Elements
of Anticipation

1874.
1928.
1988.
1998.

Man denies proof, he wants to believe, not to dissect or analyse through critisism.

Every birth, every construction, every creation of a spiritual category always has the same exemplary mode: cosmogony.

Wir reichen Ihnen, unbekannt, im Dunkeln unsere hand.

We must built the Cathedral.

Inner necessity becomes the only source.

1874-1928-1988

The people in a cathedral create a sounding space. It is a sort of generalbassa, i.e. those encoded parts where only chords are given, and the musician improvises. Unlike those encoded parts on paper, ours is entered in space and computer programs.

The existence of form in time and space can also be explained by an inner need for time and space.

Form: the time of duration.

The advantage of theoretical: meaning in indifference.

We recognise the space around us by ear, experiencing a complex image of sounds that emerges from the overlap of our own activities with the features of form and material that surround us at a given moment. These features are manifested through original sound caused by a mechanical blow and rubbing of material and through certain artificial procedures (music-making) as well as through a reflection of the original sound wave from still and moving obstacles. In this impact the obstacles show their reflecting, transparent or absorbing characteristics, depending of shape, position or features. One basic event can motivate, depending on the complexity of the space, an entire series of acoustic processes which, because of the wave nature of sound - mutually affecting one another - builds a specific tonal and colorist nuanced image, usually called the acoustics of space.

Theme: a ban and its passage.

Computer simulation of the acoustics of space of augmented sensibility, into a Cathedral.

An exhibition without paintings. Bridges fade at the place of arrival.

The author and performance become one and the same.

Sorrow: escape into uniformity.

Neither is space in the subject nor is the world in space. Space is, on the contrary, ÒinÓ the world if the Being in the world, constitutive for space, has opened space. Space does not lie within the subject, nor does this observe the world Òas ifÓ it is in some space, but the ontologically validly understood subject. Being-there in spatial in the described manner, space is shown to be A-priori.

View: at all placessimultaneously and temporarily.

By placing a photo sensor that registers the movement of people in space and informs a computer about it, whose software on the basis of this produces music, we get the interaction of a work of music and the audience.

We must build the Cathedral.

Ornament: ideja sudbine.

It is possible to hear a melody caused by the flow of electric energy through the network of a computer system on a radio reciever placed adjecent to the computer, which lets us guess what the computer is doing.

An electro-encephalograph (EEG) registers the electrical activity of clusters of brain cells, from which it is possible to assess what the brain is doing.

By hooking an EEG through a special interface to a synthesizer, one can produce a musical image of celebral activity depending on the concious and unconcious processes going on in it.

Death: magical in the geometric.

IÕm keeping the place for someone else.

>From the European vantage point things look like this: in all industrial products from the Middle Ages and up to the beginning of the 19th century, the development of technology was slower than the development of art (...). The change of things (...) imposes speed on art, and as acceleration increases, domination of fashion extends to all realms. And finally this became the current state of affairs: the probability that art no longer has time to adapt to the technological process is not far off.

Entertainment is a cunning with which the dream propells itself towards industry.

23rd February 1987 - 23rd February 1988

By assembling a system of opto-electro-acoustic receptors, generators and processors, the CATHEDRAL is additionally sensitized to approaching the physical and mental, intentional and spontaneous, willed and intuitive, mechanical and organic, certain and estranged in the experiencial- creative process.

The mirror shards reflect the burning of the Alexandria library. Narcissus has disappeared. All that is left is the Lake.

A Cathedral stands here among us. Old Cathedrals were found in a world that was still round. But then the world reduced through materialism. It was an inner need, to diminish the world like that, because in doing so it sharpened the human consiousness, particularly in its analytical activity. Now we must extract from this a synthesis, the cathedral. Aussere Gesetze existieren nicht. External laws do not exist. The truth is that all the social and religious ideas attemt to penetrate art, because they feel thet their finest creations lie therein, but it is naive to believe that any idea can create the value of art, whether it be the idea of a divine kingdom on earth or in heaven.

Man denies proof, he wants to believe, not to dissect or analyse through critisism.

Every birth, every construction, every creation of a spiritual category always has the same exemplary mode: cosmogony.

Wir reichen Ihnen, unbekannt, im Dunkeln unsere hand.

We must built the Cathedral.

Inner necessity becomes the only source.

1874-1928-1988

The people in a cathedral create a sounding space. It is a sort of generalbassa, i.e. those encoded parts where only chords are given, and the musician improvises. Unlike those encoded parts on paper, ours is entered in space and computer programs.

The existence of form in time and space can also be explained by an inner need for time and space.

Form: the time of duration.

The advantage of theoretical: meaning in indifference.

We recognise the space around us by ear, experiencing a complex image of sounds that emerges from the overlap of our own activities with the features of form and material that surround us at a given moment. These features are manifested through original sound caused by a mechanical blow and rubbing of material and through certain artificial procedures (music-making) as well as through a reflection of the original sound wave from still and moving obstacles. In this impact the obstacles show their reflecting, transparent or absorbing characteristics, depending of shape, position or features. One basic event can motivate, depending on the complexity of the space, an entire series of acoustic processes which, because of the wave nature of sound - mutually affecting one another - builds a specific tonal and colorist nuanced image, usually called the acoustics of space.

Theme: a ban and its passage.

Computer simulation of the acoustics of space of augmented sensibility, into a Cathedral.

An exhibition without paintings. Bridges fade at the place of arrival.

The author and performance become one and the same.

Sorrow: escape into uniformity.

Neither is space in the subject nor is the world in space. Space is, on the contrary, ÒinÓ the world if the Being in the world, constitutive for space, has opened space. Space does not lie within the subject, nor does this observe the world Òas ifÓ it is in some space, but the ontologically validly understood subject. Being-there in spatial in the described manner, space is shown to be A-priori.

View: at all placessimultaneously and temporarily.

By placing a photo sensor that registers the movement of people in space and informs a computer about it, whose software on the basis of this produces music, we get the interaction of a work of music and the audience.

We must build the Cathedral.

Ornament: ideja sudbine.

It is possible to hear a melody caused by the flow of electric energy through the network of a computer system on a radio reciever placed adjecent to the computer, which lets us guess what the computer is doing.

An electro-encephalograph (EEG) registers the electrical activity of clusters of brain cells, from which it is possible to assess what the brain is doing.

By hooking an EEG through a special interface to a synthesizer, one can produce a musical image of celebral activity depending on the concious and unconcious processes going on in it.

Death: magical in the geometric.

IÕm keeping the place for someone else.

>From the European vantage point things look like this: in all industrial products from the Middle Ages and up to the beginning of the 19th century, the development of technology was slower than the development of art (...). The change of things (...) imposes speed on art, and as acceleration increases, domination of fashion extends to all realms. And finally this became the current state of affairs: the probability that art no longer has time to adapt to the technological process is not far off.

Entertainment is a cunning with which the dream propells itself towards industry.

23rd February 1987 - 23rd February 1988

By assembling a system of opto-electro-acoustic receptors, generators and processors, the CATHEDRAL is additionally sensitized to approaching the physical and mental, intentional and spontaneous, willed and intuitive, mechanical and organic, certain and estranged in the experiencial- creative process.

The mirror shards reflect the burning of the Alexandria library. Narcissus has disappeared. All that is left is the Lake.