Abstracts. PéterEgyed: About a so called philosophical Voice, that is not voice Commentary about Derrida s Voice and phenomena

Transcription

1 Abstracts PéterEgyed: About a so called philosophical Voice, that is not voice Commentary about Derrida s Voice and phenomena Keywords: Voice phenomenon, pure voice, speech, extra-mundanity, intramundanity In his semiotic phenomenological study written in 1967 (La voix et le phénomėne. Introduction au problėme du signe dans la phénoménologie de Husserl) Jacques Derrida tried to demonstrate that, contrary to Husserl s conception, the pure voice has no transcendent authority. The inner voice, this talking to ourselves, this auto-referential monologue is, according to Derrida, just a sort of self-affection. If so, it cannot exist without some kind of mediation, some kind of instrumental nature. Husserl tried to resolve exactly this dilemma. According to him, in the pure selfaffection, in the primary impression the voice as signified and as signifier was almost in absolute unity. Afterwards, the continuous recursion to this unity became the foundation of the so called pure extra-mundanity ( The inner voice is the pure reason. ) Precisely this recursion was understood by Derrida as the metaphysical ground of Husserl s phenomenological conception of the voice/consciousness. The aim of our study is to unfurl the details of his interpretation, but in the second part of our exposure we will refer also to some philosophical problems of the experience of voice in the intra-mundanity. Miklós Lehman: Image, sound and memory Keywords: digital environment, augmented reality, multimedia, perception, visuality At first glance relation of image and sound seems loose: images are mute and they show just visually something, and sounds seem to be far from visuality. Their connection develops mostly in the complexity of experience but it has the same relevance on the level of memory, where image and sound can be mixed. Experiences and feelings are connected with both of images and sounds, and during remembering, they can trigger the same familiar feeling. In this paper I will seek an answer to the question whether the connection of image and sound is confined to the feelings and memories, or they can mediate a far greater information and content, despite of the variance of their ways of coding? If that is the case, whether or not our regular communication channels utilize the opportunities of that information?

2 282 Fogalom és kép IV. László Ropolyi: Secondary orality or visuality Keywords: orality, visuality, community, culture Walter Ong in his famous book of history of communication entitled Orality and Literacy: The Technologizing of the Word, published in 1982 (2nd ed. 2002) has shown that the so-called secondary orality is the leading communication technology of our age. This is a widely accepted idea, but in this paper we will argue the invalidity of this idea and try to show that instead of secondary orality, nowadays the visuality is the leading community building technology and that even the culture of our age is created and mediated mainly by visual communication technologies. The shifts within communication technologies identified by Ong can be considered as specific aspects or components of the visual communication technologies. The orality vs. visuality distinction is important, because they can create different contexts and possibilities for the development of the communities, of societies and of world views of our age. Imre Ungváry-Zrínyi: The epistemological and antropological significance of the senses Keywords: intentional experience, intentional object, intentional content, time object, perceptual field, perceptual modality, openness to world The sight (and letting be seen) and the hearing (and the capacity of vocalization) together with the other senses and their corresponding sensual modalities may be considered on one hand as specific experiences (experiences of perception) within the subject s consciousness and therefore constitute the basis for essential forms of givenness (and expression), but on the other hand can be considered from the perspective of their role within the structure of the wholeness of human perceptions, as sensual modalities which complete each other and interweave. In the first case the experiences are considered from the point of view of the theory of knowledge and in the second case from the point of view of the anthropology of perceptions. Our goal is to demonstrate that both are acceptable from a phenomenological point of view and also that the sensual and particularly the acoustic modalities have an important role in the exploration of man s openness to world. In this way both the theory of knowledge and the anthropological perspectives are considered essential fore the study of the perceptual and spiritual condition of man.

3 Angol nyelvű összefoglalók 283 Hunor Fogarasi: The aural turn Keywords: pictorial turn, aural turn, acoustic turn, analog, digital, aura, aural, visual, acoustics, aural architecture, aural imagination, acoustical globalisation, real, imaginary, symbolic, virtual, medium, technical media, image, sound, noise, wave theory, particle theory, phonon, sound art, sound field, room tone, sound installation, visual perspective, perspective paradigm, phenomenology, model, medial inscription, inscriptive threshold, medial transposition, digitalisation, virtual reality, augmented reality, hyper reality, Euclidean perception, psychoacoustics, auditory perspective, organ of hearing, mechanoelectrical transformer, hearing system, neurology, organ of Corti, subconscious aural intentionality, neural plasticity, constant adaptation, massive modularity, transplantation, bionics, first-hand experience, invisible perspective, body, flesh, synergy, reversibility, vision, hearing, touch, electroacoustic music, acousmatics, technological sublime, physical aesthetics The aural turn needs to be explained, most of all because there is such. Through its latent nature and its currency between languages, the concept of the aural may be suitable to collect as a magnet all the possible turns or events which bear the dramaturgy of turn that may come to discussion on the human s exposure to sounds and on its relationship with sounds. The present paper is an attempt to collect and thread them without the claim to completeness, and with the given possibilities, draw a sketchy but useful map for orientation and further research. Here the author touches on a number of disciplines, of which knowledge it would be impossible for one person to possess in its entirity in such a short time; therefore he springs over the depths in order to keep his sight always on the horizon, so he can condense as many points of views in a single reading. Hereby the magnifying glass is handed over to the ears of the reader. Éva Tankó: The voice of the soul Keywords: soul, conscience,demonic voice,un-philosophical deed,generative silence, performative silence The voice of the soul investigates the voice of the daimonion of Socrates` soul, searching for bench marks in the history of philosophy as well as at its borders. It is more than an inner voice, having a power of persuasion, which leads Socrates towards sacrificing his life, rather than denying his ideas. Amongst the possible ways of interpretation, the chain of research follows on one hand the creative voicethe divine voice as seen through the vision of Hildegard of Bingen and Catherine of Sienna, searching also for definitions of conscience and ending with the demonicpathological voice of dictators.

