{"id":208,"date":"2016-12-05T09:54:34","date_gmt":"2016-12-05T08:54:34","guid":{"rendered":"https:\/\/balkon.art\/home\/?p=208"},"modified":"2024-11-13T12:52:59","modified_gmt":"2024-11-13T11:52:59","slug":"rothado-szirmok","status":"publish","type":"post","link":"https:\/\/balkon.art\/home\/rothado-szirmok\/","title":{"rendered":"Rothad\u00f3 szirmok"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-2-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

S\u00f6t\u00e9t eszt\u00e9tika \u00e9s s\u00f6t\u00e9t \u00f6kol\u00f3gia Borsos L\u0151rinc Vir\u00e1gnyelven<\/em> c\u00edm\u0171 sorozat\u00e1ban<\/h3>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”5″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]A melank\u00f3lia n\u00e9lk\u00fcl\u00f6zhetetlen velej\u00e1r\u00f3ja minden szubjektivit\u00e1snak \u00e9s minden etik\u00e1nak. Minden egyes tapasztalatunkat j\u00f3v\u00e1tehetetlen\u00fcl \u00e9s kit\u00f6r\u00f6lhetetlen\u00fcl \u00e1tsz\u00ednezi a v\u00e1gy \u00e9s az annak t\u00e1rgya k\u00f6z\u00f6tti szakad\u00e9k s\u00f6t\u00e9ts\u00e9ge. A melank\u00f3lia nem bel\u00fclr\u0151l \u00e9rkezik \u00e9s a vil\u00e1g k\u00fcls\u0151dlegess\u00e9g\u00e9re externaliz\u00e1l\u00f3dik, hanem eleve ott van a megsz\u0171n\u00e9sre \u00e9s felboml\u00e1sra \u00edt\u00e9lt \u00f6kol\u00f3gia gravit\u00e1ci\u00f3s intenzit\u00e1sak\u00e9nt.\u00a0Borsos L\u0151rinc<\/span> Vir\u00e1gnyelven<\/em> c\u00edm\u0171 k\u00e9psorozata az els\u00f6t\u00e9t\u00fclt \u00f6komim\u00e9tikus praxis kimagasl\u00f3 eredm\u00e9nye. A Vir\u00e1gnyelven<\/em> sorozat a Botanika \u00e9s Politika<\/em> c\u00edm\u0171 ki\u00e1ll\u00edt\u00e1s1<\/a> keret\u00e9n bel\u00fcl l\u00e1that\u00f3 a Kisterem Gal\u00e9ri\u00e1ban Gosztola Kitti alkot\u00e1sai mellett. Borsos L\u0151rinc festm\u00e9nyein a term\u00e9szet be\u00e1rny\u00e9kol\u00f3dik az \u00f6kol\u00f3giai katasztr\u00f3fa hipert\u00e1rgy-szer\u0171 fenyeget\u00e9se \u00e1ltal.\u00a0Timothy Morton eszt\u00e9ta \u00e9s filoz\u00f3fus Ecology Without Nature<\/em> c\u00edm\u0171 k\u00f6tet\u00e9ben bevezeti a \u201es\u00f6t\u00e9t \u00f6kol\u00f3gia\u201d fogalm\u00e1t. Mint \u00edrja, \u201ea s\u00f6t\u00e9t \u00f6kol\u00f3gia egy melankolikus etika. Mivel k\u00e9ptelenek vagyunk kivetni magunkb\u00f3l vagy felem\u00e9szteni a m\u00e1sikat, (…) a cselekv\u0151k\u00e9pess\u00e9g\u00fcnk felf\u00fcggeszt\u0151dik\u201d.2<\/a> A s\u00f6t\u00e9t \u00f6kol\u00f3gia melankolikus attit\u0171dje eszt\u00e9tikus form\u00e1t is \u00f6lthet. A term\u00e9szeti l\u00e9tez\u0151kkel nem mint tiszta, \u00e1rtatlan alterit\u00e1sokk\u00e9nt tal\u00e1lkozunk, hanem a felboml\u00e1s \u00e9s az \u00f6sszeoml\u00e1s t\u00fcneteik\u00e9nt. Egy olyan etikai \u00e9s eszt\u00e9tikai \u00e1ll\u00e1spontot jel\u00f6l, amely nem letagadni k\u00edv\u00e1nja a negativit\u00e1st, hanem \u00e9ppen ellenkez\u0151leg, prezerv\u00e1lja \u00e9s konzerv\u00e1lja a melank\u00f3li\u00e1t, \u201emegtartja az \u00f6kol\u00f3giai katasztr\u00f3fa \u00e1rny\u00e9k\u00e1ban \u00e9lt \u00e9let s\u00f6t\u00e9t, depressz\u00edv jelleg\u00e9t\u201d.3<\/a> Arra mutat r\u00e1 a vil\u00e1g \u201ev\u00e9ge\u201d, hogy mindig egyek vagyunk a vil\u00e1g melankolikus, folyamatos pusztul\u00e1snak al\u00e1vetett l\u00e9nyegn\u00e9lk\u00fclis\u00e9g\u00e9vel.4<\/a> Nem a tisztas\u00e1gra, a term\u00e9szet megtiszt\u00edt\u00e1s\u00e1ra, purifik\u00e1ci\u00f3j\u00e1ra kell t\u00f6rekedn\u00fcnk a s\u00f6t\u00e9t \u00f6kol\u00f3giai felfog\u00e1s \u00e9rtelm\u00e9ben, hanem a koszban \u00e9s szennyess\u00e9gben val\u00f3 megmarad\u00e1sra. Morton szerint s\u00f6t\u00e9t \u00f6kol\u00f3gusokk\u00e9nt \u201eaz \u00e1ltalunk kitermelt ragacsos rendetlens\u00e9gben kell megmaradnunk, s\u0151t, azonosulnunk kell ezzel a szennyes cs\u00fafs\u00e1ggal\u201d.5<\/a> A s\u00f6t\u00e9t \u00f6kol\u00f3gi\u00e1nak nem c\u00e9lja el\u00e9rnie a nagybet\u0171s M\u00e1sikat, vagy egyes\u00fclni ezzel a reduk\u00e1lhatatlan alterit\u00e1ssal: \u201emeghagyja a dolgokat \u00fagy, ahogy vannak\u201d.6<\/a>[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

