Speaking of the blank page’ anxiety is an understatement: it’s simultaneously the vision of both the empty and the filled. The absolute void of an anechoic chamber or, on the other side, the blank potentiality’s full of an idea ahead. The only comforting fact in a blank page is that the artiste could, in a way, confine his anguish on it. Laying down there just ahead of us, with all the necessary tools exposed around it, to fight it and tame it: some kind of arena. For the music composer, this arena is not limited by a frame, but by the musical stave: five infinite lines crossed by the composer’s imagination, dropping here and there the musical scores. At both ends of theses fives lines: the performers on one side, the auditors on the other. Alone inside these musical staves, the composer is kind of trapped, as long as the actors who makes and receives the artwork doesn’t convert theses five lines into a vibrant structure. A fact remains, which has all its importance in the composer’s life and in its relationship with the blank page: the musical staves’ lines seem to stream past through the time, these are not standstill or waiting for the pencil movement, but instead, flies. The book of Numbers is the poetic layout of this abyss, and its “mise en abyme”. It’s simultaneously the writing’s proper narration, and the statement of its difficulty. The artwork’s component is the blank itself, but the blank transposed in another dimension, the temporal one. Throughout the work at the table, every second which is not being spent writing music is registered. From all of these materials, constructed by the antimatter of the musical writing, shall the artwork arise.