Chance, Indeterminacy, Multiplicity - Macba

58. John Cage, “Composition as Process
I: Changes” (1958), Silence, p. 28.
59. Ibid., p. 31.
60. Morton Feldman, Pierre Boulez,
John Cage, and Christian Wolff,
“4 Musicians at Work,” trans/formation,
Vol. 1, No. 3, 1952, p. 172; repr. as
“Statements by Morton Feldman,
John Cage and Christian Wolff,” in
Nattiez, (ed.), p. 107; and as Cage,
“Composition: To Describe the Process
of Composition Used in Music of
Changes and Imaginary Landscape
No. 4,” Silence, p. 59.
61. Cage, “45’ for a Speaker,” p. 159.
of experimental actions. As Cage wrote about his score, Variations I
(1958), “In this situation, the universe within which the action is
to take place is not preconceived. Furthermore, as we know, sounds
are events in a field of possibilities, not only at the discrete points
conventions have favored.” 58
By 1958, Cage consistently described his compositional processes
in terms of actualization. As he noted, for instance, in
“Composition as Process I: Changes,” “With tape and musicsynthesizers,
action with the overtone structure of sounds can
be less a matter of taste and more thoroughly an action in a
field of possibilities.” 59 More significantly, Cage’s compositional
practice followed the general lines of actualization. This was
evident as early as 1952, in Cage’s discussion of the superposition
chart in Music of Changes, where a sound was considered to
exist in a virtual state (was, in Cage’s terms, “possibly audible”),
and was only “actually audible” within certain conditions determined
by coin tosses according with the I Ching. As he described
the process in the journal trans/formation (the article he later
read to his New School class):
Each one of the events (1 to 8) is worked from the beginning to the end of the
composition. For instance, the 8th one is present from beginning to end but may
sound only during a structural space that has been defined by a toss (for Superpositions)
of 57 to 64 [in the I-Ching]. It is then not only present but possibly audible.
It becomes actually audible if a sound is tossed (rather than a silence) and if the
duration tossed is of a length that does not carry the sound beyond the structural
space open to it. 60
The multiple chart technique of Music of Changes, wherein individual
musical events arise out of the combination of different charts
and are not fully contained within any one of them, also begins to
hint at the process of actualization.
Actualization, however, was more clearly implemented in the pointdrawing
scores wherein sound was engaged or related to as a field.
As Cage describes the process in “45’ for a Speaker”:
To determine the number of imperfections in a given space, coins are tossed.
That number of spots is then potentially active. Subsequent tosses determine
which are actually active. Tables are arranged referring to tempi, the number of
superimpositions, that is to say number of things that can go on at once, sounds
& silences, durations, loudnesses, accents. 61
Shortly afterward, Cage associates his point-drawing technique
both with the notion of chance and with the more particularly
Bergsonian notions of life, duration, and virtuality (“potentiality”):
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