On unpredictability

[...] (into this space life will come) [...] objects plucked from the real world by random, intentionally irrelevant methods and put in random juxtapositions. [...] fixed time segments and some kind of graphic, schematic, or diagrammatic notation [...] these notations are basically programs for activities; they renounce any specific control of the actual sound results but define the limits of choice, set out a possible field of activity , and explicitly deny the possibility of predicting any given result [...] instruments are objects to be acted upon [...] sounds are a series of unpredictable disturbances and interferences [...] Cage's famous silent work may be taken as a frame for the natural sounds of life, a segment of time isolated and defined in order to trap, for a moment, the experience of the haphazard, "real" world [...] or it may be taken as the zero point of perception where total randomness and aleatory meet total determination and unity in the literal experience of nothing [...]

Sources:
Eric Salzman, Twentieth Century Music: An Introduction (4th Edition)
Henri Cartier-Bresson

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