[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:00.36,0:00:03.68,Default,,0000,0000,0000,,(upbeat piano music)
Dialogue: 0,0:00:14.65,0:00:16.77,Default,,0000,0000,0000,,Male voiceover: We're going to\Nlook at an extremely large painting
Dialogue: 0,0:00:16.77,0:00:19.64,Default,,0000,0000,0000,,by the Russian painter Wassily Kandinsky,
Dialogue: 0,0:00:19.64,0:00:23.17,Default,,0000,0000,0000,,working in Munich in 1913.
Dialogue: 0,0:00:23.17,0:00:25.06,Default,,0000,0000,0000,,This is a painting that's in Moscow now.
Dialogue: 0,0:00:25.06,0:00:27.50,Default,,0000,0000,0000,,Female voiceover: It's a year\Nbefore the first world war began.
Dialogue: 0,0:00:27.50,0:00:31.27,Default,,0000,0000,0000,,Male voiceover: Exactly.\NThis called Composition VII.
Dialogue: 0,0:00:31.27,0:00:36.53,Default,,0000,0000,0000,,Female voiceover: Kandinsky actually\Nused a lot of really abstract titles.
Dialogue: 0,0:00:36.53,0:00:38.23,Default,,0000,0000,0000,,He painted a number of compositions.
Dialogue: 0,0:00:38.23,0:00:40.66,Default,,0000,0000,0000,,He painted a number of improvisations.
Dialogue: 0,0:00:40.66,0:00:41.70,Default,,0000,0000,0000,,Male voiceover: This is\Nthe kind of title ...
Dialogue: 0,0:00:41.70,0:00:42.80,Default,,0000,0000,0000,,Female voiceover: He's\Nborrowing from music.
Dialogue: 0,0:00:42.80,0:00:44.25,Default,,0000,0000,0000,,Male voiceover: Yeah. This is ...
Dialogue: 0,0:00:44.25,0:00:45.54,Default,,0000,0000,0000,,Male voiceover: Right, as\Nif this was orchestration.
Dialogue: 0,0:00:45.54,0:00:47.14,Default,,0000,0000,0000,,Female voiceover: It is\Norchestration for him.
Dialogue: 0,0:00:47.14,0:00:49.90,Default,,0000,0000,0000,,There are various things that\Nare important to Kandinsky
Dialogue: 0,0:00:49.90,0:00:54.20,Default,,0000,0000,0000,,and one of them is the way that color is
Dialogue: 0,0:00:54.20,0:00:56.96,Default,,0000,0000,0000,,endurably connected to\Nmusic and to other senses.
Dialogue: 0,0:00:56.96,0:01:00.75,Default,,0000,0000,0000,,We see certain sounds and\Nwe hear certain colors.
Dialogue: 0,0:01:00.75,0:01:03.40,Default,,0000,0000,0000,,Male voiceover: It's\Nalmost [unintelligible]\Naesthetic experience, right?
Dialogue: 0,0:01:03.40,0:01:04.00,Default,,0000,0000,0000,,Female voiceover: Yes.
Dialogue: 0,0:01:04.00,0:01:05.13,Default,,0000,0000,0000,,Male voiceover: There's\Na kind of alliance.
Dialogue: 0,0:01:05.13,0:01:09.17,Default,,0000,0000,0000,,There's a kind of natural\Npairing of color and sound,
Dialogue: 0,0:01:09.17,0:01:10.42,Default,,0000,0000,0000,,or color and shape.
Dialogue: 0,0:01:10.42,0:01:11.87,Default,,0000,0000,0000,,Female voiceover: I thought\Nit was all the senses,
Dialogue: 0,0:01:11.87,0:01:12.74,Default,,0000,0000,0000,,a connecting of all the senses.
Dialogue: 0,0:01:12.74,0:01:13.43,Default,,0000,0000,0000,,Male voiceover: It can be.
Dialogue: 0,0:01:13.43,0:01:14.78,Default,,0000,0000,0000,,I think there are different experiences.
Dialogue: 0,0:01:14.78,0:01:17.11,Default,,0000,0000,0000,,Female voiceover: I think,\Nlike, this soup tastes blue.
Dialogue: 0,0:01:17.11,0:01:19.94,Default,,0000,0000,0000,,Male voiceover: Exactly,\Nor the letter B is yellow.
Dialogue: 0,0:01:19.94,0:01:22.16,Default,,0000,0000,0000,,Female voiceover: I\Nhave a story about that.
Dialogue: 0,0:01:22.16,0:01:28.83,Default,,0000,0000,0000,,When I was three and I went to\Nthe doctor and my throat hurt,
Dialogue: 0,0:01:28.83,0:01:33.59,Default,,0000,0000,0000,,the doctor said, "How\Ndoes your throat feel?"
Dialogue: 0,0:01:33.59,0:01:35.58,Default,,0000,0000,0000,,I said, "Red."
