Spatial Constructivism is a term I use to define an unconventional notation that is complex and requires a virtuoso with exceptional musical and cognitive abilities to execute. This system is based on the principles of paratactic and dissipative structures, as well as on the principles of Constructivism in art and architecture.
It is deliberately difficult to interpret and execute.
It is paratactic in structure, meaning that it is composed of a series of distinct and independent units that are juxtaposed with each other in order to create a larger whole. These units may be individual notes or compound diagrammatic notes, or they could be more complex musical phrases or sections.
Each unit is represented in the notation system by a unique symbol or graphic element, and the performer is required to interpret and execute each unit individually, while also integrating it into the larger context of the piece.
At the same time, the notation system is dissipative in nature, meaning that the performer would need to constantly adapt and respond to changing musical and cognitive contexts. The system might involve elements of chance, forcing the performer to react spontaneously to unexpected events or stimuli.
Additionally, the notation incorporates elements of feedback or self-correction, allowing the performer to modify their approach based on the results of previous performances or on real-time sensory input.
There is a clear emphasis on the use of geometric forms and patterns, as well as the manipulation of space and perspective, in order to create a sense of depth, dynamism, and interactivity within the notation system. This system incorporates elements of visual art, such as colors, textures, or shading, in order to convey information about tempo, dynamics, or other musical parameters.
The score is developed based on the idea that music can be thought of as a physical construct that exists in space and time. This construct can be visualized as a three-dimensional object with multiple dimensions, each representing a different aspect of the music, such as pitch, duration, volume, and timbre. These dimensions can be manipulated in space, creating a complex interplay between the various elements of the music.