READING (CAGE) SILENCE
Mills College, California.
I. "Lecture on Nothing"
If silence is simply the space divided by sound, the one
called himself in the act of being nothing in spite of himself,
in return for hearing the form of what happens (position) whether
in Kansas or New York.
Or the half-way point of view beyond which limitations can also
be said to divide, passing from Virginia (part) over Kansas as
the tone one is making quite by accident.
Which isn't material, the exercise of something autobiographical
as a discipline or means of structure, the answer between the
third and sixth interval making what he chooses to call attention
As if to hear the sound of something anonymous, music like a
question working on the ear of the one whose structure expresses
itself, tonality the mind could be heard by every now and then.
That hearing could possibly let one see how permanent one is,
standing as the talk of sleep continues getting nowhere (more)
or the feeling one has suddenly lost a friend.
Here the feeling (slowly) of pleasure, somewhere in the middle
or after the fourth part (pleasure) getting to continue the original
feeling, beginning as talk now of being somewhere else.
The structure of a bridge, finished as the length of a Chinese
mirror "read" between the quarter-tone as a piece of
the Full Moon one thinks (music), the bronze that leads
to nothing but corn or wheat.
This idea composed therefore of repetition, not that it matters
which one said: I live in Kansas, I have no idea where, the present
I am calling myself is refreshing.
Measures likewise so divided, as if to have a discussion
of silence requires that I go on saying I am thinking (who) at
any present moment, whenever one wishes in spite of himself to
That which I am calling music is proof, that traveling is like
a thought whose climax may be present (home) and therefore might
not reappear involved when the telephone rings.
Nothing in return experienced if Kansas is like music, how different
one's willingness to hear the glass of milk measured by what
happens when it's poured.
All of this quite clear, the third part (length) expressing itself
if possible by passing through the structure of minutes divided
into act (way) and scene.
Hearing what he knows as something seen, New York for instance
what we make of it on the telephone simpler than the memory of
Kansas which enables us to think.
Blackbirds heard as the structure of this talk, the cardinal
quite by accident in a tree at the halfway point between nothing
and what she said is the way they flew.
To say more as you see about structure, and why shouldn't she
rise, understand what you say about the limits of material space
(here) "limited" by something she herself felt.
That I am talking and will go on at intervals, passionately,
like the sound of the character I realize in a second question
(child), being clear about the materials of music itself.
Or the pleasure perhaps in her mind, the exercise of sound on
the third or fourth or fifth lesson (talk) which made her want
to call it love, attention to where it went with other things.
However low the sound of abstraction, the tone on the side of
the ear being I had thought the letter that brings us back to
where we were, fascinated and contemporary, as the cadence of
Not that they didn't have to be actually present, meaning a "ghost"
is difficult to think of directly, separation like the sound
of something happening in the same letter (later) amplified to
be pleased by.
Avoiding what is difficult more than the feeling of talk or a
pleasure she said I want, the man beginning slowly to sleep who
happened to be young, whereas from that distance there are no
What then it seems we are getting at, the feeling of elevation
that continues after the fourth part somewhere else (more slowly)
being suddenly the pleasure of sleep, only more so.
Originally somewhere else, more and more the talk which will
continue to be a pleasure one would like, when suddenly I am
at the beginning of the feeling of pleasure (slowly) getting
That thought is a single method, anyone with whom I could sit
for any length of time (think) or listen to the sound of Moon
"read" in the two- or twelve-tone structure of music
whose time you imagine you will miss.
Someone recording what I know about nothing, because I live in
Kansas and when I leave it is gone, a repetition at any moment
(since) bound to be breathtakingly simpler than what is.
Simpler that is than what enables us to act, how uncertain it
is especially from a window, traveling as a present form (one)
that music is measured by as a memory of this.
Or the form of what happens figured out, that one may return
to Kansas (home) which is like the second or third part in a
rhythmic structure whose units we are resigned to, divided, approximate.
II. "Composition as Process"
In the section beginning with sound (idea) parts determined to
be used again precisely, this method affected by the present
action of the body opposed by what appears to be possible.
What happens either to sound (intention) divided in the original
series or events established in the listener's ear as a means
of separating this phenomenon, as punctuation for instance measures
differences between sounds, also more or less approximate.
One who increases the interval simply by walking toward what
he felt, sound in other cases multiplied by the addition first
of Piano and Orchestra, then of players analogous to shells
on a beach.
Something described horizontally (apparent) as a means of arranging
original events, this play of materials determined as an Imaginary
Landscape whose absence will be read as an attempt at speech.
