INTERFACES OF MODERNITY: THE BOATS OF PAUL KLEE AND THE CONCERTO OP. 24 BY ANTON WEBERN

Abstract

Like a window, the interface is a surface of separation and, at the same time, an interdisciplinary transfer device, appearing in various forms in both the sciences and the arts, with important implications in innovation and creativity. Thus, both abstractionism and serialism have as their interface the mechanism of geometrization. The analysis of the painting Sailing Boats, Gently Moving (1927), by Paul Klee, viewed in paralel with Concerto for Nine Instruments, op. 24 (1934), by Anton Webern, reveals that, while modern art senses the dimension of temporality, modern music probes the expression of spatiality.