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We often wonder about piano music. And we’re not just wondering because it fascinates us, but because it forces us to ask questions about life and the hidden senses of the sounds. For several times the music fills our lives. But how does it fill it? Many times a poem written by William Sharp or by Michael Shewmaker3 is a question for me as a philosopher. Furthermore, a composed song for piano by Havasi Balázs, makes us think a lot about a poem, or about anything which fascinates our mind. But despite the mind, there are many perceptions which work together to have a right judgement on the perception of the music. If we want to find how the music fulfills our lives with significances, we have to bring a phenomenological method in understanding these meanings. The phenomenology has an unique answer, because it finds out to answer to how the things (these phenomenological objects) are becoming. In this article we will show how the compositions of Havasi Balázs are up to date through the aesthetic sphere of the phenomenology and how they are entities in the phenomenological field of perception nowadays. For these reasons, it seemed essential to us to offer a phenomenological perspective to the symphonies realised by Havasi Balázs. [ABSTRACT FROM AUTHOR]

Wassily Kandinsky’s art leads us towards a mathematical interpretation. He has developed theories on geometry, colors, music, and the way they can be combined. We propose in this article to investigate carefully three issues raised by Kandinsky’s art: (i) whether forms of complex numbers are hidden in a non-object form behind the geometric figures; (ii) whether we can talk about to-pology and the organization of space in paintings according to it and, (iii) whether all this combined gives us a new existential dimension of the universe reflected by Kandinsky on his painted canvas. We examine these keys of interpretation as an avenue to new research. [ABSTRACT FROM AUTHOR]

In the album Courage from 2019, Céline Dion released the song « Lying Down ». We found this song special because here we see some similarities between Sia’s vocal stamp in some songs and Céline Dion’s. We know, thus, a Céline Dion that combines a classic line with innovative pop elements, as we are already used to. What surprises in this song is the “strength” of the voice, which can easily send you to some philosophical perspectives. It is about the insistent ascendancy of the word “trust”, these coincidences often being found in Sia Furler. In our case, we want to use the Kantian perspective to talk about the predicate of beauty existing in all these “throws” and withdrawals vocalized from the same word – “trust” – which, from a philosophical point of view, we can call, without mistaking, “hermeneutic returns to words” (Maria-Roxana Bischin). We will try to analyze the words in this song and translate them into a literary-philosophical, but also a musicological perspective. Current research on Céline Dion is scarce, which is also due to the fact that the actress is still alive. But, as Dario Sarlo managed to write a rich Ph.D. thesis about the violinist Jascha Heifetz, our goal is to publish a scientific article based on this song signed by Céline Dion. We will also point out the elements of symbolism existing in these verses, we will focus on fermata’s modulations that make up the Kantian predicate of Beauty (see, in this sense, the Critique of Pure Reason) in the hypostasis of an infinite judgment. [ABSTRACT FROM AUTHOR]

The ballet can be deconstructed through some mathematized forms as the geometrical lines and trough created symmetries. Once, Paul Klee painted the Abstract Ballet (1937)3 in the manner that some musicians made innovative experiments in the music, or in the same manner as Oskar Schlemmer found a unique form of expression for his Triadisches Ballet. But, there were two types of ballet in the interwar period of the twentieth century between which we can differentiate: the Classical ballet (wich maintains a Romantic line too) and the Avant-garde ballet that appeared through the Triadisches Ballet4 composed by Oskar Schlemmer. Some dancers like Mikhail Baryshnikov brought the ballet in the area of the classic performance, and others as Maya Plise'kaia (the 'prima-ballerina' of the twentieth century) brought the ballet to a classical-romantic line. Apparently, Oskar Schlemmer and Paul Klee wanted to dislodge the corrugations as they may have dislodged a cupboard or a box. I will show in my analysis how ballet can be part of our lives and how its limitation to mathematized forms sometimes has the role of a deconstruction of the expression of the artistic message. In my analysis, I will serve myself of the analysis of Dasein to justify the "becoming" of the dancer [object]ified through the corporal movements and to justify the stage-Space as a place of "being-in-the-world". [ABSTRACT FROM AUTHOR]

