Kind of Blue

Tarr's seven-hour duration is a modal field, the camera holding still while the world reveals itself. Both works treat duration as the instrument that virtuosity normally replaces.

Potter trusts mood the way 'Flamenco Sketches' does — interior register, memory layered with song. The fragmented chronology is a televisual translation of modal patience.

Tagore's devotional verses are organised around the breath, not the argument. Both works find their structure in the listener's attention rather than the maker's display.

Tinariwen's Tuareg blues hold a single mode for minutes at a time, the way 'So What' holds D Dorian. Their guitars carry the same desert openness Davis brought into the studio.

Each episode resolves only when silence arrives, the way Davis's sketches resolve only when the next chorus declines to return. Mushi-Shi listens to the field in the same modal way.