CFP: THE FUTURE OF CAGE: CREDO *EXTENDED TO 15 FEBRUARY 2012*

[T. Nikki Cesare]

* *Call for Papers extended to 15 february 2012****

**Send inquiries or proposals to cage.credo100 at gmail.com****

* *

*THE FUTURE OF CAGE: CREDO *

*John 1912 – 1992 – 2012 Cage*

* *

*Centre for Drama, Theatre, and Performance Studies*

*(formerly the Graduate Centre for Study of Drama)*

*University of Toronto*

*Toronto, Ontario, Canada*

*25–28 October 2012*

* *

*First Keynote Address by Allen S. Weiss*

Performance Studies and Cinema Studies, Tisch School of the Arts/NYU

author of *Breathless: Sound Recording, Disembodiment, and the
Transformation of Lyrical Nostalgia* (Wesleyan University Press, 2002)

* *

*The present methods of writing music […] will be inadequate for the
composer, who will be faced with the entire field of sound. *

*—John Cage, “The Future of Music: Credo,” 1937*

* *

            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,’ *4’33”*,
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.



            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.



            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.

            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 associated with Cage's legacy,
but are not necessarily about the man, his work, or influence directly.
These might include, but are not limited to:



   - ·      the work of chance in an age of digital reproduction
      - ·      the relationship between interdisciplinarity,
      multimediality, and intermediality
      - ·      the influence of extra-musical practices, such as Zen or
      gastronomy, on composition and performance
      - ·      the fluidity between text and score, and score and
      performance
      - ·      anecdotal methodologies, or stories as critical theory
      - ·      identity politics and artistic expression
      - ·      silence and the politics of having nothing to say and saying
      it
      - ·      through-composition and writing-through
      - ·      graphic notation and graphic imagination
      - ·      citationality, sampling, and re-enactment
      - ·      the relationship of music and dance, legacies of the
      Cage/Cunningham collaboration
      - ·      performative lectures, compositional technique, and pedagogy
      - ·      the canonization of indeterminate performance practice
      - ·      post/modern and post-Cagean performance

We invite scholars, intellectuals, and creative writers and artists to
submit proposals of no more than *350 words for a 20-minute talk or
performance*, as well as a brief biographical statement of no more
than 75words, by
*15 February 2012* to *cage.credo100 at gmail.com*.



**Join our Facebook page at http://www.facebook.com/groups/cage.credo100/***
*


T. Nikki Cesare
Assistant Professor
Centre for Drama, Theatre, and Performance Studies
     (formerly the Graduate Centre for Study of Drama)
University College Drama Program
Associate Member, Graduate Faculty, Faculty of Music
University of Toronto

Critical Acts Editor, TDR: The Drama Review
http://www.mitpressjournals.org/loi/dram

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