I ask others to contemplate the meaning of silence by emptying a space, by creating a different kind of multisensory space, empty of image or noise: an Interlude.  There is no such thing as absolute silence. The most effective anechoic chambers built demonstrate that there is no way to create a true, pure silence. However, in today’s world of constant noise, urban stresses and information overload, there is a real need for quiet, for ‘silence.’  ​ Noise is a type of pollution. Research has shown the effects it has on general wellbeing and health, even how it can lead to chronic disease. It affects wildlife, disorientating them, diminishing the power of their acoustic signals, disturbing their ecosystems. Often the information communicated by a place’s soundscape can reveal far more about its underlying processes than a picture or verbal description ever could. Our sense of sound, what we hear and what we choose to listen to, can remind us of our identity and create a sense of belonging. It conjures memories, associations and emotions. It can also provide an opportunity for connecting to the present moment, offering a chance to center and reflect rather than simply react. These chances might be easily missed if we are overloaded, overwhelmed and fatigued by our environment. Interventions are being required to bring relief. We need to build and create small physical and mental spaces that allow us a reprieve.  By looking at the work of John Cage, who works with silence and sound, and Olafur Eliasson, who plays with multisensory spaces, we can begin to understand how silence might be integrated into our daily lives and shared spaces. Art, using multisensory media, offers a means by which all audiences can access the silence that is rapidly disappearing in our fast-paced, technologized urban worlds. It helps reclaim focus amidst pervading distraction, engages the senses to ease them, guides our attention, and soothes the mind. ​ Recalling that ‘listen’ and ‘silent’ are spelled with the same letters , I have been using sound as a medium, taking it as a basic material through which to consider silence. I also incorporate the sense of smell, as odour and sound are often believed to be fundamentally alive because they both travel on the air and are often temporary. I further shape the audience’s experience using light and fabric, headphones and stethoscopes. These additions are essential elements of the work. They allow the visitor to connect with their body and to focus on listening as a way to connect with silence.