Patience is the key to the evolution of Glass, using tonal shifts and ghostly textures to compliment the improvisational mastery we are bearing witness to, whether or not it becomes something much more ghastly than beautiful. In this stunning performance-installation, Japanese artist Shiro Takatani’s meditation on silence unfolds in an exquisite multimedia staging, along with music by world-renowned composer, Ryuichi Sakamoto. In the past 20 years alone, hes written a multimedia opera, turned a glass building into an instrument, and travelled to the Arctic to record the sound of. Playlist: Ryuichi Sakamoto: On music and more (8 talks) Musician Ryuichi Sakamoto picks his favorite talks on ideas - both musical and beyond. Instead, Glass goes through a sequence of icy maneuvers and stark additions to the crushingly silent atmosphere the Glass House provides for Noto and Sakamoto. The piece never wanders but doesn't allow itself to remain as it once was, for its path deviates from normality quickly and never returns to that residual one-note hum. The building in which they performed and recorded Glass itself (the titular Glass House) is an instrument sheltering the clicks and glitches that permeate the room and begrudgingly join in with the vaguest of melodies, whenever such a thing does arise. Alva Noto's works with Ryuichi Sakamoto have always crossed the realms of finely abstract electronics, but never before has it been so anxious and mysterious. The sounds you hear throughout Glass are cold and sparse, with nothing more to alleviate the sense of creeping terror. Glass is as austere as it is brimming with creativity an anomaly that beckons its willing listeners into immersing themselves into the chilling aura the composition will undoubtedly evoke.