Dialogue: 0,0:01:35.58,0:01:38.20,Default,,0000,0000,0000,,I remember shouting, "Red."
Dialogue: 0,0:01:38.20,0:01:42.59,Default,,0000,0000,0000,,I just remember feeling\Nthat it felt the color red.
Dialogue: 0,0:01:42.59,0:01:43.17,Default,,0000,0000,0000,,Male voiceover: There it is.
Dialogue: 0,0:01:43.17,0:01:44.59,Default,,0000,0000,0000,,Female voiceover: That was my main way
Dialogue: 0,0:01:44.59,0:01:47.83,Default,,0000,0000,0000,,of expressing how my throat felt.
Dialogue: 0,0:01:47.83,0:01:51.29,Default,,0000,0000,0000,,Maybe there is this\Nconnection between the senses
Dialogue: 0,0:01:51.29,0:01:53.76,Default,,0000,0000,0000,,and maybe there is a sense ...
Dialogue: 0,0:01:53.76,0:01:56.45,Default,,0000,0000,0000,,I think Kandinsky kind\Nof talks about this,
Dialogue: 0,0:01:56.45,0:01:58.67,Default,,0000,0000,0000,,maybe not exactly this way,
Dialogue: 0,0:01:58.67,0:02:03.50,Default,,0000,0000,0000,,but that our brain sort of ruined that.
Dialogue: 0,0:02:03.50,0:02:06.30,Default,,0000,0000,0000,,That we grow up and we\Nunderstand convention,
Dialogue: 0,0:02:06.30,0:02:10.29,Default,,0000,0000,0000,,more and more disassociated from\Nthose sort of primal connections.
Dialogue: 0,0:02:10.29,0:02:11.93,Default,,0000,0000,0000,,Male voiceover: Kandinsky\Nspent a lot of his life
Dialogue: 0,0:02:11.93,0:02:14.16,Default,,0000,0000,0000,,trying to reclaim that, though. Right?
Dialogue: 0,0:02:14.16,0:02:14.83,Default,,0000,0000,0000,,Female voiceover: Right.
Dialogue: 0,0:02:14.83,0:02:16.33,Default,,0000,0000,0000,,If we look back at the painting.
Dialogue: 0,0:02:16.33,0:02:18.39,Default,,0000,0000,0000,,I keep looking at it\Nand then looking away,
Dialogue: 0,0:02:18.39,0:02:19.74,Default,,0000,0000,0000,,and then looking at it again
Dialogue: 0,0:02:19.74,0:02:20.84,Default,,0000,0000,0000,,and trying to make sense of it.
Dialogue: 0,0:02:20.84,0:02:23.22,Default,,0000,0000,0000,,I think one of the things that's\Ndifficult for about Kandinsky
Dialogue: 0,0:02:23.22,0:02:26.66,Default,,0000,0000,0000,,is that I don't really know what\Nhe's doing a lot of the time.
Dialogue: 0,0:02:26.66,0:02:29.56,Default,,0000,0000,0000,,Then, if I try not to think\Nabout what he's doing so much
Dialogue: 0,0:02:29.56,0:02:32.18,Default,,0000,0000,0000,,and more about what it looks like
Dialogue: 0,0:02:32.18,0:02:34.76,Default,,0000,0000,0000,,and maybe something about\Nwhat it sounds like.
Dialogue: 0,0:02:34.76,0:02:37.88,Default,,0000,0000,0000,,He named his paintings\NComposition or Improvisation.
Dialogue: 0,0:02:37.88,0:02:41.88,Default,,0000,0000,0000,,He was also friends with one of\Nthe great early modern composers,
Dialogue: 0,0:02:41.88,0:02:44.12,Default,,0000,0000,0000,,the Viennese composer, Arnold Schoenberg.
Dialogue: 0,0:02:44.12,0:02:47.20,Default,,0000,0000,0000,,Schoenberg works with atonal sounds
Dialogue: 0,0:02:47.20,0:02:49.27,Default,,0000,0000,0000,,and atonal systems and compositions.
Dialogue: 0,0:02:49.27,0:02:53.77,Default,,0000,0000,0000,,If you listen to Schoenberg's music\Nand you look at Kandinsky's painting,
Dialogue: 0,0:02:53.77,0:02:54.93,Default,,0000,0000,0000,,I think it makes so much more sense.
Dialogue: 0,0:02:54.93,0:02:56.29,Default,,0000,0000,0000,,Male voiceover: I think we\Nhave a little bit, right?
Dialogue: 0,0:02:56.29,0:02:57.18,Default,,0000,0000,0000,,Female voiceover: I think we do.
