Journal articles on the topic 'Preludio e fughe'

The early 20th century witnessed growing interest in the Baroque polyphony genres: prelude and fugue in jazz. Preludes and fugues op. 82 (1997) by the Russian composer Nikolai Kapustin are particularly interesting. The way he integrates the expression of classical music and the specificity of jazz music is very original.

SORABJI: Two Piano Pieces; Fantaisie espagnole; Valse-Fantaisie: Hommage à Johann Strauss; Three Pastiches; Le jardin parfumé; Nocturne Jami; Gulistan; Introito and Preludio corale from Opus clavicembalisticum; Prelude, Interlude, and Fugue; Fragment for Harold Rutland; Fantasiettina sul nome illustre dell'egregio poeta Christopher Grieve ossia Hugh M'Diarmid; Quære reliqua hujus materiei inter secretiora; St. Bertrand de Comminges: ‘He was Laughing in the Tower’. HABERMANN: À la manière de Sorabji: ‘Au clair de la lune’. Michael Habermann (pno). BMS 427CD–429CD (3-CD set).SORABJI: Piano Sonata No. 4. Jonathan Powell (pno). Altarus AIR-CD-9069(1)–9069(3) (3-CD set priced as 2).

Relevance of research. The work of Vsevolod Zaderatsky appears as a unique phenomenon, unusual in all its aspects, starting from the historical context (conditions of creation, years of oblivion, revival, publication and performance) and ending with the smallest details hidden in the inner logic of the musical work. The specifics of the thematic organization of fugues and the innovative interpretation of other elements of the fugue require special attention. The need to fully incorporate the first great polyphonic cycle in the music of the 20th century into artistic and performing practice actualizes the need to see it as a holistic phenomenon, which prompts detailed study in various analytical projections. The purpose of the article to analyze the features of Vsevolod Zaderatsky's polyphonic thinking in the cycle "24 Preludes and Fugues". Methods. In the article systematic and historical research methods are used. The results and conclusions. Undoubtedly, the main prospect of further scientific research of the cycle is its introduction into performance practice, because understanding the deep processes of polyphonic music is the key to successful performance interpretation. "24 Preludes and Fugues" by Vsevolod Zaderatskyi is a unique work in many aspects. The cycle combined traditional and innovative features, which predicted several new directions for the development of the 20th century fugue. The fugue underwent a significant transformation at various levels, and first of all, at the level of polyphonic thematic due to the specific scale and the principle of monothematic. The changes affected not only the theme of the fugue, but also other components of the fugue: countresubjects and episodes. The structural factors of the overall structure changed, the functionality of the sections, where the main trend was the expansion of the boundaries of the developing section and the desire for end-to-end development. The analysis of dramaturgical principles allows us to state that the composer managed, thanks to a single idea, to build a multidimensional structure with end-to-end dramaturgy, starting with its smallest element, the theme, and ending with the interaction of small cycles among themselves.

JACKSON: Organ Works (includes Sonatas 1–4, Toccata, Chorale and Fugue, 3 Pieces, Eclogue, Suite Montrealaise, Ballade, 5 Preludes on English Hymn Tunes, Exultet, Diversion for Mixtures, Intrada, Recit and Allegro, Scherzetto, Scherzo Amabile, Fantasia Argenti, Improvisation, Impromptu and other pieces). Francis Jackson (organs of York Minster, Blackburn and Lincoln Cathedrals). Priory PRCD 930 (4-CD set)

Statement of the problem. Rao Yuyan (1933–2010) is one of the most famous Chinese composers, who created many polyphonic works. His creative and research practices have profoundly influenced on the development of polyphony in China. Some aspects Rao Yuyan’s polyphonic thinking have been examined in the studies by Chen Yiwen (2015) and PanJia (2018). Innone of the researches the piano polyphonic works of the composer are studied from the standpoint of performance issues, definition of piano tasks in the process of their interpretation. In this study for the first time the piano polyphonic works of the composer are considered in the aspect of performance realization. The purpose of the study is to determine the most important performance principles and set of performance tasks in Rao Yuyan’s polyphonic works for piano. The article bases on Rao Yuyan’s piano works “Introduction and Fugue” (1956), the suite “Sketch of Life in Yan’an” (1963), “Prelude, Fugue and Chorale” (1964) and “Three Polyphonic Pieces on the Ancient Music of Chang An” (1992). The article uses historicaltypological, structural-functional, comparative, intonation and interpretative methods as necessary for performance analysis. The fundamental theoretical positions of Chinese polyphonic musicians (Su Xia, Ding Shande, Chen Mingzhi, Duan Pintai and others) uses, and Rao Yuyan’s theoretical works devoted to polyphony has particular importance. The issues of pianistic realization takes in account the polyphonic principles considered by Ying Jiang, Bai E. Results and conclusions of the research. RaoYuyan’s beautiful piano works have a great art value, they became a significant contribution to Chinese art of the 20 century. We can even define Rao Yuyan’s role as a creator of national polyphony who modernized the ancient national musical legacy. Rao Yuyan’s piano works discussed in this article use almost all known types of polyphonic techniques of Western music. The vividly example of it is the double fugue from the cycle “Prelude, Fugue and Chorale” or the last number “Weeping Willow” from the series “Three Polyphonic Pieces on the Themes of Chang An Ancient Music”, where the sort of “cantus firmus” technique – “basso ostinato” is used. In the piece “Sunrise” from the piano suite “Sketch of the Life of Yan’an” the polyphonic texture becomes almost like to consonant sonority. At the same time, the laconic themes used in the Suite call upon the thought that J. S. Bach was a spiritual teacher of the composer. However, the composer borrows his main ideas from the Chinese folk musical tradition. Rao Yuyan was well versed in traditional fugue techniques, however, in the cycles “Introduction and Fugue” and “Prelude, Fugue and Chorale” he included the local national musical elements to emphasize their cultural identity. Among the main pianistic tasks facing the performer of polyphonic works of Rao Yuyan – the development of clear auditory attention, the idea of the general form of the work. The auditory sense of the work controls the sound, covers both the whole and individual details of the polyphonic form. It not only controls the performance, but also takes an active part in the birth of the artistic way of playing polyphony. Breathing emphasizes the essence of polyphonic development, which consists in the continuity and fluidity of melodic lines through the relief introduction and plastic completion of individual polyphonic voices.

The relevance of the article. The most pressing need today is to turn to modern samples of polyphonic music, which is due, on the one hand, to artistic practice, and on the other, to rethinking traditional polyphonic forms and techniques in the context of a total experiment and a radical renewal of musical techniques. B. Stronko’s “Modal Preludes and Fugues in C” demonstrate a completely new, author’s version of the interpretation of the polyphonic cycle, which is due to the non-traditional combination of modality with polyphonic principles and methods of development. The change in the functionally centralized fret-tonal system to a radically different, modal, type of modal organization caused significant changes at all tiers of the multilevel organization of the fugue, starting from its core — the theme, ending with the principles of composition and shaping. To trace exactly what specific changes that were caused by the use of modal technique in the framework of the fugue and is the central problem of the study and determines its relevance Scientific novelty: for the first time, all the preludes and fugues of the cycle “Modal preludes and fugues in C” were thoroughly analyzed with an emphasis on the study of the “semantic source” of the polyphonic cycle (fugue), its quintessence (theme) in terms of the influence of the principles of modality on the construction of the fugue.The purpose of the article: to identify the features of the use of modal technique and the specificity of its influence on various structural levels of the fugue in the cycle “Modal preludes and fugues in C” by Boryslav Stronkо, as well as to determine the special features of the composer’s polyphonic thinking. The research methodology includes the use of systemic and functional methods. Main results and conclusions. All fugues from the cycle «Modal Preludes and Fugues in C» by B. Stronko represent an open cycle based on the modal principle of organization. The cycle itself is potentially open and represents the composer’s desire to achieve freedom and emphasize the potential for infinity of the process of creating modes. Each pair of preludes and fugues is limited by a scale of a certain design, which made it possible to create compositions with a pronounced individual flavor. At the level of thematicism: compactness of themes and fugues themselves, intonation specificity, depending on the structure of the fret. With further themes, linearity of development prevails, the composer uses the principle of multivariate repetition (isomelia, isorhythmy, interpolation, combinatorics), which has a certain relationship with rehearsal technique and becomes a specific feature of Boryslav Stronko’s polyphonic thinking. Multivariate repetition of the material, despite the actual changes, enhances the fading effect, being in one place and organically combines with the idea of being in the conditions of one specific sound of the chosen fret. Attention is drawn to the technique of replicating rhythmic-intonational structures — it is a quasi-sequential repetition of a motive in one or several voices at the same time, most often it variably changes in all voices, repeating with a horizontal shift or with the simultaneous use of various techniques (isorhythmy, isomelia, combinatorics). The role of ostinato increases significantly, which, together with the above techniques, contributes to the creation of the effect of hidden internal movement while actually staying in one place. It should be noted that all the above principles, which create the effect of a specific sound and work on the idea of constant rotation in a single sound space, turn out to be stable not only for “Modal preludes and fugues in C”, but also for other works of the composer: “Labyrinth Chord”, 4-part symphony for virtual ensemble (2016), “Time Crystals” (or “Metavariations for metapiano”) is an electronic music cycle (2018).