1<\/a><\/p>\n

Borsos L\u0151rinc, Gosztola Kitti: Botanika \u00e9s Politika.<\/em> Kisterem Gal\u00e9ria, Budapest, 2016. okt\u00f3ber 28 \u2013 december 2.; Kur\u00e1tor: Zsikla M\u00f3nika<\/p>\n

2<\/a><\/p>\n

Timothy Morton (2007) Ecology Without Nature. Rethinking Environmental Aesthetics<\/em> (Cambridge: Harvard University Press), 186.<\/p>\n

3<\/a><\/p>\n

Morton 2007: 187.<\/p>\n

4<\/a><\/p>\n

Uo.<\/p>\n

5<\/a><\/p>\n

Morton 2007: 188.<\/p>\n

6<\/a><\/p>\n

Morton 2007: 196.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][divider line_type=”No Line” custom_height=”20″][image_with_animation image_url=”418″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][divider line_type=”No Line” custom_height=”60″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]A Kisterem Gal\u00e9ri\u00e1ban l\u00e1that\u00f3 Botanika \u00e9s Politika<\/em> ki\u00e1ll\u00edt\u00e1s c\u00edme is utal arra, hogy a n\u00f6v\u00e9nyek is fontos politikai aktorokk\u00e9nt t\u00e9telez\u0151dhetnek. Borsos L\u0151rinc Tulipa \u2019Semper Augustus\u2019<\/em> c\u00edm\u0171 k\u00e9pe egy f\u00e9nytelen, s\u00f6t\u00e9t alapb\u00f3l emelkedik ki, azonban ez a kiemelked\u00e9s csup\u00e1n id\u0151leges, mivel a Tulipa \u2018Semper Augustus\u2019<\/em> m\u00e1r nem l\u00e9tezik, teh\u00e1t egy kihalt vir\u00e1ggal van dolgunk. Az \u00f6komim\u00e9tikus gesztus, amelyet ez a festm\u00e9ny megval\u00f3s\u00edt, az elhalt k\u00eds\u00e9rteties visszat\u00e9r\u00e9s\u00e9t eredm\u00e9nyezi.<\/p>\n

A s\u00f6t\u00e9tb\u0151l szellemszer\u0171en k\u00eds\u00e9rtenek a n\u00f6v\u00e9ny halv\u00e1ny, piros elsz\u00ednez\u0151d\u00e9sei, melyek egy v\u00edrusos fert\u0151z\u00e9s k\u00f6vetkezm\u00e9nyei. A s\u00f6t\u00e9t \u00f6kol\u00f3gia folyamatosan visszasz\u00edvja mag\u00e1ba az att\u00f3l csak l\u00e1tsz\u00f3lag elk\u00fcl\u00f6n\u00fcl\u0151 inoperat\u00edv \u00e1genseket. Eszt\u00e9tikai \u00e9rtelemben a \u2018Semper Augustus\u2019 tulip\u00e1n k\u00fcl\u00f6nlegess\u00e9g\u00e9t \u00e9s \u00e9rt\u00e9k\u00e9t \u2013 amely az 1637-es tulip\u00e1n\u0151r\u00fclet f\u00e9keveszett spekul\u00e1ci\u00f3j\u00e1ba torkollott \u2013 a vir\u00e1g szirmait megsz\u00e1ll\u00f3 mozaikv\u00edrus adta, amely nem sokkal k\u00e9s\u0151bb a vir\u00e1gfajta teljes elt\u0171n\u00e9s\u00e9t eredm\u00e9nyezte.<\/p>\n

A m\u0171v\u00e9szi nyelv kudarcoss\u00e1ga k\u00e9ptelen eg\u00e9szen lehatolni a dolgok titkos m\u00e9ly\u00e9re.7<\/a>\u00a0A v\u00e1ls\u00e1gban, pusztul\u00e1sban l\u00e9v\u0151 term\u00e9szetnek t\u00f6bb k\u00f6ze van a hal\u00e1lhoz, az \u00e9l\u0151 halotts\u00e1ghoz, mint az \u00e9lethez. Ebb\u0151l ad\u00f3d\u00f3an az \u00f6kol\u00f3giai t\u00e9m\u00e1j\u00fa eszt\u00e9tikai gyakorlatnak, \u00e9s \u00e1ltal\u00e1noss\u00e1gban az \u00f6kokritik\u00e1nak mint politikai gesztusnak \u201ea halottakhoz kell csatlakoznia\u201d.8<\/a> Problematikuss\u00e1ga \u00e9s ellentmond\u00e1soss\u00e1ga ellen\u00e9re a s\u00f6tetbe mer\u00fcl\u0151 term\u00e9szet reduk\u00e1lhatatlanul k\u00f6zel \u00e1ll hozz\u00e1nk.9<\/a> Ebben az \u00e9rtelemben az \u00f6kol\u00f3giai \u00e1ll\u00e1spont nem transzcend\u00e1lja a term\u00e9szet tiszt\u00e1talans\u00e1g\u00e1t, a beszennyezett antropoc\u00e9n korszak bomlotts\u00e1g\u00e1t.<\/p>\n

A s\u00f6t\u00e9t \u00f6kol\u00f3gia legf\u0151bb jellemz\u0151je az, hogy \u201ehelyben marad\u201d, m\u00e9g ha ez a hely groteszk\u00fcl deform\u00e1l\u00f3dott, s\u0151t, egyenesen lakhatatlan is.10<\/a> M\u00e9rgezett s\u00e1rban kell leragadnunk, s\u0151t, m\u00e1r abban vagyunk leragadva, a radioakt\u00edv, anti-vit\u00e1lis talaj \u00f6lel\u00e9s\u00e9ben, az olajfoltok feketes\u00e9g\u00e9ben, \u00e9s nem \u00e1h\u00edtozhatunk valamilyen tiszta f\u00f6ldre.11<\/a> A term\u00e9szet folyamatosan visszat\u00e9r, ez az \u00f6r\u00f6k visszat\u00e9r\u00e9s viszont nem egy rem\u00e9nyteli tal\u00e1lkoz\u00e1s lehet\u0151s\u00e9g\u00e9t vet\u00edti el\u0151, hanem \u201e\u00e9lettelen, rettent\u0151 \u00e9s mechanikus jelenl\u00e9tk\u00e9nt\u201d ad\u00f3dik.12<\/a> Ebb\u0151l a roncsolts\u00e1gb\u00f3l egy olyan k\u00f6z\u00f6ss\u00e9gis\u00e9g lehet\u0151s\u00e9ge mer\u00fcl fel, amely \u201eexcentrikuss\u00e1g\u00e1val\u201d felkelt benn\u00fcnket a romantikus term\u00e9szetim\u00e1dat \u201eszenderg\u00e9s\u00e9b\u0151l\u201d.13<\/a> Furcsa \u00e9s k\u00eds\u00e9rteties t\u00e1jon tal\u00e1ljuk magunkat, a katasztr\u00f3fa \u00e1ltal be\u00e1rny\u00e9kolt t\u00e9rbelis\u00e9g alaptalans\u00e1g\u00e1ban.14<\/a><\/p>\n

