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Anchor 13

Additional Information

Anchor 14
Enthusiastic Dance
(Basic atmosphere I)

Digital print on canvas

B x H: 80cm x 100cm

Anchor 15
(Basic atmosphere II)


Digital print on canvas

B x H: 140cm x 140cm

nicht aus noch ein wissen, toter Punkt, 29.10.2021, neuer Lichtkegel und Lampe.jpg

dead point

(Basic atmosphere III)


Digital print on canvas

B x H: 101,5 cm x 200cm

gelassen (II)
(Basic atmosphere IV)


Digital print on canvas

B x H: 67cm x 150cm

gelassen (I)
(Basic atmosphere IV)


Digital print on canvas

B x H: 67cm x 150cm

Anchor 17
Hermann Hesse, Glasperlenspiel, Tito Designori, Kastalien, Magister Ludi, Morgenlandfahrer

Hermann Hesse, 1927, Foto: Gret Widmann

... "The young swimmer had looked back frequently and seen with satisfaction that the Magister had followed him into the water. Now he peered once again, no longer saw him, and became uneasy. He looked and called, then turned and swam rapidly back. He could not find him. Swimming and diving, he searched for the lost swimmer until his strength too began to give out in the bitter cold. Staggering, breathless, he reached land at last, saw the dressing gown lying on the shore, and picking it up began mechanically rubbing his body and limbs until the numbed skin warmed again., Stunned (wie betäubt) he sat down in the sunlight and stared into the water, whose cool blue-green now blinked at him strangely empty, alien, and evil. He felt overpowered by perplexity and deep sorrow, for with the waning of his physical weakness, awareness and the terror (Schreck) of what had happened returned to him.

Oh! he thought in grief and horror, now I am guilty of his death. And only now, when there was no longer need to save his pride or offer resistance, he felt, in shock and sorrow, how dear this man had already become to him. And since in spite of all rational objections he felt responsible for the Master's death, there came over him, with a premonitory shudder of awe, a sense (Ahnung) that this guilt would utterly change him and his life, and would demand much greater things of him than he had ever before demanded of himself."


Source: Hermann Hesse, The Glass Bead Game (Magister Ludi),  published by Stellar Books, 2013, p 248


Anchor 18
Hermann Hesse, Glasperlenspiel, Tito Designori, Kastalien, Magister Ludi, Morgenlandfahrer

Hermann Hesse, FOTO: Hesse Museum Gaienhofen

"Tito looked eagerly toward the dark crest of the mountain, behind which the sky pulsed in the morning light. Now a fragment of the rocky ridge flashed violently like a glowing metal beginning to melt. The crest blurred and seemed suddenly lower, as if it were melting down, and from the fiery gap the dazzling sun appeared. Simultaneously, the ground, the house, and their shore of the lake were illuminated, and the two, standing in the strong radiance, instantly felt the delightful warmth of this light. The boy, filled with the solemn beauty of the moment and the glorious sensation of his youth and strength, stretched his limbs with rhythmic arm movements, which his whole body soon took up, celebrating the break of day in an enthusiastic dance and expressing his deep oneness with the surging, radiant elements. His steps flew in joyous homage toward the victorious sun and reverently retreated from it; his outspread arms embraced mountain, lake, and sky; kneeling, he seemed to pay tribute to the earth mother, and extending his hands, to the waters of the lake; he offered himself, his youth, his freedom, his burning sense of his own life, like a festive sacrifice to the powers. The sunlight gleamed on his tanned shoulders; his eyes were half-closed to the dazzle; his young face stared masklike with an expression of inspired, almost fanatical gravity.

The Magister, too, was overpowered by the solemn spectacle of dawn breaking in this silent, rocky solitude. But he was even more fascinated by the human spectacle taking place before his eyes, this ceremonial dance performed by his pupil to welcome the morning and the sun. The dance elevated this moody, immature youth, conferring upon him a priestly solemnity, suddenly in a single moment irradiating and revealing to the onlooker his deepest and noblest tendencies, gifts, and destinies just as the appearance of the sun opened and illuminated this cold, gloomy mountain dale. In this moment the young man seemed to him stronger and more impressive than he had hitherto thought, but also harder, more inaccessible, more remote from culture, more pagan. This ceremonial and sacrificial dance under the sign of Pan (dieser Fest- und Opfertanz des panisch Begeisterten)  meant more than young Plinio's speeches and versemaking ever had; it raised the boy several stages higher, but also made him seem more alien, more elusive, less obedient to any summons.

