
I let it be known to my friends, and even strangers, as I was wandering around the country, ... that what was interesting me was making English less understandable. Because when it's understandable, well, people control one another, and poetry disappears --and as I was talking with my friend Norman O. Brown, and he said, "Syntax [which is what makes things understandable] is the army, is the arrangement of the army."
So what we're doing when we make language un-understandable is we're demilitarizing it, so that we can do our living....
It's a transition from language to music certainly. It's bewildering at first, but it's extremely pleasurable as time goes on. And that's what I'm up to. "Empty Words" begins by omitting sentences, has only phrase, words, syllables and letters. The second part omits the phrases, has only words, syllables and letters. The third part omits the words, has only syllables and letters. And the last part...has nothing but letters and sounds.
Here is a recording of Cage making this remark (in an interview before the performance of "Empty Words).


"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'"
that anyone has yet got the imaginative measure of that terrifying day six years ago. Certainly our Tolstoy has not crawled out of the rubble. The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man"). One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for
