Wassily Kandinsky and the theory Point and line to plane
Wassily Kandinsky,media art and code
Kandinsky refers to the future technological development in his theory Point and Line to Plane. As the painter tries to express his technique in numeric expression, he discovers the limited possibilities of measurement. Therefore he writes in his theory: “We today lack the possibilities of measurement which some day, sooner or later, will be found beyond the Utopian. From this moment on, it will be possible to give every composition its numerical expression, even though this may at first perhaps hold true only of its "basic plan" and its larger complexes.” Further, the painter elaborates that only when numeric expression is conceivable, the exact theory of composition can be realized. The beginning of numeric expression lacks complexity that will be possible in the future.
The future that we are in now brings these possibilities that Kandinsky was writing about, he was standing at the beginning of numeric expression. Where do we stand now? Casey Reas writes: “today, media artist think in code or use software that is based on a code. There are many types of code.” In this context it is important to elaborate on a code that represents series of instructions. This type of code is often called algorithm, procedure, or program – defines a specific processes with enough detail to allow the instructions to be followed.
Software is a tool for our mind. The software’s resources and techniques at our disposal allow us to access and process enormous quantities of information. Software is a tool to extend our intellect. It gives us possibilities that Kandinsky was referring to.
In the 1940s, code was used to assist work in the fields of science and engineering. In the 1980s personal computers were introduced to the market, allowing programming to reach a wider audience. Therefore, many artists began to experiment with a given “tool”. The influence of code is not limited to the screen and projected image. It is also felt in physical space. It is used to control elements of products architecture, and installations.
Drawing with the computer is based on the same elements as Kandinsky referred to in his theory. Point and line can be created by using a coordinate system, giving a numeric value. In 1963, Ivan Sutherland introduced graphic user interface with his sketchpad. Sketchpad was much more than an analogue of paper and pen. The software allows a designer to create lines, draw polygons, circles, arc etc., move, duplicate, rotate them to create new compositions. The user was able to instruct the computer to interpret movements of the pen; therefore there was no need to describe elements in numeric terms every time. Computer aided design systems allowed designers to draw using mathematical lines and curves that had a big influence on productivity, speed and efficiency.
With the increasing capacities and computers being able to interpret given algorithms we reached the future that Kandinsky was writing about. Now we are able to create endless compositions and express “rhythmic life”.
The theory Point and line to plane
Wassily Kandinsky was one of the pioneers of abstract modern art. He explored the interrelation between colour, form, line direction and intensity of the point to create an aesthetic experience. In this way the artist engaged the sight, sound and emotions of the public. The painter believed that total abstraction offered the possibility for profound and transcendental expression. HillaRebay wrote: “As his last paintings prove, with intense concentration, Kandinsky increasingly refined the precision of balance in the given space of the painting, as the innermost powerful essence of its rhythmic tension. <… data_liveedit_tagid="000000000B542F70">. He found that a non-objective painting's rhythmic life, expressing creative invention, can be profound if done by a visionary master. It can also have a strong ordering influence on the observer.” On the contrary, copying from nature only interferes with the experiencing what painting can offer. It only provides stillness and transmits one message that does not have any influence on the viewer’s mind. Therefore, Kandinsky wrote: “Contrary to the static form-ideal of painting which prevailed in the past millennium, where the subjective object was immediately perceived as a whole and graphically recorded by the intellect, always directed objectively earthward, the moving form-ideal of today sets into motion the eye in any desired direction of the rhythmic non-objective creation.” Kandinsky was the first who proclaimed his principles of painting in a book Point and Line to Plane. With scientific precision painter describes characteristics (that he calls sound) of a point, line and their interaction within a plane.He explained how to evoke rhythmic life and engage viewer’s mind with the composition of primary forms, line and point.
Kandinsky’s art and ideas inspired many generations of artists: his students, later such painters as Jackson Pollock, Philip Guston, Mark Rothko and many other twentieth centuryartists. Kandinsky’s ideas are relevant today as well, thought from the painting they shifted to media art. For example the artists/ engineers Golan Levin and Scott Snibberefer toKandinsky’s theories in his investigation in interface to “engage the unconscious mind directly”. In work of many other artists Kandinsky’s ideas are still visible and perhaps functioning even better than in a painting.
