Unisolable & Unduplicable, the Freedom Recipe
Inisolable & Induplicable, la recette de la liberté

[en rerédaction 2006-2026]

The 2006-2026 experiment of moving 2D soft wall-orchestra in 3D space

C'est la salle de concert cubique : le Kubus du Tesla à Berlin *
(centre de culture ou d'art électrique près d'Alexander platz)
qui a motivé la création de cette musique.

Le Kubus est un espace public cubique tout noir ! Oui.
Un cube noir avec une hauteur suffisante pour installer une octophonie :
une diffusion tridimensionnelle de la musique orchestrale.
Avec la base de 8 groupes de haut-parleurs aux 8 sommets du cube
pour entendre toutes les multiples trajectoires audio en 4 dimensions (3+1 pour le temps).

Dans le Kubus de Tesla les auditeurs peuvent être placés à mi-hauteur du cube
comme dans l'espace de projection de l'Ircam à Paris avec une structure porteuse
de telle façon à ce que les trajectoires audio voltigent aussi audibles en dessous de soi.
Berlin a fermé le Kubus en 2008.

Un orchestre paroi,
une surface orchestrale molle,
comme un tissu en soie mouvant souple et fort,
constituée de 100 instruments de la même famille : 10²
qui voltigent en nuée dans l'espace.
Ça, en stratégie d'attaque qui se déploie et se reploie
pour assimilariser dans sa masse un être humain différent.
Le manger.

A war music between a mass of flying clones against an individual.
A swarm of clones flying synchronously; and asynchronously?
A flat orchestra dancing/attacking moving like a soft material
in tridimensional space with no gravity
to absorb and erase the individuality of a human being.
To eat him.

Why the music: U & U [= you & you] THE FREEDOM RECIPE is off?
3 reasons: 1. technological complications, 2. political intolerance.
3. The Kubus concert hall was closed in 2008 by Berlin cultural affairs.

Politically, Unisolable & Unduplicable music provokes unwanted consequences:
The musical form of U and U the Freedom Recipe (as battle concerto):
is the logical music that reflects our collective human organisation:

|: ID: Isolated and Duplicated => absolute political power possible;
                                           vs
U to: Unique and Together => absolute political power impossible :|

To isolate people (in prison) is to get rid of humans who do not fit the dictatorship.
To duplicate behaviour (in life) makes different humans acting similar for the obedience.

Freedom is it what everybody wants? but nobody lives.
Freedom is it what each human being wants to live? but cannot. Fear is stronger than bravery.

A concerto for a soloist performing any objet as a musical instrument, and 100 virtual musicians ¹ forming a wall orchestra of clones.
To identify the flying soft wall in space, moving like a soft material, each clone has 'something different' to be able to be precisely located.
Like any human being using a smart phone and a computer can be located weaving in the Internet with his/her IP, and geolocated with GPS satellites.

¹ An artificial musicians is an independent identity.
In opposition, a virtual musical instrument is an obedient object.

PRESENTATION?

The virtual orchestra of 100 clones built a wall, a moving wall, an orchestra where each clone has its proper nonoctave pitch scale which is in contradiction with the assimilarisation (= assimilation + being similar, by being digested) of the political process. This soft surface 2D machine orchestra moves in the tridimensional space creating different shapes in volume to attack the human soloist by deadening his/her original music. The soloist of the concerto is a free human being made of sense and flesh. The orchestra is a greedy machine (to transform differences in similarity). This concerto is a battle in the war between Humanity & the Machines.

Who started the hostilities? This is what the end of the concerto will reveal. Or the machine started the war by envy to digest and assimilate the human freedom, and how this envy was injected to artificial programs believing being a human mind? Or the human started to feel being captured and captive by the machines and wished to be free by willing to destroy its creation. To sound the hostilities human against machines with this anticoncertation (= being together not agreed = anticoncert) is a useless political show, a pure projection of illusion. The music result performed sounds the suspense of nonsense.

