<p class="MsoNormal" align="center" style="text-align:center"><b><span style="font-size:16.0pt;font-family:"Times New Roman""><span> </span>*<i><span style="text-transform:uppercase">Call
for Papers extended to <span style="color:#c0504d">15
february 2012</span></span></i></span></b><b><span style="font-size:16.0pt;font-family:"Times New Roman"">*<i><span style="text-transform:uppercase"></span></i></span></b></p>
<p class="MsoNormal" align="center" style="text-align:center"><font class="Apple-style-span" size="4"><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></font></p>
<p class="MsoNormal" align="center" style="text-align:center"><b><span style="font-family:"Times New Roman""><font class="Apple-style-span" size="4"> </font></span></b></p>
<p class="MsoNormal" align="center" style="text-align:center"><b><span style="font-family:'Times New Roman'"><font class="Apple-style-span" size="4">THE FUTURE OF CAGE: CREDO </font></span></b></p>
<p class="MsoNormal" align="center" style="text-align:center"><b><span style="font-family:'Times New Roman'"><font class="Apple-style-span" size="4">John 1912 – 1992 – 2012 Cage</font></span></b></p>
<p class="MsoNormal" align="center" style="text-align:center"><b><span style="font-family:"Times New Roman""><font class="Apple-style-span" size="4"> </font></span></b></p>
<p class="MsoNormal" align="center" style="text-align:center"><b><span style="font-family:"Times New Roman""><font class="Apple-style-span" size="4">Centre for Drama, Theatre,
and Performance Studies</font></span></b></p>
<p class="MsoNormal" align="center" style="text-align:center"><b><span style="font-family:"Times New Roman""><font class="Apple-style-span" size="4">(formerly the Graduate
Centre for Study of Drama)</font></span></b></p>
<p class="MsoNormal" align="center" style="text-align:center"><b><span style="font-family:"Times New Roman""><font class="Apple-style-span" size="4">University of Toronto</font></span></b></p>
<p class="MsoNormal" align="center" style="text-align:center"><b><span style="font-family:"Times New Roman""><font class="Apple-style-span" size="4">Toronto, Ontario, Canada</font></span></b></p>
<p class="MsoNormal" align="center" style="text-align:center"><b><span style="font-family:"Times New Roman""><font class="Apple-style-span" size="4">25–28 October 2012</font></span></b></p>
<p class="MsoNormal" align="center" style="text-align:center"><b><span style="font-family:"Times New Roman""><font class="Apple-style-span" size="4"> </font></span></b></p>
<p class="MsoNormal" align="center" style="text-align:center"><b><span style="font-family:"Times New Roman""><font class="Apple-style-span" size="4">First Keynote Address by
Allen S. Weiss</font></span></b></p>
<p class="MsoNormal" align="center" style="text-align:center"><span style="font-family:"Times New Roman""><font class="Apple-style-span" size="4">Performance Studies and Cinema Studies,
Tisch School of the Arts/NYU</font></span></p>
<p class="MsoNormal" align="center" style="text-align:center"><span style="font-family:"Times New Roman""><font class="Apple-style-span" size="4">author of <i>Breathless: Sound Recording,
Disembodiment, and the Transformation of Lyrical Nostalgia</i> (Wesleyan
University Press, 2002)</font></span></p>
<p class="MsoNormal" align="center" style="text-align:center"><b><span style="font-family:"Times New Roman""><font class="Apple-style-span" size="4"> </font></span></b></p>
<p class="MsoNormal" align="right" style="margin-left:108.0pt;text-align:right"><i><span style="font-family:"Times New Roman""><font class="Apple-style-span" size="4">The
present methods of writing music […] will be inadequate for the composer, who
will be faced with the entire field of sound. </font></span></i></p>
<p class="MsoNormal" align="right" style="margin-left:36.0pt;text-align:right"><i><span style="font-family:"Times New Roman""><font class="Apple-style-span" size="4">—John
Cage, “The Future of Music: Credo,” 1937</font></span></i></p>
<p class="MsoNormal"><i><span style="font-family:"Times New Roman""><font class="Apple-style-span" size="4"> </font></span></i></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman""><font class="Apple-style-span" size="4"><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. </font></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman""><font class="Apple-style-span" size="4"> </font></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman""><font class="Apple-style-span" size="4"><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. </font></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman""><font class="Apple-style-span" size="4"> </font></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman""><font class="Apple-style-span" size="4"><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.</font></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman""><font class="Apple-style-span" size="4"><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:</font></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman""><font class="Apple-style-span" size="4"> </font></span></p><ul><ul><li><font class="Apple-style-span" size="4"><span style="font-family:Symbol"><span>·<span style="font:7.0pt "Times New Roman"">