Concept of the point
The point preserves its fundamental geometrical properties – invisibility and position , therefore it can be defined as an incorporeal thing. To Kandinsky, a geometric point considered in terms of substance is equal to zero. But what form point embodies in a painting /graphic art?
First of all, the point in painting/graphic art is a result of a collision with the tool and material plane. Kandinsky defines a point as the smallest, indivisible or the briefest elementary form, the proto – element of painting and especially of the “graphic.” The term smallest in his theory is relative. The painter raises the question where is the boundary between point and plane. The point can grow and occupy all area; the point appears as a plane. The size of a point can be defined by other forms next to it.
Secondly, Kandinsky talks about the external form of the graphic point. He writes that abstractly or imaginatively, the point is thought of as ideally small, ideally round. In reality, it is an ideally small circle. Nevertheless, just as in the case of its size, its limits are equally relative. In its material form, the point can assume an unlimited number of shapes: it can become jagged, it can move in the direction of other geometric forms, and finally develop into entirely free shapes.
Thirdly, Kandinsky emphasizes the importance of the texture of an element. The texture affects the manner it is visually combined with other elements and with its graphic context.Kandinsky writes that texture possibilities should be given even in the limited field of the point. Despite that the point is the smallest element it can display different sound depending on how it was created.
Time in the point
The element of time in the point is almost completely eliminated due to lack of mobility on and of the surface. The element of time in special cases of composition makes the point inevitable. Kandinsky writes that its use here corresponds to the sharp blow on a kettledrum or a triangle in music, or to the short tap of the woodpecker in nature.
Tension in the point
The graphic point has an inner tension. Kandinsky writes that the tension within the point constitutes the element. Each individual graphic or pictorial form is an element. Materializing that element forces tensions which are alive within it.
Furthermore, Kandinsky elaborates on the energy that graphic element has inside. He claims that if these tensions were to disappear or to expire, the work, which is alive at that very instant, would die. On the other hand, every accidental grouping of several forms could be called a work of art. The content of a work of art finds its expression in the composition: that is, in the sum of the tensions inwardly organized for the work.
To conclude, the energy that is in the point also develops to the outside. This energy hurls itself upon the point which is digging its way into the surface, tears it out and pushes it about the surface in one direction or another. The concentric tension of the point is thereby immediately destroyed and, as a result, it perishes and a new being arises out of it which leads a new, independent life in accordance with its own laws. This is the Line.
Point in media art
Dance
Kandinsky writes that point appears in other art expressions. Writing about point he gives example of a dance performance. First of all, he writes about classical ballet: “The rapid running on the toes leaves behind on the floor a trace of points. The ballet dancer leaps to a point above, clearly aiming at it with his head and, in landing, again contacts a point on the floor.” Secondly, he compares classical ballet with modern dance. He examines “modern” leap by giving a schematic drawing or a dancer’s leap. Kandinsky writes: “the “modern” leap frequently forms a five-pointed plane with its five extremities — head, two feet and two hands, whereby the ten fingers form ten smaller points. Furthermore, the brief states of rigid immobility can be looked upon as points. Thus we have active and passive point formations which bear a relationship to the musical form of the point.”
Today’s media artist attempts to visualise dance performance using what Kandinsky called the smallest form – the point. United Visual Artists in collaboration with contemporary UK dance group Mimbre create an eight minute live abstract performance out of points. UVA uses 3D cameras to capture the physicality of movement of the dancers on stage. This information is translated in real time to abstract white forms made out of points on a large – scale backdrop. The combination of movement of the dancers and information that is translated through the point creates a monumental performance. Where viewer can see point’s tensions organizing it into abstract form or recognisable shape and interacting with the dancers.
Music
Kandinsky writes that “points can be produced in music with all sorts of instruments — especially the percussion instruments. The piano, however, enables the creation of finished compositions exclusively by means of the combination and the sequence of tonal points.” Therefore, the painter gives examples of a translation of music pieces into points.
The same point of view of visualising sound with the point is seen inthe project called Messa di Voce. Though this project does not deal with sound made by instrument it reflect the idea of point as an agent of sound. Golan Levin’s software augments the speech, shouts and songs with real time interactive visualizations. The project touches on the theme of abstract communication. Bespokesoftware transforms every vocal nuance into correspondingly highly expressive graphics. Messa di Voce lies at an intersection of human and technological performance extremes, melding the unpredictable spontaneity and extended vocal techniques of human improvisers with the latest in computer vision and speech analysis technologies. Utterly wordless, yet profoundly verbal, Messa di Voce is designed to provoke questions about the meaning and effects of speech sounds, speech acts, and the immersive environment of language.