Relevance of the article. In 1978, Valentin Savich Bibik completed his work on the monumental polyphonic cycle “34 Preludes and Fugues” opus 16, he began working on it in 1973. This composition is a continuation of the composer’s work in the polyphonic genre: in 1968, the cycle “24 Preludes and Fugues” opus 2 was written, and in 1970 two preludes and fugues opus 7 were written. A significant motivating factor for a detailed study of the “34 Preludes and Fugues” is the original musical language, the tonal, metro-rhythmic and thematic organization of the cycle. They radically distinguish it from the works of other composers in this genre. The insufficiently studied polyphonic works of Valentin Bibik determine the relevance of this study. Purpose of the article. To identify innovative features of the implementation of the compositional and dramatic concept in the cycle “34 Preludes and Fugues” by V. Bibik. Scientific novelty. In studies devoted to "34 Preludes and Fugues" by V. Bibik, the features of the innovations of this cycle (avant-garde techniques, the complexity of the musical language) are only ascertained; the fact of connection with Bach’s traditions is mentioned. The deep processes involved in the formation of the integrity of a large polyphonic means as well as the levels of embodiment of the composer’s concept of the cycle remained hidden behind the descriptive presentation of the fact. The article traces and formulates for the first time the main features of composer innovation in the framework of the compositional and dramatic concept of a large polyphonic cycle. The research methodology includes the use of systemic and functional methods. Main results and conclusions. V. Bibik’s “34 Preludes and Fugues” demonstrate an innovative version of the interpretation of the polyphonic cycle, due to the original combination of modern techniques with polyphonic principles and methods of development. The most significant innovations in the cycle are the rejection of the functionally centralized ladotonal system, the original interpretation of metrorhythmic organization and the specifics of the theme, which, in turn, led to significant transformations at all stages of fugue formation. In addition to these features of innovation, the cycle has deep internal connections between the elements, from the moment of creating the theme to the formation of the integrity of the cycle.

The article is devoted to the consideration of a polyphonic choral composition as a polycode text, in which literary and musical texts as paralinguistic means contain heterogeneous information and add additional shades to the content of the score, i.e., the musical text as a whole. The novelty of the study lies in the fact that for the first time, synthesizing scientific achievements of linguistics and musicology, the polyphonic forms of a cappella choral works are analyzed as polycode texts. Due to the specifics of the choral art form as a musical and performing art, the nature of the perception of a musical text is multimodal. For performers who ‘decipher’ and ‘voice’ a musical notation, a musical text has one visual mode. For listeners, multimodality characterizes the practice of communication in terms of auditory, linguistic, spatial and visual resources, for example, the auditory mode when listening to a work without a visual range, or a polymodus complex when listening with a visual range. This refers to listening to music while simultaneously viewing the musical text of a work, observing the process of public performance, which in modern practice is often accompanied by a specially selected video sequence. The leading paradigm is the synergy of literary and textual sources and polyphonic form in works for a cappella choir by contemporary Russian composers. Based on the differentiation of the structure of a literary and textual source, the attribution of polyphonic forms of motet, madrigal, fugue and fugato is the subject of the work, while the goal is to form a research picture based on a close ‘polyphonic’ connection between word and music. In polyphonic analysis, it is important to determine the content of choral compositions and the composer’s method of dealing with the structure of a text source. A whole poem can be taken as the basis of a musical work (an example is the text-musical forms of motets and madrigals), one strophe, one line, one word (the analysis of fugato and fugue becomes the evidence base). An interesting case is the use as a text base of a polyphonic composition of individual syllables and phonemes (preludes and fugue-vocalizes) and a ‘silent’ performance - with a closed mouth. Thus, it is proved that the musical text is a complex multimodal complex in which the main information is conveyed by semiotically heterogeneous components. It is concluded that, on the one hand, a literary text influences the choice of a polyphonic form, on the other hand, it is often a static text that does not have an external plot development in the context of polyphonic dramaturgy and form and acquires internal dynamics of development to expand its semantic field.

The study is devoted to the functions of musical quotations in the film Vaghe stelle dellʼOrsa… (1965) by the outstanding Italian neo-realist director Luchino Visconti. For the first time in the history of Russian film music, the article analyzes in detail the audial side of this film, its interaction with the video sequence. In Russia, from Luchino Visconti’s extensive cinematic legacy, Vaghe stelle dellʼOrsa… is the least studied. According to the author, this situation has developed due to neutral and negative assessments of the movie by cinema critics inthe Soviet Union and other countries. Years later, these trends have not been overcome by Russian researchers. The main problem of such inattention is seen in the difficulty of analyzing the material of the film. Throughout the running time, twenty musical quotations from Prelude, Chorale and Fugue by Cesar Franck and specimens of popular music, for example, E se domani by Carlo Alberto Rossi and Giorgio Calabrese, Strip Cinema by Paolo Calvi, Io che non vivo by Pino Donaggio and Vito Pallavicini, etc. The producer works with quotation material, creating sound-visual counterpoint. He “collides” the video sequence and musical quoted not only vertically, but also juxtaposes the musical layers horizontally to each other. As a result of the interaction in the film, the musical quotations carry out a number of compositional, dramatic and semantic functions.

The career of William Babell (1688–1723), an English composer of German birth, has recently been reassessed by me following identification of a manuscript source in Bergamo, which appears to be a collection of his harpsichord music. The manuscript shows he was an important keyboard composer active in Britain immediately prior to the publication of Handel's Suites de Pieces pour le Clavecin (1720), and it has provided insights into his working methods. The major items – eleven substantial toccatas mostly in prelude–fugue form together with two suites – are replete with the cadenza-like passagework familiar from his arrangements of arias from operas produced at the Haymarket Theatre between 1706 and 1714, which were published in three collections in his lifetime (in 1709, 1711 and 1717). They also reveal the range of influences on his keyboard style, illustrating how he adapted material from music by French, Italian, German and English composers. Though the source is not an autograph, it was copied towards the end of Babell's life by an individual close to him, to judge from the large number of pencil corrections that appear to be the composer's own. The manuscript therefore has biographical implications, suggesting that there was a composer-supervised project to bring together his keyboard music, perhaps in order to prepare some of it for publication, which never saw completion.

Statement of the problem. The twentieth century marked an increased interest in polyphonic music. The geography of polyphonic works for piano expanded significantly and a creative development of many Chinese composers, writing polyphonic piano pieces, took place. Today, polyphonic pieces make up a significant part of the piano repertoire in China, but they are little studied by musicologists and performers. The objective of this study – to reveal the contribution of Chinese composers to the creation of polyphonic piano repertoire of the XX – early XXI century. Analysis of the research and publications on the theme. А large number of modern authors study polyphony from the point of physical and mathematical research methods (Igarashi, Yu. & Ito, Masashi & Ito, Akinori, 2013; Weiwei, Zhang & Zhe, Chen, & Fuliang, Yin, 2016; Li, Xiaoquan et al. others, 2018). This approach does not reveal the factual musical component of polyphonic genres. In the 20th century, musicologists explored polyphony in musical folklore (Wiant, 1936; Fan Zuyin, 2004; Li Hong, 2015) and in professional Chinese composing (Sun Wei-bo, 2006, Winzenburg, 2018). The scientific novelty. This article studies the role of Chinese composers in the development of the world polyphonic piano repertoire of the XX – early XXI century. The methodological basis for the analysis of polyphonic works was the theoretical concepts of P. Hindemith, Peng Cheng, Fang Zuin, Li Hong, Sun Wei-bo. The results of the study. The research outcomes demonstrate the evolutionary development of the genre diversity of Chinese piano polyphony as well as those composers who created magnificent musical pieces. Conclusions. Chinese composers have fully mastered the art of modern counterpoint, represented by the genres of polyphonic program pieces (He Lu Ting), invention (Xiao Shu Xian, Du Qian, Sun Yun Yin, Chen Chen Quang), polyphonic suite (Ma Gui), large polyphonic cycle ( He Shao, Chen Hua Do, Xiao Shu Xian), fugue (Li Jun Yong, Yu Su Yan, Chen Gang, Tian Lei Lei, Duan Ping Tai, Zheng Zhong, Xiao Shu Xian) and small cycle “Prelude and Fugue” (Ding Shan Te, Chen Zhi Ming, Wang Li Shan). Creatively assimilating and rethinking the experience of Western polyphonists, Chinese composers have filled their polyphonic works with national features, firmly linking them with the origins of Chinese traditional and folk music. The polyphonic way of transmitting musical material becomes the most expressive at the moments of profound creativity and musical dramatization.

To attack the rules is to outmaneuver the friends and foes at the lower level of the game of policies and alliances. The rules are at the higher level of the context of that game, the historical and cultural context of warring Viet Nam. What makes Viet Nam unique is its social organization based on a loosely knitted network of villages through deep and strong relations capable of repelling intruders and invading neighbors, both moving and still like the moon underneath. Here, the chinese civilization has made a new nation assimilating the model and resisting the domination. Elsewhere, the be same chinese civilisation has made another chinese provinces. History of Viet Nam is written by an advancing front of modest and primitive villages from a delta to the next, from the gulf of Tonkin to the gulf of Siam, « vietnamizing » the nature and the peoples on its passage by the plow and the sword. South Viet Nam was cambodian land a century ago and the french colonial administration put an end to the siamese-vietnamese « condominium » over Cambodia after a short 0 to 0 fight between Siam and Viet Nam, the first claiming its western part of the vietnamese colony de facto and de jure. Cambodia was then ruled by a vietnamese general governor assisted by two lieutenant governors. The present vietnamese occupation of Cambodia, in this perspective, may be both a « prelude » to the continuation of this advancing front of villages, the confrontation between Viet Nam and Thailand (fancy and hegemonostic name for Siam since 1939) for the leadership of South East Asia and a « fugue » for warring Viet Nam to solve its political and economical problems, a country and people forged in war and for war during these four decades. The vietnamese claim of the Mekong river as a link may be translated in german word as « Anschluss » or reunification.