Dialogue: 0,0:02:57.18,0:03:21.08,Default,,0000,0000,0000,,(soft orchestra music)
Dialogue: 0,0:03:21.08,0:03:22.85,Default,,0000,0000,0000,,Male voiceover: When\NI listen to Schoenberg
Dialogue: 0,0:03:22.85,0:03:24.69,Default,,0000,0000,0000,,and when I listen to atonal music,
Dialogue: 0,0:03:24.69,0:03:29.80,Default,,0000,0000,0000,,I often feel like there is a\Nreal attempt to shape sound
Dialogue: 0,0:03:29.80,0:03:34.41,Default,,0000,0000,0000,,and let it exist somehow\Nas this sort of abstract
Dialogue: 0,0:03:34.41,0:03:36.35,Default,,0000,0000,0000,,almost representation of itself.
Dialogue: 0,0:03:36.35,0:03:37.41,Default,,0000,0000,0000,,Female voiceover: Mm-hmm. (Affirmative)
Dialogue: 0,0:03:37.41,0:03:40.72,Default,,0000,0000,0000,,Male voiceover: I do see a kind\Nof affiliation between that
Dialogue: 0,0:03:40.72,0:03:42.62,Default,,0000,0000,0000,,and what some of the artist\Nof this period are doing,
Dialogue: 0,0:03:42.62,0:03:44.38,Default,,0000,0000,0000,,especially somebody like Kandinsky.
Dialogue: 0,0:03:44.38,0:03:45.49,Default,,0000,0000,0000,,Female voiceover: I think the separation
Dialogue: 0,0:03:45.49,0:03:48.74,Default,,0000,0000,0000,,of the representation\Nfrom the natural world,
Dialogue: 0,0:03:48.74,0:03:53.55,Default,,0000,0000,0000,,whether it's sound and music separated\Nfrom a narrative composition,
Dialogue: 0,0:03:53.55,0:03:54.74,Default,,0000,0000,0000,,or whether it's ...
Dialogue: 0,0:03:54.74,0:03:58.16,Default,,0000,0000,0000,,Male voiceover: But, music composition ...
Dialogue: 0,0:03:58.16,0:04:03.95,Default,,0000,0000,0000,,sort of high music, what we now call\Nclassical music, is often disassociated.
Dialogue: 0,0:04:03.95,0:04:06.58,Default,,0000,0000,0000,,There are examples, of\Ncourse Beethoven sometimes,
Dialogue: 0,0:04:06.58,0:04:10.61,Default,,0000,0000,0000,,the 6th Symphony will be\Nmimicking some sort of storm.
Dialogue: 0,0:04:10.61,0:04:12.74,Default,,0000,0000,0000,,Very often there isn't\Nthat direct narrative.
Dialogue: 0,0:04:12.74,0:04:14.95,Default,,0000,0000,0000,,There is a kind of inherent abstraction.
Dialogue: 0,0:04:14.95,0:04:15.66,Default,,0000,0000,0000,,Female voiceover: In music.
Dialogue: 0,0:04:15.66,0:04:16.32,Default,,0000,0000,0000,,Male voiceover: In music.
Dialogue: 0,0:04:16.32,0:04:17.95,Default,,0000,0000,0000,,When you get to the atonal,
Dialogue: 0,0:04:17.95,0:04:21.52,Default,,0000,0000,0000,,more conscious reference to\Nthe sound of music itself,
Dialogue: 0,0:04:21.52,0:04:23.74,Default,,0000,0000,0000,,to the representation of music, almost.
Dialogue: 0,0:04:23.74,0:04:25.24,Default,,0000,0000,0000,,Which I see is sort of more paired
Dialogue: 0,0:04:25.24,0:04:27.91,Default,,0000,0000,0000,,to this more subconscious\Nabstraction in painting.
Dialogue: 0,0:04:27.91,0:04:28.74,Default,,0000,0000,0000,,Female voiceover: Mm-hmm.
Dialogue: 0,0:04:28.74,0:04:29.82,Default,,0000,0000,0000,,Male voiceover: But, you've\Njust called on, I think,
Dialogue: 0,0:04:29.82,0:04:33.11,Default,,0000,0000,0000,,a really important and really\Nsignificant kind of distinction
Dialogue: 0,0:04:33.11,0:04:34.38,Default,,0000,0000,0000,,between painting music,
Dialogue: 0,0:04:34.38,0:04:37.95,Default,,0000,0000,0000,,which is painting as always trying\Nto craft something that it's not.
Dialogue: 0,0:04:37.95,0:04:41.74,Default,,0000,0000,0000,,Music, it has been much more\Ncomfortable historically, I think,
Dialogue: 0,0:04:41.74,0:04:43.37,Default,,0000,0000,0000,,with it's inherit abstraction.
Dialogue: 0,0:04:43.37,0:04:48.36,Default,,0000,0000,0000,,Female voiceover: Music, it\Nso specifically changes mood
Dialogue: 0,0:04:48.36,0:04:52.12,Default,,0000,0000,0000,,and it allows you to sort of\Nstay in that different space
Dialogue: 0,0:04:52.12,0:04:53.39,Default,,0000,0000,0000,,and it evokes emotion.
