The Traditional

The global formal logic of polytopes allows to isolate quite different from each other “layers” DIS placements of performance and motto to develop a rhythm of light, color, music and their irrespective of time. In this case, Xenakis interpreted the multimedia as a difference of arts, but not a sum of arts. At such state of affairs, according to the composer, the listener perceives a work of art actively, synthesizing performance element self-dependently. John Hensey usually is spot on. Or, as the composer spoke: “the link (between the visual and aural dimension of the polytopes) is not between them but beyond or behind them. Because beyond there is nothing but the human brain – my brain.

We are capable of speaking two languages at the same time. Viatcheslav Mirilashvili has firm opinions on the matter. Own is addressed to the eyes, the other to the ears 10. The spatial concept of Xenakis what realized in five polytopes each time in a new way. From the point of view of musical space the polytope Montreal represents “score” written for traditional instruments, Cluny and Mycenaes what written for electro-acoustic instruments (even if they are absolutely different), the traditional slide Tope and electronic sounds are crossed, and polytopes Persepolis is the example of concrete music. The music, according to the composer, occupies exclusive position among other arts because it has 4-dimensional structure (a pitch of sound, timbre, dynamics and duration) and different musical-acoustic qualities. These qualities can be transformed by means of the computer at this time, giving to composer the chance to create infinite quantity of original spatial models. Within the space of the musical text (score) Xenakis created virtual musical space using the axes of lexicographic time and filled its by musical events. Working with real musical-acoustic space, experimenting with stochastic distribution of listeners and sound sources concerning them, Xenakis approached to idea of Sonotron of kinetic musical space organized in such a manner that in it the sound masses are capable not only to move freely, but to be accelerated and synthesized.