When I made the film Open Opera, I wanted the different stages of the destruction of destruction to be organized based on random games, mostly childish.  I therefore displayed signs on a wall of the workshop that determine the path of the character in charge of this mission.

So I created these signs. They are diptychs, because I considered that they should be opened on two proposals of action in order to broaden the game scope. Under each of them was a mode of action to be carried out and the instrument to be used.  I named them Formants. This term is a reference to that used by Boulez in his Third Sonata.  This composer created a piece for piano in which various paths are proposed to the performer.  It is an open work in which the proposals made to the pianist are innumerable.

According to the principle of chance, imagine an open work in perpetual gestation.
A work that does not exhaust itself in its realization.

On the one hand, its nature.
On the other, what it could be.
Between the two, the methods of passing from the first to the second.

The game should progress and the directions should be approached and then ordered.