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[[Image:Bustoerik.jpg|frame|right|Selfportrait of Erik Satie. The text reads (translated from French): Project for a bust of Mr. Erik Satie (painted by the same), with a thought: "I came into the world very young, in an age that was very old"]]'''Alfred Éric Leslie Satie''' ([[Honfleur]], [[17 May]] [[1866]] – [[Paris]], [[1 July]] [[1925]]) was a [[France|French]] [[composer]], [[pianist]], and [[writer]].
|title= The Daedalus Encounter
|image=
|caption=
|developer= [[Mechadeus]]
|publisher= [[Virgin Interactive]]
|distributor=
|designer=
|series=
|engine=
|version=
|released= <small><sup>'''[[North America|NA]]'''</sup></small> 1995 <br />
|genre= [[Adventure game|Adventure]]/[[Puzzle computer game|Puzzle]]
|modes= single-player
|ratings=
|platforms= [[Microsoft Windows|Windows]], [[Apple Macintosh|Mac]], [[3DO]]
|media=
|requirements=
|input=
}}
 
'''The Daedalus Encounter''' is a [[computer game]] from [[1995]]. It is an [[adventure game|adventure]]/[[puzzle computer game|puzzle game]] from the short-lived subgenre of [[interactive movie]]s. It was distributed by [[Virgin Interactive]], and was released for the [[IBM PC compatible]], [[Apple Macintosh]], and [[3DO]].
Dating from his first composition in 1884, he signed his name as '''Erik Satie''', as he said he preferred it. He wrote articles for several periodicals and, although in later life he prided himself on always publishing his work under his own name, there appears to have been a brief period in the late 1880s during which he published articles under the [[pseudonym]], '''Virginie Lebeau'''.
 
The game follows a trio of [[space marines]] who fought in an interstellar war: Casey (the [[player character]]), Ari ([[Tia Carrere]]) and Zack ([[Christian Bocher]]). The game opens, and the story begins, just as Casey has been brought [[resuscitation|back to life]] by his partners. After being in a horrible space accident, Casey's body was all but destroyed, and he is now only a [[brain]], grafted to a [[cyborg|small flying pod]] (a "Virtual Control Center"). In this new form, Casey possesses limited ability to interact with his environment, his only way to communicate being through a yes/no interface and by emitting light pulses. Upon awakening, Casey finds out that the war is over and that Ari and Zack have become pirates, stealing salvage from the war to survive. During a salvage mission, the trio crash into and are stranded on a derelict alien [[spacecraft]], which is on a collision course with a star. It is up to Casey to help his partners and explore the mystery of the Daedalus spaceship.
Satie introduced himself as a "gymnopedist" from 1887, shortly before writing his most famous compositions, the ''[[Gymnopédie]]s''. He also referred to himself as a "phonometrograph" or "phonometrician," meaning "someone who measures and writes down sounds" — he preferred this definition of his profession to "[[musician]]," after having been called "a clumsy but subtle technician" in a book on contemporary French composers in 1911. Some view him as a serial [[wiktionary:Precursor|precursor]], being ahead of many [[twentieth century]] [[avant-garde]] artistic ideas; ''see'' [[#"Petit dictionnaire d'idées reçues" (short dictionary of preconceived ideas)|below]].
 
In order to save themselves, the trio must explore the huge alien ship and solve a large number of ''[[Myst]]''-like [[puzzles]], such as connecting colored laser-beams with mirrors, playing an advanced form of connect-the-dots with a computer interface, and one combat sequence, battling aliens called Krin. The puzzles are mixed with acting sequences from Carrere and Bocher, whose interaction with the player creates some light-hearted comedy. For example, during one mission, Bocher's Zack exclaims that the dead aliens on a ship near the beginning are "ugly." Carrere's Ari responds, "Why Zack, I always thought you found aliens quite... attractive." To which Zack says, "Hey, hey, hey, hey, I was drunk that night, you know that, and besides, you swore to me it was female."
==Life and work==
===From Normandy to Montmartre===
[[Image:MaisonSatie.jpg|thumb|200px|Satie house and museum in Honfleur]]
Erik Satie's youth was spent alternating between living in [[Honfleur]], [[Basse-Normandie]], and Paris. When he was four years old, his family moved to Paris, his father (Alfred), having been offered a translator's job in the capital. After his mother (born Jane Leslie Anton) died in 1872, he was sent, together with his younger brother Conrad, back to Honfleur, to live with his paternal grandparents. There he received his first music lessons from a local [[organist]]. When his grandmother died in 1878, the two brothers were reunited in Paris with their father, who remarried (a piano teacher) shortly afterwards. From the early 1880s onwards, Alfred Satie started publishing salon compositions (by his new wife and himself, among others).
 
The game is available for the [[3DO Interactive Multiplayer|3DO]], [[Apple Macintosh|Macintosh]], and [[personal computer|PC]]. In the 3DO version, the video is full-screen; in the other two versions, the video is in a window inside of an organic interface. The PC version has quite a few bugs that have never been worked out. While the game wasn't a huge hit on [[Microsoft Windows|Windows]], it is still fondly remembered by some [[Apple Macintosh|Macintosh]] gaming fans, as it was a part of the multimedia package that was included with the [[Macintosh Performa]] at the time.
In 1879 Satie entered the [[Paris Conservatoire]], where he was soon labelled untalented by his teachers. After being sent home for two and a half years, he was re-accepted in the Conservatoire at the end of 1885 — but was unable to make a much more favourable impression on his teachers than he had before, so he finally resolved to take up [[military service]] a year later. This did not last very long; within a few weeks he tried to leave the army through a trick, which eventually succeeded.
 
It is said that Tia Carrere developed an oversensitivity to the color [[blue]] as a result of all the [[bluescreen]] filming involved in the game's production. According to Carrere in one interview, she specifically requested that her character be unable to be killed directly by the player.
In 1887 he left home to take lodgings in [[Montmartre]]. By this time he had started what was to be a long-lived friendship with the romantic poet [[Patrice Contamine]], and had had his first compositions published by his father. He soon integrated with the artistic clientèle of the [[Le Chat Noir]] Café-cabaret, and started publishing his ''[[Gymnopédies]]''. Publication of compositions in the same vein (''[[Ogives]]'', ''[[Gnossiennes]]'', etc.) followed. In the same period he got to know [[Claude Debussy]]. He moved to a smaller room, still in Montmartre (rue Cortot N° 6), in 1890. By 1891 he was the official composer and chapel-master of the [[Rosicrucian Order]] "Ordre de la Rose-Croix Catholique, du Temple et du Graal", led by Sâr [[Joséphin Péladan]], which led to compositions such as ''[[Salut Drapeau!]]'', ''[[Le Fils des étoiles]]'', and the ''[[Sonneries de la Rose Croix|Sonneries de la Rose+Croix]]''.
 
==Plot==
By mid-1892 he had composed the first pieces in a compositional system of his own making (''[[Fête donnée par des Chevaliers Normands en l'Honneur d'une jeune Demoiselle]]''), had provided incidental music to a [[chivalric]] [[esoteric]] play (two ''[[Prélude du Nazaréen|Préludes du Nazaréen]]''), had had his first [[hoax]] published (announcing the [[premiere]] of ''Le Bâtard de Tristan'', an anti-Wagnerian opera he probably never composed), and had broken with Péladan, starting that autumn with the ''[[Uspud]]'' project, a "Christian Ballet", in collaboration with [[Contamine de Latour]]. While the comrades from both the Chat Noir and [[Miguel Utrillo]]'s [[Auberge du Clou]] sympathised, a promotional brochure was produced for the project, which reads as a [[pamphlet]] for a new esoteric [[sect]].
 
