Integral by Žiga Stanič is both a composition and a musical installation with a quantum-relational metaphor, following Srečko Kosovel’s constructivist proposition, shaping its meaning through relations rather than statements. It is based on the poem KONS 5, on a text that resists linear reading and unfolds as a field of forces. At its center stands a singer who seeks to utter everything — to grasp the totality of meaning in a single gesture — yet in this work the vocal expression remains a potential, a possibility of action. The violin and the flute generate particles of sound. The performers move through the space, changing position and distance. The sounds they produce are events in relation. The more the distance shifts, the more the character of the sound changes. The music establishes itself in a balance of forces. The form of the composition is not thematic but integral: from small fragments of sound, silence, and bodily presence, a final experience emerges. What in itself is almost nothing is, through accumulation, transformed into meaning. Thus a paradox is formed: zero, repeated infinitely, becomes presence. Integral does not interpret Kosovel’s text but places it into a state. Its meaning arises in the tension between what is possible and what occurs. Whoever says everything says nothing; whoever withholds expression opens a space of infinity. The music is conceived as a center of gravity: a point of equilibrium between idea and sound, between body and space, between order and the openness of meaning.