With these fundamental lectures on speech eurythmy – given just months after his course entitled ‘Eurythmy as Visible Singing’ – Rudolf Steiner completed the foundations of the new art of movement. In connecting to the centuries-old esoteric and exoteric Western traditions of ‘the Word’ – the creative power in the sounds of the divine-human alphabet – he gave it concrete form and expression in the performing arts, education and therapy. Although aimed primarily at the professional concerns of eurythmists who perform, teach or work as therapists, the lectures offer a wealth of suggestions and insights to anyone interested in the arts. For this new edition – freshly translated by Matthew Barton and introduced by Coralee Frederickson – the original shorthand transcripts have been compared exhaustively with typed records and the notes of course participants. These notes included numerous sketches of movements, gestures and choreographies, many of which have been reproduced here to complement the text. Also featured is an appendix comprising facsimiles and transcripts of Rudolf Steiner’s preparatory notes, programmes of the eurythmy performances given during the course, and accounts by Steiner published in the Society Newsletter. Finally, there are recollections by course participants, additional sketches of forms and movements, Marie Steiner’s original foreword, and 30 pages of colour plates featuring blackboard drawings and eurythmy forms. New revised and expanded edition; Trans. by M. Barton; Intro. by C. Frederickson (Fifteen lectures, Dornach, Jun.-July 1924, GA 279); 512pp + 32pp colour plates; 23.5 x 15.5 cm

‘The study of music is the study of the human being. The two are inseparable, and eurythmy is the art which brings this most clearly to expression. In these lectures, Rudolf Steiner guides us along a path toward an understanding of the human form as music comes to rest – the movements of eurythmy bringing this music back to life.’ – Dorothea Mier ‘Fundamentally speaking, music is the human being, and indeed it is from music that we rightly learn how to free ourselves from matter.’ – Rudolf Steiner The focus of these eight lectures is the source of movement and gesture in the human being. The movement in musical experience is thus traced back to its origin in the human instrument itself. Like the degrees of the musical scale, Rudolf Steiner leads his select audience of young artists through eight stages, focusing on the living principles of discovery and renewal. Eurythmy was born in the turbulent decades of the early twentieth century. From an individual question as to whether it was possible to create an art based on meaningful movement, Rudolf Steiner responded with fresh creative possibilities for a renewal of the arts in their totality. The new art of eurythmy was an unexpected gift. Today, music eurythmy, along with its counterpart based on speech, is practiced as an art, taught as a subject in schools, enjoyed as a social activity and applied as a therapy. This definitive translation of Steiner’s original lecture course on eurythmy includes a facsimile, transcription and translation of the lecturer’s notes, together with an introduction and index. The volume is supplemented with an extensive ‘companion’, featuring full commentary and notes compiled by Alan Stott, as well as a translation of Josef Matthias Hauer’s Interpreting Melos.

Following his lecture-course Eurythmy as Visible Singing, these fundamental lectures on speech eurythmy – offered in response to specific requests – gave Rudolf Steiner the opportunity to complete the foundations of the new art of movement. Speaking to eurythmists and invited artists, Steiner connects to the centuries-old esoteric and exoteric Western traditions of ‘the Word’ – the creative power in the sounds of the divine-human alphabet – giving it concrete form and expression in the performing arts, education and therapy. In addition to the fifteen lectures in the course, this special edition features supporting lectures and reports by Rudolf Steiner, dozens of photographs and line drawings, as well as introductions, commentary, notes and supplementary essays compiled by editor Alan Stott, including ‘Eurythmy and the English Language’ by Annelies Davidson. Although aimed primarily at the professional concerns of eurythmists who perform, teach or work as therapists, the lectures offer a wealth of suggestions and insights to those with artistic questions and concerns. ‘Only someone who creatively unfolds a sense for art from an inner calling, an inner enthusiasm, can work as an artist in eurythmy. To manifest those possibilities of form and movement inherent in the human organisation, the soul must inwardly be completely occupied with art. This all-embracing character of eurythmy was the foundation for all that was presented.’ – Rudolf Steiner ‘For the poet, for the thinker, and for the movement artist who thinks with his/her whole body, the highest mental act is done with all their heart and with all their mind and with all their soul.’ – Alan Stott

