Wassily Kandinsky : Klänge (Sounds) / Riding Path (left below), Black Spot (right below)
Sounds comprised thirty-eight prose poems which were accompanied by twelve colour and forty-four black and white woodcuts, each hand-printed under Kandinsky’s supervision. It was published in an edition of 345 c.1912.
The poems contained in the album draw attention to and manipulate the sounds of words in such a way as to destabilise their conventional meanings. ‘Words’, Kandinsky wrote in On the Spiritual in Art, ‘are inner sounds … Skilful use of a word (according to poetic feeling) – an internally necessary repetition of a word twice, three times – can lead [to] unrealised spiritual qualities of the word. Eventually, manifold repetition … makes it lose its external sense as a name’. With this quest for ‘inner meaning’, ‘great possibilities open up for the literature of the future’ as language breaks from the constraints of its traditional usage.
As we read the poems, acoustic rhythms couple with spatial ones to halt our progress through them: we find ourselves re-reading, our eyes moving around the poems, attempting to re-engage or re-enter the works. The sound of the words and the unconventional spacing of words across the page, as well as the remnants of narrative, both ‘articulate’ and ‘dis-articulate’ the whole. The process of re-reading and moving visually around the poem seems to make the text more open: syntax and narrative are lost; the spaces between and beyond words, lines and stanzas, appear to threaten the unity of the text; and – according to Kandinsky’s claims – the words may evoke psychological, synaesthetic or even spiritual associations beyond their literal meanings. [Extract : Tate Modern]
Wouter Hogendorp, Paper and Light (1), Look (2), 2008
Lunar Calendar 2013 at dmtr.org
from Museo Galileo (before 2010 known as the Institute and Museum of the History of Science, IMSS)
A cross-section of wall paints from an 18th century theater. Each band represents a different coat of paint that was visualized with reflected light microscopy at 100-times magnification. Image by Natasha Loeblich, Colonial Williamsburg Foundation.
On May 28, 2008, Adam LeWinter and Director Jeff Orlowski filmed a historic breakup at the Ilulissat Glacier in Western Greenland. The calving event lasted for 75 minutes and the glacier retreated a full mile across a calving face three miles wide. The height of the ice is about 3,000 feet, 300-400 feet above water and the rest below water.
“For a Copernican Revolution in the Understanding of Universality of Structural Analysis of Music”
Colloquium Universals in Music
Data, issues, perspectives
1st International Colloquium
3th-4th December 2010,
University of Provence, France
Such an exciting topic and beautifully presented. The post-proceedings of this colloquium will be published soon. Thanks to Olli Lartinen for sharing the recording of his talk on soundcloud.