"Joseph Beuys: For me The Chief was above all an important sound piece. The most recurrent sound was deep in the throat and hoarse like the cry of the stag: "öö." This is a primary sound, reaching far back.... Such a performance always has a theory behind it, a partitur or score," which gives information without information. Acoustically it's like using just the carrier wave as a conveyor of energy without loading it with semantic information. The wave carries the kind of sound usually found in the animal kingdom. The wave is unformed; semantics would give it form (Theory of Social Sculpture). The sounds I make are consciously taken from animals. I see it as a way of coming into contact with other forms of existence, beyond the human one. It's a way of going beyond our restricted understanding to expand the scale of producers of energy among co-operators in other species, all of whom have different abilities-like the coyote for instance."[9]

Caroline Tisdall: "If you enlarge the understanding of sculpture to the point where it has to do above all with human thought, then the embodiment of this thought in sound and language becomes part of art. Unsculpted sound without semantic information, like "öö;" sculpted sound with semantic meaning and logical content; sound waves with neither kind of information; sounds that have never been heard before like the plopping of fat; everything in the scale of possibilities is involved, from noise to concerts."[11]

Beuys: "But underlying this is an anthropological model: the transformation of this thought, and therefore of society, everything must be expressed, negatives like thalidomide or Auschwitz as well as positives, even those things which still lie beyond language as we know it--a new substance that is both evolutionary and revolutionary."[12]