The adjective « Dedalic » personifies a rigid art in sculpture. It suggests a presentation of human anatomy seen from the front, as shown in the ceramics of 5th century B.C.E. Greece, as opposed to geometric art.

The labyrinthine structure suggested by the title reflects the elements of recognition through the course of the piece. They are embedded in multiple values of duration, audible in what concerns the recurrent sections of tempi, speeds and enunciations of thematic figures.

I do not pretend there is an absolute identity between the text and its perception, I even claim a disjunction between the two terms as a principle to be transgressed. This can create a strong momentary identity of the figuration. But this transgression should not be considered a minimalist posture. It is only a moment of the continuous movement between the clearly affirmative determined figures and the transitory and evanescent outlines.

The labyrinthine writing (which alone, having the keys, the architect is able to deconstruct) is therefore not necessarily one of a « road of audition ». The geometric proportions introduced in the 28 segments of duration, grouped by 4 in the 7 principal sections, are the illustrations of this impossible compromise, which results in the dream of Dedalus.

Audition is therefore required as an active process, not a static state. The labyrinth of audition proposes another dream, that of Theseus or of a Minotaur, for example.