964), 42–53
  95. ^ Bois, Mario, and Xenakis, Iannis. 1980. The Man and his Music: A Conversation with the Composer and a Description of his Works, 12. Greenwood Press Reprint.
  96. ^ Steinberg, Michael. 1962. Tradition and Responsibility. Perspectives of New Music 1, 1962, 154–159.
  97. ^ Kahn, Douglas. 1999. Noise, Water, Meat: A History of Sound in the Arts, 165. Cambridge, MA: The MIT Press.
  98. ^ Maconie, Robin. 1976. The Works of Karlheinz Stockhausen, with a foreword by Karlheinz Stockhausen, 141–144. London and New York: Oxford University Press.ISBN 0-19-315429-3
  99. ^ Ryan, David. 1999. Interview with Helmut Lachenmann, p. 21. Tempo, New Ser., No. 210. (Oct., 1999), pp. 20–24.
  100. ^ Michael Parsons. 1976. Systems in Art and MusicThe Musical Times, Vol. 17, No. 1604. (Oct., 1976), 815–818.
  101. ^ “Gavin Bryars biography etc”. Gavin Bryars’ Official Web-site. Retrieved September 12, 2009.
  102. ^ Potter, Keith. “Skempton, Howard”, Grove Music Online, ed. L. Macy (accessed March 12 2006), grovemusic.com (subscription access).
  103. ^ Burt, Peter. 2001. The Music of Toru Takemitsu, 94. Cambridge University Press.ISBN 0-521-78220-1.
  104. ^ Lopez, Antonio (December 1999 / January 2000). “Sonic Youth’s Thurston Moore: On punk music, staying fresh, amd the strange bridge between art and rock”. Thirsty Ear Magazine. Retrieved August 26, 2010.
  105. ^ Morris, Chris (August 17, 1997). “Hold The Ketchup On That Stereolab”. Yahoo! Music. Retrieved August 26, 2010.
  106. ^ Lowe, Kelly Fisher (2006). The Words and Music of Frank Zappa. Praeger Publishers. p. 57. ISBN 0-275-98779-5.
  107. ^ Paul Hegarty, Full With Noise: Theory and Japanese Noise Music, pp. 86–98 in Life in the Wires (2004) eds. Arthur Kroker & Marilouise Kroker, NWP Ctheory Books, Victoria, Canada
  108. ^ Jack, Adrian (1975). “”I Want to be a Magnet for Tapes” (interview with Brian Eno)”. Time Out. Retrieved August 26, 2010.
  109. ^ Worby, Robert (October 23, 2002). “Richard Aphex, John Cage and the Prepared Piano”. Warp Records. Retrieved August 26, 2010.
  110. ^ Orledge, Robert (1990). Satie the Composer. Cambridge University Press. p. 259.ISBN 978-0-521-35037-2.
  111. ^ Shlomowitz, Matthew. 1999. Cage’s Place In the Reception of Satie. Part of the PhD at the University of California at San Diego, USA. Available online.
  112. ^ LoBrutto, Vincent (1994). Sound-on-Film: Interviews With Creators of Film Sound. Greenwood Publishing Group. pp. 241–42. ISBN 978-0-275-94443-8.
  113. ^ Osho. The Ultimate Alchemy, Vol. 2 e-book. Osho International. ISBN 0-88050-252-5.

[edit]References

[edit]External links

Book icon Book: John Cage
Wikipedia books are collections of articles that can be downloaded or ordered in print.
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[edit]General information and catalogues

[edit]Link collections

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John Cage
Major compositions
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Related articles

http://blogs.discovermagazine.com/crux/2012/04/19/what-if-music-and-language-are-neither-instinct-nor-invention/

Mark Changizi is an evolutionary neurobiologist and director of human cognition at 2AI Labs. He is the author of The Brain from 25000 FeetThe Vision Revolution, and his newest book, Harnessed: How Language and Music Mimicked Nature and Transformed Ape to Man.”


Earlier this week there was a debate on the origins of music at the Atlantic between two well-known psychologists. Geoffrey Miller (author of The Mating Mind) thinks music is an instinct, one due to sexual selection. On the other side is Gary Marcus (author of Guitar Zero), who believes music is a cultural invention. Given my recent book on the issue, Harnessed, many have asked me where I fall on the question, Is music an instinct or an invention?

My answer is that music is neither instinct nor invention—or, from another perspective, music is both—and this debate provides an opportunity to remind ourselves that there is a third option for the origins of music, an option that I have argued may also underlie our writing and language capabilities.

What if music only has the illusion of instinct? Might there be processes that could lead to music that is exquisitely shaped for our brains, even though music wasn’t something we ever evolved by natural seletion to process? Music in this case wouldn’t be merely an invention, one of the countless things we do that we’re not “supposed” to be doing and that we’re not particularly good at—like logic or rock-climbing. Instead, music would fit our brain like a glove, tightly inter-weaved amongst our instincts…but yet not be an instinct itself.

There is such a process that can give the gleamy shine of instinct to capabilities we never evolved to possess. It’s cultural evolution.

Once humans were sufficiently smart and social that cultural evolution could pick up steam, a new blind watchmaker was let loose on the world, one that could muster designs worthy of natural selection, and in a fraction of the time. Cultural selection could shape our artifacts to co-opt our innate capabilities.

Cultural evolution is an old idea, but there has been a resurgence of interest in it thanks to researchers like Stanislas Dehaene and Laurent Cohen, who have studied how writing neuronally recycles parts of our visual object-recognition hardware (see Reading in the Brain). And in my research I have tried to get down to brass tacks on how culture manages to harness our brain hardware.

I started with the shapes of writing, providing evidence that stroke conglomerations found in writing systems here on Earth tend to match the sorts of contour conglomerations found in nature, specifically among opaque objects (the main furniture of our terrestrial world). This was the topic of the last part of my previous book, The Vision RevolutionWe can read with the efficiency of an instinct because writing got shaped like nature, thereby harnessing—or “nature-harnessing”—our visual system (see also the recentreading-baboons story).

I then wondered whether culture may have used the same trick for spoken language. Just as writing looks like opaque objects strewn about, might speech sound like the fundamental auditory furniture of our terrestrial world? If cultural evolution could do this, then no specialized auditory speech-processing instincts would be needed for language. For terrestrial animals the principal source of event sounds comes from solid objects—they hit, they slide, they vibrate—and so I spent a couple years trying to work out the “grammar” of sounds found among solid-object events. In Harnessed I walk through these signature sounds of solid objects, and show that these signatures are found in a wide variety of spoken languages. Processing the sounds of speech thereby comes easy, and one wonders to what extent syntax and semantics harness our earlier hardware as well. (I have argued in my research that the large-scale organization of our language lexicon might be shaped well for our brain.) If language harnesses us, then the fact that language appears to be dripping with instinct is exactly what we’d expect, even though there would be no language instinct.

Which brings us back to music. Like speech, music processing is an auditory talent. But it differs in that it is deeply evocative. My own theoretical inclinations are that emotionally steeped stimuli tend to mimic in some respect human emotional stimuli (e.g., colors are evocative because they’re found on  human skin), and so I wondered, What sort of human sound might music somehow have culturally evolved to mimic?The idea has been floating around since the Greeks that music might sound in some sense like movement, and so I pushed forward for a couple years on the idea, working out dozens of regularities found in the sounds people make when moving about. And in Harnessed I provide evidence that music tends to possess these regularities: music is a fictional story of someone moving evocatively in your midst. (By the way, I’d characterize my theory as an “auditory cheesecake” variant—music is a treat for our ears and minds, but not important for survival or evolution.) Music gets into our heads because our heads evolved to be especially tuned to the sounds of human behavior.

If the origins of music comes from nature-harnessing as I argue, then it will have many or all the signature signs of instinct. But it won’t be an instinct. Instead, it will be a product of cultural evolution, of nature-harnessing. And it won’t be a mere invention that we must learn. In a sense, the brain doesn’t have anything to learn—cultural evolution did all the learning instead, figuring out just the right stimulus shapes that would flow right into our emotional centers and get us hooked.

Not instinct. Not invention. And, in my view, the same is true for writing and language, all via culture’s strategy of nature-harnessing.

http://blogs.discovermagazine.com/crux/2012/04/17/the-triumph-of-technodorkiness-why-were-gladly-turning-ourselves-into-yesterdays-losers/

By David H. Freedman, a journalist who’s contributed to many magazines, including DISCOVER, where he writes the Impatient Futurist column. His latest book, Wrong: Why Experts Keep Failing Us—and How to Know When Not to Trust Them, came out in 2010. Find him on Twitter at @dhfreedman.