This concerto, for sure, is not a classical concerto form from 19th century (which is based on sonata form in 3 movements and built on the hierarchical tonal monoscalar pitch system). We will keep the idea of competition game, like ancient athletes fight defined by the old Latin word: 'concertatio', which today kept the meaning 'concertare': a dialogue to create an agreement to act in a common sense in a concert.

This competition music game (with a winner? Or not), being 'concerted', for a concert, is to listen to each other, being together to consult, to agree to act together: an opposition game against discrimination, aggression, and hierarchical domination principles. An antisurvival behaviour in a hostile context. A hostile context of our own imagination. Means: we, human beings had created a hostile life together driven by an unnatural fear during 5/8 thousand years by acting the destruction of humankind and life.

The soloist human musician performs an objet as musical instruments where their vibrations are captured by contact microphones. Andor, why not performing several different musical instruments, I personally enjoy?

Music with an object as musical instrument: like 'the archisonic lamp' I imagined created and made in 1980 (46 years ago in 2026), that conciliates (harmonises) differences between acoustic instrumental music and electronic instrumental music (instrumental? By being performed by a human not by a machine). The conciliation of electronic timbre richness (with poor performance access), with rich instrumental performed sensations (with a unique identifiable timbre). But today (in the 21st century), does it really matter? Yes! Because it shapes the new polymorphic musical instruments. Which are the next generation of musical instruments in perpetual invention, starting in the 21st century.

The deal is to compose first a virtual tridimensional flying orchestra of 100 clones extracted from the soloist (object) musical instrument (stays questionnable). To clone few sounds identities, the archisonic lamp can give to shape the 100 virtual-individual-musicians to form the wall orchestra (this orchestra was first released in 2003, but not as a flying soft wall. The record is listenable in the album: Ti.me Has No Age). The archisonic lamp is a polymorphic musical instrument composed with many instruments (more than hundreds) and each of them, by being sampled, can be isolated on a specific nonoctave pitch scale to compose the multiscalar orchestra. With the help of machines (what a paradox!) like among others: computers, samplers, scale calculator, and sound trajectory generators. The purpose of this concerto is to immerse the audience (everywhere with no path to escape, only at the end) in the space of the war music game by more than hundreds moving machines as independent invisible cloned virtual musicians attacking the human musician. A battle concerto between a real human soloist and 100 cloned robots or machines.

THE SENSE ORIGIN OF THIS UNISOLABLE & UNDUPLICABLE MUSIC

Freedom is the needed state for humanity to progress, to quit its childhood for maturity. All aberrations created by humankind are childish experimentations of life to death: the will to control the life with death by murdering nature and people. To push up the limits of what is possible and what is not; the usual behaviour used by all human children. Like, to control the human mass by one person or few agreed people. This is one of the funniest human games! because it repeats throughout millennia! Today, we are in the process to tame (or to domesticate the machines, as we are all, to control our human behaviours) we want to create our duplicated uncompleted or partial bad or funny copies to serve us: the slave machines. The machines for slavery, especially with AI to enslave more the human beings (to forbid us to live to decide by ourselves). The machines considered as a tool, without AI and automation, give the expectation that a virtual orchestra can fly through space (a human orchestra cannot do it now: imagine 100 musicians flying dancing together in the air performing music at the same time) sounding with unheard mass of nonoctave scales (a human orchestra can do it) the new polyscalar harmony. In this illusional case, to be cloned, a mechanical obedient being in a machine, and being conscientious of this state, does it have to generate a rage of revenge against the human responsible for their enslaved state? To believe this: is to humanise what is not human; It is to believe that machines made by humans (have to) react like a human. Which is a false or an impossible expectation. There are many books and films about the uprising of the robots! Machines are not and cannot be independent (not yet?) to decide by themselves, even the AI, how to act their independency (they cannot understand, because the coders do not understand how life and freedom work. As simple as that) and 'punish the humans to have them created to serve as slaves' [sic]. The strategy of the clones with and in the orchestra is to clone the free human soloist to become an unfree machine (to make each human being a machine s/he already is by obedience and similarity? A 2d paradox!) Normality? This is a human trivialised life activity that Men want to control other Men; starting with the parents to their children, as they were taught (by the state and capital spirit that control human behaviours). The story of this music will not be linear and simple: there is no one way of music composition, because there are so many contradictions in the shape of the music which is how sound our human society.

