Sounding Qubits

FILE 2024 | Quantico
International Electronic Language Festival
Eduardo Reck Miranda – Sounding Qubits – Brazil

Although he has learned classical musical instruments since childhood, Eduardo Miranda’s favorite tool for composing is the computer. The researcher has been delving into artificial intelligence and innovative computing methods for compositing for some time, as they offer fresh insights and ideas beyond his own.

A quantum computer deals with information encoded as qubits. A qubit is to a quantum computer what a bit is to a digital one: a basic unit of information. In hardware, qubits exist in the subatomic world. They are subject to the laws of quantum mechanics.

Quantum computers are like super-powered versions of classical digital computers. While a digital computer processes data in a linear, step-by-step fashion, a quantum computer can explore many possibilities at once.

Operating a quantum computer requires different ways of thinking about encoding and processing information. This is where composers can benefit greatly. This technology is destined to facilitate the development of unprecedented ways of creating music.

Bio

Composer who works at the intersection of music, science and new technologies. His background as an artificial intelligence scientist and classical composer with early involvement in avant-garde pop music informs his distinctive music. He has composed for BBC Radio 3, BBC Concert Orchestra, BBC Singers and Scottish Chamber Orchestra. He is a professor at the University of Plymouth and a research associate at Quantinuum, where he explores music composition with quantum computers.

Lesson Nº 1 + The Ascension
Glenn Branca has always been a musician positioned halfway between the role of avant-garde composer and that of a rock musician. A pupil and disciple of the masters of American minimalism such as La Monte Young, Terry Riley, Philip Glass and Steve Reich, he has always had to fight against prejudice and fierce criticism. His position was certainly uncomfortable, too academic for rock fans and too “politically incorrect” for academics. In fact, Branca was trying to unhinge all the limits imposed by the rigid schemes of the avant-garde, aware of the fact that those who want to be truly avant-garde should have no limits. John Cage was also able to criticize him, even calling him a fascist ( Luciano Berio also did so for all minimalists) for the excessive rigidity of his compositions, even though he recognized his innovative power. After having created his best known album, The Ascension (1981), a true monument of maximalism played with a classical rock formation (guitars, bass and drums), he tries to approach a different format, the Symphony, as always halfway between rock and academia. Branca will like the experiment and will re-propose it several times in the following decades, to date there are sixteen symphonies (not all recordings are available). Here is how young Branca’s ensemble appeared to the American composer John Adams in one of his first live performances of the First Symphony: “Branca’s event that I listened to at the Japan Center Theater in San Francisco in 1981 was one of his symphonies for guitar . The group didn’t look very different from thousands of other independent or alternative rock bands of the time: guys in jeans and worn t-shirts busy with cables while maintaining that typical distracted expression of rock musicians.

Atomos

Atomos grows out of the smallest unit of matter. Bodies, movement, film, sound and light are atomised into miniature shards of intense sensation.Ten incredible dancers perform the unique style of Wayne McGregor – sculptural, rigorous, jarring and hauntingly beautiful. McGregor is accompanied by a team of sensational artists including longtime collaborators lighting designer Lucy Carter and filmmaker Ravi Deepres, and neo-classical ambient composers A Winged Victory For The Sullen.

Unreal

Lawrence’s accompanying soundtrack is a delicate lattice; complex, opaque and entirely synthetic. Diva’s yearning vocals, sung in English and Mandarin, cast classical melodies over billowing, intricately arranged songs. Her voice is created with a Vocaloid voice synthesiser, giving it an uncanny feeling. Her confessional lyrics draw empathy from the listener, as she reveals her fears of becoming an irrelevant influencer, obsolete in a machine-driven age.

The lead single ‘ unreal’ is launched with a harrowing video adapted from the film.

