Abstract

In this comparative study, conceptual and psychological affinity of painter Peter Doig and composer Toru Takemitsu is presented in theoretical contexts. Two works—Doig’s “White Canoe”, and Takemitsu’s “Dream Window”—are the subjects of this article. The focus of this article is the spaciotemporal nonlinearity in both works. The techniques that achieve spaciotemporal nonlinearity are examined and discussed. Absence, void, and stillness are key elements. Contextual treatment of figures (human figures in Doig; musical motifs, textures, and timbres as figurative devices in Takemitsu) are examined. The participatory role of audience imagination is a unifying conceptual thread.