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The Racket
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Book Chapter
The Racket
2014
Overview
Previously I have argued that John Cage essentially had to adopt the position of the cyborg in order to hear sounds in themselves and that this pattern has been repeated via the use of audio technology by sound artists and theorists, who, I argued, developed “electronic ears” in order to make the inaudible audible.¹ Here I want to look at the environment required to hear sounds in themselves: the silence that needs to be imposed and the relationship that silence has to present political, physical, and social configurations. Let us return to this moment, in 1952, when Cage entered an