Every abstract sound that is produced by the performer is recorded and displayed on a backdrop. At the beginning points have a gravity that keeps them on top of a backdrop. In time the inner tensions of points become visible and they start independently behave on a backdrop by releasing recorded sound. Golan Levin.
Another good example of music visualisation is Chorus project by United Visual Artists. This project deals not only with music but with the given space as well. With Chorus UVA created a kinetic installation that produces a hypnotic performance. Eight tall black pendulums swing back and forth, simultaneously emitting light and sound. United Visual In this project is visible another property of point that Kandinsky refers to – the point’s ability to give birth to the line.
Kandinsky’s ideas that dance and sound can be represented with point are visible in today’s media art. Here point is represented in real time visualizing sound and dance performance. On one hand, some characteristics of the point are visible instantly, on the other the texture of the point that was describe earlier is not applicable anymore. Point’s characteristics depend on the process of its creation, and media artists use different tools to create the point.
Concept of the line
Geometrical line is an invisible thing. Kandinsky sees the line as a derivative element from moving point. Line can be considered as the track of the moving point that signifies the visual transition from static to the dynamic. The characteristic visual property of the line becomes an ability to evoke motion. The line is the antithesis to the static point, as motion is antithesis to position. Our eyes follow the line as they stop at a point. Kandinsky categorises lines into straight, angular, curved.
Straight line
Kandinsky describes generative cause of a line as action of one external force to a point. This line has a length of infinity. Therefore its tension represents the most concise form of the potential for endless movement. Typical straight lines can be horizontal vertical or diagonal. Kandinsky sees the horizontal line as a flat supportive base while the vertical line is a complete contrast, it has height. Diagonal line derives from both of them. According to Kandinsky, lines can be characterized by the centre into centric and acentric. Different arrangements of lines can be used in painting, architecture etc. where object needs to be organized in relation to particular centre. Different arrangements of lines lead to visual effect of pictorial depth.
Angular line
Kandinsky recognises angular lines as a more complex movement of a point influenced by two external forces. Moreover, an angular line is considered as one line. When the moving point changes its straight course this action gives a notion of external force. Kandinsky describes how a given context interacts with the straight line and changes its form. An angular line is created by alternate action of two forces. A curved line is created by simultaneous action of two forces.
Curved line
Kandinsky wrote that curved line is generated from simultaneous action of two forces on the point where the one force acts steadily and continually and exceed the other. This type of line tends to close itself. The simple curved line and the simple straight line have different characters. The straight line expresses the infinity, en endless movement. On the contrary, curved line has an elastic character. Therefore, these two types of lines constitute the primary contrasting pair of lines. An angular line has a straight segments and a curved line lacks this quality.
Complex lines
Kandinsky attempts to express the constructive power the parallel principle and the principle of contrast. The visual outcome is more complex and gives a notion of different rhythms. In complex combinations individual characteristics of lines become more obvious.Line has another characteristic; it tends to close itself and form in more solid structure the shape.
Texture in the line
Kandinsky treats the edges of the line as two independent lines that are not necessarily continuously parallel or straight. Therefore the outer lines can be considered as having a shape. They can be smooth, jagged, rounded line etc. All of these characteristics can be used in the three types of lines – straight, angular and curved – and each of the two sides can have a special treatment.
The weight of a line is also significant to Kandinsky’s theory. He names it emphasis. This linear accentuation can be gradual or spontaneous, increased or decreased in strength. The use of emphasis enables the line to attain the shape necessary at the moment.
Time in the line
The element of time in the line is much greater than in the case of the point. The length of the line is a concept of time. On the other hand, the time required to follow the straight line is different from that required for a curved one, even though the length is the same. The more animated the curved line becomes; the longer is the span of time it represents. The possibilities of using line as a time element are various.
Tension in the line
Kandinsky writes that the point is rest and the line is inwardly animated tension created by movement. The two elements developed their language which cannot be explained with words. The exclusion of "trimmings," which hush and obscure the inner sound of this message, lends the greatest brevity and precision to pictorial expressions. The pure form caries more tension and is able to dispose the living content.
