Anti-Rationalism : John Cage's Anti-Rationalism

974 WordsAug 6, 20174 Pages
Anti-rationalism was around one person called John Cage who was the founder of this movement. John Cage was an influential music thinker in the 20th century; he thought that his purpose is to “eliminate purpose”, in which sounds could “just be”. In 1938, he interested in exploring music upon the absolute time rather than musical time. It is really hard to define Cage’s aesthetic style, but it was a new direction of modernism. E.g. 4’33’’ (both in music and installation) Rather than a musical composition or visual installation, the work 4’33’’ is a concept in art history. Therefore, I think there is no need to separate music and visual art. To be honest, 4’33’’ is the silence within 4’33’’ that presents ideas to the audience. Cage…show more content…
E.g. Philip Glass Philip Glass’s music has wild rage from opera to film; scores to symphonic etc. During his minimal period, he was likely to use cyclic structure and simultaneous repetition. However, in around 1980s, Glass gradually departed from minimal music and created clearly neo-tonal compositions. “Einstein on the Beach” was one of his minimal compositions. The most interesting part is the solo violinist dressed as Einstein that functions both as musician and theater character. Visual: Minimalism in visual art emerged in the 1960s, New York. This art movement was influenced by Greenburg’s doctrine that the progressive evolution toward flatness while artists started making an extreme visual reduction. Minimalism was a reaction to abstract expressionism, which created to against excessive gestural painting like Jackson Pollock. They were also like to use industrial materials in order to move the visual projects towards sculpture and against “formalism”(Arnason, 2013, p.510). Artists considered the importance of working environment due to they want audiences to experience the art through the body rather than eyes. E.g. Tony Smith Because the importance of environment, some of the minimalist works were in large sizes, such as Tony Smith’s Die. Smith believes that one had to experience art not merely imbibe

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