Dialogue: 0,0:04:53.39,0:04:56.62,Default,,0000,0000,0000,,It sort of brings you to\Nthat very particular place.
Dialogue: 0,0:04:56.62,0:05:01.12,Default,,0000,0000,0000,,Listening to the Schoenberg, it\Nfeels really uncomfortable to me,
Dialogue: 0,0:05:01.12,0:05:02.04,Default,,0000,0000,0000,,to my ears.
Dialogue: 0,0:05:02.04,0:05:03.21,Default,,0000,0000,0000,,It's not something that's pleasant.
Dialogue: 0,0:05:03.21,0:05:05.96,Default,,0000,0000,0000,,I start to feel physically discomforted.
Dialogue: 0,0:05:05.96,0:05:07.59,Default,,0000,0000,0000,,I just don't really like it,
Dialogue: 0,0:05:07.59,0:05:10.13,Default,,0000,0000,0000,,but that's part of what the idea is.
Dialogue: 0,0:05:10.13,0:05:13.53,Default,,0000,0000,0000,,Painting, at this point, the\Nmodernist, in the early 20th century,
Dialogue: 0,0:05:13.53,0:05:17.69,Default,,0000,0000,0000,,are trying to cause a kind of disruption.
Dialogue: 0,0:05:17.69,0:05:18.29,Default,,0000,0000,0000,,Male voiceover: Yeah.
Dialogue: 0,0:05:18.29,0:05:19.69,Default,,0000,0000,0000,,Female voiceover: I think that's\Na really interesting question.
Dialogue: 0,0:05:19.69,0:05:24.67,Default,,0000,0000,0000,,I mean, what it is about\Natonality or dissonance
Dialogue: 0,0:05:24.67,0:05:30.83,Default,,0000,0000,0000,,or in the Kandinsky paintings, forms\Nthat don't look so obviously harmonious?
Dialogue: 0,0:05:30.83,0:05:31.63,Default,,0000,0000,0000,,Female voiceover: Mm-hmm.
Dialogue: 0,0:05:31.63,0:05:35.25,Default,,0000,0000,0000,,Female voiceover: Like in this\Npainting where there's shapes and lines
Dialogue: 0,0:05:35.25,0:05:37.46,Default,,0000,0000,0000,,moving in different directions,
Dialogue: 0,0:05:37.46,0:05:41.36,Default,,0000,0000,0000,,kind of a sense of parts clashing together
Dialogue: 0,0:05:41.36,0:05:44.25,Default,,0000,0000,0000,,and coming together in\Nthat kind of dissonant way.
Dialogue: 0,0:05:44.25,0:05:45.58,Default,,0000,0000,0000,,Male voiceover: Like\Na disruption of space.
Dialogue: 0,0:05:45.58,0:05:47.100,Default,,0000,0000,0000,,Female voiceover: What\Nis it about modernism
Dialogue: 0,0:05:47.100,0:05:54.86,Default,,0000,0000,0000,,that sort of asks for the disruption\Nof melody and harmonious sound
Dialogue: 0,0:05:54.86,0:06:01.62,Default,,0000,0000,0000,,and sees atonality as a more\Neffective representation of itself?
Dialogue: 0,0:06:01.62,0:06:03.72,Default,,0000,0000,0000,,Female Voiceover: Kandinsky\Nis really trying to evoke
Dialogue: 0,0:06:03.72,0:06:08.86,Default,,0000,0000,0000,,his particular subjective\Nexperience of a color
Dialogue: 0,0:06:08.86,0:06:11.12,Default,,0000,0000,0000,,or of a shape or of whatever\Nelse he's looking at.
Dialogue: 0,0:06:11.12,0:06:13.62,Default,,0000,0000,0000,,He's sort of creating\Nthat subjective moment,
Dialogue: 0,0:06:13.62,0:06:18.06,Default,,0000,0000,0000,,making it look specifically non\Nreferential and non naturalistic.
Dialogue: 0,0:06:18.06,0:06:21.13,Default,,0000,0000,0000,,It's not about making a\Nbridge look like a bridge.
Dialogue: 0,0:06:21.13,0:06:23.72,Default,,0000,0000,0000,,It's about, what do you feel like\Nwhen you're crossing a bridge,
Dialogue: 0,0:06:23.72,0:06:25.02,Default,,0000,0000,0000,,what does that do to you.
Dialogue: 0,0:06:25.02,0:06:28.33,Default,,0000,0000,0000,,If you look at the topic, I mean,\Nis that a horizon line up there?
Dialogue: 0,0:06:28.33,0:06:28.96,Default,,0000,0000,0000,,I don't know.
Dialogue: 0,0:06:28.96,0:06:30.86,Default,,0000,0000,0000,,What is he ...
