Bálint Veres is PhD in aesthetics (at Eötvös Loránd University, Budapest) Bálint writes about music, media, architecture and design in the perspectives of philosophy, aesthetics and anthropology. Balint founded MOME TransferLab as an interdisciplinary atelier launched in 2012 with the aim of supporting and promoting the public display and the use of artworks, products, art and design concepts and research created or conducted at MOME University. (https://www.facebook.com/MomeTransferLab/info) Balint was also art consultant at Arcus Temporum Art Festival of Pannonhalma, Hungary. (http://www.arcustemporum.hu/) Address: 1123 Budapest
Zugligeti út 9-25
Design permeates every dimension of our lifeworld, from the products we consume and the built env... more Design permeates every dimension of our lifeworld, from the products we consume and the built environments in which we live to the adorned and stylized beings that we are and the natural preserves where we seek relief from the stressful bustle of urban life. Design is where contrasting values of functionality and aesthetic pleasure converge. At the core of design is the human soma, an active, perceptive subjectivity that creates and evaluates design but is also its cultivated product. This collection of thirteen essays explores the somaesthetics of design in multiple elds: from ritual, craft, and healthcare to architecture, urbanism, and the new media of extended realities. Readership All scholars, students, critics and art and design practitioners and theorists interested in somatic approaches to design.
John Pawson a felgyorsuló változások között az egyik lehetséges gondolkodásmód legkarakteresebb k... more John Pawson a felgyorsuló változások között az egyik lehetséges gondolkodásmód legkarakteresebb képviselője. 2012/2. lapszámunkban bemutattuk a Münchenben rendezett oeuvre-kiállítását. A kortárs magyar építészeti színtéren a pannonhalmi bazilika társtervezőjeként (2012/3) van jelen, amely a hazai építészeti közéletben élénk párbeszédet generált. Az alább olvasható szöveg az 1996-ban megjelent, magyarra eddig nem fordított elméleti kötetének előszava, életművének ars poeticája
A kötetben összegyűjtött írások 20–21. századi magyar zeneszerzők munkásságát elemzik és értelmez... more A kötetben összegyűjtött írások 20–21. századi magyar zeneszerzők munkásságát elemzik és értelmezik. Sosem kimerítő módon, és nem az empirikus-filologikus zenetudomány bázisán, hanem a befogadásesztétika perspektívájából. Ez utóbbi tekintetében az itt szereplő komponisták munkáinak egyik legszembetűnőbb közös vonása a modern zene bizonytalan kommunikatív hatékonyságának, kevésbé finoman fogalmazva ezoterikusságának problematizálása. Zeneműveik érzéki reflexiók arról a kulturális állapotról, amit a hermeneutikai filozófia szóhasználatával nyelvfeledtségnek hívhatunk, s ami – különös módon – az érzéki reflexió révén élénk és intenzív nyelvvé alakulhat vissza.
Design permeates every dimension of our lifeworld, from the products we consume and the built env... more Design permeates every dimension of our lifeworld, from the products we consume and the built environments in which we live to the adorned and stylized beings that we are and the natural preserves where we seek relief from the stressful bustle of urban life. Design is where contrasting values of functionality and aesthetic pleasure converge. At the core of design is the human soma, an active, perceptive subjectivity that creates and evaluates design but is also its cultivated product. This collection of thirteen essays explores the somaesthetics of design in multiple elds: from ritual, craft, and healthcare to architecture, urbanism, and the new media of extended realities. Readership All scholars, students, critics and art and design practitioners and theorists interested in somatic approaches to design.
This paper returns to a foundational text in the history of Western philosophy, Plato’s Timaeus, ... more This paper returns to a foundational text in the history of Western philosophy, Plato’s Timaeus, and explores the ways in which this text establishes our thinking about design and creation - going as far as recent examples such as Dieter Rams’ famous design principles. The paper shows how Platonic thoughts on the essence of design and creation fit into the general ontological, epistemological, and ethical dimensions of philosophy, thus possessing a much wider scope than one might suspect. If we can talk about Platonic ‘design theory’, however, we can only reveal it as a latent theory whose latency stems from two factors: one is the chorology (a media theory avant la lettre) explicated in Timaeus, and the other is Eros, which involves aspects of desire, fertility, and corporeality. The paper shows that in a less mentalistic context a different design thinking could have emerged from the Platonic heritage, for which craft knowledge and fertility are not isolated from each other but necessarily closely related entities. The chapter concludes with the insight that by rethinking the concepts (and practices) of khôra, fertility, childbirth, and care with a Meliorist purpose, Platonic-based Western design theory could become a proponent of a more satisfying design culture.