This situation characteristic of sound which means to depart
from what is practical, the smallest parts (elements) necessary
as Variations, exactitude of measurement occurring at
discrete points on a line parallel to one's position with respect
It being said that action is less a matter of beginnings and
endings than the object, evident as notes in space suggest, conceived
as the effect of sound on the radio or the experience of weather
in precisely that place.
The experience of the man whose reply is immediate: "I remember
talking in a line about a plane passing overhead, something in
the distance like a question standing up, meaning that because
you are the subject you have lost a friend."
Which one is thinking in Music, Numbers in pencil eliminating
"the end" written as the first step (improvised) in
listening to what the other one is actually thinking, changes
in the original answer composed in ink.
By which I mean the sound of logic chosen as a form of walking
on a beach, this "method" (spontaneous) exactly measured
in one, two, three or four parts, one of which could as well
be based on "material" namely of the heart.
In terms of this action the body known, Interlude opposed
to a duration of potentially continuous moments written as a
series of numbers which became in the final example indeterminate,
as the line between one hand and the other disappeared.
This view for instance of extraordinary architecture characterized
by its silence, Construction therefore subsequent to the
material of sound itself, the listener who has entered into this
act in relationship to the player walking into the opposite room.
One who knows that one is repeating actual sounds in Metal,
Sixteen for instance the number of sounds used to compose
the background, a situation one counted on discovered in analysis
to be comparable to differences in frequency, timbre and taste.
Whether one is satisfied by a given line (character) consciously
or not, this play of Changes balanced by the subject described
in comparable notation, the absence of the vertical line affirmed
by examining its structure inside of that event.
Placing these five lines in order of their sounds, Concert
meaning that what is left at intervals perpendicular to that
movement holds for the following example, the remainder of the
physical square (half) equal to the person left in the room.
Some duration of sound suggesting space, circumstance or the
action of players in a history play, one voice (indicated) as
it approaches the object on a page therefore read from the left,
attention turned from the ear alone to what the person no longer
"That is not the story," standing either to ignore
its desire or walk the other way, the second question "explainable"
in one of three ways as a function of distance, the man "elevated"
on a hill meaning he could come as close to never having raised
The other man writing notes in pencil: the other end of Music
made in exactly the same way by listening to what it is, the
instrument one almost becomes in thinking difference changes
in the course of playing it, what he is doing (means) composed
The continuity of being given parts for example, bringing the
character who is also determined to express in performance the
possibility of material form, which is to say a method of notes
with respect to X.
Or someone feeling at the point of "sleep" given the
color of an outward reference (pertinent) at that point to a
table of numbers following that event, the subject in either
case comparable to his perception of interest in that.
X that is to say provided other elements in the work bring
about its function, which by doing something arbitrarily may
be controlled by structure (analysis) as the perception of numbers
organized in the following way.
The object possessed by the character (material) who wishes to
act conventional, where the presence of a beginning, middle and
end affect the performer who dictates his feelings (method) which
is to say where the beat will be led to its climax.
The form of the body single in this case, enabling it to be attached
to the situation of music on paper, x as it might have been printed
at several points in the work performed in an unforeseen sense,
stretched or unusually flat.
The situation of a building no matter when or what, being of
course part of the sound of its content, the architect identified
with respect to a procedure that repeats the object Music
(thought) Changes specifically at the center of its act.
Intersection characteristic of the composer's range of
control equally indeterminate, given that the performer in the
play may be viewed as driving "boxes" of sound in a
green light designated by the piano whose amplitude limits its
How the photographer may be his own subject, arbitrarily constructing
the picture to follow his perception of an object the camera
feels (analysis) going to "sleep," conscious of the
probability that he may not be doing that.
One who is sound asleep identifying the father, his answer interpreted
in a statement comparable to action no matter what, his knowledge
of each performer composed as a mental event whose fluency is
sometimes conscious, sometimes thought.
The relation of the instrument to its player for example on the
table, the work itself moving from the architect's blueprint
to the building (material) whose structure will be identified
from that point of view.
This performance limited by being written, the performer himself
expressive of certain practices in the tradition whose elements
prohibit continuity, something he himself may bring to its material
The man described by the example of his feelings, sound that
is to say (bias) like elements on the table equal to the person
who suggests these sounds according to the presence of certain
random theories of order.
The vertical position of the players involved in relation to
the continuity of the silence between them, rectangles in a two-dimensional
performance (system) removed for that reason in order to add
its length to its width.
What is being seen from the side (consciously) no matter what
the obstruction, the composer on the other hand knowing that
each event penetrates the inversion of a different event seen
from an opposite point of view.
