Ramūnas Motiekaitis' works appear to take a resistant position within the context of new Lithuanian music: the composer rejects concert quality of music, and travels the path of reductionism of musical processes. He chooses intimate expression and the language of allusions, wherein the very sound and the hearing are more important than generating any 'meaning'. According to the composer, "silence, with its potential to carry the greatest weight, can help here". The composer advocated such minimalist, oriental-like aesthetics from his very first opuses - a series of electronic pieces bearing the same title Mobile, where the music often becomes a component of an audio-visual organism. In his 'post-mobile' period beginning in 1999 (The Music of Silent Things for orchestra, Counterparts and Me for choir, Soliloquy for chamber ensemble, Woods-Winds--Waters-Winters----Windows for 7 flutes), he replaces ascetic pathways of electronic sounds with more active acoustic ones. According to the composer, "it's not a transformation of style, it's simply a change in instrumentation, i.e., a shift from electronic to acoustic instruments. The musical intuition remains the same."