O Centro do Exc?ntrico do Centro do Mundo has its origin in the reading of the works of the Portuguese cosmographer and mathematician Pedro Nunes (1492-1577?). The fragments used in the play, whether in Latin or in archaic Portuguese, come from two works by Pedro Nunes, namely the Sphere Treaty and De Crepusculis, and these fragments have been freely recomposed according to the needs of the musical project, without any narrative concern or any intention of musical illustration of the semantic content of the text. In fact, what actually characterises the relationship between text and music lies at a deep, intrinsic level, inasmuch as it is the spectral content of the text recited (also taking into account the differences between Latin and Portuguese) which defines the harmonic fundamentals for the whole piece. The musical form conditioned the order of presentation of the texts. On the other hand some mathematical calculations and certain notions of trigonometry enunciated in the texts of Pedro Nunes subjectively conditioned the treatment of certain musical parameters, with important implications mainly regarding the rhythms and durations. Regarding spatialisation (distribution / location, displacement / trajectory, velocity / density), it was composed from harmony and text, taking into account at each moment the spectral characteristics of each phoneme, the distribution of heights in the recording and their individual amplitudes. The "acoustic" spatialisation performed by the arrangement of the singers in 4 separate groups superimposes an 8-channel electroacoustic spatialisation plus real-time electronic transformations independently for each of the 16 voices. The electronic part of The Center of the Eccentric World Center was held at Miso Studio. Fragments of the Sphere and De Crepusculis Treaty, by Pedro Nunes, used in The Center of the Eccentric Center of the World.