<p class="MsoNormal" align="center" style="margin-top:0px;margin-right:0px;margin-bottom:0px;margin-left:0px;text-align:center"><b><span style="font-family:'Times New Roman'"><span> </span>*<i>REMINDER: <span style="text-transform:uppercase">CALL FOR PAPERS</span></i></span></b><b><span style="font-family:'Times New Roman'">*</span></b></p>
<p class="MsoNormal" align="center" style="margin-top:0px;margin-right:0px;margin-bottom:0px;margin-left:0px;text-align:center"><b><span style="font-family:'Times New Roman'">*<i>Send inquiries or proposals to </i><a href="mailto:cage.credo100@gmail.com" target="_blank">cage.credo100@gmail.com</a></span></b><b><span style="font-family:'Times New Roman'">*</span></b></p>
<p class="MsoNormal" align="center" style="margin-top:0px;margin-right:0px;margin-bottom:0px;margin-left:0px;text-align:center"><b><span style="font-family:'Times New Roman'"> </span></b></p><p class="MsoNormal" align="center" style="margin-top:0px;margin-right:0px;margin-bottom:0px;margin-left:0px;text-align:center">
<b><span style="font-family:'Times New Roman'">THE FUTURE OF CAGE: CREDO</span></b></p><p class="MsoNormal" align="center" style="margin-top:0px;margin-right:0px;margin-bottom:0px;margin-left:0px;text-align:center">
<b><span style="font-family:'Times New Roman'">John 1912 – 1992 – 2012 Cage</span></b></p><p class="MsoNormal" align="center" style="margin-top:0px;margin-right:0px;margin-bottom:0px;margin-left:0px;text-align:center">
<b><span style="font-family:'Times New Roman'"> </span></b></p><p class="MsoNormal" align="center" style="margin-top:0px;margin-right:0px;margin-bottom:0px;margin-left:0px;text-align:center"><b><span style="font-family:'Times New Roman'">Centre for Drama, Theatre, and Performance Studies</span></b></p>
<p class="MsoNormal" align="center" style="margin-top:0px;margin-right:0px;margin-bottom:0px;margin-left:0px;text-align:center"><b><span style="font-family:'Times New Roman'">(formerly the Graduate Centre for Study of Drama)</span></b></p>
<p class="MsoNormal" align="center" style="margin-top:0px;margin-right:0px;margin-bottom:0px;margin-left:0px;text-align:center"><b><span style="font-family:'Times New Roman'">University of Toronto</span></b></p><p class="MsoNormal" align="center" style="margin-top:0px;margin-right:0px;margin-bottom:0px;margin-left:0px;text-align:center">
<b><span style="font-family:'Times New Roman'">Toronto, Ontario, Canada</span></b></p><p class="MsoNormal" align="center" style="margin-top:0px;margin-right:0px;margin-bottom:0px;margin-left:0px;text-align:center">
<b><span style="font-family:'Times New Roman'">25–28 October 2012</span></b></p><p class="MsoNormal" align="center" style="margin-top:0px;margin-right:0px;margin-bottom:0px;margin-left:0px;text-align:center"><b><span style="font-family:'Times New Roman'"> </span></b></p>
<p class="MsoNormal" align="center" style="margin-top:0px;margin-right:0px;margin-bottom:0px;margin-left:0px;text-align:center"><b><span style="font-family:'Times New Roman'">First Keynote Address by Allen S. Weiss</span></b></p>
<p class="MsoNormal" align="center" style="margin-top:0px;margin-right:0px;margin-bottom:0px;margin-left:0px;text-align:center"><span style="font-family:'Times New Roman'">Performance Studies and Cinema Studies, Tisch School of the Arts/NYU</span></p>
<p class="MsoNormal" align="center" style="margin-top:0px;margin-right:0px;margin-bottom:0px;margin-left:0px;text-align:center"><span style="font-family:'Times New Roman'">author of <i>Breathless: Sound Recording, Disembodiment, and the Transformation of Lyrical Nostalgia</i> (Wesleyan University Press, 2002)</span></p>
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<i><span style="font-family:'Times New Roman'">The present methods of writing music […] will be inadequate for the composer, who will be faced with the entire field of sound.</span></i></p><p class="MsoNormal" align="right" style="margin-top:0px;margin-right:0px;margin-bottom:0px;margin-left:0.5in;text-align:right">
<i><span style="font-family:'Times New Roman'">—John Cage, “The Future of Music: Credo,” 1937</span></i></p><p class="MsoNormal" style="margin-top:0px;margin-right:0px;margin-bottom:0px;margin-left:0px"><i><span style="font-family:'Times New Roman'"> </span></i></p>
