<html><head></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><div><div style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">Dear all,<div><br></div><div>Sorry for crossposting. Meteo Press are proud to announce the birth of TACET, a new bilingual (French/English) experimental music review. This issue is dedicated to John Cage. You can download Matthieu Saladin's introduction <a href="http://www.festival-meteo.fr/documents/introEN.pdf">here</a> and consult a few pages <a href="http://www.lespressesdureel.com/EN/ouvrage.php?id=2336&menu=">here</a>.</div><div>If you are interested, a paypal service is available on our website : <a href="http://www.tacet.eu/">www.tacet.eu</a></div><div><br></div><div>Kind regards,</div><div>Matthieu Saladin</div><div><br></div><div style="text-align: center; "><img alt="tacet" width="446" height="640" align="absmiddle" id="37e7bfb4-04d9-4099-837e-c605c018820f" apple-width="yes" apple-height="yes" src="cid:471B98F5-A9AE-4111-A041-BB57FCF8F660"></div><div style="text-align: center; "><br></div><div style="text-align: center; "><div align="center"><p><span class="Style5" style="font-size: x-large; font-weight: bold; "><span class="Style13" style="color: rgb(255, 1, 152); ">TACET – experimental music review<br>issue 1 : Who is John Cage?</span><strong><br><a href="http://www.tacet.eu/">www.tacet.eu</a></strong></span></p><p><br></p></div><div align="center"><p><strong>ANNUAL & BILINGUAL JOURNAL</strong><br><strong>ISBN : 978-2-9539516-0-8 · ISSN : 2256 - 9006 · 532 pages<br>format : 160 x 230 mm | B&W · languages : English, French<br>december 2011<br><br>Issue edited by:<br>Matthieu SALADIN – IDEAT (Université Paris I - CNRS),<br>le Quai – école supérieure d'art de Mulhouse</strong></p><div> <br class="webkit-block-placeholder"></div><p align="justify">« Who is John Cage ? » On the occasion of the centenary of the composer's birth, this edition of TACET opens an investigation across a group of texts by researchers and musicians. It aims to revive essential problems that underlie Cage's oeuvre, but which continue to be profoundly at work in experimental music today.<br><br>TACET is a new research publication dedicated to experimental music. Published annually and bilingually (French, English), its ambition is to create an interdisciplinary and international space of rflection for this music, in all its aesthetic diversity.</p><p align="justify">TACET aims, on the side of experimental music, to contribute to the renewal of theoretical research by confronting and intersecting musicians'<br>speeches, studies coming from aesthetics and philosophy of art, from the critical renewal of musicology, from cultural studies and gender studies, from political thought, from social sciences and geography.</p><p align="justify"><b>TABLE OF CONTENTS</b></p><p align="justify">Matthieu S<span class="Style10" style="font-size: 14px; ">ALADIN</span>, <em>Introduction. John Cage tested by a few<br>"field situations"</em><br><br><span class="Style13" style="color: rgb(255, 1, 152); ">[FLUX]<br>In search of John Cage</span><br>Philip G<span class="Style10" style="font-size: 14px; ">ENTRY</span>, <em>The Cultural Politics of 4’33”: Identity and Sexuality</em><br>Sarah T<span class="Style10" style="font-size: 14px; ">ROCHE</span>, <em>Cage as Frankenstein: Monstrosity and<br>Indeterminacy of Performance</em><br>Jean-Yves B<span class="Style10" style="font-size: 14px; ">OSSEUR</span>, <em>The Question of Cage’s Legacy<br></em><br><span class="Style13" style="color: rgb(255, 1, 152); ">Thinking the silence</span><br>Xabier E<span class="Style10" style="font-size: 14px; ">RKIZIA</span>, <em>Listening To Our Own Deafness</em><br>Seth K<span class="Style10" style="font-size: 14px; ">IM</span>-C<span class="Style10" style="font-size: 14px; ">OHEN</span>, <em>I Have Something To Say, But I’m Not Saying It</em><br>Michael P<span class="Style10" style="font-size: 14px; ">ISARO</span>, <em>Nicht alles, nicht nichts : etwas. The opposing<br>tensions of John Cage’s 0’00’’ and Roaratorio</em><br><br><span class="Style13" style="color: rgb(255, 1, 152); ">Conceptual Music : Cage, below & beyond<br><span class="Style14" style="color: rgb(0, 0, 0); ">Sophie S<span class="Style10" style="font-size: 14px; ">TÉVANCE</span>, <em>John Cage Tunes Into the Redefinition of<br>the Musical Field by Marcel Duchamp and the Emergence<br>of a Conceptual Music</em><br>M<span class="Style10" style="font-size: 14px; ">ATTIN</span>, <em>Cage as a Cage : Towards Conceptual Improvisation</em></span><br>Documents<br><span class="Style14" style="color: rgb(0, 0, 0); ">John C<span class="Style10" style="font-size: 14px; ">AGE</span>, <em>A Composer’s Confessions</em><br><em>John Cage’s Library Reconstructed Through His Sayings and Writings</em></span><br>[INFLUX]<br><span class="Style14" style="color: rgb(0, 0, 0); ">Matthieu S<span class="Style10" style="font-size: 14px; ">ALADIN</span>, <em>The Fetish Character in Experimental Music</em><br>Radu M<span class="Style10" style="font-size: 14px; ">ALFATTI</span>, <em>The Difference Between a Sea and a River is:<br>Two Consistencies of Different Kinds</em><br>Toshiya T<span class="Style10" style="font-size: 14px; ">SUNODA</span>, <em>Field Recording and Experimental Music Scene</em><br>Jérôme N<span class="Style10" style="font-size: 14px; ">OETINGER</span>, <em>Aus den Sieben Tagen by Karlheinz Stockhausen</em></span></span></p></div></div></div></div><br></body></html>