It reminds me of the tension between simultaneity and sequence in Shevek of Anarres' temporal theory; the part where he hasn't written it yet (The Dispossessed by Ursula LeGuin). I guess an arpeggio (particularly one where the notes are sustained) is a play/tension on the simultaneity of chords vs. the sequential melody of sounding the notes one by one. Harmonically, more than one key is there at the same time, it seems.
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I am flattered that you think of something as complex and rich as Ursula LeGuin :) There's definitely more than one key in the tune, and it is probably because I at one point realised that the melody moved towards touching every note in an octave and then made it my project to let it do exactly that, from C to C.