Computer glasses have arrived, or are about to. Google has released some advance information about itsProject Glass, which essentially embeds smartphone-like capabilities, including a video display, into eyeglasses. A video put out by the company suggests we’ll be able to walk down the street—and, we can extrapolate, distractedly walk right into the street, or drive down the street—while watching and listening to video chats, catching up on social networks (including Google+, of course), and getting turn-by-turn directions (though you’ll be on your own in avoiding people, lampposts and buses, unless there’s a radar-equipped version in the works).

Toshiba bubble helmet
Toshiba developed a six-pound surround-sight bubble helmet. It didn’t take off.

The reviews have mostly been cautiously enthusiastic. But they seem to be glossing over what an astounding leap this is for technophiles. I don’t mean in the sense that this is an amazing new technology. I mean I’m surprised that we seem to be seriously discussing wearing computer glasses as if it weren’t the dorkiest thing in the world—a style and coolness and common-sense violation of galactic magnitude. Video glasses are the postmodern version of the propeller beanie cap. These things have been around for 30 years. You couldbuy them at Brookstone, or via in-flight shopping catalogs. As far as I could tell, pretty much no one was interested in plunking these things down on their nose. What happened?

More interesting, the apparent sudden willingness to consider wearing computers on our faces may be part of a larger trend. Consider computer tablets, 3D movies, and video phone calls—other consumer technologies that have been long talked about, long offered in various forms, and long soundly rejected—only to relatively recently and suddenly gain mass acceptance.

The obvious explanation for the current triumph of technologies that never seemed to catch on is that the technologies have simply improved enough, and dropped in price enough, to make them sufficiently appealing or useful to a large percentage of the population. But I don’t think that’s nearly a full-enough explanation. Yes, the iPad offers a number of major improvements over Microsoft Tablet PC products circa 2000—but not so much that it could account for the complete shunning of the latter and the total adoration of the former. Likewise, the polarized-glasses-based 3D movie experience of the 1990s, as seen in IMAX and Disney park theaters at the time, really were fairly comparable to what you see in state-of-the-art theaters today.

I think three things are going on:

1) Technosynergy. We’re not merely seeing better thought-out and equipped individual products, but rather a gathering swell of progress in multiple technology domains, with each facilitating the others—with the result that we’re seeing what feels like breakthrough improvements in many different product lines. Among the jumps: bright, high-definition screens in both tiny and ginormous scales, along with sensitive touchscreens; screamingly fast, low-power processor and memory chips; software that’s sophisticated enough to make using it feel easy and satisfying; information and communications networks, like GPS and digital maps, that can add tremendous functional value to applications. And just about all of it is happening at lower and lower cost. None of these sorts of technology enhancements is unique to the iPad, to name one breakthrough product, and yet the iPad wove them and others together in a slick, friendly way that made it feel like it was one big, envelope-pushing leap. Even producing and displaying the latest 3D movies depend on massive digital processing and software breakthroughs, in addition to enhanced optical projection hardware.

Google's Project Glass
Project Glass shows how technology is leaping ahead.
So is marketing.

2) Technohip branding. By obsessing over bringing style and coolness to all things digital, Apple—at least since the iPod—has gained the ability to confer gotta-have status to almost anything it turns its attention to. If Microsoft and Dell had come out with an iPad-like tablet before Apple did, I think it’s highly unlikely they would have pulled off the same sort of mass-craze coup—they just don’t have the branding juice with young consumers who drive hits. The ability to speak commands into cell phones has worked pretty well for more than a decade, but it didn’t seem like a good idea until Apple started pushing it with Siri. Google has some of that technocool-oriented marketing muscle as well, but not nearly as much as Apple. Savvy technomarketing was a big factor in the success of 3D as well: It was Hollywood blockbuster Avatar that really drove 3D home to the public. Until then, 3D had been pretty much relegated to specialty and B movies.

3) Technoculture. It’s not just the tools that are evolving—so are we. We’re hooked on Facebook, GPS, Google Maps, and on-demand movies. Thanks to smartphones, we’ve learned to depend on all this technology 24/7, wherever we are. We want it when we read a magazine, drive a car, go out to a movie, or, yes, walk down the street. The devices that can give us better, easier, more constant access to them will appeal. It’s not just dorks who want this stuff anymore.

Put them all together, and you’ve got a potential hit in online glasses—a product that would have made us laugh derisively five years. And if Google doesn’t quite pull it off, just wait for iGlasses.

Now the question is, what will be the next nerdy dream product to catch on? Video wristwatches? Home robots? Flying cars?

Bring it on.

Cyborg Foundation

Posted: April 15, 2012 in Ciber

http://www.harbisson.com/Cyborg_Foundation/About_us.html

The Cyborg Foundation is an international organization created to help humans become cyborgs.

The foundation’s main aims are:

· to extend human senses and abilities by creating and applying cybernetic extensions to the body

· to promote the use of cybernetics in cultural events

· to defend cyborg rights

Current projects

Current projects include the creation of eyeborgs (cybernetic eyes to allow humans perceive light, color and shapes through sound), earborgs (cybernetic ears to allow humans perceive sound through color, shapes and light) noseborgs (cybernetic noses to allow humans perceive smell through electromagnetic signals) andfingerborgs (prosthetic fingers to allow humans take pictures with their own hand).

Awards

The foundation, created in 2010 by cyborg artists Neil Harbisson and Moon Ribas, was the overall winner of the 2010 Cre@tic Awards held at Tecnocampus Mataró (Barcelona, Spain).

 

What Is A Cyborg?

Posted: April 15, 2012 in Ciber

http://cyborganthropology.com/What_is_a_Cyborg%3F

Cyborg Venn Diagram

Definition

Anything that is an external prosthetic device creates one into a cyborg. The idea of a cell phone being a technosocial object that enables an actor (user) to communicate with other actors (users) on a network (information exchange and connectivity) makes one into what David Hess calls low-tech cyborgs:

“I think about how almost everyone in urban societies could be seen as a low-tech cyborg, because they spend large parts of the day connected to machines such as cars, telephones, computers, and, of course, televisions. I ask the cyborg anthropologist if a system of a person watching a TV might constitute a cyborg. (When I watch TV, I feel like a homeostatic system functioning unconsciously.) I also think sometimes there is a fusion of identities between myself and the black box” (Gray, 373).

Types of Cyborgs

“According to the editors of The Cyborg Handbook, cyborg technologies take four different forms: restorative, normalizing, reconfiguring, and enhancing (Gray, 3). Cyborg translators are currently thought of almost exclusively as enhancing: improving existing translation processes by speeding them up, making them more reliable and cost-effective. And there is no reason why cyborg translation should be anything more than enhancing”. Source: Cyborg Translation

Consumptive vs. Necessitative Prosthetics

I’d additionally define two additional types of cyborgs based on consumptive practices: those who attach prosthetics as a necessity, and those who attach them as an external representation of status and tribal affiliation. In the latter case, one’s external prosthesis is chosen carefully and updated frequently. This is most often seen in middle classes, especially in the young offspring of these classes.

Other specialized cyborg types:

1. Cyborgs actually do exist; about 10% of the current U.S. population are estimated to be cyborgs in the technical sense, including people with electronic pacemakers, artificial joints, drug implant systems, implanted corneal lenses, and artificial skin. A much higher percentage participates in occupations that make them into metaphoric cyborgs, including the computer keyboarder joined in a cybernetic circuit with the screen, the neurosurgeon guided by fiber optic microscopy during an operation, and the teen gameplayer in the local videogame arcarde. “Terminal identity” Scott Bukatman has named this condition, calling it an “unmistakably doubled articulation” that signals the end of traditional concepts of identity even as it points toward the cybernetic loop that generates a new kind of subjectivity (Gray, 322).

2. This merging of the evolved and the developed, this integration of the constructor and the constructed, these systems of dying flesh and undead circuits, and of living and artificial cells. have been called many things: bionic systems, vital machines, cyborgs. They are a central figure of the late Twentieth Century. . . . But the story of cyborgs is not just a tale told around the glow of the televised fire. There are many actual cyborgs among us in society. Anyone with an artificial organ, limb or supplement (like a pacemaker), anyone reprogrammed to resist disease (immunized) or drugged to think/behave/feel better (psychopharmacology) is technically a cyborg. The range of these intimate human-machine relationships is mind-boggling. It’s not just Robocop, it is our grandmother with a pacemaker (Gray, 322). – George P. Landow, Professor of English and Art History, Brown University.

