Good morning…; performed in a spiritless voice; projected through tired eyes…; while reminiscing a wild and violently fast gait! You were not quite sure where exactly you were galloping to… Yet determined to insist! Your eyes changed colour and they dangerously -for some- glinted, hoping to lighten the mire you were facing with disappointment. “A huge winepress”, the city you visited, “full of people pressed like grapes.” And suddenly… a hope! A “summer” you experienced just within your soul. A gray and torturing summer, at first. And then, an orgasm of creative discharge that shone in your eyes like a rainbow.
The psychedelic shades of the “outer” asphyxiating fumes wished to seduce your “inner” thoughts you longed to transform into speech. Your gaze seemed frozen towards the dazzling white and the -long enough- time delay eventually functioned as the first step that led to the second; surprise. Gravity left your hand and your gaze was filled with letters; A, pi, Φ… Scenes you dared to place in a different way, with a poetic license which finally led the ink to get poured. To flow…
~ thoughts re-viewed
by anna stereopoulou
What you are listening to are musicians performing psychedelic music under the influence of a mind-altering chemical called… 
…the Green Fairy or else the Colours of the Rainbow
The irrepressible Oscar Wilde [1854 – 1900] writes of this green concoction; Absinthe (aka The Green Fairy, The Green Muse, The Green Witch or The Green Devil), the drink of poets of the 19th century in Europe was the new drink of those times, that was developed and produced in large quantities. Its green colour gave rise to the legend of this fairy, which was “freed” in an aromatic cloud, when water was added to the drink. Its mission was to steal the talent of brilliant minds and give it away to mediocrity, turning them into geniuses. After being declared as dangerous, and having to face various obstacles set bythe industry and the governments, the Nectar of the Poets, as it is also called, finally managed to become one of the most popular drinks and inspire many works of artists, such as Pablo Picasso, Vincent van Gogh, Amedeo Modigliani, Édouard Manet, Ernest Hemingway, Charles Baudelaire, Edgar Allan Poe and the pataphysics follower Alfred Jarry. Pataphysics is nothing but an extension of Metaphysics, embraced by many surrealist artists, such as Eugène Ionesco. The freedom -given by this genre- of explaining several phenomena or situations, could be considered either as far-fetched for some, or as “lifeline” for others. If, for example, woke up this morning and saw the tree in our garden uprooted, the most logical explanation would be that during the flood of the previous evening, a thunderbolt burned and threw the tree down. Instead, a pataphysics lover would give the simplest (!) explanation, that as we were sleeping, the spacecraft of our neighboring planet landed in our garden and its alien crew, uprooted the tree.
The perspective defined by each one of us, as a logical explanation, lies only in their eyes. Reality is different and everyone should have the freedom to set it themselves. Like a poet, or artist would do, being accompanied by a Green Fairy. The ban of such drinks /substances -at times like the 19th century and the early 20th century-, was the most direct way the authorities could prevent the freedom of thought. The inspiration our mind and soul create, regardless of subject, age or color, exists only within us and it is created with or without the consumption of substances or the myth we need to counterfeit as an explanation of situations difficult to be understandable or acceptable. Despite this, the green colour (“the colour of apathy, similar to the look of the cow” as W. Kandinsky describes), was the only way out and smoother transition /shelter from the hardness of black prevailing during that time.
Black, as a characteristic of the human temperament, is noticed to be repeated at intervals in history. The concept of “crisis” is not limited to economic conditions, but it touches even more important and sensitive areas, such as culture, education, thinking, everyday life, politics, and health. One of the major dark waves experienced across Europe in the past -apart from the Wars- is the Black Death (1347), starting mainly from Italy (Genoese ships from the Black Sea towards Sicily). Despite the strong growth which had been observed hitherto in science, knowledge in medicine were still scarce, thus tackling Swine become impossible, spreading death almost to one third of the European population (of the time), and lasted for about 300 years. The Black Plague, as it is also called, was certainly a reason to be a big trend in medicine, while creating a whole philosophy, known as Danse Macabre (France) [or Danza Macabra (Italy), Totentanza (Germany)]. It is nothing more, but an allegory on the universality of death, which prevailed during the last period of the Middle Ages; death unites everyone, regardless of discrimination. The aim of this philosophy was to remind people of how fragile their lives were and how vain were the glories of earthly life. Also, the Medieval and Renaissance music flourished during that period and evolve to this day, inspiring contemporary artists from various genres, such as Dead Can Dance (electronic gothic), Eric Burdon & The Animals with the psychedelic piece The Black Plague (from the album Winds of Change, 1995) and the album Dance of Death (2003) of the heavy metal band Iron Maiden. But how could we ever ommit August Strindberg‘s [1849 – 1912] play The Dance of Death (1910)?