Dylan Trigg megfogalmaz\u00e1s\u00e1ban \u201ea hely mindig elfoglalja a hi\u00e1nyunkat\u201d.15<\/a> A k\u00eds\u00e9rtetiess\u00e9g hantol\u00f3gi\u00e1ja hi\u00e1nyos jelenl\u00e9tk\u00e9nt \u00e1rny\u00e9kolja be az elhagyatotts\u00e1g sz\u00ednhelyeit, a hi\u00e1nyos jelenl\u00e9tek t\u00e9rbelis\u00e9geit.16<\/a>[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

7<\/a><\/p>\n

Uo.<\/p>\n

8<\/a><\/p>\n

Morton 2007: 201.<\/p>\n

9<\/a><\/p>\n

Morton 2007: 200.<\/p>\n

10<\/a><\/p>\n

Uo.<\/p>\n

11<\/a><\/p>\n

Morton 2007: 201.<\/p>\n

12<\/a><\/p>\n

Uo.<\/p>\n

13<\/a><\/p>\n

Morton 2007: 202.<\/p>\n

14<\/a><\/p>\n

Uo.<\/p>\n

15<\/a><\/p>\n

Dylan Trigg (2006) The Aesthetics of Decay: Nothingness, Nostalgia, and the Absence of Reason<\/em> (New York: Peter Lang), 134.<\/p>\n

16<\/a><\/p>\n

Trigg 2006: 135.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][divider line_type=”No Line” custom_height=”20″][image_with_animation image_url=”498″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Borsos L\u0151rinc: Vir\u00e1gnyelven,<\/em> 2016, Kisterem Gal\u00e9ria (Borsos L\u0151rinc, Gosztola Kitti: Botanika \u00e9s Politika<\/em>)<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”60″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Ez a hantol\u00f3giailag t\u00falk\u00f3dolt t\u00e9rbelis\u00e9g, a roml\u00e1s eszt\u00e9tik\u00e1ja er\u0151teljesen megjelenik Borsos L\u0151rinc alkot\u00e1saiban. Nemcsak a romokat tekinthetj\u00fck otthontalan, hely n\u00e9lk\u00fcli helyeknek, hanem a romosk\u00e9nt felfogott antropoc\u00e9n term\u00e9szetet is olyan helyk\u00e9nt \u00edrhatjuk le, amelyben \u201efelt\u00e1rulkozik a r\u00f6gz\u00edtett \u00e9s racion\u00e1lis otthon hi\u00e1nya\u201d.17<\/a> Heterogenit\u00e1s\u00e1val a romos, roncsolt t\u00e9rbelis\u00e9g sz\u00e9tsz\u00f3r a vil\u00e1gban heterog\u00e9n, degener\u00e1lt \u00e9s dekadens mozzanatokat.18<\/a> Morton t\u00e9zise szerint v\u00e9gleglegesen szak\u00edtani kell azzal a gondolattal, mely szerint meg\u00e9rthetj\u00fck \u00e9s integr\u00e1lhatjuk ezen heterog\u00e9n aktorokat \u00e9s elemeket. Ehelyett az alterit\u00e1s reduk\u00e1lhatatlans\u00e1g\u00e1t, a heterogenit\u00e1s \u201eradik\u00e1lis non-identit\u00e1s\u00e1t\u201d kell elismern\u00fcnk.19<\/a><\/p>\n

S\u0151t, azt is mondhatjuk, hogy az ember \u00e1ltal v\u00e9ghezvitt katasztr\u00f3fa m\u00e9g negativit\u00e1s\u00e1ban sem tekinthet\u0151 kit\u00fcntetettnek. Az antropoc\u00e9nt nem vizsg\u00e1lhatjuk f\u00fcggetlen\u00fcl az egy\u00e9b geol\u00f3giai \u00e9s tempor\u00e1lis s\u00edkokt\u00f3l. A temporalit\u00e1st t\u00f6bb\u00e9 nem-line\u00e1ris m\u00f3don kell \u00e9rtelmezn\u00fcnk: linearit\u00e1s helyett \u00f6sszegabalyodotts\u00e1g, a k\u00fcl\u00f6nb\u00f6z\u0151 r\u00e9tegz\u0151d\u00e9sek differenci\u00e1latlan kiazmusa tapasztalhat\u00f3 \u201etempor\u00e1lis hom\u00e1lyk\u00e9nt\u201d.20<\/a> Egyetlen l\u00e9tez\u0151 sem alkot koherens, egys\u00e9ges eg\u00e9szt: Borsos L\u0151rinc vir\u00e1gain t\u00f6bbf\u00e9le temporalit\u00e1s keveredik, \u00e9s nem kibogozhat\u00f3, melyik mondhat\u00f3 els\u0151dlegesnek.21<\/a> A s\u00f6t\u00e9ts\u00e9g keretezi, nyeli el a vir\u00e1gokat, vagy a feketes\u00e9g furcsa esszenci\u00e1j\u00e1b\u00f3l sz\u00f6knek sz\u00e1rba ezek a n\u00f6v\u00e9nyek. Ebben a szeml\u00e9letben nincsen kiz\u00e1r\u00f3lagoss\u00e1g: az egyetlen kiz\u00e1r\u00f3lagoss\u00e1g a katasztr\u00f3fa kiz\u00e1r\u00f3lagoss\u00e1ga, a l\u00e1t\u00f3hat\u00e1rt els\u00f6t\u00e9t\u00edt\u0151 \u00f6kov\u00e1ls\u00e1gnak mint hipert\u00e1rgynak a k\u00f6zeled\u00e9se.<\/p>\n