In “Cyborgology: Constructing the Knowledge of Cybernetic Organisms” — the introduction to the (Gray, Introduction), four classes of cyborg are described:

  • Cyborg technologies can be restorative, in that they restore lost functions and replace lost organs and limbs;
  • They can be normalizlng, in that thev restore some creature to indistinguishable normality;
  • They can be ambiguously reconfiguring, creating posthuman creatures equal to but different from humans, like what one is now when interacting with other creatures in cyberspace or, in the future, the type of modifications proto-humans will undergo to live in space or under the sea having given up the comforts of terrestrial existence;
  • They can be enhancing, the aim of most military and industrial research, and what those with cyborg envy or even cyborgphilia fantasize.

The latter category seeks to construct everything from factories controlled by a handful of “worker-pilots” and infantrymen in mind-controlled exoskeletons to the dream many computer scientists have-downloading their consciousness into immortal computers (Gray, 3).

Related Topics

http://www.eyeb.org/

Posted: April 15, 2012 in Art, Ciber

http://www.eyeb.org/

Why Cyborg Anthropology?

Posted: April 15, 2012 in 2012, Ciber

http://cyborganthropology.com/About

Amber Case: We are all cyborgs now

A cursory web search shows little about the relatively new field of Cyborg Anthropology. Worse, there are no lists of resources or even tools to figure out where to find materials. There are no book lists, glossaries, or syllabi. Professors wishing to teach the subject are left to create curriculum for themselves, and students seeking to self-educate are left to dig through journal articles.

A Digital Resource

This site is meant to connect many different people across multiple disciplines as well as those involved in the field of Cyborg Anthropology itself. This site is a collection of journals, conferences, papers, books, and curriculum that can be used by anyone. This site is also a Wiki, meaning that everything is in flux. In the same way that the Internet grows and changes, the field of Cyborg Anthropology must be a flexible field capable of absorbing, classifying and understanding new phenomena, cultural change, and the digital world. Digital Anthropology is also closely related to Cyborg Anthropology and will be discussed here often.

Traditional Ethnography

This site also seeks to provide those without a formal understanding of anthropology a firm foothold in the study of traditional anthropology. There are two types of people present in the universe of cyborg anthropological studies. One is the student of anthropology. The other is the technosocially connected non-academic seeking to better understand the effect technology has had on their world. Cyborg Anthropology lends well to both the professional and academic. Both can benefit from an understanding of each other’s fields.

Site Development

This site is an installation of MediaWiki with a number of custom plugins and theme by Aaron Parecki. The site’s content is managed by Amber Case. This site welcomes contributors. Things needed are book reviews, new books, conference listings, journal articles, journal lists, films and film reviews, glossary terms, tools and critical analysis. If you’d like to contribute any of these items, or have ideas on what to contribute, please contact us. For more information, see Blogs vs. Wikis.

Have your class contribute to this Wiki

This often occurs when a student writes a paper: the paper is written, turned in, and graded. The paper gets lost in an E-mail account, hard drive or thumb drive. It doesn’t generally see the light of day again. Eventually, it ceases to exist.

In addition, it is rare that anyone besides the professor reads it. Thus, if any valuable thought is in there, no one knows it exists. Instead of doing research and finding the work, someone is going to end up rewriting that same paper instead of building off of it and taking it further.

When a class contributes to a blog or wiki, actual published work is contributed to a collectively viewed system. Additionally, technology skills gained in the learning process of formatting and editing content for the web provides students with valuable real-world skills. It gives them the power to publish and defend their work.

Thus:

  • What students have to say is valuable.
  • Homework assignments can turn into actual work.
  • Electronic technology can connect ideas to similar ideas more quickly than paper work.

If you’d like to have your class contribute to CyborgAnthropology.com, please contact us.

About this Wiki

For now the wiki is a way to both make public my work and observations as well as provide a resource for those looking to study technology and culture. I’ve considered grad school (leaning towards MIT), but I was told to take time off between undergrad and grad school to see what the ‘real world’ was like before deciding what to really focus on in grad school. It will likely be a while before it becomes clear what really needs to be done in the field. In the end, cyborg anthropology is a placeholder term for an evolution of anthropological methods and study. It’s about using new tools to do fieldwork in new places, and to study all spaces and types of humanity, not just foreign ones.

The Wiki Way

When it comes down to it, the wiki is an extension of my brain. It’s a place to collect, store and build upon thoughts. It’s also an easy way to share them with others. For instance, if I get an E-mail about a particular theory or idea, and I have a page written about it in the wiki, I can link the page vs. write the response, because I’m really linking them to a part of my external brain. And because it is a wiki, they can add something to it if they feel it is incomplete. Wiki’s age well. They evolve and grow more complex and nuanced and useful over time. I’m only 6 months into this wiki. There’s still much more to be done.

Though I’m not officially affiliated with academia, I collect and frequent many academic papers daily, especially those written 10-20 years ago about the coming “virtual reality” or those who talk about ubiquitous computing and other things. I’ve found that simply replacing “virtual reality” with social networks lends very well to those papers. In addition, I’ve been collecting sites from colleges and universities that contain writing about cyborgs and cyberculture. They’re rather hard to find today, because the idea of cyborgs and high tech reached its apex in the in the early 00’s and then kind of fizzled. Writing about the study ‘cyberculture’ and ‘virtual reality’ had a limited audience since the beginning of the information revolution. Some of the sites are still around, but they are quite obscure. Many are missing, which means that I rely on the Internet Archive as a research tool almost constantly. I’m always digging around the historical layers of the web. The wiki’s goal is to help resurrect some of those briefly-lived resources, understandings and predictions.

What I mean by predictions is that well-written papers about the coming world of virtual reality actually predict a lot about what we’re dealing with now. I feel like I’m doing a bit of future history when I do this research, as I’m often encountering worlds of people who have experienced what it was like to have an identity on the early Internet. What was experienced in labs 30 years ago by only a few people is now experienced by millions every day. There is a lot to learn from going back in time and reading the work of those who were there first. Many don’t realize that it’s already been done before and that those pioneers left stories, warnings and experiences on the way.

I read a lot of social theory. It gives me a lot of ground to stand on when I make my observations. Theodor Adorno, Marc Auge, Zygmunt Bauman, Marshall Berman, Walter Benjamin, C. Wright Mills, Michel Foucault and others like Guy Debord, Roland Barthes, Jean Baudrillard, David Harvey, Celeste Olalquiaga, Deleuze and Guattari, Paul Virilio. As far as more traditional anthropology goes, Guy Debord’s Society of the Spectacle and Erving Goffman’s Presentation of Self in Everyday Life are solid foundations for digital ethnography. Virilio writes about speed and culture, which is key to understanding the acceleration of changes that are occurring. Bruno Latour has Actor Network Theory that can help place humans and technology into a system that can be more easily studied.

Amber Case

Cyborg

Posted: April 15, 2012 in Ciber

For other uses, see Cyborg (disambiguation).

Part of the series on
Cyborgs
Cyborgology
Bionics / Biomimicry
Biomedical engineering
Brain-computer interface
Cybernetics
Distributed cognition
Genetic engineering
Human ecosystem
Human enhancement
Intelligence amplification
Whole brain emulation


Theory
Cyborg theory
Postgenderism
Cyborg Anthropology


Centers
Cyberpunk
Cyberspace


Politics
Cognitive liberty
Cyborg feminism
Extropianism
Morphological freedom
Singularitarianism
Techno-progressivism
Transhumanism


cyborg, short for “cybernetic organism”, is a being with both biological and artificial (e.g. electronic, mechanical or robotic) parts. The term was coined in 1960 when Manfred Clynes and Nathan S. Kline used it in an article about the advantages of self-regulating human-machine systems in outer space.[1] D. S. Halacy’s Cyborg: Evolution of the Superman in 1965 featured an introduction which spoke of a “new frontier” that was “not merely space, but more profoundly the relationship between ‘inner space’ to ‘outer space’ – a bridge…between mind and matter.”[2]

The term cyborg is often applied to an organism that has enhanced abilities due to technology,[3] though this perhaps oversimplifies the necessity offeedback for regulating the subsystem. The more strict definition of Cyborg is almost always considered as increasing or enhancing normal capabilities. While cyborgs are commonly thought of as mammals, they might also conceivably be any kind of organism and the term “Cybernetic organism” has been applied to networks, such as road systems, corporations and governments, which have been classed as such. The term can also apply to micro-organisms which are modified to perform at higher levels than their unmodified counterparts.

