In Real Space

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The goal of the post-contemporary artistic research does not oriented for "Human ought to be.", but rather for the exploration, What is a human being in nature and milieu, not the ideal image that society should have? 

An example in my project:

My project B.O.D.Y., came from my experience, when I spent time with disabled performers for the projects, we worked together for the theater productions. It was a real story from them about their life under the fascist conditions until 1990 in Germany. The sound work was based on their stories, I created as a sonic fiction.




Thikwá the theme such sexuality, falling in love, make love, and wishing to have a baby, was not taboo.


For example, it came out (harmonized with) a lesbian (homo-gender) couple (both had the spasm), for them, were important this love-relationship for knowing own and other body. In my artistic group with disability performers, and each of them could express sexuality, love, relationship, occupation and intervention, jealousy, sexual abuse, communication, autonomy and free will, an organization such as living separate and working collective in each artistic ability practically and individually. 
It came out (harmonized with) a hetero-gender couple (one had the spasm, and one had a mental disability) in my artistic group with disability performers, also same the case of a lesbian couple, as well as the theme of wishing baby, idea of life and also prevention of by the self-control includes relaxing at the intellectual level. They were not child, were over 30 years old, and adult. One of them, I wanted to give the chance to study (disability study) at the University, in Germany, it was still early stage.

She had a very sad experience with her father in childhood, due to her disability. She was born in the Ex-DDR, and she was trapped in the basement and beaten (punished) with a whip by her father with the belt of his pants (trousers). She dead before finish this work B.O.D.Y., includes her parts, we worked together in the projects. She could not see and listen this installation.

 Another performer was in psychiatry in (West) Germany, and he had the treatment of the electric chair. (Their experience in the 1970s–1980s) They were younger than me. 

Nevertheless, my hope was the young generation of people with disability, their life was in the guideline of humanity, family, integration, fairness also for the immigrants. Some of them were binational and linguistic, such as German-Cuban, German-Russian, he could speak German and Spanish, and as well as English. He had the mental (geistig) disability through genetic disorder. Nevertheless, please don't misunderstand, he has a genetic mental disorder since he was born, he has not mental illness as ein geistig Behindert (disability). - Difference between genetic disorder and mental illness. There is new definition in the 21st century. Community, mobility, self-organising includes time-coordination, catch the timing, time perception, as well as orientation from their perspective and norm. (They had a mobile phone and could call the taxi for the disability.) Thereby the notion of society, health care, job, life plan, and so on were my norm. Thereby the notion of society, health care, job, life plan, and so on were my norm. 

In the relationship between Art and science, it might be possible to generalise the new definition for the democratic discourse. Thereby aesthetics explores and reflects humanity and society, including human morals and artistic expression.

After digitization, there will be no longer any sudden changes in our standard of living in the future. As energy costs will change, thereby production processes and materiality will be changing simultaneously. Materiality is always being explored. 

Biological transformation of society within the global relations, and the change of their relativity and quantity, that is a possible of a changing of an environment of us.

The problem with virtual reality, that is a limited option, automation, and without the environment, it is necessary to organise by oneself. For example, one cannot change from these goods to other goods easily, after one ordered the goods. It requires to organise by oneself for returning an order and buying a new one.


I back to the Method of Roland Barthes in cognitive linguistics, and semiotics. Artistic methods are in literature, drawing, photography, Video, Sound, and Performance together with diverse materials, as well as in object(s), collage and spatial installation within the representational theories, which will be transformed into another artistic medium(s). The sources are magazines (virtual and paper), as well as my environment in the real space of everyday life (reflection of living space, and also global communication, its changing of thinking in time and space).

In the past year, the real space and the virtual space will be formed in earnest.
But, how much percentage of the population can live by using digital space as a normal living space? Us Humans could not use the virtual space as if real living space.

The online purchase might be possible to price lower than over-the-counter prices, as well as the price of the artwork at art fairs and galleries. Currently, it is the phase of the end of the Western tradition from Modernism.

Is it possible to evolve the society globally through digitalization as a development of the 21st century, not the destruction by the world war?

Nicolas Ballet: How did you have the idea to make noise during the 1980s? And how did you meet Al Margolis from Sound of Pig?