A hipert\u00e1rgy egy eredetileg informatikai fogalom, amelyet Morton \u00e1temelt a filoz\u00f3fiai \u00e9s eszt\u00e9tikai diskurzusba a Hyperobjects<\/em> c\u00edm\u0171 k\u00f6nyv\u00e9ben.22<\/a> Minden olyan objektumot hipert\u00e1rgynak nevezhet\u00fcnk, amely m\u00e1s entit\u00e1sokhoz k\u00e9pest hatalmas m\u00e9retekkel rendelkezik, olyan nagys\u00e1ggal, mely be\u00e1rny\u00e9kolja az \u00e1ltala \u00e9rintett l\u00e9tez\u0151ket.23<\/a> A hipert\u00e1rgyak tov\u00e1bbi tulajdons\u00e1gaik\u00e9nt eml\u00edti Morton a \u201eragad\u00f3s jelleget\u201d, a \u201enon-lokalit\u00e1st\u201d \u00e9s az \u201einterobjektivit\u00e1st\u201d.24<\/a> Olyan a hipert\u00e1rgy, mint egy fekete, s\u0171r\u0171 olajfolt, amelyben madarak \u00e9s halak fulladoznak, \u00e9s amely \u00e1tsz\u00ednezi a testeiket, l\u00e9gz\u0151szerveiket \u00e9s az \u00f3ce\u00e1n felsz\u00edn\u00e9t.25<\/a>[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

<\/a>17<\/a><\/p>\n

Trigg 2006: 136.<\/p>\n

18<\/a><\/p>\n

Trigg 2006: 136-137.<\/p>\n

19<\/a><\/p>\n

Morton 2007: 186.<\/p>\n

20<\/a><\/p>\n

Morton 2016: 71.<\/p>\n

21<\/a><\/p>\n

Morton 2016: 72.<\/p>\n

22<\/a><\/p>\n

Timothy Morton (2013) Hyperobjects: Philosophy and Ecology After the End of the World<\/em> (Minneapolis: University of Minnesota Press)<\/p>\n

23<\/a><\/p>\n

Morton: 2013: 1.<\/p>\n

24<\/a><\/p>\n

Horv\u00e1th M\u00e1rk, Lov\u00e1sz \u00c1d\u00e1m (2016) \u201eA zaj mint hipert\u00e1rgy\u201d, In: Karlovitz J\u00e1nos Tibor (szerk. 2016) T\u00e1rsadalom, kultur\u00e1lis h\u00e1tt\u00e9r, gazdas\u00e1g<\/em> (Kom\u00e1rno: International Research Institute), 383-391.<\/p>\n

25<\/a><\/p>\n

Morton 2013:180.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][divider line_type=”No Line” custom_height=”20″][vc_column_text]

\"\"<\/div>
<\/div><\/div><\/div>[\/vc_column_text][divider line_type=”No Line” custom_height=”60″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]A Language of Flowers \/ Vir\u00e1gnyelven<\/em> c\u00edm\u0171 sorozat festm\u00e9nyei s\u00f6t\u00e9t, olajszer\u0171 h\u00e1tterei hipert\u00e1rgyk\u00e9nt szinte magukba olvasztj\u00e1k a gyenge, t\u00f6r\u00e9keny vir\u00e1gokat. Ezek a vir\u00e1gok l\u00e1thatatlan gy\u00f6k\u00e9rzet\u00fck \u00e9s \u00e9rrendszereik \u00e1ltal beleragadnak a s\u00f6t\u00e9ts\u00e9g m\u00e9ly melank\u00f3li\u00e1j\u00e1ba.\u00a0A feketes\u00e9g tapad\u00f3s teljess\u00e9ge \u00e1tj\u00e1rja ezeket a kimunk\u00e1lt vir\u00e1g\u00e1br\u00e1zol\u00e1sokat. Julia Kristeva a negativit\u00e1s egy olyan form\u00e1j\u00e1r\u00f3l besz\u00e9l a Soleil Noir c\u00edm\u0171 k\u00f6nyv\u00e9ben, amely \u201etot\u00e1lis \u00f3ce\u00e1ni hal\u00e1lk\u00e9nt \u00e1rasztja el a vil\u00e1got\u201d.26<\/a> Jean-Paul Sartre a L\u00e9t \u00e9s a semmi<\/em> c\u00edm\u0171 munk\u00e1j\u00e1nak egyik legh\u00edresebb r\u00e9szlet\u00e9ben a ragacsos anyagr\u00f3l mint rettenetes fenyeget\u00e9sr\u0151l \u00edr:\u00a0\u201ea ragacsos anyag olyan, mint egy r\u00e9m\u00e1lmunkban l\u00e1tott folyad\u00e9k, amelynek minden tulajdons\u00e1ga \u00e9letre kel \u00e9s ellenem fordul.\u201d27<\/a><\/p>\n

A ragacsoss\u00e1g mag\u00e1ba k\u00edv\u00e1n szippantani\u00a0benn\u00fcnket, \u00e9s ez\u00e1ltal fedi fel embertelen,\u00a0s\u00f6t\u00e9t preobjekt\u00edv totalit\u00e1s\u00e1t. R\u00e9miszt\u0151, mert vesz\u00e9lybe sodorja az olaj s\u0171r\u0171, andal\u00edt\u00f3 foly\u00e9konys\u00e1ga az egy\u00e9nis\u00e9g\u00fcnket, ugyanis \u201eegy ragacsos anyagot meg\u00e9rinteni annyi, mint kock\u00e1ztatni, hogy felold\u00f3djunk a ragacsoss\u00e1gban.\u201d28<\/a> Borsos L\u0151rinc alkot\u00e1saiban m\u00e9g a sz\u00ednesnek t\u0171n\u0151 vir\u00e1g\u00e1br\u00e1zol\u00e1sokat is ez a rettenetes jelleg lepi el. \u00c9rt\u00e9kek vagy k\u00fcl\u00f6n\u00e1ll\u00f3 objektumok helyett a hal\u00e1l olajos \u00f3ce\u00e1nja \u00e9rt\u00e9ktagad\u00e1sk\u00e9nt t\u00e9telez\u0151dik, \u201eegy anti\u00e9rt\u00e9k szimb\u00f3lumak\u00e9nt jelenik meg\u201d.29<\/a> A s\u00f6t\u00e9ts\u00e9g egy m\u00e9ly szakad\u00e9koss\u00e1got is jelent, olyan anyagis\u00e1got, amely bet\u00f6mi a sz\u00e1nkat a \u201et\u00e1tong\u00f3 dolog obszcenit\u00e1s\u00e1val\u201d.30<\/a> S\u0171r\u0171s\u00e9ge ok\u00e1n a feketes\u00e9g \u00f6sszef\u00fcgg\u00e9sbe hozhat\u00f3 a vastags\u00e1ggal is.31<\/a> A t\u00e1tong\u00f3 jelleg \u00e9s a szubverzivit\u00e1s \u00f6sszes\u0171r\u0171s\u00f6d\u00e9se egym\u00e1st nem kiz\u00e1r\u00f3, hanem kieg\u00e9sz\u00edt\u0151 attrib\u00fatumok.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