[[Image:SatiebyValadonThe Daedalus Encounter.jpg|350px|thumb|right|0px|Portrait of Satie by Valadon]]
Satie and [[Suzanne Valadon]], a successful artist and long-time friend of Miguel Utrillo, started an affair early in 1893. After their first night together, he proposed marriage. There was no marriage, but soon Valadon moved to a room next to Satie's at the Rue Cortot. Satie became obsessed with her, calling her his ''Biqui'', and writing impassioned notes about "her whole being, lovely eyes, gentle hands, and tiny feet". During their relationship Satie composed the ''[[Danses Gothiques]]'' as a kind of prayer to restore peace of mind and Valadon painted a portrait of Satie, which she gave to him. After six months she moved away, leaving Satie broken-hearted. Afterwards, he said that he was left with ''nothing but an icy loneliness that fills the head with emptiness and the heart with sadness.'' Apparently, this would remain the only intimate relationship Satie ever had.
 
==Disk 1==
In the same year he met the young [[Maurice Ravel]] for the first time, Satie's style emerging in the first compositions of the youngster. One of Satie's own compositions of that period, the ''[[Vexations]]'', was to remain undisclosed until after his death. By the end of the year he had founded the [[Eglise Métropolitaine d'Art de Jésus Conducteur]] (the Metropolitan Church of Art of the Leading Christ). As its only member, in the role of "Parcier et Maître de Chapelle" he started to compose a ''Grande Messe'' (later to become known as the ''[[Messe des Pauvres]]''), and wrote a flood of letters, articles and pamphlets showing off his self-assuredness in religious and artistic matters. To give an example: he applied for membership of the [[Académie Française]] twice, leaving no doubt in the application letter that the board of that organisation (presided by [[Camille Saint-Saëns]]) as much as owed him such membership. Such proceedings without doubt rather helped to wreck his popularity in the cultural [[The Establishment|establishment]]. In 1895 he inherited some money, allowing him to have some more of his writings printed, and to change from wearing a priest-like habit to being the "Velvet Gentleman".
In [[outer space]], the year is 2135 and it is the six final days of the first [[interstellar war]] near [[Planet Beta Tranguli]]. Three [[spacecrafts]] fly past and Ari, flying one of them tells the others to maintain the formation and keep alert. She asks [[Casey]] if there's anything on the scanners, and the scanners instantly start showing high levels of [[activity]] in the area. Just then a number of [[Vakkar Spider Spaceships]] appear before them and the war begins. [[Zack]], Ari's parter, shoots at them using the [[lasers]] but the Vakkar spaceships just shoot back at them.
 
Casey starts shooting rocket [[missles]] at the ships and one of them gets hit with a massive explosion. However, the explosion causes part of the destroyed Vakkar ship to tumble through space towards them. Ari and Zack quickly [[eject]] themselves from their spacecraft just before the destroyed part of the Vakkar ship smashes into it. Unfortunately, Casey is also hit by the impact.
===Moving to Arcueil — cabaret compositions, Schola Cantorum===
By mid-1896 all his financial means had vanished, and he had to move to cheaper lodgings, first at the Rue Cortot, to a room not much bigger than a cupboard, and two years later (after he'd composed the two first sets of ''[[Pièces froides]]'' in 1897), to [[Arcueil]], a suburb some ten kilometers from the centre of Paris (in the [[Val-de-Marne]] district of the [[Île-de-France (région)|Île-de-France ]]).
 
Everything goes black. Ari's voice is heard coming from somewhere. Ari explains that the ejection pod was hit by the [[debris]]. Casey got hit pretty bad but he is being fixed up with life support and [[artificial senses]]. Zack tells Casey to hang in there and that he will be OK.
At this period he re-established contact with his brother Conrad (in much the way [[Vincent Van Gogh]] had with his brother Theo) for numerous practical and financial matters, disclosing some of his inner feelings in the process. For example, from his letters to his brother it's clear that he had set aside any religious ideas (which were not to return until the last months of his life); Satie used humour as he was often to do: to indicate a change of mind concerning subjects about which he had had strong views.
 
Two months later, Zack activates the audio link and starts the system. Ari tells him to switch on the normal [[interface]], and Zack replies, "You've got it." Ari explains to Casey that his mind has been placed a support [[mechanism]]. Zack interrupts and says, "She's trying to say you're a brain in a box, Case." Ari asks Zack if he could let her handle this, and Zack disappears offscreen. Ari allows Casey to have a look at himself — the shape of a machine, with two tubes moving up and down, simulating [[breath]]ing. Ari tells Casey that he may not look the same on the outside but she knows it is him on the inside; she then asks him to respond and if he can, he is to use the virtual interface in front of him to transmit a "yes". Casey responds "yes" and Ari is pleased that it works. Zack explains that the War is over; they destroyed another Vakkar ship causing the rest of the fleet to retreat. It put Ari and Zack out of a job but War is not an enjoyable job. Zack walks over to the controls and Ari explains how Casey is now on board the [[Artemis]], they are salvaging vessels in the [[wiktionary:Sector|Sector]] and that she and Zack cobbled it together with some transports. Zack adds that they also "borrowed" engines from a destroyer that was more powerful inside than outside, and that it seems only fair (where they see it) that there's a lot of [[cargo]] floating around out there, free for the taking. Ari says that they figured Casey was interested in joining them so Zack hardwired him into the ship systems. Zack tells Casey that it is good to have him back and adds in a calm to an action tone of voice, "So uh, what do you say guys? Let's do some hunting!"
From the winter of 1898–1899, Satie could be seen, as a daily routine, leaving his apartment in the Parisian suburb of Arcueil to walk across Paris to either [[Montmartre]] or [[Montparnasse]], before walking back again in the evening.
 
50 hours later in the [[Draylak System]], the Artemis has finally picked up something on the scanners. Zack activates the [[view screens]] showing an abandoned [[freighter]] floating in space not far ahead of them. Ari tells Casey to activate his [[remote-controlled probe]] to help them get a better look at the derelick. Casey starts up the [[sub systems]], runs the [[diagnostics]] and [[deploys]] the [[probe]]. The probe glides ahead of the Artemis, freely, as if it is getting used to the functions. Zack asks what it feels like but Ari tells him to knock it off and explains to Casey the guiding system is pretty much [[automatic]] so he can concentrate on the job and that most other functions are up to him.
From 1899 on he started making money as a cabaret pianist (mostly accompanying [[Vincent Hyspa]], later also [[Paulette Darty]]), adapting over a hundred compositions of popular music for piano (or piano and voice), adding some of his own. The most popular of these were ''[[Je te veux]]'' (text by Henry Pacory), ''Tendrement'' (text by Vincent Hyspa), ''Poudre d'or'' (a waltz), ''La Diva de l'"Empire"'' (text by Dominique Bonnaud/Numa Blès), ''Le Picadilly'' (A March), ''Légende Californienne'' (text by Contamine de Latour lost, but the music later reappears in ''[[La Belle Excentrique]]''), and many more (probably even more have been lost). In his later years Satie would reject all his cabaret music as vile and against his nature (although he revived some of the fun of it in his 1920 ''Belle excentrique''), but for the time being, it was an income.
 