Joseph Nechvatal: I don’t think I have ever physically met Al. We connected by mail through the cassette network. Cassette culture related to Industrial culture but is much more post-industrial due to it reproductive emphasis. In that sense it moved audio ideas more towards electronics than the making of industrial noise did when it recorded powerful machines to metaphor psychic violence. So, how did I start with noise? It started for me as a visual art project of conceptual drawings from the early 1980s. I was taking cliché images out of the mass media magazines and newspapers - that had to do with sex, or religion, the military, education - and tracing them one over the next. It was my excessive approach to Duchampian appropriation as I was overlapping them into palimpsests. The drawings at first glance look minimal but on deeper viewing reveal a super saturated field. The visual noise is the figurative/ground collapse. So my interests in noise started visually. (From the Interview of Joseph Nechvatal by Nicolas Ballet recorded live on September 20th 2015 chez Nechvatal in Paris)


On Virtual Space

As a preface and for a preface

In Real Space

Dialog with postmodernists in the 21st century

Playing community


I will design this page ..., but later.

On Virtual Space

-> In the traditional culture, there was "sin" in the mentarity, was the law by God. The "sin" which is a binary moral by God is a global gap as well as at the humanity and political level.

Between 2000 and 2003, I have attended the disability film and theatre festivals and conferences in the UK, Germany as well as in Finnland, for the presenting my projects, and jointing the workshop on the topic of "equality" from the perspective of the disabilities by the disability filmmakers, dance directors and writers, was active in the UK, which study referred to disability studies.

Currently, I have a list of literature in black studies.

Why disability studies was important to me because this study comprises all of humanity, Gender studies, Queer studies, Black studies, as well as all topic in humanity, such as racism, sexism, and so on, in the subject of equality, fairness, abnormality and normality, ability and disability and so on. 

John Cage was an American composer, who worked in term of aesthetics of everyday and anthropology early his career. He was a generation after Schöberg.

-> Karlheiz Stockhausen (Lautsprecher Musik/Neue Musik in Germany) attempted "deconstruction or new creation" in the tradition of Western music culture, and  Pierre Schaeffer (Music concrete/Contemporary Music in Paris) attempted "deconstruction or new creation" in the context of Western popular culture. What did they attempt to deconstruct in post-war?

Joseph Nechvatal is, after them, in  Western Postmodernism.

-> Transformative postmodernism

Joseph Nechvatal is an American artist as well as sound composer, who studied philosophy under Arthur C. Danto at Columbia University. He coined his 'visual noise' as an aesthetic term in the 20th century.

He write the art criticism. 

I cannot connect his artwork with posthuman art or posthumanism easily, generally, his artwork is positioned in generative art.

-> I think that his idea of visual noise was rather towards idealism, was a new artistic method in the 1980s, which was not considered in abstraction.

They refused to be automated with tickling by desires.

-> That was in or towards the social context as well as social milieu, anthropocene.

After the End of Art, Arthur C. Danto

"On a planet that is increasingly technologically linked and globally mediated, how might noises break and re-connect in distinctive and productive ways within practices located in the world of art and thought? This is the question I have set out to explore in Immersion Into Noise.


My initial question concerned contemporary art’s commitment to the idea that a central core of art is that which purports to transcend the banal economic world and portray a wider vision of awareness, includ- ing private spiritual, ecstatic or numinous themes that become accessible through the subjective realm of each individual: this is a self-perception that reveals in minute particulars the full spectrum of the extensive so- cial-political dimensions of the mind. I wondered about art’s new role in recognition of the fact that the logo representational paradigm is being overlaid by newer cognitive processes based on dynamic systems, connectionism and situated emergence." (Prefece, Immersion Into Noise, Joseph Nechvatal, Michigan: University of Michigan Library/OPEN HUMANITIES PRESS, 2011 pp. 9-10)

On appreciation in aesthetic and creativity by artist(s)



What I want to clarify in this Artistic Research is that artists as creators rely on the viewer's individual understanding ability, towards like an attitude "As you like." by artist(s). Art objects and art are not "goods" that must be appreciated. Thereby who mediates between the art and the recipients today it calls consumers, is the art curator.

 Who deals with the subject of appreciation in aesthetic academically hat is the aesthetician and the philosopher in their art criticism, and that is their cretivity.

For whom I / we (artist(s)) communicate through my and other artworks, generally, for those people. So that our artworks are a contribution to society for opening to the art world (Academy), which is not the commercial art market. Hence, I /we (artist(s)) are not an idol, but rather we are in a part of people, that is the avant-garde.

If the aesthetician explores the appreciation of art for others objectivity and generally, that is the kind of force towards other people, like in German Nazi art.

Nevertheless, philosophy of mind, its freedom and the judgment beyond the art object, aesthetic experience, beauty, etc are very difficult research only in aesthetics. (Limitation of psychology, and overlapping with philosophy of religion) From this aspect, Duchamps´ work of art even today is interesting.

Such as Benjamins` term "Aura", subjective reflection in mind, that he could not coined finally, is still open. Even though philosophy of mind is very important philosophical research towards autonomy. Benjamins` was (critical) culure and media theoritical research. 