Lied ballet

“Lied, a word of German origin and gender neutral, which represents classical music sung about strophic poem, and Ballet. Lieder’s romantic themes are transformed into movement, creating choreographic writing that begins with mime and ends with abstraction. In the end, everything comes together in a great chorus challenging genres and categories, fundamentally expressing the artist’s confidence in the dancing body”. Marcia Peltier

Replica
We begin with a tour of a virtual 3D model of the London house-cum-museum built by 19th-century architect Sir John Soane. The journey traverses the five floors of the museum’s meticulously restored rooms, each filled with original and duplicate fragments of antiquity. Sir John Soane (1753-1837) was one of the foremost British architects of the Regency era, a Professor of Architecture at the Royal Academy, and a dedicated collector of paintings, sculpture, architectural fragments and models, books, drawings and furniture. Soane was awarded the Royal Academy’s prestigious Gold Medal for Architecture, as a result receiving a bursary (funded by King George III) to undertake a Grand Tour of Europe. His travels to the ruins of Ancient Rome, Paestum and Pompeii would inspire his lifelong interest in Classical art and architecture. As an enthusiastic collector, later in life he began to repurpose his home at Lincoln’s Inn Fields as a Museum for students of architecture. With a collection containing thousands of objects ranging from Ancient Egyptian antiquities and Roman sculpture to models of contemporary buildings, Soane’s house had become a Museum by the time of his death.

Landscape Paintings
Jardins d’Été by Quayola pays homage to the tradition of french impressionism and the late works of Claude Monet.The second iteration of this series of artworks investigates the ways in which nature is observed, studied and synthesized, becoming a point of departure towards abstration. Quayola recreated similar conditions to the classical impressionist landscape paintings, however he engaged with an extensive technological apparatus to capture the sensitive nuances of reality beyond our senses. Here natural landscapes are observed and analysed through the eye of the machine, and re-purposed through new modes of visual synthesis.

CYBERDANCE

This net art by Ricardo Barreto and Paula Perissinotto offers us a split, fragmented, impossible dance, in a divided, multiplied space. Cyberdance consists of the combination and recombination of elements that represent the different parts of the human body. A mannequin was photographed as a model in different positions. These images were later converted to the animated form, allowing users to combine them in different ways, as well as link them to different dance terms, to the names of postures and positions of classical ballet. On a page divided into frames containing fragments of the mannequin, we can see his head, legs, torso and arms rotating, while allowing us to subdivide each frame by clicking on it, each frame composing an aberrant doll whose fragments dance, silently, independent one from the other. There is no music, no rhythm, no space. It is a digital dance, a dance in which time and space have become a platform.

瓦妮莎比克罗夫特
נסה יקרופט
ヴァネッサ·ビークロフト
바네사 비크로프트
ВАНЕССА БИКРОФТ
La Membre Fantôme
For the installation ‘le membre fantôme’, vanessa beecroft takes the visitor back to the classical language of sculpture through a conceptual perspective, leading us towards an intimate gallery room inhabited by timeless statuary. shown at the 2015 venice biennale, beecroft presents a scene that is visible only at a distance, where the viewer must look through a crevice carved out of two marble walls. Through the panels, we see fragments of a stone garden, rich in archaeological allures and echoes of early twentieth century avant-garde. the archive of memory is here a tribute in bronze – placed at the centre of the installation – to marcel duchamp’s ‘étant donnés’, a reference model for her research that combines personal memories, historical and artistic impressions and a conceptual tension.

ג’רג’ ליגטי
Дьердь Лигети
ジェルジ·リゲティ
Le Grand Macabre
In the mid-70s, Ligeti wrote his only opera, Le Grand Macabre, loosely based on the 1934 play, La Balade du grand macabre, by Michel De Ghelderode. It is a work of absurd theatre that contains many eschatological references.After having seen Mauricio Kagel’s anti-operatic work Staatstheater, Ligeti came to the conclusion that it was not possible to write any more anti-operas.[citation needed] He therefore resolved to write an “anti-anti-opera”, an opera with an ironic recognition of both operatic traditions and anti-operatic criticism of the genre. From its brief overture, a mixture of rhythmic sounds scored for a dozen car horns, to the closing passacaglia in mock classical style, the work evolves as collage of sonorities ranging from a grouping of urban sounds to snippets of manipulated Beethoven, Rossini and Verdi.

Monolith
Monolith is a noncommissioned experimental work, playing with irregular pixel patterns. What happens when a screen has a nonuniform arrangement of pixels? How does this influence our perception of images and how much visual information do we even need to cross the border from abstract to figurative? Dealing with these questions, we have created a video sculpture, that aesthetically melts screen and content. In a play between natural beauty and technical disruption, images of classical busts transform cyclically into abstract gradients and turn again into perceptible images.

