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The re-embrace has seen record numbers flock to EMST, a concrete edifice on a busy boulevard beneath the Acropolis, with hundreds daily visiting the exhibition dedicated to Xenakis’ troubled relationship with Greece, drawn from the archives of the CMRC which the composer co-founded. “Finally a museum is doing what should have been done so long ago,” smiled Eleni Katsarou, 34, an electronic music producer marvelling at the UPIC, a makeshift “computerised musical composition” system devised by the artist to translate images into notes. “He was such a force, so ahead of his time, unique. It’s mind-blowing to think he predicted how we’d produce music, how composers would one day be computer programmers synthesising sound.”