Ioannis Chryssafis [1873 – 1932], one of the most important Greek writers and also the founder of the Greek sport science was the first to translate in Greek the homonymous work of Strindberg. He notes:
“The reflection of Strindberg’s works upon the audience and /or the reader is not that in this vain world there are villains and monsters heinous -from one place-, who afflict the good, hardworking and honest people, and -from the other-, good and moral people who deign fight against evil. Strindberg’s audience always leaves the theatre with a basic impression of the existence of one and only martyr: the man, tortured by nature, by other people and by himself. But, another impression is also born; the idea that this condition can and should be corrected; and that the shackles with which -for reasons and causes that might not exist anymore and have fallen to new needs era- man has himself been tightened to, he must finally break, in order to be able to care alone for himself, without relying only on help from above or the help of small-gods that has -alone himself, too- put in his head. This is the general line along almost the entire literary effort of Strindberg.” 
These could not be just a few words. The early 20th century was filled with new information, inspiration, discovery, but also hardships for the entire world. The effort of people to adapt to new situations imposed on them, characterized each day of them as unknown, offering mainly anxiety /agony about tomorrow. The novelist Knut Hamsun [1859 – 1952] mentions: “Today’s people and especially, young people, seem depressed and sad and without much hope for life, because the conscious knowledge woke up early within them and they all lost all imagination. However, according to Strindberg, becoming neuropathic and hypochondriac is not something useful, even for the reasons mentioned above. But what matters most is that Strindberg understands, acknowledges and agrees that the current psychology of the characters is totally inadequate to describe disharmonic modern humans”. 
The Anatomy of Melancholy, both as content in Robert Burton‘s [1577 – 1640] book (1621), as well as a tendency towards an attractive illusion to excuse inspiration, shows how a cascade of events can shape -with the help of mimicry, as a human characteristic- a whole stream – psychology – fashion… both in art and our mentality, itself! Analyzing the term melancholy, we reach the first definition of the word by Hippocrates [5th century BC], as the black bile. This liquid was described by ancient as one of the four juices secreting the body and determine the differences in our physical condition. The black bile (Gk. melan chole), blood (Gk. haima), phlegm (Gk. phlegma) and yellow bile (Gk. chole) -in physician and surgeon Galen [2nd century AD]- also determine the actual behavior. The excessive black bile in the body forms a melancholic character. Therefore, the melancholy of the black period in Europe, in the era of Hamsun and Strindberg, lies not only in negative political and social realities, but neither purely in biological factors. The trend towards negativity might be a fact, but which cannot interfere in human psychology without specific cause. It is about interrelated elements, also considered by those who launch Historical events (to be put politely). Events which are repeated, as the very nature also commands its patterns. A concrete example is that of the shell. “Who and why created the shell?”, the French philosopher Paul Valéry [1871-1945] persistently asks in his essay The Man and the Shell [L ‘homme et la coquille (Variété V)]. The childishness of his insistence could certainly surprise us. How such a mind insists on such a silly question…? Ignorance for Valéry is a qualification; an undervalued one, unfortunately. “We constantly refuse listening to the innocent side we carry within us. We block the child who awakens us and always wants us to look through pure eyes.”
So, was Hamsun correct, touching the hard truth about the young people of his era, by writing “(…) because conscious knowledge woke up early within them and they all lost all imagination.”? Let us not be strict. There is an explanation for everything. The First World War and the age of anxiety in Europe in the 1920’s could only blacken the souls of many people and harden even the romantic artists.