2020 Got Me Like
As COVID-19 speeds around the world and continues to shut down more cities, people begin to consume Internet culture in order to escape the apocalyptic anxiety in 2020, allowing Internet memes to go viral across the globe. Built upon social media, this work merges everyday sentiments with classical movie scenes to deconstruct the common imagination of “apocalypse” in entertainment industry. The video also incorporates the artist’s footage during protests, turning memes into public commentary and political satire. In this eventful year, meme does more than hijacking and decontextualizing meanings, it has become a form of silent revolt against the absurd.

Vanitas Machine

The installation VANITAS MACHINE addresses the desire for eternal life and the potential of life-prolonging measures. Based on a candle which – by means of technical intervention – burns down very slowly, vanitas machine creates a contemporary analogy to the endeavour of prolonging the human lifespan with the help of science and technology.Being one of the classical vanitas symbols, a burning candle recalls the futility of the moment, the transience of human life and the certainty of the end of all existence. But is this end really still inevitable?In the course of the last two centuries, average human life expectancy has increased significantly in the industrialised countries. Moreover, in the context of scientific research the biological causes of ageing are being explored. Numerous theories of aging have already been developed pointing both towards physiological as well as environmental factors.One of the first theories of ageing was the so-called »metabolism theory«, which claims that the lifespan of organisms is reciprocally related to energy turnover and therefore connected to calorie intake, oxygen consumption and heart rate: The higher the metabolic rate, the shorter the lifespan of the organism.

THE LONG NOW
A soap bubble usually remains stable for only a few moments – it is a perfectly formed sphere with an iridescent surface that reflects its surroundings. As one of the classical vanitas symbols the soap bubble traditionally stands for the transience of the moment and the fragility of life. THE LONG NOW approaches the soap bubble from a contemporary perspective – with reference to its chemical and physical properties as well as recent scientific and technological developments. THE LONG NOW is aimed at extending the lifespan of a soap bubble, or even to preserve it forever. Using an improved formula, a machine generates a bubble, sends it to a chamber with a controlled atmosphere and keeps it there in suspension for as long as possible. The project is presented in the form of an experimental set-up in which the newly created soap bubble oscillates permanently between fragility and stability.

H OM E OMOR PH ISM

Dome A/V Performance

A homeomorphism, also called a continuous transformation, is an equivalence relation and
one-to-one correspondence between points in two geometric figures or topological spaces
that is continuous in both directions.Many forms observed in nature can be related to geometry. In accordance with classical geometry,the shapes that found in nature are consisting of lines and planes, circles and spheres,
triangles and cones. These shapes actually are a powerful abstraction of reality, so we need primitive objects to give a form and understand the complex structure that exists in nature.

Return to Sender
Disarm music box
For the work group Disarm, he was able to use 6,700 weapons confiscated in the Mexican drug war and transform these into musical instruments[…] They play well-known, classical music pieces from the respective manufacturer’s country of origin. A musical box made with Glock pistol parts plays Mozart, Beretta barrels Vivaldi, while Reyes’s weapon of choice for Swiss songwriter Mani Matter is the Carabine. Reyes is concerned with «upcycling» – transforming an instrument of death into a musical instrument that stands for dialog and exchange. He undertakes this transformation process with the conviction that the physical act is always accompanied by an idealistic one and appeals to the spiritual dimension of this quasi-alchemical operation towards the good.

cloud pond

“Ludy’s toxic cloud shapes are featured more predominantly in this room, morphing into figures that look bacterial. They are both meditative and threatening as they swell and heave with no identifiable pattern. Ludy’s works are also surrounded by digital frames adding a classical sophistication to her contemporary digital pictures.” Shauna Jean Doherty

LA SOCIETE DE LA PLACE DES SPECTACLES
FILE SAO PAULO 2015
Inspired from the live works of Italian artist Michelangelo Pistoletto (1933-) of meticulously ransacking large mirrors, Sorenson revisited the classical traditions of vanitas under the materiality of video, and generate his creative process from the destruction of consumer components.

Captives
Captives is an ongoing series of digital and physical sculptures by Quayola and a contemporary homage to Michelangelo’s unfinished series “Prigioni” (1513-1534) and his technique of “non-finito”. The project explores tensions and equilibrium between form and matter, man-made objects of perfection and complex, chaotic forms of nature. In this series mathematical functions and processes describe computer-generated geological formations, endlessly evolving and morphing into classical figures resulting into life-size ‘unfinished’ sculptures.