Even a monk says that human beings are human beings, which is not a "noble idea." , but rather something natural. However, this "naturality" is also very difficult to explore.

So, I explore human beings in transversal aesthetics, (...)

There are in every culture Philosophy of mind in the positive sense, such as esprit in French.


Most academicians interest in their idea and thesis, not in artwork itself. Thereby important is how they got the inspiration from the art object or other thesis for their new intellectual creation. But they cannot understand artistic techniques, process, and materials actually. 

Today, the art historian categorises the art and creates a new art theory as -ism towards the philosophy, which makes a fashion in art for the art market as the art world generally, such as for the global art discourse.

The appreciation in aesthetic is generally for their thesis and the academic discourse. Some of are the political discourse for society.

Thereby the artistic research is the research of art by artist(s) for something new (in and or with which regards to actuality), by ourselves  individually and autonomically.

In Germany, I think that in the arts and culture, there is least immigration, whom from Asia and Africa I know, they studied at Technical university in Germany, they wanted to become the engineer, and the medical technical staff, not the artist, because who has the profession as the artist had studied in the study of the Western Arts and who works in the branch of the entertainment generally. The diploma engineer, and the medical technical staff are higher salary in Germany, there is no discrimination like in a brunch of the Western (European) Arts.

Ancient Greek Artefact:


The materials, I purchased in Greece, that is a type I have never seen in the Central European collection. I feel that this is the real thing. The material is in Greek, so it's difficult to proceed with researching. Today, Ancient Greek archiorogical study is better in Greece, I think that due to the EU. However, there is Ancient Greek study at the Universitiy of Warsaw, was really interesting. They had the influence from Ancient Greek culture through jewish people. (The Jews were moving back and forth between the south and the north (Today's Poland). Ancient Greek culture remained in the old Greek culture.).

For me, art is media, through art, I can see the human history. I am not art supreme principle, not "art for art's sake", and not such as by Victor Cousin "Du vrai du beau et du bien". Picasso's Guernica, I think that it's an error in itself, was Picasso's idea. Picasso's painting has really higher value, it means the very higher price in the auction, but Picasso did not touch anything for the auction price of his painting. He explored cubism, and he was in the out of art academy. It is the entanglement of the (Western) global art world. 

To be honest, I don't think Rembrandt is "good at painting.", because there was and there is no criterium  for it. He was the master, but he was not the master as he could paint good. There was and there is no judgment for who can paint good. What is interesting in his painting to me, that is the allegory and the composition in his painting, such as the allegory of smell (sense). 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. The Interpretation in the music, to listen, how it will be dealt with the subjects of the piece whether the leitmotif will appear. It is up to the viewer's individual understanding ability, as well as listening, hearing, and seeing abilities.

"Work in progress" - Post New Art, after Neue Kunst:


I think that not only "New Music" in the 20th century, but rather "New art" is starting or will start in the 21st century. What is "New art"?, I mean, which is not from "Abdruck" of original from the 19th century, such as Central European philosophy of art in Europe. Which was so-called "High art and Low art" by Fascists in Europe as well as all over the world, but rather the new researches from the original in the study of archaeology, neuroscience, biology, antholoplogy, linguistics, and so on with other discipline(s) and/or without discipline in the study of art.

For example, in the painting, main study of art is with the Western painting techniques, such as painting brush as tool. However, within our knowledge in the 21st century, it is not enough for us, that is showed in medicine. 

 So, I study quantatum theory, such as in which general relativity, "events are continuous and deterministic, meaning that every cause matches up to a specific, local effect", for exploring visible and invisible spatiality, as well as in the topic of ageing.

What was "error(s)" of the Western arts?, it was the colonial strategies, however it's very complex.

How do we explore the artistic techniques with the new knowledge in the 21st century individually?, that is the research question as a starting point in the Joint Artistic Research, which is a characteristic property of the Joint Artistic Research for intermediary (intermediality).

Question for without idea of conjunction, it might be impossible to deal with the new knowledge. (It refers to the artistic  research Variations.)

"Jeder ist ein Künstler." von Joseph Beuys, that means about the self-organisation and self-management including of  the social responsibility. In the post-war, it was Beuys' notion, for the changing or transforming from an ideological life stance (Ideologische Lebenseinstellung) to a creative way of life in the new social context (for a new life). It does not mean "Jede Darstellung ist die Kunst/every representation is the art.", so that his notion of the art was a new in post-war. 