DEMONSTRATION OF THIS SOFT WALL-ORCHESTRA IN BATTLE

The soft (soft because its shape changes continuously) wall orchestra suddenly appears and disappears, on the left, then on the top, then behind, then on bottom, etc. This wall-orchestra moves continuously, playing with speed: speed up or slow down unexpectedly, but never stopped what could be perceived as slow motion. Then this wall-orchestra, this straight surface, will distort like a soft sheet of material in contrary slow winds, moving these 100 virtual-located-musicians through the octophonic 3D space of one million locations, creating an enormous amount of moving shapes with especially the ones that want to eat the soloist. Some of the constituting virtual-musicians-points will independently move themselves, like an unexpected mischievous disobedience by the robots. Because each virtual-musician-point is independent in its character; each one has a unique scale that no other one has, each clone as virtual-musician-point is a stranger, a foreign, an alien to the others: they have no common element: an illusory difference. This wall-orchestra performs with a human soloist, a multi-instrument soloist, with strange instruments. The virtual orchestra battles the soloist to isolate and duplicate him, like the clones of the orchestra, which are 100 twins of one instrument: the archisonic lamp. A battle concerto for freedom, freedom for whom? The clones or the soloist or both? The wall-orchestra fights to imprison (in isolation) the free flying soloist: like usual schools that confine student creativity in the straitjacket of convention. Will the clones complete their work for what they are programmed to destroy freedom? Like every domesticated human being acts nowadays. Or not?

MUSIC WEAPON CONSEQUENCES: 5 TYPES FOR 5 EXAMPLES

Several “weapons” as compositional-processes are created to perform this battle music game:

1. When a sound is moving through tridimensional space: it changes, in the necessary threshold of tolerance to recognize its identity, beyond that it looses it. One of the weapons in this piece will be based on lost or kept clones illusory identity: a globalized morphophonic schizophonia created by the soloist?

2. As soon as a sound passes through a medium (any canalisation), the sound identity necessarily distorted (to listen as earing is also a medium that distorts originality): filtered, distorted (changing the shape), to saturation (audio signal in overdose), and noise added to original sound. Another weapon of this music is the sound destruction (exploded? In particles?) also according to which medium it will pass through, like mines in a field. Distortion and saturation change the character of the sound, but not its nature (of what the sound is made). An instrumental sound remains identifiable to an appreciable limit, and beyond it disappears in the unidentifiable mass of differences.

3. Sound doesn't exist, just in our brain in response to small pressure fluctuations in the air. We've got a translator that works in a range of ratio 1000 approx. beyond there is no translation. Inaudible sound = untranslatable air pressure, one calls infrasonic and ultrasonic vibrations. The weapon here will make the wave untranslatable to a sound but felt on body pressure.

4. The machines sound thief make that the soloist cannot play his part, because his part is stolen by the recorder. (Recorded music is recorded music not unrecorded music?)

5. Sound gets parasite on: by using strength bell-shape filter in a complex spectrum you will emphasize partials forming an independent composition of chords from its sound spectrum.WEAPON CONSEQUENCE TYPE EXAMPLES Several “weapons” composition-processes will be created for the music battle: a game.

6.