Outside, Casey almost collides with a large floating piece of space rock. As he approaches the freighter, Zack says that the [[collision avoidence]] seems to be working and Ari tells Casey to try the computer link and see how it works by running an [[I.D.]] check (analysis) on the freighter to see if the results can include the name of the [[ship]], and possibilities of the cargo. Casey runs the analysis and continues to approach the freighter. Zack tells him that he's coming up on some cargo [[door]] controls, and to use his [[laser torch]] on the upper right-hand [[switch]] to open the door. Ari warns Casey that Vakkar ships often used [[booby traps]] to keep way their hulks. Casey opens the door and continues through a second door into the cargo area. Ari tells him to activiate the [[floodlight]], but by doing so, a [[Vakkar corpse]] is revealed right in front of him. This makes Zack jump and Ari tells him that she thought he found [[Extraterrestrial life in popular culture|aliens]] quite... actractive. Zack insists that he was drunk that night and that she swore to him it was female. Ari laughs and tells Casey to get a good look around the freighter.
Only a few compositions that Satie himself took seriously remain from this period: ''[[Jack-in-the-box (composition)|Jack-in-the-box]]'', music to a [[pantomime]] by Jules Dépaquit (called a "clownerie" by Satie), ''[[Geneviève de Brabant]]'', a short comic opera on a serious theme, text by [[Lord Cheminot]], ''[[The Dreamy Fish]]'', piano music to accompany a lost tale by Lord Cheminot, and a few others (mostly incomplete, hardly any of them staged, and none of them published at the time).
 
Casey looks around and explores the cargo area of the freighter. It is mostly empty except for a number of bars twisting around the area. As explores the other end of the area, Zack notices a floating object. Casey comes up to it and Ari tells him to grab it. Casey activates his [[grapple-arm]], grabs the object and runs an analysis on it. Zack doesn't seem too pleased at the "nice [[souvenir]]" but Ari tells him that it is a [[Vakkar War Medal]] and that it belongs with the dead. She tells Casey to return to the Artemis as the freighter doesn't seem to contain any cargo that's valuable. Casey releases the medal and returns to the Artemis.
Both ''Geneviève de Brabant'' and ''The Dreamy Fish'' have been analysed (e.g. by [[Ornella Volta]]) as containing elements of competition with [[Claude Debussy]], of which Debussy was probably not aware (Satie not making this music public). Meanwhile, Debussy was having one of his first major successes with ''[[Pelléas et Mélisande (opera)|Pelléas et Mélisande]]'' in 1902, leading a few years later to ‘who-was-precursor-to-whom’ debates between the two composers (in which [[Maurice Ravel]] would also get involved).
 
On the way back, Zack tells Ari that they need to go further out and reminds her of some of the interesting times they had in the past, including the [[Mizar system]], and Ari asks him if he wants to go back to [[Mizar]], Zack replies, "Why not?" and Ari explains that it is too close to the Vakkar [[border]]. Casey re-enters the [[probe bay]] and Ari welcomes him. Zack decides to take a [[vote]] for going to Mizar, but no one answers and Zack tells Ari that no one patrols out there, and that there could be some tasty salvage. Ari gets annoyed with Zack talking her into things like this and Zack talks her into somehting else and asks Casey if he would like to go Mizar. Casey responds yes and Ari, out-voted, decides to go with it. Zack checks the Scanner and says that they have a nice clear termious with one hundred and ninety million clicks at the point and Ari says, "Let's do it." The Artemis reverses, positions itself and suddenly accelarates to speeds near to that of [[light]] and disappears into space.
In October 1905 Satie enrolled in [[Vincent d'Indy]]'s [[Schola Cantorum]] to study classical [[counterpoint]] (while still continuing his cabaret work). Most of his friends were as dumbfounded as the professors at the Schola when they heard about his new plan to return to the classrooms (especially as d'Indy was an admiring pupil of [[Camille Saint-Saëns|Saint-Saëns]], not particularly favoured by Satie). As for Satie's motivation for this step, there were probably two main reasons: first, he was tired of being told that the [[harmony|harmonisation]] of his compositions was erratic (a criticism he could not very well counter while not having completed any studies in music), and secondly, he was developing the idea that one of the most typical characteristics of [[France|French]] music was clarity (which could better be achieved with a good background knowledge of how traditional harmony was perceived). Satie would follow these courses at the Schola, as a respected pupil, for more than five years, receiving a first (intermediate) diploma in 1908.
 
Somewhere further out into space, the Artemis reappears, still moving very fast. An object in the shape pair of [[tongs]] comes into view and Zack quickly tells Ari to pull out as the Artemis is going straight at it. The Artemis changes direction, but not quickly enough, resulting in the Artmemis crashing and boucing off part of the object, getting caught on a row of sharp parts, bouncing off the middle and moving backwards on another part and coming to a sudden halt, causing Ari and Zack to lose [[consciousness]] and for the power systems on board the Artemis to start failing.
Some of his classroom counterpoint-exercises would, after his death, be published (e.g., the ''[[Désespoir agréable]]''), but he probably saw the ''[[En Habit de Cheval]]'' (published in 1911 as the result of "eight years hard work to come to a new, modern fugue") as the culmination of the Schola episode. Another summary, of the period prior to the Schola, also appeared in 1911: the ''[[Trois Morceaux en forme de poire]]'', which was a kind of compilation of the best of what he had written up to 1903.
 
Casey quickly runs the diagnostics and a [[puzzle]] appears. After connecting the four power systems, the power is restored and the [[life support]] comes back online again. Ari wakes up and checks the systems. Zack also wakes up and realizes that they have crashed. Ari blames him for saying that the position was clear but Zack replies that the ''scanner'' said that, and that they only pick up metal and rock and that the object must be made of something else. Ari runs some [[instrument checks]] to see what kind of [[damage]] they've sustained and realizes that every one of their drive systems are down, even the [[thrusters]]. Zack tells Ari that the bad news is that the object they've crashed on to is heading directly for the [[Sun]], and that it is taking them with it. Without the thrusters, there's no getting off the object. Ari tells Zack to send a [[distress call]] as the [[short-ranged communication]] is still working and Zack incredulusly asks her if she thinks the object could be a ship. Ari says that she doesn't know but whoever or whatever is on board could help them. Zack sends the distress signal and Casey runs an analysis on the object at Ari's instructions. The results of the analysis show the [[mass]] and [[evidence]] that the object could indeed be a ship, but the name and the cargo are unknown. Zack tells Ari that the distress call resulted in a bad error. Ari decides that either they figure how to alter the course, "... or we're toast," finishes Zack, and Ari says that have four hours. She gets up and tells Casey to activate his probe to see what they are dealing with out there.
Something that becomes clear through these published compilations is that maybe he did not so much reject [[Romanticism]] (and its exponents like [[Richard Wagner|Wagner]]) as a whole (he has become more moderate in a way), as that he rejected certain aspects of it: musically the thing he rejected most consequently, from his very first composition to his very last, was the idea of [[Musical development|development]], certainly in the more strict definition of this term: the intertwining of different themes in a development section of a [[sonata form]]: naturally this makes his contrapuntal (and other works) very short: e.g. the "new, modern" [[Fugue]]s do not extend further than the exposition of the theme(s). Generally he would say that he did not think it permitted that a composer would take more time from his public than strictly necessary, certainly avoiding being boring in any way. Also [[Melodrama]], in its historical meaning of the then popular romantic genre of "spoken words to a background of music", was something Satie appears to have succeeded quite well in staying clear of (although his 1913 ''[[Le Piège de Méduse|Piège de Méduse]]'' could be seen as an absurdistic spoof of that genre).
 
Casey activiates the probe in the same way as before and probe bay doors open. Ari tells Casey to be careful and he moves out and sees the Sun in the distance and turns around, showing the Artemis damaged rather badly. Casey moves on and goes behind the massive unknown ship and sees the power system that is moving the ship. Zack and Ari comment about what they are seeing and talk about other events that occurred in the past as Casey passes a large object in the shape of a [[microphone]] on a gigantic stand, a huge glass-like [[dome]] and smaller domes the same colour as the ship. As Casey goes around the first dome, Ari spots a hole in the side of it and tells Casey to hold his position as she and Zack are joining him. Zack doesn't expect this but agrees as they don't have much of a choice, and says, "All right, let's suit up."
In the meanwhile some other changes had also taken place: he had become a member of a radical ([[socialism|socialist]]) party, had socialised with the Arcueil community (amongst other things, he'd been involved in the "Patronage Laïque" work for children), and he had changed his appearance to that of the 'bourgeois functionary' (with bowler hat, umbrella, etc.). Also, instead of involving himself again in any kind of [[medievalism|medievalist]] [[sect]], he channelled these interests into a peculiar secret [[hobby]]: in a filing cabinet he maintained a collection of imaginary buildings (most of them described as being made out of some kind of metal), which he drew on little cards. Occasionally, extending the game, he would publish anonymous small announcements in local journals, offering some of these buildings (e.g., a "castle in lead") for sale or rent.
 
