‘Deconstruction, Mobile Hierarchies and Undecidability in John Cage’s Four⁶ and Hans-Joachim Hespos’ Weiβschatten.’

Research output: Chapter in Book/Report/Conference proceedingConference contribution

Abstract

Are you excited or puzzled (or even intimidated) when as a performer you are presented with either a virtually blank page, a collection of seemingly random numbers, or a visual explosion of alien symbols, distorted conventions, and a very great deal of ink? How does this suspension of control, if indeed it is a suspension, affect how we as performers interact with the composer of the work? And furthermore, who is the composer? This talk (with live demonstration) will consider the nature of the performer/composer interface in the interpretation of John Cage’s late time-bracket piece Four⁶ (1992) and Hans-Joachim Hespos’ virtuosic ‘Lied’ Weiβschatten (2017), both of which employ non-standard notation and elements of improvisation. Using the key concepts of undecidability, bricolage and play from the work of Jacques Derrida, I will explore how the mobile hierarchies present in these pieces have profound implications for deconstructive approaches to performance.

Original languageEnglish (US)
Title of host publicationBFE/RMA Conference 2019, University of Sheffield, UK
StateUnpublished - Jan 12 2019

Fingerprint Dive into the research topics of '‘Deconstruction, Mobile Hierarchies and Undecidability in John Cage’s Four⁶ and Hans-Joachim Hespos’ Weiβschatten.’'. Together they form a unique fingerprint.

Cite this