TILT is unpredictable and never plays the same twice. It is a kinetic experience, that is dynamic, that is alive.

Topography, speed, disorientation make everything seem random, until the player acquires the skills to control his environment. Connected by infrastructures and superstructures, architectural landmarks become mechanical devices interacting with the player’s trajectory. First a source of confusion, they become tools to meet, barter and evolve in the city.

True dedication and total emotional involvement make everything drop away. The advanced players eventually starts to sense the rythm, the tempo, the flow, a strange feeling of happiness.

NECESSE SUM, ES, ESSE, FUI

to be necessary, (to be inevitable, ineluctable, indispensable, obligatory)

[...] the nomad goes from point to point, only as a consequence and as a factual necessity; in principle, points for him are relays along a trajectory.

Here landmarks is entirely prosaic. [...] Thus each district is collected in the void of its station, an empty point-of-influence of all occupations and its pleasures.

The fear and anguish caused by this loss of sensory and spiritual points of reference are only the necessary prelude to the pleasure of discovering new sensations, emotions and ideas that transform us. Immersed in the entanglement of the world, our body becomes the centre of situations. Induced by our contact with the surroundings, an intoxication suddenly envelops us in emotional atmospheres that bring us to life.

This game induces a kind of hypnosis, a strange feeling of happiness. Winning is hardly important. But time passes, you lose touch with yourself for a while and merge with the machine. And perhaps you forget what you always wanted to forget.

When it was absolutely certain that nothing, nothing could save him. Then he was at peace; then he could smile, almost; then he became beautiful...

Here, on the contrary, domiciliation is sustained by no abstraction. (…) This city can be known only by an activity of an ethnographic kind; you must orient yourself in it not by book, by adress, but by walking, by sight, by habit, by experience.

The streets of this city have no names. There is of course a written dress, but it has only a postal value, it refers to a plan (by districts and by blocks, is no way geometric), knowledge of which is accessible to the postman, not to the visitor: the largest city in the world is practically unclassified, the spaces which compose it in detail are unnamed.

Randomness caught on the wing, preserved, reproduced by the machinerie of invariance and thus converted into order, rule, necessity.

Drown out of the realm of pure chance, the accident enters into that of necessity, of the most implacable certainties.

Perhaps we must say that all progress is made by and in striated space, but all becoming occurs in smooth space.

In smooth space, the line is therefore a vector, a direction and not a dimension or metric determination. It is a space constructed by local operations involving changes in direction. These changes in direction are likely to be due to the variability of the point to be attained.

There exists a nomadic absolute, as a local integration moving from part to part and constituting smooth space in an infinite succession of linkages and changes in direction. It is an absolute that is one with becoming itself, with process.

It is only indirectly, I say, that the individual has this violent craving for existence. It is the Will to Live which is the real and direct aspirant - alike and identical in all things.

This is why the imaginary and the real must be, rather, like two juxtaposable or superimposable parts of a single trajectory, two faces that ceaselessly interchange with one another, a mobile mirror.

With an an amazement which was all the greater as he sensed with horror that all this may not be really foreign to him, that even his Apollonian cousciousness was covering the Dionysian world in front of him, like a veil.

A living thing seeks above all to discharge its strength - life itself is Will to Power; self-preservation is only one of the indirect and most frequent results therof.

Directed or not [...] smooth space is directional rather than dimensional or metric. Smooth space is filled by events or haecceities, far more than by formed and perceived things. It is a space of affects, more than one of properties. It is haptic rather than optical perception.

The Theatre of the World also seemed to me to be in a place where architecture ended and where the world of the imagination began and even the irrational...

The man who neglects things finds that his time escapes him. Then necessity or at least desire brings him to action. Having, by then, almost let the season go by, he must act in a mad rush. With strenuous effort he accomplishes the same thing that earlier and at the proper time would have been easy.

Surrounded by a world full of wonder and forces, whose law man may define, may want to understand but never decipher, which reaches him in only a few fragmentary harmonies and which suspends his soul in a continuous state of unresolved tension, he himself conjures up the missing perfection in play. He makes himself a tiny little world in which the cosmic law is evident within strict lim- its, yet complete in itself and perfect in this respect: in such play, man satisfies his cosmogonic instinct.

Je est un autre.

Le présent est la forme de toute vie. C’est une possession qu’aucun mal ne peut lui arracher. Le temps est comme un cercle qui tournerait sans fin.

In many contemporary musical works, repetition aims at freeing itself from any « telos ». Repetitive music, born in America in the 60’s, adopts a composition based on the repetition of short melodic, harmonic or rhythmic patterns. We call them « postmodern » musics ; this qualification seems to suit to music based on beat where time seems to vanish to the advantage of landscape and space.

One must imagine Sisyphus happy.

Der Mensch, die wohl geheimnisvollste Spezie unseres Planeten. Ein Mysterium auf eine Frage. Wer sind wir? Woher kommen wir? Woher wissen wir was wir zu wissen glauben? Wieso glauben wir überhaupt etwas? Unzählige Fragen, die nach einer Antwort suchen. Eine Antwort, die wieder eine neue Frage aufwerfen wird. Die nächste Antwort wieder die nächste Frage und so weiter und so weiter. Doch ist es am Ende, nicht immer wieder die gleiche Frage und immer wieder die gleiche Antwort.

Neither the space, nor the time, nor the necessity are the fruit of evolution. They are there. They are given. They are massive and unexplainable.

Necessity [noun]: set of constraints acting on a being or a system that determines its state and orientate its actions.

Chance [noun]: the unknown and unpredictable element that causes an event to result in a certain way rather than another.

The adventurer is the one by whom adventures happen rather than the one to whom the adventures happen. The construction of situations will be the continuous realization of a great, deliberately chosen game.

In ancient Greek religion, Ananke (Aνάγκη, "force, constraint, necessity") is the personification of inevitability, compulsion and necessity.