This paper returns to a foundational text in the history of Western philosophy, Plato’s Timaeus, ... more This paper returns to a foundational text in the history of Western philosophy, Plato’s Timaeus, and explores the ways in which this text establishes our thinking about design and creation - going as far as recent examples such as Dieter Rams’ famous design principles. The paper shows how Platonic thoughts on the essence of design and creation fit into the general ontological, epistemological, and ethical dimensions of philosophy, thus possessing a much wider scope than one might suspect. If we can talk about Platonic ‘design theory’, however, we can only reveal it as a latent theory whose latency stems from two factors: one is the chorology (a media theory avant la lettre) explicated in Timaeus, and the other is Eros, which involves aspects of desire, fertility, and corporeality. The paper shows that in a less mentalistic context a different design thinking could have emerged from the Platonic heritage, for which craft knowledge and fertility are not isolated from each other but necessarily closely related entities. The chapter concludes with the insight that by rethinking the concepts (and practices) of khôra, fertility, childbirth, and care with a Meliorist purpose, Platonic-based Western design theory could become a proponent of a more satisfying design culture.
Is it possible or desirable at all to establish a museum for music? The question was first posed ... more Is it possible or desirable at all to establish a museum for music? The question was first posed by Franz Liszt in the 19th century. This essay will not only present the background and context of the question, but also the contradictory conclusions that emerge from the idea of the musealisation of music, and which still linger in 20th-and 21st-century music culture.
Acta Universitatis Sapientiae, Film and Media Studies, 2014
It is commonly known that medial reflections have been initiated by attempts to secure the borde... more It is commonly known that medial reflections have been initiated by attempts to secure the borders of discrete medial forms and to define the modus operandi of each essentialized medial area. Later on, the focus of study has shifted to plurimedial formations and the interactions between predefined medial genres. In the last few decades, taxonomic approaches to various multi-, inter-, and transmedial phenomena dominated the discussions, which offered invaluable support in mapping the terrain, but at the same time hindered the analysis of the ephemeral, time-dependent aspects of plurimedial operations. While we explore the properties of each medial configuration, we lose sight of the actual historical drivers that produce ever-new configurations. My thesis is that any discourse on intermediality should be paralleled by a discourse on cultural intermittency, and consequently, media studies should involve an approach that focuses on the “ecosystem” of the constantly renewing media configurations from the point of view of their vitalizing potential and capability to trigger heightened experiences. This approach draws much inspiration from K. Ludwig Pfeiffer’s media anthropology that gives orientation in my paper.
Acta Universitates Sapientiae Film and Media Studies, 2014
It is commonly known that medial reflections have been initiated
by attempts to secure the borde... more It is commonly known that medial reflections have been initiated by attempts to secure the borders of discrete medial forms and to define the modus operandi of each essentialized medial area. Later on, the focus of study has shifted to plurimedial formations and the interactions between predefined medial genres. In the last few decades, taxonomic approaches to various multi-, inter-, and transmedial phenomena dominated the discussions, which offered invaluable support in mapping the terrain, but at the same time hindered the analysis of the ephemeral, time-dependent aspects of plurimedial operations. While we explore the properties of each medial configuration, we lose sight of the actual historical drivers that produce ever-new configurations. My thesis is that any discourse on intermediality should be paralleled by a discourse on cultural intermittency, and consequently, media studies should involve an approach that focuses on the “ecosystem” of the constantly renewing media configurations from the point of view of their vitalizing potential and capability to trigger heightened experiences. This approach draws much inspiration from K. Ludwig Pfeiffer’s media anthropology that gives orientation in my paper.
The Routledge Handbook of Music Signification, 2020
Using perspectives developed in media anthropology (e.g., K.L. Pfeiffer and H.U. Gumbrecht), this... more Using perspectives developed in media anthropology (e.g., K.L. Pfeiffer and H.U. Gumbrecht), this essay will examine the underlying reasons and motivating forces that were instrumental in making opera a highly successful, influential, and long- lasting cultural phenomenon in the West. The chapter will demonstrate that opera—a uniquely multimedial genre that has been the source of much theoretical controversy—is in fact embedded in a wider cultural anthropological tendency. This tendency, which transcends any particular genre or art form, can be called (after Lindenberger) the operatic principle. The idea developed here inspects the ways in which opera attempts to balance, even to harmonize, two largely incompatible cultural drivers: one that is directed towards the intellectually complex in its striving to understand the self and its world, and another that seeks immersion into the occurring present, all the while relying on experiences that are physiologically, emotionally, and socially engaging, but do not require lexical meaningfulness.