26<\/a><\/p>\n

Julia Kristeva (1992) Black Sun: Depression and Melancholia<\/em> (New York: Columbia University Press), 73.<\/p>\n

27<\/a><\/p>\n

Jean-Paul Sartre (2006 [1943]) A l\u00e9t \u00e9s a semmi: Egy fenomenol\u00f3giai ontoll\u00f3gia v\u00e1zlata<\/em> (Budapest: L\u2019Harmattan), 713.<\/p>\n

28<\/a><\/p>\n

Sartre (2006 [1943]): 714.<\/p>\n

29<\/a><\/p>\n

Sartre (2006 [1943]): 715.<\/p>\n

30<\/a><\/p>\n

Sartre (2006 [1943]): 718.<\/p>\n

31<\/a><\/p>\n

Michel Pastoureau (2012) A fekete. Egy sz\u00edn t\u00f6rt\u00e9nete<\/em> (Budapest: Pesti Kalligram Kft.), 70.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” top_padding=”20″ bottom_padding=”50″ text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”1274″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][vc_column_text css=”.vc_custom_1489483857620{margin-bottom: 25px !important;}”]\n

Borsos L\u0151rinc: Tulipa \u2018Semper Augustus\u2019 (Liliaceae)<\/em>, 2016, olaj \u00e9s akril, v\u00e1szon, fat\u00e1bla, 20\u00d730\u00d75 cm<\/p>\n[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”1275″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][vc_column_text css=”.vc_custom_1489483869801{margin-bottom: 25px !important;}”]\n

Borsos L\u0151rinc: Philadelphus Lewisii (Hydrangeaceae)<\/em>, 2016, olaj \u00e9s akril, v\u00e1szon, fat\u00e1bla, 20\u00d730\u00d75 cm<\/p>\n[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”1276″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][vc_column_text css=”.vc_custom_1489483882384{margin-bottom: 25px !important;}”]\n

Borsos L\u0151rinc: Rosa \u2018Black Baccara\u2019 (Rosaceae),<\/em> 2016, olaj \u00e9s akril, v\u00e1szon, fat\u00e1bla, 20\u00d730\u00d75 cm<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Az \u00f3ce\u00e1ni hal\u00e1l olajos felsz\u00edn\u00e9n finom n\u00f6v\u00e9nyi form\u00e1k tal\u00e1lkoznak a katasztr\u00f3fa m\u00e9lys\u00e9ges form\u00e1tlans\u00e1g\u00e1val. Francis Ponge a Faune et Flore<\/em> c\u00edm\u0171 pr\u00f3zavers\u00e9ben egy saj\u00e1tosan \u201en\u00f6v\u00e9nyi id\u0151r\u0151l\u201d besz\u00e9l, amely teret enged a hervad\u00e1snak, a n\u00f6v\u00e9nyek fokozatos degrad\u00e1ci\u00f3j\u00e1nak: \u201ea hervad\u00f3 vir\u00e1gok sz\u00e9ps\u00e9ge: a szirom \u00f6sszezsugorodik, ak\u00e1rha t\u0171zbe tartott\u00e1k volna: egy\u00e9bir\u00e1nt pontosan err\u0151l van sz\u00f3: az aszal\u00f3d\u00e1sr\u00f3l. Az\u00e9rt fogy el lassank\u00e9nt, hogy megmutassa a magot, melynek \u00fagy d\u00f6nt\u00f6tt, es\u00e9lyt ad, szabad teret enged.\u201d32<\/a> A hal\u00e1l fekete vizeit felsz\u00edv\u00f3 gyenge n\u00f6v\u00e9nyi sz\u00e1r eljuttatja a vir\u00e1gig a megsemmis\u00fcl\u00e9s asszimetrikuss\u00e1g\u00e1t. M\u00e1r a hervad\u00e1s is belefoglaltatik a katasztr\u00f3fa szabads\u00e1g\u00e1ba, amelyt\u0151l a vir\u00e1g sz\u00edne csak id\u0151leges kileng\u00e9s, heterog\u00e9n mut\u00e1ci\u00f3. A heterogenit\u00e1s mellett teh\u00e1t a katasztr\u00f3fa adja a s\u00f6t\u00e9t \u00f6kol\u00f3gia meghat\u00e1roz\u00f3 ontol\u00f3giai tartalm\u00e1t, olyan folyamk\u00e9nt, amely belet\u00f6lt\u0151dik az eszt\u00e9tikumba. A s\u00f6t\u00e9ts\u00e9g nemcsak felsz\u00e1mol, hanem szubverz\u00edv m\u00f3don furcsa \u00f6sszekapcsol\u00f3d\u00e1sokat is megalkot.33<\/a>[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

32<\/a><\/p>\n

Francis Ponge (2016) A dolgok oldal\u00e1n<\/em> (Budapest: L\u2019Harmattan), 66.<\/p>\n