White Water and Dust
Set to the piano scores by Erik Satie and other composers, White Water is a lyrical dance of pure movement that flows beautifully as its title suggests. The curtain opens to a projected colour image of a flowing river; it slowly transforms into black and white. In serenity and in turbulence, whiteness of waves and ripples streams out of the blackness. Green netting and girds used for digital design interrupt the flow of water, thus revealing the process of creating virtual images and illusion of light, providing a pleasant surprise to the dance.
Cloud Gate
Cloud Gate is the name of the oldest known dance in China. In 1973, choreographer Lin Hwai-min adopted this classical name for the first contemporary dance company in the greater Chinese-speaking community.

БАРРИ Х БОЛЛ
SCULPTOR BARRY X. BALL CREATES UNSETTLING BUSTS AND PORTRAITS THAT REFERENCE CLASSICAL SCULPTURE. THEY ARE UNSETTLING BECAUSE HE CHOOSES MATERIALS (MEXICAN ONYX, LAPIS LAZULI, ITALIAN MARBLE, CALCITE) WITH CRACKS, FISSURES, AND IRREGULARITIES TO GIVE THE IMPRESSION OF DISFIGURED FACES, SKIN CONDITIONS, OR MEDICAL ANOMALIES.

سيدي العربي الشرقاوي
西迪·拉比·切考维
СИДИ ЛАРБИ ШЕРКАУИ
Faun
Faun started from a desire to create a performance around dancer James O’Hara. As part of the centenary celebrations of the Ballets Russes, Sadler’s Wells Theatre in London also invited Cherkaoui to work on or draw inspiration from any of the pieces of the repertoire of the legendary company. Cherkaoui chose L’après midi d’un faune, Nijinski’s choreography inspired by Stéphane Mallarmé’s poem and danced on Claude Debussy’s impressionistic music. Nijinski’s version based itself on Greek representations on vases, it was very two dimensional, very classical yet also daring, sexual and quite controversial in it’s time.

ETHEREA
Coachella
Edoardo Tresoldi plays with the transparency of mesh and with industrial materials to transcend the time-space dimension and narrate a dialogue between Art and World, a visual summary which reveals itself in the fade-out of physical limitations. Mixing classical and modern language, he generates a third one, strongly contemporary.

マイケル·クラーク·カンパニー
Tate Project Part I ]
The choreography rehearsed and performed in 2010 paired the rigour of classical steps with contemporary movement, a juxtaposition that paralleled Clark’s training as a ballet dancer at the Royal Ballet, and his later anti-hierarchical, anti-authoritarian choreographic experiments. Balletic poses, jumps and steps were isolated from traditional narrative sequences and made strange through repetition. The graceful leaps and turns of the trained dancers seemed awkward and uneven, just as they were often out of sync and oriented in different directions. This choreography paralleled the performance space, which was demarcated by geometric and striped floor mats designed by Charles Atlas, which resembled the large windows at the back of the hall and the black beams that extend vertically from floor to ceiling.

The Coppelia Project
via highlike submit
The Coppelia Project is inspired by the story about a clockwork girl from the 1870 ballet ‘Coppelia’ by Saint-Léon, Nuitter, and Delibes, based on a story by Hoffmann. It also draws the commonplace metaphor of clockwork music boxes, with the little ballerinas that pop up and rotate in front of a mirror when you open the lid. Coppelia is part of the traditional classical ballet repertoire and is performed frequently by ballet companies around the world. It belongs to a small group of enduring stories in Western Culture that directly address the limits of humanity when confronted by our creations. The Coppelia story is unusual in approaching this theme through love and attraction, rather than horror and revulsion, as emphasised by Mary Shelly in ‘Frankenstein’. The Coppelia story deals with some of the issues at the edge of humanity; machines interchangeable with persons, love and attraction confused at this boundary.

Skin 2
His work often uses classical imagery that is transformed and energised using decidedly non-classical colours and forms. He uses collage and glitch techniques on his own and found images to create a quickly expanding body of work which has a recognisable and consistent style but has un unexpected energy making it feel fresh and dynamic.

Kaash
Inspired by Akram Khan’s early training in the Indian classical dance form Kathak, and the hybrid language that organically emerged when Akram’s kathak training encountered contemporary dance in his teens, a vision began to form, fuelled by a desire to learn and create through collaboration with the very best people across all the disciplines in the arts.