<p class="MsoNormal" style="margin-top:0px;margin-right:0px;margin-bottom:0px;margin-left:0px"><span style="font-family:'Times New Roman'"><span> </span>In a 1965 interview with Michael Kirby and Richard Schechner, John Cage defined theatre as “something which engages both the eye and the ear.” Cage’s multifaceted interdisciplinary output—which includes, in addition to his music composition, prolific writing, visual art, and his perhaps lesser known theatre pieces—similarly engages both the eye and the ear, yielding a broader consideration of both theatre and music even as it necessitates a reconsideration of such disciplinary categorization for artists and audiences alike. Like his infamous ‘silent piece,’ <i>4’33”</i>, which redefined the seemingly rational concepts of ‘silence’ and ‘music,’ Cage’s work as an artist and philosopher provides the brackets inside of which so much artistic practice has been and can be placed.</span></p>
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<span style="font-family:'Times New Roman'"><span> </span>This interdisciplinary conference is both a celebration of John Cage, 100 years after his birth, and an opportunity to explore Cage’s influence on music, writing, performance, and critical scholarship. Fundamental to the development of innovations in performance art, contemporary music, graphic notation, audience reception, and theories of social practice, Cage remains one of the most, if not the most, influential figures in twentieth- and twenty-first-century art and performance. Such a legacy necessarily resonates beyond any single artistic or historical trajectory, and “The Future of Cage: Credo” will explore not only Cage’s output, both artistic and philosophical, but its after-effects through a variety of fields, genres, and modes of presentation.</span></p>
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<span style="font-family:'Times New Roman'"><span> </span>Just as the composer for whom, in 1937, present modes of writing music might have been inadequate, current modes of critical analysis and presentation may not be entirely adequate in a post-Cagean world. We offer here a chance to face the expansive ‘field of Cage’ and to explore the significance of his work and thought beyond discipline, beyond history, and beyond Cage himself.</span></p>
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<span style="font-family:'Times New Roman'"><span> </span>We welcome scholarly papers and performative presentations across periods and genres on topics both about Cage and those that explore ideas, theories, sounds, and images that are <span>associated</span> with Cage's legacy, but are not necessarily about the man, his work, or influence directly. These might include, but are not limited to:</span></p>
<p class="MsoNormal" style="margin-top:0px;margin-right:0px;margin-bottom:0px;margin-left:0px"><span style="font-family:'Times New Roman'"> </span></p><p></p><ul><li><span style="font-family:Symbol"><span>·<span style="font:normal normal normal 7pt/normal 'Times New Roman'"> </span></span></span><span style="font-family:'Times New Roman'">the work of chance in an age of digital reproduction</span></li>
<li><span style="font-family:Symbol"><span>·<span style="font:normal normal normal 7pt/normal 'Times New Roman'"> </span></span></span><span style="font-family:'Times New Roman'">the relationship between interdisciplinarity, multimediality, and intermediality</span></li>
<li><span style="font-family:Symbol"><span>·<span style="font:normal normal normal 7pt/normal 'Times New Roman'"> </span></span></span><span style="font-family:'Times New Roman'">the influence of extra-musical practices, such as Zen or gastronomy, on composition and performance</span></li>
<li><span style="font-family:Symbol"><span>·<span style="font:normal normal normal 7pt/normal 'Times New Roman'"> </span></span></span><span style="font-family:'Times New Roman'">the fluidity between text and score, and score and performance</span></li>
<li><span style="font-family:Symbol"><span>·<span style="font:normal normal normal 7pt/normal 'Times New Roman'"> </span></span></span><span style="font-family:'Times New Roman'">anecdotal methodologies, or stories as critical theory</span></li>
