[silence] Cage font

[Laura Kuhn]

Hiya,

Indeed, the Cage font exists and is available via download from P22  
Type Foundry (p22.com).

Warmly (and happy holidays to all),

Laura Kuhn, Director
John Cage Trust at Bard College
15 Old Whalesback Rd.
Red Hook, N.Y.   12571
(845) 835-8022 (office)
(917) 293-8009 (mobile)



On Dec 20, 2007, at 12:04 PM, silence-request@list.mail.virginia.edu  
wrote:

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>    1. Re: silence Digest, Vol 67, Issue 17 (Chelle Macnaughtan)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Thu, 20 Dec 2007 18:21:44 +1100
> From: "Chelle Macnaughtan" <chelle.macnaughtan@rmit.edu.au>
> Subject: Re: [silence] silence Digest, Vol 67, Issue 17
> To: <silence@list.mail.virginia.edu>
> Message-ID: <476AB2B8020000580001CC29@its-gw-inet57.its.rmit.edu.au>
> Content-Type: text/plain; charset=US-ASCII
>
> 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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> End of silence Digest, Vol 67, Issue 19
> ***************************************