Fictional cyborgs are portrayed as a synthesis of organic and synthetic parts, and frequently pose the question of difference between human and machine as one concerned with morality, free will, and empathy. Fictional cyborgs may be represented as visibly mechanical (e.g. the Cybermen in the Doctor Who franchise or The Borg from Star Trek); or as almost indistinguishable from humans (e.g. the Terminators from the Terminator films, the “Human” Cylons from the re-imagining of Battlestar Galactica etc.) The 1970s television series The Six Million Dollar Man featured one of the most famous fictional cyborgs, referred to as a bionic man. Cyborgs in fiction often play up a human contempt for over-dependence on technology, particularly when used for war, and when used in ways that seem to threaten free will. Cyborgs are also often portrayed with physical or mental abilities far exceeding a human counterpart (military forms may have inbuilt weapons, among other things).

Contents

[hide]

[edit]Overview

According to some definitions of the term, the metaphysical and physical attachments humanity has with even the most basic technologies have already made them cyborgs.[4]In a typical example, a human fitted with a heart pacemaker or an insulin pump (if the person has diabetes) might be considered a cyborg, since these mechanical parts enhance the body’s “natural” mechanisms through synthetic feedback mechanisms. Some theorists cite such modifications as contact lenseshearing aids, or intraocular lenses as examples of fitting humans with technology to enhance their biological capabilities; however, these modifications are as cybernetic as a pen or a wooden leg. Cochlear implantsthat combine mechanical modification with any kind of feedback response are more accurately cyborg enhancements.

The term is also used to address human-technology mixtures in the abstract. This includes artifacts that may not popularly be considered technology; for example, pen and paper, and speech and language. Augmented with these technologies, and connected in communication with people in other times and places, a person becomes capable of much more than they were before. This is like computers, which gain power by using Internet protocols to connect with other computers. Cybernetic technologies include highways, pipes, electrical wiring, buildings, electrical plants, libraries, and other infrastructure that we hardly notice, but which are critical parts of the cybernetics that we work within.

Bruce Sterling in his universe of Shaper/Mechanist suggested an idea of alternative cyborg called Lobster, which is made not by using internal implants, but by using an external shell (e.g. a Powered Exoskeleton).[5] Unlike human cyborgs that appear human externally while being synthetic internally, a Lobster looks inhuman externally but contains a human internally. The computer game Deus Ex: Invisible War prominently featured cyborgs called Omar, where “Omar” is a Russian translation of the word “Lobster” (since the Omar are of Russian origin in the game).

[edit]Origins

The concept of a man-machine mixture was widespread in science fiction before World War II. As early as 1843, Edgar Allan Poe described a man with extensive prostheses in the short story “The Man That Was Used Up“. In 1908, Jean de la Hire introduced Nyctalope (perhaps the first true superhero was also the first literary cyborg) in the novelL’Homme Qui Peut Vivre Dans L’eau (The Man Who Can Live in the Water). Edmond Hamilton presented space explorers with a mixture of organic and machine parts in his novelThe Comet Doom in 1928. He later featured the talking, living brain of an old scientist, Simon Wright, floating around in a transparent case, in all the adventures of his famous hero, Captain Future. He uses the term explicitly in the 1962 short story, “After a Judgment Day,” to describe the “mechanical analogs” called “Charlies,” explaining that “[c]yborgs, they had been called from the first one in the 1960’s…cybernetic organisms.” In the short story “No Woman Born” in 1944, C. L. Moore wrote of Deirdre, a dancer, whose body was burned completely and whose brain was placed in a faceless but beautiful and supple mechanical body.

The term was coined by Manfred E. Clynes and Nathan S. Kline in 1960 to refer to their conception of an enhanced human being who could survive in extraterrestrialenvironments:

For the exogenously extended organizational complex functioning as an integrated homeostatic system unconsciously, we propose the term ‘Cyborg’. Manfred E. Clynes and Nathan S. Kline[6]

Their concept was the outcome of thinking about the need for an intimate relationship between human and machine as the new frontier of space exploration was beginning to take place. A designer of physiological instrumentation and electronic data-processing systems, Clynes was the chief research scientist in the Dynamic Simulation Laboratory at Rockland State Hospital in New York.

The term first appears in print five months earlier when The New York Times reported on the Psychophysiological Aspects of Space Flight Symposium where Clynes and Kline first presented their paper.

A cyborg is essentially a man-machine system in which the control mechanisms of the human portion are modified externally by drugs or regulatory devices so that the being can live in an environment different from the normal one.[7]

A book titled Cyborg: Digital Destiny and Human Possibility in the Age of the Wearable computer was published by Doubleday in 2001. Some of the ideas in the book were incorporated into the 35mm motion picture film Cyberman.

[edit]Individual cyborgs

Jens Naumann, a man with acquired blindness, being interviewed about his vision BCI on CBS’s The Early Show

Neil Harbisson is sometimes claimed to be a cyborg.[8]

Generally, the term “cyborg” is used to refer to a human with bionic, or robotic, implants.

In current prosthetic applications, the C-Leg system developed by Otto Bock HealthCare is used to replace a human leg that has been amputated because of injury or illness. The use of sensors in the artificial C-Leg aids in walking significantly by attempting to replicate the user’s natural gait, as it would be prior to amputation.[9] Prostheses like the C-Leg and the more advanced iLimb are considered by some to be the first real steps towards the next generation of real-world cyborg applications. Additionally cochlear implants andmagnetic implants which provide people with a sense that they would not otherwise have had can additionally be thought of as creating cyborgs.

In vision science, direct brain implants have been used to treat non-congenital (acquired) blindness. One of the first scientists to come up with a working brain interface to restore sight was private researcher William Dobelle. Dobelle’s first prototype was implanted into “Jerry”, a man blinded in adulthood, in 1978. A single-array BCI containing 68 electrodes was implanted onto Jerry’s visual cortex and succeeded in producing phosphenes, the sensation of seeing light. The system included cameras mounted on glasses to send signals to the implant. Initially, the implant allowed Jerry to see shades of grey in a limited field of vision at a low frame-rate. This also required him to be hooked up to a two-ton mainframe, but shrinking electronics and faster computers made his artificial eye more portable and now enable him to perform simple tasks unassisted.[10]

In 2002, Canadian Jens Naumann, also blinded in adulthood, became the first in a series of 16 paying patients to receive Dobelle’s second generation implant, marking one of the earliest commercial uses of BCIs. The second generation device used a more sophisticated implant enabling better mapping of phosphenes into coherent vision. Phosphenes are spread out across the visual field in what researchers call the starry-night effect. Immediately after his implant, Jens was able to use his imperfectly restored vision to drive slowly around the parking area of the research institute.[11]

In 2002, under the heading Project Cyborg, a British scientist, Kevin Warwick, had an array of 100 electrodes fired in to his nervous system in order to link his nervous system into the Internet. With this in place he successfully carried out a series of experiments including extending his nervous system over the Internet to control a robotic hand, a loudspeaker and amplifier. This is a form of extended sensory input and the first direct electronic communication between the nervous systems of two humans.[12][13]

In 2004, under the heading Bridging the Island of the Colourblind Project, a British and completely color-blind artist, Neil Harbisson, started wearing an eyeborg on his head in order to hear colors.[14] His prosthetic device was included within his 2004 passport photograph which has been claimed to confirm his cyborg status.[15]

[edit]Social cyborgs

More broadly, the full term “cybernetic organism” is used to describe larger networks of communication and control. For example, cities, networks of roads, networks of software, corporations, markets, governments, and the collection of these things together. A corporation can be considered as an artificial intelligence that makes use of replaceable human components to function. People at all ranks can be considered replaceable agents of their functionally intelligent government institutions, whether such a view is desirable or not. The example above is reminiscent of the “organic paradigm” popular in the late 19th century due to the era’s breakthroughs in understanding of cellular biology.

