• 16

    16

    12

  • 15

    15

  • 14

    14

  • 13

    13

  • 12

    12

  • 11

    11

  • 12

    12

  • 10

    10

  • 11

    11

  • 9

    9

  • 10

    10

  • 8

    8

  • 9

    e.g., consider:

    (1) What is some (first) C doing in the location of some other (second) C, (if anything)? (2) What is some (second) C doing in the location of some other (first) C, (if anything)? (3) What is some second C doing in its location? (4) What is some first C doing in its location? (5) Have I acquired two Cs, each in its location (thus two locations) or one C instanced twice (thus one location)? (…)


    9

  • 7

    7

  • 8

    8

  • 7

    7

  • 6

    6

  • 5

    Antes de que ella misma, la palabra, fuese colonizada, habría sólo palabras sin lenguaje propiamente. (…) La palabra verdadera sin opacidad y sin sombra, dada y recibida en el mismo instante, consumida sin desgaste; centella que se reencendía cada vez. Palabra, palabras no destinadas, como las palomas de después, al sacrificio de la comunicación (…) No habría una sola palabra, habrían de ser varias, un enjambre de palabras que irán a reposarse juntas en la colmena del silencio (…). ¿Y qué nos notifica la danza de las abejas destacadas del enjambre para buscar lugar nuevo donde albergarlo? ¿Dicen algo, danza y canto, más allá de lo que notifican? ¿Anuncian ya la palabra?

    5

  • 6

    6

  • 4
    caption

    4

  • 5

    5

  • 3

    3

  • 4

    4

  • 2

    2

  • 3

    3

  • 2

    2

  • 1

    1

  • 1

    1

1. Frédéric Forte, excerpt from Minute-Operas, Burning Deck Press, 2014. Originally published as Opéras-minute, 2005.
2. Wassily Kandinsky, excerpt from Point and Line to Plane, Dover Publications, New York, 2018, tr. 1947. Originally published as Punkt und Linie zu Fläche, Bauhaus, 1926.
3. Sophie Täuber-Arp, Kompozycia, 1931, gouache on paper
4. Wassily Kandinsky, excerpt from Point and Line to Plane, Dover Publications, New York (2018, tr. 1947). Originally published as Punkt und Linie zu Fläche, Bauhaus, 1926.
5. Channa Horwitz, 8 Sets of Moires (Rhythm of Lines Sampler), 1987, Ghebaly Gallery, Los Angeles.
6. Hanne Darboven, Ein Jahrhundert-ABC (One Century ABC) , 1970/71, 19 panels (42 sheets per panel); Konstruktion New York (1966/67) reproduced in Hanne Darboven: Enlightenment – Time Histories: A Retrospective, Prestel Verlag, 2015
7. 1. Frédéric Forte, excerpt from Minute-Operas, Burning Deck Press, 2014. Originally published as Opéras-minute, 2005.
8. Samuel Colman, Nature’s Harmonic Unity: A Treatise on Its Relation to Proportional Form, G.P. Putnam’s Sons, New York 1912, pg. 193.
9. Kenneth Gaburo, excerpt from C, …is (1968-1969) Lingua Press, 1976.
10. Rebecca Lane, short study of 7 keys (C) on my neighbour Greg’s electric organ, 22.01.21.
11. Sol LeWitt, letter to Hanne Darboven, 24.8.68, reproduced in the exhibition booklet for Hanne Darboven: Korrespondenzen/Correspondences at the Hamburger Bahnhof, 2017.
12. Boethius, De musica from Opera, quae extant, omnia, 1546
13. Hilma af Klint, page from Notes and Methods, The University of Chicago Press Books, 2018.
English translation of text:
4/22/1919. Anemone hepatica. Joy. Direction lines:
4/23/1919. Corylus avellana. M: Eager liveliness and N: Repressed warmth of feeling. Direction lines:
14. Rebecca Lane, sketch, Berlin, January 2021
15. Catherine Christer Hennix, excerpt from The Yellow Book, published in Poësy Matters and Other Matters, Blank Form Editions, 2019
16. Lane & Asís, excerpt from double points; reflected, Albi, February 2021

1. Heraclitus of Ephesus (c. 535 BC – c. 475 BC), in Fragments, translated by Brooks Haxton, Viking Penguin, New York, 2001.
2. Simone Weil, Gravity and Grace, translated by Emma Craufurd, Routledge and Kegan Paul, London, 1952. Originally published as La Pesanteur et Ia Grâce, Pion, Paris, 1947.
3. Emily Noyes Vanderpoel, Color problems: A practical manual for the lay student of color, Longmans, Green, and Co., London, 1902.
4. Rain on Mara’s street. Phone recording. From an audio message from Mara Winter, Basel, 2020.
5. María Zambrano, Claros del Bosque, 1977. Seix Barral, Barcelona, 1986.
6. Kishio Suga, 無題 / Untitled, 1975, Tokyo Gallery.
7. Ian Hamilton Finlay, The Blue and the Brown: Poems, Atlantic Richfield Company and Graphic Arts Typographers, Incorporated, 1968.
8. Tantrika, Rajasthan, 17th century.
9. Anne Teresa De Keersmaeker, notes, in A Choreographer’s Score: Fase, Rosas Danst Rosas, Elena’s Aria, Bartók, Anne Teresa De Keersmaeker and Bojana Cvejic, Yale University Press, 2020.
10. 李雨航 Li Yuhang, Boring, 2016.
12. Jules Bourgoin, 43 figures distinctes de Quadrats de quatre traits. Épreuves pour le premier tome de La Graphique, pl. 7, 1905.
11. Clara de Asís, notes, 2021.
12. Lane & Asís, excerpt from double points; reflected, Albi, February 2021