The object of research is the works of V. Bibik written at the beginning of his mature period. The aim of the research is to reveal the main features of Bibik’s style. Methods of research include technical analysis of the works in the context of the innovative tendencies in the Ukrainian music of 1960–70s, as well as comparative research. Research results. Outstanding Ukrainian composer Valentyn Bibik (1940–2003) wrote over 150 works. Mostly they are large-scale symphonic, choral, vocal, and chamber pieces. Among them are 11 symphonies, over 20 concerti for various instruments with orchestra, vocal and choral cycles, chamber compositions (the last group includes 5 string quartets, 3 piano trios, sonatas for string instruments both solo and with piano), 10 piano sonatas, piano solo works (two sets of preludes and fugues – 24 and 34 total, Dies Irae – 39 variations). The composer was born in Kharkiv. In 1966 he completed studies at Kharkiv Conservatory, where he attended the composition class of D. Klebanov. Since 1994, he had been living in St.-Petersburg, and since 1998, in Israel where he died in 2003. Bibik’s formative period coincided with a substantive modernization of Ukrainian culture in the 1960s. During those years, members of the “Kyiv avantgarde” group (L. Hrabovsky, V. Sylvestrov, V. Godziatsky, et al.) sought to utilize modernistic idioms and techniques, such as free atonality, dodecaphony, sonoristic and aleatoric textures, cluster harmony, etc. Unlike the others, Bibik started with a more conservative style, which bore the influences of Shostakovich, Prokofiev, and Bartók. Bibik’s mature period started several years later in the early 1970s with Piano Trio No. 1 (1972) and the composition Watercolors for soprano and piano (1973). Together with his next piano work 34 Preludes and Fugues, these compositions show extremely individual features of Bibik’s style, such as: 1. Special treatment of the sound, which is considered not just a material for building certain musical structures but a self-valuable substance (Bibik has an original manner of organizing sound). Hence, timbral and textural aspects draw special attention to the composer. 2. The pitch and rhythmic structure of the themes is quite simple. A combination of several simple motives becomes the starting point of long and sophisticated development. These motives are derived from folk music, however, due to rhythmic transformation, they have lost their direct connection with the folk source. 3. Rhythmic structures areal so very simple. They often include sequences of equal rhythmic values (usually crotchets or eights). However, the composer avoids monotony dueto due to variable time signatures and permanent rubato, as well as significant flexibility in phrasing. 4. The development relies mostly on melodic and polyphonic elaboration of initial simple motives. The composer utilizes various kinds of polyphony, such as canonic imitations, various combinations of the main and supportive voices, heterophony, hyper-polyphony. In fugues he employs both traditional and new methods of thematic and tonal distribution. 5. The harmony in Bibik’s works is mostly modal, as well as a combination of modality with free atonality and extended tonality. The structure of the dense chords is close to clusters, while more transparent chords include mostly seconds and fourths (as well as their inversions). He almost never used traditional tonal harmony and chords built up from thirds, and was interested in their color aspect rather than their tonal functionalism. 6. The sonoristic texture is very important. It does not diminish the importance of the melody but gets into special collaboration with it (“singing sonority”). A special “mist” around a clear melodic line is one of Bibik’s most typical devices. Due to special “pedal” orchestration, both the line and the “surrounding” sounds become equally important. 7. Elements of limited aleatoric music may be found in his rhythm and agogics, and sometimes inpitch structures (passages and figurations with free choice of the pitches). His favorite technique is a superposition of two rhythmically and temporally independent textural layers (for instance, a combination of the viola solo and the sonoristic orchestral background in the third movement of the Fourth Symphony). 8. Sonata for mand the fugue were significantly reinterpreted within free atonality and modal harmony. These provisions are the scientific novelty of the study.

Statement of the problem. Recently, there has been growing interest in the personality of the outstanding Polish composer, pianist, teacher and conductor M. Moszkowski (1854–1925), whose creativity occupies a significant place in the history of European musical art of the second half of the nineteenth – early twentieth centuries. The multifaceted composer’s legacy of M. Moszkowski gives a large variety of materials for researchers. His piano creativity, which encompasses composing, performing, teaching and editorial activities, is an outstanding phenomenon in the European musical culture. One of the key genres of piano music by composer is a miniature. The miniatures that were created by M. Moszkowski during his life, reflects the evolution of his individual style, clearly representing his creative method, aesthetics and piano performance features. However, the question of the genre of miniatures in the work of M. Moszkowski has not been considered by the researchers yet. Thus, there is a need for scientific analysis of M. Moszkowski’s piano miniatures in the context of the general stylistic norms of his creative work. The purpose of the article is characterization of stylistic features and attempt to classify of M. Moszkowski’s piano miniature in view of the role of this genre in the Polish composer’s creativity. Methods. The methodological basis of the study is the unity of scientific approaches, among which the most important is a functional one, associated with the analysis of the genre as a typical structure. The desire to realize the fundamental principles of scientific knowledge, comprehensiveness and concrete historical approach to the study of the target problem requires the combination of musical analysis with historical-cultural, stylistic generalizations, considering piano works by M. Moszkowski in the unity of historical, ideological, stylistic and performing problems involving the conceptual apparatus of theoretical musicology and the theory of pianism. Results. The vast majority of piano pieces by M. Moszkowski are miniatures. According to their place in the performing practice, miniatures are differentiated into concert-virtuoso, pedagogical, household directions. According to the internal genre typological features, they are divided into etudes, dance pieces (waltzes, mazurkas and polonaise serve as confirmation of the musical-historical experience of romantic composers) and others. In the palette of the latter are scherzo, capriccio, fantasia-impromptu, musical moments, arabesques, barcarole, lyrical pieces – that is, almost the whole arsenal of the most common types of miniatures of the Romantic era. The analysis of piano miniatures reveals the composer’s individual attitude to tradition, free choice of figurative and stylistic priorities by him. Under consideration are the piano cycles “Spanish dances” op. 12, “Arabesque” op. 61, the piece-fantasia “Hommage à Schumann” op. 5, Suite for 4 hands “From all over the World op. 23” and other miniatures that were creating throughout the life of the composer. These samples of the salon style of the late XIX century became a kind of generalization of creative searches of the previous constellation of composers – salon performers. Throughout his life, M. Moszkowski repeatedly turns to ancient forms and finds for creation of his miniatures an entirely new impulse: the small forms of the Baroque age. By rethinking, “romanticizing” them, the composer creates his own modifications of the genre models of ancient music in such works as “Canon” (op.15, op. 81, op. 83), “Rococo” op. 36, “Burre” op. 38, “Siciliana” op. 42, “Gavotte” (op. 43, op. 86), “Fugue” op. 47, “Sarabande” op. 56, “Prelude and Fugue” op. 85, as well as numerous “Minuets”. The latter carry out the traits of the aesthetics of the gallant style. Since 1900, Moszkowski prefers etudes. The arsenal of techniques he uses in these works is rich and diverse and emphasizes the artistic qualities of these compositions. Sometimes Moszkowski interprets the genre of the etude very freely: as a substitute for another genre (“Two miniatures” op. 67), as part of the cycle-diology (“Etude-Caprice” and “Improvisation”, op. 70), etc. Modern pianists seldom perform the piano music by Moszkowski. At the same time, the pieces represent a very interesting material that clearly reflects the originality of the musical language of the late romantic pianists, to which Moszkowski belonged. Perhaps, performers confused by the overload of musical material with various technical difficulties. The composer used a wide range of romantic pianistic means. The typical stylistic feature of his music is improvisation, based on the tradition of a brilliant piano style of performance with a romantically impulsive change in emotional states. The performance seems to be more unattainable, because the composer’s bold innovation in virtuoso texture is combined with a refined romantic manner of writing. This circumstance explains the fact that the works by Moszkowski were forgotten for many years. And only now, at the beginning of the twenty-first century, when many values and priorities are revised, art salon style and Moszkowski’s compositions are becoming of great interest. Conclusions. The piano “workshop of miniatures” is the most important component of the composer’s legacy of M. Moszkowski, reflecting the peculiarity of the author’s aesthetic position – cultivating a positive mood, elegance, refinement, virtuosity as signs of ownership of the instrument. It is these aesthetic principles – the feeling of Beauty as preciosity, delicacy, non-conflict state of reality – formed his attitude to the genre of miniatures. M. Moszkowski’s piano miniatures marked by the features of virtuoso style creating associations with the music of F. Chopin and R. Schumann. Chopin’s influences can be traced in the choice of genres of miniatures – among them there are waltzes, polonaises, impromptu, etudes, scherzo and barcaroles. However, for M. Moszkowski, as a composer of Polish origin, was simply necessary to be “native” to the musical heritage of F. Chopin. At the same time, the “similarity” of certain techniques to Chopin’s in the piano works by Moszkowski, always appears in the updated version without duplicating the original sources. The influence of R. Schumann is manifested in the dominance of melodious lyric and playful scherzo’s spheres, the tendency toward the characteristic images and the cycling of pieces, often combined with a certain artistic idea, specified by the programmatic subtitles or by the suite principle. Moszkowski’s piano works are perfect in a form, in possessing of specifics of the piano texture and the richness of figurative thinking. Moszkowski’s miniatures represent a very high level of piano skills, technically, they often require the ability to have a good command of the instrument, but technical difficulties submit to a vivid, meaningful image. Piano miniatures by M. Moszkowski became a significant contribution to the development of Western European art of the second half of the nineteenth and early twentieth centuries. The numerous piano pieces by the composer, distinguished by high artistic qualities, today should rightfully take a worthy place in the concert practice of modern pianists.

