|
. . . a new kind of musician is
necessary, that of the artist-conceiver
of free and abstract new forms, tending toward complications
and generalizations on several levels of sound organization. For example,
a form, a construction, an organization built on Markovian chains or on
a complex of interlocked probability functions may be carried over
simultaneously on several levels of musical micro-, meso-, and
macrocompositions. . . .
Nothing prevents us from foreseeing from now on a new relationship between the arts and sciences, particularly between the arts and mathematics, in which the arts would consciously “pose” problems for which mathematics ought to and must forge new theories. The artist-conceiver will have to possess knowledge and resourcefulness in domains as varied as mathematics, logic, physics, chemistry, biology, genetics, paleontology (for the evolution of forms), human sciences, and history—in short a kind of universality, but a knowledge founded, guided, oriented by and toward forms and architectures. It is also time to found a new science of general morphology that will deal with forms and architectures of these diverse disciplines, studying their invariant aspects and the laws of their transformations, which have sometimes lasted millions of years. The backdrop of this new science should be the real condensations of the intelligence . . .
Iannis Xenakis
|