Jaap van Till tries to quantify this effect with his Synthecracy Network Law: V ~ N !, where V is value and N is number of connected people. This factorial growth is what he claims leads to a herd or hive like thinking between large, electronically connected groups.

[edit]Cyborg proliferation in society

This section may contain original research. Please improve it by verifying the claims made and adding references. Statements consisting only of original research may be removed. More details may be available on the talk page(November 2007)

[edit]In medicine

In medicine, there are two important and different types of cyborgs: the restorative and the enhanced. Restorative technologies “restore lost function, organs, and limbs”.[16] The key aspect of restorative cyborgization is the repair of broken or missing processes to revert to a healthy or average level of function. There is no enhancement to the original faculties and processes that were lost.

On the contrary, the enhanced cyborg “follows a principle, and it is the principle of optimal performance: maximising output (the information or modifications obtained) and minimising input (the energy expended in the process)”.[17] Thus, the enhanced cyborg intends to exceed normal processes or even gain new functions that were not originally present.

Although prostheses in general supplement lost or damaged body parts with the integration of a mechanical artifice, bionic implants in medicine allow model organs or body parts to mimic the original function more closely. Michael Chorost wrote a memoir of his experience with cochlear implants, or bionic ear, titled “Rebuilt: How Becoming Part Computer Made Me More Human.”[18] Jesse Sullivan became one of the first people to operate a fully robotic limb through a nerve-muscle graft, enabling him a complex range of motions beyond that of previous prosthetics.[19] By 2004, a fully functioning artificial heart was developed.[20] The continued technological development of bionic and nanotechnologies begins to raise the question of enhancement, and of the future possibilities for cyborgs which surpass the original functionality of the biological model. The ethics and desirability of “enhancement prosthetics” have been debated; their proponents include the transhumanist movement, with its belief that new technologies can assist the human race in developing beyond its present, normative limitations such as aging and disease, as well as other, more general incapacities, such as limitations on speed, strength, endurance, and intelligence. Opponents of the concept describe what they believe to be biases which propel the development and acceptance of such technologies; namely, a bias towards functionality and efficiency that may compel assent to a view of human people which de-emphasizes as defining characteristics actual manifestations of humanity and personhood, in favor of definition in terms of upgrades, versions, and utility.[21]

brain-computer interface, or BCI, provides a direct path of communication from the brain to an external device, effectively creating a cyborg. Research of Invasive BCIs, which utilize electrodes implanted directly into the grey matter of the brain, has focused on restoring damaged eyesight in the blind and providing functionality to paralyzed people, most notably those with severe cases, such as Locked-In syndrome. This technology could enable people who are missing a limb or are in a wheelchair the power to control the devices that aide them through neural signals sent from the brain implants directly to computers or the devices. It is possible that this technology will also eventually be used with healthy people.[22]

Deep brain stimulation is a neurological surgical procedure used for therapeutic purposes. This process has aided in treating patients diagnosed with Parkinson’s disease,Alzheimer’s diseaseTourette syndrome, epilepsy, chronic headaches, and mental disorders. After the patient is unconscious, through anesthesia, brain pacemakers or electrodes, are implanted into the region of the brain where the cause of the disease is present. The region of the brain is then stimulated by bursts of electrical current to disrupt the oncoming surge of seizures. Like all invasive procedures, deep brain stimulation may put the patient at a higher risk. However, there has been more improvements in recent years with deep brain stimulation than any available drug treatment.[23]

Retinal implants are another form of cyborgization in medicine. The theory behind retinal stimulation to restore vision to people suffering from retinitis pigmentosa and vision loss due to aging (conditions in which people have an abnormally low amount of ganglion cells) is that the retinal implant and electrical stimulation would act as a substitute for the missing ganglion cells (cells which connect the eye to the brain.)

While work to perfect this technology is still being done, there have already been major advances in the use of electronic stimulation of the retina to allow the eye to sense patterns of light. A specialized camera is worn by the subject, such as on the frames of their glasses, which converts the image into a pattern of electrical stimulation. A chip located in the user’s eye would then electrically stimulate the retina with this pattern by exciting certain nerve endings which transmit the image to the optic centers of the brain and the image would then appear to the user. If technological advances proceed as planned this technology may be used by thousands of blind people and restore vision to most of them.

A similar process has been created to aide people who have lost their vocal cords. This experimental device would do away with previously used robotic sounding voice simulators. The transmission of sound would start with a surgery to redirect the nerve that controls the voice and sound production to a muscle in the neck, where a nearby sensor would be able to pick up its electrical signals. The signals would then move to a processor which would control the timing and pitch of a voice simulator. That simulator would then vibrate producing a multitonal sound which could be shaped into words by the mouth.[24]

[edit]In the military

Military organizations’ research has recently focused on the utilisation of cyborg animals for the purposes of a supposed tactical advantage. DARPA has announced its interest in developing “cyborg insects” to transmit data from sensors implanted into the insect during the pupal stage. The insect’s motion would be controlled from a Micro-Electro-Mechanical System (MEMS) and could conceivably survey an environment or detect explosives and gas.[25] Similarly, DARPA is developing a neural implant to remotely control the movement of sharks. The shark’s unique senses would then be exploited to provide data feedback in relation to enemy ship movement or underwater explosives.[26]

In 2006, researchers at Cornell University invented[27] a new surgical procedure to implant artificial structures into insects during their metamorphic development.[28][29] The first insect cyborgs, moths with integrated electronics in their thorax, were demonstrated by the same researchers.[30][31] The initial success of the techniques has resulted in increased research and the creation of a program called Hybrid-Insect-MEMS, HI-MEMS. Its goal, according to DARPA’s Microsystems Technology Office, is to develop “tightly coupled machine-insect interfaces by placing micro-mechanical systems inside the insects during the early stages of metamorphosis”.[32]

In 2009 at the Institute of Electrical and Electronics Engineers (IEEE) Micro-electronic mechanical systems (MEMS) conference in Italy, researchers demonstrated the first “wireless” flying-beetle cyborg.[33] Engineers at the University of California at Berkeley have pioneered the design of a “remote controlled beetle”, funded by the DARPA HI-MEMS Program. Filmed evidence of this can be viewed here.[34] This was followed later that year by the demonstration of wireless control of a “lift-assisted” moth-cyborg.[35]

Eventually researchers plan to develop HI-MEMS for dragonflies, bees, rats and pigeons.[36][37] For the HI-MEMS cybernetic bug to be considered a success, it must fly 100 meters from a starting point, guided via computer into a controlled landing within 5 meters of a specific end point. Once landed, the cybernetic bug must remain in place.[36]

[edit]In art

The concept of the cyborg is often associated with science fiction. However, many artists have tried to create public awareness of cybernetic organisms; these can range from paintings to installations. Some artists who create such works are Neil HarbissonPatricia PiccininiIñigo Manglano-OvalleSteve MannOrlanH.R. GigerLee BulWafaa Bilal,Tim Hawkinson and Stelarc.

Stelarc is a performance artist who has visually probed and acoustically amplified his body. He uses medical instruments, prosthetics, robotics, virtual reality systems, the Internet and biotechnology to explore alternate, intimate and involuntary interfaces with the body. He has made three films of the inside of his body and has performed with a third hand and a virtual arm. Between 1976–1988 he completed 25 body suspension performances with hooks into the skin. For ‘Third Ear’ he surgically constructed an extra ear within his arm that was internet enabled, making it a publicly accessible acoustical organ for people in other places.[38] He is presently performing as his avatar from his second lifesite.[39]

Tim Hawkinson promotes the idea that bodies and machines are coming together as one, where human features are combined with technology to create the Cyborg. Hawkinson’s piece Emoter presented how society is now dependent on technology.[40]

Wafaa Bilal is an Iraqi-American performance artist who had a small 10 megapixel digital camera surgically implanted into the back of his head, part of a project entitled 3rd I.[41]For one year, beginning 15 December 2010, an image is captured once per minute 24 hours a day and streamed live to www.3rdi.me and the Mathaf: Arab Museum of Modern Art. The site also displays Bilal’s location via GPS. Bilal says that the reason why he put the camera in the back of the head was to make an “allegorical statement about the things we don’t see and leave behind.”[42] As a professor at NYU, this project has raised privacy issues, and so Bilal has been asked to ensure that his camera does not take photographs in NYU buildings.[42]