Systems extending the performer's original function into
parts whose continuity is indeterminate, a drawing of the head
supplied to indicate the frequency of something (degree) characteristic
of that morphology, division, or number of lines.
The subject himself acknowledged, his feeling opposite to an
adjacent system arbitrarily viewed from the side (architecture)
following the length of its inversion organized in terms related
to its absence.
What that event becomes fixed in relation to its parts, a cubist
painting of an object perhaps or picture analogous to the flicker
it makes (purposeless) moving as an absence no matter what the
Likewise the object itself following its source, the amplitude
of the shift in a relationship (inversion) more than what is
present in each element for example, as the outcome of action
in contrast to itself.
One action irrelevant with respect to the other, interior in
that his response (frequency) includes material silence, a gamut
of limitations (vision) of particular length, the performance
of an available ending.
"Thought" itself calling the performer subject, a comparable
change in direction announced as an interruption (meanwhile)
of things approximate to events he prepares to notice by attaching
himself to what he leaves.
Being like a performance of an object, where the outcome of action
is not repeated as something other than seen, the knowledge that
it happened recorded in a second postcard, grasped like land
This sound spoken in the situation of a room in which the other
person is essential to physical space itself, its architecture
therefore an object which includes the separation of an audience
into its parts.
All of this possible as music, the players (two) who recognize
the sound of the second hand rising as if to depart, a suggestion
on the radio that the performance of action will be different,
What if the question happens in time, two sounds in four-part
harmony meaning one counts on something that is passing, the
body going forward in order to ask what it is you want to say.
Intersection for instance at this moment, monotonous in
the sense that each sound plays itself sometime (thinking) in
a separate room, one of us changing direction sooner than the
Simply to say one is going back, purposeless as the telephone
ringing or the effect of light in a glass of water (opposed)
penetrated by seeing it as an actual thing, thinking one is causing
Analysis as I say when it "should" be letting go of
components (variable) related by their failure to agree, like
fingers one says fumbling in the dark at the frequency of the
signal near the end.
What is actually meant by thinking one is at the center, what
you say "again" letting go of the difference between
each thought (independent) and a physical act, why the idea of
the first performance wasn't right.
How memory could be itself something to hear when he wasn't looking,
another body situated on the side of the theater unable to listen
to measurable phenomena, the sound of a plane in the middle of
Then asking "music" who has nothing to say, someone
nearer to the sound of an interval (word) in the nervous system
of the first one related to a second sound on the radio, appropriate
enough to be performed.
O whether it's active or not, applied as a method (music)
opposite to an acoustic action which opens the ear "taking
a nap," silence experienced as the difference between this
circle and a continuum of points.
Parts of this drama analogous to the physical presence of the
audience, intermediate nevertheless, diminished in notation as
a representative of itself (author) imagined as points on the
graph performed in light.
Which "voices" may begin to touch, the nostalgia of
a character continuous with his motion at a particular distance
X, the margin for example indicating that he has come
from somewhere (pitch) circular.
Monotony more subjective than this, finished forms of
motion said to be static, "global" in the sense that
a sequence of parts may be expressed by doing nothing simultaneously,
emphasis on itself.
Neglect in doing that of hearing and sight, the influence of
a method continued to its position at the root of "things,"
harmony transformed to imitate a collision of elements passing
like birds in the night.
"What" then of leaving, the subject turning in an opposite
direction (range) beginning to walk away, that impulse at night
for example neutralized by the position of the body on the ground,
People in a truck passing outside, the sound of the one you know
but can't hear in quotation (audience) looking at something
else, what has happened somewhere if the sound is not in words
but people going.
How if we are going forward we know how to stop, count backwards,
ask about the rhythm of water with respect to how it drops about
my head, hearing instead of physics the question I would ask.
Something about the "tongue" (thinking) temporarily
changing in another room, people one doesn't know slowing down
to talk about getting sleepy, her experience "real"
in that nothing happens, period.
Thought frequently produced in the same way, talking on the telephone
(contemporary) instead of asking something else in writing that
is to say, this "last" story separate from what is
The temperature in the room adding to this difference, disorder
in effect emphasized by "something" in another direction
(variable) second to that, thinking that one walks away without
having something to say.
Twelve tones in a series, the sound of writing itself situated
in the body (going) say when you go to sleep, what happens after
he opens his mouth measurable as the sound passing in a softer
Why in the middle of physical activity the performance starts,
which one of us says is going to sleep automatically, the other
potential namely an impulse (less) to say something more than
What "music" is appropriate whether it's performed
in agreement with the second one, serious enough to ask if someone
is nearer to the first one, vibrations related by an interval
in the middle of that.
