The legacy of John Cage is placed within the limits of sound abstraction based on an instructional musical notation of high expositive visual value. Ever since the fifties and until the publication of Silencio (1961), the pantheistic compositions that we will present here will respond to the discovery of a new type of “tempered” events configuration based on the oracular I Ching. Its philosophical primogeniture will run the risk of falling into an ephemeral conceptual entropy if the measure of time to face the event is not taken into account, as a result of the pedagogical professional practice in our case. Transiting randomness in works such as Theatre Piece (1960) proposes the sharing of a familiar dialogue of nascent sound practices for every discipline. The sterility that Cage’s pantheistic work has undergone in the last thirty years has made it possible to dismantle the conceptual conflict implied by the dematerialization of the sound fact. The lack of foundation that we seek here has to do with a new reading of the hybrid contemporaneity in the creative encounter that reveals a procedural and disruptive methodology in Latin America capable of transforming the capacity of the institutional strategies by transmitting collectivities. The silent proposal with which Cage dismantles the de-sterilizing Western knowledge allows contemporary stage practices to feel the need to de-materialize the musical nature in favor of a tribute to the mediating space after favoring the