He and Ari leave the Artemis and fly out to the small dome where Casey is waiting for them by the massive hole. Zack confirms that the object is definitely a ship. Ari states that is no sign of crew as they must have [[evacuated]] the section. Zack adds they could've been blown out by [[decompression]]. Ari tells Casey that they can't see much; Casey drops inside and activates his floodlight. Zack, followed by Ari, also drop down into the hole. Whilst looking around, Zack breaks off part of a dead alien hanging from the ceiling and Ari finds a round object in the wall, which could be door, in the shape of a [[circle]]. Zack moves to blast it with his [[laser gun]], but Ari stops him saying that it could decompress the entire ship, and adds that if they get through quickly enough and reseal it the ship should [[cycle]] back to normal. Unable to find a way to open the door, Ari tells Casey to give it a try. Casey easily opens the door using [[light pulses]] and Ari, Zack and he proceed to the next room, and the door closes behind them.
===Riding the waves===
From this point, things started to move very quickly for Satie. First, there was, starting in 1912, the success of his new short, humorous piano pieces; he was to write and publish many of these over the next few years (most of them premiered by the pianist [[Ricardo Viñes]]): the ''[[Véritables Préludes flasques (pour un chien)]]'' ("Genuine Flabby Preludes (for a dog)"), the ''[[Vieux sequins et vieilles cuirasses]]'' ("Old Sequins and Old Breastplates"), the ''[[Embryons desséchés]]'' ("Dried up Embryos"), the ''[[Descriptions Automatiques]]'', and the ''[[Sonatine Bureaucratique]]'' (a [[Muzio Clementi]] spoof), etc., all date from this period. His habit of accompanying the scores of his compositions with all kinds of written remarks was now well established (so that a few years later he had to insist that these not be read out during performances<!--avoiding "Melodrama" genre!-->). He had mostly stopped using barlines by this time. In some ways these compositions were very reminiscent of [[Gioacchino Rossini|Rossini]]'s compositions from the final years of his life, grouped under the name [http://www.rossinigesellschaft.de/data/pdvd.html Péchés de Vieillesse]; Rossini also wrote short, humorous piano pieces like ''Mon prélude hygiénique du matin'' or ''Dried figs'', etc., and would dedicate such pieces to his dog every year on its birthday. These pieces had been performed in the Rossinis' exclusive salon in Paris some decades earlier. In all probability, however, Satie had not seen or heard any of this music when he was composing his own piano music in the first decades of the 20th century; the Rossini piano pieces had not yet been published at that time. It is said that [[Diaghilev]] discovered the manuscripts of these Rossini pieces around 1918 at [[Naples]], before staging ''[[La Boutique Fantasque]]'' — this was about the same time that Satie stopped writing humorous comments on his scores.
 
Zack states that they are now stuck in the room. Ari walks away and floats up to a device high on the wall, which has pressure coming out of it. Ari drops back to the ground and tells Zack that the ship is cycling back to normal. Zack isn't convinced but Ari states that there's [[oxygen]] and other air levels that are breathable — making human life [[sustainable]] inside the ship. Zack opens the [[helmet section]] of his [[spacesuit]] and breathes the air. Ari does the same. Zack removes his spacesuit but Ari tells him to keep to the [[standard procedure]]. Zack convinces her saying that they're not in [[Terror Fleet]] anymore and that they'll make better time without the spacesuits. Ari hopes they won't end up regretting this and removes hers.
But the real acceleration in Satie's life did not come so much from the increasing success of his new piano pieces; in fact it was Ravel who (probably unknowingly) triggered something that was to become a characteristic of Satie's remaining years: being a part of every progressive movement that manifested itself in Paris over the following years. These movements succeeded one another rapidly, while without doubt in these years Paris was the artistic capital of the world (long before London or New York would achieve much significance in this regard), and the beginning of the new century appeared to have set many minds on fire.
 
Zack approaches the nearby wall that unexpectedly disappears revealing a huge green live alien, badly wounded but monstrous. Ari and Zack point their laser guns at it and Ari realizes what the reason is for the large hole in the previous room — the ship has been invaded by [[Krin]], flying [[piranha]]-like aliens that are very deadly, and there could thousands of them around the ship. A small coloured light appears on the alien's head alarming Zack but making Ari reckon that it is one of the ways they communicate. The alien breathes its last and dies. Zack realizes how much danger they are in and he, Ari and Casey, laser guns at the ready, explore the room. They come to halt by a partly-opened door with an alien similar to first one stuck halfway through the door. Ari and Zack try to open the door but it doesn't give. Zack says that Casey can make it though, Ari agrees and Casey moves through a gap in the door, leading into two massive sections of a room full of three sets of holes on two rows. It is the [[Crew Quarters]].
In 1910 the "Jeunes Ravêlites", a group of young musicians around Ravel, proclaimed their preference for Satie's earlier work (from before the Schola period), reinforcing the idea that Satie had been a precursor of Debussy. At first Satie was pleased that at least some of his works were receiving public attention, but when he realised that this meant that his more recent work was overlooked or dismissed, he looked for other young artists who related better to his more recent ideas, so as to have better mutual support in creative activity. Thus young artists such as [[Alexis Roland-Manuel|Roland-Manuel]], and later [[Georges Auric]] and [[Jean Cocteau]], started to receive more of his attention than the "Jeunes".
 
In the section that the entrance door is in, Casey approaches the set of three holes that's on the bottom row, second set to the left of the door. Casey enters the top left hole, and is attacked by a live alien, smaller than the first two. Casey shoots it in the eyes with his laser, killing it. Casey runs an analysis on the alien and the round purple and white object it has dropped. It is an [[orb]]. Casey picks it up with his grapple-arm and exits the hole. Outside the Crew Quarters, Ari calls to Casey that they must keep moving. Casey exits the Crew Quarters and Ari and Zack notice that he has found something. Casey presents the orb to Ari and Zack and they instantly find it has great importance. Zack puts it in a bag attached to his suit and is positive that they will get out of their current situation.
As a result of his contact with Roland-Manuel, he again took up publicising his thoughts, much more ironically than he had done before (amongst other things, the ''[[Mémoires d'un amnésique]]'' and ''[[Cahiers d'un mammifère]]'').<ref>English translations of these pieces were published in ''A Mammal's Notebook'', see [[#Sources|Sources]] section below.</ref>
 
[[Alternate Sequence:]] If Casey leaves the Crew Quarters without the orb, Ari will ask him if he saw anything that looked like [[Navigational Controls]]. If Casey reponds "no", the game continues normally. If Casey responds "yes", Ari and Zack become determained to open the partly-opened door (see Alternate Endings).
With Jean Cocteau, whom he had first met in 1915, he started work on incidental music for a production of [[William Shakespeare|Shakespeare]]'s ''[[A Midsummer Night's Dream]]'' (resulting in the ''[[Cinq Grimaces]]''). From 1916 Satie and Cocteau worked on the ballet ''[[Parade (ballet)|Parade]]'', which was premiered in 1917 by [[Sergei Diaghilev]]'s [[Ballets Russes]], with sets and costumes by [[Pablo Picasso]], and [[choreography]] by [[Léonide Massine]]. Through Picasso Satie also became acquainted with other [[cubism|cubists]], such as [[Georges Braque]], with whom he would work on other, aborted, projects.
 
