Creativity should take you new places so,
You have to:
1. Go somewhere new.
2. Experience it.
3. Write about it.
Well, I took the early train this Monday to go here:
the Hunterian Museum, Glasgow. Which is probably full of old things, which I like, only I can't say for sure because it was shut.
So I went here:
the Hunterian Art Gallery, which was open, and had some modern things in it. Including an exhibition of the visual art of John Cage.
I watched a 13mm film by Roy Kass, John Cage Painting Workshop. And then I had the poem.
Everybody else who found a new place and wrote about it can be found here:
Chance Operations
It’s wash 5, wet, 35, brush 4, wash 5, dry.
Rock 13, 33 and 12, brush 12, wash 7, wet.
Rock 14, at 25 and 29, brush 2, wash 7, wet.
61 and 12, brush 9, wash 2, wet, 61 and 12.
I divided the rocks into three groups, the big
ones, the medium ones, the little ones. Which
ones of the 46 do I actually use? Then when
I have my sheet of paper we divided all the
paper into 14 differences. The first day we
used the first fifteen stones, and then on the
second day we reduced the stones to a minimum
of three and a maximum of five and then on the
third day we went to one. I make a grid that is
sixty-four by sixty-four and that enables me,
with the use of the I Ching, to find out where
the upper left-hand corner goes. All the brushes
that we used were feathers and I like the feathers
because of, well, it gave me a kind of confidence,
because a feather is not a normal brush. Well,
we have twenty-six colours and we have seven
washes, so we use the table for seven or twenty-six.
And if we want mixed colours we can either mix
them with themselves, or can mix them with the
washes. I can tell which brush to use, in fact I
can tell everything that I ask, by means of the
chance operation. In fact the only thing I can’t
ask is the movement of the brush. I have to
accept what I do. What I enjoy seeing is a mark
that hasn’t been fiddled with. But when you draw
around a rock with a brush something else happens
that is closer to gesture than to the rock. The
slightest turn of the brush makes something
that is like handwriting. The principle, I think,
is that in a graphic work what happens horizontally
is very important because of the horizon, whereas
in music what happens vertically is important
because of the passage of time. It’s nice, isn’t it?
All of these things that I’m doing, like my music,
are done with chance operations. I ask questions.
The implication, if you use chance operations,
the implication is that every answer is good.
It’s wash 5, wet, 35, brush 4, wash 5, dry.
Rock 13, 33 and 12, brush 12, wash 7, wet.
Rock 14, at 25 and 29, brush 2, wash 7, wet.
61 and 12, brush 9, wash 2, wet, 61 and 12.
I divided the rocks into three groups, the big
ones, the medium ones, the little ones. Which
ones of the 46 do I actually use? Then when
I have my sheet of paper we divided all the
paper into 14 differences. The first day we
used the first fifteen stones, and then on the
second day we reduced the stones to a minimum
of three and a maximum of five and then on the
third day we went to one. I make a grid that is
sixty-four by sixty-four and that enables me,
with the use of the I Ching, to find out where
the upper left-hand corner goes. All the brushes
that we used were feathers and I like the feathers
because of, well, it gave me a kind of confidence,
because a feather is not a normal brush. Well,
we have twenty-six colours and we have seven
washes, so we use the table for seven or twenty-six.
And if we want mixed colours we can either mix
them with themselves, or can mix them with the
washes. I can tell which brush to use, in fact I
can tell everything that I ask, by means of the
chance operation. In fact the only thing I can’t
ask is the movement of the brush. I have to
accept what I do. What I enjoy seeing is a mark
that hasn’t been fiddled with. But when you draw
around a rock with a brush something else happens
that is closer to gesture than to the rock. The
slightest turn of the brush makes something
that is like handwriting. The principle, I think,
is that in a graphic work what happens horizontally
is very important because of the horizon, whereas
in music what happens vertically is important
because of the passage of time. It’s nice, isn’t it?
All of these things that I’m doing, like my music,
are done with chance operations. I ask questions.
The implication, if you use chance operations,
the implication is that every answer is good.
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