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The Journey to Tunisia and the Origin of the Square Paintings’, Paul Klee, The Nature of Creation, exh. , Hayward Gallery, London. 12 For example, this painting Once Emerged from the Grey of Night (1918), represents one stage in Paul Klee’s journey to synthesise many themes in one painting through the use of colour alone. Klee achieved this more fully through later paintings such as Eros (1923). Also the Polyphony paintings, discussed in the section ‘Parallels With Shape’ of the CD-ROM represent a more sophisticated manifestation of synthesis, since they do not resort to the use of text in order to create a linear flow from one colour to the next, but instead, rhythmical musical analogies take precedence.

Similar interactions will be constructed for the other soldier, the heraldic banner, and the distant view of the Count’s castle; all of these images are intended to spark mental images drawn from visual memories and evoke simulated culturally-determined beliefs in the mind of our ‘virtual pilgrim’. The project is, obviously, a work in progress; indeed, the time-consuming nature of the work has caused me to re-evaluate the project’s goals. What has become evident is that the collaborative work itself, both with professionals in other disciplines – such as a computer scientist – and with students, is not simply a means to an end, but is itself one of the fundamental benefits of the project.

Only Chitral was open to his linguistic research and strict orders were given not to cross the Afghanistan border. This trip and years of comparative studies that followed resulted in a proposed map of the distribution of the many surprisingly ancient languages in this area (Fig. 3 Morgenstierne argued that the Nuristani (Kafir) family of languages that includes Kati, Prasun and Ashkun, was possibly formed even before the separation of the Iranian from the Indian language over 3000 years ago. Highly controversial at the time, this claim remains his most important discovery.

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