The line is the clearest and simplest case of creative process. Creative process in this case is when the action of the force on the given material brings life into the material (e.g. stoke of the pencil on a paper), which expresses itself in the tensions. The tensions permit the nature of the element to be expressed. An element is the objective result of the action of the force on the material.
Kandinsky elaborated on tensions of different lines as well. The straight line has two distinct primitive tensions which play an unimportant role in case of the curved line. Tension in straight lines is minimal as straight lines are silentlines. Silence represents stillness. In a curved line tension resides in the ark and produces sound.
Line in media art
Music
As with the point Kandinsky emphasis that line can be used in other forms of art not only in a painting. He writes that a more or less precise translation of line’s characteristics can be found in other means of arts. Kandinsky writes that most music instruments are of a linear character. He gives an example of organ and piano. Organ according to Kandinsky is “line” instrument and piano a “point” instrument. As shown in the example above Kandinsky attempts to translate music in line and point. He further elaborates that in music the line supplies the greatest means of expression. Kandinsky writes that line manifest itself here in time and space just as it does in painting. Moreover he comments on graphical music representation that is common to use. Kandinsky talks about musical notation and he writes that it is nothing other than various combinations of point and line. He elaborates further that only one way to arrive at graphic expression is analytic separation into fundamental elements.
This separation is visible in “Narrative 2.0” created by Matthias Dittrich. Code allows people to experience music in a visual way. Therefor the frequencies of a music piece are analysed frame by frame. The frequencies are laid out fan like, symbolizing the growth of music building up to the main theme. The increase the emphasize of significant patterns of the music a highlight was added. The goal of the visualization was not to create a deconstructive code. The established system should rather enable the music to become a visual artist byitself, creating an aesthetic response to its music.
The same point of view of visualising music is seen in Martin Wattenbeerg’s work. Artist writes software called “The shape of song” that tries to visualise music. The custom software in this work draws musical patterns in the form of translucent arches, allowing viewers to see literally the shape of any composition available on the Web. The resulting images reflect the full range of musical forms, from the deep structure of Bach to the crystalline beauty of Philip Glass.
Dance
Kandinsky writes that in the dance, the whole body and every finger draws line with very clear expression. He elaborates that the “modern” dancer moves about the stage on exact lines. The entire body of the dancer is at very moment an uninterrupted composition of lines.
Kandinsky writes that all people at every stage of their “evolution” work with line in the dance. Motion Bank is a project that aims to share motion capture data from choreographies online. They believe that data visualizations can show invisible aspects of the dance. During this project Amin Weber created digital adaptation to a dance performance “No Time to Fly”. By using motion tracking technology artist translates dancers’ movements into animated data. This project illustrates Kandinsky’s vision that “the dancer is at very moment an uninterrupted composition of lines.”
Another project that visualizes dance data is synchronous objects. This database deals with series of objects that work in harmony to explore choreographic structure, reveal their patterns and reimagine what else they might look like. One of these exploratory works was made by Matt Lewis. He used data from dancing performances as an inspiration to create drawing tool. Drawing tool used data from the dance to drive the motion of the “paint brushes” that creates interesting animations and ultimate drawings.
Another visualization that was created during synchronous object project is “Allignment Annotations” that elucidates the dancers’ structures. This information graphic represents all of the movement materials cueing between dancers, and sync-ups that occur over the full length of the dance. It allows to examine discrete patterns of occurrence, repetition, and stillness that may be hard to perceive and retain purely by watching the dance. It was created through an interactive process of design and programming where aesthetic choices were imposed on the data through code which generated visuals.
Nature
Kandinsky writes that the use of line in nature is an exceedingly frequent one. He observes that it is especially important for the artist to see how nature uses the basic elements in her independent realm. What characteristics do these basic elements possess and in which manner do they combine to form structures. Examination of structures in nature can help to understand composition and formation but not to superficially imitate it. Kandinsky observes that the line appears in nature in countless phenomena: in the minerals, plants and animal world. He shows the schematic construction of the crystal, that is purely linear formation.
A plant in its entire development from seed to root as far as the beginning of the bud passes over from point to line. As it progresses it forms more complicated complexes of lines, independent structures. Point and line creates centric constructions of evergreen trees. The organic linear pattern of the branches always emanates from the same basic principle but exhibits the most varied arrangements. Kandinsky writes that both geometric constructions and more free line constructions can be found in the nature and in abstract painting.