Long times being left in a penumbra, the violinist Joseph Achron needs a revaluation from the part of phenomenological aesthetic and musicology fields. Following the basic theory of Maurice Merleau– Ponty’s flesh, and few perspectives from Edmund Husserl’s, we demonstrate that insisting on the idea of the inverted plenitude as dehiscence will take us to another level of the perception of the Beauty in ‘Hebrew Melody’, composed by Joseph Achron. The final part of the paper offers to the listener the real possibility to see Beauty’s ingrown/incarnation in the mournfulness “as-itis” – in its dehiscential3 plenitude. The purpose of music must also be to bring us closer to the sufferer’s interior structures, but so that we can see the Beauty that lies in it. To achieve this, more ontic openings are needed, and this phenomenon well-characterized by the term dehiscential. ‘Hebrew Melody, Op. 33’– encompasses a whole world. In sound, pain can be exposed much more easily and much more cleansed of its negative aspects. Sonorous mournfulness is different from mournfulness-in-itself, but similar. At the level of human suffering, the two have the same ontic place. When they are filtered through artistic catharsis or artistic judgments, they receive a sublimated note that cuts the thresholds of the common world. The sounds that break the silence of the Being (in its successive openings), are the sounds that crumble the most, are those that scream so soft, so fragile, but scream. This is what we experience with ‘Hebrew Melody, Op.33’. The touching of the impossible things, the nostalgia for the lost memories, the desire to feel a piece of quietness, the sadness of not being happy, like a ship gone towards the blue horizon, the nothingness lived in a mourn – all these penumbrae of a sad soul which may have lost everything shape in us a beautiful Hebrew canvas, the necessity of a never-ending return to the Hebrew village, its synagogue, and life. [ABSTRACT FROM AUTHOR]

This article has a precise aim -- to develop a deep research in the aesthetic of music and phenomenology of the music. Investigating some traditional sources as Critique of the Pure Reason, and the sources from Johann Sebastian Bach and Antonio Tomaso Vitali, we have observed a natural link between the idea of the 'substance' described by Immanuel Kant and the idea of the 'substance' in violin music. We have transpositioned the idea of the 'substance' in violin music. Even if the work written by Immanuel Kant appears after the signs of the musical Baroque as Bach -- Vitali, we had considered that our perspective would be more interested if we will try to fix a paralogism of the substance in a composition named Chaconne. The Chaconne is a composition specific for the Baroque period, but which is well-known to be the most beautiful and the most complicated to be played for the violinists. There is a mysterious debate related to Chaconne, because due to the Partita no.2 in D minor by Bach, Vitali made it Chaconna in G minor. It has complex chromatic structures able to unify sounds which can express the sadness and human suffering with the most fastes sounds which express the tenderness and the silence, in perfection. For the conscience, there is a symmetry in the Chaconne -- because the 'I' can reach the most painful feelings with the most tender and healing states of the soul through the power of the sounds. Starting with the premise that the sounds have a deeply force for the manifestation of the lived facts of the conscience, we will try to see how Chaconne functions in this way linked by the paralogism of the substance and by the idea of the 'Beauty' of the sound. [ABSTRACT FROM AUTHOR]

The purpose of this article is to demonstrate that Wassily Kandinsky's geometrical paintings were inspired by the ballet world, and by the body movements of the ballerina. Moreover, painting and ballet communicate with each other. And geometry has helped that. Then, the idea of this article starts with the necessity in relating Kandinsky′s Spiritual theory on non-materiality exposed in Über das Geistige in der Kunst with Sergei Diaghilev′s Ballets Russes brought on Parisian scene between 1909s and 1929s. Ballets Russes is the term which names all the ballet representations thought and designed by Sergei Diaghilev after his musical-cultural conflict with Nikolai Rimski Korsakov. Starting with 1907s, Kandinsky had initiated Der Blaue Reiter group and he starts with various drawing techniques. Were favourable years in which Kandinsky′s evolution from simple drawings to sophisticated Compositions got up. We are witnessing a cultural increasement. So, the ballet, the music, the theatre and the painting can not be separated any more or, at least, or, at least, cannot be thought of separately as systems of aesthetic theory. The aesthetic evolution from ballet and theatre had influenced the evolution in painting. What we will try to show as novelty in our investigation, is the kinetic and spiritual relation between Kandinsky′s Compositions and some representations from Ballets Russes by Sergei Diaghilev, especially with the «L'Oiseau de feu». In conclusion, we want to show how the lines designed by Wassily Kandinsky are describing ballet's movements. The methods used in our research have consisted in the inter-artistic comparison between Wassily Kandinsky's theory of painting and the ballets designed by Sergei Diaghilev. We also brought a philosophical and personal perspective on both worlds. [ABSTRACT FROM AUTHOR]

