to become the most remarkable manifestation
of ‘art made by all and not by one’.
–Jacques Villeglé
OK, I've been spending a lot of time locating music associated with Cage and Tudor, and I'll do my best to make at least some of it availible for you here. It's been interesting also to read about how quite a bit of this stuff, though it comes from out of the avant-garde, eventually rejects that "tradition" as elitist. Turning toward collective improvisation and socially accessible song, Cornelius Cardew in particular seeks to create a populist music which will activate the masses. To read his own statement on these matters, see his book Stockhausen Serves Imperialism.
The Great Learning
"Paragraph 2" (20:21)
"Paragraph 7" (21:51)
I'm sure each of us saw in reading Deleuze and Guatarri the other day quite a number of popular references, from novels, films (the Pink Panther, who paints the whole world pink) and music (Henry Mancini and "that ole man river, [that] just keeps on rollin' along"). It's easy enough to dismiss these as less-than-critical, if not outright embarassing. But I think it's important to acknowledge the extent to which Deleuze and Guatarri assemble their 1000 Plateaus out of bits and pieces (organs without bodies?) of the popular, or populist, landscape. This is very much in keeping with the visual practice of the day as exampled by the work of Jacques Villeglé, whose images (if we can even call them that) are the result of a multiplicity of anonymous acts of deterritorialization, each of which exists as a set of differential internal relations created through a multiplicity of uncoordinated external forces - sedimentation, scission, laceration, perforation, erosion, blanching, disintegration, and further sedimentation. In other words, in them we can glimpse production of art according to geological as opposed to organic forces.
"Long Live Chairman Mao"
"Revolution Is The Main Trend In The World Today"
"Red Flag Prelude"
"The East Is Red"
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