“Imaginary Landscape No. 2 (March)” and No. 3, both dating from 1942, are for percussion instruments (tin cans, conch shell, ratchet, bass drum, buzzers, water gong, metal waste-basket and lion’s roar, accompanied by an amplified coil of wire attached to a phonographic tone arm in the case of No. 2; more tin cans and a muted gong, as well as electronic and mechanical devices including oscillators, vari-speed turntables playing frequency recordings, a buzzer, an amplified coil of wire, and amplified marimbula for No. 3). Both pieces were apparently composed as commentaries of sorts on the Second World War, and yes I do hear the intended undercurrents of “doom” and “impending destruction”, but I also hear Chinese carnival, and it is quite possible (other than at the conclusion of No. 3, which really is apocalyptic) to hear this music, which Cage intended to speak of insuperable trauma, as perfectly joyous. There’s no saying what a given listener’s ears might bring to the piece. That’s the sort of irony that Cage, with his devotion to indeterminacy, would no doubt have approved.
Die Computeranimation Anima 10 (Bettina Munk 2012) spielt mit dem Zufallsprinzip.
- Anima 10 in hoher Auflösung (Flash)
- Anima 10 für das iPad
- Anima 10 für das iPhone