Performances of Zsolt Sőrés present a unique opportunity to meet a man who, besides seeing the world in an existential way, also sees that human culture is at present in one of its breakpoint periods (“turning points”). Therefore, we are confronted in his productions with something that seems incomprehensible from an inscedecent aspect. His existential view is corrected by a new, more important vision. It is a rhizomatic vision, enabling to cross the border of existentiality and to manipulate freely with basic processes of the creation of fundamental cultural spontaneities bound to an ambient, empirical and transcendental plane of immanence. However, he does not use this vision for the synthesis of these spontaneities, but presents himself to us divested of these spontaneities to demonstrate something from a newly emerging cultural spontaneity, the rhizomatic spontaneity.
To be able to realize this transgression, he had to add to his own criticism of the abovementioned fundamental cultural spontaneities the understanding of Derrida's conception of deconstruction, Foucault's conception of genealogy of knowledge and Deleuze's conception of rhizome. These conceptions made it possible to view the postmodern period as a period of transition to a new cultural epoch and revealed the processes, "responsible" for the existence of the aforementioned fundamental cultural spontaneities. Just a brief reminder: the ambient spontaneity is linked to processes of deterritorialization and reterritorialization, described by Deleuze; empirical spontaneity is fostered by Derrida's processes of temporization and spatialization; transcendental spontaneity is produced by the processes of reduction and amplification, established by Foucault. According to these philosophers, the essence of today's cultural reversal lies not only in deconstructivist prevailing over the bond to existing fundamental cultural spontaneities, but also in rejecting the creation of their syntheses. It is to be added that under syntheses we understand inscendent processes of amplification and reduction of empirical and ambient spontaneity.
As the legacy of these poststructuralist thinkers remains, up to now, misunderstood in many aspects, the establishment of a zone (territory) of transition to a new plane of immanence, a source of new immanent processes and a new cultural spontaneity is always a marginal issue of contemporary art, without being of interest to the general public. Fortunately enough, it is an issue for some experimental artists. These artists, despite general misunderstanding, keep on creating the traces of human presence in this zone. They deconstruct the pairs of immanent processes, the bases of fundamental cultural spontaneities to search for new, non-conventional, but purposeful, connections between individual immanent processes, cleansed in this way. These activities bring to life a new rhizomatic awareness, enabling to register a new cultural experience. The principal postmodern "value" is, therefore, this rhizomatic experience. It is to be added that after experiences from Sőrés's events, a feeling appears that he interprets something from it also to us.
Bratislava, 14th March, 2010
Note:
The text was originally published in Slovak. Valér Miko: Imanentné procesy v umeleckej tvorbe a nové možnosti jej interpretácie. [Immanent Processes in Artistic Creation and New Eventualities of its Interpretation.] In: Július Fujak (Ed.): Otáz(ni)ly hudobnej semiotiky a estetiky. Nitra, Katedra kulturológie, Filozofická fakulta, Univerzita Konštantína Filozofa v Nitre, 2010, 135-137.
Read more: http://blogs.myspace.com/index.cfm?fuseaction=blog.view&friendId=520201659&blogId=536903651
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Ahad's Masters Garden / Blog
Frans de Waard reviewed PAW MUSIC CD in Vital Weekly
A trio of improvisers. One is France, Quentin Rollet, a.k.a. Q., on alto saxophone, microphone, feedback and voice, and the other two from Budapest: Pál Tóth, a.k.a. Én on electronic devices, objects, contact microphones and voice and Zsolt Sőrés, a.k.a. Ahad, on viola, analogue synthesizer, objects, contact microphones, feedback and voice. All three have an extensive background in the world of improvised music, especially Q. and Ahad, but they manage to capture here something that is pretty interesting and side stepping the various genres inside the field of improvisation. The contribution of Q. on the alto saxophone is throughout the most 'standard' thing around here, which is not bad as it adds a certain curious free improvisation to it. But at other times he is on par with the other two, who play a great electronic set of sounds. Én's solo work came close to microsound, an interest he brings on board here too. Stretched out field of drone like sounds, piercing sine waves and feedback along with the scraping of violins and pre-taped sounds (field recordings maybe?) make a great set of improvised pieces. A wild combination of pure improvisation and what seems to me composed layers in the background. The closest it comes to resembling something else, I think, is Morphogenesis, although this trio have a more lively dynamics. From the extreme soft to the brutal loud, they move more freely around in abusing their instruments. A highly dynamic force, this trio. Excellent stuff and I'm told there is more to come. (FdW) Address: http://www.ronda-label.com/ Vital Weekly - The Oldest Online Source for Music Reviews: http://www.vitalweekly.net/ PAW MUSIC artists videos and images: http://ahadmaster.blogspot.com
