THE CONFLUENCE OF SCIENCE AND ARTISTIC INSPIRATION IN GYÖRGY LIGETI’S MUSICAL THINKING by Attila FODOR

“…He manifested during his an opened attitude towards (almost all kind of) music, though his output is basically dominated by several – extremely personal – dichotomies, which ultimately demonstrate a fundamental duality of his personality: science-art, craft-intuition, calculus-emotion, presence-distance, mechanic-kaleidoscopic, grotesque-absurd, manipulation-ecstasy. …”
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The persuasive function of the blood of Jesus in Matthew 26:28 by M.J. Nel

“…It is argued that the shift towards allusions and echoes when explaining Jesus’ death aligns with Matthew’s strategy that can be described as a kaleidoscopic atonement theory, in which he weaves various Old Testament themes together to construct a comprehensive theory of atonement in Matthew 20:28 and 26:28. …”
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Construction géopolitique pour le développement durable d'une enclave métropolitaine du MERCOSUR by Diana Arellano, Carla Cossi

“…From an anthropological perspective, we seek to advance a characterization of the explanations that support the persistent vocation for integration in this metaphorically kaleidoscopic territoriality; understanding the particular reality of these border cities, which due to their geographical and urban contiguity were grouped into a study unit, which combines multiple local practices, which mix, overlap, oppose, contradict and exclude each other, beyond the state political limits that divide them. …”
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Le jardin du présent intensément by Nicolas Fiévé, Florence Mercier, Frank Salama, Manuel Tardits

“…These different voices produce a kaleidoscopic perspective, a way of grasping the links between Japan and France in relation to gardens and architecture. …”
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Tell Me Lies (Peter Brook, 1968) or How I Learned to Start Worrying about Vietnam by Nicole Cloarec

“…The film’s originality also lies in its kaleidoscopic aesthetics, blending documentary techniques with fiction, the immediacy of newsreels and pieces to camera with musical interludes, staged performances, Brechtian “alienation effects” and self-reflexive comments. …”
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