This article presents a survey of philosophical perspectives on the phenomena of ‘nature’ and ‘sc... more This article presents a survey of philosophical perspectives on the phenomena of ‘nature’ and ‘science/scientific’ in music and does so through a closer look at the first creative period of Péter Eötvös as a composer. Since the beginning of his creative career he has come into contact with issues scanning the relations between music and science, on the one hand, and music and nature, on the other. Considering Martin Heidegger's reflections on the nature of modern science as he articulated them in his Die Zeit des Weltbildes (1938), one can recognise in Eötvös' first creative period (in works like Kosmos, Elektrochronik, Intervalles-Intérieurs, Tale, etc.) not only the motivating, inspiring force of science, but also the limits of this incentive.
Design permeates every dimension of our lifeworld, from the products we consume and the built env... more Design permeates every dimension of our lifeworld, from the products we consume and the built environments in which we live to the adorned and stylized beings that we are and the natural preserves where we seek relief from the stressful bustle of urban life. Design is where contrasting values of functionality and aesthetic pleasure converge. At the core of design is the human soma, an active, perceptive subjectivity that creates and evaluates design but is also its cultivated product. This collection of thirteen essays explores the somaesthetics of design in multiple elds: from ritual, craft, and healthcare to architecture, urbanism, and the new media of extended realities. Readership All scholars, students, critics and art and design practitioners and theorists interested in somatic approaches to design.
John Pawson a felgyorsuló változások között az egyik lehetséges gondolkodásmód legkarakteresebb k... more John Pawson a felgyorsuló változások között az egyik lehetséges gondolkodásmód legkarakteresebb képviselője. 2012/2. lapszámunkban bemutattuk a Münchenben rendezett oeuvre-kiállítását. A kortárs magyar építészeti színtéren a pannonhalmi bazilika társtervezőjeként (2012/3) van jelen, amely a hazai építészeti közéletben élénk párbeszédet generált. Az alább olvasható szöveg az 1996-ban megjelent, magyarra eddig nem fordított elméleti kötetének előszava, életművének ars poeticája
A kötetben összegyűjtött írások 20–21. századi magyar zeneszerzők munkásságát elemzik és értelmez... more A kötetben összegyűjtött írások 20–21. századi magyar zeneszerzők munkásságát elemzik és értelmezik. Sosem kimerítő módon, és nem az empirikus-filologikus zenetudomány bázisán, hanem a befogadásesztétika perspektívájából. Ez utóbbi tekintetében az itt szereplő komponisták munkáinak egyik legszembetűnőbb közös vonása a modern zene bizonytalan kommunikatív hatékonyságának, kevésbé finoman fogalmazva ezoterikusságának problematizálása. Zeneműveik érzéki reflexiók arról a kulturális állapotról, amit a hermeneutikai filozófia szóhasználatával nyelvfeledtségnek hívhatunk, s ami – különös módon – az érzéki reflexió révén élénk és intenzív nyelvvé alakulhat vissza.
Design permeates every dimension of our lifeworld, from the products we consume and the built env... more Design permeates every dimension of our lifeworld, from the products we consume and the built environments in which we live to the adorned and stylized beings that we are and the natural preserves where we seek relief from the stressful bustle of urban life. Design is where contrasting values of functionality and aesthetic pleasure converge. At the core of design is the human soma, an active, perceptive subjectivity that creates and evaluates design but is also its cultivated product. This collection of thirteen essays explores the somaesthetics of design in multiple elds: from ritual, craft, and healthcare to architecture, urbanism, and the new media of extended realities. Readership All scholars, students, critics and art and design practitioners and theorists interested in somatic approaches to design.
