An ongoing text piece

(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 ...

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