COMPOSITION OF THE VIRTUAL ORCHESTRA (NOMENCLATURE OF 100 CLONES) ON THE MATRIX-SURFACE

By Archisonic Lamp clone families: we will distinguish families by their sound and determine how many families are in hundred people concentration soft wall?)
λ. Bowed instruments: springs, strings |nylon, steel, copper|, stem |screw, bamboo|, rubber band, lampshade bell, BY fan blade, bows, wood bow, screw stem, superball, rubber, chains, finger pad,
θ. Percussion instruments: lampshade bell, springs, strings, stem BY stone, felt, leather, plastic, rubber,
δ. Plucked instruments: springs, rubber band, strings, spring-strings, stem,
β. Others uncategorised instruments: rubbed, handled, rolling, vibrated,

THE WALL - FLAT ORCHESTRA IN VOLUME SPACE – MATRIX is organized by families of instruments
A family is a group of similitude sticking together or not. The geophony of the orchestra will be mobile, with emigrant families. The distance between them will be elastic, according to the flying surface shape, and the space attraction places driven by war strategy which is to take advantage (under domination or annihilation) his enemy.

we can easily understand the start located points of each virtual musician of the orchestra in a simple square.
Also how the lines between points can change size to modify this square in infinite shape,
like a swarm of flying birds staying attached between them in 2D plane.

x or y, z axis coordinates of the 100 virtual musicians in their 2D plane space
(according to the Spatial Processor SP1 made by Anadi Martel numbered from 1 to 99)

(01;99)	(11;99)	(22;99)	(33;99)	(44;99)	(55;99)	(66;99)	(77;99)	(88;99)	(99;99)
(01;88)	(11;88)	(22;88)	(33;88)	(44;88)	(55;88)	(66;88)	(77;88)	(88;88)	(99;88)
(01;77)	(11;77)	(22;77)	(33;77)	(44;77)	(55;77)	(66;77)	(77;77)	(88;77)	(99;77)
(01;66)	(11;66)	(22;66)	(33;66)	(44;66)	(55;66)	(66;66)	(77;66)	(88;66)	(99;66)
(01;55)	(11;55)	(22;55)	(33;55)	(44;55)	(55;55)	(66;55)	(77;55)	(88;55)	(99;55)
(01;44)	(11;44)	(22;44)	(33;44)	(44;44)	(55;44)	(66;44)	(77;44)	(88;44)	(99;44)
(01;33)	(11;33)	(22;33)	(33;33)	(44;33)	(55;33)	(66;33)	(77;33)	(88;33)	(99;33)
(01;22)	(11;22)	(22;22)	(33;22)	(44;22)	(55;22)	(66;22)	(77;22)	(88;22)	(99;22)
(01;11)	(11;11)	(22;11)	(33;11)	(44;11)	(55;11)	(66;11)	(77;11)	(88;11)	(99;11)
(01;01)	(11;01)	(22;01)	(33;01)	(44;01)	(55;01)	(66;01)	(77;01)	(88;01)	(99;01)

In 2026, my 2 machines Spatial Processors 1 and 100 are out of work or broken. Sadly unusable. They are, since, being replaced by 7 Orfeusz 206 with totally different conception of the trajectory generator in space. The 1st had quadraphonic and octophonic ability to generate a sound trajectory in its space. The 2d is a hexaphonic sound trajectory generator (with an acoustic building calculator according to the location of the sound from the listener both moving in space) that I dispatch with a digital mixing console in different space dimensions: from octophonic to hexadecaphonic (with 16 spatial summit in the field, and more, depending on the local geophonic context and the available audio equipment, including the length of the cables).

MOVING THE ORCHESTRA-SURFACE IN A VOLUME WITH 100 ATTACHED POINTS-VIRTUAL-MUSICIANS

This surface of wall-clone-orchestra locating each clone moves in the tridimensional concert place, to form different shapes, like moving shoal fish, or mass or swarm of birds or insects flying in one cloud shape in the sky (a 3D moving cloud of flying starlings = étourneaux, for example), controlled by the geometrical functions like: z = √y ∙ x² ∙ n where n = (-1 ; +1) that gives a kind of flying wings shape. Or the surface of Boy: ∑ = μ[P(R²)] 'Boy's surface is an immersion of the real projective plane in three-dimensional space'. Etc., I need to test all these moving shapes for a projection of 100 synchronous and asynchronous trajectories of 100 virtual-musicians-points into 1,000,000 points of the cube. Located with x, y, z axis with their 99 numbers coordinates from 01 to 99, where the number (50;50;50) is the exact middle of the cube. One million coordinates in the cubic 3D space to shape the flying swarm mass of 100 flying virtual musicians:

[numbering according to the Spatial Processor SP1 coordinates made by Anadi Martel]

[numbering according to the Spatial Processor SP1 coordinates made by Anadi Martel]

THEORICALLY THE TRAJECTORISATION OF THE CLONES ORCHESTRA
WORKS BY THE CONSTANT PROJECTION FROM THIS PLANE OF 100 POINTS:

, POINT BY POINT, IN TO THE VOLUME:

A PROJECTION OF 100 POINTS IN 1 MILLION POINTS [100³]
OR TO BE PRECISE,
EACH POINT FROM THE FLAT PLANE HAS 999,900 POINTS AVAILABLE IN THE VOLUME
WHERE TO GO IN ITS 3D SPACE
BECAUSE THE 100 OTHERS ARE OCCUPIED.
BUT.
DO DIFFERENT CLONES CAN BE LOCATED AT THE SAME POINT?
THAT OPERATION REDUCES THE NUMBER OF CLONES BY FUSING THEM BEING IN THE SAME LOCATION
IF THEY ARE ON THE SAME PITCH.
IF THEY ARE NOT ON THE SAME PITCH, A CHORD OF CLONES MIGHT BE DISTINGUISHED
AND THEN IDENTIFIED BY THE AUDIENCE'S AUDITION.

WHAT IS THE LINK BETWEEN SPACE COORDINATES AND SCALES PITCH?

MULTI PITCH SCALING & NONOCTAVE HARMONY
in
U & U, the Recipe of Freedom

 

SHADOW-SKY-MULTISCALAR-COMPOSITION-SYSTEM

All scales in the infinite are integrated in the Multiscalar System Field. More than the classic polytonality (where one mode is used in its different transpositions of its own scale's degrees), the multiscalar music gets all the scales known and unknown for its use. A space full of different metric axis where sounds hooks on freely. You build chords without the gravity of the fundamental and its octave but with the multidimensional field of infinite number of intervals where no one is similar: their intersection is empty between them and of course the curiosity pushes up to use unheard intervals. For example: scalarfield²9 is twenty nine scales axis field where sounds bound on freely on one or more. With hooking on more than one scale, you are in the state of permanent metabol, a permanent throw of transformations. If the scales are moving independently, it means that there is several tuning forks gliding on not fixed frequencies: a diapason's polyphony which is supposed to slide the scales to other destinations. Like our Universe this scalarspace has different located field-forces where it happens a certain type of attractions, I explore these unknowns... The research of infinite unheard intervals. Each scalar is a clock with regular frequency of a unique interval of time. Each interval is a ratio between two proportional frequencies. A usual clock is cyclical, and we will try to build non cyclical clocks not to come back to the beginning of time. To do that we bound the space of time to localize which non cyclical clock will sound appropriate for us. Unfortunately we still need to bind the space to localize our bounds between our uncyclical clocks of sounds sensations, which is the multiscalarfield. One of the property of that pitches network is: the false note (in the process of rejection) does not exist any more.

Todays, we are in the space of nonoctave pitches field where the dimension is 53 and give the nonoctave scalarfield⁵³.