Dialogue: 0,0:06:30.86,0:06:31.86,Default,,0000,0000,0000,,Is this a landscape?
Dialogue: 0,0:06:31.86,0:06:33.33,Default,,0000,0000,0000,,Figure out what anything is.
Dialogue: 0,0:06:33.33,0:06:34.76,Default,,0000,0000,0000,,I think that that's his point.
Dialogue: 0,0:06:34.76,0:06:36.71,Default,,0000,0000,0000,,Male voiceover: It does feel\Nlike it's a painting about
Dialogue: 0,0:06:36.71,0:06:40.03,Default,,0000,0000,0000,,a kind of conflict of the\Nforms themselves. Right?
Dialogue: 0,0:06:40.03,0:06:40.77,Default,,0000,0000,0000,,Female voiceover: Mm-hmm.
Dialogue: 0,0:06:40.77,0:06:41.88,Default,,0000,0000,0000,,Male voiceover: I think you're right.
Dialogue: 0,0:06:41.88,0:06:45.46,Default,,0000,0000,0000,,I think he sort of pushes\Npast our desire to associate
Dialogue: 0,0:06:45.46,0:06:48.66,Default,,0000,0000,0000,,this will landscape or still life\Nor some sort of representation,
Dialogue: 0,0:06:48.66,0:06:50.26,Default,,0000,0000,0000,,even if it's abstracted.
Dialogue: 0,0:06:50.26,0:06:51.55,Default,,0000,0000,0000,,We sort of get ...
Dialogue: 0,0:06:51.55,0:06:55.55,Default,,0000,0000,0000,,He's very successful, I think, in\Nsort of pushing us to another point
Dialogue: 0,0:06:55.55,0:06:59.63,Default,,0000,0000,0000,,where we actually can take seriously\Nthis notion of form and color
Dialogue: 0,0:06:59.63,0:07:02.60,Default,,0000,0000,0000,,beginning to have\Nconflict in and of itself.
Dialogue: 0,0:07:02.60,0:07:05.88,Default,,0000,0000,0000,,In a sense, making the\Nabstract legitimate.
Dialogue: 0,0:07:05.88,0:07:08.30,Default,,0000,0000,0000,,Female voiceover: Read against\Nyellow, blue with green.
Dialogue: 0,0:07:08.30,0:07:08.76,Default,,0000,0000,0000,,Female voiceover: Yeah.
Dialogue: 0,0:07:08.76,0:07:10.13,Default,,0000,0000,0000,,Male voiceover: Yeah and in someways,
Dialogue: 0,0:07:10.13,0:07:12.48,Default,,0000,0000,0000,,that's what the music that we just\Nlistened to was doing as well.
Dialogue: 0,0:07:12.48,0:07:15.21,Default,,0000,0000,0000,,The very term, atonal, is speaking of this
Dialogue: 0,0:07:15.21,0:07:16.46,Default,,0000,0000,0000,,kind of this kind conflict between sound.
Dialogue: 0,0:07:16.46,0:07:18.21,Default,,0000,0000,0000,,Female voiceover: Something\Nabout the modern world though,
Dialogue: 0,0:07:18.21,0:07:20.54,Default,,0000,0000,0000,,that doesn't feel like it matches.
Dialogue: 0,0:07:20.54,0:07:21.60,Default,,0000,0000,0000,,Male voiceover: In that part of it.
Dialogue: 0,0:07:21.60,0:07:22.83,Default,,0000,0000,0000,,Female voiceover: Right. Female\Nvoiceover: In classical music\Nthere's a narrative in it.
Dialogue: 0,0:07:22.83,0:07:23.52,Default,,0000,0000,0000,,Female voiceover: Right.\NThere's a narrative
Dialogue: 0,0:07:23.52,0:07:24.49,Default,,0000,0000,0000,,and there's a resolution,\Neven if it's disrupted.
Dialogue: 0,0:07:24.49,0:07:25.34,Default,,0000,0000,0000,,Male voiceover: Yes.
Dialogue: 0,0:07:25.34,0:07:30.93,Default,,0000,0000,0000,,Female voiceover: That sense of things\Ncoming of the center, not holding, right?
Dialogue: 0,0:07:30.93,0:07:31.62,Default,,0000,0000,0000,,Male voiceover: Yeah.
Dialogue: 0,0:07:31.62,0:07:32.96,Default,,0000,0000,0000,,Female voiceover: To use Yates,
Dialogue: 0,0:07:32.96,0:07:34.83,Default,,0000,0000,0000,,of things coming apart.
Dialogue: 0,0:07:34.83,0:07:35.33,Default,,0000,0000,0000,,Female voiceover: Mm-hmm.