Beuys was a Nazi Jugend during World War II (That was his loneliness for all of his life in post-war.) so that he had known about fascism very well, and he had deconstructed the traditional ideology at the mental level, and he organised the notion of art as the action performance at the public space for a new society in Western Germany. Thus, Artists have been using often the deconstructed grand piano as freedom of symbol after Beuys, but it was just spontaneous action at the time. Toward the dominant power, exclusive and conservative of the Western (originaly European) tradition, thus their action was against the Vietnam War and the nuclear weapon.

In fact, Beuys had established and organised the Grüne as well as anti-nuclear movoment, and coined his artistic notion in the German art academy.



"How might noises break and re-connect in distinctive and productive ways within practises located in the world of art and thought?" is Nechvatals' question in his artistic research on visual noise, thereby he did not think to produce artwork as an artistic production, also not towards high art, that was uniqueness. Its idea is very far from the art, at the same time, it is cross to the art. There is nothing to interpret and there is no figure in his creation, that consists of the algorithmic phenomena of time and space that is an artificial nature and the second nature of today's life in the 21st century. It is something, and an artwork as well as in the account of Carroll, also Dantos´. As a painting technique, there is the airbrush, so that he works with the painting technique, using the robotic arm, however, it is not reproducible, repeatable. It is so-called onceness that is by Artificial Intelligence, and it is a projection. The topic of his artwork is on virus, thereby my question is "What is the environment?" This point is greatly different from the research in the 1980s such as in the HIV-Virus research in the 21st century. As an industrial artwork, I  have interest in serialization of time and its space, which event and things cannot represent by humans'. Nechvatal was a scholar of Danto. I think that after the end of art by Danto means at this level of discourse, which is not on Worldview and not on seeing through the interpretation.

I see Nechvatals´painting by robotonic arm as a graphic, that is the same way of seeing in Klees´, such as something appears on two-dimensional surface, which is not by the painting method of imitation.  Thereby I have a quetion for Carrolls´, "What is painting today?".


Since long time ago (I mean already in the 19th century), we don't have "Worldview" (Weltanschauung) any more, we have no any figures. When I see the art work (painting) in the contemporary art today, most of them are still on the extension line of expressionism through and/or toward the interpretation.

What is noise?

Noise is not störung in German (disturbance and interference in English).
Noise is sound, what we hear the world, I think that Cage thought also, what I think about noise.
We can close the eyes, but we can never close the ear.
We are listening to something always, even when we are sleeping.

For the composers in Post-War, the noise was the most interesting musical material, more than tonality. Before Cage's generation in Western Traditional Music, the second viennese school composers have written music in atonal theory and developed the techniques, as well as by the American, French, Russian (Soviet), and German composers.

Music had started a great dynamic since the 19th century in modernism.

How the high technological machine would be managed or something is transformed through that, is a task in art. A created or designed machine is not an art object, so the robot itself is not an art object.

Joseph Nechvatal's art method and technique are very smart, as well as elegant. I knew Joseph Nechvatal as sound composer in the American noise music more than an American visual artists. His artwork stands at the position in the 21st century.

In Germany/the EU, just now, in 2020, it was started to be organised the artist residency program with AI together with the UK, (I think that was an open call for young generation between 18–20 years old, after 2000 generations in Germany.)

History of Artificial intelligence

As well, in those point of views, the art had not the style anymore, rather individual and spontaneously that was in the 1980s, thus, after the end of art was a great topic.

-> Serial music

-> Minimal music

Traditional Japanese art such as Ikebana in China and South Korea: I don't know much about that, whether it was from the Imperial Japanese Period in China and South Korea, that people were forced to learn the traditional Japanese art through Japanese imperialism. Such as Sushi, which is not the traditional Japanese cuisine since the 1980s in the world. Today, Sushi, Tempura, Sashimi, and so on are in a part of Chinese, Korean also Vietnamese cuisine, not only in traditional Japanese cuisine. Another example is Kimuchi and Korean Grill, which are in a part of other cultures internationally.
Probably, it was "Rhizome" by Deleuze from the critical aspect. Its events and phenomena are economical and globally today, gives us the question for essential of things, but the culture was always exchanging, transporting and Wanderung (migration) historically. But today's culture has more the connection with capitalism globally.

-> From those aspects, I have some quetions in Sannicandros´doctoral thesis, and those are the connection of Nechavtals´ and , Sannicandros´ in my artistic research, thereby Eastleys´is an open-key in the topic of environment (naturalization). A Joint Artistic Research in terms of enactivism on the topic of space, time and body for the next 10 years. Thereby my interest is in time and space of the sensor e.g. Fujifilm*, in scientific term is (the digital reflex camera is a high technological compact (but a complex) digital system with AI using sensor, thereby like a Fujifilm, managing natural phenomena, which is a wonder to me after the artistic research N.N-Zwischenliegend. What can we see through a high technological compact system with AI using sensor? Today,  AI is everywhere, AI is not a shadow.)