<li><span style="font-family:Symbol"><span>·<span style="font:normal normal normal 7pt/normal 'Times New Roman'"> </span></span></span><span style="font-family:'Times New Roman'">identity politics and artistic expression</span></li>
<li><span style="font-family:Symbol"><span>·<span style="font:normal normal normal 7pt/normal 'Times New Roman'"> </span></span></span><span style="font-family:'Times New Roman'">silence and the politics of having nothing to say and saying it</span></li>
<li><span style="font-family:Symbol"><span>·<span style="font:normal normal normal 7pt/normal 'Times New Roman'"> </span></span></span><span style="font-family:'Times New Roman'">through-composition and writing-through</span></li>
<li><span style="font-family:Symbol"><span>·<span style="font:normal normal normal 7pt/normal 'Times New Roman'"> </span></span></span><span style="font-family:'Times New Roman'">graphic notation and graphic imagination</span></li>
<li><span style="font-family:Symbol"><span>·<span style="font:normal normal normal 7pt/normal 'Times New Roman'"> </span></span></span><span style="font-family:'Times New Roman'">citationality, sampling, and re-enactment</span></li>
<li><span style="font-family:Symbol"><span>·<span style="font:normal normal normal 7pt/normal 'Times New Roman'"> </span></span></span><span style="font-family:'Times New Roman'">the relationship of music and dance, legacies of the Cage/Cunningham collaboration</span></li>
<li><span style="font-family:Symbol"><span>·<span style="font:normal normal normal 7pt/normal 'Times New Roman'"> </span></span></span><span style="font-family:'Times New Roman'">performative lectures, compositional technique, and pedagogy</span></li>
<li><span style="font-family:Symbol"><span>·<span style="font:normal normal normal 7pt/normal 'Times New Roman'"> </span></span></span><span style="font-family:'Times New Roman'">the canonization of indeterminate performance practice</span></li>
<li><span style="font-family:Symbol"><span>·<span style="font:normal normal normal 7pt/normal 'Times New Roman'"> </span></span></span><span style="font-family:'Times New Roman'">post/modern and post-Cagean performance</span></li>
</ul><p></p><p class="MsoNormal" style="margin-top:0px;margin-right:0px;margin-bottom:0px;margin-left:0px"><span style="font-family:'Times New Roman'"> </span></p><p class="MsoNormal" style="margin-top:0px;margin-right:0px;margin-bottom:0px;margin-left:0px">
<span style="font-family:'Times New Roman'">We invite scholars, intellectuals, and creative writers and artists to submit proposals of no more than <b>350 words for a 20-minute talk or performance</b>, as well as a brief biographical statement of no more than 75<a name="134b9813d49ffe30__GoBack"></a> words, by <b>15 January 2012</b> to <b><i><a href="mailto:cage.credo100@gmail.com" target="_blank">cage.credo100@gmail.com</a></i></b>.</span></p>
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<b><i><span style="font-family:'Times New Roman'">*Join our Facebook page at <a href="http://www.facebook.com/groups/cage.credo100" target="_blank">http://www.facebook.com/groups/cage.credo100</a>/*</span></i></b></p>
<font face="arial, helvetica, sans-serif">T. Nikki Cesare<br>
Assistant Professor</font><div><font face="arial, helvetica, sans-serif"><span style="font-family:arial"><div>Centre for Drama, Theatre, and Performance Studies</div><div> (formerly the Graduate Centre for Study of Drama)</div>
</span></font></div><div><font face="arial, helvetica, sans-serif">University College Drama Program</font></div><div><font face="arial, helvetica, sans-serif">Associate Member, Graduate Faculty, Faculty of Music</font></div>
<div><font face="arial, helvetica, sans-serif">University of Toronto</font></div><div><font face="arial, helvetica, sans-serif"><br></font></div><div><div><div><font face="arial, helvetica, sans-serif">Critical Acts Editor, TDR: The Drama Review<br>
<a href="http://www.mitpressjournals.org/loi/dram" target="_blank">http://www.mitpressjournals.org/loi/dram</a><br><br>This email may contain confidential and privileged material for the sole use<br>of the intended recipient. Any review or distribution by others is strictly<br>
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