Machines are becoming more ubiquitous in the artistic process itself, with computerized drawing pads replacing pen and paper, and drum machines becoming nearly as popular as human drummers. This is perhaps most notable in generative art and music. Composers such as Brian Eno have developed and utilized software which can build entire musical scores from a few basic mathematical parameters.[43]

[edit]Artists as cyborgs

Artists have explored the term cyborg from a perspective involving imagination. Some work to make an abstract idea of technological and human-bodily union apparent to reality in an art form utilizing varying mediums, from sculptures and drawings to digital renderings. Artists that seek to make cyborg-based fantasies a reality often call themselves cyborg artists, or may consider their artwork “cyborg”. How an artists and work may be considered cyborg will vary depending upon the interpreter’s flexibility with the term. Scholars that rely upon a strict, technical description of cyborg, often going by Norbert Weiner’s cybernetic theory and Manfred E. Clynes and Nathan S. Kline’s first use of the term, would likely argue that most cyborg artists do not qualify to be considered cyborgs. [44] Scholars considering a more flexible description of cyborgs may argue it incorporates more then cybernetics. [45] Others may speak of defining subcategories, or specialized cyborg types, that qualify different levels of cyborg at which technology influences an individual. This may rang from technological instruments being external, temporary, and removable to being fully integrated and permanent. [46] Nonetheless, cyborg artists are artists. Being so, it can be expected for them to incorporate the cyborg idea rather then a strict, technical representation of the term, [47] seeing how their work will sometimes revolve around other purposes outside of cyborgism. [44]

[edit]In body modification

As medical technology becomes more advanced, some techniques and innovations are adopted by the body modification community. While not yet cyborgs in the strict definition of Manfred Clynes and Nathan Kline, technological developments like implantable silicon silk electronics[48], augmented reality[49] and QR codes[50] are bridging the disconnect between technology and the body. Hypothetical technologies such as digital tattoo interfaces[51] [52] would blend body modification aesthetics with interactivity and functionality, bringing transhumanist discourse into present day reality.

[edit]In popular culture

Main article: Cyborgs in fiction

Cyborgs have become a well-known part of science fiction literature and other media. Examples include RoboCopTerminators (despite the fact that Terminators are ); Steve Austin‘s The Six Million Dollar ManBlade Runner‘s Replicants (which, again, are technically androids); Doctor Who‘s Daleks and CybermenStar Trek‘s BorgStar Wars‘s’ Darth VaderLuke Skywalker, and General GrievousBattlestar Galactica‘s 2004 reimagining of Cylons. Note that several of these are technically androids, not cyborgs (Terminators, Replicants, and Cylons). Other examples include characters from manga and anime such as 8 Man (the inspiration for Robocop), Kamen RiderGhost in The Shell‘s Motoko Kusanagi, as well as characters from western comic books like Tony Stark (after his Extremis and Bleeding Edge armor) and Victor “Cyborg” Stone. The Deus Ex videogame series deals extensively with the near-future rise of cyborgs and their corporate ownership, as does the Syndicate series.

[edit]Cyborgization in critical deaf studies

Joseph Michael Valente, describes “cyborgization” as an attempt to codify “normalization” through cochlear implantation in young deaf children. Drawing from Paddy Ladd’s work on Deaf epistemology and Donna Haraway’s Cyborg ontology, Valente “use[s] the concept of the cyborg as a way of agitating constructions of cyborg perfection (for the deaf child that would be to become fully hearing)”. He claims that cochlear implant manufacturers advertise and sell cochlear implants as a mechanical device as well as an uncomplicated medical “miracle cure”. Valente criticizes cochlear implant researchers whose studies largely to date do not include cochlear implant recipients, despite cochlear implants having been approved by the United States Food and Drug Administration (FDA) since 1984.[53]

[edit]Cyborg Foundation

In 2010, the Cyborg Foundation became the world’s first international organization dedicated to help humans become cyborgs.[54] The foundation was created by cyborg Neil Harbisson and Moon Ribas as a response to the growing amount of letters and emails received from people around the world interested in becoming a cyborg.[55] The foundation’s main aims are to extend human senses and abilities by creating and applying cybernetic extensions to the body,[56] to promote the use of cybernetics in cultural events and to defend cyborg rights.[57] In 2010, the foundation, based in Mataró (Barcelona), was the overall winner of the Cre@tic Awards, organized by Tecnocampus Mataró.[58]