This paper returns to a foundational text in the history of Western philosophy, Plato’s Timaeus, ... more This paper returns to a foundational text in the history of Western philosophy, Plato’s Timaeus, and explores the ways in which this text establishes our thinking about design and creation - going as far as recent examples such as Dieter Rams’ famous design principles. The paper shows how Platonic thoughts on the essence of design and creation fit into the general ontological, epistemological, and ethical dimensions of philosophy, thus possessing a much wider scope than one might suspect. If we can talk about Platonic ‘design theory’, however, we can only reveal it as a latent theory whose latency stems from two factors: one is the chorology (a media theory avant la lettre) explicated in Timaeus, and the other is Eros, which involves aspects of desire, fertility, and corporeality. The paper shows that in a less mentalistic context a different design thinking could have emerged from the Platonic heritage, for which craft knowledge and fertility are not isolated from each other but necessarily closely related entities. The chapter concludes with the insight that by rethinking the concepts (and practices) of khôra, fertility, childbirth, and care with a Meliorist purpose, Platonic-based Western design theory could become a proponent of a more satisfying design culture.
This paper returns to a foundational text in the history of Western philosophy, Plato’s Timaeus, ... more This paper returns to a foundational text in the history of Western philosophy, Plato’s Timaeus, and explores the ways in which this text establishes our thinking about design and creation - going as far as recent examples such as Dieter Rams’ famous design principles. The paper shows how Platonic thoughts on the essence of design and creation fit into the general ontological, epistemological, and ethical dimensions of philosophy, thus possessing a much wider scope than one might suspect. If we can talk about Platonic ‘design theory’, however, we can only reveal it as a latent theory whose latency stems from two factors: one is the chorology (a media theory avant la lettre) explicated in Timaeus, and the other is Eros, which involves aspects of desire, fertility, and corporeality. The paper shows that in a less mentalistic context a different design thinking could have emerged from the Platonic heritage, for which craft knowledge and fertility are not isolated from each other but necessarily closely related entities. The chapter concludes with the insight that by rethinking the concepts (and practices) of khôra, fertility, childbirth, and care with a Meliorist purpose, Platonic-based Western design theory could become a proponent of a more satisfying design culture.
Is it possible or desirable at all to establish a museum for music? The question was first posed ... more Is it possible or desirable at all to establish a museum for music? The question was first posed by Franz Liszt in the 19th century. This essay will not only present the background and context of the question, but also the contradictory conclusions that emerge from the idea of the musealisation of music, and which still linger in 20th-and 21st-century music culture.
Acta Universitatis Sapientiae, Film and Media Studies, 2014
It is commonly known that medial reflections have been initiated by attempts to secure the borde... more It is commonly known that medial reflections have been initiated by attempts to secure the borders of discrete medial forms and to define the modus operandi of each essentialized medial area. Later on, the focus of study has shifted to plurimedial formations and the interactions between predefined medial genres. In the last few decades, taxonomic approaches to various multi-, inter-, and transmedial phenomena dominated the discussions, which offered invaluable support in mapping the terrain, but at the same time hindered the analysis of the ephemeral, time-dependent aspects of plurimedial operations. While we explore the properties of each medial configuration, we lose sight of the actual historical drivers that produce ever-new configurations. My thesis is that any discourse on intermediality should be paralleled by a discourse on cultural intermittency, and consequently, media studies should involve an approach that focuses on the “ecosystem” of the constantly renewing media configurations from the point of view of their vitalizing potential and capability to trigger heightened experiences. This approach draws much inspiration from K. Ludwig Pfeiffer’s media anthropology that gives orientation in my paper.
Acta Universitates Sapientiae Film and Media Studies, 2014
It is commonly known that medial reflections have been initiated
by attempts to secure the borde... more It is commonly known that medial reflections have been initiated by attempts to secure the borders of discrete medial forms and to define the modus operandi of each essentialized medial area. Later on, the focus of study has shifted to plurimedial formations and the interactions between predefined medial genres. In the last few decades, taxonomic approaches to various multi-, inter-, and transmedial phenomena dominated the discussions, which offered invaluable support in mapping the terrain, but at the same time hindered the analysis of the ephemeral, time-dependent aspects of plurimedial operations. While we explore the properties of each medial configuration, we lose sight of the actual historical drivers that produce ever-new configurations. My thesis is that any discourse on intermediality should be paralleled by a discourse on cultural intermittency, and consequently, media studies should involve an approach that focuses on the “ecosystem” of the constantly renewing media configurations from the point of view of their vitalizing potential and capability to trigger heightened experiences. This approach draws much inspiration from K. Ludwig Pfeiffer’s media anthropology that gives orientation in my paper.