Background. Contemporary musical art is an open stage for collision and coexistence of various artistic ideas, landmarks, styles, etc. The work of the recognized Canadian pianist-composer Marc-André Hamelin (born in 1961) raises a particular interest. The fact that the peculiarities of the musician’s performing and composing style are insuffi ciently covered in Ukrainian musicology determines the research rationale. It is also caused by the need to identify the specifi c features of the author’s inheritance, ensuring its consistency with the present time, where the laughter phenomenon becomes an important component of the picture of life. Objectives of the study are the comprehension of Marc-André Hamelin’s composer searches in the aspect of laughing cultural tradition and the defi nition of the author’s proposed ways of its embodiment in music. Methods. The research is based on the principles of complex approach, which involves using the biographical, the systematic, the genre and style, the structural and functional, and the comparative methods, etc. Results. M.-A. Hamelin appears to be a universal personality. He implements his creative intentions in various performing incarnations – as a soloist-pianist, a distinct interpreter and recognized virtuoso and intellectual; a performer who actively collaborates with the orchestra; a piano duo participant; a chamber ensemble participant and a studio musician. The repertoire palette he chose includes world-famous works, opuses of transcendental complexity, rarely performed music, and his own music works. His choosing some of the original works outlines the sphere of laughter as he searches new performing techniques, which has an infl uence on him as a composer. The original style of M.-A. Hamelin aims to create a special “rebus” fi eld, where the multiplicity of artistic perception is related to the degree of immersion into a given playing situation. The piano cycle “12 Études in all minor keys” was intended to be hommage to the samename work by Charles-Valentin Alkan. The iconic ceremoniousness of the title forms a special fi eld of culture, which creates a laughter background. Most of the cycle items correspond to the creativity of a particular artist whose musical image appears through the original style of writing. The synthesizing type of composer’s thinking contributes to the combining the music and the colorifi c etude, that is, the virtuoso music piece and the exercise at the same time, and a graphic sketch-drawing, and to the creation of a musical portrait “gallery” (F. Chopin, N. Paganini, F. Liszt, Ch. Alcan, D. Scarlatti , P. Tchaikovsky, J. Rossini, V. Goethe and the author himself). Using masks, theatrical techniques, bright characters is manifested at all levels and serve as markers of a carnival. The existing playing mode ensures the importance and essentiality of laughter. M.-A. Hamelin refers to the established palette of the piano techniques and formulas, while demonstrating new algorithms of interpreting the existing traditions. A musical rebus is the leading idea. To embody this idea, it is required to use not only artistic ingenuity, but also the competition elements. These are “Triple” etudes Nr. 1 (after Chopin) and Nr. 4 (after Alkan), where counterpoint techniques are enriched by the principle of combination. The other side of “rebusness” is demonstrated in the Etude Nr. 8, where the plot of “The Elf King” ballad by Goethe is very accurately reproduced through the piano means of expressiveness. Competitive ingenuity presides in the Etude Nr. 7 for the left hand (“The Lullaby” by P. Tchaikovsky) and Nr. 3 – an alternative transcription of “La campanella” by N. Paganini, which turns into an evil joke compared to Liszt’s interpretation. This is another side of laughter, a dark one, an enhancement of grotesque imagery. Etude Nr. 5, “Toccata grottesca”, looks similarly. Here, the grotesque images are represented by transcendental pianism, unceasing “drive”, change of metric pulsation and rhythmic groups, and wide dynamic amplitude. The lookalike expressive complex is also used in another music piece – toccata “L’Homme armé”. Another variant of laugher is the creation of a musical “shapeshifter” – re-interpretation of an original source to the point where it is hardly recognized. For example, Etude Nr. 9 (after Rossini) and Nr. 10 (after Chopin), where the principle of transformation is prevailing. The presence of a highly-intellectual play allows us to draw a parallel with baroque inventory. In the latest etudes of the cycle, M.-A. Hamelin uses such genres as “Minuetto” (Nr. 11) and “Prelude and Fugue” (Nr. 12). Therefore, using a certain genre model, the composer places it in different context conditions, creating a special laughter-playing space, where all the main sources of comic elements are involved: a parody, implemented through the stylization or the style dialogue-collision; daily mode of like, which is refl ected in a festive-carnival worldview, and fantasy, which determines the composer’s inventiveness. M.-A. Hamelin chose the same creative strategy when composing “Variations on the theme of Paganini” for piano solo. A playful piece “Waltz-Minute” is another example of the laughter potency. It resembles either a relative transcription of the famous work by F. Chopin, or a music sketch, or a fi xed improvisation. In the reprise, the graceful and airy waltz turns into a friendly caricature through using the dissonant seconds, the change of touche and an excellent artistic presentation. This creates the effect of distance in time, in epochal or individual style, even in the own “Me”. Another area of the laughter direction employment is the actualization of the playing sound image of the instrument. These are music pieces designed for a player piano. It is signifi cant that the composer tends to the theme of circus, which echoes with carnival, stunts, and fun. Conclusions. Being a universal personality, the artist determines the predominance of combinatorics as a guiding principle of author’s thinking. The key to understanding the composer’s style is the laughter tradition. The main artistic ideas are: portrait, character, mask, “rebus”, competition, creation of “shapeshifting” music pieces, “duality”. Talking about the level of musical stylistics, these features appear through the usage of a quoted material, stylization, grotesque, caricature and pamphlet elements. They are also expressed through the transformation of the original themes, re-interpretation, using multiple rhythmic layers, redesign of modes and counterpoint ingenuity.

Adriana Magdovski is a leading Slovenian, internationally renowned pianist. After studying in Graz, London and Stuttgart, she is building an international career, collaborating with numerous orchestras, soloists and contemporary composers. Her concert career has led her to European culture Capitals as well as the United States. The present CD is her debut. The Belgian composer César Franck, who was ridiculously described by Camille Saint-Saëns as the eternal modulator, was committed to Wagner's obsessive chromatism, which combined this intensely sensual and dramatic harmonious language with a true sense of Catholic piety. The effect can be astounding: the silent thinking of a devoted nature is always followed by an emotional outburst, often within seconds. For a pianist, this is not an easy task, as he/she has to experience these mood swings without resorting to cheap melodrama or performative religiosity. Of all Franck´s piano solo works, Prelude, Chorale and Fugue is most often performed. It was written by Cesar Franck when he was in his early 60s.

It is now widely acknowledged and accepted today that in the realm of his sacred music J. S. Bach was deeply influenced not only by the liturgy of the Lutheran Church but also by the writings of Martin Luther and other theologians. It is equally accepted that in general Bach used the same musical language in all of his works, sacred and secular. Might one therefore ask the question that if theology permeates the musical language of his sacred works, then does theology similarly undergird his freer instrumental works, works that stand well outside the liturgical constraints of his sacred music?The Prelude, Fugue and Allegro for Lute (BWV 998), which has received little attention in musicological literature, offers interesting issues to explore. It is a tripartite work, whose central movement is a da capo fugue, a rare occurrence in the music of Bach. The fugue subject seems to be based on Luther’s Christmas chorale Vom Himmel hoch, da komm ich her. This is confirmed by scrutiny of the theme of the concluding Allegro, which is in fact a direct citation of the opening variation of the Canonic Variations on the same hymn melody (BWV 769/769a). The quotation of this motif, which has been shown to be significant in the chorale-based works of Bach, begs the question of whether there are other theological elements in BWV 998. Bach employs the Trinitarian key of E flat for the entire work and the equally symbolic metre of 12/8 in the opening movement. He was seemingly not afraid to incorporate theological content in a secular work.

The article is devoted to the consideration of the Protestant chorale, the preconditions of its origin and the first examples. The situation from the history of the early Lutheran church is described, when Martin Luther introduced communal choral singing. The main task set in the work is to analyze the main methods of processing Protestant chorales in the works of prominent Western European and domestic composers. Several vocal, instrumental and vocal-instrumental genres are considered, which are based on choral. It is noted that the most common means of processing the chorale is its harmonization, designed for both choral and organ performance. In the Renaissance and Baroque, the practice of creating figures on the choral became quite common, as well as the use of the choral as the theme of the fugue – fugue choral. Another way of elaborating the chorale was the technique of cantus firmus, while the theme of the chorale was located in the lower voice or in the tenor in rhythmic expanse, forming the basis of the whole composition. One of the leading genres of organ music – choral preludes – is considered, special attention is paid to the works of JS Bach. The principle of construction of choral fantasies is analyzed separately. Among other genres, parties, toccatas, masses, oratorios, and other works were created on the basis of chorales. In conclusion, there is a modern tendency to return to the practice of using chant in the liturgy in its original form, as they sounded earlier.

Methodological approaches to the problem of arrangements of polyphonic material for bandura are presented. The problem of comparative comparison of performance capabilities of Kyiv and Kharkiv banduras, the corresponding ways of playing them when performing a polyphonic texture is raised. Prospects for wider involvement of the Kharkiv bandura in performing and educational practice are considered. The professional training of a modern bandura performer should be focused on overcoming certain stereotypes about the technical capabilities of the instrument. The task is to expand the means of performance, to develop new methods and techniques, and to enrich the original and interpreted repertoire of various epoch-making, national and individual compositional styles. A modern bandura performer must develop his musical thinking, aimed at mastering different types of textures, including atypical for the instrument, samples of different types of polyphonic presentation. The aim of the article is a methodological analysis of arrangements of a number of polyphonic works by J.-S. Bach for bandura, consideration of possibilities and variants of interpretations of polyphonic material for bandura of Kharkiv type. Among the examples it is a comparison of modern bandura teachers’ interpretations of “Short Preludes and Fugues for Organ” by J.-S. Bach. Our author’s versions of the interpretation of these and other polyphonic works by J.-S. Bach for Kharkiv type bandura have been presented in the performance classes at Ternopil Volodymyr Hnatiuk National Pedagogical University and Ternopil Solomia Krushelnytska Vocational Music College The research methodology consists in applying a set of relevant methods: the method of systematic analysis, historical-stylistic method to consider the problem of arrangement, comparative method for comparing the features of transcriptions for Kyiv and Kharkiv bandura, and generalization method to formulate relevant conclusions. There has been introduced the arrangement of the Prelude and Fugue № 13 Fis-Dur from the 1-st volume of DTK J.-S. Bach for a bandura of Kharkiv type with a mechanism (design by V. Gerasymenko), which made it possible to illustrate the technical and expressive possibilities that the performer of the bandura of Kharkiv type gives. Thus, Kharkiv way of playing and the modern construction of the bandura of Kharkiv type by V. Gerasymenko proves its perspective in many aspects concerning arrangement and performance of polyphonic works, show significant potential of technical and expressive possibilities for performing Baroque and Classicism music at a high artistic level and is a powerful stimulus for further development of bandura performance in Ukraine.

