- What I’m proposing, to myself and other people, is what I often call the tourist attitude – that you act as though you’ve never been there before. If you really get down to brass tacks, we have never been anywhere before. [John Cage]
- The world of ideas which it discloses or illuminates . . . are the surest grounds of the title of mathematics to human regard, and would remain unimpeached and unimpaired were the plan of the universe unrolled like a map at our feet . . . [J.J. Sylvester]
In cooking the zest, or outer part of a lemon or orange, is called the zest. It imparts a special added quality to a recipe. In spiritual and personal development, zest is the quality of adding something new to the autonomous person, thereby making the person “larger” than before.
Freedom liberates us to pursue ends beyond sustenance and survival, to become creative more readily and to live in a way that people generally find fulfilling. Our challenge then is to take advantage of the opportunity: to see possibilities and act on them. When we see what is possible and open to the horizons before us, excitement begins to motivate us as the goal begins to appear nearer to our reach.
At this stage, we can see our ethical and spiritual journey taking shape. We have identified the shape of what being human means, and can mean. We have paused to acknowledge suffering, and to consider the humility that is necessary for us to begin to free ourselves. We have taken the baby steps of engagement and self-restraint, and recognized that there is an order in the ethical and spiritual life. Now, with the development of the ideas of autonomy and freedom, we are prepared to enter another stage in our development. All these underpinnings are necessary to competence in this and all the later stages. We experience difficulties in fulfilling our commitments to others and the self because one or more of these early stages has been left empty or unfulfilled. As we go forward, we will track our own progress, keeping an eye out for any signs that we should revisit an earlier stage. For now, however, it is time to press forward as free and autonomous beings prepared to make the most of life.
John Cage was an avant-garde American composer who drew on raw sounds for his compositions. Of his biography, fellow composer John Adams writes in review: "What emerges most powerfully in 'Begin Again' is Cage's enormous capacity for work, together with his exceptional self-discipline . . . and his willingness to approach every new challenge with a 'beginner's mind.'" We might observe that sounds are present everywhere, so that Cage was not observing anything new. That is true but for him the awareness was new. So it is for each of us as we see a new path or a new destination: both were always present but both are new to our awareness.
- Kenneth Silverman, Begin Again (Knopf, 2010). As the title suggests, Cage's career emphasizes the art of looking constantly for "a new creative beginning."
- John Cage, Silence: Lectures and Writings (Weslyan University Press, 1961).
- John Cage, A Year from Monday: New Lectures and Writings (Weslyan University Press, 1967).
- John Cage, M: Writings '67 to '72 (Weslyan University Press,1973).
- John Cage, Empty Words: Writings '73 to '78 (Weslyan University Press, 1979).
- John Cage, X: Writings '79 to '82 (Harper & Row, 1983).
- Kyle Gann, No Such Thing as Silence: John Cage's 4'33" (Yale University Press, 2010).
- Richard Kostelanetz, Conversing with Cage (Routledge, 2002).
- Kathan Brown, John Cage Visual Art: To Sober and Quiet the Mind (Crown Point Press, 2001).
- Marjorie Perloff and Charles Junkerman, John Cage: Composed in America (University of Chicago Press, 1994).
- John Cage
Documentary and Educational Films
Novels and children's books:
- David Wiesner, Flotsam (Clarion, 2006), a children's book about a camera, found on a beach, that transports us to the depths of the sea.
- Sándor Márai, Portraits of a Marriage (Knopf, 2011), proposing that “the greatest human yearning . . . is to recover that sense of belonging and possibility that attaches to childhood . . .”
- René Magritte, Perspicacity (1936)
- Lee Krasner, Free Space
- Alessandro Botticelli, A Young Man Being Introduced to the Seven Liberal Arts (1484-86)
Film and Stage
Music: Composers, artists, and major works
The musical form of prelude and fugue musically expresses the idea of adding something to an original form, transforming it into something new and interesting. Of course, Bach mastered this form with his two books of preludes and fugues for harpsichord, commonly known as “The Well-Tempered Clavier.” Those are presented under comprehensiveness, since Bach composed a prelude and fugue pair for each of the musical keys in the twelve-tone scale; but could as easily be offered here. Fortunately, one of our great composers was good enough to follow Bach’s example. Dmitry Shostakovich also composed a book of twenty-four prelude-and-fugue pairings (24 Preludes and Fugues for solo piano, Op. 87), in their totality representing all of the musical keys. Unlike Bach, he did not order the compositions in ascending order along the chromatic scale.
- Gallagher, Symphony No. 2, "Ascendant" (2013): 1. Boldly; 2. Playfully; 3. Slowly; 4. Slowly – Energetically – Moderately – Fast.
- Ķeniņš, Symphony No. 6, “Sinfonia ad fugam”
- BeauSoleil avec Michael Doucet, From Bamako to Carencro: Cajun music with cosmopolitan zest, resulting in an eclectic flavor
- Jane Ira Bloom, “Sixteen Sunsets”
My valiant fight! For I call it valiant, / With my father’s beliefs from old Virginia: / Hating slavery, but no less war.
I, full of spirit, audacity, courage / Thrown into life here in Spoon River, / With its dominant forces drawn from New England, / Republicans, Calvinists, merchants, bankers, / Hating me, yet fearing my arm.
With wife and children heavy to carry— / Yet fruits of my very zest of life.
Stealing odd pleasures that cost me prestige, / And reaping evils I had not sown; /
Foe of the church with its charnel dankness, / Friend of the human touch of the tavern; / Tangled with fates all alien to me, / Deserted by hands I called my own.
Then just as I felt my giant strength / Short of breath, behold my children / Had wound their lives in stranger gardens— / And I stood alone, as I started alone!
My valiant life! I died on my feet, / Facing the silence—facing the prospect / That no one would know of the fight I made.
[Edgar Lee Masters, “Jefferson Howard”]