33<\/a><\/p>\n

Morton 2013: 83.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][divider line_type=”No Line” custom_height=”20″][image_with_animation image_url=”1203″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][divider line_type=”No Line” custom_height=”60″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Ez a kifordult, pervert\u00e1lt, a s\u00f6t\u00e9ts\u00e9g \u00e1ltal \u00e1tj\u00e1rt \u00e9s beter\u00edtett interkonnektivit\u00e1s adja a hipert\u00e1rgyak melankolikus tenger\u00e9ben megakadt l\u00e9tez\u0151k kontextualit\u00e1s\u00e1t. Tov\u00e1bbra is lehets\u00e9ges a gy\u00e1sz a hipert\u00e1rgyak \u00e1rny\u00e9k\u00e1ban, viszont ennek a gy\u00e1sznak sz\u00fcks\u00e9gk\u00e9ppen egyetemesnek kell lennie, a depressz\u00edv ember differenci\u00e1latlan \u00e9rzelmi \u00f6sszeomlotts\u00e1g\u00e1hoz hasonl\u00f3an: a gy\u00e1sz depressz\u00edv egyetemess\u00e9ge \u201etemet\u0151v\u00e9\u201d v\u00e1ltoztatja a gy\u00e1szol\u00f3 pszich\u00e9j\u00e9t.34<\/a> A Kristeva \u00e1ltal le\u00edrt \u201edepressz\u00edv poz\u00edci\u00f3\u201d t\u00f6k\u00e9letes passzivit\u00e1s, olyan dermedts\u00e9g, amely a felf\u00fcggeszt\u0151d\u00e9s\u00e9n kereszt\u00fcl mutat be \u00f6nfelsz\u00e1mol\u00f3 \u00e1ldozatot a hipert\u00e1rgy feket\u00e9j\u00e9nek.35<\/a> Ebben az \u00e9rtelemben a s\u00f6t\u00e9t \u00f6kol\u00f3gia \u00e1ltal vir\u00e1lisan megfert\u0151z\u0151d\u00f6tt eszt\u00e9tikai gyakorlatnak nekrologikuss\u00e1 kell v\u00e1lnia, megvil\u00e1g\u00edtva az \u00e9let heterogenit\u00e1sa \u00e9s a hal\u00e1l burj\u00e1nz\u00e1sa k\u00f6z\u00f6tti affinit\u00e1si viszonyokat. Kristeva \u00f6sszek\u00f6ti a k\u00e9pzelet amorf jelleg\u00e9b\u0151l kiboml\u00f3 mesterk\u00e9lts\u00e9get az eltetemesed\u00e9ssel.36<\/a> Borsos L\u0151rinc m\u0171v\u00e9szete eszt\u00e9tikus vagy xenoeszt\u00e9tikus vir\u00e1gnyelven k\u00edv\u00e1n sz\u00f3lni hozz\u00e1nk, olyan megt\u00f6rt fragmentumokon \u00e1t, amelyek a halott nyelv \u00e9jszak\u00e1j\u00e1ba juttatnak benn\u00fcnket: \u201ehalott vagyok \u00e9s a s\u00f6t\u00e9ts\u00e9g sz\u00fcntelen\u00fcl v\u00e1ltakozik a f\u00e9nnyel. Az univerzum sz\u00e1momra z\u00e1rt, benne vaknak kell maradnom a semmiss\u00e9ghez l\u00e1ncolva. Ez a semmi, \u00e9n magam vagyok, az univerzum az egyetlen temet\u0151m, a Nap az egyetlen hal\u00e1lom.\u201d37<\/a> Mi magunk vagyunk a s\u00f6t\u00e9ts\u00e9g,\u00a0a hipert\u00e1rgy bel\u00e1thatatlan m\u00e9ly\u00e9t\u0151l nem vagyunk k\u00fcl\u00f6nv\u00e1laszthat\u00f3ak.<\/p>\n

Borsos L\u0151rinc Rosa \u2019Black Baccara\u2019 c\u00edm\u0171 alkot\u00e1sa a r\u00f3zsa feketes\u00e9g\u00e9ben l\u00e9v\u0151 szubverz\u00edv potencialit\u00e1sokra utal. A m\u0171v\u00e9sz \u00f6sszek\u00f6ti \u2013 spekulat\u00edv m\u00f3don \u2013 a fekete r\u00f3zs\u00e1t a black met\u00e1l m\u0171faj zenei vil\u00e1g\u00e1val. J\u00f3l l\u00e1that\u00f3, hogy a s\u00f6t\u00e9t vir\u00e1g alig t\u00f6ri meg a h\u00e1tt\u00e9r mindent elfed\u0151 feketes\u00e9g\u00e9t, hozz\u00e1 van tapadva a h\u00e1tter\u00e9hez. Egyed\u00fcl a z\u00f6ld sz\u00e1r k\u00edn\u00e1l sz\u00f6k\u00e9svonalakat, azonban a sz\u00e1ron kereszt\u00fcl a fekete vir\u00e1gban \u00f6sszpontosul a t\u00e1panyag. Ennek a n\u00f6v\u00e9nynek a vir\u00e1gz\u00e1sa teh\u00e1t \u00f6nfelem\u00e9szt\u00e9s, ak\u00e1rcsak a black met\u00e1l zene. Egyfajta negat\u00edv transzcendencia val\u00f3sul meg mind a fekete r\u00f3zsa, mind a vall\u00e1sgyal\u00e1z\u00f3 black met\u00e1l zen\u00e9szek szubverz\u00edv praxisa kapcs\u00e1n. Az \u00f6nel\u00e9get\u00e9s olyan elfeket\u00fcl\u00e9st visz v\u00e9gbe, amely maga a t\u00f6k\u00e9letes negativit\u00e1s: a megsz\u0171n\u00e9s neml\u00e9t\u00e9nek \u201eimmateri\u00e1lis tisztas\u00e1ga\u201d marad, aff\u00e9le v\u00e9gs\u0151, kisz\u00e1radt, elhamvadt maradv\u00e1nyk\u00e9nt.38<\/a>[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

<\/a>34<\/a><\/p>\n

Kristeva 1992: 61.<\/p>\n

35<\/a><\/p>\n

Uo.<\/p>\n

36<\/a><\/p>\n

Kristeva 1992: 73.v<\/p>\n

37<\/a><\/p>\n

Georges Bataille (1998) The Collected Poems of Georges Bataille<\/em> (Dufour Editions), 69.<\/p>\n

