Abstract
The oft-repeated, and mis-repeated, phrase on drawing of Paul Klee, – ‘where a line goes out for a stroll’ – provides an insight into the central tensions and tenets of the line's emergence in Modernism as a singular element. Klee's statement historically marks a point where the line is no longer in the service of the description of the observable, and is not put to instrumental purpose. Instead a free, investigative, indeterminate space of play focused on a singularity of presence is articulated that reflects a rich history of thinking on the line. Here the line holds an indeterminate, intermediary status as thing, imbued with presence.
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