piotr_szyhalski@mn.mcad.edu


"We are still within the narrow circle of knowledge covered by our sense-experience. Space and time do not widen that circle; neither do the categories. The knowledge, therefore, which we acquire by the understanding is confined to the appearances of things, and does not extend to the noumenal reality, the Ding an sich."

(Prelude)
CANON 00
CANON 01   (Breath Exchange)
CANON 02   (Connections)
CANON 03   (Endless Inspiration)
CANON 04   (Magic Of The Mind)
CANON 05   (A Definite Idea)
CANON 06   (Signals)
CANON 07   (Idealised Movement)
CANON 08   (Speeded Up Life)
CANON 09   (The Message)
CANON 10   (All For The Others)
CANON 11
(Coda)

Before beginning your exploration, please read the
VIEWING SUGGESTIONS

The inspiration for "Ding an sich" (The Canon Series) comes from two main sources:

1. The title and philosophical ground for the work refers to the concept of the "Thing Itself" defined by Immanuel Kant in his "Critique of Pure Reason" as the reality of the thing--the essence beyond the knowledge of appearances. Ding an sich is unknowable though certainly existing, providing a unique angle for the contemplation of art in general, and specifically the relationships between artists, audiences, and the work itself.

2. Each component of the series functions as a viewer-controlled experience/exercise constructed on the basis of the musical canon format. All works are designed to be "performed" by the viewer. These interactive compositions have no clear beginning or end, and they are thought of as "scores" to be interpreted rather than "recordings" to be broadcast. Their conceptual conclusion occurs as a result of repetition.

In the traditional canon compositions the first voice is followed by the second, which relates to the "leader" in a variety of specified ways. The second voice of a canon may imitate the first voice exactly, at a different pitch level, in contrary motion, with change of rhythmic proportions, backward, or any combination thereof. Compositional and structural relationships between the specific components of the "Ding an sich" canons (images, sounds, text, movement) are resolved on the basis of those traditional patterns. Historically "Ding an sich" also alludes to the role of other artists and their work as "leader" voices initiating cultural canons. The archival recordings of the voices of Joseph Beuys (canon 10), John Cage (5 and 11), Frank Gehry (6), Allen Ginsberg (3), Martha Graham (4 and 5), Peter Greenaway (2 and 7), Allan Kaprow (1 and 8), Isamu Noguchi (6), Isaac Bashevis Singer (3 and 9), and Susan Sontag (2 and 8) were used throughout the series.