In the 1960s and 1970s, the composer and architect Iannis Xenakis (1922-2001) realized a series of automated audiovisual spectacles, titled ‘Polytopes’. They featured strobe lights, laser beams and electro-acoustic music, and were installed in existing buildings or archaeological sites. Their concept was inspired by the Poème Electronique, a multimedia collage by Le Corbusier and Edgar Varèse hosted in the Philips Pavilion at the 1958 Brussels World Fair. As Le Corbusier’s assistant, Xenakis not only designed the pavilion’s complex geometry but also participated as a composer with Concret PH, a two-minute interlude broadcast through the pavilion’s 300 loudspeakers. Although the Poème Electronique received much acclaim, Xenakis criticized its mimetic content as well as its multiple authorship, arguing that in an age of electronics and automation, such a total work of art should have one single creator uniting disparate media within a coherent artistic vision.