The piano creativity of the famous Ukrainian artist ─ Mykola Kolessa has been considered through the prism of stylistic features of composer’s writing, sound-imaging artistic orientation, picturesque elements of musical language and principles of its pictorial component. The dominant features of the individual creative thinking and style of the composer has been discovered, the way of their formation, influenced by the personal philosophical and aesthetic-artistic interests of the Lviv artist, has been considered: an extraordinary admiration for his national folklore (in particular Hutsul), visual arts (especially painting) and Ukrainian art in general. Relying on the materials of many existing research works, in which the aspect of the problems of musical painting is considered, a number of compositions by Mykola Kolessa written for piano have been analyzed in the present article. In particular, such works as: suite cycle “Little things”, the program suite “Portraits of Hutsul Region”, sonatina, four preludes (“Fantastic”, “Autumn”, “Hutsul”, “About Dovbush”), the cycle “Passacaglia, Scherzo and Fugue”. The general sound-imaging direction of the piano music of M. Kolessa and the pictorial and visual elements of the composer’s artistic thinking has been revealed through the analysis in the study of the peculiarities of the musical language, the specifics of the rhythmicintonational structures, the type of the textual presentation of the material, the mode-tonal aspect, the genre component and, most of all, its software vector. The obtained results are valuable not only from the point of view of musicology, but also first of all, for the development of the art of piano interpretation of Ukrainian music in direct interaction with its practical orientation.

