“The structure of the system is analogous to the circulation without rotation of infinitely extensive liquids through infinitely small openings, or to a system consisting of rigid rods and rapidly rotating flywheels mounted on all or some of those rods [...] If one keeps increasing the angular velocity of the flywheels, or if one keeps tightening the springs, the periods of elementary vibrations will become shorter and shorter […] The movements will increasingly resemble those of a perfectly rigid system formed of material points mobile in space and turning according to the well known law of rotation of a rigid body having equal moments of inertia around its three principal axes. In sum, the element of perfect rigidity is the gyrostat or gyroscope […] By gyrostatic action, the Machine is transparent to successive intervals of time. It does not endure or ‘continue to be’, but rather conserves its contents outside of time, sheltered from all phenomena. […] The Machine's immobility in Time is directly proportional to the rate of rotation of its gyrostats in space.”
– Alfred Jarry, How to construct a time machine
Cyclotone takes thematic cues from cyclotrons, particle accelerators and gyroscopic devices. It alludes to aspects of particle physics, space exploration and 4-dimensional space. The work uses field recordings gathered from a wide range of sources as triggers for conjectures, fictions, and anachronistic poetic narratives relating to space flight and time travel. The work was inspired by the desire to commemorate the first wave of Russian cosmonauts who conquered space physically and the artists of the Constructivist movement who conquered space conceptually.
“I saw 4-d geometry, 4-d space-time diagrams spinning and morphing into quasars with jets, black holes and the big bang!” – Arthur I. Miller, author of Deciphering the cosmic number: The strange friendship of Wolfgang Pauli and Carl Jung