“I am young, I am twenty years old; yet I know nothing of life but despair, death, fear, and fatuous superficiality cast over an abyss of sorrow. I see how peoples are set against one another, and in silence, unknowingly, foolishly, obediently, innocently slay one another. I see that the keenest brains of the world invent weapons and words to make it yet more refined and enduring. And all men of my age, here and over there, throughout the whole world see these things; all my generation is experiencing these things with me. What would our fathers do if we suddenly stood up and came before them and proffered our account? What do they expect of us if a time ever comes when the war is over? Through the years our business has been killing; — it was our first calling in life. Our knowledge of life is limited to death. What will happen afterwards? And what shall come out of us?” The specific excerpt of Erich Maria Remarque‘s [1898 – 1970] novel All Quiet on the Western Front (1929), is used as an example in one of Valéry‘s lectures [The Age of Anxiety: Europe in the 1920s], in order to explain that the Great War of 1914-1918 was initially a popular war and even blessed by those thinkers and artists who were non-violent by nature. They believed it provided food for inspiration and creation, especially when everyone thought that this was a war that would be quick and glorious for those fighting for their nation. On the home front, of course, things were a bit different, and the stupidity of war became apparent especially to the soldiers who managed to survive and return home.
Consequently how easy is for someone to keep his gaze pure? Valéry is certainly not naive. But, for a man who has experienced these hardships and observing the changes within himself and those around him, gives him the right to reach the conclusion of how vain can “things” be in life, always referring to delusions of glory and futile conquests of land. The shell, as a creature of nature, namely the nautilus, knows no borders. This is the only shell with no specific country of origin; it can travel through oceans with no passport; with no identity. Its spiral concept is not limited to its form, but also to its coordinate at any mile. It endlessly rotates and moves without ever encountering another shell identical to it. Every nautilus, each shell is unique. It differs -even in the smallest detail- from any other and has accepted this fact without fear of diversity, whether of the same or another shell that meets during its tack or to any “other” coast it may arrive.
Concerning the Political in Art
Thus, what do we learn from the repetition of events in history or even from the patterns themselves, generated by (the) nature? Obviously, the very fact that they can teach us something, just by observing them. We owe to allow ourselves to listen and look with pure eyes (I repeat). For the Russian painter Wassily Kandinsky [1866 – 1944], repetition plays an even more important role. In his book Concerning the Spiritual in Art (1910), he mentions the importance of repetition of pattern and color, but through its form and certainly always including some small change.
According to Kandinsky, repetition leads to maturity. The same states as for the sound: “Repetition of identical sounds and their gradual accumulation intensifies the spiritual atmosphere in its finest essence, to deepen emotions (…). One could compare it with an individual, who receives a powerful impression from some constant repetitious action, thought, or feeling, even though he is hardly capable of absorbing the different actions (…).” Colours vibrate. Their blending is a struggle, a contradiction, a contrast which creates our own harmony. This is but an inner necessity of the artist, who ows to sincerely express -through his work- the specificity of his soul and the specificity of his time. The era of the early 20th century was certainly dark, or -in other words- “black.” How does Kandinsky define black (as a color)? “Like a nothingness after sunset, black sounds like an eternal silence, without future or hope. Represented in music, ιt is as a final pause, which precedes the beginning of another world, yet signifying a termination as the circle is completed. Black is something extinguished like a burned pyre, something immobile, corpse-like, which has no connection with any occurrences, and accessible to all things. It is like the silence of the body after death, the end of life. Outwardly, it is the least harmonious colour yet, for that reason, any other colour, even the weakest, will appear stronger and more precise in front of it.”
The blend of black (darkness) with white (clarity) is the second most powerful opposition, creating stagnation and giving birth to the ”motionless” gray (equivalent to green).
Momo (1973), the tale for grown-ups, by Michael Ende [1929 – 1995] is not irrelevant. Also known as The Gray Gentlemen, the story describes in the best way, the colour of its period, but mostly, of the people itself, as opposed to the purity and pristine look of a little girl (Momo), as it struggles to win the lost time back. Please, allow me to associate it to The Trial (1914; Edition: 1925) of Franz Kafka [1883 – 1924], where the characteristics of the gray colour, reflected in both the atmosphere and the inertia of the (anti)hero, expressing a reasonable contrast, when compared to the stubbornness of the little girl Momo.
Kandinsky, in this book, gives the same weight to the form (shape) as he does to the color, expanding the concept to a social level. He compares the spiritual life of humanity to a pyramid; the artist has a mission to lead others to the pinnacle with his work. The top of the pyramid is those few, great artists. It is, in other words, a spiritual pyramid, gradually advancing and ascending, even if sometimes it seems immobile. During periods of decline, the soul sinks to the bottom of the pyramid; that is the time when humanity seeks only superficial success, ignoring spiritual forces.
