Music’s incited ‘augmented reality’ in Xenakis’s Polytopes, Scriabin’s Mysterium and Polymediality
The Polytopes by Iannis Xenakis is the collective name of a series of spatial multimedia installations and musical land art pieces realised on the second half of the 20thcentury, which take part in the tradition that links Richard Wagner’s conception of the total art work, the Gesamtkunstwerk. In the first decade of the same century, Alexander Scriabin envisioned his interpretation of a total art work, the utopian multimedia and multisensorial symphony Mysterium. By providing a brief description of the Concept of Polymediality (2003) and representative compositions associated with its two dimensions, this paper forms the hypothesis that all aforementioned works come under the contemporary notion of ‘augmented reality’. This is understood within a hybrid and polyaesthetic context, in which the composer defines a spatial unity of all media elements interacting with the music.Key-words:polytope, polymediality, music and multimedia, Gesamtkunstwerk, aesthetics of contemporary music 1.Xenakis’s Polytopes and Scriabin’s MysteriumAccording to Iannis Xenakis’s own words in an interview on the occasion of the production of the Polytope de Mycènes in 1978: a poly-tope is a superimposition of spaces (cf. Solomos 2015); the coexistence of many places, the convergence of several topoi. The word “place”, used in its general sense, denotes the abstract and the physical: a geographical place, a place of art such as music, of light, a place of history, a place of poetry, etc. Conceived between 1967 and 1984, Xenakis’s Polytopes are the collective name of a series of spatial multimedia installations that mix together sound, light, colours, movement and architecture during live performances. They are tied to a concrete architecture (Polytope de Montréal, de Cluny and de Beaubourg) or to an archaeological site (Polytope de Persépolis and 1 European Academy of Sciences and Arts, info@mjelia.com