[silence] silence Digest, Vol 67, Issue 17

[Chelle Macnaughtan]

Can anyone elaborate on the Cage font set and extras set? Is there any published literature - do they actually exist as a font set? Also, apparently Rapidographs were introduced into the American market in 1953, but does anyone know who introduced them to Cage, the context, and any published information as to where Cage talks about the significance of Rapidographs for his penmanship?

Best,
Chelle

>>> Rob Haskins <rob_haskins@yahoo.com> 18/12/07 11:09 AM >>>
Oh, that Kostelanetz paper sounds very interesting--I wonder if he has published it somewhere?
Best,
Rob
 
Rob Haskins
Assistant Professor of Music
University of New Hampshire
rob_haskins@yahoo.com
http://robhaskins.net
http://musicandmiscellaneous.blogspot.com/

"Heroism doesn't consist in brilliantly combatting someone else. . . .  What is heroic is to accept the situation in which you find yourself."  -- John Cage




----- Original Message ----
From: Daniel Wolf <djwolf@snafu.de>
To: silence@list.mail.virginia.edu
Sent: Monday, December 17, 2007 12:45:03 PM
Subject: Re: [silence] silence Digest, Vol 67, Issue 17


The Cage Font set is a curious one; the characters chosen appear to
 have  
been chosen more for their individual features than for their
 suitability  
for use as a font, thus an entered text will not have the balance  
characteristic of Cage's own hand. And this, too: the "Cage Extras" set
  
includes, without attribution, a number of drawing fragments that Cage
  
took from the Thoreau Journals.

Regarding Feldman and Cage and manuscripts, I believe that several of
 the  
Feldman graph scores were actually published with Cage's own clean
 copy.  
Feldman said in San Diego that he owed Cage for introducing him to the
  
Rapidograph pen.

There are composers who care about the look of their manuscripts, and  
composers for whom the manuscript is simply a means to an end. There
 are  
composers with gifted hand, patience, and a graphic imagination, and
 there  
are composers lacking in these qualities.  Cage, like Harrison, had
 this,  
and the layout of his scores may or may not have had some debts to  
contemporary graphic arts.  Kostelanetz, at Wesleyan in '88, put
 forward a  
reasonable argument for the influence of Moholy-Nagy (who Cage
 encountered  
in Chicago) and used a number of Cage graphic examples to back this up
  
with not only some scores but, most memorably, a series of concert  
programs designed by the composer. My impression was that Cage himself
  
acknowledged this influence after Kostelanetz's presentation, but I am
 not  
certain.

Daniel Wofl


On Mon, 17 Dec 2007 18:04:18 +0100,  
<silence-request@list.mail.virginia.edu> wrote:

>
> Then there is this:  this is a font that's been around for a while -
 it
> suggests that the importance of Cage's "hand" goes in many
 directions:
> http://www.p22.com/products/cage.html
> Paul Beaudoin, PhD


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