我絕對不可能忘記的，最具衝擊性的一個事件，是一九六二年秋天約翰‧凱吉 的演奏會。白南準 把整座鋼琴當成樂器，除了鍵盤之外，還用鐵槌敲打其他的部位，增幅音量，用喇叭中傳出的巨大暴力聲響攻擊聽眾的三半規管。凱吉也將桌上羅列的各式廚房用品發出來的現實聲響轉換成簡直像是哥吉拉或者是拉頓 怪獸的瘋狂咆嘯，以非常駭人的手法徹底破壞長久以來的音樂概念。他們將聽眾引進恐慌當中，讓他們感受日常的非日常化、隨機性引發的秩序破壞、存在的非存在──以這些效果為目標，徹底改寫藝術的價值觀。當然，我對現代主義設計的思考架構也受到強烈衝擊，徹底粉碎變成像是木屑一般。－－橫尾忠則 (Yokoo Tadanori, 日本前衛視覺藝術家）
(the translation is not the original text)
I would never forget, one of the most challenging event of my life, the John Cage concert in the fall of 1962. Nanjun Paik treated the entire piano as an instrument - besides the keyboard, he used hammers to bang on other part of the piano. When amplified, the noise transmitted from the speakers were so loud and violent that they completely attacked the semicircular canals of the audiences. Cage used the kitchenwares displayed on the table to transform sounds from daily life into crazy Godzilla-and-Rodan monsters-like roars. They radically destroyed the concepts music. They led the audience to complete panic, forced the audience to feel the oddity of daily-life-objects and to experience the chaos derived from chance, to witness the in-exisistence of beings. With these concepts in mind, Cage and Paik completely rewrote the value judgements of arts. As a result, my thoughts about modernism in design was impacted so tremendously and crushed as sawdusts.
-- Japanese designer, Yokoo Tadanori
(感謝 YenWei Zheng，Zhongqi Xie 提供資訊）