The boy himself was in the grip of his impulse (Enthusiasmus), without knowing what was happening to him. He was not performing a dance he already knew, a dance he had practiced before. This was no familiar rite of celebrating sun and morning that he had long ago invented. Only later would he realize that his dance and his transported state in general were only partly caused by the mountain air, the sun, the dawn, his sense of freedom. They were also a response to the change awaiting him, the new chapter in his young life that had come in the friendly and awe-inspiring form of the Magister. In that morning hour many elements conspired in the soul of young Tito to shape his destiny and distinguish this hour above a thousand others as a high, a festive, a consecrated time. Without knowing what he was doing, asking no questions, he obeyed the command of this ecstatic moment, danced his worship, prayed to the sun, professed with devout movements and gestures his joy, his faith in life, his piety and reverence, both proudly and submissively offered up in the dance his devout soul as a sacrifice to the sun and the gods, and no less to the man he admired and feared, the sage and musician, the Master of the magic Game who had come to him from mysterious realms, his future teacher and friend.

All this, like the torrent of light from the sunrise, lasted only a few minutes. Stirred to the core, Knecht watched the wonderful show, in which his pupil before his eyes, changed and revealed himself, presenting himself in a new light, alien and entirely his equal. Both of them stood on the walk between house and hut, bathed in the radiance from the east and deeply shaken by their experience. Tito, having barely completed the last step of his dance, awoke from his ecstasy and stood still, like an animal surprised in solitary play, aware that he was not alone, that not only had he experienced and performed something unusual, but that he had also had a spectator. His first thought was how to extricate himself from the situation, which struck him now as somehow dangerous and shaming. He had to act vigorously, and smash the magic of these strange moments, which had totally absorbed and overwhelmed him.

His face, but a moment before an ageless, stern mask, assumed a childish and rather foolish expression, like that of a person awakened too abruptly from a deep sleep. His knees swayed slightly; he looked into his teacher's face with vapid astonishment, and in sudden haste, as though something very important had just occurred to him, something he had neglected, he stretched out his right arm and pointed (zeigende Gebärde) toward the opposite shore of the lake, which along with half the lake's waters still lay in the great, rapidly contracting shadow of the cliff whose top had already been conquered by the brilliance of the dawn.

Source: Hermann Hesse, The Glass Bead Game (Magister Ludi),  published by Stellar Books, 2013, p 246/7



Anchor 16

A few brief explanations and notes to the concept of

basic atmosphere

"Remains the basic atmosphere, then everything is a forced clatter of concepts and empty words."



"Die Grundstimmung heißt uns: das Erschrecken, die Verhaltenheit, die Scheu, die Ahnung, das Er-ahnen... Die Ahnung... ist in sich Schrecken und Begeisterung zugleich...



"Jede Nennung der Grundstimmung in einem einzigen Wort legt auf eine Irrmeinung fest.  ... Daß die Grundstimmung... vielnamig sein muß, widerstreitet nicht ihrer Einfachheit, bestätigt aber ihren Reichtum und ihre Befremdlichkeit."



"Die Grundstimmung aber ist nicht nur nicht Gefühl, ein Seelen- und Subjektvermögen unter anderen, sie ist nicht nur Grund  aller Verhaltungen, sie durchstimmend, sie ist nicht nur Befindlichkeit."



"Stimmung ist hier gemeint im inständlichen Sinne... Jede (andere) äußerliche und psychologische Vorstellung von Stimmung ist hier fernzuhalten."


Zum Begriff der Grundstimmung vgl.: Martin Heidegger, Gesamtausgabe, III. Abteilung: Unveröffentlichte Abhandlungen, Band 65, Beiträge zur Philosophie (Vom Ereignis), S.14ff, 20ff, Frankfurt am Main, 3.unveränderte Auflage 2003 und Band 66, Besinnung, S.236ff, 320ff, Frankfurt am Main 1997

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