![]() MILLER & CO./BALTIMORE MUSEUM OF ART/SAINT LOUIS ART MUSEUM ISBN: 9781941366547Ī STRANGE CELESTIAL ROAD BLANK FORMS EDITIONS ISBN: 9781953691163 THE CULTURE: HIP HOP & CONTEMPORARY ART IN THE 21ST CENTURY GREGORY R. RADIO ART ZONE HATJE CANTZ ISBN: 9783775755153īLANK FORMS 09 BLANK FORMS EDITIONS ISBN: 9781953691170 ![]() FOR CONSUMER ONLINE ORDERSįORTHCOMING AND NEW: MUSIC AND PERFORMING ARTSĭANCEHALL SOUL JAZZ BOOKS ISBN: 9781916359833 The texts in Poesy Matters and Other Matters reflect Hennix’s diverse training as well as her long-standing personal interests in Lacanian psychoanalysis and Japanese and Middle Eastern poetic forms, resulting in a rich, diffuse collection of writings that reveal one of the avant-garde’s most implacable, not to mention overlooked, creative minds. Best known as a composer, Catherine Christer Hennix has, throughout her fifty-plus-year career, produced innovative work in the fields of not just minimal and computer music, but psychoanalytic theory, intuition mathematics, poetry, and prose as well. The first comprehensive publication of Hennix’s written work, Poesy Matters and Other Matters illustrates the singular depth and variety of her contributions to contemporary music, art, literature, and mathematics. Volume two, Other Matters, is divided into two sections: first, program notes and essays about a wide range of topics (including music, psychoanalysis, and mathematics), and second, a reproduction of Hennix’s 1989 work The Yellow Book. Volume one, Poesy Matters, is divided into two sections: poetry and drama, with each section also containing pieces of commentary by Hennix or her longtime collaborator Henry Flynt. Listeners without spiritual inclinations, but who are willing to immerse themselves in the music, will find the work's serene intensity to be its own reward.This two-volume set, Poesy Matters and Other Matters, presents selected texts by the Swedish polymath Catherine Christer Hennix. Also reproduced on the album's gatefold jacket is Hennix's elegant reduction of the sacred text, represented as the first letter of its first line gradually paired down to a single dot, which invites the contemplator to bring their inner knowledge to the composition for use as a meditation prompt. Over this mesmerizing ebb and flow, vocalists incant an Arabic-language devotional poem written by Hennix that features quotations in praise of Allah from the Quran. As with Hennix's best work, the organic unfolding of this quivering drone belies a precision that opens onto the infinitesimal. As Hennix explains in Other Matters, Blank Forms' 2019 collection of her writings: "Rag Infinity/Rag Cosmosis presents fragments of 'raga-like' frequency constellations following distinct cycles and permuting their order, creating a simultaneity of 'multi-universes.' When two such 'universes' come in proximity of each other and begin unfolding simultaneously along distinct cycles, there is a kaleidoscopic exfoliation of frequencies as one universe is becoming two, but not separated - the effect of cosmosis is entrained, binding two or more frequency universes into proximity where their modal properties interact and blend, creating in the process entirely new microtonal constellations in an omnidirectional simultaneous cosmic order with phenomenologically 'transfinite' Poincaré cycles (cyclic returns to initial conditions). Intended to reveal the origins of the blues in the Eastern musical traditions of raga and makam, Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis has its roots in Hennix's 2013 realization of an Illuminatory Sound Environment, a concept developed in 1978 by anti-artist Henry Flynt on the basis of Hennix's own The Electric Harpsichord. The double album captures the Appremiere of the composition by the Chora(s)san Time-Court Mirage, Hennix's expanded just intonation ensemble, featuring a brass section of Amir ElSaffar, Paul Schwingenschlögl, Hilary Jeffery, Elena Kakaliagou, and Robin Hayward live electronics by Stefan Tiedje and Marcus Pal and voice by Amirtha Kidambi, Imam Ahmet Muhsin Tüzer, and Hennix herself. Having already unearthed three collections of archival 1970s recordings by Catherine Christer Hennix, Blank Forms continues their annual illumination of the visionary Swedish composer's music by turning to more recent work with this first-time vinyl edition of Hennix's Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis, a 2014 piece first released as a CD in 2016. Catherine christer hennix/chora(s)san time-court mirage: blues alif lam mim in the mode of rag infinity/rag cosmosis
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