4 284 Fogalom és kép IV. Károly Veress: The voice which says something Keywords: sound, voice, hearing, talking, unity, difference, trace, presence, metaphysics This study concerns the starting and ending points of sound metaphysics as seen in the European philosophy, with a special emphasis on the shift from Aristotle s concept of the unity of sounding and hearing to Derrida s concept of difference and form of trace. Mónika Péter: The Aristotelian concept of hearing Keywords: senses, hearing, music, art, education, sensual experience Aristotle places in the centre of philosophical investigation the question of perception and its role in cognition, comprehension. Aristotle's conception of perception has changed radically compared to the Sophistic philosophy. In his works we can find theses about different perceptional processes; however the distance which characterized the Platonic philosophy disappears. In this study I am going to analyze the role of perception in the human cognition and comprehension according to Aristotle`s philosophy. At the same time I am going to elaborate the fact that Aristotle put the senses in a hierarchical order, and in this context arose the question: what is the role of hearing in the cognition, why the music gets a prominent place within the arts, nevertheless how the melody becomes the source of sensual pleasure. Mihály Jánó: Speech Scrolls in Medieval painting Keywords: Speech Scroll, intercession, savior In Medieval art, specialy in the painting there can be seen the speech scrolls being held in the hands of the represented persons on the picture. These written texts contain the name of the represented person, different quotations, or other informations related to those persons. The inscriptions of the speech scrolls can help us to understand many iconographical problems.

5 Angol nyelvű összefoglalók 285 Béla Mester: Sinful Voices. How Has Become the Thinking Silent Keywords: Aristotle, Aurelius Augustinus, József Balogh, aloud reading, silent reading, phōnē, rhetoric Classical Greek thought could not disregard the noises, pictures and activities around the text in focus of the actual theoretical analysis. By the Greek glance, every text exists as a speech, and every speech is a part of a spontaneous or artificial performance. This Greek regard of the human voice was mirrored in the clearest form by the central position of the rhetoric in the antique culture. However, Aristotle has invented that plays of the theatre can be read, instead of seeing the spectacle, in extreme cases; as late as Lucian s lifetime, the dominance of the sensitive voices above the mute letters, was evidence in the myth of, e.g. Hercules of the Celts who led his people with words, only. His sensitivity of the culture and communication has become sinful, carnal phenomenon in the late, Christian antiquity, as József Balogh has shown for us in his analyses of Augustine s œuvre; saying that Augustine s conversion is a conversion from the culture of rhetoric to a culture of books. My lecture offers several details of the consequences of this cultural conversion. László Gál: Sound propositions Keywords: logicality, linguistic logicality, image logicality, sound logicality In the last 20 years I perform many experiments. Their aim was the study of frequency of linguistic manifestations of logical constants. The conclusions of experiments were: 98% of linguistic manifestations are assured by conjunctions, disjunctions, implications and negations. These four constants unified the mental understanding of humans, languages and cultures. In the last years I was preoccupied by the same unity, but in image human manifestations. I found the mental unity of image understanding, what is wary similar to the linguistic manifestations. In these paper I try to find out the mental unity of sound, and I compare it with linguistic and images.