An algorithmic music is in term of a new type of  serialization in music composition in the 20th and the 21st century.

*Sensor size - DSLR and DSLM with APS-C:


Recently, an example of Fujifilm's X-DSLM system with its original sensor design proved that the distance to full format in terms of sharpness and noise is minimal. The sensor size is a similar function to the analogue SLR camera.



-> In my project B.O.D.Y. that was, I attempted to explore an installation as a maquette in 2018. However, in the three-dimensional work, that is very difficult. I tried to understand the accounts of Nanay, Carroll, and Danto practically, also from the subjective aspect, still either a metaphor or an expression of space and time, or something in between or a gap.

My project B.O.D.Y. since 2014, the series work in progress, till 2018 was made by hand without the computer and machine, in the topic of such as randomness in natural phenomena, was not a primitive idea, I explored them by my hand (hand.made) practically.

-> Cage was, towards the question for naturalization of human sence (as well as in his sense) in the environment.

-> so, I try to walk in everyday life. Since 2020, I try to do not use the public transfer and the car, I go by foot or bicycle, study for slowness. Walking is a patience action. 

-> So, today, art is more freely and individually to explore, as one like, whether one uses or manages the device(s) or without device(s).

-> Joseph Nechvatal's art criticism which essay I have read, and gave me "attention" for a re-cognition of art history. He studied Philosophy under Arthur C. Danto at Columbia University in the USA.

His essay is logical, but not in the account of positivism, (...)

Critical theories are like his research to me, I think so was Arthur C. Danto's whole life. Generally, Critical theories today have very near and no widely distance with others for the reflecting or the arguing (precise, narrow, targeting and concluding), probably it would happen due to without the natural environment.

-> In the art history, there were/are Realism vs. Romanticism

-> It is not easy to write art theories in general thinking, that is the same as the translation of the medical paper into the words in everyday life. For exaple, medical and biological term of "in situ" or "in vitro" which term is using in art.

Representational question for the artwork of Joseph Nechvatal in the time-based art medium.


I think that his artistic medium of "robotic arm" is a time-based art medium.

As well as AI (no enactive).

Is the phenomenal regenerated "time and space" a conceptualized space?

I think that he calls 'visual noise', that is a projection by the robotic arm on two dimensional surface, which is a representation of the regenerated "time and space" phenomenally.


We live in a conceptualized time and its space globally today so that our daily life has been working after the corona-pandemic in 2020, which is not a natural life, and which life is not like 100 years ago. At that time, people lived in the delegated time and space simply, thereby the political system was so-called fascism.


As of 1990, countries in Europe other than France, West Germany, Switzerland, and the United Kingdom were poor, including West Berlin. Even in the west, in Italy, Spain, and Greece, only some social groups could go on to university, and even if they graduated from university, they were still "workers". Europe has seen a sharp rise in living standards (including life quality) on average over the last three decades. I think that thereby, AI had a big role.

Probably, there were many misreadings in last 20 years long epistemologically. Because Eurocentrism (European nationalism by the European right wings, e.g. erroneous (mistaken) anti-semitism today) would be rebuilded.
So, I have a list of current literature in black studies for reading.

I am reading the interviews with Joseph Nechvatal step by step.

I feel that the paradox between them were German Nazi art together with the capitalism globally. In Germany, artits in post-war had decostructed such as art style of Kitsch, trash. Thereby, my question is rather the content and the component and the composition of (moving) narrative images as well as time perception such as allegory in painting in which regards to the philosophy how did it relate to film?, I mean such as which regards to the music composition i.e. for opera. So, media theories were explored at the time. 

Thereby the experimental film was an experimental new articulation with and for other disciplines, such as photographic, sonic, and other artistic techniques from the perspective of science.
The experimental film was an experimental new articulation with and for other disciplines, such as photographic, sonic, and other artistic techniques from the perspective of science was transformed into another artistic expression through mediums i.e. visual poem, was critical or creative towards a new time perception through the new medium, was a type of post-sculpture. The sculpture was an art medium close to science, such as physics.

In the photography, Susan Sontag, on Photography

Lullaby von einer Mutter (aus Ex-DDR), Aufnahme in Berlin, 2011

A hypothesis: Culture consists of rhizomatic identity of individual in private collectivity.

A family in Berlin, mother and father, son and daughters.

In 2011, I recorded the Lullaby of (not many, but) different families in Berlin.

Can you describe about what did you listen (perception) in both songs?

Today, Feminist theory in art applies for both male and female, as well as Gender studies, Disability studies, Queer studies.

