Lily Brewer

In the wake of the Anthropocene hypothesis–which, at least in part, contends that anthropogenic sedimenta- tions are transforming previous geological compositions in literally fundamental ways–the intercalating of existing 'stories' and 'official proclamations' with transformative and erratic new layers seems of particular urgency. –Anna Sophie Springer and Etienne...

John Cage described in his interview with Richard Kostelanetz (1991) that he was moving away from his conceptual work on silence and was instead moving toward the themes and tropes of theatricality. In particular, theater in the round was a conceptual platform from which to jump: He decided against closing the audience out as with the proscenium theater in favor of an all-encompassing, interactive performance. In the proscenium theater, the interior architecture situates the audience members hierarchically and privileges the middle section over the sides. This seating arrangement positions the audience as mere observers, passive subjects of the performance. Instead, understanding theater as life, John Cage idealized each member of the audience as actor, performing composed music, talking or singing along, engaging with all five senses the environment around them. In composing what he would define as a theatrical piece, he defines theater as unrestrictedly as possible: “I would simply say that theater is something that engages the eye and the ear” (Kostelanetz 1987, 101).

[caption id="" align="aligncenter" width="434"] From 'Archigram' Archival Project[/caption] It was by walking that man began to construct the natural landscape of his surroundings. And in our own century we have formulated the categories for interpreting the urban landscapes that surround us by walking through them. Francesco Careri, Walkscapes:...