Arbeitshypothese:
„EINE VIELFALT DER ARTIKULATIONSRÄUME“ ist die Herangehensweise der Repräsentation mit den Werken der Künstler.
Ich führe im Folgenden ein Zitat aus dem Aufsatz „The Future of Music – Credo“ (1937) von John Cage an, da ich glaube, dass seine Gedanken zur „Semiotik und Semantik“ nicht nur in der Musik, sondern auch in der Bildenden Kunst gelten.
„I BELIEVE THAT THE USE OF NOISE
Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating. The sound of a truck at 50 m.p.h. Static between the stations. Rain. We want to capture and control these sounds, to use them, not as sound effects, but as musical instruments. Every film studio has a library of "sound effects" recorded on film. With a film phonograph it is now possible to control the amplitude and frequency of any one of these sounds and to give to it rhythms within or beyond the reach of anyone's imagination. Given four film phonographs, we can compose and perform a quartet for explosive motor, wind, heartbeat, and landslide.
TO MAKE MUSIC
If this word, music, is sacred and reserved for eighteenth- and nineteenth-century instruments, we can substitute a more meaningful term: organization of sound.“
(„The Future of Music – Credo“ von John Cage, 1937)
From John Cage: Documentary Monographs in Modern Art, edited by Richard Kostelanetz. Praeger Publishers, 1970. Scanned and re-formatted by Eluna.)