Ari decides that they had better try another door and Zack agrees. They walk towards the opposite door, but as they approach, it opens by itself. Ari says that she thought Casey was the only one who could open the doors. Zack replies that it is probably because other doors needed Casey to [[override]] the [[walking mechanism]] because of the decompression. The door, like most of the doors inside the ship, are, in fact, automatic, meaning that they will open when approached. Casey glides into the room, floats over a few large round-shaped objects looking like [[sinks]] that are full of [[water]] and stops in front of a [[mirror]]. Zack stops in front of one of the objects, thinks it to be a sink a drinks some of the water. Ari pulls a nearby lever and Zack realizes that the object is actually a [[toilet]]. Ari laughs and jokes that she thought it was a sink and jokes that she is thirsty as they exit the room. Humiliated, Zack argues that it wasn't intentional and asks if they can go now. Ari offers for him to go first, but can't stop laughing, neither can Casey, whom Zack knocks with the back of his fist. Casey shakes off the dizziness and moves forwards after Zack to the final door in the room, which opens at their approach.
With Georges Auric, [[Louis Durey]], [[Arthur Honegger]], and [[Germaine Tailleferre]] he formed the [[Les Six|Nouveaux Jeunes]], shortly after writing ''Parade''. Later the group was joined by [[Francis Poulenc]] and [[Darius Milhaud]]. In September 1918, Satie — giving little or no explanation — withdrew from the Nouveaux Jeunes. Jean Cocteau gathered the six remaining members, forming the [[Les Six|Groupe des Six]] (to which Satie would later have access, but later again would fall out with most of its members).
 
One of the krin and two large aliens, badly wounded and dead, lie in the corridor. Air and Zack explain their opinions to each other and Ari concludes they could be a peaceful race. Up ahead, another door awaits them. This one, however, is in the shape of a [[hexagon]]. It also opens at their approach but in different way to how the circular doors open. Ari and Zack proceed to the next room which is much larger than any of the previous rooms. The door closes behind them and Zack identifies the room as a [[Central Hub]]. It seems [[reinforced]] and could keep the krin out. More hexagonal doors are positioned around the Hub which have [[symbols]] on them, which, according to Ari, could tell them what's on the other side.
From 1919 he was in contact with [[Tristan Tzara]], the initiator of the [[Dada]] movement. He got to know the other Dadaists, such as [[Francis Picabia]] (later to become a [[surrealism|Surrealist]]), [[André Derain]], [[Marcel Duchamp]], [[Man Ray]], etc. On the day of his first meeting with Man Ray, they fabricated Man Ray's first [[readymade]]: ''[[The Gift (sculpture)|The Gift]]'' (1921). Satie contributed to the Dadaist publication ''[[391 (publication)|391]]''. In the first months of 1922 he was surprised to find himself entangled in the argument between Tzara and [[André Breton]] about the true nature of avant-garde art, epitomised by the [[Congrès sur les directives et la défense de l'esprit moderne|Congrès de Paris]] failure. Satie originally sides with Tzara, but manages to maintain friendly relations with most players in both camps. Meanwhile, an "Ecole d'Arcueil" had formed around Satie, with young musicians like [[Henri Sauguet]], [[Maxime Jacob]], [[Roger Désormière]] and [[Henri Cliquet-Pleyel]].
 
Casey moves around the Central Hub and examines the blue ray of light in the centre of the Hub coming from the ceiling, which has a beautiful [[fountain]] of white lights continuously coming up in a beautiful shape. The doors themselves have a different number of lines making up the symbols, possibly stating what door number they are. Ari tells Casey that they can't come up with anything, all the doors are sealed and that she and Zack need his help to open them. They start with the door to the left of the door they came in. The door they came in has a straight red line running down the centre of it like the letter "I". The door that Casey proceeds to, has two yellow lines crossing each other in the shape of the letter "X". The colour stating the door colour, otherwise known as "the Yellow Door". Casey runs an analysis on the door, saves the code in six numbers (as the order that the door symbols appear on the [[lock]] of the door), as the number of lines in each symbol) stating the door number.
Finally he composed an "instantaneist" ballet (''[[Relâche]]'') in collaboration with Picabia, for the [[Ballets Suédois]] of [[Rolf de Maré]]. In a simultaneous project, Satie added music to the surrealist film ''[[Entr'acte]]'' by [[René Clair]], which was given as an intermezzo for ''Relâche''.
 
Casey uses the yellow light pulses on the door lock and the lock opens revealing a second puzzle. After filling up every line in the centre hexagon by rotating the outer symbols, the lock closes and the door opens. As Ari and Zack proceed through the corridor, Ari tells Zack to "Stay left." Zack tells Ari that she's giving a lot of orders for a [[civilian]] and Ari states that she [[out-ranks]] him but Zack corrects her saying that she ''did'' out-rank him. Ari says that everything she got she earned the hard way. Casey glides on ahead of them as they continue the conversation about obeying and disobeying orders. Zack makes Ari understand that if he takes an order from her, it is because he ''chooses'' to.
Other work and episodes in this last period of Satie's life:
* Since 1911 he had been on friendly terms with [[Igor Stravinsky]], about whom he would later write articles.
* ''[[Le Piège de Méduse]]'' (1913) had a quite unique position in Satie's [[oeuvre]], as it was a stage work conceived and composed seemingly without any collaboration with other artists.
* ''[[Sports et divertissements]]'' was a kind of multi-media project, in which Satie provided piano music to drawings made by [[Charles Martin (artist)|Charles Martin]], composed in 1914 (publication and first public performance in the early 1920s).
* He got in trouble over an insulting postcard he had written to one of his critics shortly after the premiere of ''Parade''; he was condemned to a week of imprisonment, but was finally released as a result of the (financial) intercession of [[Winnaretta Singer]], Princess Edmond de Polignac.
* Singer, who had learnt ancient Greek when she was over 50, had commissioned a work on [[Socrates]] in October 1916; this would become his ''[[Vie de Socrate|Socrate]]'', which he presented early in 1918 to the Princess.
* From 1917 Satie wrote five pieces of ''[[furniture music]]'' ("Musique d'ameublement") for different occasions.
* From 1920, he was on friendly terms with the circles around [[Gertrude Stein]], amongst others, leading to the publication of some of his articles in ''[[Vanity Fair magazine|Vanity Fair]]'' (commissioned by [[Sibyl Harris]]).
* Some works would originate under the patronage of the count [[Etienne de Beaumont]], from 1922 onwards:
** ''[[La Statue retrouvée]]'' (or "Divertissement"): another Satie-Cocteau-Picasso-Massine collaboration.
** ''[[Ludions]]'': a setting of [[nonsense verse|nonsense rhyme]] by [[Léon-Paul Fargue]]
** ''[[Mercure]]'': the subtitle of this piece ("Poses plastiques") suggests it might have been intended rather as an emulation of the [[tableau vivant]] genre than as an actual ballet, the "tableaux" being cubist, by Picasso (and Massine).
* During his final years Satie travelled; for example, in 1924 to [[Belgium]], invited by [[Paul Collaer]], and to [[Monte Carlo]] for the premiere of a work on which he had collaborated.
 