Iain Sinclair is a writer who is synonymous with a city. Sinclair’s sustained literary engagement with London from the mid 1960s has produced a singular account of place in that city (Bond; Baker; Seale “Iain Sinclair”). Sinclair is a leading figure in a resurgent and rebranded psychogeographic literature of the 1990s (Coverley) where on-foot wandering through the city brings forth narrative. Sinclair’s wandering, materialised as walking, is central to the claim of intimacy with the city that underpins his authority as a London writer. Furthermore, embodied encounters with the urban landscape through the experience of “getting lost” in urban environments are key to his literary methodology. Through works such as Lights Out for the Territory (2007), Sinclair has been repeatedly cast as a key chronicler of London, a city focused with capitalist determination on the future while redolent, even weighted, with a past that, as Sinclair says himself, is there for the wanderer to uncover (Dirda).In this essay, we examine how Sinclair’s wandering makes place in London. We are interested not only in Sinclair’s wandering as a spatial or cultural “intervention” in the city, as it is frequently positioned in critiques of his writing (Wolfreys). We are also interested in how Sinclair’s literary methodology of wandering undertakes its own work of placemaking in material ways that are often obscured because of how his work is positioned within particular traditions of wandering, including those of psychogeography and the flâneur. It is our contention that Sinclair’s wandering has an ambivalent relationship with place in London. It belongs to the tradition of the wanderer as a radical outsider with an alternative practice and perspective on place, but also contributes to contemporary placemaking in a global, neo-liberal London.Wandering as Literary MethodologyIain Sinclair’s writing about London is considered both “visionary” and “documentary” in its ambitions and has been praised as “giving voice to lost, erased, or forgotten histories or memories” (Baker 63). Sinclair is the “raging prophet” (Kerr) for a transforming and disappearing city. This perspective is promulgated by Sinclair himself, who in interviews refers to his practice as “bearing witness” to the erasures of particular place cultures, communities, and their histories that a rapidly gentrifying city entails (Sinclair quoted in O’Connell). The critical reception of Sinclair’s perambulation mostly follows Michel de Certeau’s observation that walking is a kind of reading/writing practice that “makes the invisible legible” (Baker 28). Sinclair’s wandering, and the encounters it mobilises, are a form of storytelling, which bring into proximity complex and forgotten narratives of place.Sinclair may “dive in” to the city, yet his work writing and rewriting urban space is usually positioned as representational. London is a text, “a system of signs […], the material city becoming the (non-material) map” (Baker 29). Sinclair’s wandering is understood as writing about urban transformation in London, rather than participating in it through making place. The materiality of Sinclair’s wandering in the city—his walking, excavating, encountering—may be acknowledged, but it is effectively dematerialised by the critical focus on his self-conscious literary treatment of place in London. Simon Perril has called Sinclair a “modernist magpie” (312), both because his mode of intertextuality borrows from Modernist experiments in form, style, and allusion, and because the sources of many of his intertexts are Modernist writers. Sinclair mines a rich seam of literature, Modernist and otherwise, that is produced in and about London, as well as genealogies of other legendary London wanderers. The inventory includes: “the rich midden of London’s sub-cultural fiction, terse proletarian narratives of lives on the criminous margin” (Sinclair Lights Out, 312) in the writing of Alexander Baron and Emanuel Litvinoff; the small magazine poetry of the twentieth century British Poetry Revival; and the forgotten suburban writings of David Gascoyne, “a natural psychogeographer, tracking the heat spores of Rimbaud, from the British Museum to Wapping and Limehouse” (Atkins and Sinclair 146). Sinclair’s intertextual “loiterature” (Chambers), his wayward, aleatory wandering through London’s archives, is one of two interconnected types of wandering in Sinclair’s literary methodology. The other is walking through the city. In a 2017 interview, Sinclair argued that the two were necessarily interconnected in writing about place in London:The idea of writing theoretical books about London burgeoned as a genre. At the same time, the coffee table, touristy books about London emerged—the kinds of books that can be written on Google, rather than books that are written by people of the abyss. I’m interested in someone who arrives and takes this journey into the night side of London in the tradition of Mayhew or Dickens, who goes out there and is constantly wandering and finding and having collisions and bringing back stories and shaping a narrative. There are other people who are doing things in a similar way, perhaps with a more journalistic approach, finding people and interviewing them and taking their stories. But many books about London are very conceptual and just done by doing research sitting at a laptop. I don’t think this challenges the city. It’s making a parallel city of the imagination, of literature. (Sinclair quoted in O'Connell)For Sinclair, then, walking is as much a literary methodology as reading, archival research, or intertextuality is.Wandering as Urban InterventionPerhaps one of Sinclair’s most infamous walks is recorded in London Orbital (2003), where he wandered the 127 miles of London’s M25 ring road. London Orbital is Sinclair’s monumental jeremiad against the realpolitik of late twentieth-century neo-liberalism and the politicised spatialisation and striation of London by successive national and local governments. The closed loop of the M25 motorway recommends itself to governmental bodies as a regulated form that functions as “a prophylactic, […] a tourniquet” (1) controlling the flow (with)in and (with)out of London. Travellers’ movements are impeded when the landscape is cut up by the motorway. Walking becomes a marginalised activity it its wake, and the surveillance and distrust to which Sinclair is subject realises the concerns foreshadowed by Walter Benjamin regarding the wanderings of the flâneur. In the Arcades Project, Benjamin quoted a 1936 newspaper article, pessimistically titled “Le dernier flâneur” [The last flâneur]:A man who goes for a walk ought not to have to concern himself with any hazards he may run into, or with the regulations of a city. […] But he cannot do this today without taking a hundred precautions, without asking the advice of the police department, without mixing with a dazed and breathless herd, for whom the way is marked out in advance by bits of shining metal. If he tries to collect the whimsical thoughts that may have come to mind, very possibly occasioned by sights on the street, he is deafened by car horns, [and] stupefied by loud talkers […]. (Jaloux, quoted in Benjamin 435)Susan Buck-Morss remarks that flâneurs are an endangered species in the contemporary city: “like tigers, or pre-industrial tribes, [they] are cordoned off on reservations, preserved within the artificially created environments of pedestrian streets, parks, and underground passages” (344). To wander from these enclosures, or from delineated paths, is to invite suspicion as the following unexceptional anecdote from London Orbital illustrates:NO PUBLIC RITE [sic] OF WAY. Footpaths, breaking towards the forest, have been closed off. You are obliged to stick to the Lee Navigation, the contaminated ash conglomerate of the Grey Way. Enfield has been laid out in grids; long straight roads, railways, fortified blocks. […] In a canalside pub, they deny all knowledge of the old trace. Who walks? “There used to be a road,” they admit. It’s been swallowed up in this new development, Enfield Island Village. […] The hard hat mercenaries of Fairview New Homes […] are suspicious of our cameras. Hands cover faces. Earth-movers rumble straight at us. A call for instruction muttered into their lapels: “Strangers. Travellers.” (69-70)There is an excess to wandering, leading to incontinent ideas, extreme verbiage, compulsive digression, excessive quotation. De Certeau in his study of the correlation between navigating urban and textual space speaks of “the unlimited diversity” of the walk, highlighting its improvised nature, and the infinite possibilities it proposes. Footsteps are equated with thoughts, multiplying unchecked: “They are myriad, but do not compose a series. […] Their swarming mass is an innumerable collection of singularities” (97). Throughout the 1980s and 1990s, the erratic trajectories, digression, and diversion of Sinclair’s wanderings are aligned with a tradition of the flâneur as homo ludens (Huizinga) or practitioner of the Situationist derive, as theorised by Guy Debord:The dérive entails playful-constructive behaviour and awareness of psychogeographical effects, which completely distinguishes it from the classical notions of the journey or the stroll. In a dérive one or more persons during a certain period drop their usual motives for movement and action, their relations, their work and leisure activities, and let themselves be drawn by the attractions of the terrain and the encounters they find there. The element of chance is less determinant than one might think: from the dérive point of view, cities have a psychogeographical relief, with constant currents, fixed points and vortexes that strongly discourage entry into or exit from certain zones. (“Theory of the dérive” 50)Like Charles Baudelaire’s painter of modern life, Sinclair is happily susceptible to distraction. The opening essay of Lights Out is a journey through London with the ostensible purpose of diligently researching and reporting on the language he detects on his travels. However, the map for the walk is only ever half-hearted, and Sinclair admits to “hoping for some accident to bring about a final revision” (5). Sinclair’s walks welcome the random and when he finds the detour to disfigure his route, he is content: “Already the purity of the [walk] has been despoiled. Good” (8). Wandering’s Double Agent: Sinclair’s Placemaking in LondonMuch has been made of the flâneur as he appears in Sinclair’s work (Seale “Eye-Swiping”). Nevertheless, Sinclair echoes Walter Benjamin in declaring the flâneur, as previously stereotyped, to be impossible in the contemporary city. The fugeur is one détournement (Debord “Détournement”) of the flâneur that Sinclair proposes. In London Orbital, Sinclair repeatedly refers to his wandering as a fugue. A fugue is defined in the Oxford English Dictionary as a “flight from or loss of the awareness of one’s identity, sometimes involving wandering away from home, and often occurring as a reaction to shock or emotional stress.” As Sinclair explains:I found the term fugueur more attractive than the now overworked flâneur. Fugueur had the smack of a swear word […]. Fugueur was the right job description for our walk, our once-a-month episodes of transient mental illness. Madness as a voyage. […] The fugue is both drift and fracture. (London Orbital, 146)Herbert Marcuse observed that to refuse to comply with capitalist behaviour is to be designated irrational, and thus relegate oneself to the periphery of society (9). The neo-liberal city’s enforcement of particular spatial and temporal modalities that align with the logic of purpose, order, and productivity is antagonistic to wandering. The fugue state, then, can