38<\/a><\/p>\n

Uo.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][divider line_type=”No Line” custom_height=”20″][nectar_video_lightbox link_style=”play_button_2″ nectar_play_button_color=”Default-Accent-Color” image_url=”493″ hover_effect=”defaut” box_shadow=”none” border_radius=”none” play_button_size=”default” video_url=”https:\/\/youtu.be\/DPyOhP1GTRQ?si=v1bEkslmJutqxxrH”][divider line_type=”No Line” custom_height=”40″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Az elm\u00fal\u00e1snak \u00e9s a felsz\u00e1mol\u00f3d\u00e1snak egy m\u00e1sik aspektus\u00e1t figyelhetj\u00fck meg a vir\u00e1gban mint szimb\u00f3lumban. Georges Bataille egy korai, 1929-es tanulm\u00e1ny\u00e1ban kiemeli, hogy a dolgok elz\u00e1rk\u00f3z\u00f3, szimbolikus tartalmakat rejtenek magukban. Mint \u00edrja, \u201ea l\u00e1tv\u00e1ny avat be a dolgok \u00e9rt\u00e9keibe\u201d.39<\/a> A vir\u00e1gok temporalit\u00e1sa Bataille szerint a teljes \u00e9s azonnali, r\u00f6vid id\u0151 alatt bek\u00f6vetkez\u0151 degrad\u00e1ci\u00f3 hirtelens\u00e9g\u00e9re utal. A vir\u00e1gok traumatikuss\u00e1ga tragikomikusan sz\u00e1nalmas.40<\/a> M\u00e9g az illataik is, szinte v\u00e9gtelen v\u00e1ltozatoss\u00e1guk ellen\u00e9re, mind egyetlen igazs\u00e1gtartalomra ir\u00e1ny\u00edtj\u00e1k \u00e9rz\u00e9kel\u00e9s\u00fcnket: \u201ea szerelemnek olyan szaga van, mint a hal\u00e1lnak\u201d.41<\/a> A szerelembe avat\u00f3 r\u00f3zsa illata nem az \u00e9let fel\u00e9 nyit r\u00e9seket, hanem a hal\u00e1l kil\u00e1t\u00e1stalans\u00e1g\u00e1nak enged teret. Minden r\u00f3zsa olyan temet\u0151, amelyben els\u00fcllyednek szakad\u00e9kos v\u00e1gyaink. A magasb\u00f3l hullanak al\u00e1 a vir\u00e1gszirmok, ez\u00e1ltal megval\u00f3s\u00edtva egy ford\u00edtott eman\u00e1ci\u00f3t. Noha a n\u00f6v\u00e9ny a f\u00e9nyb\u0151l t\u00e1pl\u00e1lkozik, \u201eannak szents\u00e9gtelen \u00e9s alantas gy\u00f6k\u00e9rzete a f\u00f6ldbe mer\u00fcl al\u00e1, imd\u00e1va a rothadts\u00e1got legal\u00e1bb oly m\u00e9rt\u00e9kben, mint amennyire a n\u00f6v\u00e9ny szomjazik a f\u00e9ny ut\u00e1n.\u201d42<\/a> Bataille r\u00f6vid essz\u00e9j\u00e9nek v\u00e9g\u00e9n feleleven\u00edti a mandrag\u00f3ragy\u00f6k\u00e9r \u201eobszcenit\u00e1s\u00e1t\u201d \u00e9s \u201ealantass\u00e1g\u00e1t\u201d.43<\/a>[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

39<\/a><\/p>\n

Georges Bataille (1985 [1929]) \u201cThe Language of Flowers\u201d, In: Georges Bataille (1985 [1929]) Visions of Excess: Selected Writings,<\/em> 1927-1939 (Minneapolis: University of Minnesota Press), 11.<\/p>\n

40<\/a><\/p>\n

Bataille 1985 [1929]: 12.<\/p>\n

41<\/a><\/p>\n

Bataille 1985 [1929]: 13.<\/p>\n

42<\/a><\/p>\n

Uo.<\/p>\n

43<\/a><\/p>\n

Bataille 1985 [1929]: 14.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][divider line_type=”No Line” custom_height=”20″][image_with_animation image_url=”447″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][divider line_type=”No Line” custom_height=”60″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Ebb\u0151l a szimb\u00f3lumb\u00f3l bontakoztatja ki Michael Taussig saj\u00e1t Bataille-olvasat\u00e1t. Taussig kiindul\u00f3pontja az, hogy minden \u00e1br\u00e1zol\u00e1s egy \u00f6ncsonk\u00edt\u00f3 mozzanatk\u00e9nt megy v\u00e9gbe, amely \u201ehull\u00e1mszer\u0171 mozg\u00e1sokat\u201d k\u00e9pez a tot\u00e1lis \u00f3ce\u00e1ni hal\u00e1l felsz\u00edn\u00e9n.44<\/a> A bizonytalanul remeg\u0151 z\u00f6ld sz\u00e1rak \u00e9s vir\u00e1gszirmok Borsos L\u0151rinc k\u00e9pein utalnak a m\u0171v\u00e9szet \u00e1ltal\u00e1nos tetemszer\u0171s\u00e9g\u00e9re. Ebben a poszthum\u00e1n m\u0171v\u00e9szeti t\u00e9rben, amelyet m\u0171veik megid\u00e9znek, a felf\u00fcggesztetts\u00e9g \u00e1llapot\u00e1ba ker\u00fcl\u00fcnk: \u201enem lehet eld\u00f6nteni, hogy mi a m\u0171v\u00e9szet \u00e9s mi a term\u00e9szet\u201d.45<\/a> A s\u00f6t\u00e9t \u00f6kol\u00f3giai szeml\u00e9leten bel\u00fcl a vir\u00e1g nemcsak a term\u00e9kenys\u00e9g vagy az \u00e9let burj\u00e1nz\u00f3 kibontakoz\u00e1s\u00e1nak a jele, hanem t\u00f6r\u00e9kenys\u00e9g\u00e9n kereszt\u00fcl a hal\u00e1l \u00e9s a katasztr\u00f3fa \u00e1lland\u00f3 k\u00f6zels\u00e9g\u00e9t is k\u00e9pviseli.46<\/a> Taussig a feh\u00e9r mandrag\u00f3ravir\u00e1g kapcs\u00e1n megeml\u00edt egy k\u00f6z\u00e9pkori hiedelmet, mely szerint az a felakasztott f\u00e9rfiak sperm\u00e1j\u00e1b\u00f3l terem, amely az akaszt\u00e1s idej\u00e9n a f\u00f6ldre hull, ak\u00e1rcsak a vir\u00e1gszirmok.47<\/a> A feh\u00e9r vir\u00e1gszirmok a mazochista, munk\u00e1tlan term\u00e9ketlens\u00e9g hervad\u00f3 maradv\u00e1nyai. A megsz\u00e1rad\u00f3, a f\u00f6ld feketes\u00e9g\u00e9be iv\u00f3d\u00f3 ond\u00f3csepp a produktivit\u00e1ssal szemben az elnyel\u0151d\u00e9s term\u00e9ketlens\u00e9g\u00e9t val\u00f3s\u00edtja meg.<\/p>\n

