Introduction
John Cage (1912–1992) is primarily known as a pioneer of twentieth–century experimental music, but he was also involved in a myriad of other activities. The composer’s curiosity with nature is captivating to say the least. His zeal for the natural world manifested in a fascination with mushrooms which became more than just a hobby. These studies influenced the field of mycology and were an inspiration for his own writings and artistic output throughout a large portion of his career.
For Cage, the study and practice of hunting mushrooms began when he was a twenty–one year old aspiring composer during the height of the Great Depression. By 1952, Cage reevaluated his relationship to nature and began rigorously studying, gathering, and reading about wild mushrooms. In fact, by 1959 he famously won a contest on the popular Italian TV game show “Double or Nothing?” for accurately identifying twenty–four kinds of white-spore mushrooms listed in a specific mycological text from 1900 (over the thunderous applause from the audience the host ecstatically replied, “Bravissimo, bravo bravo bravo bravo. Bravo bravissimo, bravo Cage!”). That same year Cage taught a course on mushroom identification at the New School for Social Research in New York City showcasing his flourishing intellectual prowess and enthusiasm for the discipline.
Throughout the 1950s the composer increasingly saw the natural world and mushrooms as synonymous with sound. He imagined that in the future and through the use of amplification, any listener would be able to hear mushroom spores falling to the ground so these events could be enjoyed as music. In 1962 he reconstituted the previously defunct New York Mycological Society, and used foraging with the Society as a metaphor to his music. He preferred to travel to and from sites in new ways to observe different aspects of nature and mentioned, “When, however, we're obliged to go and come back by the same path, returning we notice mushrooms we hadn't noticed going out.” To a certain degree, this idea of variation permeates through his scores which allow performers to make their own decisions when playing his music; therefore, a lot of his music can be understood as a meditation on his experiences wondering through nature.
By the late 1960s, Cage amassed a large library of mycological texts and he needed more space in his New York apartment. He decided to donate his prized collection of mycological correspondence, photographs, books, periodicals, and art to UC Santa Cruz. These materials came to the University Library through a complex web of events that occurred and underscored Cage’s passion for the outdoors. However, the story behind this donation not only details Cage’s interest with mushrooms and the natural world, but also points to the story of UC Santa Cruz as a young forward-looking campus finding a remarkably unique identity. Cage recognized this and it influenced his decision to gift this major collection to the university.
During interviews in the 1970s Cage reiterated his anecdote, “If I had to live my life over again, I would be a botanist.” I see this statement not as a repudiation of music but as an affirmation for his dedication to nature and more specifically, mushrooms. Cage sought refuge in the open air, which a concert hall or city dwelling could not provide. Nevertheless, the foundation of Cage’s philosophy was listening. Therefore, the environment became a powerful forum for Cage’s sonic explorations.
The aim of this digital exhibit is not to recite popular narratives in Cage and mycology studies, but rather to re-examine the materials that are housed at UC Santa Cruz to better understand why Cage was interested in the natural world and explore these intersections in his artistic practice. Further, I use primary and secondary resources, and conduct interviews, to investigate the context and meanings of why the collection came to this educational institution. I have divided my exhibit into four sections:
The first section tracks the composer’s interest with these terrestrial specimens and examines conceptual relationships between how Cage viewed music and mycology.
The second section is a history of the mycology collection which explores how and why Cage donated some of his most important materials to UC Santa Cruz.
The third section concludes the exhibit. I reflect on my experiences as a Center for Archival Research and Training fellow and digital scholarship during the COVID-19 pandemic.
The fourth section acknowledges all of the wonderful individuals who have helped shape this project and includes a Fair Use Statement.
March 2021
I dedicate this digital exhibit to the founder and former head of UC Santa Cruz Special Collections, Rita Bottoms. Without her ambition and vision, the university "broom closet" would not have become the wonderful place it is today.