The rules were simple: take risks, think big and daring, explore the unfamiliar, avoid compromise and tell stories through dance that are compelling and relevant, with artistic integrity.
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goldberg variations
Bach’s Goldberg Variations—a set of 30 contrapuntal variations beginning and ending with an aria—were outside the standard piano repertoire, having been recorded on the instrument only a few times before, either on small labels or unreleased.The work was considered esoteric and technically demanding, requiring awkward hand crossing at times when played on a piano (these passages would be played on two manuals on a harpsichord). Gould’s album both established the Goldberg Variations within the contemporary classical repertoire and made him an internationally famous pianist nearly “overnight”. First played in concert by Gould in 1954, the composition was a staple of Gould’s performances in the years following the recording.

Thorsten Brinkmann moves individuals enjoying his works in a way that is hard to describe. It’s not like his creations offend somebody or give birth to strong feelings, but there certainly is something strange and disturbing about them. His piece of resistence is photographing people in a classical manner while substituting parts of their body with objects of common use, ranging for boxes, materials, lamps or even furniture.

New Age Demanded
“Inspired by classical Greek busts, Jon Rafman uses computer software to digitally render three-dimensional forms. The forms act as the structural surface on which two-dimensional Internet-sourced images are applied. The series is presented as large-scale archival pigment digital prints. Each print is created with its own specific texture and sculptural mutation. Rafman uses historically recognizable works from canonized artists like Mark Rothko, Georgia O’Keeffe, Piet Mondrian, and Wassily Kandinsky as the subjects of his appropriations.”

Pathfinder
Created by Princemio in collaboration with onformative and presented at Choreographic Coding laboratory in Frankfurt 2013, the Pathfinder project was created with aim to contribute to the creative processes of choreographic development. To achieve this algorithms have been developed to stimulate the dancers and to create visual inspirations. By doing this, the software becomes its own creative building block, questioning the classical master slave paradigm.

video pistoletto
FILE SAO PAULO 2015
Inspired from the live works of Italian artist Michelangelo Pistoletto (1933-) of meticulously ransacking large mirrors, Sorenson revisited the classical traditions of vanitas under new materials together with one of the more celebrated exploits of Arte Povera.

Collage I
Gwen van den Eijnde is a genius costume designer whose intricately designed garments reflect his immeasurable creative capacity. His costumes evoke a charming spirit of dark romanticism that borders on the bizarre, while remaining gracefully enchanting and ever-innovative. Gwen’s costumes all have a unique contemporary twist that juxtaposes classically-inspired touches like crowns made from wooden piano keys, and abundant Renaissance period embellishments.

Limes
Edoardo Tresoldi plays with the transparency of mesh and with industrial materials to transcend the time-space dimension and narrate a dialogue between Art and World, a visual summary which reveals itself in the fade-out of physical limitations. Mixing classical and modern language, he generates a third one, strongly contemporary.

Mao Never Down
Classical culture, along with a profound interest in religions, and the exploration of the self, also inspire his artwork. The artist uses language as a sculptural element. Each sculpture derives from or literally cites pieces of literature or counts a story, in a readable or unreadable way depending on the chosen script. The rendering in three dimensions of an art or a philosophy, which is either ephemeral and spoken, or written and two-dimensional, is esthetically and technically astonishing. His works translate to the viewer the balance and contradiction inherent in human nature.

Overgrowth
Inspired by a pursuit of beauty, Riley combines classically thoughtful botanical designs with Parker’s carefully considered film images in an expression of the multifaceted relationship between humankind and nature. The two artists contrast anonymous portraiture with sweeping landscapes in an attempt to capture both the malleable and untamed aspects of the natural world.

Vielecke und Vielfläche
Regular convex polyhedra, frequently referenced as “Platonic” solids, are featured prominently in the philosophy of Plato, who spoke about them, rather intuitively, in association to the four classical elements (earth, wind, fire, water… plus ether). However, it was Euclid who actually provided a mathematical description of each solid and found the ratio of the diameter of the circumscribed sphere to the length of the edge and argued that there are no further convex polyhedra than those 5: tetrahedron, hexahedron (also known as the cube), octahedron, dodecahedron and icosahedron.
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БАРРИ Х БОЛЛ
Envy
Sculptor Barry X. Ball creates unsettling busts and portraits that reference classical sculpture. They are unsettling because he chooses materials (Mexican onyx, lapis lazuli, Italian marble, calcite) with cracks, fissures, and irregularities to give the impression of disfigured faces, skin conditions, or medical anomalies.