Should artists be described as selfish or cloudwalkers (as in absurd)? It definitely depends on factors such as the period they live and create in, if they are able to create -due to certain circumstances-, how stubborn (in the sense of persistence) these conditions make them and how… they “see things”. Form, for an artist is a subjective element. Quite abstract for many (as for W. Kandinsky’s case) or very precise, for others. The “topic” an artist will discuss through his work can be addressed to a specific or broader public and can be expressed through a direct or indirect way. Many artists choose topical issues and they hope that will manage change the world through their art. Thus, we come to the “expression” we have probably, secretly waited for. How can a man -even an artist- change the world? And above all, why should he believe something so elusive? Now, back to the question of whether they could be considered selfish or crazy. Maybe both, maybe none of it. They might not change the world -at least not directly and not in front of their eyes-, yet they will change their own world; the perspective of their work, which is nothing more than the reflection of their soul, since it is in direct relation to the real. They surprise themselves with this change. Even after a battle with themselves, which is required in order to accept this change.
The Metamorphosis (1912) of Kafka‘s hero was not easily accepted by his (the protagonist’s) relatives. One morning he suddenly wakes up transformed into a cockroach. The idea that what is now is this disgusting bug, engenders disgust -initially- even to himself. How has he become so different? Why? Why should this happen particularly to him? The acceptance of himself, took him time. Another example, is the movie Elephant Man (1980) of David Lynch [1946 – ]. Now, what is the case of the film director Romain Goupil [1951 – ] and how much later does he accept or eventually demystifies his fight as a young man, the dreams of his comrades (with special mention to Michel Recanati) and the awareness of reality, through his autobiographical documentary Mourir à 30 Ans [dying at 30 (1982)]? Freedom of thought remains a nice idea, though it needs to be substant. The tragicalness of the moment you realise the real, is equal to the “murder” of your old self and the acceptance of your diversity, by your own self. Nevertheless, it is always accompanied by salvation; Catharsis, as necessary in ancient drama, which -as well as read- was one of the main initiators of May ’68 in Paris. The same May debunked by Goupil. Contradictory, one may quickly conclude to. Yet this is about art and art is free to use contradiction and irony, as well as enigma which however never remains unsolved. There is always a moment of revelation; there is the moment when everything in front of or around us is getting a new perspective, a fresh concept and eventually, a perfectly logical explanation. Therefore, the artist must take the risk to be characterised as selfish or crazy, concerning -always- his own creation. In other words, he owes to be honest, to listen and have a pure gaze. But above all, he owes to have faith in that invisible force which drives him to persevere.
The Known Unknown and an Other One 
Such an example of “persistence” we also meet in the case of the architect and composer Iannis Xenakis [1922 – 2001]. Born in Romania, by Greek (refugees) parents, he grows up in an environment filled with music. In 1932 Xenakis moves in Spetses (Greece), where he discoveres his love also for mathematics and Greek and foreign literature. In the age of 16 he moves to Athens, where he is preparing for the entrance exams for the National Technical University, while the same time starts taking lessons in music composition. Two years later, he is accepted in the N. T. U., which is closed on the first day of the course (October 28th, 1940), when Mussolini’s troops invade Greece. Xenakis takes part in the Resistance (against fascism), joining the demonstrations against intruders and being jailed several times. While in prison, books by Plato, Marx and Lenin keep him company. Those memorable moments are later retrieved and expressed through many works of Xenakis. His musical composition Nuits [Nights, 1967 (for Solo Choir – 12 mixed voices, based on various dialects’ phonemes, such as Sumerian, Assyrian and Achaeans)], exemplifies and is dedicated to all political prisoners around the world. The composer -as we read on the instructions of the score’s interpretation- mentions: “In my music there is all the agony of my youth, of the resistance and the aesthetic problems created, in conjunction with the protests or the mysterious noises in the air, the mortal sounds during the cold December night of 1944, in Athens.” We cannot say for sure if the Parisian air affected Xenakis the same way it influenced Goupil, yet both of them certainly honor fellows of their visions. They celebrate the moments they experienced with them and they re-view.