The Routledge Handbook of Music Signification, 2020
Using perspectives developed in media anthropology (e.g., K.L. Pfeiffer and H.U. Gumbrecht), this... more Using perspectives developed in media anthropology (e.g., K.L. Pfeiffer and H.U. Gumbrecht), this essay will examine the underlying reasons and motivating forces that were instrumental in making opera a highly successful, influential, and long- lasting cultural phenomenon in the West. The chapter will demonstrate that opera—a uniquely multimedial genre that has been the source of much theoretical controversy—is in fact embedded in a wider cultural anthropological tendency. This tendency, which transcends any particular genre or art form, can be called (after Lindenberger) the operatic principle. The idea developed here inspects the ways in which opera attempts to balance, even to harmonize, two largely incompatible cultural drivers: one that is directed towards the intellectually complex in its striving to understand the self and its world, and another that seeks immersion into the occurring present, all the while relying on experiences that are physiologically, emotionally, and socially engaging, but do not require lexical meaningfulness.
This article presents a survey of philosophical perspectives on the phenomena of ‘nature’ and ‘sc... more This article presents a survey of philosophical perspectives on the phenomena of ‘nature’ and ‘science/scientific’ in music and does so through a closer look at the first creative period of Péter Eötvös as a composer. Since the beginning of his creative career he has come into contact with issues scanning the relations between music and science, on the one hand, and music and nature, on the other. Considering Martin Heidegger's reflections on the nature of modern science as he articulated them in his Die Zeit des Weltbildes (1938), one can recognise in Eötvös' first creative period (in works like Kosmos, Elektrochronik, Intervalles-Intérieurs, Tale, etc.) not only the motivating, inspiring force of science, but also the limits of this incentive.
The conviction that music is a kind of autonomous occurrence – more than a mere function of outer... more The conviction that music is a kind of autonomous occurrence – more than a mere function of outer events – became familiar in the European thought since the latter began considering music as an independent art. According to Hanslick, music is a “tonally moving form”, which carries its hearers with it irresistibly. Yet, musicology – like the deliberately bound Ulysses – seems to resist the temptations of music, as musical researchers create fixed positions for secure observations of the occurrences in music (of the “moving of form”). Georgiades warns us with reason: while we have eyelids, we do not have a lid in the ear. Music overpowers its interrogators again and again, though the last ones, trying to keep up their security, are always striving for localizing the musical occurrences. In the various branches of musicology, occurrences are thought to be found either in the score, in the acoustical phenomena, in the instruments, in the ear, or in the mind. In the meantime the pursuit of relevant occurrences in music makes more and more recognizable that the ethical dimension has always been intersecting the practice of music.
"Following the traces of the philosophical discourse on the problem of „time/duration“ treat... more "Following the traces of the philosophical discourse on the problem of „time/duration“ treated by Augustinus, Henri Bergson, Martin Heidegger and, recently, the Hungarian István Berszán, the author of the essay aims to give a possible interpretation of Gyula Csapó's sound installation (The Great Initial). This attempt, at the same time, provides a suitable opportunity for a brief report on the 2005 Arcus Temporum – Arches of Time Summer Art Festival in the Archabbey of Pannonhalma "
Body and Public Space: International Conference, Krakow Academy of Fine Arts, 2021
In the last two decades, research on the arts showed that the perspective provided by somaestheti... more In the last two decades, research on the arts showed that the perspective provided by somaesthetics could highly contribute to the efforts of rethinking artistic practices and the aesthetic experience in general (Shusterman 2014; Journal of Somaesthetics vol. 1-7). In addition, somaesthetic perspective helped also to re-conceptualize the social impacts art exerts (Ryynänen 2015), viewing those from different angles than the ones provided by the sociology of art (Luhman 2000), relational aesthetics (Bourriaud 2002), participation theories (Bishop 2012) or the anthropology of culture (Pfeiffer). Taking part in these efforts, in an earlier study (Veres 2014) I suggested taking architecture as the best model for a somaesthetically oriented scrutiny of the arts and conceiving it as the main point of orientation throughout the aesthetic field. However, given that aesthetic phenomena are countless and infinite, I fully admit the model provided by architecture might seem less explanatory with regards to the somaesthetic aspects of intensely performative creative practices, like dance, music or theatre play, and all the human activities, which are relevant aesthetically but do not have the status of art. What directly connects architectural structures to the overall Lebenswelt in an encompassing experience is the dimension of audibility that comes with every kinesphere, most notably in the public space and the multifarious sites of human residency. This presentation shall provide some critical comments for a somaesthetically conscious and acoustically sensitive architectural planning.