The circular door ahead of them opens and reveals a circular room which contains two more circular doors and a number of devices on the walls releasing air pressure. Ari decides to try the door on the left and Zack ''chooses'' to follow. The door opens and Ari and Zack enter into a room with dark pink walls and a dark pink floor. Casey goes further into the room and hovers over a red [[table]]-like [[platform]] in the shape of a circle. Something isn't right in the room and Zack hears something. Laser guns at the ready, Ari and Zack turn upwards to where the sound is coming from. Ari says aloud that it is krin and she and Zack get down, only to hear the krin but not see them. Ari realizes that the krin can't see them. They are using the [[air ducts]] to get around the ship, and they could be everywhere. Zack sarcastically says "Oh that, that's great! That's just terrific!" And adds that it is a little too close for comfort. Ari agrees and they quickly exit the room.
===Epilogue: the shrine of Arcueil===
At the time of Satie's death in 1925, absolutely nobody else had ever entered his room in [[Arcueil]] since he had moved there twenty-seven years earlier. What his friends would discover there, after Satie's burial at the Cimetière d'Arcueil, had the allure of the opening of the grave of [[Tutankhamun]]; apart from the dust and the cobwebs (which among other things made clear that Satie never composed using his piano), they discovered numerous items that included,
* great numbers of [[umbrella]]s, some that had apparently never been used by Satie,
* the portrait of Satie by Suzanne Valadon, shown above,
* love-letters and drawings from the Valadon romance,
* other letters from all periods of his life,
* his collection of drawings of [[medievalism|medieval]] buildings (only then did his friends see a link between Satie and certain previously anonymous, journal advertisements regarding "castles in lead" and the like),
* other drawings and texts of autobiographical value,
* other memorabilia from all periods of his life, amongst which were the seven velvet suits from his ''Velvet gentleman'' period.
Most importantly, however, everywhere there were compositions that were totally unknown or which were thought to have been lost. They were found behind the piano, in the pockets of the velvet suits, and in other odd places. These included the ''[[Vexations]]'', ''[[Geneviève de Brabant]]'', and other unpublished or unfinished stage works, ''[[The Dreamy Fish]]'', many [[Schola Cantorum]] exercises, a previously unseen set of "canine" piano pieces, several other piano works, often without a title. Some of these works would be published later as more ''[[Gnossiennes]]'', ''[[Pièces Froides]]'', ''[[Enfantines]]'', and ''[[Furniture music]]'').
 
Casey leads them to the next door which leads into a much larger room. Zack recognises the machinery and identifies the room as an [[engine room]]. Ari seems pleased but Zack isn't convinced. Ari tells Zack that she ''is'' surprised, and suggests that they split up and look around, also telling Casey to check the left corridor.
=="Petit dictionnaire d'idées reçues" (short dictionary of preconceived ideas)==
{{Sound sample box align right|Audio samples:}}
{{multi-listen start}}
In [[Musical Instrument Digital Interface#MIDI file formats|MIDI]] file format:
{{multi-listen item|filename=Erik Satie - Ogive No.1.mid|title=Ogive No. 1|description=|format=[[MIDI]]}}
{{multi-listen item|filename=Erik Satie - Ogive No.2.mid|title=Ogive No. 2|description=|format=[[MIDI]]}}
{{multi-listen item|filename=Erik Satie - Ogive No.3.mid|title=Ogive No. 3|description=|format=[[MIDI]]}}
{{multi-listen item|filename=Erik Satie - Ogive No.4.mid|title=Ogive No. 4|description=|format=[[MIDI]]}}
{{multi-listen item|filename=Carrelage phonique.MID|title=Carrelage phonique|description=''Phonic Tiling'', No. 2 of the first set of [[Furniture music]]|format=[[MIDI]]}}
{{multi-listen end}}
{{sample box end}}"Idée reçue" is a play on words; in [[French language|French]] it is the normal term for "prejudice", but Satie used it as the non-material equivalent of [[found object]]s (as in ''readymades'') — for example, when he incorporated odd bits of music by Saint-Saëns and [[Ambroise Thomas]] in his ''furniture music''. This section treats some popular (mis)conceptions regarding Satie and his music:
 
==Disk 2==
'''Satie and furniture music''': not all of Satie's music is ''[[furniture music]]''. In the strict sense the term applies only to five of his compositions, which he wrote in 1917, 1920, and 1923. For the first public performance of ''furniture music'' see [[Entr'acte]].
Casey turns around and glides down the left corridor, which has a large pipe running down it — only to come to a dead end. Casey turns around again and goes back down the corridor, noticing large red disks on one of the walls. Ari walks back along the pipe towards the engine room in opposing corridor, telling Zack that there's nothing around that side of the room. Zack replies that he didn't see anything like the Nav Console, but something like a big [[hot tub]]. Suddenly, a krin comes flying out of the air duct above them and spits on Zack, knocking him out. Ari crushes the krin to death and drags Zack towards the engine room.
 
More krin come out of the air ducts and notice Ari and Zack at the other side of the engine room and give chase. Ari drags Zack down another corridor (that was seen when they entered the engine room) towards a another room in the shape of a [[shaft]]. The krin almost catch up to them but the door closes just after Casey enters the shaft. One of the krin, however, makes it through but is sliced in half by the door. It slides onto the platform that Ari and Zack are on just as Zack wakes up — only faint again when he sees the badly injured krin. Ari readies her laser gun, and the krin dies. The platform starts to rise and Ari realizes that it's an [[elevator]]. She talks to Casey about the [[training]] that she and Zack went through, how they couldn't wait to get into a real war, how they've all changed, including why Casey can't speak anymore due to a [[speech]] [[interpolation]] system when Ari and Zack pulled Casey from the lab. Ari apologizes to Casey for being in such a hurry and promises him that she will find someone that can build him a voice.
'''Satie as precursor''': the only "precursor" discussion Satie was involved in during his lifetime was whether or not he was a precursor of [[Claude Debussy]], but many would follow. Over the years Satie would be described as a precursor of movements and styles as varied as [[Impressionism]], [[Neoclassicism (music)|neo-classicism]], [[Dada]], [[Surrealism]], [[Atonal music|atonalism]], [[minimalism (music)|minimalism]], [[conceptual art]], the [[Theatre of the Absurd]], [[muzak]], [[ambient music]], multimedia art, etc., and as taking the first steps towards techniques such as [[prepared piano]] and music-to-film [[synchronisation]]. Further, Satie became one of the first musicians to perform a [[cameo appearance]] — he was in a 1924 film by [[René Clair]] (see: [http://hem.fyristorg.com/ebay/wav/entracte.rm a sample of the film (rm format)] and the ''[[Entr'acte]]'' article).
 
Zack wakes up again and kicks the dead krin off the elevator, clutching his head. Standing up, he tells Ari that his head feels like it got stuck in a power motor's [[claw]]. The elevator reaches the top and Ari and Zack explore the large room before them. One end larger and wider than the other, including an alien device and large [[shutters]] at the opposite end. Ari is impressed by the device although Zack isn't sure what it is. Ari suggests to Casey that he could figure it out. Casey runs an analysis on the device and uses the light pulses on it. This causes the part of the device in front of him to [[glow]] and the shutters to open — revealing a spectacular view of the glass-like dome, the entire front section of the ship, and the Sun. Ari says that it's beautiful and Zack confirms that the device is a [[sundial]]. He also adds that he'd like to find a way out of the room and continues looking around. Ari is determined to find the Navigational Controls and tells Casey to keep working on the sundial, as it might help.
All by himself Satie appears to have been the avant-garde to half of the avant-garde movements of the 20th century. Many of these "precursorisms" are possibly based on quite superficial resemblances only, while, on the other hand, he undeniably inspired and influenced many later artists, and their ideas. According to Milhaud, Satie had "prophesied the major movements in classical music to appear over the next fifty years within his own body of work." There is a website exploring that theory in detail: [http://www.minim-media.com/satie/ Erik Satie's Crystal Ball]
 
Casey moves towards the sundial again and it becomes the third puzzle. After turning all the lights to yellow, the sundial puzzle flashes like a camera and becomes a normal part of the sundial again. The whole device slowly rotates around as a miniture Sun appears hovering over the front section of it. Ari decides that they've done enough looking around. Zack agrees and Ari adds, "Okay, let's meet up and move out."
'''Satie as humorist''': many would be surprised to know how many of Satie's seemingly humorous compositions were at heart taken very seriously by him. When he forbade commentaries written in his [[Partition (music)|partition]]s to be read aloud, he probably saw this himself as a means to safeguard the seriousness of his intentions. When, at the first public performance of ''[[Socrate]]'', there was laughter, he felt hurt. Many other examples of his serious attitude can be found, but there's no doubt that Satie was a witty person, certainly not without many humorous [[idiosyncrasy|idiosyncrasies]].
 