[edit]References

  1. ^ “Cyborgs and Space [1],” in Astronautics (September 1960), by Manfred E. Clynes and Nathan S. Kline.
  2. ^ D. S. Halacy, Cyborg: Evolution of the Superman (New York: Harper and Row Publishers, 1965), 7.
  3. ^ Technology as extension of human functional architecture by Alexander Chislenko
  4. ^ A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century by Donna Haraway
  5. ^ Sterling, Bruce. Schismatrix. Arbor House. 1985.
  6. ^ Manfred E. Clynes, and Nathan S. Kline, (1960) “Cyborgs and space,” Astronautics, September, pp. 26–27 and 74–75; reprinted in Gray, Mentor, and Figueroa-Sarriera, eds., The Cyborg Handbook, New York: Routledge, 1995, pp. 29–34. (hardback: ISBN 0-415-90848-5; paperback: ISBN 0-415-90849-3)
  7. ^ OED On-line[dead link]
  8. ^ *Miah, Andy / Rich, Emma. The medicalization of cyberspace, Routledge (New York, 2008). p.130 ISBN 978-0-415-37622-8
  9. ^ Otto Bock HealthCare : a global leader in healthcare products | Otto Bock[dead link]
  10. ^ Vision questWired Magazine, September 2002
  11. ^ Macintyre, James BMI: the research that holds the key to hope for millionsThe Independent 29 May 2008
  12. ^ Warwick, K, Gasson, M, Hutt, B, Goodhew, I, Kyberd, P, Schulzrinne, H and Wu, X: “Thought Communication and Control: A First Step using Radiotelegraphy”, IEEProceedings on Communications, 151(3), pp.185–189, 2004
  13. ^ Byproduct: On the Excess of Embedded Art Practices, by Marisa Jahn, YYZBOOKS, 2010 December 4th
  14. ^ Alfredo M. Ronchi: Eculture: Cultural Content in the Digital Age. Springer (New York, 2009). p.319 ISBN 978-3-540-75273-8
  15. ^ Andy Miah, Emma Rich: The Medicalization of Cyberspace Routledge (New York, 2008) p.130 (Hardcover:ISBN 978-0-415-37622-8 Papercover: ISBN 978-0-415-39364-5)
  16. ^ Gray, Chris Hables, ed. The Cyborg Handbook. New York: Routledge, 1995
  17. ^ Lyotard, Jean François: The postmodern condition: A report on knowledge. Minneapolis: University of Minnesota Press, 1984
  18. ^ Chorost, Michael. “The Naked Ear.” Technology Review 111.1 (2008): 72–74. Academic Search Complete. EBSCO. Web. 8 Mar. 2010.
  19. ^ Murray, Chuck. “Re-wiring the Body.” Design News 60.15 (2005): 67–72. Academic Search Complete. EBSCO. Web. 8 Mar. 2010.
  20. ^ Haddad, Michel, et al. “Improved Early Survival with the Total Artificial Heart.” Artificial Organs 28.2 (2004): 161–165. Academic Search Complete. EBSCO. Web. 8 Mar. 2010.
  21. ^ Marsen, Sky. “Becoming More Than Human: Technology and the Post-Human Condition Introduction.” Journal of Evolution & Technology 19.1 (2008): 1–5. Academic Search Complete. EBSCO. Web. 9 Mar. 2010.
  22. ^ Baker, Sherry. “RISE OF THE CYBORGS.” Discover 29.10 (2008): 50–57. Academic Search Complete. EBSCO. Web. 8 Mar. 2010.
  23. ^ Gallagher, James. “Alzheimer’s: Deep brain stimulation ‘reverses’ disease”.
  24. ^ Thurston, Bonnie. “Was blind, but now I see.” 11. Christian Century Foundation, 2007. Academic Search Complete. EBSCO. Web. 8 Mar. 2010.
  25. ^ Military seeks to develop ‘insect cyborgs’Washington Times (13 March 2006). Retrieved on 29 August 2011.
  26. ^ Military Plans Cyborg Sharks. LiveScience (7 March 2006). Retrieved on 29 August 2011.
  27. ^ Lal A, Ewer J, Paul A, Bozkurt A, “Surgically Implanted Micro-platforms and Microsystems in Arthropods and Methods Based Thereon”, US Patent Application # US20100025527, Filed on 12/11/2007.
  28. ^ Paul A., Bozkurt A., Ewer J., Blossey B., Lal A. (2006) Surgically Implanted Micro-Platforms in Manduca-Sexta, 2006 Solid State Sensor and Actuator Workshop, Hilton Head Island, June 2006, pp 209–211.
  29. ^ Bozkurt A, Gilmour R, Sinha A, Stern D, Lal A (2009). Insect Machine Interface Based Neuro Cybernetics. IEEE Transactions on Biomedical Engineering, 56:6, pp. 1727–33.
  30. ^ Bozkurt A., Paul A., Pulla S., Ramkumar R., Blossey B., Ewer J., Gilmour R, Lal A. (2007) Microprobe Microsystem Platform Inserted During Early Metamorphosis to Actuate Insect Flight Muscle. 20th IEEE International Conference on Micro Electro Mechanical Systems (MEMS 2007), Kobe, JAPAN, January 2007, pp. 405–408.
  31. ^ Bozkurt A, Gilmour R, Stern D, Lal A. (2008) MEMS based Bioelectronic Neuromuscular Interfaces for Insect Cyborg Flight Control. 21st IEEE International Conference on Micro Electro Mechanical Systems (MEMS 2008), Tucson, AZ, January 2008, pp. 160–163.
  32. ^ Judy, Jack, Phd. “Hybrid Insect MEMS (HI-MEMS)”.Microsystem Technology Office. DARPA, Web. 5 Mar 2010.
  33. ^ Ornes, Stephen. “THE PENTAGON’S BEETLE BORGS.” Discover 30.5 (2009): 14. Academic Search Complete. EBSCO. Web. 1 Mar. 2010.
  34. ^ Cyborg beetles to be the US military’s latest weapon. YouTube (28 October 2009). Retrieved on 29 August 2011.
  35. ^ Bozkurt A, Lal A, Gilmour R. (2009) Radio Control of Insects for Biobotic Domestication. 4th International Conference of the IEEE Neural Engineering (NER’09), Antalya, Turkey.
  36. a b Guizzo, Eric. “Moth Pupa + MEMS Chip = Remote Controlled Cyborg Insect.”Automan. IEEE Spectrum, 17 Feb 2009. Web. 1 Mar 2010..
  37. ^ Judy, Jack, Phd. “Hybrid Insect MEMS (HI-MEMS)”.Microsystem Technology Office. DARPA, Web. 5 Mar 2010. Quote: “The intimate control of insects with embedded microsystems will enable insect cyborgs, which could carry one or more sensors, such as a microphone or a gas sensor, to relay back information gathered from the target destination.”
  38. ^ Extended-Body: Interview with Stelarc. Stanford.edu. Retrieved on 29 August 2011.
  39. ^ [2]
  40. ^ Tim Hawkinson. Tfaoi.com (25 September 2005). Retrieved on 29 August 2011.
  41. ^ Man Has Camera Screwed Into Head – Bing Videos. Bing.com. Retrieved on 29 August 2011.
  42. a b Wafaa Bilal, NYU Artist, Gets Camera Implanted In HeadHuffington Post. Retrieved on 29 August 2011.
  43. ^ Generative Music – Brian EnoIn Motion Magazine. Retrieved on 29 August 2011.
  44. a b Tenney, Tom; “Cybernetics in Art and the Myth of the Cyborg Artist”; inc.ongruo.us; 29 December, 2010; March 9, 2012. | http://inc.ongruo.us/2010/12/29/cybernetics-in-art-and-the-myth-of-the-cyborg-artist/
  45. ^ Volkart, Yvonne; “Cyborg Bodies. The End of the Progressive Body: Editorial”; medienkunstnetz.de; March 9, 2012. |http://www.medienkunstnetz.de/themes/cyborg_bodies/editorial/1/
  46. ^ “What is a Cyborg? “; CyborgAnthropology.com; 18 Mar. 2012. |http://cyborganthropology.com/What_is_a_Cyborg%3F
  47. ^ Taylor, Kate; “Cyborg The artist as cyborg”; theglobeandmail.com; 18 February, 2011; Web; March 5, 2012. | http://www.theglobeandmail.com/news/arts/the-artist-as-cyborg/article1913032/
  48. ^ [3]
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  53. ^ Valente, Joseph Michael (2011). “Cyborgization: Deaf Education for Young Children in the Cochlear Implantation Era”Qualitative Inquiry 17 (7): 639–652.doi:10.1177/1077800411414006.
  54. ^ García, F.C. “Nace una fundación dedicada a convertir humanos en ciborgs”La Vanguardia, 1 March 2011.
  55. ^ Rottenschlage, Andreas “The Sound of the Cyborg” The Red Bulletin, 1 Mar 2011.
  56. ^ Redacción “Una fundación se dedica a convertir humanos en ciborgs” El Comercio (Peru), 1 Mar 2011.
  57. ^ Calls, Albert “”Les noves tecnologies seran part del nostre cos i extensió del cervell”” La Tribuna, 3 Jan 2011.
  58. ^ Martínez, Ll. “La Fundació Cyborg s’endú el primer premi dels Cre@tic”Avui, 20 Nov 2010
  • Haraway, Donna. “A Cyborg Manifesto: Science, Technology and Socialist-Feminism in the Late Twentieth Century.” The Transgender Studies Reader. Eds. Susan Stryker and Stephan Whittle. New York: Routledge, 2006. pp. 103–118.
  • Mitchell, Kaye. “Bodies That Matter: Science Fiction, Technoculture, and the Gendered Body.” Science Fiction Studies.Vol. 33, No. 1, Technoculture and Science Fiction (Mar., 2006), pp. 109–128

[edit]Further reading

  • Balsamo, Anne. Technologies of the Gendered Body: Reading Cyborg Women. Durham: Duke University Press, 1996.
  • Caidin, Martin. Cyborg; A Novel. New York: Arbor House, 1972.
  • Clark, Andy. Natural-Born Cyborgs. Oxford: Oxford University Press, 2004.
  • Crittenden, Chris. “Self-Deselection: Technopsychotic Annihilation via Cyborg.” Ethics & the Environment 7.2 (Autumn 2002): 127–152.
  • Franchi, Stefano, and Güven Güzeldere, eds. Mechanical Bodies, Computational Minds: Artificial Intelligence from Automata to Cyborgs. MIT Press, 2005.
  • Flanagan, Mary, and Austin Booth, eds. Reload: Rethinking Women + Cyberculture. Cambridge, Mass.: MIT Press, 2002.
  • Gray, Chris Hables. Cyborg Citizen: Politics in the Posthuman Age. Routledge & Kegan Paul, 2001.
  • Gray, Chris Hables, ed. The Cyborg Handbook. New York: Routledge, 1995.
  • Grenville, Bruce, ed. The Uncanny: Experiments in Cyborg Culture. Arsenal Pulp Press, 2002.
  • Halacy, D. S. Cyborg: Evolution of the Superman. New York: Harper & Row, 1965.
  • Halberstam, Judith, and Ira Livingston. Posthuman Bodies. Bloomington: Indiana University Press, 1995.
  • Haraway, Donna. Simians, Cyborgs, and Women; The Reinvention of Nature. New York: Routledge, 1990.
  • Klugman, Craig. “From Cyborg Fiction to Medical Reality.” Literature and Medicine 20.1 (Spring 2001): 39–54.
  • Kurzweil, Ray. The Singularity Is Near: When Humans Transcend Biology. Viking, 2005.
  • Mann, Steve. “Telematic Tubs against Terror: Bathing in the Immersive Interactive Media of the Post-Cyborg Age.” Leonardo 37.5 (October 2004): 372–373.
  • Mann, Steve, and Hal Niedzviecki. Cyborg: digital destiny and human possibility in the age of the wearable computer Doubleday, 2001. ISBN 0-385-65825-7 (A paperback version also exists, ISBN 0-385-65826-5).
  • Masamune ShirowGhost in the Shell. Endnotes, 1991. Kodansha ISBN 4-7700-2919-5.
  • Mertz, David. “Cyborgs”International Encyclopedia of Communications. Blackwell 2008. ISBN 0195049942. Retrieved 28 October 2008.
  • Mitchell, William. Me++: The Cyborg Self and the Networked City. Cambridge, Mass.: MIT Press, 2003.
  • Muri, Allison. The Enlightenment Cyborg: A History of Communications and Control in the Human Machine, 1660–1830. Toronto: University of Toronto Press, 2006.
  • Muri, Allison. Of Shit and the Soul: Tropes of Cybernetic DisembodimentBody & Society 9.3 (2003): 73–92.
  • Nishime, LeiLani. “The Mulatto Cyborg: Imagining a Multiracial Future.” Cinema Journal 44.2 (Winter 2005), 34–49.
  • The Oxford English dictionary. 2nd ed. edited by J.A. Simpson and E.S.C. Weiner. Oxford: Clarendon Press; Oxford and New York: Oxford University Press, 1989. Vol 4 p. 188.
  • Rorvik, David M. As Man Becomes Machine: the Evolution of the Cyborg. Garden City, N.Y.: Doubleday, 1971.
  • Rushing, Janice Hocker, and Thomas S. Frentz. Projecting the Shadow: The Cyborg Hero in American Film. Chicago: University of Chicago Press, 1995.
  • Smith, Marquard, and Joanne Morra, eds. The Prosthetic Impulse: From a Posthuman Present to a Biocultural Future. MIT Press, 2005.
  • The science fiction handbook for readers and writers. By George S. Elrick. Chicago: Chicago Review Press, 1978, p. 77.
  • The science fiction encyclopaedia. General editor, Peter Nicholls, associate editor, John Clute, technical editor, Carolyn Eardley, contributing editors, Malcolm Edwards, Brian Stableford. 1st ed. Garden City, N.Y.: Doubleday, 1979, p. 151.
  • Warwick, Kevin. I,Cyborg, University of Illinois Press, 2004.
  • Yoshito Ikada, Bio Materials: an approach to Artificial Organs