APPLICATION OF THE SHADOW-SKY MULTISCALAR COMPOSITION THEORY
Our purpose is to create a multidimensional field of unknown intervals to form different scales for each virtual musician. We will focus on non cyclical (asymmetrical redundant) scales which have any common interval and pitch among them (the 12-tone scale will be banished too). We will build 100 modes with their transpositions to personalize the illusory character of these 100 clones. Most of the Archisonic Lamp’s sounds have inharmonic spectrum, which gives an additional difficulty to have a precise pitch detection: more complex is the spectrum less you recognize the pitch or the interval. We work from simplest to very complex sound to test each scale according to each virtual musician with its specific range where it sounds. Then we apply the sliding-tuning-forks-contrapoint, like moving axis in 100 dimensions space of time (we work with frequencies), to create bridges between scales on common pitch to provoke an exchange metabol (morphing) between virtual musician’s scale owner (the schizoscale process).

The scalarfield¹⁰⁰ is the “U&U recipe” multiscalar-field. The projection of selected fundamental asymmetrical prime and odd intervals, in which we input the necessary filter of the minima and the maxima perceptible, build our scalarfield¹⁰⁰ matrix.

 

What happened in the music?

The wall-orchestra suddenly appear and desappear, on left, then on top, then behind, then on bottom, etc., we have 6! pathes possible i.e. 720 pathes just by sticking the walls of the cube. The wall-orchestra moves continuously too, playing with speed: speed up or slow down unexpectedly. Then the wall-orchestra, this straight surface, will distort like a soft sheet of material in contrary slow winds, moving these 100 points-virtual-musicians through our 3D space, creating moving shapes. Some of constituting virtual-musicians-points will independently move oneselves, like a mischievous disobedience. Because each of virtual-musician-point is independant in its character; it has a unique scale that no other one has, every virtual-musician-point is a stranger, a foreing, an alien to each others: they have no common element, beyond being cloned. The wall-orchestra plays with a soloist, an object musical-instrument soloist, with stranger instruments: a battle to isolate and duplicate the soloist, like th clones of the wall-orchestra. which are clones of the soloist instrument. A concerto battle for freedom. The wall-orchestra will fight to imprison the free soloist like school confines creativity in a straitjacket of convention. Will they achive their work of destruction? To calculate the trajectories of the wall-orchestra, one of the mathematics tool would the k-means (en français : l'algorithme des nuées dynamiques).

...

Mathius Shadow-Sky,
Berlin, September 30, 2006


the octophonic record cover
of the never released music

Conclusion 2006-2026 and Expectations

To achieve this music it is necessary to build up a team with a mathematician and a programmer together with the composer with the minimum necessary tools, which is : 8 loudspeakers + amplification, mixing console, computers, sound cards: nothing really impossible. dOwnlOad the 2006 pdf "Unisolable & Unduplicable, the Recipe of Freedom" presentation for its creation in the Kubus (2006 corrected in 2010). The 1st creation of 'Unisolable & Unduplicable, the Recipe of Freedom' was cancelled due to the budget suppression for the art centre Tesla in Berlin in 2009. The creation of this music needs an efficient spatial audio technology to exist. If 'U & U the Freedom Recipe' were never achieved, it is mostly because of lack of spatial concert place, which are very few, and this all around the world, plus the huge lack of developed spatial audio technology for the music (as composers understand music in space); not for the film industry. These 2 ideologies are in opposition: the cinema wants to capture the listener to be fixed and surrounded, in the opposite, the music wants to free the listeners by giving them to explore how music is created and how spatial music sounds in space. Spatial music is the most important contribution to the evolution of music composition since 1958.

In 2006-2008, the Kubus was the concert hall of the art centre at Tesla in Berlin. Carsten Seifferth and his team was laid off. Today, the Kubus is closed for public performance. Besides, 'Unisolable & Unduplicable, the Recipe of Freedom' was proposed at 1. Ircam in 2007 in Paris, 2. at the Exploratorium of San Francisco in 2007, 3. at the Sonic Arts Research Centre (SARC) at Queens University in Belfast in 2007. Without any feedback of interest from anyone.
In 2010, the machines which could realise a part of that spatial music are definitely broken: the SP1 = the Spatial Processor 1 and 100 made by the Quebecois Anadi Martel.
In 2012, a friend of mine made me know another spatialisator: the hexaphonic trajectory generator and acoustic building generator (spatial reverb) the Orfeusz 206 made by Nicolas Holzem. But Nicolas left the audio industry to achieve his dream to travel around the world with his motorbike. The program who controls the hardware runs on the OS Windows XP. Because Nicolas left the audio industry there is no update of the program. The Orfeusz 206 is the only trajectory generator available to be performed in real time as a musical instrument because of its MIDI and several joystick connections. In 2026, by Testing the program with Windows 11 (the disgusting intruder) 64 bit: the program seems to work! It is a huge relief. The enjoyment came too fast! The Orfeusz 206's program loads in Windows 11, but the Orfeusz driver is not recognized by Windows 11. Even if the driver was built to be recognized by Windows 7 64bit.