rupture the restrictive logic of capitalism’s signifying chains through regaining forcibly expurgated ideas and memories. The walk around the M25 has an unreason to it: the perversity of wandering a thoroughfare designed for cars. In another, oft-quoted passage from Lights Out, Sinclair proposes another avatar of the flâneur:The concept of “strolling”, aimless urban wandering […] had been superseded. We had moved into the age of the stalker; journeys made with intent—sharp-eyed and unsponsored. The stalker was our role model: purposed hiking, not dawdling, nor browsing. No time for the savouring of reflections in shop windows, admiration for Art Nouveau ironwork, attractive matchboxes rescued from the gutter. This was walking with a thesis. With a prey. […] The stalker is a stroller who sweats, a stroller who knows where he is going, but not why or how. (75)Not only has the flâneur evolved into something far more exacting and purposeful, but as we want to illuminate, the flâneur’s wandering has evolved into something more material than transforming urban experience and encounter into art or literature as Baudelaire described. In a recent interview, Sinclair stated: The walker exists in a long tradition, and, for me, it’s really vital to simply be out there every day—not only because it feels good, but because in doing it you contribute to the microclimate of the city. As you withdraw energy from the city, you are also giving energy back. People are noticing you. You’re doing something, you’re there, the species around you absorb your presence into it, and you become part of this animate entity called the city. (Sinclair quoted in O'Connell)Sinclair’s acknowledgement that he is acting upon the city through his wandering is also an acknowledgement of a material, grounded interplay between what Jonathan Raban has called the “soft” and the “hard” city: “The city as we might imagine it, the soft city of illusion, myth, aspiration, nightmare, is as real, maybe more real, than the hard city one can locate in maps and statistics, in monographs on urban sociology and demography and architecture” (quoted in Manley 6). Readers and critics may gravitate to the soft city of Sinclair, but as Donald puts it, “The challenge is to draw the connections between place, archive, and imagination, not only by tracing those links in literary representations of London, but also by observing and describing the social, cultural, and subjective functions of London literature and London imagery” (in Manley, 262).Sinclair’s most recent longform book, The Last London (2017), is bracketed at both beginning and end with the words from the diarist of the Great Fire of 1666, John Evelyn: “London was, but is no more.” Sinclair’s evocation of the disaster that razed seventeenth-century London is a declaration that twenty-first century London, too, has been destroyed. This time by an unsavoury crew of gentrifiers, property developers, politicians, hyper-affluent transplants, and the creative classes. Writers are a sub-category of this latter group. Ambivalence and complicity are always there for Sinclair. On the one hand, his wanderings have attributed cultural value to previously overlooked aspects of London by the very virtue of writing about them. On the other hand, Sinclair argues that the value of these parts of the city hinges on their neglect by the dominant culture, which, of course, is no longer possible when his writing illuminates them. Certainly, wandering the city excavating the secret histories of cities has acquired an elevated cultural currency since Sinclair started writing. In making the East End “so gothically juicy”, Sinclair inaugurated a stream of new imaginings from “young acolyte psychogeographers” (McKay). Moreover, McKay points out that “Sinclair once wryly noted that anywhere he ‘nominated’ soon became an estate agent vision of luxury lifestyle”.Iain Sinclair’s London wanderings, then, call for a recognition that is more-than-literary. They are what we have referred to elsewhere as “worldly texts” (Potter and Seale, forthcoming), texts that have more-than-literary effects and instead are materially entangled in generating transformative conditions of place. Our understanding sits alongside the insights of literary geography, especially Sheila Hones’s concept of the text as a “spatial event”. In this reckoning, texts are spatio-temporal happenings that are neither singular nor have one clear “moment” of emergence. Rather, texts come into being across time and space, and in this sense can be understood as assemblages that include geographical locations, material contexts, and networks of production and reception. Literary effects are materially, collaboratively, and spatially generated in the world and have “territorial consequences”, as Jon Anderson puts it (127). Sinclair’s writings, we contend, can be seen as materialising versions of place that operate outside the assemblage of “literary” production and realise spatial and socio-economic consequence.Sinclair’s work does more than mimetically reproduce a “lost” London, or angrily write against the grain of neo-liberal gentrification. It is, in a sense, a geographic constituent that cannot be disaggregated from the contemporary dynamics of the privileges and exclusions of city. This speaks to the author’s ambivalence about his role as a central figure in London writing. For example, it has been noted that Sinclair is “aware of the charge that he’s been responsible as anyone for the fetishization of London’s decrepitude, contributing to an aesthetic of urban decay that is now ubiquitous” (Day). Walking the East End in what he has claimed to be his “last” London book (2017), Sinclair is horrified by the prevalence of what he calls “poverty chic” at the erstwhile Spitalfields Market: a boutique called “Urban Decay” is selling high-end lipsticks with an optional eye makeover. Next door is the “Brokedown Palace […] offering expensive Patagonia sweaters and pretty colourful rucksacks.” Ironically, the aesthetics of decline and ruin that Sinclair has actively brought to public notice over the last thirty years are contributing to this urban renewal. It could also be argued that Sinclair’s wandering is guilty of “the violence of spokesmanship”, which sublimates the voices of others (Weston 274), and is surely no longer the voice of the wanderer as marginalised outsider. When textual actors become networked with place, there can be extra-textual consequences, such as Sinclair’s implication in the making of place in a globalised and gentrified London. It shifts understanding of Sinclair’s wandering from representational and hermeneutic interpretation towards materialism: from what wandering means to what wandering does. From this perspective, Sinclair’s wandering and writing does not end with the covers of his books. The multiple ontologies of Sinclair’s worldly texts expand and proliferate through the plurality of composing relations, which, in turn, produce continuous and diverse iterations in an actor-network with place in London. Sinclair’s wanderings produce an ongoing archive of the urban that continues to iteratively make place, through multiple texts and narrative engagements, including novels, non-fiction accounts, journalism, interviews, intermedia collaborations, and assembling with the texts of others—from the many other London authors to whom Sinclair refers, to the tour guides who lead Time Out walking tours of “Sinclair’s London”. Place in contemporary London therefore assembles across and through an actor-network in which Sinclair’s wandering participates. Ultimately, Sinclair’s wandering and placemaking affirm Manley’s statement that “the urban environment in which (and in response to which) so much of English literature has been written has itself been constructed in many respects by its representation in that literature—by the ideas, images, and styles created by writers who have experienced or inhabited it” (2).ReferencesAnderson, Jon. “Towards an Assemblage Approach to Literary Geography.” Literary Geographies 1.2 (2015): 120–137.Atkins, Marc and Iain Sinclair. Liquid City. London: Reaktion, 1999.Baker, Brian. Iain Sinclair. Manchester: Manchester University Press, 2007.Baudelaire, Charles. The Painter of Modern Life and Other Essays. Trans. and ed. Jonathan Mayne. London and New York: Phaidon, 1995.Benjamin, Walter. The Arcades Project. Trans. Howard Eiland and Kevin McLaughlin. Ed. Rolf Tiedmann. Cambridge, Mass.: Belknap Press, 2002.Bond, Robert. Iain Sinclair. Cambridge: Salt Publishing, 2005.Buck-Morss, Susan. The Dialectics of Seeing: Walter Benjamin and the Arcades Project. Cambridge, Mass.: MIT Press, 1989.Chambers, Russ. Loiterature. Lincoln: University of Nebraska Press, 1999.Coverley, Merlin. Psychogeography. Harpenden: Pocket Essentials, 2005.Day, Jon. “The Last London by Iain Sinclair Review—an Elegy for a City Now Lost.” The Guardian 27 Sep. 2017. 7 July 2017 <https://www.theguardian.com/books/2017/sep/27/last-london-iain-sinclair-review>.Debord, Guy. “Theory of the Dérive.” Situationist International Anthology. Trans. and ed. Ken Knabb. Berkeley, Calif.: Bureau of Public Secrets, 1981.———. “Détournement as Negation and Prelude.” Situationist International Anthology. Trans. and ed. Ken Knabb. Berkeley, Calif.: Bureau of Public Secrets, 1981.De Certeau, Michel. The Practice of Everyday Life. Trans. Steven Rendall. Berkeley: University of California Press, 1984.Dirda, Michael. “Modern Life, as Seen by a Writer without a Smart Phone.” The Washington Post 17 Jan. 2018. 4 July 2018 <https://www.washingtonpost.com/entertainment/books/modern-life-as-seen-by-an-artist-without-a-phone/2018/01/17/6d0b779c-fb07-11e7-8f66-2df0b94bb98a_story.html?noredirect=on&utm_term=.9333f36c6212>.Hones, Sheila. “Text as It Happens: Literary Geography.” Geography Compass 2.5 (2008): 301–1307.Huizinga, Johan. Homo Ludens: A Study of the Play-Element in Culture. Boston: Beacon Press, 1955.Kerr, Joe. “The Habit of Hackney: Joe Kerr on Iain Sinclair.” Architects’ Journal 11 Mar. 2009. 8 July 2017 <https://www.architectsjournal.co.uk/home/the-habit-of-hackney-joe-kerr-on-iain-sinclair/1995066.article>.Manley, Lawrence, ed. The Cambridge Companion to the Literature of London. Cambridge: Cambridge University Press, 2011.Marcuse, Herbert. One-Dimensional Man. London and New York: Routledge, 2002.McKay, Sinclair. “Is It Time for All Lovers of London to Pack up?” The Spectator 2 Sep. 2017. 6 July 2018 <https://www.spectator.co.uk/2017/09/is-it-time-for-all-lovers-of-london-to-pack-up/>.O’Connell, Teresa. “Iain Sinclair: Walking Is a Democracy.” Guernica 16 Nov. 2017. 7 July 2018 <https://www.guernicamag.com/iain-sinclair-walking-democracy/>.Perril, Simon. “A Cartography of Absence: The Work of Iain Sinclair.” Comparative Criticism 19 (1997): 309–339.Potter, Emily, and Kirsten Seale. “The Worldly Text and the Production of More-than-Literary Place: Helen Garner’s Monkey Grip and Melbourne’s ‘Inner North’”. Cultural Geographies (forthcoming 2019).Seale, Kirsten. “‘Eye-Swiping’ London: Iain Sinclair, Photography and the Flâneur.” Literary London 3.2 (2005).———. “Iain Sinclair’s Archive.” Sydney Review of Books. 10 Sep. 2018. 12 July 2019 <https://sydneyreviewofbooks.com/sinclair-last-london/>.Sinclair, Iain. Dining on Stones, or, The Middle Ground. London: Hamish Hamilton, 2004.———. Lights Out for the Territory. London: Granta, 1997.———. London Orbital. London: Penguin, 2003.———. The Last London: True Fictions from an Unreal City. London: Oneworld Publications, 2017.Weston, Daniel. “‘Against the Grand Project’: Iain Sinclair’s Local London.” Contemporary Literature 56.2 (2015): 255–280. Wolfreys, Julian. Writing London: Materiality, Memory, Spectrality Volume 2. Basingstoke: Palgrave Macmillan, 2004.