It is commonly known, that medial reflections have been initiated by attempts to secure the borde... more It is commonly known, that medial reflections have been initiated by attempts to secure the borders of discrete medial forms and to define the modus operandi of each essentialized medial area. Later on, the focus of study has shifted to plurimedial formations and the interactions between predefined medial genres, in one word: intermediality. In the last few decades taxonomic approaches to various multi-, inter-, and transmedial phenomena dominated the discussions, which offered invaluable support in mapping the terrain, but at the same time hindered the analysis of the ephemeral, time-dependent aspects of plurimedial operations. While we explore the properties of each medial configuration, we lose sight of the actual historical drivers that produce ever-new configurations. My thesis is that any discourse on intermediality should be paralleled by a discourse on cultural intermittency, and consequently, media studies should involve an approach that focuses on the ”ecosystem” of the constantly renewing media configurations from the point of view of their vitalizing potential and capability to trigger heightened experiences. This approach draws much inspiration from K. Ludwig Pfeiffer’s media anthropology that gives orientation in my paper.
The examples of my study come mostly from the various combinations of music and visuality. One of the aims of my paper is to consider the usefulness of Herbert Lindenberger’s proposition on the „operatic principle” as a historically conceived guiding force in modern plurimedial configurations.
""Narratives play an enormous role in development of human conscience. However, in the 18th centu... more ""Narratives play an enormous role in development of human conscience. However, in the 18th century at the beginning of our modern times both Enlightenment project and early Romanticism provided alternatives to understand and experience our private and social life otherwise than in a narrative way. The highlights of the anti-narrative approach in Enlightenment and early Romanticism were the Encyclopedia and certain art forms respectively. Both defined themselves against the older traditions of theology (history of salvation) and both resisted competing new historical world views. Despite the fact that later, in the 19th century, historicism penetrated the Western mind and gained dominance both in humanities (as world history), natural science (as evolution theory) and in literature and art (novel and historical painting), some forms of creative activity continued carrying on non-temporal, or at least non-teleological worldviews and experiences. My paper examines the ways narrative and non-narrative features encounter, correlate and contradict in a moderately significant 1840 painting of Josef Danhauser on an outstanding musical phenomenon, Franz Liszt. It is not my intention having new insights either in art history or in musicology but to interpret, through the inspections of narrative capacities, the interactions of the various media that are utilized or conjured up by the aforementioned painting. This could mirror, I believe, in an excellent way the ambiguous expectations of modernity towards artistic creations.
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Récits jouent un rôle considérable dans le développement de la conscience humaine. Cependant, au 18ème siècle, le début des temps modernes, le projet des Lumières et premier romantisme tous les deux ont fournis pour comprendre et vivre notre vie privée et sociale autrement que de manière narrative. Les acmés de l'approche anti-narrative des Lumières et du premier romantisme étaient l’Encyclopédie et certaines formes d'art, respectivement. Ces deux tendances se définissent en opposition aux anciennes traditions de la théologie (l'Histoire du Salut) et elles ont résisté au nouvel historicisme aussi. Malgré le fait que subséquemment, au 19ème siècle, l'historicisme pénétré l'esprit occidental et a gagné la domination à la fois dans les sciences humaines (comme l'histoire du monde), les sciences naturelles (comme la théorie de l'évolution) et de la littérature et de l'art (roman et peinture historique), certaines formes de l’activité créatrice continuèrent de supporter la non-temporelle, ou du moins non-téléologiques visions du monde. Mon article examine la manière narrativité et non-narrativité se rencontrent, corrélent et se contredisent dans un image sur le phénomène musical, Franz Liszt peint par un artist de Biedermeier, Josef Danhauser en 1840. Il n’est pas dans mon intention d’obtenir de nouvelles idées dans l'histoire de l'art ou en musicologie, mais d’ interpréter, à travers les inspections des capacités narratives, les interactions entre les différents médias qui sont utilisés ou évoqué par la peinture ci-dessus. Cela pourrait refléter, je crois, d'une manière excellente aux attentes ambiguës que la modernité suscite vers les créations artistiques.""