6 286 Fogalom és kép IV. István Angi: Music-hermeneutical investigations of pain Keywords: esthetics of pain, musical metafors, sadness, weeping, ache The musical illustration of pain is based on paradox, the paradox of manifestation of the hidden. The analysis seeks to answer through several artworks to one question: why do the musical metaphors of sorrow, pain and tears appear far from the word. The deciphering remains for the end of the presentation. First, with the help of the presented segments- from Bach s St. John Passion, Beethoven s Piano Sonata in A flat major, Op. 110, Tchaikovsky s 6th (Pathétique) Symphony and Hans-Peter Türk s St. Matthew Passion from Transylvania - the listener will face the dogged persistence of the question. The long awaited decipherment the author withholds in now, of course, waiting for the readers to learn about the analysis of the entire presentation, all the way, as Gadamer would say, by interlacement of the pain-horizons János Loboczky: Sense and Sounding variations on the interpretation of reception of music (Gadamer, Dahlhaus, Adorno) Keywords: the meaning of tone, music and time, the identity of music, music and language, the language of music, the understanding of music, music and painting In my lecture I compare Gadamer s reflections related to music with Dahlhaus and Adorno s philosophical discussion of music. I deal with the following questions above all: the meaning of tone, music and time, the identity of the musical work, music and language, the language of music. The notions of the three thinkers are partly in contact with each other, e.g. Dahlhaus refers to Gadamer explicitly; on the other hand, Dahlhaus is just opposed to Adorno s philosophy of music. Their aspects are also similar as they consider musical sounding and meaning inseparable, and, in some sense, they refuse Hanslick s interpretation of musical beauty. According to Gadamer, Adorno and Dahlhaus, the musical composition with its own sensual autonomous presence also calls for interpretation, while Hanslick emphasizes that the musical language cannot be translated, and music is the clearest appearanceform of free beauty in the Kantian sense. I study Adorno s analysis in connection with the relation of music and painting, music and space.

7 Angol nyelvű összefoglalók 287 Huba Csiki: Sound and time. The usserlian problems of the time-analysis Keywords: temporality of consciousness, retention, protention, flux, Husserl Trying to explain the way in which the temporality of consciousness is constitutedin the intentional act, Husserl descriptions arrive at the hyletical level of the temporal flux, described as an originary passive impression. Yet, a difficulty arises concerning the relation between the unity of the temporal flux and the continuous modification that lives in it: How can explain this modification, and what means the unconscious origin of the temporal flux. András Jakab: The sound, voice in the phenomenology Keywords: space, time, duration, successivity, quantity, quality, intentionality, being-in-the-world, focality, positionality, hearing, listening In the text The sound, voice in phenomenology I was aiming to point out a certain connection between the concepts of time and sound, voice, by following the guiding advice of Don Ihde.The different parts of the text are connected by the concept of phenomenon, but every part emphasizesa different aspect, a different understanding of consciousness. In the first part with the title Duration and successivetythe reader can follow up on adebate between Bergson and Kant concerning the nature of the act of consciousness constituting time. The second part titled On the way to intentionality problematizes the directedness of that act. The last part of the text named Sound, voice VS visuality, the significance of sounding brings forth the problems of corporeality, positionality and the problem of being-in-theworld. Attila Fodor: Impressionism the aesthetic paradigm of the musical impressions Keywords: impressionism, the aesthetic of subject, ephemeral, music and visuality, synesthesia, Debussy and Ravel The music, after getting separated from the ancient syncretic unity with dance and poetry, was going to redefine itself, increasingly, in the more or less abstract world of the sounds themselves. The boundary of this process is represented perhaps by the cult of instrumental music in the classical era, and its aesthetic justification elaborated during the 19 th century by Eduard Hanslick. However, many artistic directions of the 20 th century have followed the redefinition of the music-text relationship, respectively its visual latencies on a probably unprecedented ground. The inner visuality of the impressionism, as a unique artistic trend focused on catching the ephemeral, was emerging not from quasi-objective conventions, but

8 288 Fogalom és kép IV. from the traditional basis of aisthésis. This cult of subjectivity led to a particular field of expression in the renewed dialog of the arts, bringing forth a probably unique aesthetic paradigm regarding the creative potential of the senses and their limits. Imre Tódor: Music as metaphysics in Arthur Schopenhauer s philosophy Keywords: music, Schopenhauer, Idea, objectifications of the will, art, aesthetics. Music is the wonderful art of sounds is the basic idea of my research in music. My paper is meant to present the metaphysical character of Schopenhauer s music aesthetics (as Thomas Mann rightfully called it art philosophy, aesthetic metaphysics par excellence) to which Schopenhauer gives an exceptional status within the hierarchy of arts. Various aesthetic theories classify arts in a hierarchical way, their criterion of classification being the extent to which they reveal the Absolute. My paper is based on the following statements: 1. Music has an exceptional status in the hierarchy of arts as it is very different from them (Music, as it bypasses the Ideas altogether, is absolutely independent from the phenomenal world, it simply ignores it and in a sense it could also exist without the existence of the world, which cannot be said about the other arts.) 2. Music is the Will itself, its direct image that bypasses the Ideas this fact gives its metaphysical feature. 3. Talking about music due to its abstract character can only be possible through analogies and parallelisms (see music-world analogy). 4. Music bridges, bypasses words and the text (it does not relate to them). 5. Music is the best and most accurate commentary (it reveals the innermost essence of the world and man). 6. Music is a thing in itself. Schopenhauer researches the direct or immediate (Unmittelbare), the thing in itself (Ding-an-sich) but he does not find it either in the Absolute Self as Fichte or in the intellectual approach as Schelling or in Notions like Hegel. With Schopenhauer, this function is substituted by the blind will. Music is the immediate manifestation of the will, which visualises the metaphysical element to every physical element of the world and the thing in itself to every phenomenon.