Starting with the statement that the "Being is what-it-is," we have a new dilemma when we want to express something through a philosophical sentence. We will try to find out and to show how the structure of the verb, correlated with the judgement dresses up a double form: a passive one, and a reflexive one. We think the direction of transformation starts with the passive form and change into a reflexive one. This double loop of the verb, and the recent studies in judicative phenomenology, makes us to establish two new diathesis on the mental-structures of the verb: the judicative-diathesis and the pre-judicativediathesis. Finally, in the construction of the verbs "being" and "is," still persists the double fulfillment of the passive, and reflexive, to whom we can add the active form, because in ontical plane, the verb is let to activate something- the Being. The manner on how 'Being' is activated in judgement, is double: a pre-judicative way, and a judicative way. [ABSTRACT FROM AUTHOR]

Camil Petrescu is one of the most important aestheticians and philosophers of Romanian culture. His two works, the Doctrine of the Substance and the Aesthetic Modality of the Theater, provide us a new philosophical system of reception of the theater. In this respect, his comparison with the works of Antonin Artaud is validated. Besides being a writer, Camil Petrescu has developed a whole philosophical thinking system. It is about the substantiality which starts from 'noocratie', meaning that the intellect is part from the existence of the human beings. More than that, the manifestations of the intellect are those that lead us to understand the ontological status of being, but especially in understanding its artistic manifestations. The art, the painting, the theater are parts from the knowledge's systems about human being. The idea of the theatre as 'cruelty' is a modernist vision on how should the actor manifest in his art or express his emotions. In this sense, we have made a comparison with Faust directed by Silviu Purcărete to show that some aesthetic structures are not changed. They are still active and they have the purpose to generate other structures in the manifestation of the phenomenon named ʺtheaterʺ. That's it cruelty, or experiment, or suffering, or beautiful, we must see in theater a phenomenon as a totality, the manifetation of the Being in its totality. Theater is not only for the beautiful stories, but it is about the all stories about the human being. Starting with the noocratic Camil Petrescu's system and continuing with Antonin Artaud's writings, we saw some similarities in these two modernist visions and we think that an update of Faust combined with these systems is welcomed as well in the context of 2018's. [ABSTRACT FROM AUTHOR]

George Enescu was the most important violinist of the 20th century. He had revolutioned the aesthetic field of the music as Eugene Ysaÿe did. We want to show the importance of George Enescu for the European culture. In parallel, we had observed in Oɘdipe, opus 23 some philosophical elements which incited us to discover the idea of a double 'de-construction' of the Being through sound, and we have called this phenomenon de-'de-constructuion'. As Martin Heidegger, Jacques Derrida or John Caputo, talked about the 'Being' in relation with the world through logos, we try to focus on if there is a relation between 'Being' and world through sounds. We have disocvered in Oɘdipe, opus 23 elements of existential condition of the Being, dramatic ones, and suffering ones. The main question was "what happens when the Being suffers?". Can it be 'translated' into a musical language? Are we bringing it in her condition of naturality, or in her process of constitution? As we identified, this thing was possible, due to Enescu's techniques in defining Sophocle's Oedipus. [ABSTRACT FROM AUTHOR]

