Notes
- Cary F. Baynes, translator's note to The I Ching or Book of Changes, the Richard Wilhelm translation rendered into English by Cary F. Baynes, with a foreword by C.G. Jung (New York: Pantheon Books, Bollingen Series XIX, 1950), p. xxi.
- Wilhelm used a text dating from the K'ang Hsi period (1662–1722) entitled Chou I Chê Chung as the basis for his I Ging das Buch der Wandlungen: Ertes und Zweites Buch, aus dem Chinesischen verdeutscht und erläutert von Richard Wilhelm (Dusseldorf/Cologne: Eugen Diederichs Verlag, 1924).
- C.G. Jung, foreword to The I Ching or Book of Changes, the Richard Wilhelm translation rendered into English by Cary F. Baynes, p. xiv.
- Ibid., p. iv.
- Ibid., p. xiv.
- The Bollingen edition includes an explanation of both yarrow stick and coin methods for obtaining a hexagram. For the coin method, one throws three coins simultaneously and records the number of yin and yang values, which correspond to the two faces of the coins and to numerical values: yin = 2 and yang =3. The sum of yin and yang values constitutes one line of a hexagram. (Cage did not necessarily follow this procedure exactly, nor was the I Ching the sole means through which he incorporated chance procedures in his compositional process.) For a detailed description, see: “On Consulting the Oracle,” in The I Ching or Book of Changes, the Richard Wilhelm translation rendered into English by Cary F. Baynes, pp. 392–5.
- See John Cage, Musicage: Cage Muses on Words, Art, Music, edited by Joan Retallack (Middletown, CT: Wesleyan University Press, 1996), p. 210. To aid this process, Cage used a chart—first included in the Bollingen edition—in which the sixty-four possible hexagrams are assigned a numerical value as reference.
- Richard Wilhelm, preface to The I Ching or Book of Changes, the Richard Wilhelm translation rendered into English by Cary F. Baynes, p. xxv.
- Cary F. Baynes, translator's note to The I Ching or Book of Changes, ibid., p. xxii. Baynes consulted Wilhelm's son, who reviewed the proofs of her English manuscript.
- Ibid.
- Walter Benjamin, “Die Aufgabe des Übersetzers” (1923), foreword to Benjamin's translation of selections from Charles Baudelaire's Les fleurs du mal (1857), published as Charles Baudelaire Tableaux-Parisiens (Heidelberg: Verlag Richard Weißbach, 1923). Unless otherwise indicated, I use Harry Zohn's translation (1968) of Benjamin's text as reproduced in Lawrence Venuti (ed.), The Translation Studies Reader, 2nd ed. (London: Routledge, 2004), pp. 75–85; hereafter, Benjamin.
- See Judith Butler, “Betrayal's Felicity,” Diacritics, 34 (1/Spring 2004): 82–7.
- Here, I use Carol Jacobs's translation. See Carol Jacobs, “The Monstrosity of Translation,” MLN, 90(6/Dec. 1975): 760.
- Benjamin, p. 75.
- Jacobs, “The Monstrosity of Translation,” p. 761.
- Ibid., p. 758.
- Paul de Man, “‘Conclusions' on Walter Benjamin's 'The Task of the Translator,' Messenger Lecture, Cornell University, March 4, 1983,” Yale French Studies, 69(1985): 33.
- Ibid.
- Benjamin, p. 79.
- See Nelson Goodman, Languages of Art: An Approach to a Theory of Symbols, 2nd ed. (Indianapolis, IN: Hackett, 1976).
- Michael Fried, “Art and Objecthood,” in Art and Objecthood: Essays and Reviews (Chicago, IL: University of Chicago Press, 1998), p. 164.
- Cage, Musicage, p. 91.
- John Cage, “On Robert Rauschenberg, Artist, and his Work” (1961), in Silence (Middletown, CT: Wesleyan University Press, 1961), p. 98.
- Ibid., p. 107.
- John Cage, “A Composer's Confessions” (1948), in Richard Kostelanetz (ed.), John Cage: Writer (New York: Cooper Square Press, 1993), p. 43.
- Cage did not use the I Ching to do so, but rather a system involving Tarot cards. See William Fetterman, John Cage's Theater Pieces: Notations and Performances (Amsterdam: Harwood, 1996), pp. 69–84.
- On day seven Cage removed rather than added a technique/process.
- If the plate lay entirely above the horizon line, it would not be used.
- Branden W. Joseph has done this convincingly, showing the degree to which the mutual importance of Rauschenberg and Cage to one another is quite significant, in his Random Order: Robert Rauschenberg and the Neo-Avant-Garde (Cambridge, MA: MIT Press, 2003).
- John Cage, “Lecture on Nothing” (1950), in Silence (Middletown, CT: Wesleyan University Press, 1961), p. 109.
- John Cage, Empty Words: Writings '73–'78 (Middletown, CT: Wesleyan University Press, 1979), p. 11.
- In the introductory text to Empty Words, ibid., Cage included the following: “Weekend course in Chinese language. Empty words. Take one lesson and then take a vacation. Out of your mind, live in the woods. Uncultivated gift.”
- See An Encyclopaedia of Translation: Chinese-English, English-Chinese, edited by Chan Sin-wai and David E. Pollard (Hong Kong: Chinese University Press, 1995).
- Richard Wilhelm, introduction to The I Ching or Book of Changes, the Richard Wilhelm translation rendered into English by Cary F. Baynes, pp. xlii-xliii.
- He also included an introduction, in which he addressed the use of and history of the I Ching, which served as a primer for the Western reader.
- Johann Wolfgang von Goethe, from the West-östlicher Diwan (1819), as “Translations” in Venuti, The Translation Studies Reader, p. 65.
- Ibid., p. 66.
- Jacobs's translation. See Jacobs, “The Monstrosity of Translation,” p. 760.