On Klänge - Space, Time and Body
The start point of this artistic research is an artwork Corona-STEMS-GALAXYOMEGA (May 2020) by Lukas Huisman who a pianist and PhD in performing arts/piano in classic-modern music, he started to embodiment "Corona" (1962) by Takemitsu together with a composer and sound artist Patrick Housen newly. Huisman and Housen call Graphology duo. (Graphology duo is a musical performative duo formed by Patrick Housen with (live) electronics and Lukas Huisman with piano.
I collaborate(d) with Housen as a visual artist for a sound installation in this artistic project. Thereby the artistic research "variation I" which relates to this artistic research on Klänge - Space, Time and Body, I as a visual artist, have been exploring the subject of time and space in "Corona" (1962) for pianist(s) by Toru Takemitsu for the exploration of new interpretations (variations).
My practical contribution is a performance in the site-specific installation for the variation I ( "Corona" without Pianist for 4-ch discrete sound installation - an invisible sense "who is left to drift in the loneliness of the remaining scent." in 2020. Thus theoretical exploration is in terms of ongoing artistic research in the philosophy of sound. The aim of this artistic research On Klänge - Space, Time and Body is a new multi-layered open score "Variation I, II and III".
N.N-Zwischenliegend - a progressive investigation into errors/eine fortlaufende Untersuchung zu Fehlern
„N.N-Zwischenliegend“: Ich forsche zum Thema "Paradoxität" in einer Kunst (Praxis und Theorie) von einer Dokumentation (Realität) – Zeit, Raum und Körper.
Eine künstlerische empirische Forschung. Diese Kunst-Forschung ist die Fortsetzung von der Kunst-Forschung „still/silent“ (This artistic research is the continuation of the artistic research "still/silent").
Erster Teil ist N.N-Zwischenliegend - a progressive investigation into errors/eine fortlaufende Untersuchung zu Fehlern (in der Bildwissenschaft und Ästhetik), diese Forschung geht es nicht um digitale photographische Technik, sondern um digitale photographische Technik und experimental Photography heute, und um (Neo-) Repräsentationstheorie (Multimodalität und experimental Dokumentation) :
In part of my artistic research in the N.N-Zwischenliegend project – namely digital photography – I am investigating the potentiality of inspiring errors and imperfection, employing three research methods. First, according to the definition, “errors” in this artistic research are not intentional, but rather are created in the concept by chance due to natural phenomena in the digital camera. In the concept of experimental documentary photography of N.N-Zwischenliegend, I did not try to photograph things (Dinge) and objects (Gegenstände) only, but rather I tried to grasp temporal and spatial depth as well as the potentiality of the natural phenomenon. I have implemented this idea in an image with photographic techniques and double exposure, whereby these photographs were combined in the same documentary photo series. Second, I examine the photos for errors from the perspective of different disciplines such as photochemistry, physics, phenomenology, cognitive science, science of images, philosophy, and psychology to reflect whether there are flaws or gaps in the entire N.N-Zwischenliegend series. Third, in the N.N-Zwischenliegend project, I deal with the image as an error or gap with the philosophical reflection on the theme of “estrangement” in the photographic perspective as a narration.
If the potential of the fault opened up to us, and if the error thus contributed to an “elasticity” of consciousness or the illusion of depth, I thus question the paradox of seeing in arts, which refers to the question: "Could the fault inspire us in this sense?". To answer this question, in this article I connect to the evolution of consciousness from the perspective of psychology and neuroscience. “The AST (Attention Scheme Theory) covers a lot of ground, from simple nervous systems to simulations of self and others. It provides a general framework for understanding consciousness, its many adaptive uses, and its gradual and continuing evolution.”1 At the same time, it deals with the question of experimental or digital photography today, its perfection and errors in both the world of artistic photography as well as digital culture.
1: Graziano, Michael, A New Theory Explains How Consciousness Evolved - A neuroscientist on how we came to be aware of ourselves, The Atlantic, June 2016.