</span></span></span><span style="font-family:"Times New Roman"">the
work of chance in an age of digital reproduction</span></font></li><li><font class="Apple-style-span" size="4"><span style="font-family:Symbol"><span>·<span style="font:7.0pt "Times New Roman"">
</span></span></span><span style="font-family:"Times New Roman"">the
relationship between interdisciplinarity, multimediality, and intermediality</span></font></li><li><font class="Apple-style-span" size="4"><span style="font-family:Symbol"><span>·<span style="font:7.0pt "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></font></li><li><font class="Apple-style-span" size="4"><span style="font-family:Symbol"><span>·<span style="font:7.0pt "Times New Roman"">
</span></span></span><span style="font-family:"Times New Roman"">the
fluidity between text and score, and score and performance</span></font></li><li><font class="Apple-style-span" size="4"><span style="font-family:Symbol"><span>·<span style="font:7.0pt "Times New Roman"">
</span></span></span><span style="font-family:"Times New Roman"">anecdotal
methodologies, or stories as critical theory</span></font></li><li><font class="Apple-style-span" size="4"><span style="font-family:Symbol"><span>·<span style="font:7.0pt "Times New Roman"">
</span></span></span><span style="font-family:"Times New Roman"">identity
politics and artistic expression</span></font></li><li><font class="Apple-style-span" size="4"><span style="font-family:Symbol"><span>·<span style="font:7.0pt "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></font></li><li><font class="Apple-style-span" size="4"><span style="font-family:Symbol"><span>·<span style="font:7.0pt "Times New Roman"">
</span></span></span><span style="font-family:"Times New Roman"">through-composition
and writing-through</span></font></li><li><font class="Apple-style-span" size="4"><span style="font-family:Symbol"><span>·<span style="font:7.0pt "Times New Roman"">
</span></span></span><span style="font-family:"Times New Roman"">graphic
notation and graphic imagination</span></font></li><li><font class="Apple-style-span" size="4"><span style="font-family:Symbol"><span>·<span style="font:7.0pt "Times New Roman"">
</span></span></span><span style="font-family:"Times New Roman"">citationality,
sampling, and re-enactment</span></font></li><li><font class="Apple-style-span" size="4"><span style="font-family:Symbol"><span>·<span style="font:7.0pt "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></font></li><li><font class="Apple-style-span" size="4"><span style="font-family:Symbol"><span>·<span style="font:7.0pt "Times New Roman"">
</span></span></span><span style="font-family:"Times New Roman"">performative
lectures, compositional technique, and pedagogy</span></font></li><li><font class="Apple-style-span" size="4"><span style="font-family:Symbol"><span>·<span style="font:7.0pt "Times New Roman"">
</span></span></span><span style="font-family:"Times New Roman"">the canonization
of indeterminate performance practice</span></font></li><li><font class="Apple-style-span" size="4"><span style="font-family:Symbol"><span>·<span style="font:7.0pt "Times New Roman"">
</span></span></span><span style="font-family:"Times New Roman"">post/modern
and post-Cagean performance</span></font></li></ul></ul><p></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman""><font class="Apple-style-span" size="4">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="134ec20cfc7a2764__GoBack"></a> words, by <b>15 February 2012</b> to <b><i><a href="mailto:cage.credo100@gmail.com" target="_blank">cage.credo100@gmail.com</a></i></b>.</font></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman""><font class="Apple-style-span" size="4"> </font></span></p>
<p class="MsoNormal" align="center" style="text-align:center"><font class="Apple-style-span" size="4"><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><i><span style="font-family:"Times New Roman""></span></i></font></p>
<font face="arial, helvetica, sans-serif"><div><font face="arial, helvetica, sans-serif"><br></font></div><div><font face="arial, helvetica, sans-serif"><br></font></div>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>
prohibited. If you are not the intended recipient, please contact the<br>sender and delete all copies.</font></div></div></div><br>
<br>