ABSTRACT
This chapter shows the notation of aperiodic time in music and landscape architecture, commencing with detailed study of the notation of the Hungarian composer Gyorgy Ligeti's composition from 1967, Lontano, examining the strategies used within its symbolic notation to address complex notions of time. This is followed by an analysis of a landscape architectural notation from 1965, contained in a publication titled The View from the Road, exploring whether its approach to drawing motive experience in landscape might resonate with Ligeti's notation and his notions of unfolding time. Lines Burnt in Light is intriguingly similar to Ligeti's own experimentations that preceded Lontano. His initial notations for Atmospheres from 1961 show cloud-like musical forms drawn first in outline, and further explored through notating droplets of sound, that make visible the sonic particles that constitute the music. It is as though committing them to paper causes Ligeti's thoughts to condense, the music constructed from thousands of particles of notated sounds and silences.