This is the same fresh gaze the architect Xenakis had, looking at the sketches of Le Corbusier [1887-1965] (in whose office worked at that time, even as an illegal immigrant). Those architectural plans were intended for the Expo 1958 Brussels World’s Fair. Xenakis -as the architect and musician Vaios Zitonoulis explains-“discovers” and adapts a third dimension to the flat paper, giving a different perspective to the shape of the stomach of a cow (on which the designs of Le Corbusier were based), probably inspired by the graph (score) of Xenakis’s composition Metastasis (1954). Since, Le Corbusier‘s desire was to create a “poem in a bottle”, Xenakis contribution was essential for the birth of the famous Philips Pavilion. However, the most effective and creative collaboration, in this work, is limited between the composer Edgard Varèse and Xenakis, while Le Corbusier just -occasionally- supervises from a distance. The venue is filled with colours, shadows, projections of black and white images and a beautiful series of hundreds of speakers (a project commissioned by Philips, to promote their new equipment) that enrich the atmosphere with sounds (Poème Électronique, composed by Varèse and an inclusion of Concrèt PH by Xenakis). The Pavilion (though unfortunately demolished after the end of the Expo) went down in history as one of the major projects and Xenakis went away from Le Corbusier’s office, when the latter fired him since he returned to Paris. How much threat can an artist feel of a genius and why? The threat for the “different”, the “other”, the “strange” to the familiar, to the known, to the ego (me) and the non-conventional, is a timeless inevitable fact and reality. Like the composer Éric Satie [1866 – 1925] dares, release the notes, by removing the vertical lines (bar lines) from the horizontal lines (staves), in the early 20th century, so Xenakis calls his musical scores “architectural drawings”, half a century later.
The black marks (signs or Gk. semia) on paper (i.e. semiology), also known as notes on the stave (i.e. notation), the Greek Xenakis, a foreigner in Romania and later in Greece and France, the year of his birth and the Asia Minor holocaust. The Greeks of Smyrna seek shelter in their homeland, Greece, yet they are hardly accepted by the Greeks of “their own country”. The Smyrniot housewives of the refugee areas are renamed to pastrikies (Gk.;dialect clean) by the local Greek women who are jealous of their husbands, laying eyes on the former. Therefore, the Greek women are characterised foreigners, in their very own country; they are called different; something other than the usual. So, what kind of limits do we set in history? Important dates and symbols on flags. Specific vocabulary and convenient abstract mysticism. The Golden Ratio 2:1 (Φ = 1,618) of the nautilus and its meander (Gk. meandros) travels from Pythagoras and Phidias (Gk. Φειδίας) to the Fibonacci, losing the color and concept of freedom and evolution, due to misconceptions… The “Dorian mode” changes to “Phrygian”, during the Middle Ages, and the Xenios Zeus and Athena Xenia -patrons of the foreigners- take orders to change camp sides… How does the fraction S/s of Ferdinand de Saussure [1857 – 1913] gets to be formed in s/S by Jacques Lacan [1901 – 1981]? What does this ratio -for each of the two- mean, where s = signifier and S = Signified? For example, the signifier of the word “key”, is the “name” we give to the object, or else to its form. Now, the signified is the meaning of it (the same, or the treble clef, or code, or tool). For Saussure, the signifier and the signified is the form and not the substance, and, as he notes “The (spoken) linguistic sign unites not an object and a name, but a concept and an acoustic image”. Later, Lacan evolves the theory, explaining that the Language consists of a chain of signifiers, that is a flowing reality that acts independently of the signified (which ultimately deductible scrapped). By taking another example, as the meander (or collarbone), this decorative detail /motif (clothing, pottery, architecture) of the ancient times, and by researching its etymology, we find this motif in a ceramic vase, on which the sport of tent boxing is represented, illustrating the palms of two athletes holding each other tightly to form the loop /meander. It is about a common (hidden) secret of the ancient Greeks, used as a code where we meet. However, nowadays, the meander appears to have lost every (original) sense and logic (!), since the lovers of the ancient Greek world -though bearing arrogant plans, as well as against the human- abused and humiliated its importance, while, the friends of the ancient (ecumenical) history fear of being characterized as fascists, only just because they admire and praise the meander by using it. Now, if we think of the shape of the meander, then it is nothing more than the momentum, the flow and the coil; it is the evolution, nature, life itself. It is, for example, the junction of two currents of air or water. The shell itself and Valéry‘s persistence of researching for its construction. It is the research itself, and its need to be practiced, out of ignorance. The mea (Gk. maia = search, research) of the ander (Gk. andras = man), M. Kalopoulos explains in his book (The Great Lie, 1995).
So, to our surprise, there are moments which remind us how fragile and fluid is everything. In other words, everything flows and undoubtedly evolves over time, where sometime -that simply- we do realise it, just by putting ourselves in a new position.
