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Filtering by Tag: John Cage

Silence's Volume

Jayne English

“Heard melodies are sweet, but those unheard are sweeter.”
John Keats

In a September post, I wrote about  how artists like John Muth, John Cage, and Suzanne Cleary open doors for us to explore what inhabits silence: movement in John Muth’s brushstrokes; sounds coming to life in Cage’s silent concert halls; or the feeling of suspended time in Suzanne Cleary’s poem “Elm Street.” Again, silence draws me back, this time, into its depths.

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Jayne English

Robert Rauschenberg’s  White Painting

Robert Rauschenberg’s White Painting

I do not know which to prefer,   The beauty of inflections Or the beauty of innuendoes, The blackbird whistling Or just after.
   — Wallace Stevens

I hear it first thing in the morning. Though it's not really silence. There's the whir of the fan, the slowly ticking clock. It's not so much the absence of sound that defines silence, but a moment when the second hand slows the spinning Earth and creates an expansiveness of time. Not just on the borderlands of waking and sleeping, we cross the threshold into this broad space more often than we realize. Usually artists take us there.

John Cage ushered us into this expansiveness in a concert hall. With a musician sitting quietly at the piano, we heard for 4’33” sounds that dwelled in the absence of the music; sounds the shifting audience made, sounds the building made as it breathed. Cage believed silence couldn’t be achieved because there are always sounds, even as he discovered two sounds in an anechoic chamber. In his book Silence: Lectures and Writings, he writes: “When I described them to the engineer in charge, he informed me that the high one was my nervous system in operation, the low one my blood in circulation.” Cage was influenced by . Which was simply that, canvases Rauschenberg had painted white (see image above). To Cage they were “not empty but supercharged with a kind of sacred joy.” Cage referred to the paintings as “airports for lights, shadows, and particles.” Silence, like an empty canvas, is a populated world.

Maybe silence was the world that opened to artist John Muth as he speaks about finding in brushstrokes “a quality to the line,” in the work of Japanese painters and calligraphers, that captured his attention as a young child. A quality that he carries into his own work. When he draws with children, he shows them that the “essential nature” of a subject “can be found very quickly in the movements of the lines.”

In her poem “Elm Street,” Suzanne Cleary leads us into this world of slow motion, of silence, by telling us the story of a man sitting on the porch with his guitar, not playing, but getting ready to play. The whole street is in a state of suspended animation before the first strings are strummed. She uses words like listen, pause, lost his place, the line halted, to help us step into the realm of silence. This is where the truck driver rolls down his window, not to call out to his neighbor, or shoo a dog out of the road. He rolls down the window to “stick an elbow out.” She tells us about the Matisse forger who could copy his paintings, “I mastered his line, it was his pause I could not master.” The whole poem is full of these heartbeats, like the music hall with a silent pianist. The poem doesn’t resolve with the man playing his guitar, it leaves us in this momentous expanse of time before he begins.

Clarinetist, Martin Frost describes entering this world when he speaks about his instrument. “‘What makes it special is the moment when silence suddenly starts to vibrate,’ he said. ‘Somewhere in that shadow land between silence and sound is the soul of the clarinet.’” He says “soul of the clarinet,” but you could easily fill in the blank with— the soul of the blackbird, the soul of the line of calligraphy, the soul of the neighborhood pulsing before the guitar strings are strummed.

What’s in the silence? Artists open its door for us, John Cage says, as “simply a way of waking up to the very life we're living.”