As they start back towards the elevator, Zack hears a rustling sound coming from two dead alien bodies next to the elevator. The rustling stops — and a number of krin come flying out. Ari, Zack and Casey battle the krin with their lasers and destroy a number of them. In the process, Zack accidently shoots part of the window at the far end, causing the room to decompressurize.
'''Satie and compositions in three parts''': although many of his compositions (e.g., most of the pre-[[World War I|war]] piano pieces) were indeed in three parts, there is no general rule in this respect. After his death, publishers would force more of them into an artificial three-part structure; Satie had actually already made a joke of such proceedings with his seven-part ''[[Trois Morceaux en forme de poire]]'', which is French for "Three Pieces in the Shape of a Pear."
 
Ari and Zack are sucked towards the window but they hang on to the sundial. Casey quickly activates the shutters and they close, shutting off the decompression. However, the last of the suction causes Casey to collide with the sundial and the shutters, damaging him. Ari and Zack quickly come to his aid and Ari explains to Casey that he must fix his damage himself and only has a few minutes before complete failure. Zack is very worried for Casey as he runs the diagnostics. The [[Probe Logic Circuit]] puzzle appears and Casey works the logic [[gates]] until all of them are closed, bringing the probe systems back online.
'''Satie and (lack of) money''': although Satie certainly knew periods of dire poverty, and was perhaps a little uncontrollable in his spending, in long periods of his life he had few worries in this sense. Although maybe not having much money in his pockets, he was (certainly from the second decade of the [[20th century|new century]]) often invited to expensive restaurants and to all sort of events, and was given financial help, by all sorts of people.
 
Casey regains power and sees that he, Ari and Zack are back in the Central Hub standing in front of the Yellow Door. Zack tells Casey that he'd thought he'd lost him for a minute and Ari agrees saying that she and Zack had to carry him back to the Hub. Everything is up and running again and Ari says that's it's good thing, as they need him to open another door. Zack adds, "Go to it Case."
'''Satie as an opponent of other musical styles'''. The musical styles Satie opposed were allegedly numerous: Wagnerism, Romanticism (Saint-Saëns, Franck, etc.), Impressionism (Debussy and Ravel), [[Expressionism (music)|Expressionism]] (later Ravel), [[Slavism]] (Stravinsky), [[post-Wagnerism]] ([[Arnold Schoenberg|Schoenberg]]), [[cabaret]] music, etc. Apart from some animosities on the personal level (which can be seen as symptomatic of most adherents of avant-garde movements of those days), Satie's ideas on other music of his time generally had more subtlety; for example, about [[César Franck]] he could not be brought to write critically, but would avoid the issue with jokes ("Franck's music shows surprisingly much Franckism; Some even say César Frank was lazy, which is not a commendable property in a hard working man"). Perhaps the same can be said as above regarding "Satie as precursor": there is much empty discussion — for example, the debate with Debussy appears to have been over whether or not Satie was a precursor of Impressionism, which would not have made much sense if he had been opposed to Impressionism as such.
 
Casey glides over to "the Blue Door" which has a large blue upside-down [[triangle]] symbol on it. Casey runs an analysis on the door, saves the six-numbered code and uses the light pulses to open the door lock puzzle.
'''Satie and boredom'''. Satie often consciously disregarded the conception of [[musical development|development]] found in the German tradition (Beethoven, Schubert, Schumann, Brahms). Satie's compositions tend to be very short; a typical [[Movement (music)|movement]] of a Satie composition takes less than two minutes to play, and compositions with more than five movements are exceptional. Even his larger-scale works conforming to the genres known in his time would be two to five times shorter than the usual duration of such compositions (''Socrate'', a [[secular]] [[oratorio]] — or "symphonic drama" — lasting about half an hour, is the longest). In general, Satie thought it to be a great fault for a composer to bore his audience in any way. There are eight of his compositions that use repetition as a compositional technique, more than doubling the total duration:
* ''[[Vexations]]'': with 840 repetitions of the musical motif (and many more of the melody of the bass), this is definitely the longest single-movement work with a ''defined'' number of repetitions (note that, without the repetitions, the actual music takes less than two minutes to play). No explanation by Satie survives regarding the exceptional length of the piece. If excluding the ''Tango'' mentioned in the next point, performing the ''Vexations'' takes longer than all his other music played in sequence.
* For ''Le Tango'' ("The Tango"), a rather catchy tune from ''[[Sports et divertissements]]'', Satie indicates in the score ''perpétuel'' (i.e. something like a [[perpetuum mobile]], which in French is "mouvement perpétuel"). There is little indication how Satie understood this "perpetual", apart that at the premiere, at least ''assisted'' by Satie, there was obviously nothing repeated ''ad infinitum'', taken literally. When performed for a recording there is seldom more than one repeat of this part of the composition, making it one of the ''shortest'' [[tango music|tango]]s ever, something like a ''Minute Tango''.
* Five pieces of ''furniture music'', which were intended as "background" music with no number of repeats specified. The circumstances in which such music was performed by Satie himself indicate, however, that the total playing times would be intended to be the usual 'intermission' time of a stage production (see [[Entr'acte]]). While the public was not expected to be silent, these compositions can hardly be seen as an experiment in boredom.
* His music for the film ''Entr'acte'' has ten repeat zones in order to synchronise with the twenty-minute film (which has a very varied plot, so not much boredom is to be found there either).
 
==Alternate Endings==
'''Satie and sexuality''': much has been said about Satie's sexuality, ranging from "hidden" ''homosexuality'' to "ordinary" ''heterosexuality''. In fact, apart from the short-lived, and highly "idealised", Valadon period, Satie's behaviour appeared more or less [[asexual]]: he tended to be dismissive when the topic of sexuality came up. See also: [[Gymnopédie]].
 
The game's way of saying "Game Over" is advanced. Early on, there are two areas in which the game can end:
==Notes==
* Casey not responding to Ari when she asks him to transmit a "yes" makes her realize that it is not working. She apologizes to Casey and tells Zack to shut it down and the screen fades out.
<!--See [[Wikipedia:Footnotes]] for an explanation of how to generate footnotes using the <ref(erences/)> tags-->
* Not hitting the upper right-hand switch to open the cargo door of the freighter causes an [[explosion]]. Ari, angered, tells Casey that she warned him about traps, he just blew their only probe, that they've got to go back and start all over again and sarcastically thanks him as the screen fades out.
<references/>
 
After crashing onto the alien spaceship, two alternate clips of the ship reaching the Sun are randomly shown:
==See also==
* The alien ship (close-up) reaches the Sun and the Artemis splutters and sparks in the [[heat]]. Casey, in the shape of a machine, disappears into the light. The Artemis burns in the heat and completely [[disintegration|disintegrates]] as the alien ship travels on into space.
A number of works by Erik Satie are listed in the [[:Category:compositions by Erik Satie|Category of compositions by Erik Satie]] and the [[:Category:Writings by Erik Satie|Category of writings by Erik Satie]].
* The alien ship (from a distance) reaches the Sun and a fire appears on one part of it — it is the Artemis catching [[fire]] in the extreme heat. As the ship passes under the camera, the Artemis blows up and the alien ship moves onwards, (further away from the camera).
 
