About experimental composers, the example of John Cage and Notes for Project 002 (IV)

“Numerous experimental composers closely linked to the group of painters known as the New York School formalised their activity during the 1950s and 1960s. This group of musicians, including John Cage, Morton Feldman, Christian Wolff and Earle Brown, used musical notation and music scores in order to create a new context for sound. They based the structure of their pieces on rhythm, sounds and silences. For these musicians, the score was like a canvas or a presentation surface's "framework", and their creative activity was a way of returning liberty to music. In John Cage's words, they were trying to "free sound from music". In his piece 4'33'', Cage went even further by composing a piece that was free of sounds; in other words, a "frame" built around emptiness. Since the radical activity of these composers, music has ceased to be composed as points on a line and has begun to exist in a multidimensional sonic space, breaking down the barriers between art and life, abandoning intentionality and accepting indetermination.”

http://www.macba.es/controller.php?p_action=show_page&pagina_id=28&inst_id=24704&lang=ENG

Notes for the individual’s performance and the city’s motion pictures:
Incorporate the idea of pathbreaking deployment of chance and indetermination.