Here is newly edited track, based on improvisation with euclid sequencers:


But this is not a kind of pythagorean stuff, as I hear some of minimal experiments here:

I love the idea of symmetry of rhytmical concept with symmetry of melodic and polyphonic (sometimes even harmonic) concept. Like Björk (singer) has her backgrounds, beginning, ending, middle, everywhere, depending on how you (or she) see it.

Every moment is potentially stressed, unstressed or rest. It depend, how you hear it at the moment, or later in editing / composiing.
Symmetry in rhythm gives great freedom for the mediumship: for channeling something from above to below, to time, in music. At least it gives greatest possibility for that (as much Im aware).
In my thinking, rhythmic pattern and melody and tone row (referring dodecaphony, serialism) are one object. Polyrythm turns to polyphony by melody during entanglement of the sounds. And this is symmetric the way as it is in cuban clave.

Also the number of how events taking place or coming one after another should be taken in a count. Pay attention to divisibility of these numers leads mathematics of juggling.

Sequencer in that level on complexity is hearth of multi-dimensional orthogonal matrix of musical parameters or metaparameters. Actions can be independent (human played) or dependent (serial determined or serial guided) in multi-dimensional subspaces.
Must remember that in a world of euclid sequencers, time can stopped (tempo 0) and reversed (negative tempo), while hand of the clock turning counterclockwise. This melting plasma-state of the universe (see Björk video Black Lake) can occur any moment. I usually use footswichs for adjusting tempo.  

In practise, im not too far in all of these practices. Just have made some first experiments (during these 5 years) to get used, to grow some experiece.

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