L'essai présente l’étude d'un phénomène philosophique de la musique d'après-guerre et, en même te... more L'essai présente l’étude d'un phénomène philosophique de la musique d'après-guerre et, en même temps, celle d’un fait historique de la première période de création de Péter Eötvös. Ces deux sujets trouvent leur dénominateur commun dans la question primordiale de la relation entre la musique et les sciences. Les travaux de Péter Eötvös ont des contacts très importants avec la science depuis ses premières œuvres. Considérant les réflexions de Martin Heidegger concernant la nature des sciences modernes («Die Zeit des Weltbildes», 1938), nous pouvons trouver non seulement la force incitative de la science dans la première période de création d’Eötvös («Kosmos», «Elektrochronik», «Intervalles-Intérieurs», «Conte», etc), mais aussi les limites de cette incitation.
Beszélgetés Bella Mátéval az Új Magyar Zenei Fórum 2009-es zeneszerző versenyének győztesével-ezú... more Beszélgetés Bella Mátéval az Új Magyar Zenei Fórum 2009-es zeneszerző versenyének győztesével-ezúttal szándékosan nem a már lezajlott versenyről, hanem egy másikról, ami néha még az érintetteknek is csak nehezen látható. Az alkotói lét hosszútávfutásáról van szó. Elöljáróban talán maga a kérdező is megkockáztathat egy prognózist: érdemes lesz odafigyelnünk erre a "futóra", aki bár alig hagyta még el a startvonalat, máris karakteres arcként rajzolódik ki generációjának mezőnyéből.-Veres Bálint (Gramofon)
Sokan akkor találkoztak velük először, amikor a 2005-ös Őszi Fesztivál keretében éjfélkor játszot... more Sokan akkor találkoztak velük először, amikor a 2005-ös Őszi Fesztivál keretében éjfélkor játszottatok a Ferenciek terén, a metróállomáson. Azóta is szokatlanabbnál-szokatlanabb helyszíneken tűnnek föl, most éppen a Krétakör bázisán találkoztunk, ahol egy ideje részt vesznek a Dargay Marcell által vezetett A szabadulóművész apológiája című zenei performansz sorozatban, s ezzel a vonósnégyes médiumát a lakásszínház avantgárd műfajához közelítettétek. Klasszikus kvartettként 2009-ben a Pörtschach-i Brahms-verseny kamarazenei fődíját hódították el, "másodállásban" az Intersection jazz-oktett tagjai, szerteágazó muzsikusi tevékenységük minden részletét zsenge koruk ellenére is hosszadalmas lenne felsorolni (részletek a www.acu.hu oldalon) - az Accord Quartettel Veres Bálint beszélgetett
Bent Sørensen (*1958) mint generációja legmeghatározóbb dán komponistája min-denekelõtt instrumen... more Bent Sørensen (*1958) mint generációja legmeghatározóbb dán komponistája min-denekelõtt instrumentális zenemûvek alkotójaként vált ismertté a nyolcvanas évek közepén. Odahaza és külföldön egyaránt nagy figyelmet keltett kamarazenéjének (négy vonósnégyesének és számos más kamaramûvének) sajátos hangja. A kilencve-nes évek folyamán termése mindinkább kibõvült nagyzenekarra írott darabokkal: a The Echoing Garden (199092) címû kantátával, eddigi egyetlen szimfóniájával (199596) és három versenymûvével (Birds and Bells, 1995; La Notte, 1996-98; Sterbende Gärten, 199293; ez utóbbiért elnyerte a Skandináv Zenei Tanács Nagydíját). Hangszeres mûvészetével szemben vokális termése csekélynek mondható. A The Echoing Garden mellett egyedül az In Paradisum (199495/2002) címû alkotás sorolható a nagyobb lélegzetû korális mûvek közé, amelyet néhány kisebb darab övez. 2003-ban mutatták be a zeneszerzõ elsõ operáját (Under the Sky) a Dán Királyi Operaházban. Mûveit olyan rangos elõadók szólaltatták meg, mint Leif Ove Andsnes, az Arditti Vonsónégyes, az Ars Nova Copenhagen, a Cikada Ensemble, a Dán Rádió Szimfoni-kus Zenekara, Frode Haltli, Christian Lindberg és az Oslo Sinfonietta. Számos hangfelvétele jelent meg többek között az Auvidis Montaigne, a Bridge, a DaCapo és az ECM kiadóknál. A beszélgetést Veres Bálint készítette a 2008-as Arcus Temporum Pannonhalmi Mûvészeti Fesztiválon.