David Tudor is remembered today in two guises: as an extraordinary pianist of post-war avant-garde music who worked closely with composers like John Cage and Karlheinz Stockhausen and as a founding figure of live-electronic music. His early realization of indeterminate graphic scores and his later performances using homemade modular instruments both inspired a whole generation of musicians. But his reticence, his unorthodox approaches, and the diversity of his creative output which began with the organ and ended with visual art have kept Tudor a puzzle. Illustrated with more than 300 images of diagrams, schematics, and photographs of Tudor's instruments, Reminded by the Instruments sets out to solve the puzzle of David Tudor by applying Tudor's own methods for approaching the materials of others to the vast archive of materials that he himself left behind. You Nakai deftly patches together instruments, electronic circuits, sketches, diagrams, recordings, letters, receipts, customs declaration forms, and testimonies like modular pieces of a giant puzzle to reveal the long-hidden nature of Tudor's creative process. Rejecting the established narrative of Tudor as a performer-turned-composer, this book presents a lively portrait of an artist whose activity always merged both of these roles. In reading Tudor's electronic devices as musicological 'texts' and examining his idiosyncratic use of electronic circuits, Nakai undermines discourses on sound and illuminates our understanding of the instruments behind the sounds in post-war experimental music.

'There will be a resurrection – a resurrection that should not be imagined politically... but it will be a resurrection. Goetheanism still rests in the grave as far as external culture is concerned. But Goetheanism must rise again.' In the first winter following the Great War, Rudolf Steiner appealed to the spirit of Central Europe – which he characterized as Goetheanism – that had been languishing for decades. Only such a spiritual force could provide answers to the pressing social, national and international questions of the time. A new constellation of polar, hostile opposition had emerged after the war, with the East and Bolshevism on one side, and the victorious West and Americanism on the other. In the middle, with no apparent role or hope for the future, was the defeated Central Europe. But this 'centre', beseeched Steiner, should not become a vacuum. Rather, it needs to discover its true, world-historical task.In this context, with deep seriousness and urgency, Rudolf Steiner speaks of the work of Goetheanism, which begins with understanding the threefold human being and leads to threefolding the social organism. Steiner goes on to describe the decisive role of the consciousness soul in the present epoch, and how Schiller's Aesthetic Letters and Goethe's Fairy Tale relate to contemporary challenges. He discusses a multitude of seemingly diverse but interrelated themes, such as the migration of peoples in the past and present, the thinking of John of the Cross, and the modern path of spirit cognition. The first English publication of these lectures features an introduction by Christian von Arnim, notes and an index. Twelve lectures, Dornach, Jan.–Feb. 1919, GA 188

‘In the case of a solar eclipse, the evil that has spread over the earth can be carried out into the cosmos to wreak more havoc there, whereas in the case of a lunar eclipse, people who absolutely want to be possessed by evil thoughts can receive them from the cosmos.’ In the first full translation of this lecture course, Rudolf Steiner implores his audience to recognize the connections between the material and spiritual worlds. Eclipses of the sun and moon, for example, are ‘forces at work in the universe, just like those we study today in the clinic or in the chemistry or physics laboratory’. Even everyday thinking can have a strong impact on the outer world. Materialistic thought, he says, can quite literally atomize our surroundings: ‘if all human beings start to think that everything has to be explained in terms of atoms… then the earth will actually turn into atoms… these false ideas create false realities…’ Steiner speaks of the ‘world of will’ as being three-dimensional, the ‘world of feeling’ as two-dimensional, and the ‘world of thinking’ as one-dimensional. The ego itself is dimensionless, and only inner, living thinking can grasp the spiritual-mental. He discusses key cultural figures such as Friedrich Nietzsche, Herman Grimm and Julian the Apostate, and introduces multiple additional topics, including the effect of planetary forces on humans; the healing impacts of metals and other substances; the revitalization of thinking through meditation and concentration; the effects of the separation of science, art and religion; and the necessary transition from philosophy to anthroposophy. Thirteen lectures, Dornach, Jun.–Jul. 1922, GA 213