The architect and theorist Nikos Georgiadis (founding member of the anamorphosis architects) explains that “Anamorphosis in Psychoanalysis is intertwined with the concepts of the unconscious, the real, the symptom, the impulse of death, etc. In other words, the point of showing something as normal and reconstituted is not privileged at all. Nor is it an optical point forming consciousness field. Instead, it is a sudden, awe-some, unexpected, accidental and uncontrolled point; in general it is a non-point, which is to disturb the conscience serenity, unity and constitution (visual, auditory, etc.) of an either visual or audible project.” Anamorphosis in psychoanalysis and particularly the approach of Lacan, is perhaps the most important influence of N. Georgiadis and his colleagues.
In his article Anamorphosis: Psychoanalytic object, symptomatic statement of the form , we read: “’Anamorphosis’ as a psychoanalytic concept introduced by J. Lacan to afford the morphic nature of the unconscious and outlines a scientific field on the active participation of the form in the psychic structure of the subject. It describes the process of adventitious occurrence of “normal” as a distorted image, which if viewed from a specific position it appears normal. In this way it determines the relation (symptomatic and morphological) of the real object to consciousness (visual, symbolic, representational) of the I /ego and simultaneously indicates the presence /activation of a space-position “outside” (inside and outside) from the conscious field of the picture as a potential dialectic of the specific /real.”
He continues: “’Anamorphosis’ as an architecture problematic states something more than just the symptomatic form hidden in the optical consciousness of the map of classical perspective. It highlights the instrumental condition of “normal”, the way of the “normal”, as a self declaration /(re)folding process of the form towards the conscious symbolic fact of the intention and reads the specific deformation as hyper-formation, i.e. not as a regulatory function (eg. expression of ugly, deformed), but as a way of the from articulation by itself. It is strictly based on the conceptual framework of the psychoanalytic object, but it also enhances and redefines it; from a symptomatic (sub)statement to self-declaration, and finally spatial condition. At the same time, it detects complementarity signs of the psychoanalysis and the architectural experience and triggers the relationship between the unconscious and superconscious – a concept akin to that of the “anamorphosis” and the “missing”. In this context, “anamorphosis” evolves as a new conception of the space, as a theory and a practice, directly related to architecture, and potentially is an extension of the psychoanalytic criticism. It arraigns the subject to think within the space rather than (about) the space. In other words, it highlights the physical space as a mental structure and way of thinking, thus setting up a critical position towards all theories developed on the space and subsequently its planning and implementation process”.
reCapitulation: spatial loops
The anamorphosis of truth, words, concepts, languages and history is constantly active. It never ceases. This development might not be understood through our eyes, but it remains a reality after all. Time had always had a subjective meaning in everyone’s perspective. Our time, however, got used only to a fast speed, so the patience of Momo looks gray, again. “The flowing time, is the living symbol that validates the human need to strive for everything human there is within us.” Ende describes. Nowadays, symbols and labels, are eventually the only acceptable evidence, within a human system (?!) trying to remember the sense of hearing. The auditory perception of the each person next to us and even more so of our own self. In other words, it is a system trying to remember the sense and emotion itself. Therefore, if we do need symbols to communicate with each other, let’s activate the power of real senses. Moreover, it will not be the first time in history, as other insane creators have existed in the past, who built -in their the mind- “ideal” worlds, above the clouds, in the sea, in the nature… The Birds (414 BC) by Aristophanes, finally found a home after centuries on the island of Utopia (1516) of Thomas More [1478-1535]. Most of More‘s copies of his book turned to ashes, since they threatened the calm consciousness of his era. Ray Bradbury [1920 – 2012] chose the artistic irony and exaggeration in his dystopian novel Fahrenheit 451 (1953), where a special fire department was required to burn (the) books. No matter how many books and libraries we burn, yet Pandora made sure we remain curious… strange… different…
The need for research does not turn off, no matter how many books were burned in Alexandria or Rome. And if for Kandinsky the concept of red (fire) is the color with no limits; the color of life and passion, that creates a strong note of almost tenacious immense power, then what is it for us? How do we revise colour, shape and word, a century later, and how much have we managed to overcome the crisis of the mind? How difficult or easy it is to lift our gaze up and see the existence of new places, ideas and gazes, which basically had always been there? How does the corner we choose in our room or the space of society, set our perspective and perception, as well as the management of various situations? At which one of the three Lacanian level are we standing and do we dare -with a poetic license- compare them to the three stages’ effect of a Green Fairy? If we finally manage overcome our egos, passing from the Imaginary to the Symbolic, do we have the courage to go further, to the third level, that of the Real? In a reality, which, as forbidden as it is, certainly hides strange and wondrous things, awaiting us to listen to.
