Akira Rabelais’ Gymnopédie
In relation to Andrew’s post, I was thinking about ways to apply the language used in class to the domain of music.
In particular, there are so many example of “refiguration“ that come to mind. What about Heidegger’s “temple“?
I found this piece some time ago, and I still find it interesting, it takes Gymnopédies (and other pieces) and transforms them, here is the first:
I perceive this music as an instance of poetic thinking, no question.
It is like a music played in the realms of the sea… provoking and evoking images and sensations from underwater. Maybe a state of calm and reflexion… meditation? But these of course are just personal hints.
Is there maybe something analogous to Richter’s attenuated gray-scale in October 18,1977? Storr describes’ Richter’s paintings as “evanescent”, is this music also evanescent? Richter himself describes his use of grays:
“It is impossible to paint the mystery of life, except maybe in gray, to cover it“.
The piano of Akira Rabelais is maybe not gray, but I perceive a covering there, a diffused tonality that blurs it, maybe a blue-gray one (maybe “shadow gray” instead of “anthracite”?)—Again, my bias towards vision makes it that I continue to see, even when listening. But this is not necessarily a distraction to be avoided since it provokes a multi-sensory experience…
Here is the album:
Moreover, looking the artist more closely, it might be relevant for our discussion in class, also with respect to the boundaries of art, online art and other issues (mixing different formats such as music, technology, poetry and photography):