Eugene Thacker arra h\u00edvja fel a figyelm\u00fcnket, hogy a szomor\u00fas\u00e1g nemcsak pszichologiz\u00e1lhat\u00f3 szubjekt\u00edv mozzanat, hanem egy olyan l\u00e9gk\u00f6r, amelynek kedvtelens\u00e9g\u00e9hez m\u00e9g csak nem is sz\u00fcks\u00e9geltetik az emberek jelenl\u00e9te. A szomor\u00fa l\u00e9gk\u00f6r hal\u00e1los stabilit\u00e1sa \u201eegy \u00e9rdektelen vil\u00e1g\u201d s\u00f6t\u00e9t \u00f6kol\u00f3gi\u00e1j\u00e1t j\u00e1rja \u00e1t.48<\/a> A hal\u00e1lt k\u00f6vet\u0151 kivir\u00e1gz\u00e1s annak az excesszusnak a megnyilatkoz\u00e1sa, amelyet m\u00e9g a kiv\u00e9gz\u00e9s aktusa sem k\u00e9pes meg\u00e9rinteni. A kihullajtott ond\u00f3 \u00e9s a leszak\u00edtott feh\u00e9r j\u00e1zmin egyar\u00e1nt tekinthet\u0151 \u201eolyan \u00e9letnek, amelyet a hal\u00e1l hozott l\u00e9tre, perverz, m\u00e1gikus, kiford\u00edtott \u00e9letnek\u201d.49<\/a> Mut\u00e1ns, \u00e9l\u0151halott t\u00f6bblet, \u00fcres b\u0151s\u00e9g, amely m\u00e9g a m\u0171 befogad\u00f3j\u00e1t is steriliz\u00e1lja, magtalann\u00e1 l\u00e9nyeg\u00edti \u00e1t. Magok n\u00e9lk\u00fcl csak a s\u00f6t\u00e9t \u00f6kol\u00f3gia feketes\u00e9g\u00e9nek simogat\u00e1sa marad \u00e9s a fokozatosan lesz\u00e1rad\u00f3 halv\u00e1nyz\u00f6ld levelek. Magtalan \u00e9s gy\u00f6k\u00e9rtelen lev\u00e9l: rezidu\u00e1lis frakt\u00e1l. Rothad\u00f3 szirmok a felakasztott ember sperm\u00e1jak\u00e9nt darabosan \u00e1radnak sz\u00e9t k\u00f6r\u00fcl\u00f6tt\u00fcnk. Ebben a s\u00f6t\u00e9t \u00e9jszak\u00e1ban soha t\u00f6bb\u00e9 nem lesz f\u00e9nyess\u00e9g: m\u00e9g a feh\u00e9r szirmok is \u00f6r\u00f6kk\u00e9 elhalnak. Be\u00e1ll a csend.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

44<\/a><\/p>\n

Michael Taussig (2003) \u201cThe language of flowers.\u201d Critical Inquiry<\/em> 30.1 (2003): 100.<\/p>\n

45<\/a><\/p>\n

Taussig 2003: 109.<\/p>\n

46<\/a><\/p>\n

Taussig 2003: 111.<\/p>\n

47<\/a><\/p>\n

Taussig 2003: 121-122.<\/p>\n

48<\/a><\/p>\n

Eugene Thacker (2015) Cosmic Pessimism<\/em> (Minneapolis: Univocal Publishing), 20.<\/p>\n

49<\/a><\/p>\n

Taussig 2003: 129.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][divider line_type=”No Line” custom_height=”32″][image_with_animation image_url=”500″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Fot\u00f3k:\u00a0Eln Ferenc<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”40″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

BIBLIOGR\u00c1FIA:<\/p>\n

Bataille, Georges (1985 [1929]) \u201cThe Language of Flowers\u201d, In: Georges Bataille (1985 [1929]) Visionsof Excess: Selected Writings,<\/em> 1927-1939 (Minneapolis: University of Minnesota Press)<\/p>\n

Bataille, Georges (1998) The Collected Poems of Georges Bataille<\/em> (Dufour Editions)<\/p>\n

Baumgartner, Brad (2015) \u201cAblaze in the Bah of Fire\u201d, In Masciandaro, Nicola [et al.] Mors Mystica. Black Metal Theory Symposium<\/em> (Schism Books)<\/p>\n

Horv\u00e1th M\u00e1rk \u2013 Lov\u00e1sz \u00c1d\u00e1m (2016) \u201eA zaj mint hipert\u00e1rgy\u201d, In: Karlovitz J\u00e1nos Tibor (szerk. 2016) T\u00e1rsadalom, kultur\u00e1lis h\u00e1tt\u00e9r, gazdas\u00e1g<\/em> (Kom\u00e1rno: International Research Institute), 383-391.<\/p>\n

Kristeva, Julia (1992) Black Sun: Depression and Melancholia<\/em> (New York: Columbia University Press)<\/p>\n

Morton, Timothy (2007) Ecology Without Nature. Rethinking Environmental Aesthetics (Cambridge, Massachusetts: Harvard University Press)<\/p>\n

Morton, Timothy (2013) Hyperobjects: Philosophy and Ecology After the End of the World<\/em> (Minneapolis: University of Minnesota Press)<\/p>\n

Morton, Timothy (2016) Dark Ecology: For a Logic of Future Coexistence<\/em> (New York: Columbia University Press)<\/p>\n

Pastoureau, Michel (2012) A fekete. Egy sz\u00edn t\u00f6rt\u00e9nete<\/em> (Budapest: Pesti Kalligram Kft.<\/p>\n

Ponge, Francis (2016) A dolgok oldal\u00e1n<\/em> (Budapest: L\u2019Harmattan)<\/p>\n

Sartre, Jean-Paul (2006 [1943]) A l\u00e9t \u00e9s a semmi: Egy fenomenol\u00f3giai ontoll\u00f3gia v\u00e1zlata<\/em> (Budapest: L\u2019Harmattan)<\/p>\n

Taussig, Michael (2003) \u201cThe language of flowers.\u201d Critical Inquiry<\/em> 30.1 (2003): 100.<\/p>\n

Thacker, Eugene (2015) Cosmic Pessimism<\/em> (Minneapolis: Univocal Publishing)<\/p>\n

Trigg, Dylan (2006) The Aesthetics of Decay: Nothingness, Nostalgia, and the Absence of Reason<\/em> (New York: Peter Lang<\/p>\n[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” vertically_center_columns=”true” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”center” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” color_overlay=”rgba(255,255,255,0.92)” overlay_strength=”0.95″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-1-1″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”]

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