Introduction This article presents the trans-disciplinary encounters with and perspectives on embodiment of three creative-arts practitioners within the Deakin University research project Flows & Catchments. The project explores how creative arts participate in community and the possibility of well-being. We discuss our preparations for creative work exhibited at the 2012 Lake Bolac Eel Festival in regional Western Victoria, Australia. This festival provided a fertile time-place-space context through which to meet with one regional community and engage with scales of geological and historical time (volcanoes, water flows, first contact), human and animal roots and routes (settlement, eel migrations, hunting and gathering), and cultural heritage (the eel stone traps used by indigenous people, settler stonewalling, indigenous language recovery). It also allowed us to learn from how a festival brings to the surface these scales of time, place and space. All these scales also require an embodied response—a physical relation to the land and to the people of a community—which involves how specific interests and ways of engaging coordinate experience and accentuate particular connections of material to cultural patterns of activity. The focus of our interest in “embody” and embodiment relates to the way in which the term constantly slides from metaphor (figural connection) to description (literal process). Our research question, therefore, addresses the specific interaction of these two tendencies. Rather than eliminate one in preference to the other, it is the interaction and movement from one to the other that an approach through creative-arts practices makes visible. The visibility of these tendencies and the mechanisms to which they are linked (media, organising principle or relational aesthetic) are highlighted by the particular time-place-space modalities that each of the creative arts deploys. When looking across different creative practices, the attachments and elisions become more fine-grained and clearer. A key aim of practice-led research is to observe, study and learn, but also to transform the production of meaning and its relationship to the community of users (Barrett and Bolt). The opportunity to work collaboratively with a community like the one at Lake Bolac provided an occasion to gauge our discerning and initiating skills within creative-arts research and to test the argument that the combination of our different approaches adds to community and individual well-being. Our approach is informed by Gilles Deleuze’s ethical proposition that the health of a community is directly influenced by the richness of the composition of its parts. With this in mind, each creative-arts practitioner will emphasize their encounter with an element of community. Zones of Practice–Drawing Together (Jondi Keane) Galleries are strange in-between places, both destinations and non-sites momentarily outside of history and place. The Lake Bolac Memorial Hall, however, retains its character of place, participating in the history of memorial halls through events such as the Eel Festival. The drawing project “Stone Soup” emphasizes the idea of encounter (O’Sullivan), particularly the interactions of sensibilities shaped by a land, a history and an orientation that comprise an affective field. The artist’s brief in this situation—the encounter as the rupture of habitual modes of being (O’Sullivan 1)—provides a platform of relations to be filled with embodied experience that connects the interests, actions and observations produced outside the gallery to the amplified and dilated experience presented within the gallery. My work suggests that person-to person in-situ encounters intensify the movement across embodied ways of knowing. “Stone Soup”. Photograph by Daniel Armstrong.Arts practice and practice-led research makes available the spectrum of embodied engagements that are mixed to varying degrees with the conceptual positioning of material, both social and cultural. The exhibition and workshop I engaged with at the Eel Festival focused on three level of attention: memory (highly personal), affection (intra-personal) and exchange (communal, non-individual). Attention, the cognitive activity of directing and guiding perception, observation and interpretation, is the thread that binds body to environment, body to history, and body to the constructs of person, family and community. Jean-Jacques Lecercle observes that, for Deleuze, “not only is the philosopher in possession of a specific techne, essential to the well-being of the community, a techne the practice of which demands the use of specialized tools, but he makes his own tools: a system of concepts is a box of tools” (Lecercle 100). This notion is further enhanced when informed by enactive theories of cognition in which, “bodily practices including gesture are part of the activity in which concepts are formed” (Hutchins 429) Creative practices highlight the role of the body in the delicate interaction between a conceptually shaped gallery “space” and the communally constructed meeting “place.” My part of the exhibition consisted of a series of drawings/diagrams characterized under the umbrella of “making stone soup.” The notion of making stone soup is taken from folk tales about travelers in search of food who invent the idea of a magical stone soup to induce cooperation by asking local residents to garnish the “magical” stone soup with local produce. Other forms of the folk tale from around the world include nail soup, button soup and axe soup. Participants were able to choose from three different types of soup (communal drawing) that they would like to help produce. When a drawing was completed another one could be started. The mix of ideas and images constituted the soup. Three types of soup were on offer and required assistance to make: Stone soup–communal drawing of what people like to eat, particularly earth-grown produce; what they would bring to a community event and how they associate these foods with the local identity. Axe soup–communal drawing of places and spaces important to the participants because of connection to the land, to events and/or people. These might include floor plans, scenes of rooms or views, or memories of places that mix with the felt importance of spaces.Heirloom soup–communal drawing of important objects associated with particular persons. The drawings were given to the festival organizer to exhibit at the following year’s festival. "Story Telling”. Photograph by Daniel Armstrong.Drawing in: Like taking a breath, the act of drawing and putting one’s thought and affections into words or pictures is focused through the sensation of the drawing materials, the size of the paper, and the way one orients oneself to the paper and the activity. These pre-drawing dispositions set up the way a conversation might occur and what the tenor of that exchange may bring. By asking participants to focus on three types of attachments or attentions and contributing to a collective drawing, the onus on art skills or poignancy is diminished, and the feeling of turning inward to access feeling and memory turns outward towards inscription and cooperation. Drawing out: Like exhaling around vowels and consonants, the movement of the hand with brush and ink or pen and ink across a piece of paper follows our patterns of engagement, the embodied experience consistent with all our other daily activities. We each have a way of orchestrating the sequence of movements that constitute an image-story. The maker of stone soup must provide a new encounter, a platform for cooperation. I found that drawing alongside the participants, talking to them, inscribing and witnessing their stories in this way, heightened the collective activity and produced a new affective field of common experience. In this instance the stone soup became the medium for an emergent composition of relations. Zones of Practice–Embodying Photographic Space (Rozalind Drummond) Photography inevitably entails a certain characterization of reality. From being “out there” the world comes to be “inside” photographs—a visual sliver, a grab, and an upload, a perpetual tumble cycle of extruded images existing everywhere yet nowhere. While the outside, the “out there” is brought within the frame of the photograph, I am interested rather in looking, through the viewfinder, to spaces that work the other way, which suggest the potential to locate a “non-space”—where the inside suggests an outside or empty space. Thus, the photograph becomes disembodied to reveal space. I consider embodiment as the trace of other embodiments that frame the subject. Mark Auge’s conception of “non-places” seems apt here. He writes about non-places as those that are lived or passed through on the way to some place else, an accumulation of spaces that can be understood and named (94). These are spaces that can be defined in everyday terms as places with which we are familiar, places in which the real erupts: a borderline separating the outside from the inside, temporary spaces that can exist for the camera. The viewer may well peer in and look for everything that appears to have been left out. Thus, the photograph becomes a recollection of what Roland Barthes calls “a disruption in the topography”—we imagine a “beyond” that evokes a sense of melancholy or of irrevocably sliding toward it (238). How then could the individual embody such a space? The groups of photographs of Lake Bolac are spread out on a table. I play some music awhile, Glenn Gould, whose performing embodies what, to me, represents such humanity. Hear him breathing? It is Prelude and Fugue No. 16 in G Minor by Bach, on vinyl; music becomes a tangible and physical presence. When we close our eyes, our ears determine a sound’s location in a room; we map out a space, by listening, and can create a measureable dimension to sound. Walking about the territory of a living room, in suburban Melbourne, I consider too a small but vital clue: that while scrutinizing these details of a photographic image on paper, simultaneously I am returning to a small town in the Western District of Victoria. In the fluid act of looking at images in a house in Melbourne, I am now also walking down a road to Lake Bolac and can hear the incidental sounds of the environment—birdcalls and human voices—elements that inhabit and embody space: a borderline, alongside the photographs. What is imprinted in actual time, what is fundamental, is that the space of a photograph is actually devoid of sound and that I am still standing in a living room in Melbourne. In Against Architecture, Denis Hollier states of Bataille, “he wrote of the psychological power of space as a fluid, boundary effacing, always displaced and displacing medium. The non-spaces of cities and towns are locations where it is possible to be lost in a collective space, a progression of thoroughfares that are transitional, delivering the individual from one point and place to another—stairwells, laneways and roadsides—a constellation of streets….” (Hollier 79). Though photographs are sound-less, sound gives access to the outside of the image. “Untitled”. Photograph by Rozalind Drummond from “Stay with me here.” 2012 Type C Digital Print. Is there an outline of an image here? The enlargement of a snapshot of a photograph does not simply render what in any case was visible, though unclear. What is the viewer to look for in this photograph? Upon closer inspection a young woman stands to the right within the frame—she wears a school uniform; the pattern of the garment can be seen and read distinctly. In the detail it is finely striped, with a dark hue of blue, on a paler background, and the wearer’s body is imprinted upon the clothing, which receives the body’s details and impressions. The dress has a fold or pleat at the back; the distinct lines and patterns are reminiscent of a map, or an incidental grid. Here, the leitmotif of worn clothing is a poetic one. The young woman wears her hair piled, vertiginous, in a loosely constructed yet considered fashion; she stands assured, looking away and looking forward, within the compositional frame. The camera offers a momentary pause. This is our view. Our eye is directed to look further away past the figure, and the map of her clothing, to a long hallway in the school, before drifting to the left and right of the frame, where the outside world of Lake Bolac is clear and visible through the interior space of the hallway—the natural environment of daylight, luminescent and vivid. The time frame is late summer, the light reflecting and reverberating through glass doors, and gleaming painted surfaces, in a continuous rectangular pattern of grid lines. In the near distance, the viewer can see an open door, a pictorial breathing space, beyond the spatial line and coolness of the photograph, beyond the frame of the photograph and our knowing. The photograph becomes a signpost. What is outside, beyond the school corridors, recalled through the medium of photography, are other scenes, yet to be constructed from the spaces, streets and roads of Lake Bolac. Zones of Practice–Time as the “Skin” of Writing, Embodiment and Place (Patrick West) There is no writing without a body to write. Yet sometimes it feels that my creative writing, resisting its necessary embodiment, has by some trick of metaphor retreated into what Jondi Keane refers to as a purely conceptual mode of thought. This slippage between figural connection and literal process alerted me, in the process of my attempt to foster place-based well-being at Lake Bolac, to the importance of time to writerly embodiment. My contribution to the Lake Bolac Eel Festival art exhibition was a written text, “Stay with me here”, conceived as my response to the themes of Rozalind Drummond’s photographs. To prepare this joint production, we mixed with staff and students at the Lake Bolac Secondary College. But this mode of embodiment made me feel curiously dis-embodied as a place-based writer. My embodiment was apparently superficial, only skin deep. Still this experience started me thinking about how the skin is actually thickly embodied as both body and where the body encounters, not only other bodies, but place itself—conceivably across many times. Skin is also the embodiment of writing to the degree that writing suggests an uncertain and queered form of embodiment. Skin, where the body reaches its limit, expires, touches other bodies or not, is inevitably implicated with writing as a fragile and always provisional, indexical embodiment. Nothing can be more easily either here or somewhere else than writing. Writing is an exhibition or gallery of anywhere, like skin in that both are un-placed in place. The one-pager “Stay with me here” explores how the instantaneous time and present-ness of Drummond’s photographs relate to the profusion of times and relations to other places immanent in Lake Bolac’s landscape and community (as evidenced, for example, in the image of a prep student yawning at the end of a long day in the midst of an ancient volcanic landscape, dreaming, perhaps, of somewhere else). To get to such issues of time and relationality of place, however, involves detouring via the notion of skin as suggested to me by my initial sense of dis-embodiment in Lake Bolac. “Stay with me here” works with an idea of skin as answer to the implied question, Where is here? It creates the (symbolic) embodiment of place precisely as a matter of skin, making skin-like writing an issue of transitory topography. The only permanent “here” is the skin. Emphasizing something valid for all writing, “here” (grammatically a context-dependent deictic) is the skin, where embodiment is defined by the constant possibility of re-embodiment, somewhere else, some time else. Reminding us that it is eminently possible to be elsewhere (from this place, from here), skin also suggests that you cannot be in two places at the one time (at least, not with the same embodiment). My skin is a sign that, because my embodiment in any particular place (any “here”) is only ever temporary, it is time that necessarily sustains my embodiment in any place whatsoever into the future. According to Henri Bergson, time must be creative, as the future hasn’t happened yet! “Time is invention or it is nothing at all” (341). The future of place, as much as of writing and of embodiment itself, is thus creatively sheathed in time as if within a skin. On Bergson’s view, time might be said to be least and greatest embodiment, for it is (dis-embodied) time that enables all future and currently un-created modes of embodiment. All of these time-inspired modes will involve a relationship to place (time can only “happen” in some version of place). And all of them will involve writing too, because time is the ultimate (dis-)embodiment of writing. As writing is like a skin, a minimal embodiment shared actually or potentially with more than one body, so time is the very possibility of writing (embodiment) into the future. “Stay with me here” explores how place is always already embodied in a relationship to other places, through the skin, and to the future of (a) place through the creativity of time as the skin of embodiment. By enriching descriptive and metaphoric practices of time, instability of place and awarenesses of the (dis-)embodied nature of writing—as a practice of skin—my text is useful to well-being as an analogue to the lived experience, in time and place, of the people of Lake Bolac. Theoretically, it weaves Bergson’s philosophy of time (time richly composed) into the fabric of Deleuze’s proposition that the health of a community is linked to the richness of the composition of its parts. Creatively, it celebrates the identity that the notion of “here” might enable, especially when read alongside and in dialogue with Drummond’s photographs in exhibition. Here is an abridged text of “Stay with me here:” “Stay with me here” There is salt in these lakes, anciently—rectilinear lakes never to be without ripple or stir. Pooling waters the islands of otherwise oceans, which people make out from hereabouts, make for, dream of. Stay with me here. Trusting to lessons delivered at the shore of a lake moves one closer to a deepness of instruction, where the water also learns. From our not being where we are, there. Stay with me here. What is perfection to water if not water? A time when photographs were born out of its swill and slosh. The image swimming knowingly to the surface—its first breaths of the perceiving air, its glimpsing itself once. The portraits of ourselves we do not dare. Such magical chemical reactions, as in, I react badly to you. Such salts! Stay with me here, elsewhere. As if one had simply washed up by chance, onto this desert island or any other place of sand and water trickling. Daring to imagine we’ll be there together. This is what I mean by… stay with me here. Notice these things—how music sounds different as one walks away; the emotional gymnastics with which you plan to impress; the skin of the eye that watches over you. Stay with me here—in your spectacular, careless brilliance. The edge of whatever it is one wants to say. The moment never to be photographed. Conclusion It is not for the artists to presume that they can empower a community. As Tasmin Lorraine notes, community is not a single person’s empowerment but “the empowerment of many assemblages of which one is part” (128). All communities, regional communities on the scale of Lake Bolac or communities of interest, are held in place by enthusiasm and common histories. We have focused on the embodiment of these common histories, which vary in an infinite number of degrees from the most literal to the most figurative, pulling from the filigree of experiences a web of interpersonal connections. Oscillating between metaphor and description, embodiment as variously presented in this article helps promote community and, by extension, individual well-being. The drawing out of sensations into forms that produce new experiences—like the drawing of breath, the drawing of a hot bath, or the drawing out of a story—enhances the permeability of boundaries opened to what touches upon them. It is not just that we can embody our values, but that we are able to craft, manifest, enact, sense and evoke the connections that take shape as our richly composed world, in which, as Deleuze notes, “it is no longer a matter of utilizations or captures, but of sociabilities and communities” (126). ReferencesAuge, Mark. Non-Places: An Introduction to an Anthropology of Supermodernity. London: Verso, 1995. Barrett, Estelle, and Barbara Bolt. Eds. Practice as Research: Approaches to Creative Arts Enquiry. London: I. B. Tauris, 2007. Barthes, Roland. The Responsibility of Forms. New York: Hill and Wang, 1985. Bergson, Henri. Creative Evolution. Mineola, New York: Dover Publications, 1998. Deleuze, Gilles. Spinoza: Practical Philosophy. San Francisco: City Lights Books, 1988. Hollier, Denis. Against Architecture: The Writings of Georges Bataille. Cambridge, MA: MIT Press, 1989. Hutchins, Edwin. “Enaction, Imagination and Insight.” Enaction: Towards a New Paradigm for Cognitive Science. Eds. J. Stewart, O. Gapenne, and E.A. Di Paolo. Cambridge, MA: MIT Press, 2010. 425–450.Lecercle, Jean-Jacques. Deleuze and Language. New York: Palgrave Macmillan, 2002.Lorraine, Tamsin. Deleuze and Guattari’s Immanent Ethics: Theory, Subjectivity and Duration. Albany: State University of New York at Albany, 2011.O’Sullivan, Simon. Art Encounters: Deleuze and Guattari—Thought beyond Representation. London: Palgrave Macmillan, 2006.