“In 1985 I met astronomer and cosmologist Joseph Silk in Berkeley, who introduced me to the sounds of pulsars. I was seduced by those of the Sails Pulsar, and immediately asked myself, in a similar way to Pablo Picasso picking up an old bicycle saddle, “what could I conceive with this object?”. The answer came slowly: to integrate them into a musical work without manipulating them, to simply let them exist as points of reference within a music that would somehow be its casket or stage; to use their frequencies as tempos and to develop the ideas of rotation, periodicity, slowing down, acceleration, and glitches that the study of pulsars suggests to astronomers”.