[edit]External links

Wikimedia Commons has media related to: Cyborgs

Neil Harbisson

Posted: April 15, 2012 in Art, Ciber

http://www.harbisson.com/Neil_Harbisson/Welcome.html

neilharbisson@gmail.com  // 0034 - 657 758 758 //  Facebook

ABOUT Neil Harbisson (27 July 1982) is a British-Catalan cyborg artist, musician and performer best known for his self-extended ability to hear colors. In 2004 he became the first person in the World to be fitted with an eyeborg and to be officially recognized as a cyborg by a government. Color and the use of technology as an extension of the performer’s body and senses are the central themes in Harbisson’s work. Neil Harbisson was born with achromatopsia, a condition that only allows him to see in black and white. He grew up in Mataró, Spain, where he studied music, dance and drama at various schools and began to compose piano pieces at the age of eleven. At the age of sixteen he started studying fine art at Institut Alexandre Satorras, where he was given special permission to use only black, white and gray colors in his works. Harbisson early works are all in black and white. Harbisson moved to Ireland in September 2001 to finish his piano studies at Dublin’s “Walton’s New School of Music”. In 2002 he moved to England to study Music Composition at Dartington College of Arts. THE EYEBORG In October 2003 in his second year at Dartington College of Arts, Harbisson attended a lecture on cybernetics, particularly on sensory extensions, given by Adam Montandon. Neil found this of immense interest and at the end of the lecture he went up to Adam to explain his condition. The eyeborg works with a head mounted camera that picks up the colors directly in front of a person, and converts them in real-time into sound waves. Neil memorised the frequencies related to each colour: high frequency hues are high-pitched, while low frequency hues sound bolder. In Vienna, they co-presented their eyeborg project, one of more than 400 entries from 29 different countries, and won the Europrix Award in Content Tools and Interface Design (2004), as well as the Innovation Award (Submerge, Bristol 2004). In 2007, while hitch-hiking around Europe, Harbisson met Peter Kese in Ljubljana, a software developer from Kranj, Slovenia. Kese offered to develop the eyeborg even further so that Harbisson could perceive color saturation and not only color hues. After a few weeks he had developed a new eyeborg model that allowed Harbisson to perceive up to 360 different hues through microtones and saturation through different volume levels. In 2010 Matias Lizana, a student from Universitat Politècnica de Catalunya developed the eyeborg into a smaller chip as part of his final year project. CYBORG PASSPORT In 2004, Harbisson was not allowed to renew his UK passport because his passport photo was rejected. The passport office would not allow Harbisson to appear with electronic equipment on his head. Harbisson wrote back to them insisting that the eyeborg should be considered part of his body as he had become a cyborg. Letters from his doctor, friends and his college were sent to the passport office to give him support. After weeks of correspondence Harbisson’s prosthetic device was included as confirmation of his permanent and embedded cyborg status. SONOCHROMATOPSIA / SONOCHROMATISM Harbisson uses the term sonochromatism or sonochromatopsia [sono-(Latin: sound) + chromat- (Greek: color)+ -opsia (Greek: visual condition)] to define his new condition. He explains that achromatopsia can no longer define his condition because achromatopsics can not perceive nor distinguish colors. He also explains that synesthesia does not define his condition accurately because the relation between color and sound varies depending on each person, whereas sonochromatopsia is an extra sense that relates color to sound objectively and equally to everyone. ART Before the eyeborg entered his life his works were all in black and white, the medium often charcoal. The eyeborg opened up a new palette of brightly coloured paints. Harbisson’s first showcase of color paintings was at the Port Eliot Festival in 2004. Followed by other showcases at the Bankside Gallery, Submerge Festival (Bristol), Ignition Showcase (Penzance), Museumsquartier (Vienna) and at the Royal College of Art Gallery (London). In 2007 Harbisson started hitch-hiking around Europe to find the main colors of capital cities, visiting more than 50 countries as well as travelling around Britain. He scanned each capital until he was able represent each city with two main hues. In Monaco, it was azure and salmon pink; in Bratislava it was yellow and turquoise; and in Andorra it was dark green and fuchsia. Under the title Capital Colors of Europe Harbisson has exhibited the colours of each capital in several European galleriesincluding Spain, Andorra, UK, and Croatia. The eyeborg not only allows him to perceive and paint in color but it also means that everyday sounds, such as ring tones or music, become associated with colours. Color Scores are a series of paintings where Harbisson transforms into color the first 100 notes of well-known musical pieces. Sound Portraits are portraits of people that Harbisson creates by listening to the colors of faces. Each face creates a different micro tone chord depending on its colours. In order to create a sound portrait he needs to stand in front of the person and point his eyeborg at the different parts of the face, he then writes down the different notes on a special 360 lined manuscript paper. He explains that photographs can not be used to create these portraits as colors are not the same on pictures than live. Since 2005 he has created sound portaits of Prince Charles, Antoni Tàpies, Leonardo di Caprio and Woody Allen among others. MUSIC The piano has been Neil’s instrument since he was a small child. He gravitated towards it quite naturally, since he hated even the existence of color. It was a black and white instrument, perfect for me. It was inevitable that his first performed composition as a cyborg was a marriage of paint and music. In Piano Concerto No. 1, first performed at Dartington College of Arts in 2004, Neil literally painted a Steinway & Sons piano, using the color frequencies to produce notes. With his next composition, the Pianoborg Concerto, Neil wanted to demonstrate to an audience exactly how he used the eyeborg. The piano was ‘prepared’, by attaching a computer to the underside, the sensor of the eyeborg being positioned above the keys. When a color was shown to the sensor, the computer picked up the frequency and relayed this to the piano, which then played the corresponding note. Neil said The piano was playing the pianist, which is what I wanted to achieve’. Harbisson’s first color to voice performances were in collaboration with Icelandic singer and Amiina violinist María Huld Markan Sigfúsdóttir (wife of Sigur Rós keyboardist Kjartan Sveinsson), in their performances María used a computer and a microphone to sing the microtonal color frequencies that Harbisson used while creating live paintings on stage. Their first performances were in 2004 at Ariel Centre (Totnes, UK) and at Plymouth Guildhall (UK) in 2005. Since 2008 Harbisson has been collaborating and performing with Catalan artist and musician Pau Riba with whom he shares the same interest in cyborgs. They first performed in 2008 at Sala Luz de Gas (Barcelona), followed by other performances in Barcelona, Girona and Mataró. One of their recent projects is Avigram (Avi- Latin: bird, -gram Greek: something written, drawn or recorded) a structure of 12 strings, one string for each semitone in an octave, installed on a roof of a farm. The installation is being recorded 24 hours a day and a melody is being created depending on which strings birds decide to rest on.