Today it is possible to see Kandinsky’s insights about geometric constructions taken from nature in a simulation. Achievements of science let us simulate the natural world with high precision. But goal in design, art and architecture of using simulation software is different; it is a tool to explore something beyond.
Exploration of relationship between organic natural forms and their relationship to mathematical rules are visible in Andy Lomas works “Aggregation.” The sculptural shapes are created by a process of accretion over time.Shapes are gradually grown by simulating the paths of millions of particles randomly flowing in a field of forces. Over time they build on top of an initial simple seed surface to produce structures of immense complexity.
Another example showing linear constructions in nature, but this time in artificial animal is Theo Jansen’s work. For over a decade,he has worked to create a population of artificial animals that are able to survive unassisted on the beach of the Netherlands. The skeleton of these creatures are completely constructed of plastic tubing, are powered by wind, and they can secure themselves to ground in a storm. Theo Jansen uses a genetic algorithm to optimize the lengths of the bones.
Concept of the plane
The mathematical concept of the plane is as Aristotle describes “a line by its motion produces a surface”. This concept is close to Kandinsky’s decryption of the plane. The plane is planar shape or a form with closed boundaries. The material plane of the graphic surface becomes the finite graphic context that has closed linear boundaries and is approached as a shape of the composition.
The most stable and at the same time the most unstable plane is the circle. Kandinsky explains that curved line carries within it a seed of the plane. If the two forces, with conditions unchanged, roll the point ever further, the developing curve will arrive again at its starting point.
There is another possibility to form a plane. If the straight lines are move about the common meeting point, finally they flow into one another. In this way a new form appears – a plane in the shape of a circle.
There are many ways to create a plane. Their characteristics depend on the type of line they were created from. Kandinsky gives one example of primary contrasting pair of planes. Curved line needs two forces to create a plane in a contrast straight line needs three forces in plane creation.
When the basic elements are manipulated on the plane, the graphic context can be seen as a basic plane. Kandinsky observes that pairs of linear segments usually bound this context. The basic plane is a material plane that receives the content of the work of art.
According to Kandinsky the plane is a living being. He explains that when the basic plane receives the right elements in a right order this primitive living organism is transformed into a new living organism. It becomes no longer primitive but reveals all the characteristics of a fully developed organism. Further Kandinsky explains how the viewer should look at a basic plane. The right side of the basic plane should be the one which is opposite viewers left side and vice versa – as in the case of every other living thing.
Texture
Kandinsky defines two possibilities of a texture concerning the plane. Material plane is created in a pure material way and is dependent upon the nature of this creation. Therefore textural possibilities can be as such: smooth, rough, prickly, glossy, dull and plastic. On the material plane the elements lying firmly (materially) on a solid, hard, to the eye, tangible plane.
In a contrast to material plane Kandinsky describes dematerialized plane. There the elements are floating without material weight in an indefinable space. The purpose of this dematerialization in combination with the element according Kandinsky is the road from external to the inner.
Plane in media art
Kandinsky writes that in the future it will be possible to give to every composition its numerical expression. Kandinsky talks about composition where elements are organized in order and placed on a basic plane. Software Aaron embodies that vision. It is the most famous piece of creative software written by Harold Cohen. Aaron’s drawings have been displayed at numerous museums including Tate Britain in London and the San Francisco Museum of Modern Art. Aaron is fully automated and produces images without human interaction. Rules that are encoded in Aaron let software create consistent style and evaluate its drawings.
A different approach to the plane is found in Scott SonaSnibbe and Golan Levins research in “Interactive Dynamic Abstraction”. During this research several experiments in using pure human movement as the interface to dynamic abstract systems were presented. The goal was to create phenomenological interface that engage the unconscious mind directly. As Scott Snibbe described “these applications are visual instruments that allow immediateunderstanding of dynamic system, but point towards infinite challenges in their mastery as any good artistic medium.”
“Motion Phone” was created during 1989 and 1996. This software allows working “communicating” in a network of two, three or even four person at once in the same dynamic canvas. The Motion Phone provides an infinitely zoomable plane. Multiple “conversations” or compositions can take place at any position or scale within this virtual world. “Motion Phone” allows communication with colour, shape and movement.Motion phone touches another aspect of Kandinsky’s theory of the plane. According to Kandinsky the plane can be infinite. On one hand it is difficult to perceive infinitive by looking at the painting on the other hand it is easy to explore it in Motion Phone.