One hundred years after Rudolf Steiner presented his lectures on agriculture in 1924, the impact of his words are self-evident. Around the world, biodynamic principles are practised in thousands of thriving farms, vineyards and gardens, and Demeter certification for biodynamic produce is recognized internationally as a mark of quality. Speaking to a modest audience of farmers in a village in modern-day Poland, Steiner launched the first organic agricultural movement. But what has come to be known as 'biodynamics' is distinguished by many unique aspects, including the use of herbal and mineral 'preparations' (which serve as dynamizing applications for compost and field sprays) and the concept of the farm or garden as a single living organism, encompassing animals, crops, soil and community.This definitive, centenary edition of the influential Agriculture Course has been reedited from primary sources to be as faithful as possible to Steiner's original meaning. Shorthand reports have been freshly transcribed, archival discoveries added, and fresh commentary and notes inserted. In addition to the original eight lectures and four discussions, this volume features a wealth of new texts, including notes, addresses and resolutions relating to the Experimental Circle – founded contemporaneously to bridge research and practice – comprehensive facsimiles of Rudolf Steiner's preparatory notes for the course; original programmes and attendee lists; questions sent in advance; written and verbal reports by Steiner, including his address to young people; photos of Koberwitz, and high-quality colour plates of his original blackboard drawings. Eight lectures, four question-and-answer sessions, Koberwitz, June 1924, GA 327

What convinces us of the truth of a point of view? Why do we find it difficult to understand or accept differing perspectives? What are the inner foundations of our knowledge? In these concentrated and aphoristic lectures, Rudolf Steiner speaks of twelve main philosophical standpoints, and the importance of comprehending each one of them. Appreciating the variety of world-views not only sharpens our thinking and makes it more flexible, but helps us to overcome a narrow-minded one sidedness, promoting tolerance of other people and their opinions. The future of philosophy rests not upon defending one single perspective and refuting all others, but in learning to experience the validity of all points of view. Steiner goes on to explain how each philosophical standpoint is coloured by a particular 'soul mood', which influences the way we pursue knowledge as individuals. He characterizes the work of several thinkers in this way, throwing light on their unique contributions to human culture. Through such insights into the true nature of human thinking, we are led to understand the quality of cosmic thought, and how the human being is a 'thought which is thought by the Hierarchies of the cosmos'. This revised translation is complemented with an introduction by Robert McDermott, editorial notes and appendices by Frederick Amrine and an index. Four lectures, Berlin, Jan. 1914, GA 151

Knowledge of the cosmic significance of Christ and his mission, once experienced intuitively, has faded over the centuries. As theologians and historians of the Church critically scrutinized the Gospel records, their focus shifted from a gnostic vision of Christ to the human figure of ‘the simple man’, Jesus of Nazareth. In these enlightening lectures, Rudolf Steiner shows how ‘the Mystery of Golgotha’ (his term for the Crucifixion and Resurrection of Christ) can be understood as the pivotal event in human history, and the Gospels as ‘initiation documents’ that can serve to guide us on a path of spiritual development. He contrasts elements of the religious thinking of Jesuitism with Rosicrucianism – particularly in relation to the effect on human will – and discusses the characteristics of the two Jesus children in the contrasting accounts by Luke and Matthew. Steiner demonstrates how the great religious traditions of Zarathustra and Buddha helped prepare the way for the events of Palestine. In the process he clarifies controversial topics in Christian theology, such as the resurrection of the physical body of Jesus Christ. The emphasis throughout these lectures is on rediscovering the esoteric path to Christ and awakening to a new revelation manifesting in our time: Christ as the ‘Lord of Karma’. This edition features a revised translation and is complemented with editorial notes and appendices by Frederick Amrine and an introduction by Robert McDermott. Eleven lectures, Karlsruhe, Oct. 1911, GA 133

Speaking just months after the end of the First World War, Rudolf Steiner urges his audience to awaken to the practical relevance of spiritual knowledge. Serious engagement with contemporary spiritual-scientific concepts can awaken healthy forces of the will, which in turn facilitate constructive action in the outer world. Conversely, ideas that are remnants of a previous age – echoed in empty phrases and dogmas – only hinder our ability to think with the consciousness demanded by the times, destroying the potential for true social initiative. The historical context of these lectures was indeed disastrous, with inflation, hunger, homelessness and political extremism all rife. But Steiner advises that social conditions will only get worse if people don’t engage with modern spiritual impulses. Thus – in contrast to the backward phenomenon of nationalism and the contemporary caricature of democracy – he introduces the future-oriented concept of social threefolding. He discusses manifold challenges, such as the decline of the West and the outmoded spiritual impulses of Jesuitism and Freemasonry – but also the positive path for an ascent of Western societies, genuine spiritual medicine, the true message of Easter, and the victory of the Archangel Michael. In several lectures, Rudolf Steiner speaks in some detail about the role and structure of the Catholic Church, the historical use of encyclicals and the doctrine of Papal Infallibility. The first full translation of this course features an introduction by Dorothy Hinkle-Uhlig, notes and an index. Seventeen lectures, Dornach, Mar.–Jul. 1920, GA 198