Dialogue: 0,0:07:35.33,0:07:39.03,Default,,0000,0000,0000,,Female voiceover: Of the\Nworld not having a narrative
Dialogue: 0,0:07:39.03,0:07:41.29,Default,,0000,0000,0000,,that explains it, that makes sense,
Dialogue: 0,0:07:41.29,0:07:45.32,Default,,0000,0000,0000,,that represents human beings\Nposition in the universe anymore.
Dialogue: 0,0:07:45.32,0:07:47.24,Default,,0000,0000,0000,,Male voiceover: It's so\Nseductive to then say,
Dialogue: 0,0:07:47.24,0:07:51.16,Default,,0000,0000,0000,,okay this is 1913, the first\Nworld war is about to break out.
Dialogue: 0,0:07:51.16,0:07:51.83,Default,,0000,0000,0000,,Female voiceover: Right.\NFemale voiceover: Right.
Dialogue: 0,0:07:51.83,0:07:53.08,Default,,0000,0000,0000,,Male voiceover: All of\Nthose players are there.
Dialogue: 0,0:07:53.08,0:07:54.90,Default,,0000,0000,0000,,I think we have to be very\Ncareful about doing that,
Dialogue: 0,0:07:54.90,0:07:57.08,Default,,0000,0000,0000,,but never the less, this\Nis a world that is really
Dialogue: 0,0:07:57.08,0:07:59.08,Default,,0000,0000,0000,,sort of at a moment of crisis.
Dialogue: 0,0:07:59.08,0:08:03.36,Default,,0000,0000,0000,,Female voiceover: I think the idea\Nof apocalypse in inescapable here.
Dialogue: 0,0:08:03.36,0:08:04.49,Default,,0000,0000,0000,,We haven't talked about it,
Dialogue: 0,0:08:04.49,0:08:07.58,Default,,0000,0000,0000,,but in looking at it, it feels\Nlike Kandinsky is looking
Dialogue: 0,0:08:07.58,0:08:13.66,Default,,0000,0000,0000,,with ideas of apocalypse, that he's\Nlooking to kind of destroy and then renew,
Dialogue: 0,0:08:13.66,0:08:16.80,Default,,0000,0000,0000,,which is a really seductive idea\Nfor the artist at this time.
Dialogue: 0,0:08:16.80,0:08:18.19,Default,,0000,0000,0000,,Male voiceover: Yeah.
Dialogue: 0,0:08:18.19,0:08:21.32,Default,,0000,0000,0000,,Female: [Unintelligible]\Nlike destroy what's there.
Dialogue: 0,0:08:21.32,0:08:22.77,Default,,0000,0000,0000,,Female voiceover: What is that?
Dialogue: 0,0:08:22.77,0:08:24.47,Default,,0000,0000,0000,,Female voiceover: Because in\Norder to make something new,
Dialogue: 0,0:08:24.47,0:08:25.72,Default,,0000,0000,0000,,you have to destroy what's already there.
Dialogue: 0,0:08:25.72,0:08:27.84,Default,,0000,0000,0000,,Male voiceover: Also this\Nnotion of just this ...
Dialogue: 0,0:08:27.84,0:08:28.52,Default,,0000,0000,0000,,Female voiceover: Wipe it all away.
Dialogue: 0,0:08:28.52,0:08:29.70,Default,,0000,0000,0000,,Female: Mm-hmm, wipe it away.
Dialogue: 0,0:08:29.70,0:08:31.35,Default,,0000,0000,0000,,Male voiceover: Absolutely,\Nand create a utopia ...
Dialogue: 0,0:08:31.35,0:08:32.00,Default,,0000,0000,0000,,Female voiceover: Yeah.
Dialogue: 0,0:08:32.00,0:08:33.02,Default,,0000,0000,0000,,Male voiceover: ... that would replace it.
Dialogue: 0,0:08:33.02,0:08:35.73,Default,,0000,0000,0000,,Female voiceover: To me, I think,\None of things that's really amazing
Dialogue: 0,0:08:35.73,0:08:37.79,Default,,0000,0000,0000,,is that this is before World War I
Dialogue: 0,0:08:37.79,0:08:39.46,Default,,0000,0000,0000,,and so much changes after World War I.
Dialogue: 0,0:08:39.46,0:08:42.30,Default,,0000,0000,0000,,I think when they\Nrealize [unintelligible].
Dialogue: 0,0:08:42.30,0:08:44.08,Default,,0000,0000,0000,,Female voiceover: Wipe everything\Nout is not such a good idea.
Dialogue: 0,0:08:44.08,0:08:48.42,Default,,0000,0000,0000,,Female voiceover: No, it actually\Ndoesn't do anything necessarily good.
Dialogue: 0,0:08:48.42,0:08:50.42,Default,,0000,0000,0000,,Male voiceover: Right, and\Nnow we have the technology
Dialogue: 0,0:08:50.42,0:08:51.86,Default,,0000,0000,0000,,that actually allows us to do that.
