Surreal illustration of an ear morphing into a musical instrument

Unlocking Silence: How Experimental Art is Redefining Voice and Hearing

Beau Callahan in Culture & Society June 2025 • 4 min read.

"Discover how artists are challenging our perceptions of silence and sound, paving the way for new understandings of communication and disability."

For centuries, the concepts of 'voice' and 'hearing' have been cornerstones of human communication and understanding. What happens when these fundamentals are challenged and reshaped by the avant-garde? Experimental music and performance art are now radically questioning the established limits of hearing, voice, and even silence itself. This article delves into this fascinating intersection, revealing how artists are not only pushing creative boundaries but also fostering deeper insights into communication and disability.

The traditional notions of sound and speech often exclude or marginalize those who experience the world differently, particularly individuals with hearing impairments or speech disabilities. By exploring the works of innovative artists, we can reconsider normative assumptions about what constitutes 'valid' communication. This exploration reveals the potential for a more inclusive and nuanced understanding of voice and hearing.

Prepare to have your assumptions challenged as we explore groundbreaking works, including Brandon LaBelle's rendition of John Cage's 'Lecture on Nothing' and Nicholas Isherwood's interpretation of Maurizio Kagel's 'Phonophonie.' These pieces serve as critical lenses through which we can examine the evolving relationship between silence, sound, and human expression. Each offers a unique perspective on the diverse possibilities of voice and communication.

Redefining the Boundaries: 'Lecture on Nothing' and 'Phonophonie'

Surreal illustration of an ear morphing into a musical instrument

Brandon LaBelle’s interpretation of John Cage’s 'Lecture on Nothing' is a pivotal work in this re-evaluation. LaBelle’s rendition features an audio recording of the text read by David Kurs, a deaf person. This bold choice challenges listeners to reconsider their preconceived notions about speech and communication. By featuring a voice that defies conventional expectations, LaBelle prompts us to ask: What does it mean to speak without hearing one’s own voice? This question invites a profound exploration of the physical and performative aspects of speech.

The inclusion of a deaf person's voice isn't about stigmatization or creating a spectacle. It is about questioning the foundations of how we perceive and value different forms of expression. As Tobin Siebers notes in 'Disability Theory,' disability provides theories of embodiment that are more complex than the standard ideology of ability. Kurs's voice becomes a powerful tool for exploring the act of forming speech, highlighting the creative potential inherent in diverse vocal expressions.

Exploring the depths of 'Lecture on Nothing', LaBelle’s rendition asks key questions:

To what extent can one hear one's voice in the act of speech?
What is truly being communicated in this process?
Who is entitled to speak, and in what way?
Ultimately, what is heard beyond the conventional understanding of speech?

Maurizio Kagel's 'Phonophonie' offers another compelling perspective. This piece integrates seemingly marginalized characters—a singer, a ventriloquist, a mimic, and a deaf-mute—into a single performer’s vocalization. Through extreme sounds and theatrical techniques, 'Phonophonie' challenges our assumptions about voice and identity. Kagel masterfully employs the human voice as a shared sense, a site of co-sounding that transcends traditional boundaries. By situating extreme sound and extreme silence side-by-side, Kagel compels us to question the attributes we assign to different voices and modes of communication.

Toward a More Inclusive Soundscape

By challenging traditional notions of voice and hearing, experimental artists are paving the way for a more inclusive and nuanced understanding of communication. These artistic explorations dismantle normative attributions and celebrate the diverse possibilities of human expression. As we continue to engage with these groundbreaking works, we move closer to a world where all voices are heard and valued. The journey through 'Lecture on Nothing' and 'Phonophonie' invites us to reimagine the very essence of how we communicate and connect with one another.

About this Article -

This article was crafted using a human-AI hybrid and collaborative approach. AI assisted our team with initial drafting, research insights, identifying key questions, and image generation. Our human editors guided topic selection, defined the angle, structured the content, ensured factual accuracy and relevance, refined the tone, and conducted thorough editing to deliver helpful, high-quality information.See our About page for more information.

This article is based on research published under:

DOI-LINK: 10.1353/pmc.2014.0018, Alternate LINK

Title: Silence And Speech In Lecture On Nothing And Phonophonie

Subject: Literature and Literary Theory

Journal: Postmodern Culture

Publisher: Project Muse

Authors: Zeynep Bulut

Published: 2014-01-01

Everything You Need To Know

How does Brandon LaBelle's rendition of John Cage's 'Lecture on Nothing' challenge traditional perceptions of speech and communication?

Brandon LaBelle's interpretation of John Cage's 'Lecture on Nothing' uses an audio recording read by David Kurs, a deaf person, to challenge conventional perceptions of speech. This choice isn't about stigmatization, but about questioning the very foundations of how we value different forms of expression. It highlights the act of forming speech and invites us to consider what it means to speak without hearing one's own voice. This rendition explores the creative potential within diverse vocal expressions, prompting reflection on what is communicated beyond traditional speech and who is entitled to speak.

What unique elements does Maurizio Kagel incorporate into 'Phonophonie,' and how does this piece challenge our assumptions about voice and identity?

Maurizio Kagel's 'Phonophonie' uniquely integrates a singer, ventriloquist, mimic, and deaf-mute into a single performer's vocalization. By positioning extreme sound and silence side by side, Kagel challenges assumptions about voice and identity, utilizing the human voice as a shared sense. This co-sounding transcends traditional boundaries, compelling a re-evaluation of the attributes we assign to different voices and modes of communication, thus disrupting normative attributions of voice.

In what ways can experimental artists redefine voice and hearing to promote a more inclusive understanding of communication?

Challenging traditional notions of voice and hearing through experimental music and performance art paves the way for a more inclusive and nuanced understanding of communication. Artists dismantle normative attributions and celebrate diverse human expression, leading to a world where all voices are heard and valued. Engagement with works like 'Lecture on Nothing' and 'Phonophonie' reimagines how we connect and communicate, fostering an environment of inclusivity.

How does Tobin Siebers' 'Disability Theory' inform our understanding of disability and its role in challenging standard ideologies of ability, particularly in the context of 'Lecture on Nothing'?

Tobin Siebers' 'Disability Theory' provides a framework for understanding how disability offers more complex theories of embodiment than standard ideologies of ability. In the context of Brandon LaBelle's 'Lecture on Nothing,' David Kurs's voice becomes a powerful tool for exploring speech formation, highlighting creative potential in diverse vocal expressions. This theoretical perspective challenges assumptions about 'valid' communication and encourages a re-evaluation of normative attributions related to voice and hearing.

What key questions does LaBelle's 'Lecture on Nothing' raise about speech, communication, and the act of speaking?

In 'Lecture on Nothing', key questions emerge, probing the extent to which one can hear their own voice while speaking, and what communication truly entails. It raises inquiries regarding who is entitled to speak and how, ultimately questioning what is heard beyond conventional speech. These questions delve into physical and performative aspects, challenging preconceptions and inviting a profound exploration of speech and communication.