Can you thereby define what is the feminist perspective in those songs, about musical texture? musical content? merodi, as well as music scale? or voice as personal character? or nothing?

Sociologist explores Gender in the social structure. That is important for the organisation of the society, such as labor law, family function in the society productivity and its fairness. -> Objective, Statistic Research and Exploring

Artist explores Gender in Human sense and in the context of cultural mentality. -> Subjective, Literary Research and Exploring

Microorganisms can be bacteria, fungi, archaea* or protists**.

The term microorganisms does not include viruses and prions***, which are generally classified as non-living. Viruses are considered to be on the line between living and non-living. It has been argued extensively whether viruses are living organisms.

*Archaea are microorganisms that define the limits of life on Earth. They were originally discovered and described in extreme environments, such as hydrothermal vents and terrestrial hot springs. They were also found in a diverse range of highly saline, acidic, and anaerobic environments.

**Protists are a diverse collection of organisms. While exceptions exist, they are primarily microscopic and unicellular, or made up of a single cell. The cells of protists are highly organized with a nucleus and specialized cellular machinery called organelles.

***Prions are misfolded proteins with the ability to transmit their misfolded shape onto normal variants of the same protein. They characterize several fatal and transmissible neurodegenerative diseases in people and many other animals.

In the art and academy, it is always Realism vs.Romanticism, but from that comes something new in the out of and in the art academy. e.g. DADA in the history (neither realism nor romanticism), came out the new idea, such as a new 'articulation' of seeing, hearing, reading, and so on. From allegory, via metaphor  to coding and decoding towards new words, new sentence, new semiotic, new semantic, was cultural evolution.

Thereby my question is, what is creativity?

For example, a German composer Stockhausen in New Music (Western classical music) explained in his composition practically, between European classical music and European Jazz, as well as European Avant-garde in Music. -> European Music Academy

In Black studies, an important theory in the Joint Artistic Research is Radano, Ronald M. 1993. New Musical Figurations: Anthony Braxton's Cultural Critique Chicago: University of Chicago Press.

What is 'musical figuration'?

In my research, the roots of the Western classical music and the Black music (not all of, but some of them) are same context of the Christian culture.



Lullaby von einem Vater (aus Etiopian), Aufnahme in Berlin, 2011

Things A and things A' cannot be compared, as well as things A and things B, but we will be able to explore on difference, that is might be possible 'characteristic' of .

-> Difference and Indifference

I cannot understand the discrimination against race and skin color. 

-> From this aspect, Nechavals´subject on the virus as visual noise is interesting to me (in my artistic research) also, does not focus on the high technology AI, rather know (to have the experience), how can we manage AI and deal with AI, and what kind of artistic potentiality with AI can we have?

Generally, in degenerate art, algorithmically generated artwork, which is called noise image, is collected images in the internet or face images of people. This result as the artwork is not something, but rather it gives me nothing in the topic of algorithmic.

Nechvatal´s girlfriend in the USA died through the HIV-virus infection disease. "

Nicolas Ballet: So in this period you materialized your concepts through computers. Maybe the Electronic Revolution by William S. Burroughs and his theories about virus (“language is a virus”) had an influence on your work?

Joseph Nechvatal: Burroughs clearly was an influence that dovetailed with my body-centered commitments to the virus in the early 1990s that was a response to the AIDS epidemic. I had a girlfriend who died of AIDS very early on and it was horrifying to see and very frightening. I imagined I had the virus without having the courage to get tested right away. I practiced safe sex but lived with this doomy possibility hanging over my head in the late-1980s.

" (Excerpt from the interview of Joseph Nechvatal by Nicolas Ballet recorded live on September 20th 2015 chez Nechvatal in Paris.)

In the 1980s, the topic of HIV-virus was ethically very important to research in the USA, as well as all over the world. I have read the articles on HIV-virus in the early 1980s in Japan (but in Japanese), was really shocked. (The incubation period of the virus is very long, and for the novel virus, there were very few data, no treatment at the time. I thought the infection in blood (AIDS) was like a leukemia disease, that I knew in Hiroshima, because of Atom-bomb (nuclear-disease) .) The root of the infection was not only sexual intercourse, the blood transfusion was the most serious. It is a very scary infection for patients with kidney damage, leukemia, or other surgery. In fact, many were infected by blood transfusion at the time.

In my surround, nobody had infected HIV-virus, whom I know. Safe sex in my generation was a big theme, and the open discussion about sexuality was important for us in my generation medically, to be open mind for talking about sexuality, because of the AIDS epidemic.