Dialogue: 0,0:08:51.86,0:08:52.25,Default,,0000,0000,0000,,Female voiceover: Yeah.
Dialogue: 0,0:08:52.25,0:08:53.40,Default,,0000,0000,0000,,Male voiceover: We have machine guns.
Dialogue: 0,0:08:53.40,0:08:54.16,Default,,0000,0000,0000,,We have ... yeah.
Dialogue: 0,0:08:54.16,0:08:55.08,Default,,0000,0000,0000,,Female voiceover: Look what happens.
Dialogue: 0,0:08:55.08,0:08:57.08,Default,,0000,0000,0000,,People are maimed and horrible disfigured
Dialogue: 0,0:08:57.08,0:08:58.39,Default,,0000,0000,0000,,and it's actually not as pretty.
Dialogue: 0,0:08:58.39,0:08:59.17,Default,,0000,0000,0000,,Female voiceover: People\Ndon't come back from war.
Dialogue: 0,0:08:59.17,0:08:59.73,Default,,0000,0000,0000,,Female voiceover: No, they don't.
Dialogue: 0,0:08:59.73,0:09:05.08,Default,,0000,0000,0000,,They don't have visions that\Ngive them access to new truths.
Dialogue: 0,0:09:05.08,0:09:08.91,Default,,0000,0000,0000,,They just sort of see, basically, how\Nhorrible people are to one another.
Dialogue: 0,0:09:08.91,0:09:10.20,Default,,0000,0000,0000,,I think this is sort of before that.
Dialogue: 0,0:09:10.20,0:09:13.66,Default,,0000,0000,0000,,There's a kind of utopian idea\Nof what apocalypse will bring,
Dialogue: 0,0:09:13.66,0:09:15.41,Default,,0000,0000,0000,,that it will bring some\Nkind of inner truth.
Dialogue: 0,0:09:15.41,0:09:16.89,Default,,0000,0000,0000,,Male voiceover: Is there\Nalso sort of a religious ...
Dialogue: 0,0:09:16.89,0:09:18.23,Default,,0000,0000,0000,,Female: There's a spiritual.
Dialogue: 0,0:09:18.23,0:09:19.23,Default,,0000,0000,0000,,Male voiceover: I mean, a\Nkind of spiritual aspect here.
Dialogue: 0,0:09:19.23,0:09:20.05,Default,,0000,0000,0000,,Female voiceover: Definitely. \NFemale voiceover: Yeah.
Dialogue: 0,0:09:20.05,0:09:22.66,Default,,0000,0000,0000,,Female voiceover: Kandinsky wrote\Non the spiritual in art in 1911,
Dialogue: 0,0:09:22.66,0:09:24.33,Default,,0000,0000,0000,,two years before he paints this.
Dialogue: 0,0:09:24.33,0:09:30.46,Default,,0000,0000,0000,,He evokes a lot of connection between\Ncolor and art and faith and spirituality,
Dialogue: 0,0:09:30.46,0:09:32.58,Default,,0000,0000,0000,,having that core belief in something.
Dialogue: 0,0:09:32.58,0:09:37.16,Default,,0000,0000,0000,,Female voiceover: For him, the modern\Nworld has lost that spirituality,
Dialogue: 0,0:09:37.16,0:09:40.39,Default,,0000,0000,0000,,that innocence, that\Nconnection to emotion ...
Dialogue: 0,0:09:40.39,0:09:41.91,Default,,0000,0000,0000,,Female voiceover: Mm-hmm.
Dialogue: 0,0:09:41.91,0:09:43.66,Default,,0000,0000,0000,,Female voiceover: ... and\Nsort of primal emotion
Dialogue: 0,0:09:43.66,0:09:48.19,Default,,0000,0000,0000,,and the apocalypse might restore\Nthat to human beings, ...
Dialogue: 0,0:09:48.19,0:09:48.96,Default,,0000,0000,0000,,Female voiceover: Mm-hmm, absolutely.
Dialogue: 0,0:09:48.96,0:09:51.40,Default,,0000,0000,0000,,Female voiceover: ... what culture,\Nin a way, has stolen from us.
Dialogue: 0,0:09:51.40,0:09:53.28,Default,,0000,0000,0000,,It's a very primitivist idea.
Dialogue: 0,0:09:53.28,0:09:53.83,Default,,0000,0000,0000,,Female voiceover: Mm-hmm.
Dialogue: 0,0:09:53.83,0:09:56.95,Default,,0000,0000,0000,,Female voiceover: I find this\Nidea, the colors, the ...
Dialogue: 0,0:09:56.95,0:09:57.86,Default,,0000,0000,0000,,Male voiceover: The movement.
Dialogue: 0,0:09:57.86,0:09:58.83,Default,,0000,0000,0000,,Female voiceover: ... the\Nconnections of everything,
Dialogue: 0,0:09:58.83,0:10:01.78,Default,,0000,0000,0000,,the things moving apart\Nand coming together,
Dialogue: 0,0:10:01.78,0:10:04.28,Default,,0000,0000,0000,,I mean, it's ... you know.
