Confronted with the silence, in a setting we cannot control, and where we do not expect this kind of event, we might have any of a number of responses: we might desire for it to be over, or desire for more interesting sounds to listen to, or we might feel frightened, insulted, pensive, cultured, baffled, doubtful, bored, agitated, tickled, sleepy, attentive, philosophical, or, because we “get it”, a bit smug. That tensions will arise, with controversy and notoriety following, is only natural. Sitting quietly for any length of time is not something to which people are accustomed in Western culture in general, much less in a concert hall setting. The piece can be difficult for audiences (just as the empty room in the exhibition might have been). All this takes place in a Western concert hall setting, lending a historical and artistic gravity to the proceedings that begs us to put this act into some kind of weighty context, fraught with importance. The audience witnesses this very basic act, the act of sitting still and being quiet. The performer goes on stage and does nothing. Part of what makes the drama so compelling is the utter simplicity of the concept. With the right kind of performer, such an event can be riveting, and Tudor was absolutely the right kind of performer, possessing an understated mastery of the instrument and a seriousness of purpose that was palpable to everyone in attendance. He then closed the lid and walked off stage. He then closed and reopened the lid one more time, sitting silently this time for one minute and forty seconds.
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He reopened it, and then sat silently again for a full two minutes and twenty-three seconds. At its first performance, virtuoso pianist David Tudor sat at the piano, opened the keyboard lid, and sat silently for thirty seconds. To begin with, it is a compelling dramatic gesture. It is not surprising that this piece would attract the kind of attention that it has. It is a piece that has become a sort of icon in post-war culture, like Warhol’s soup cans: a punch line for jokes and cartoons the springboard for a thousand analyses and arguments evidence of the extremity of a destructive avant-garde that appeared in the 1950s and 60s. I would say that anyone who recognizes Cage’s name knows that he wrote a piece of music that consists entirely of silence. “Ah, the silent piece,” they might have said to themselves, smiling.Ĥ′ 33″, the silent piece, is easily John Cage’s most famous creation. But these visitors would have known that this is an exhibition about John Cage, and hence the empty room would make sense. Without any context, visitors would have been quite baffled by this, perhaps thinking that they had taken a wrong turn, that someone made a mistake, or (for those who like adventure) that a daring theft had taken place. People do not go to a museum to look at blank walls, to walk through empty galleries. It was an unusual idea for a museum show, since the whole purpose for visiting one is to witness things of beauty or interest. When this exhibition was originally conceived, at its center there was to be an empty room: “one completely bare gallery, which visitors will have to negotiate without explanation.” 2 The plans have changed now, and the empty room has disappeared, but this was the feature that caught my attention when I was asked to write an essay for this catalog. John Cage, “Where are we going? And what are we doing?” 1 The empty room Ideas are one thing and what happens another. I did have an idea something else would happen. Well what we do is go straight on that way lies, no doubt, a revelation. And then when we actually set to work, a kind of avalanche came about which corresponded not at all with that beauty which had seemed to appear to us as an objective. Originally we had in mind what you might call an imaginary beauty, a process of basic emptiness with just a few things arising in it. type = The wargoal to declare with.This essay was written for the catalog of the exhibition “John Cage and Experimental Art: The Anarchy of Silence” at the Museu d’Art Contemporani de Barcelona.Ĭopyright 2009 by James Pritchett. declare_war_on target = / The country to attack.Start game, load savegame and save as new file, exit game. Open 'Documents\Paradox Interactive\Hearts of Iron IV\settings.txt' with a text editor and change 'save_as_binary=yes' to 'save_as_binary=no'. Here are some explanations ) Note To make it work with new, generic created Admirals: 1.The tag of the country you wish for war to be declared upon (the defender). The tag of the country you wish to be the aggressor (start the war). Home Hoi4 declare war command Declare_war Command Help & Examples EU4 Cheat