Father received his doctoral title in media studies at FU Berlin in West Germany (FRG). He is the director of an association in the bunch of intercultural education for teenager in Berlin, has established with his wife, in which district in Berlin, many young neo-Nazi active.

(The intercultural education for teenager, which was the approach of Benjamin at that time. Not an art object, but rather this family had "Aura", so I took the picture of this family. (I found this family, their relationship so beautiful. The photography is so, would be transformed into fiction from non-fiction, from daily life to another perception in everyday life. Day by day, it would make narrativity.)

"Was ist eigentlich Aura? Ein sonderbares Gespinst aus Raum und Zeit: einmalige Erscheinung einer Ferne, so nah sie sein mag. An einem Sommernachmittag ruhend einem Gebirgszug am Horizont oder einem Zweig folgen, der seinen Schatten auf den Ruhenden wirft – das heißt die Aura dieser Berge, dieses Zweiges atmen." (Benjamin, GS I·2, S. 440)

"Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit" von Walter Benjamin, today, die Veränderung unserer Wahrnehmungsweise durch Technologie is not only through artwork. However, his research was very important due to high art and transcendence in the philosophy.


I don't know wehther his doctoral title good for his son or not, but it is a characteristic of son's father. If the father died and the mother remarried, and if the father-in-law is an alcoholic, or another social type of ..., Children cannot choose their parents. I think the important for children is human relationship more than father's profession or social status.

Their lifestyle was simple and equal family without hierarchy.

-> It was a cultural back ground of musique concrète, such as their remix, sound collage as a sound composition. Nechvatals´tape music in the 1980s was also in this context of musique concrète, which work of him I listen now. (It will be released renewed version by the music publisher in the USA in 2021.)

Why I think the artwork of Nechvatal is smart because the robotic arm draws automatically, the human does not act automatically, he operates the machine through programming. (I am still researching about his artwork. I suppose that his programming is through his tape music of noise and sound collage as well as remix, its relation withthe topic of virus (biological substance, a transformation into algorithmic expression or mathematical code, that is the same idea of DNA sequencing today.  I am not wondering about his artwork, because of the historical background. Before the 1980s, Gilles Deleuze had started to explore and write on the topic of DNA in molecular biology. It was during the 1950s from the aspect of critical theories. Which book by Gilles Deleuze, Nechvatal has read in the USA, I have read it in Japan in the 1980s, but in Japanese. His logic is American, mine is Japanese, due to the logic of language. It calls the culture difference generally.) So, he was invited by the French culture institution as an American Artist with his art project.

Nechvatal had worked with AI in the 1980s already, but from the aspect of critical theories, and explored his idea in his question spontaneously, "How might noises break and re-connect in distinctive and productive ways within practises located in the world of art and thought?"

What is different as Beuys´"Jeder ist ein Künstler.". By Beuys´, it was still motto toward the individual creativity. It would be consisted of the society through the individual creativity as a social plastic (social sculpture) democratically. It means that each ability of human/person is an individual capital, in which terms of Marx in Germany. (But it does not mean that each person is a professional artisit.) So, I have explored human ability and disability in the art projects during the 2000s theoretically and practically, in which terms of Gilles Deleuze, was between capitalism and social system such as social democratic system. Like today in 2021, it will be undestood more and more as a social system more than the political ideology in the digital era.

My interest in Nechvatal´work is not about the robotic arm, but rather its possibility of a distance managing by AI for the contemplation of future non-human society with the connection of the human interface. Yes, it is already ongoing, as well as machine learning.


Toward a theory of assemblages by Gilles Deleuze

-> I have the Sound works of Alvin Lucier, which I received from the researcher of Lucier in 2019, were his special issue (edition). These sound works of Lucier are not noise, but rather bitter. Since then, I am researching these sounds of Lucier. (I have researched Luciers`composition between 2008–2012, especially his sound project/performance.)

They refuse to attract people with comfort, such as the strategy of commercial warfare. This type of the Attracting is a commercial strategy that touches human sensuality to make it a habit and keep it stuck.

Nechvatals´ Sannicandros´ and Eastleys´ give me really a big space for exploring. For example, the doctoral thesis of Sannicandro, he dealt with the spatialization from Varéses´ to Luciers´through Le Corbusier, was to me like a picassos´"acrobat", that was explored in music by musique concrète, but Sannicandro has transformed these methods into the notation of the Western calssical music in the context of Stockhausen. It motivates me to solve and explore it in relation to my research. Sannicandros´ context is in the Western classical music, however, visual artists Nechvatal and Eastley have no cultural context, and they use artistic mediums freely already (they are older than me.), that is Freie Kunst, liberal arts.

There are many productive artists all over the world, but there are very few creative artists in the world.

