Usually they compare contemporary art with a laboratory whose distinctive feature is to experiment with synthesizing of various forms: theater, poetry, music, fine arts and science as well.

Earle BROWN’s works (an American composer and post-war avant-garde veteran) combine all these elements.

Anyone interested in serious contemporary music at least once might have come across the mentioning of geometrical graphics of Earle Browns’ scores.

This technique is considered to be a classic visual image, a sample of a radical break in the field of music of the 50s, which associates with the graphic conceptualization of the sound mobile space open to improvisation of a performer.

Mathematical education, involvement in the avant-garde literature and painting, jazz musician experience, love to nature and fast driving – this issue presents all these various components inherent in Earle Brown’s creative selfhood.