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Ahad's Masters Garden IV.: Empire Live 2009
"AMG IV.: Empire Live 2009" by Ahad/Füle/Despera/Sugo (H/J) quartet digital album now available on Band Camp. The "Empire Live" album also contains a short FLV concert video. The "AMG II.: Songs from the Lotus Island - Prelude of a Collective Ayahuasca-Healing" Jodorowsky-hommage digital album for free download here! These special edition versions of the AMG-projects will never be available on CD or vinyl! http://ahad.bandcamp.com/album/ahads-masters-garden-iv-empire-live-2009
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Ahad's Masters Garden II.: Songs from the Lotus Island
Ahad's mix-album on Band Camp; a special edition digital release. Hommage à Alejandro Jodorowsky: http://ahad.bandcamp.com/album/ahads-masters-garden-ii-songs-from-the-lotus-island-prelude-of-a-collective-ayahuasca-healing-hommage-alejandro-jodorowsky
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"Performance at an Exhibition" video (excerpt)
I uploaded a YouTube video -- "Performance at an Exhibition" by Enikő Buday, Ishii Junya & Ahad (excerpt): http://www.youtube.com/watch?v=gTxCJaQxqWA
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Schimana / Winter / Ahad - Live at the "IMA05. The Festival"
Schimana / Winter / Ahad - Live at the "IMA05. The Festival" -- Elisabeth Schimana - Rhytmicon; Manon-liu Winter - Cello; Zsolt Sőrés (Ahad) - Live Electronics and Manipulations. Rhythmicon constructed by Leon Theremin in New York, 1931. Listen: http://soundcloud.com/ahad/elisabeth-schimana-manon-liu-winter-ahad-live-at-the-ima05-the-festival
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Valér Miko: What is the Message of Zsolt Sőrés's Events
Performances of Zsolt Sőrés present a unique opportunity to meet a man who, besides seeing the world in an existential way, also sees that human culture is at present in one of its breakpoint periods (“turning points”). Therefore, we are confronted in his productions with something that seems incomprehensible from an inscedecent aspect. His existential view is corrected by a new, more important vision. It is a rhizomatic vision, enabling to cross the border of existentiality and to manipulate freely with basic processes of the creation of fundamental cultural spontaneities bound to an ambient, empirical and transcendental plane of immanence. However, he does not use this vision for the synthesis of these spontaneities, but presents himself to us divested of these spontaneities to demonstrate something from a newly emerging cultural spontaneity, the rhizomatic spontaneity. To be able to realize this transgression, he had to add to his own criticism of the abovementioned fundamental cultural spontaneities the understanding of Derrida's conception of deconstruction, Foucault's conception of genealogy of knowledge and Deleuze's conception of rhizome. These conceptions made it possible to view the postmodern period as a period of transition to a new cultural epoch and revealed the processes, "responsible" for the existence of the aforementioned fundamental cultural spontaneities. Just a brief reminder: the ambient spontaneity is linked to processes of deterritorialization and reterritorialization, described by Deleuze; empirical spontaneity is fostered by Derrida's processes of temporization and spatialization; transcendental spontaneity is produced by the processes of reduction and amplification, established by Foucault. According to these philosophers, the essence of today's cultural reversal lies not only in deconstructivist prevailing over the bond to existing fundamental cultural spontaneities, but also in rejecting the creation of their syntheses. It is to be added that under syntheses we understand inscendent processes of amplification and reduction of empirical and ambient spontaneity. As the legacy of these poststructuralist thinkers remains, up to now, misunderstood in many aspects, the establishment of a zone (territory) of transition to a new plane of immanence, a source of new immanent processes and a new cultural spontaneity is always a marginal issue of contemporary art, without being of interest to the general public. Fortunately enough, it is an issue for some experimental artists. These artists, despite general misunderstanding, keep on creating the traces of human presence in this zone. They deconstruct the pairs of immanent processes, the bases of fundamental cultural spontaneities to search for new, non-conventional, but purposeful, connections between individual immanent processes, cleansed in this way. These activities bring to life a new rhizomatic awareness, enabling to register a new cultural experience. The principal postmodern "value" is, therefore, this rhizomatic experience. It is to be added that after experiences from Sőrés's events, a feeling appears that he interprets something from it also to us.
Bratislava, 14th March, 2010
Note: The text was originally published in Slovak. Valér Miko: Imanentné procesy v umeleckej tvorbe a nové možnosti jej interpretácie. [Immanent Processes in Artistic Creation and New Eventualities of its Interpretation.] In: Július Fujak (Ed.): Otáz(ni)ly hudobnej semiotiky a estetiky. Nitra, Katedra kulturológie, Filozofická fakulta, Univerzita Konštantína Filozofa v Nitre, 2010, 135-137.
