”I may write only what I know in space: I am that I am. Thee, Word, begat Me and this is all I know about myself at any point in space. But the potent phrase is a word-lock of static intention; meant to keep me in my place. Any point in space is an argument place and I will not be confined to one point, I will argue out the word-lock so that I can move. I want to travel everywhere in Space.”
Still it’s time that grows in my brain. Still it’s time that calls me here. Still I scream when time ticks. Still I cringe from time’s tricks. Still I groan for time’s loves. But still I’ll try for time perhaps.
A concentric labyrinth gradually inclines to a bridge which crosses over to the Collector’s House. A right angle maze corridor off of which are the cells— storage units displaying the Collector’s property.
Collects painting of Farm scenes by Breughel, Van Gogh, Cezanne and Corot. He is writing the biography of Dr. Blanche. His present exile was the direct result of his essay attacking the Symmetry of the Northern Italian Metaphysical Architecture. The Collector is a realist. He simply would not accept the thesis that the ovens of Auschwitz could be reproduced 30 years later as symbols.
Metastasis or Metastaseis (“dialectic transformations”), is an orchestral work by Iannis Xenakis, a Greek composer-architect and a major figure in the postwar development of musical modernism worldwide. He is particularly remembered for the pioneering use of stochastic mathematical techniques in his compositions, including probability (Maxwell-Boltzmann kinetic theory of gases, aleatory distribution of points on a plane, minimal constraints, Gaussian distribution, Markov chains), game theory, group theory, Boolean algebra and Brownian motion.
Metastasis was inspired by Einstein’s view of time (a function of matter & energy) and structured on mathematical ideas by Xenakis’s colleague Le Corbusier. The 1st and 3rd movements don’t have a melodic theme to hold them together, but rather depend on the strength of this conceptualization of time. The 2nd movement does have some sort of melodic element. A fragment of a 12-tone row is used, with durations based on the Fibonacci sequence (1,1,2,3,5,8,13,21,34…)
The preliminary sketch for Metastasis was in graphic notation looking more like a blueprint than a musical score, showing graphs of mass motion and glissandi like structural beams of the piece, with sound frequencies on one axis and time on the other. In this video I tried to display this by presenting the frequency spectrum (0-20.000Hz) of the piece and how Xenakis actually “drew” music.