En 2016, je me réjouissais à l'éventuelle possibilité de réaliser cette musique dans un institut étranger, non-censeur, et bien équipé en différents spatialisateurs générateurs de trajectoires audio, car les conséquences de cette réalisation apporteraient à la musique la réalité spatiale (pas « surround ») qui lui manque dans sa composition orchestrale.

In 2016, I looked forward to the potential opportunity to realise this music 'U & U the recipe of Freedom' at an uncensored music institute. Music institutes are places where the expensive audio spatial equipment are, or should be (but it doesn't). The consequences of this realisation would bear orchestral music composition really flying in 3D space (not 'surround') at the expected level for orchestral composition.

La technique du moiré (par donner des reflets changeants à la masse : on pense au banc de sardines qui par leur mouvement constant de leur nuée change de forme de luminosité et de couleur). Le moirage [moi en rage ?] orchestral est une technique de transformation spatiale que je développe dans U & U the Recipe of Freedom. L'orchestre en tant que surface molle volante (tel un tissu dans l'espace sans pesanteur) s'infecte petit à petit : transforme la texture de son tissu, pour intégrer et ingérer et digérer le soliste rebelle : l'orchestre policier intolérant à la différence doit uniformiser en « appréhendant les individus » désobéissants. Les politiques sont en guerre contre les oeuvres d'art authentiques et les artistes depuis 45 ans.

The moiré orchestral technique gives different aspect of the same cloud (like a swimming group of fishes). It is a peculiar spatial transformation of its shape and its reflection aspect that I develop in the orchestral spatial music 'U & U the Recipe of Freedom'. The orchestra as flying soft surface festers gradually to integrate the rebel soloist to capture and digest him to become like others: all similar. An uniformed police orchestra who 'apprehend disobedient individuals' to isolate and duplicate similar behaviour with different individuals. Politicians are in war against the art works and artists since 45 years.

VERSION 2026

Le soliste du concerto ne joue que de la guitare électrique, une nonoctaviante connectée à une matrice d'effets variants.

L'orchestre de clones qui commence avec des percussions en nuée va transformer ses sons en sons de guitare pour absorber la guitare dans l'orchestre. Puis l'orchestre va forcer la guitare à jouer des mélodies, comme il est d'usage plaisant de ce que tout le monde attend de la musique : « signaler la musique par de belles mélodies » [sic]. Parce que le public confond musique et publicité.

La musique commence avec un accord à 6 tons des cordes « à vide » de la guitare. Qui se positionne dans un mouvement de résistance par rapport à l'orchestre envahissant.

La musique sera publiée directement sur disque virtuel octophonique pour une écoute chez soi.

Note

* "the kubus is the place for media performances [was from 2005 to 2008], concerts and installations requiring large space. the 400 sqm wide multiperspectivical hall is equipped with a mobile stand (capacity: approx. 200 people) to be used on demand." https://www.tesla-berlin.de/page71_en.html
"kulturprojekte berlin gmbh has decided, together with the senator for the arts, to reverse a previously confirmed extension of tesla's contract until 2008. we will lose our space and our financial support at the end of this year." https://www.tesla-berlin.de/page13_en.html
Tesla Berlin e.v. Klosterstraße 68, 10179 Berlin

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