The critique of the phenomenology has opened a new field of research: the field of the phenomenology of the judicative in which the most important role it has the Kantian apperception which was re-invented by Husserl's dual theory. The Husserl s theory says that there is an intuitive apperception and a significative apperception, which means that we can respect the Kantian principles of the intuition into the apperception, but we can add to it a hermeneutic value by asking ourselves if the apperception can be understood, due to the fact that it is which unifies the natural things with the thoughts, as Aristotle had observed in his Peri Hermeneias essay. [ABSTRACT FROM AUTHOR]

Space is usually the place where we live day by day, so we can see it through our perceptions. But what if space is something else? What if it is not a simple perception? And what is then the space în kantian concept of the term? And why Kant became so important to us in defining this special theory of space? Not only for us, but for mathematicians too. We can say that geometric space ocupies volume, lenght, height and width. Considering to the kantian theory and to the neo-euclidian theory there are many types of spaces. Nowadays we can talk about the pluri-vers or multi-vers, the multidimensional space from the Calabi-Yau theory. Euclidian theory claimed that four points in different directions- which that means to be non-collinear points- already form space and three non-collinear points already form a plan. The surfaces's theory in the 18th century will be represented by Leonhard Euler, Gaspard Monge and Carl Gauss. In this paper we will follow the intercession of Kant's theory on space in parallel with the evolution of mathematics theories. [ABSTRACT FROM AUTHOR]

The naive art appears in France by the end of 1880's. It is an antitetic art to the bourgeois society, an allegory to certain social phenomena. It can be corelated with naivety, with ingenuity, but only apparently. The exeget Victor Ernst Maşek had contributed a lot in this field of study considering that ”no map of human spirituality shaped by art, cannot ignore the myterious archipelago of ingenuity”1. This ingenuity can be correlated with ancestral forces of the subconscious, so that we can make a reference to Adolf Bastian's theory who described the unity of the human psychic. [ABSTRACT FROM AUTHOR]

Paul Klee is a very different case in the twentieth century painting. He is „a poet of the colour and master of lines”2. He performed a diversity of abstraction as Chagall have done. These value systems enriches his work a lot. There are similitudes with Piet Mondrian's technique, Wassily Kandisnky's lines and Braque's technique. This personal article will follow to associate the art of the swiss painter Klee with the atonal serial music theory and with the mask-theatre of Beckett and others. Klee was part from the Blue Rider Group of Kandinsky. The idea to writing about the phenomena of the serialism in Klee's paintings is very appropiate to the phenomena of the serialism in music. The coloristic passivity is only apparent, but the repetition in series of the lines or points and colorated figures it generates dynamism. The serialism is a common phenomena of the first decades of the twentieth century starting with the Arnold Schoenberg School from Viena and continuing with Alan Berg, Pierre Henry, Pierre Boulez and Pierre Schaeffer. Herbert Eimert produces electronic music later in parallel with Dubuffet works. This music is also called „rough music” or „concrete music”. Kandinsky is the first abstract painter who associated the painting with music using the armony from Richard Wagner. Less will do the cubists, but Klee will continue to associate the music with painting as Dubuffet will do, because exists at both of them a nexus of serialism. [ABSTRACT FROM AUTHOR]

″Él arte povera″ is the art of the „poor” materials collected accidentaly. The art after the 1950's, became a formalized art, ″materialistic″ art and conceptual art too. We also can talk about an art composed by materials like a file from a newspaper, a piece of glass, a piece of an old cloth gathered at random or by mistake, which makes us to think to the ludic intention of the art once described by Johann Huizinga or to the ludic intention which needs to be taken seriously likes Hans Gadamer said. ″El arte povera″ retrieves these trends into principles, but it conserves the originality and the liberty of the invention. This type of art is always looking for natural images and natural spaces. ″El arte povera″ creates a world with it's own forms of expression, own forms of colors and it's own plastic-pictorial language very original. ″El arte povera″ contains as pretext the condition of the plastic / pictorial experiment. Nevertheless, this type of pictorial experiments has generated some trends in the area of the 1970's arts like the movement intitulated Surfaces in Italy and the earthart or enviromental art- all of them placed under the same linguistic umbrella of the ambiental arts. [ABSTRACT FROM AUTHOR]