Read more: http://blogs.myspace.com/index.cfm?fuseaction=blog.view&friendId=520201659&blogId=536903651
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New CD album release! PAW MUSIC (RND14)
QUENTIN ROLLET aka Q. / ZSOLT SŐRÉS aka AHAD / PÁL TÓTH aka ÉN: PAW MUSIC (RND14) CD released by the French label Ronda, co-produced with ReQords and HEyeRMEarS Discorbie. Release date: 24 June, 2010. Unit price: €13.00 EUR (+ shipping cost) - - "«Paw Music» is an improvised creation performed by Pál Tóth, Quentin Rollet and Zsolt Sőrés in Budapest. «Paw» is a dynamic intersection of three different individual sound aesthetics that purposely met one summer day in studio at the Danube island in Budapest in order to explore the potential of chaos, to set up intuitively the significant planes in it, and to communicate their imaginations and desires in mutual interactions. No more, no less, just a natural ambition of three creative beings wishful to articulate the plurality of ungraspable world at one of its fringes." - - Further informations and order: http://www.ronda-label.com/v2/index.php?option=com_content&view=frontpage&Itemid=24&lang=en Listen to an extract: http://soundcloud.com/ahad/missin-miss-in-pink
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RELATÍV (ÁT)HALLÁSOK NEMZETKÖZI KORTÁRS ZENEI TALÁLKOZÓ
3. RELATÍV (ÁT)HALLÁSOK NEMZETKÖZI KORTÁRS ZENEI TALÁLKOZÓ AZ ARTUS STÚDIÓBAN 2010. MÁJUS 28-29. 19:00
Program:
Színházterem
2010. május 28. péntek, 19:00
˗ RINUS VAN ALEBEEK: The Politic Non Populist Implications of Field Recordings on Every Day Life Practices – Megnyitó előadás (angol nyelven) ˗ BA /BESOROLÁS ALATT/ (H/SK) ˗ IVAN PALACKÝ & FILIP CENEK (CZ) ˗ WOUTER JASPERS – FRANS DE WAARD (D/NL) ˗ ORRECT LIVEACT (H)
2010. május 29. szombat 19:00
˗ DON'T EAT GROUP & CHRISTIAN SKJØDT (DK/H) ˗ THANOS CHRYSAKIS – OLI MAYNE – JERRY WIGENS (GR/UK) ˗ RINUS VAN ALEBEEK (D/NL) ˗ DESERT CHAOS (H)
Artus Galéria
No-tech interaktív installáció: LENGOW & HEyeRMEarS (SK/CZ): Cerumenofóbia (2006-)
A találkozó ideje alatt videóvetítés JOZEF CSERES (SK/CZ) független kurátor és konceptuális művész válogatásában: IVAN PALACKÝ – FILIP CENEK (CZ): From the H2Oise series (2008); KOROKNAI ZSOLT – LADJÁNSZKI MÁRTA – SŐRÉS ZSOLT AKA AHAD (H): Lektro’herm’ear (2009); PETER STRICKLAND with THE BOHMAN BROTHERS (UK): Berberian Sound Studio (2006); ALESSANDRO BOSETTI (I/USA): Guitar in your throat (2009); JON ROSE – HOLLIS TAYLOR (UK/AUS – USA): The Great Fences of Australia (2004); NICOLAS COLLINS (USA): In Memoriam Michel Waisvisz (2009); BRANDON LABELLE (USA): Z/ (2006); PAUL DEVENS (USA): Hold-Up (2005-2006); BERNHARD GÁL (A): textur # 2 (2006); NAGY PÁL – BRUNO MONTELS (H/F): Autodafé 2 (1996); YUNG-HSIEN CHEN (RC): Grassing (2001); MARGARIDA GARCIA (P): Sleep's Bright Land (2005); HEIMO WALLNER (A/IL): Hallo (2006)
Artus Stúdió 1116 Budapest, Sztregova utca 7. A Fonó Budai Zeneház melletti gyárépületben Tel. és fax: 06 1 204 3755 E-mail: info@artus.hu http://www.artus.hu/
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Ahad live on 12th May, Budapest, +3db Contemporary Sound Art Festival
http://www.ustream.tv/recorded/6862517#utm_campaign=www.facebook.com&utm_source=6862517&utm_medium=social
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AHAD & DESPERA new album at Free Music Archive
http://freemusicarchive.org/music/Ahad__Despera/AMMEn__O__Chapters_from_the_Ahads_Masters_Garden_Sessions/
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