Earle Brown’s involvement with the fine arts led him to reject previously fixed ideas of musical form and supposedly sacrosanct rules of composition in the early 1950s. His graphic notations, which are primarily oriented toward Jackson Pollock’s painting procedures, guarantee the opening of time and space which leads to the liberation of the sound and the expansion of the meaning of form. “[…] mobility of the sound elements within the work and the graphic provocation of an intense collaboration throughout the composer-notation-performance process – were for me the most fascinating new possibility for ‘sound objects’ as they had been for sculpture and painting.” (Earle Brown)