БАРРИ Х БОЛЛ
Sculptor Barry X. Ball creates unsettling busts and portraits that reference classical sculpture. They are unsettling because he chooses materials (Mexican onyx, lapis lazuli, Italian marble, calcite) with cracks, fissures, and irregularities to give the impression of disfigured faces, skin conditions, or medical anomalies.

quintesence (QTSNSE)
Visualising a process of elements that represent the development of the psychic process, symbols will represent elements of the subconscious, telling a story of how memory may be disorientated, distorted, dysfunctional yet acting as a linear process to individuation. Using contemporary classical composition techniques & elements of sound system culture to heighten the viewers engagement with the different dimensions of space being presented and to enhance their depth of perception.

Кьяра Гойя
Chinese Artist Reproducing Classical Sculptures

videomaton
File Festival

The initial idea was to engage audiences with the classical paintings. The installation tries to transform the classical portraits into memorable and playful experiences. In short, by looking into a mirror a face of participant is captured by the system. Next, the captured face travels into one of the classical portraits. Hence, the viewer is invited into the gallery in order to recognize him or herself in one of the paintings. In other words, the art piece replaces the original painted faces by the faces of the audience. To be more specific, the authors have created an original face-morphing that integrates itself into the well-know portraits, like Meninas by Goya. To put in a nutshell, the common experience of modern art is replaced by a novel, playful and enjoyable encounter. The installation creates a framework of expression where audience spontaneously and freely interact in front of a mirror knowing that they are recorded. The results are experience by all audience in the gallery. The project was produced in 2011 as a commission of interactive art project for the new City Council of Madrid curated by Chema Conesa. “Videomaton” was presented in the opening of new City Council of Madrid located in the Cibeles square. The installation was exhibited for a year in the institution. The aim of the exhibit was displaying the famous art pieces of Madrid museums in a novel way.

Homage to B. Franklin
File Festival
Homage to B. Franklin is an interactive sound installation. Like Franklin, we also got inspired by the glass harps, so popular in the eighteenth century and still enjoyed nowadays. With this reference in mind, we aim to realize a dialogue between the past and the approach to explore sonority from elements of everyday life -like simple crystal glasses filled with water- and the present, in which we use electronic synthesizers and tangible digital interfaces to generate music. In both cases, there is something magical about being able to generate music without necessarily being an instrumentalist, without making use of classical or conventional instruments. In both, the resulting sound is different from what these instruments can generate, but still music. Participation from the audience is essential for this work to make sense. This is not an artwork of mere contemplative character. We are interested in motivating the participation and the dialogue work-individual and between individuals, since this is a project in which one can interact in groups.

БАРРИ Х БОЛЛ
SCULPTOR BARRY X. BALL CREATES UNSETTLING BUSTS AND PORTRAITS THAT REFERENCE CLASSICAL SCULPTURE. THEY ARE UNSETTLING BECAUSE HE CHOOSES MATERIALS (MEXICAN ONYX, LAPIS LAZULI, ITALIAN MARBLE, CALCITE) WITH CRACKS, FISSURES, AND IRREGULARITIES TO GIVE THE IMPRESSION OF DISFIGURED FACES, SKIN CONDITIONS, OR MEDICAL ANOMALIES.

イリ·キリアン – スティーヴ·ライヒ
יירי קיליאן – סטיב רייך
Иржи Килиана – Стив Райх
Falling Angels
Falling Angels was created in 1989 as one Kylián’s Black and White Ballets. The Black and White ballets consisted of six pieces, with Falling Angel being dance 6. It is choreographed to Steve Reich’s Drumming (Part One) created in 1971, which was based on ceremonial ritual music from Ghana (West Africa). Throughout Fallen Angels there is the use of mesmeric choral movement and repeated phrases. Falling Angels is for 8 women and depicts female dancers in their aim to achieve perfection but succumb in various stages to the human female psyche and female events such as ambition, seduction, pregnancy, birth, death, motherhood and self-awareness. Kylián was influenced by surrealism and minimalism during the creation of this work and the ‘black and white ballets’. In this ballet we see the combination of classical lines and sharp percussive movements that give unpredictability to the piece as a whole