„…sometimes they helped them to be born, sometimes they killed them…” (Interview with composer Sa... more „…sometimes they helped them to be born, sometimes they killed them…” (Interview with composer Salvatore Sciarrino by Bálint Veres)
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by attempts to secure the borders of discrete medial forms and to define the
modus operandi of each essentialized medial area. Later on, the focus of
study has shifted to plurimedial formations and the interactions between
predefined medial genres. In the last few decades, taxonomic approaches
to various multi-, inter-, and transmedial phenomena dominated the
discussions, which offered invaluable support in mapping the terrain, but
at the same time hindered the analysis of the ephemeral, time-dependent
aspects of plurimedial operations. While we explore the properties of
each medial configuration, we lose sight of the actual historical drivers
that produce ever-new configurations. My thesis is that any discourse on
intermediality should be paralleled by a discourse on cultural intermittency,
and consequently, media studies should involve an approach that focuses
on the “ecosystem” of the constantly renewing media configurations from
the point of view of their vitalizing potential and capability to trigger
heightened experiences. This approach draws much inspiration from K.
Ludwig Pfeiffer’s media anthropology that gives orientation in my paper.
by attempts to secure the borders of discrete medial forms and to define the
modus operandi of each essentialized medial area. Later on, the focus of
study has shifted to plurimedial formations and the interactions between
predefined medial genres. In the last few decades, taxonomic approaches
to various multi-, inter-, and transmedial phenomena dominated the
discussions, which offered invaluable support in mapping the terrain, but
at the same time hindered the analysis of the ephemeral, time-dependent
aspects of plurimedial operations. While we explore the properties of
each medial configuration, we lose sight of the actual historical drivers
that produce ever-new configurations. My thesis is that any discourse on
intermediality should be paralleled by a discourse on cultural intermittency,
and consequently, media studies should involve an approach that focuses
on the “ecosystem” of the constantly renewing media configurations from
the point of view of their vitalizing potential and capability to trigger
heightened experiences. This approach draws much inspiration from K.
Ludwig Pfeiffer’s media anthropology that gives orientation in my paper.
Yet, musicology – like the deliberately bound Ulysses – seems to resist the temptations of music, as musical researchers create fixed positions for secure observations of the occurrences in music (of the “moving of form”). Georgiades warns us with reason: while we have eyelids, we do not have a lid in the ear. Music overpowers its interrogators again and again, though the last ones, trying to keep up their security, are always striving for localizing the musical occurrences.
In the various branches of musicology, occurrences are thought to be found either in the score, in the acoustical phenomena, in the instruments, in the ear, or in the mind. In the meantime the pursuit of relevant occurrences in music makes more and more recognizable that the ethical dimension has always been intersecting the practice of music.
The examples of my study come mostly from the various combinations of music and visuality. One of the aims of my paper is to consider the usefulness of Herbert Lindenberger’s proposition on the „operatic principle” as a historically conceived guiding force in modern plurimedial configurations.
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Récits jouent un rôle considérable dans le développement de la conscience humaine. Cependant, au 18ème siècle, le début des temps modernes, le projet des Lumières et premier romantisme tous les deux ont fournis pour comprendre et vivre notre vie privée et sociale autrement que de manière narrative. Les acmés de l'approche anti-narrative des Lumières et du premier romantisme étaient l’Encyclopédie et certaines formes d'art, respectivement. Ces deux tendances se définissent en opposition aux anciennes traditions de la théologie (l'Histoire du Salut) et elles ont résisté au nouvel historicisme aussi. Malgré le fait que subséquemment, au 19ème siècle, l'historicisme pénétré l'esprit occidental et a gagné la domination à la fois dans les sciences humaines (comme l'histoire du monde), les sciences naturelles (comme la théorie de l'évolution) et de la littérature et de l'art (roman et peinture historique), certaines formes de l’activité créatrice continuèrent de supporter la non-temporelle, ou du moins non-téléologiques visions du monde. Mon article examine la manière narrativité et non-narrativité se rencontrent, corrélent et se contredisent dans un image sur le phénomène musical, Franz Liszt peint par un artist de Biedermeier, Josef Danhauser en 1840. Il n’est pas dans mon intention d’obtenir de nouvelles idées dans l'histoire de l'art ou en musicologie, mais d’ interpréter, à travers les inspections des capacités narratives, les interactions entre les différents médias qui sont utilisés ou évoqué par la peinture ci-dessus. Cela pourrait refléter, je crois, d'une manière excellente aux attentes ambiguës que la modernité suscite vers les créations artistiques.""