His later methods allowed him to be controlled, yet the results would technically be uncontrollable. His signature method that he developed and used was to place the canvas on the floor, then walk on or around the canvas dripping, pouring, splatting, and splashing paint onto the canvas. This method allowed him to have a mixture of both choice and chance. This is because he had the choice of whether to splat, spray, pour, and many other methods. He also had the choice of the paint color. Finally, he had the choice on where each stroke is placed on the canvas. However, because of his stroking methods though, the paint had a mind of its own. When he poured paint on a canvas, it would splat and expand in all different directions. When he sprinkled paint with the flick of a brush, the location of each little paint blob was placed uncontrollably once it left the brush. When he dripped paint onto the canvas, the general location of each drip he intended may or may not have gone where he wanted it. It was because of these actions that allowed the actual look of each stroke up to chance. His paint, stroke, and placement were done by choice, but the actual look of his paintings were left to chance because he stroke reacted independently and …show more content…
It was a bit more difficult to leave the actual result up to chance like Pollock, but Cage still found ways to let his choices be met by chance. In his music, each piece had its own sound. Some pieces were repetitive and used little variation in tone or pitch, while others used only the sound of a piano-key cover closing. He has the choice of which instrument to use, how to use it, and the general idea of what it would sound like. On the other hand, it appears he would go into this state of emotional guidance. This emotional guidance would lead his actions to express himself in the purest form. His music does not appear it was made to please anyone in particular (although it might have been), rather it was the pure expression that allowed what he was feeling on the inside to come loose on the outside. For instance, in his piece titled 4’33”, he would go to the piano and not play a single key for four minutes and thirty-three seconds. This use of choice to not play a single key left it up to chance on what the silence would do for the