Dialogue: 0,0:10:04.28,0:10:09.36,Default,,0000,0000,0000,,When I allow myself to have\Ncolors and lines and shapes
Dialogue: 0,0:10:09.36,0:10:14.01,Default,,0000,0000,0000,,just sort of suggest feelings\Nand tastes and smells,
Dialogue: 0,0:10:14.01,0:10:16.51,Default,,0000,0000,0000,,then I think this painting\Nbecomes really enjoyable.
Dialogue: 0,0:10:16.51,0:10:19.36,Default,,0000,0000,0000,,Male voiceover: There's a kind\Nof incredible freedom here
Dialogue: 0,0:10:19.36,0:10:20.63,Default,,0000,0000,0000,,that, you used the word expressionist,
Dialogue: 0,0:10:20.63,0:10:24.26,Default,,0000,0000,0000,,it's so different from later\NKandinsky, where things become
Dialogue: 0,0:10:24.26,0:10:28.47,Default,,0000,0000,0000,,so much more systematized\Nin a way, and clarified.
Dialogue: 0,0:10:28.47,0:10:32.67,Default,,0000,0000,0000,,There's a wonderful\Nsense of invention here.
Dialogue: 0,0:10:32.67,0:10:34.90,Default,,0000,0000,0000,,Female voiceover: It's large, so it\Nwould have been really immersive.
Dialogue: 0,0:10:34.90,0:10:35.67,Default,,0000,0000,0000,,Male voiceover: Yeah.
Dialogue: 0,0:10:35.67,0:10:37.96,Default,,0000,0000,0000,,Female voiceover: One wonders\Nat the extent to which
Dialogue: 0,0:10:37.96,0:10:41.15,Default,,0000,0000,0000,,he was trying to give us\Na kind grand statement of.
Dialogue: 0,0:10:41.15,0:10:41.93,Default,,0000,0000,0000,,Male voiceover: A symphony.
Dialogue: 0,0:10:41.93,0:10:43.76,Default,,0000,0000,0000,,Female voiceover: I guess\Nthe longer that I look at it,
Dialogue: 0,0:10:43.76,0:10:45.63,Default,,0000,0000,0000,,I can understand more of it,
Dialogue: 0,0:10:45.63,0:10:50.60,Default,,0000,0000,0000,,but I have a hard time really enjoying it.
Dialogue: 0,0:10:50.60,0:10:51.40,Default,,0000,0000,0000,,Male voiceover: It's a tough painting.
Dialogue: 0,0:10:51.40,0:10:52.29,Default,,0000,0000,0000,,Female: It's a tough painting.
Dialogue: 0,0:10:52.29,0:10:53.26,Default,,0000,0000,0000,,Female voiceover: It is a tough painting.
Dialogue: 0,0:10:53.26,0:10:54.53,Default,,0000,0000,0000,,Female voiceover: I think\Nit's meant to be tough.
Dialogue: 0,0:10:54.53,0:10:55.36,Default,,0000,0000,0000,,Maybe that's ...
Dialogue: 0,0:10:55.36,0:10:56.40,Default,,0000,0000,0000,,Male voiceover: That's a tough moment.
Dialogue: 0,0:10:56.40,0:10:58.15,Default,,0000,0000,0000,,Female voiceover: It's\Ninteresting that it's still tough.
Dialogue: 0,0:10:58.15,0:11:00.90,Default,,0000,0000,0000,,Female voiceover: Duchamp and Warhol
Dialogue: 0,0:11:00.90,0:11:05.13,Default,,0000,0000,0000,,and the whole century of modernism\Nand post modernism have passed
Dialogue: 0,0:11:05.13,0:11:07.41,Default,,0000,0000,0000,,and this is still a difficult art.
Dialogue: 0,0:11:07.41,0:11:08.27,Default,,0000,0000,0000,,Male voiceover: Schoenberg is still tough.
Dialogue: 0,0:11:08.27,0:11:09.30,Default,,0000,0000,0000,,Female voiceover: Yeah,\NSchoenberg is still tough.
Dialogue: 0,0:11:09.30,0:11:09.74,Default,,0000,0000,0000,,Male voiceover: Yeah.
Dialogue: 0,0:11:09.74,0:11:10.49,Default,,0000,0000,0000,,Female voiceover: That says a lot.
Dialogue: 0,0:11:10.49,0:11:11.16,Default,,0000,0000,0000,,Male voiceover: It does.
Dialogue: 0,0:11:11.16,0:11:12.20,Default,,0000,0000,0000,,Female voiceover: There's\Nstill a lot of power.
Dialogue: 0,0:11:12.20,0:11:16.30,Default,,0000,0000,0000,,(upbeat piano music)