To Whom It May Concern: An Invitation to Silence and Composition

John Cage dedicated his lectures and writing collected in Silence “To Whom It May Concern.” As it turns out, it concerns everyone, though most of us do our utmost to ignore it. Yet Silence is still in print, and the amorphous, variable audience Cage invoked in his dedication continues to grow. But if we can’t ask anything specific about Cage’s intended audience, can we at least ask, what is it that may concern us? When asked what Cage’s Silence is about, I usually say it’s about composition, the way we arrange things.

A recent neighborhood atlas project by students in the CAGE Lab (no relationship to John) contains a noise map of San Francisco neighborhoods. The atlas is a form of composition, an arrangement of nouns and verbs and objects, labeled to “tell different stories.” A map is a composition. Noise is usually heard symmetrically, but some in the audience may hear asymmetrically; concentric noise, proceeding in wave-circles, gets confused, as sound bounces and ricochets (gives and takes), pouring into one ear, squeezing into another. Composition is dynamic; silence is static. Sound is not linear (line-ear).

jOhN cAGE was born in 1912, and there’s much ado about his 100th birthday year at the John Cage site.

Related Post: On the Noise of Argument, where John Cage meets Seneca; or, There is No Silence – Bound to Sound