During the course of a film screening, the actual space of the viewer and the fictional space of the film are diffused by the viewer’s subjective mechanisms of perception. Based on John Cage’s composition 4'33” (1952), the artist filmed two performances of the same piece; the first performance was recorded with the sound of the audience and background noise, while the second performance is shown in complete silence. De Boer explores the impact of the different recordings on the viewer.