…green absinthe is finished;
it is now time to produce red wine we ourselves!
[[ main sources ]]
Ende, Michael, Momo (Psychoyios Editions, 1984, Athens)
Sir More, Thomas, Utopia (Wordsworth Ed. Ltd, 1997, Hertfordshire)
Karolyi, Otto, Introducing Modern Music (Penguin Books, 1995, London)
Valéry, Paul, Man and the Sea Shell (Indiktos Printing & Publishing, 2005, Athens)
Kandinsky, Wassily, Concerning the Spiritual in Art (Nefeli Publishing, 1981, Athens)
Roman Goupil, Mourir à 30 Ans – 97′ (France, 1982)
[[ text references ]]
- What you are listening to – Porcupine Tree [Up the Downstair, 1993]
- Yiatsis, S., D. Kantzidis, P. Linardos, Ioannis Chryssafis, o pateras tis ellinikis physsikis agogis,
sto KE’ Panellinio Istoriko Synedrio, 21-23.05.2004 – Ioannis Chryssafis,
The father of the Greek physical education, XXV Greek Conference of History, May 21st – 23rd 2004
(Greek Society of History, Conference Proceedings, reprinted, Thessaloniki, 2005)
- Excerpt from the programme of the theatrical play The Father by August Strindberg,
National Theatre (Central Stage, 24.03-24.04.1988.
Translated by Ioannis E. Chryssafis, programme editors: Vassilis Nikolaides, Tassos Roussos)
- The Known Unknown and an Other One: One; term used in Psychoanalysis,
referring to the I /me /ego, as explained by Sigmund Freud, Jacques Lacan, etc.
- Anamorphosis: Psychoanalytic object, symptomatic statement of the form, 2004,
‘Anamorphosis. Architectural theory and practice – Projects’, Design + Art in Greece
(Themata Chorou & Technon – Issues about Space & Art), issue No 35, pp. 56-69
[[ image sources ]] – top to bottom
- Urban Fantasy by Anamorphosis Architects [Transparency in lightbox, 106×126 cm, 1998]
- La Muse Verte by Albert Maignan [1845 – 1908]
- The Anatomy of Melancholy by Robert Burton [Madman detail]
Renaissance Period Engraving [Unknown Artist]
- The Anatomy Of Melancholy [Paradise Lost, 2007] – Album Cover Art by Seth Siro Anton
[with the kind permission of the artist]
- Le Penseur [The Thinker, 1902], Auguste Rodin [1840 – 1917]
- Momo by Michael Ende (image source)
- Still by the film documentary Mourir à 30 Ans  by Romain Goupil [Cop. ARTE F – MK2]
- Philips Pavillion – Expo 58 [Le Corbusier – Xenakis – Varèse]
- Poem in a Bottle – the plan in form of a stomach of a cow [concept by Le Corbusier]
- Poem in a Bottle – sound routes [concept of Le Corbusier as developed by Xenakis]
- Music Score of the composition Metastasis  by Iannis Xenakis
- The Alexandria Library, Egypt [exterior detail, various Symbols & Ideogramms]
[Snøhetta Architects (Norway) – Aga Khan Award for Architecture] – [ph. by annastereo]
- The Museum of the Hellenic World by Anamorphosis Architects – [Athens, Greece]
- Shell in Eb [with meandros decorative pattern]- [ph. by annastereo]
- Cover of the present article as appears at the freequency – the zine #3 – tail’s tales section (Greek edition)
[concept by Anna Stereopoulou – design by Dimos Moysiadis (Architect)]
[[ many thanks ]]
Ioanna Michalakopoulou [theatre director]
…for introducing me to the world of August Strindberg,
Ioannis Chryssafis and Knut Hamsun
…for sharing her enlightening thoughts about Jacques Lacan
Dimitris Kainos [performing arts]
note on bottom image
the word ana morphosis spelled with Utopian alphabet
as introduced by Thomas More in his book UTOPIA
anamorphosis : re-vision is written by anna stereopoulou
(08–09 2012), out of the need to re-view scopes and views,
and thus, welcome each new [personal & social] milestone,
by using and sharing the key we all carry within our hand…
…feel free to share and unlock