Skip to main content
Have a personal or library account? Click to login
4′33", Ideas, and Medium in Appreciating Conceptual Art Cover

4′33", Ideas, and Medium in Appreciating Conceptual Art

Open Access
|Mar 2021

References

  1. BBC News. ‘Radio 3 Plays Silent Symphony.’ 19 January 2004. http://news.bbc.co.uk/2/hi/entertainment/3401901.stm.
  2. Cage, John. Silence: Lectures and Writings. Hanover, PA: Wesleyan University Press, 1961.
  3. Carroll, Noël. ‘Cage and Philosophy.’ Journal of Aesthetics and Art Criticism 52 (1994): 9398. DOI: 10.1111/1540_6245.jaac52.1.0093
  4. Danto, Arthur C. The Transfiguration of the Commonplace: A Philosophy of Art. Cambridge, MA: Harvard University Press, 1981.
  5. Davies, Stephen. ‘John Cage’s 4′33″: Is It Music?’ In Themes in the Philosophy of Music, 1129. Oxford: Oxford University Press, 2005.
  6. Dodd, Julian. ‘The Ontology of Conceptual Art: Against the Idea Idea.’ In Art, Mind and Narrative: Themes from the Work of Peter Goldie, edited by Julian Dodd, 24160. Oxford: Oxford University Press, 2016. DOI: 10.1093/acprof:oso/9780198769736.003.0016
  7. Dodd, Julian. ‘What 4′33′′ Is.’ Australasian Journal of Philosophy 96 (2018): 62941. DOI: 10.1080/00048402.2017.1408664
  8. Dokic, Jérôme. ‘Music, Noise, Silence: Some Reflections on John Cage.’ Angelaki: Journal of the Theoretical Humanities 3 (1998): 10312. DOI: 10.1080/09697259808571987
  9. EBU Euroradio Orchestra. ‘Tribute to John Cage’s 4′33″.’ Directed by Emil Tabakov. Video, 4:47. https://www.youtube.com/watch?v=OovYr0w7BMA.
  10. Fleming, Richard, and William Duckworth. John Cage at Seventy-Five. London: Associated University Press, 1989.
  11. Gann, Kyle. No Such Thing as Silence: John Cage’s 4′33″. New Haven, CT: Yale University Press, 2010.
  12. Goldie, Peter, and Elisabeth Schellekens. Who’s Afraid of Conceptual Art? London: Routledge, 2010. DOI: 10.4324/9780203866047
  13. Goodman, Nelson. Languages of Art: An Approach to a Theory of Symbols. London: Oxford University Press, 1969.
  14. Herwitz, Daniel. ‘The Security of the Obvious: On John Cage’s Musical Radicalism.’ Critical Inquiry 14 (1988): 784804. DOI: 10.1086/448466
  15. Huron, David. Sweet Anticipation: Music and the Psychology of Expectation. Cambridge, MA: MIT Press, 2008.
  16. Kostelanetz, Richard. Conversing with CAGE. 2nd ed. New York: Routledge, 2003. DOI: 10.4324/9780203427033
  17. Kostelanetz, Richard. John Cage. New York: Praeger, 1970.
  18. Maier, Thomas M. Ausdruck der Zeit: Ein Weg zu John Cages stillem Stück. Saarbrücken: Pfau, 2001.
  19. Meyer, Leonard B. Emotion and Meaning in Music. Chicago: University of Chicago Press, 1956.
  20. Ravasio, Matteo. ‘What 4′33″ Also Is: A Response to Dodd.’ Australasian Journal of Philosophy 97 (2019): 395400. DOI: 10.1080/00048402.2018.1533570
  21. Revill, David. The Roaring Silence: John Cage; A Life. 2nd ed. New York: Arcade, 2014.
  22. Schellekens, Elisabeth. ‘Conceptual Art.’ In Stanford Encyclopedia of Philosophy, edited by Edward N. Zalta. Winter 2017 ed. Stanford University, 1997–. https://plato.stanford.edu/archives/win2017/entries/conceptual-art/.
  23. Šterbáková, Daniela. ‘Can We Hear Silence?’ Philosophia 48 (2020): 3353. DOI: 10.1007/s11406-019-00076-6
  24. Walton, Kendall L. ‘Style and the Products of the Processes of Art.’ In Marvelous Images: On Values and the Arts, 22148. New York: Oxford University Press, 2008.
  25. Wilde, Carolyn. ‘Matter and Meaning in the Work of Art: Joseph Kosuth’s One and Three Chairs.’ In Philosophy and Conceptual Art, edited by Peter Goldie and Elisabeth Schellekens, 119137. Oxford: Clarendon Press, 2007.
  26. Wittgenstein, Ludwig. Vermischte Bemerkungen. In Werkausgabe, vol. 8, Bemerkungen über die Farben, Über Gewiβheit, Zettel, Vermischte Bemerkungen, 446573. Frankfurt: Suhrkamp, 1992.
DOI: https://doi.org/10.33134/eeja.253 | Journal eISSN: 2571-0915
Language: English
Page range: 57 - 71
Submitted on: Oct 31, 2018
Accepted on: Apr 24, 2020
Published on: Mar 17, 2021
Published by: Helsinki University Press
In partnership with: Paradigm Publishing Services

© 2021 Daniela Šterbáková, published by Helsinki University Press
This work is licensed under the Creative Commons Attribution 4.0 License.