Sound then thinking in his own mind, a question of light waves
seen before he asked to have it performed in his imagination
(broadcast) I repeat, music representative of a circle known
The graph at another point distance notes equivalent to itself,
admittedly present in performance as an acoustic experience one
is told, intermediate as syntax or "taking a nap"
speaking of that experience.
The same part touched (possible) in a continuous succession of
lines, simultaneous in that nothing is performed in the collision
between sound in the margin and the mind "voices" speak
in an opposite direction.
III. "Lecture on Something"
Something about everything changing, the man on the bus who has
nothing to say opposed to someone on paper, the atmosphere
on one side of the Intersection changed by what seemed
to be going on it "it."
It being separate, "contemplative" when he says what
will happen when he comes to the object of that passage, the
sound of the body precisely at rest, etc. rather than the shape
of its desire.
Someone whose "form will appear," like the sound of
an echo after it has happened or light on the mountain suddenly
gone, the consequence of its shadows different than the object
that makes it.
Otherwise continuity, as Hamlet means to accept the consequence
of what happens no matter what, the one being killed (spirit)
suggesting the musical terms for harmony, counterpoint, rhythm.
What the character in this situation chooses to say, meaning
he isn't acting diminished, something about the duration of what
happens at night answered by its relation to a permissible note.
The moment he is coming to rest, separate as an object turned
on itself or elevated at the beginning of an opposite idea, this
interruption (music) artificial in the sense that he is speaking
"That" said (talking) to be the difference between
the first sound and its performance by someone else, who isn't
actually pregnant but rather listening to the condition of the
impulse to hear it.
Going rather to happen, this action in reference to something
the foot continues to turn when the telephone rings, "silence"
a consequence of the idea of memory familiar as the way a table
How something doesn't stop, the window one forgot at the beginning
of a structure whose middle is occupied by other shoulders, speaking
of a number it isn't possible to accept.
Out of that thinking the man is separate (clearly) from what
happens, the effect of other action he doesn't observe regardless
of his feeling, the nervousness of continuity in another movie.
Before that the picture of movement in space, the one pointing
to the obstacle (disappearing) read as a condition of something
equal to "it," the fact of its difference not to be
"See" for instance the way an event happens to the
performer, the telephone he is going to answer (nothing) shifting
to the sound of talk in the section on counterpoint, meaning
This situation following in place of the right foot (something)
"going down," the way she puts it as far as possible
not to think "too much," emphatic as the painter who
invades the place he paints.
On the other side of the first section, its limits changing
the one who signs "it" above the work, nothing (equal)
to the consequence he speaks as music seems to become the composer
who is making it.
"Tranquil" suggesting the mountain at that point, the
form it takes in contemplation of itself written as a footnote,
disordered, which diminishes the area of silence associated with
Haiku like that, less than the effect of light or sound
on someone who makes it, saying it is also an illusion perhaps,
how its form may be pleasing the moment he wakes regardless of
No sound paradoxically at the opposite window, the other man
who means (exception) what he says a possible idea, the one murdered
at the door who vanishes at the end of the penultimate sentence.
These actions essentially out of character, as someone noted,
beginning with what is acceptable to the one who chooses to explain
it, being able to separate what simply happens from what it seems
Falling light in an irrelevant view, thought itself interrupted
in the middle of walking to the object (again) conclusively,
the idea called section without continuity meaning it
Someone possible at home "extraneous," the sound of
that condition direct as something stopping silence, listening
to the noise a word makes or "music" played on a piano
extinguished by that.
"What" about action, as someone said, the piece before
it difficult to conceive of, being as it turns out impossible
to continue, imagine, say that it doesn't happen when it almost
How many windows and doors, speaking of the rhythm of music itself,
which is to say a number one doesn't read, how it comes for example
in writing to mean the beginning or possibility of talk.
No action observed as an effect of what happens then, two people
at the piano eating an orange or feeling each other's activity
as a separate thing, confident except that the man is thinking
"That is" (against) something, the idea of a work attached
to saying it in a book read by others, philosophy or history
or something about the nature of music equal to its movement
(upwards) into air.
Mostly that something is abstract thought, how sculpture for
instance can be referred to by the performer (incident) shifting
in the last section to musical "time," generating nothing
Out of this "escape" (that is) conclusion, how the
tonic follows the dominant whether she keeps it going or not,
something he said about the principle of a letter coming back
to the same (made) place.
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