Maria Dundakova, „The Wind Song Way” project, Stone Soundscape, Gongju, South Korea: installation of four black stones, 2,8 x 9,5 x 1 m, 22.09.2012. Maria Dundakova ist eine Multimediakünstlerin, sie absolvierte ihr Diplom an der Kunsthochschule Sofia, Bulgarien. Ihre Projekte stehen in direktem Zusammenhang zu Ereignissen in der Natur und dem urbanen Raum. Sie reichen von Klanginstallationen (The Wind Song Way) und Video- und Performancekunst bis zu Malerei.
On musical Meaning, collective Emotion, and Consciousness I. “He [Aristotle] also points out that ‘in our travels we can see how every human being is akin and philon to every other’ (NE 1155a21-2)”. 1 1. Even in the age of communication (epitomizing the contemporary), when travelling from country to country, one is reminded of a recognition so far well-known during the period of enlightenment. If music is a natural language, a theoretical habit and a tenet as well, that is worth to be reconsidered, it under normal circumstances does not need to be translated. So in first instance and using a Fregeian complex, anything belongs to ‘Sage und Dichtung’ (myth and poetry), as music is not truth-bearing but must belong very well and quite easily to a common consciousness. If someone is a human, a feature the modern age so far has not intrigued anyone to deny on essential terms, (even if, on the whole, one cannot avert the impression that the conventional ladder concerning the layers of existence, which begins with the earth and materia elementae and must pass the animal in order to touch the human sphere, has achieved new (of course socially driven) intersections, forms of interpersonal and consciousness-interstitial expression which demand the straightaway declaration of another ‘nested’ being within the encompassing image of creation), then she/he will understand, at least approximately, what (i) the affectation of an opera singer is telling; (ii) is claiming the subject and execution thereof within an entire symphony sentence; (iii) makes the immediate essence of the struggle of different violins, each with a different height, to conform to a common measure, 1 Cited from: Alexander Nehemas. “Aristotelean Philia, modern Friendship?” In: Oxford Studies in Ancient Philosophy Vol XXXIX, Winter 2010, 213-247, 234. I | 13 CRITICA<strong>–</strong>ZPK 42 von Sander Wilkens the schedule or scheme of the heart beat dwelling upon in order to provide noise and silence in a pre- and at once calculated manner for any of them. To the extent, it is historical music supporting the argument <strong>–</strong> and topic too <strong>–</strong> and even if the last description allows for altering the field to modern, after-tonality music, it nevertheless shows that the language theorem is not stable, or that music should very well endure, and even require a translation (i.e. a comment to its content in one’s ordinary language). Second, as presumably any professional theoretician does, one must conclude that the meaning of music insofar connected to a ‘supranational’ language on its own is a problematic concept the ambiguity of which yields to the observer as soon as one concentrates on the so-called styles. In order to learn that composers very well tried to intermediate Italian or French music to their German contemporaries mixing it up in one clearly sophisticated fashion, the “Vermischter Geschmack” (which, in turn, does not include the Elisabethean-Britain-Irish, the Polish or Spanish, exhibited in the suite or opera or otherwise): The mix represents something dialectical or conventional, at least the loss of universality or simple nature the language theorem needs. Third, if one is searching for the rationale of this complexity and, no doubt, complicated issue, one can find a learning from the sociologist(s), this time someone whose life task was to explain an entity that he named the collective consciousness consisting of a very wide range of social behavior, of social constraints, deeply anchored in society as the legal constitution forming the expression of its body (or ‘corporation’) and comprising a large scale of social facts, the language included. Indeed, it is the last one, ‘le fait social’, which has to take the role of the hyperonym in order to comprehend the
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