Critique Kritiek


Het is helemaal niet eenvoudig om kritiek te geven op een werkstuk. Hieronder enkele vragen die je kunt gebruiken bij een goede kritiek.1

Some help with giving critique.

1. Wat valt je direct op?
What stands out the most when you first see it?

2. Leg uit hoe het komt dat je dat (van vraag 1) als eerste opmerkt?
Explain the reason you notice the thing you mention in number 1.

3. Als je verder kijkt, wat lijkt er nog meer belangrijk?
As you keep looking, what else seems important?

4. Waarom lijkt je dat (van de vorige vraag) belangrijk?
Why does the thing you mention in number 3 seem important?

5. Hoe is contrast toegepast?
How has contrast been used?

6. Wat zorgt er voor dat je blik het geheel  aftast?
What leads your eye around from place to place?

7. Welke stijlkenmerken neem je waar?
What tells you about the style used by this artist?

8. Wat lijkt er verborgen te zitten in deze compositie? Waarom?
What seems to be hiding in this composition and why?

9. Welke emoties en betekenissen zitten er volgens jou in het werk?
Imagine the feelings and meanings this artwork represents?

10. Welke ander titel zou je het werk kunnen geven?
What other titles could you give this artwork?

Meer op

So you are connected, to what?


If you are behind your computer screen or using your phone what are you connected with?

I think of those abstracted sedentary individuals who spend their lives in an office rattling their fingers on a keyboard ‘connected’, as they say, but to what?  To information mutating between one second and the next, floods of images, pictures and graphs. And after work it is the subway, the train, always speed, the gaze now glued to telephone screen…  (In a philosophy of walking Frédéric Gros (p. 185) )

In the evening they will look at the television screen. Those people are not connected to the earth or to roads and routes. They forget about being human.

Just walking, just talking to a person next to you, that is the real connectedness.


Garden 8; senza misura; free time

blauw oranje gif

The Compositions 1960 Compositions 1960  are a set of pieces written in 1960 by composer La Monte Young. These pieces are unique in the sense that Young heavily emphasizes performance art, through extra-musical actions such as releasing a butterfly into the room or pushing a piano against a wall.

This piece of music is free time music, without prescribed measures. Sensa misura.

The sound of Wind Chimes and some of  John Cage‘s  music are sensa misura too.

Fantasy on Japanse Woodprints is een sensa misura compositie van de wereldcomponist Alan Hovhaness uit 1965.

From senzamisura.blogspot:

“There are no solids. There are no things. There are only interfering and non-interfering patterns operative in pure principle, and principles are eternal.”
– Buckminster Fuller

Emptiness cannot only mean silence. The musical structures that composers use to build – canons, patterns, linguistic tropes, iterations, gestural articulations, and mappings – is that what we hear? What gives music a sense of meaning could be that dimension of which we cannot construct. As Lao Tzu famously said – “It is the emptiness of the cup that makes it useful”. So what is the emptiness of one’s music? Perhaps, what is left unsaid engenders its purpose? Using another metaphor, music can often be described as acoustic architecture. From this, we might contend that the sonic constructions that we build are tangible places, shapes, and forms. So then, in these “buildings”, what do you place inside? What function do you assign to the space that you provide? This question has been plaguing me the past year. We form, shape, and mold sounds onto a temporal axis – but it is often so meaningless in its experience and meaning(full)ness perhaps can only be found in contemplating its emptiness.

zie ook: Garden 8

Abstaining from twitter for a month now

I  did quit Twitter. Some weeks ago I send this image on twitter.


and this one followed. I felt like Alexandra Franzen:  Yet, in the midst of my tweetery, I often felt a nagging feeling inside. A voice asking, “Alex, is this really how you want to be spending your life-minutes? Isn’t there something else that might be a more meaningful use of your time? Wouldn’t you rather be walking outside, talking to your mom, writing a novel, having sex, working out, mailing a letter, volunteering, you know, all of those things that you ‘never have enough time’ to do?”


I did spend more time on twitter than I wanted to spend. Now I only read some twitter messages a day. And have more time to do all kind of nice things.

To avoid using twitter in those first days, I did lots of little repairs and most of the to-do-list. I finished my book and send it to the publishing house.  Abstaining from twitter did change my life. (I do not have a facebook account, so there I do not spend time)


Wind Chimes; Silence (Garden 8)

wind chimes
Read also: Garden Eight Lei Liang (2) and  About Garden Eight, Lei Liang (1).
This morning I woke up with the sound of wind chimes.
Wind chimes, I do not know a Dutch name for them.

Is the sound of wind chimes music? (no rhythm. no measures, no human player)
Or is it only sound?

In Chinese gardens you could listen to the wind chimes. I am told the chimes will chase off ghosts from houses and gardens.

In  I found this  stanza of a poem.

In my mind some silence could be part of the Chinese Garden. The garden as a means of  escape from the noise of daily life.

accept silence

Garden Eight Lei Liang (2)


[Read also part 1:

I just listened to a selection from  “Listening for Blossoms” (soundcloud)

What would it mean to listen to a painting? What is the relationship between landscape, memory, gesture, vision, and sound—and how can technology help us begin to answer this question? Lei Liang has been exploring these intersections in his musical compositions: Brush-Stroke, In Praise of Shadows, and Listening for Blossoms all enmesh Liang’s visual and perceptual experience with his own sonic world. (source

Garden is 園林 yuan2lin2 and eight is 八 ba1. The word for “eight” (八 bā sounds similar to the word which means “prosper” or “luck”

(image: pen jing or bonsai in Botanical Garden Washington DC)

About Garden Eight, Lei Liang (1)


Garden Eight is a piece by Lei Liang,composer.  He wrote a collection of  6 parts, 天 Tian, heaven, 地 Di, earth, 東 Dong,oost, 南 Nan,zuid, 西 Xi, west and 北 Bei, noord。 Lei Liang wants the parts to be gardens, visual worlds and worlds of other senses. Passing clouds, remote mountains, sound of ancient temple bells, transience of seasons.

These pieces are musical gardens. To perform one of them is to walk through a garden of sounds.

Chinese connect directions to elements and colors and notes.

direction color element note
east green wood jue 角
south red fire zhi 緻
west white metal shang2 商
north black water yu3 羽
centre yellow earth gong1 宮

(Fung Yu-lan, A History of Chinese Philosophy II. p.13)

天 (tian)means heaven and is in Chinese culture as loaded with different meanings as in christian cultures. It is above, nature, the sky, the place of the gods, etc.