Wittenburg says that composing these interludes was initially difficult but he took inspiration from John Cage’s approach of giving space to silence. The Berlin-based artist is referring to the experiments Cage did in an anechoic chamber at Harvard University in 1951, in which the American master concluded that absolute silence did not exist. Within the chamber, Cage heard two sounds, one high and one low – afterwards, an engineer explained that the high sound was his nervous system and the low one was his blood circulating throughout his system. Another great American composer, Pauline Oliveros, later observed that Cage was listening to the sounds caused by the early symptoms of the stroke he would later die from, and as such, according to Oliveros, while Cage was in the anechoic chamber he was ultimately listening to his future.
Ultimately Listening To His Future
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