These clips explain that the alien ship is made of an unknown material that is not impervious to damage, but completely impervious to any level of heat, even the [[core temperature]] of the Sun. Most objects inside the ship prove this same ability as one alternate clip shows Zack using his laser on a door — which has absolutely no effect. However, in the room at the top of the elevator leading from the engine room, Zack accidentally shots the window causing it to crack. The shutters and walls around the room, however, are impervious to heat.
==Sources==
''In English, unless indicated:''
 
After crashing onto the alien ship, there are a number of areas where the game can end:
;Writings by Satie
* The diagnostics not being run after the crash onto the ship results in the power systems failling completely.
* ''A Mammal's Notebook: Collected Writings of Erik Satie'' (Serpent's Tail; Atlas Arkhive, No 5, 1997) ISBN 0-947757-92-9 (with introduction and notes by Ornella Volta, translations by Anthony Melville, contains several drawings by Satie)
* In the Crew Quarters, inside the top-left hole on the second bottom set of three holes from the door, Casey gets attacked by a live alien. Hesitating on killing it results in the alien damaging Casey first.
* ''Correspondence presque complète: Réunie, établie et présentée par Ornella Volta'' (Paris: Fayard/Imes, 2000; 1265pp) ISBN 2-213-60674-9 (an almost complete edition of Satie's letters, in French)
* Casey responding "yes" when Ari asks him if he saw anything that looked like Navigational Controls in the Crew Quarters gets Ari and Zack determined to open the partly-opened door. Zack shoots the door with his laser, but it has no effect. Zack modifies his laser gun to [[self-destruct]], places it in a gap in the partly-opened door and he, Ari and Casey quickly back away. The explosion is so great, however, that the entire section of the wall around the door is also blown up, ending the game.
 
*Not killing enough of the krin when they attack after completion of the Sundial puzzle.
;Books on Satie
* Casey accidentally or deliberately hitting Ari or Zack with his laser whist fighting the krin.
* [[Alan Gillmor|Gillmor, Alan M.]], ''Erik Satie'' (Twayne Pub., 1988, reissued 1992; 387pp) ISBN 0-393-30810-3
* Hesitating on closing the shutters results in Ari and Zack to be sucked into outer space.
* Myers, Rollo H., ''Erik Satie.'' (Dover Publications, New York 1968.) ISBN 0-486-21903-8
* Failing to complete the Probe Logic Circuit puzzle within the time limit (four minutes).
* [[Robert Orledge|Orledge, Robert]], ''Satie Remembered'' (London: Faber and Faber, London, 1995)
* Failing to rescue Zack from falling down the deep shaft behind the Blue door.
* [[Robert Orledge|Orledge, Robert]], ''Satie the Composer'' Cambridge University Press: 1990; 437pp — in the series ''Music in the Twentieth Century'' <nowiki>[ed.]</nowiki> Arnold Whittall) ISBN 0-521-35037-9
* Pressing the wrong button when using the surgical instruments in the Sick Bay behind the Orange door causes one of the lasers to turn on Casey whilst firing.
* Templier, Pierre-Daniel (translated by Elena L. French and David S. French), ''Erik Satie'' (The MIT Press, 1969, reissued 1971) ISBN 0-262-70005-0 ''and'' (New York: Da Capo Press, 1980 reissue) ISBN 0-306-76039-8
* Hesitating to shut off the electric field in the Library behind the Purple door results in Ari getting destroyed.
** note: Templier extensively consulted Conrad, Erik Satie's brother, when writing this first biography that appeared in 1932. The English translation was, however, criticised by [[John Cage]]; in a letter to Ornella Volta ([[25 May]] [[1983]]) he referred to the translation as disappointing compared to the formidable value of the original biography.
* At almost any point during the game, clicking too many times on the small tube near the top of the interface on the small screen versions causes the life support to shut down.
* [[Ornella Volta|Volta, Ornella]] and Simon Pleasance, ''Erik Satie'' (Hazan: The Pocket Archives Series, 1997; 200pp) ISBN 2-85025-565-3
* [[Ornella Volta|Volta, Ornella]], transl. Michael Bullock, ''Satie Seen Through His Letters'' (Marion Boyars, 1989) ISBN 0-7145-2980-X
* Whiting, Steven, ''Satie the Bohemian: from Cabaret to Concert Hall'' (Oxford: Clarendon Press, 1999; 596pp)
** a fully researched account of Satie's musical career in what then was regarded as popular music.
 
;Other
* [http://www.af.lu.se/~fogwall/satie.html Satie Home page] — Niclas Fogwall's website dedicated to Satie, including:
**[http://www.af.lu.se/~fogwall/article.html Articles on Erik Satie]
**[http://www.af.lu.se/~fogwall/intro.html A list of Satie publications]
**[http://www.af.lu.se/~fogwall/samples.html A collection of Satie's music samples]
**[http://www.af.lu.se/~fogwall/pictures.html Pictures of Satie]
 
==Recordings and arrangements==
;Piano works
Recordings of Satie's piano works have been released performed by [[Reinbert de Leeuw]], [[Pascal Rogé]], [[Olof Höjer]], [[Claude Coppens]] (live recording), [[Aldo Ciccolini]], [[Daniel Varsano]], [[Philippe Entremont]], [[João Paulo Santos]], [[Michel Legrand]], [[Jacques Loussier]], [[Jean-Yves Thibaudet]], etc.
 
;Orchestral and vocal
* A recording of historical importance is probably ''Erik Satie, Les inspirations insolites'', re-issued by [[EMI]] as a 2-CD set, containing among other pieces: ''[[Geneviève de Brabant]]'' (in a version before [[Contamine]]'s text had been recovered), ''[[Le piège de Méduse]]'', ''[[Messe des pauvres]]'', etc.
*Many other recordings exist: ''[[Parade]]/[[Relâche]]'' ([[Michel Plasson]] / [[Orchestre du Capitole de Toulouse]]), ''Satie: Socrate [etc.]'' ([[Jean-Paul Fouchécourt]] / Ensemble), and recordings of songs, e.g., by [[Anne-Sophie Schmidt]].
 
;Arrangements
Various composers and performers have made arrangements of Satie's piano pieces for chamber ensembles and orchestras, including Debussy.
 
In 2000, ex-[[Genesis (band)|Genesis]] guitarist [[Steve Hackett]] released the album, "[[Sketches of Satie]]", performing Satie's works on acoustic guitar, with contributions by his brother [[John Hackett (musician)|John]] on [[flute]]. [[Frank Zappa]] was also a devoted fan of Satie, incorporating many elements into both his rock and orchestral works. The English electronic duo [[Isan]] recorded versions of the three Gymnopédies for a 2006 7-inch single, "[[Trois Gymnopedies]]" on the [[Morr Music]] record label.
 
==External links==
{{Commons}}
{{Wikiquote}}
{{wikisource author}}
* [http://www.mutopiaproject.org/cgibin/make-table.cgi?Composer=SatieE&preview=1 Satie's Scores] — by the [[Mutopia Project]]
*{{IckingArchive|idx=Satie|name=Erik Satie}}
* {{IMSLP|id=Satie%2C_Erik_Alfred_Leslie|cname=Satie}}
* [http://www.scores4free.com/satie/satie.html Gymnopedie & Gnossienne Scores] You can preview scores while listening audio streams
 
* [http://www.imdb.com/title/tt0157501/ The Daedalus Enounter on IMDb]
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[[Category:1866 births]]
[[Category:1925 deaths]]
[[Category:20th century classical composers]]
[[Category:British-French people]]
[[Category:Cabaret]]
[[Category:Dada]]
[[Category:Fin de siècle]]
[[Category:French classical pianists]]
[[Category:French composers]]
[[Category:Groupe des six]]
[[Category:Neoclassical composers]]
[[Category:People from Calvados]]
[[Category:Surrealism]]
 
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