Why the American contemporary composers such as Lucier and many others have been exploring their composition in liberal arts?

Sanicanndros´ is in the context of continental philosophy, Nechvatals´ is in the context of analytic philosophy, Eastleys´is in between of both contexts, and I am in Non-Western context, but in study of Philosophy and Art.

Nechvatal, Sannicandro and Eastley, including myself, do not work in virtual reality and do not produce an object, but rather who are working in Wirklichkeit (reality and actuality), also who do not create 'imagination' or do not create in regard to 'realism'.

Why I explore site-specific and spatiality in art, due to 'actuality' includes gaps.  Only we don't see, but in nature (in the environment), something is happening always. 



"As Hegel wrote: `This is what constitutes the character of mechanism, namely, that whatever relation obtains between the things combined, this relation is extraneous to them that does not concern their nature at all, and even if it is accompained by a semblane of unity it remains nothing more than composition, mexture, aggregation, and the like.´2

   Thus, in this conception wholes possess an intextricable unity in which there is strict reciprocal determination between parts. This vision of organismic theory is much harder to eliminate because it is not just a matter of rejecting an old won-out image and because its impact on sociology goes beyond functionalism.


  It is clear that assemblage theory, in which assemblages can be component parts of other assemblages (leading to internal organization behind nonlinear and catalytic causality), and in which assemblages are always the product of recurrent processes yielding populations (involving statistical causality), can accommodate these complex forms of causal productivity."

("Assemblages against Totalities", A new philosophy of society, Manuel De Landa, New York: Continuum, 2006)


How the artist uses the device, is also an individual artistic technique:

I use the human interface (programming and real-time playback) for both sound composition and performance like a palette. In my artistic reserch, which is the topic of visible and invisible spatiality together with and without loudspeakers in three-dimensional space

Sannicandro uses the computer for sound spectrum analysis, design, notation and programming. In my artistic reserch, which is the topic of visible and invisible spatiality together with and without loudspeakers in three-dimensional space.

Nechvatal manages an AI system through his noise (In the work. I am still researching.). In my artistic reserch, which is the topic of visible and invisible spatiality (with loudspeakers for his noise music and) without for visual noise on two-dimensional surface. Nechvatal coined an aesthetic account.

Eastley builds the instrument and mechanics himself for creating the noise. In my artistic reserch, which is the topic of visible and invisible spatiality without loudspeakers in three-dimensional space.

-> Le Corbusier (1887-1965) : Philips Pavilion, Brussels World Fair, 1958 (Titel: Iannis Xenakis (1922-2001) : Philips Pavilion, Poème Elecronique, Edgard Varèse (1883-1965) [Brussels 1958]

The pavilion hosted a futuristic multimedia display featuring images, colored lighting and music and sounds called  the "Poème Electronique."

The purpose of the pavilion was to exhibit the technology of the Philips corporation, a Dutch electronics company specializing in everything from sound production to fluorecent lighting to X-ray technology.

I think that Postmodernism is already in history. For example, Sannicandro had deconstructed their artistic approaches in his doctoral thesis toward something new, that was his piece. His suggestion for the future solution is artistic research.

-> An example of the creating sound by human interface asn a palette, whcih I have been working with NIklas Schmincke in sound synthesis. 

-> Why I don't use the term of articulation in Sannicandros´ piece, because he used the sound spectrum analysis (translation into) and the programming of the abstract sound of the spatialization which contrasts with the acoustic music. (thereby my question is atonality in this piece.) -> visible and invisible spatiality.

Picasso's "Acrobat"* and later musique concrète, both were inspired and/or related the notion of Chemistry from the critical aspect was an articulation. (It was towards such as absolute music/abstract music, especially against German Nazi art (Degenerate art) at the time.)
German Nazi had categorized high art and low art.
Today, there is no category of high art and low art, all arts are avant-garde, was "After the end of art" by Danto. Classic and Orthodox European and American aestheticians explore the high art such as absolute music e.g. Wagner, and they are not old generation, younger than me. Modern art in the painting, Picasso is one of the highest.
By chance, but we all four artists are against or/and critical for absolute music, and unperfect, lacks something.


*It was from and for the aspect of critical media theory. Also Sannicandro's, but from the aspect of 21st century, it lacks AI. 

Additive synthesis in sound synthesis

Climate (Environment),
Natural features (Natural transformation),

Spiritual features (Culture (Tradition, Habits, and Customs) and its changing through the environment, milieu.)

I am researching, what is the new approach of technology. I think that AI, Internet communication, Electronic car, Energy, Robotic system, and so on are. How the material world (capitalism) will change through the digital materiality? 

-> Variation II (Joint Artistic Research)