Plastic Bag #26 - 2014 - Vilde Rolfsen

Plastic Bag as Humble Present by Josh Blackwell

The Mirror, 1975

we watched this in shame class today. it was mesmerizing but i need second watch to get a clear grasp of how all the elements function together. 


John Cage - 4’33”

On August 29, 1952, David Tudor walked onto the stage of the Maverick Concert Hall, near Woodstock, New York, sat down at the piano, and, for four and a half minutes, made no sound.

He was performing 4’33”, a conceptual work by John Cage. It has been called the “silent piece,” but its purpose is to make people listen.

“There’s no such thing as silence,” Cage said, recalling the première. “You could hear the wind stirring outside during the first movement. During the second, raindrops began pattering the roof, and during the third people themselves made all kinds of interesting sounds as they talked or walked out.”

Indeed, some listeners didn’t care for the experiment, although they saved their loudest protests for the question-and-answer session afterward. Someone reportedly hollered, “Good people of Woodstock, let’s drive these people out of town!” 

Composer and scholar Kyle Gann defines 4’33” as “an act of framing, of enclosing environmental and unintended sounds in a moment of attention in order to open the mind to the fact that all sounds are music.”

That last thought ruled Cage’s life: he wanted to discard inherited structures, open doors to the exterior world, “let sounds be just sounds.” Gann writes, “It begged for a new approach to listening, perhaps even a new understanding of music itself, a blurring of the conventional boundaries between art and life.”

—Alex Ross, Searching for Silence

Read Ross’s article on Cage’s 4’33” in its entirety here.

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every time i see this i laugh so hard i’m in physical pain

(via carpecarpio)

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Bas Jan Ader - I’m too sad to tell you (1971)


“Martin Margiela is the most discreet of all, he denies the presence of photographers. Tireless researcher, Martin Margiela is considered by his peers as the most radical creative of his generation. He did not hesitate to attack the structures of the garment, exposing the seams, cutting raw fabrics and emphasizing the body’s joints.” From L’Officiel February 1998