Carriage Discreteness, Incomplete Open Cubes, Wavelength

Brecht George (Chap. , 2), Brown Trisha (Chap. 1), Cage John (Chap. 2, , 1), Cale John (Chap. 8), Conrad Tony (Chap. 6, 8, 7, ), Darboven Hanne (Chap. 4), Duchamp Marcel (Chap. , 2, 3), Duchamp Teeny (Chap. 2), Flynt Henry (Chap. 2, 1), Forti Simone (Chap. 1), Glass Philip (Chap. 2), LeWitt Sol (Chap. 4, ), Lee Pamela (Chap. 4), Maierhof Michael (Chap. 5), Morris Robert (Chap. 5, 2, 3), Paxton Steve (Chap. 1), Rainer Yvonne (Chap. 1), Reich Steve (Chap. , 4, 2, 1), Riley Terry (Chap. 2), Satie Erik (Chap. 1), Snow Michael (Chap. 6, 7, ), Wagner Richard (Chap. 5), Young La Monte (Chap. 8, 1, 5), Zazeela Marian (Chap. 8)

Judson Dance Theater (Chap. 1), Theatre of Eternal Music (Chap. 8)

4′33″ (Chap. 2), Box with the Sound of its own Making (Chap. 2, 3, 5), Composition 1961, No. I, January I (Chap. 5), Compositions (Chap. 5), Presents (Chap. 7), String Loop (Chap. 7), The Flicker (Chap. 8), With Hidden Noise (Chap. 2)

Bewußtseinserweiterung (Chap. 6), Entgrenzung (Chap. 8), Flicker (Chap. 8), Intermedialität (Chap. 6), Materialität (Chap. 6, 8), Minimalismus (Chap. 1, 2, 4), Performativität (Chap. 1, 3, 8), Serialität (Chap. 3), Verräumlichung (Chap. 4), Verzeitlichung (Chap. 4), Wechselspiel der Künste / Paragone (Chap. 5), Zufallsverfahren (Chap. 2, 4), collage (Chap. 6), improvisation (Chap. 8), indeterminism (Chap. 2), notation (Chap. 3), participation (Chap. 3, 7), rhythm (Chap. 4), synchronicity (Chap. 4, 6)

1960 – 1980, 1950 – 1960, ab 1960, 1960 – 1980, 1900 – 1970, 1960 – 1970, 1960 – 1980, 1960 – 1980