John Cage Personality Type, MBTI
What is the personality type of John Cage? Which MBTI personality type best fits? Personality type for John Cage from Electronic & Experimental and what is the personality traits.
INTP (5w4)
John Cage personality type is INTP, the “Thinker”. This individual tends to keep his or her mind open to new ideas, which is very much in contrast to the other types, who are more closed off and steadfast in their views.
An INTP’s thoughts and ideas are highly original and peculiar, and they often have the habit of coming up with new and interesting perspectives and thoughts. They can be very creative and innovative, and often come up with new solutions and ways of doing things.
INTPs are generally extremely independent and independent minded individuals, who enjoy debating on new ideas and concepts. As such, they tend to be curious and intelligent thinkers, who can be very creative and innovative, and often come up with new solutions and ways of doing things.
INTPs are generally extremely independent and independent minded individuals, who enjoy debating on new ideas and concepts. As such, they tend to be curious and intelligent thinkers, who can be very creative and innovative, and often come up with new solutions and ways of doing things.
The INTP personality type is also often described as “non-conformist”.
John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer, music theorist, artist, and philosopher. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential composers of the 20th century. He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's romantic partner for most of their lives. Cage is perhaps best known for his 1952 composition 4′33″, which is performed in the absence of deliberate sound; musicians who present the work do nothing aside from being present for the duration specified by the title. The content of the composition is not "four minutes and 33 seconds of silence," as is often assumed, but rather the sounds of the environment heard by the audience during performance.
