expositions
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Metamorphosis - Ethics and Aesthetics are One - from a Neuroscientific Perspective (2024) author(s): Erika Matsunami published in: Research Catalogue
Wittgenstein's "Ethics and Aesthetics are one" is the starting point of this research. "In the Notebooks, Wittgenstein states that 'the world and life are one', so perhaps the following can be said. Just as the aesthetic object is the single thing seen as if it were a whole world, so the ethical object, or life, is the multiplicity of the world seen as a single object". (Diané Collinson, The British Journal of Aesthetics, Volume 25, Issue 3, SUMMER 1985, pages 266-272) Art transcends boundaries of race, nationality and gender. It is a creative act of unifying in the context of humanity, from the subject to the various topics, by asking questions. This point is the lack of "reality" (dealing with reality) from a sociological perspective. However, it is impossible to define humanity and reality based on sociological statistics alone–which is my perspective of Wittgenstein's "Ethics and Aesthetics are one". Thereby, I examine 'world and life' from the 21st century perspective. In other words, my research is on immateriality from a 21st-century perspective in relation to the context of neuroscience—on multifoldness. I would like to explore the following "What is diversity and its coexistence?" ...open exposition comments (0) -
Untitled* (last edited: 2025) author(s): Erika Matsunami This exposition is in progress and its share status is: visible to all.
Untitled* is practise-based artistic research, which is the exploration of geometry in drawing, (music, visual arts) notation and sound composition (virtuality) and spatial installation and performance (physicality). Its spatiality will explore in the context of visual arts and architecture in terms of the cross-disciplinary between Music and visual arts, that is through an intervention between two disciplines of visual arts and music towards architecture (design) methodically. Artistic research Untitled* is a platform between academics and art academics, and between art academics and society.open exposition comments (0) -
Metamorphosis - Ethics and Aesthetics are One - from a Neuroscientific Perspective II (last edited: 2025) author(s): Erika Matsunami This exposition is in progress and its share status is: visible to all.
This research is an advanced research of Metamorphosis - Ethics and Aesthetics are One - from a Neuroscientific Perspective in 2024. I explore post feminist theory from a new perspective in the 21st century. Thereby I deal with spatiality between virtual reality and physical space theoretically and practically. Wittgenstein's "Ethics and Aesthetics are one" is the starting point of this research. "In the Notebooks, Wittgenstein states that 'the world and life are one', so perhaps the following can be said. Just as the aesthetic object is the single thing seen as if it were a whole world, so the ethical object, or life, is the multiplicity of the world seen as a single object". (Diané Collinson, The British Journal of Aesthetics, Volume 25, Issue 3, SUMMER 1985, pages 266-272) Art transcends boundaries of race, nationality and gender. It is a creative act of unifying in the context of humanity, from the subject to the various topics, by asking questions. This point is the lack of "reality" (dealing with reality) from a sociological perspective. But it is impossible to define humanity and reality based on sociological statistics alone–is my perspective of Wittgenstein's "Ethics and Aesthetics are one". Thereby, I examine 'world and life' from the 21st century perspective.open exposition comments (0) -
Silence surrounds us, silence around us – on creativity in communication (last edited: 2025) author(s): Erika Matsunami This exposition is in progress and its share status is: visible to all.
Silence surrounds us, silence around us – on creativity in communication, which interacts with and addresses the theoretical and practical exploring of the artistic research for Green x (2022 –). Simultaneously, it might be possible to create an artistic method of intervention artistically, which aims at the theoretical level evolutionally. Is language the tool? If it is yes, what kind of tool is the language? Through the language, what can we produce and provide? Thereby, I address the topic of creativity in communication in reading silently, speech, and listening. On creativity in communication is a play to draw models. Thereby the leitmotif is "reading". Critical seeing in a model on reading subjectivity and objectivity at the online artistic representational level, Question for on creativity The research objective(s) is a future idea for physical space and its mobility within virtual space (potentiality) for a new type of idea for notation between tradition and modernity. In this aspect, towards international communication gaps between tradition and modernity, DADA solved the issue of communication and explored a new way of communication, that was not a philosophical metaphor, but rather that consisted of semiotics and semantics in the context of design, was creative. – New visual and auditory codes. Thereby I deal with “Tractatus logico-philosophicus”, that is a logic of nonsense by Wittgenstein in the theme of space, body and time. "Silence surrounds us, silence around us" is an artistic research series, after "N.N-Zwischenliegend", I have been started to explore in 2020, after the corona-pandemic.open exposition comments (0) -
"N.N-Zwischenliegend" - a progressive investigation into errors/eine fortlaufende Untersuchung zu Fehlern (last edited: 2025) author(s): Erika Matsunami This exposition is in progress and its share status is: visible to all.
„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" on the leitmotif of peace. (In art, there was and is the subject, but the most important is the leitmotif, whether it will appear in the work of art. Art critic, it will be written on those subjects, materials and their phenomenal events representationally, how it will be reflected generally. It is the same in the film.)). 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 the 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 try 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” from 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 and 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.open exposition comments (0) -
B.O.D.Y. - Between auditory fiction and body-reality (last edited: 2025) author(s): Erika Matsunami This exposition is in progress and its share status is: visible to all.
The exposition "B.O.D.Y. – Between auditory fiction and body-reality" is a summary of my project `B.O.D.Y. 2010´, which was represented from 2009 (ground work) until 2012 and includes theory, artistic practise, procedure, realisation, representation and perception. Thereby, the theories refer to my artworks and are summed up my artistic thesis. The artworks in this exposition are related to the theses of the academic and scientific fields. The artistic research for the audio and visual works is based on the project `B.O.D.Y. 2010´. This project is an intermedia project; it uses media such as photography and drawing, photography and sound installation, and music (sound/sonority/noise) and drawing. The research field is interdisciplinary in visual arts and music within the expanded scope of the transdisciplinary approach. In the project B.O.D.Y., I used the time-based mediums of sound and performance which are the mixing layers of design, happening and performing. The act, as well as performance, is conceptual and improvisational which evokes, in contrast, the connotation of the objects with the body in real-time. In the space design for the installation and performance, the horizontal dimension of this installation is variable. Each exhibition space of the installation and performance will be re-designed by the cross-disciplinary approach in the art such as in the representation's concept and artistic approaches. This digital exposition is likewise a part of the concept and contemplation for the art book B.O.D.Y. about the conceptualisation for a multimedia art book design with intermedia artwork. (Human studies in the keywords is not the area of studies such as human science.) Therefore, my artistic practice in sculpture is 'relief' of its spatiality and narrativity in connection with materiality rather than as the symbolism in the post-conceptual era. It is MA (間) as a transmedia between Relief and Byōbu.open exposition comments (0)
