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Concerning ConsequencesStudies in Art, Destruction, and Trauma$
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Kristine Stiles

Print publication date: 2016

Print ISBN-13: 9780226774510

Published to Chicago Scholarship Online: September 2017

DOI: 10.7208/chicago/9780226304403.001.0001

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The Aesthetics of the Misfit: The Case of Henry Flynt and David Tudor (2004)1

The Aesthetics of the Misfit: The Case of Henry Flynt and David Tudor (2004)1

(p.263) The Aesthetics of the Misfit: The Case of Henry Flynt and David Tudor (2004)1
Concerning Consequences

Kristine Stiles

University of Chicago Press

This chapter examines the aesthetics of David Tudor as a performer and composer by situating his artistic aims within those of John Cage and Henry Flynt. As an interpreter-performer, Tudor trusted in and aspired to the moment when in following a score he could unexpectedly depart from it, reaching a point of independence and sovereignty in the creative act. Although Tudor was the consummate interpreter of Cage's work, his own aesthetic interests diverged considerably from Cage's rejection of self-expression, his pursuit of anonymity in the work, and his notions of freedom. Drawing on interviews with and statements by Tudor and other artists, the chapter discusses the aesthetics of the misfit found in the margins of work by artists like Flynt and Tudor. It also considers Tudor's views on freedom and expression as well as his sense of self, along with Flynt's theory of the creep personality.

Keywords:   aesthetics, David Tudor, John Cage, Henry Flynt, self-expression, freedom, sense of self, creep personality

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