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These two words are found in quotation marks on the twelfth board of the collection XXX, Anecdotes and Drawings by Morton Feldman. These thirty storyboards are ‘improvisations’ on the theme of the ‘future of local music’, and were inspired primarily by the work of Mark Rothko. They were acquired by the Lyon Museum of Contemporary Art in 2003 and constitute the first part of this triptych. Feldman’s illustration makes use of a phrase frequently used by Alban Berg with his students – an appeal for total immersion, a sincere and profound listening or attention to music in particular, and art in general.
Two sketches appear on the same drawing – one square, the other round, evoking the two windows of the Genko Buddhist temple in Kyoto, a source of inspiration for Heiner Goebbels’s sound and visual installation, Genko-An . The two windows in question look out onto the same garden, but the perceptive disturbances caused by their respective forms – the square window is called the ‘window of confusion’ and the round, the ‘window of enlightenment’ – provide the composer with the opportunity to develop Gertrude Stein’s catchphrase: ‘To see something/ To hear something’ by playing on the hiatus between sound and visual experiences of the same material in two distinct spaces.
Ulf Langheinrich sheds further light on the immersive dimension of the same phrase. Working on digital illusion, Langheinrich attempts to highlight this ‘specific beauty with a mathematically strict monotony, unique to digitally created and processed material’, by combining in his digital melting pot recordings of waves on the shores of Accra in Ghana on the one hand, and waves of particle-system formulas and fractal-noise calculations, on the other.

Damien Pousset, Artistic Director, Biennale Musiques en Scène

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