Ao Chen

Rhythmus 21 (Hans Richter, 1921) has earned a highly influential position in abstract or absolute film, presenting the rectangles of various sizes that seem to initiate a sense of depth. Nevertheless, the spatial experience of seeing this film can fall apart if Buddhist dust theory is applied to the discussion of spatial experience. This article uses wufen weichen (extremely tiny and indivisible dust) in Buddhist studies as a philosophical methodology for scrutinising the spatial experience of seeing Rhythmus 21, arguing that there is no inherently spatial depth manifested in this film because all the rectangles can be seen as the same size. In other words, there are no large and small rectangles establishing close and distant zones. This argument will lead to an alternative epistemological understanding of no-absolute-size, which will trigger a re-examination of the existential state of spatial depth. Throughout this article, detailed analyses of the rectangles’ sizes within the philosophical context of Buddhist dust theory will give rise to a new ontological interpretation of space in this film.

Rhythmus 21 (Hans Richter, 1921) has earned a highly influential position in abstract or absolute film, presenting the rectangles of various sizes that seem to initiate a sense of depth. Nevertheless, the spatial experience of seeing this film can fall apart if Buddhist dust theory is applied to the discussion of spatial experience. This article uses wufen weichen (extremely tiny and indivisible dust) in Buddhist studies as a philosophical methodology for scrutinising the spatial experience of seeing Rhythmus 21, arguing that there is no inherently spatial depth manifested in this film because all the rectangles can be seen as the same size. In other words, there are no large and small rectangles establishing close and distant zones. This argument will lead to an alternative epistemological understanding of no-absolute-size, which will trigger a re-examination of the existential state of spatial depth. Throughout this article, detailed analyses of the rectangles’ sizes within the philosophical context of Buddhist dust theory will give rise to a new ontological interpretation of space in this film.

Previous research suggests that mastering languages with distinct rather than similar rhythmic properties enhances musical rhythmic perception. This study investigates whether learning a second language (L2) enhances the perception of musical rhythmic variation in general, regardless of first and second languages’ rhythmic properties. Additionally, we investigated whether this perceptual enhancement could be alternatively explained by exposure to musical rhythmic complexity, such as the use of compound meter in Turkish music. Finally, it investigates if an enhancement of musical rhythmic perception could be observed among L2 learners whose first language relies heavily on pitch information, as is the case with tonal languages. Therefore, we tested Turkish, Dutch and Mandarin L2 learners of English and Turkish monolinguals on their ability to perceive musical rhythmic variation. Participants’ phonological and working memory capacities, melodic aptitude, years of formal musical training and daily exposure to music were assessed to account for cultural and individual differences which could impact their rhythmic ability. Our results suggest that mastering a second language rather than exposure to musical rhythmic complexity could explain individuals’ enhanced perception of musical rhythmic variation. An even stronger enhancement of musical rhythmic perception was observed for L2 learners whose first and second languages differ regarding their rhythmic properties, as enhanced performance of Mandarin and Turkish in comparison with Dutch L2 learners of English seem to suggest. Our findings provide further support for a cognitive transfer between the language and music domain, which may find its grounds on a common evolutionary basis.