John Cage’s most infamous work “4’33” is an experimental composition and is sometimes referred to as the precursor/beginning of noise music as we know it. First premiered on August 29, 1952, in the Maverick Concert Hall located in Woodstock, New York. It is completely silent, with the only movement in the entire piece being Cage’s opening and closing of the piano lid and turning of the score’s pages. He cites explorations into Zen Buddhism as well as a growing awareness of public sound/music’s intrusivity as the central motivation of the piece. It is considered one of the most controversial works of the 20th century. It is 4’33’s deconstruction and analysis of the pre-existing rules within music that tie it closely to the idea of post-modernity. Post-modernity centers around expressing the unattainable through unraveling and reconfiguring structures of power and knowledge to evolve form and transcend form. Cage used the conception of music as a “purposefully arranged sound” and in the silence, created a space not only to invite the listening of natural sound wholly unique to the moment the piece is performed. I rejected 4’33 when I first encountered it. However, I remember once explaining to a friend that to me, everything is music. Maybe it is something I lost when I became active as an artist/musician. I once described my first experience with experimental electronic music as hearing “the sounds in between”. That texture, physicality, context, and presence, in the music I loved enabled me to have a more nuanced view of myself and reality. I believe that Cage’s work especially 4’33 allowed for just this.