Traditional Japanese paintings use real gold leaf, silver leaf, shellfish, pearl powder and quartz, which are from nature. This is ethics, which is the same as the Ancient Greek culture, and many others. Ethics in (Traditional Japanese) painting had to be special and authentic, not usual.

In this series "Lulalä", I will especially draw on everyday topics for exploring the ethics from the aspect of the 21st century, such as friendships and the environment.

It is the same as Toru Takemitsu abstracted the allegory of traditional Japanese music, as well as the traditional western music and broke down musical semantics and semiotics for creating something new. And at the core, it incorporates medieval timbres before the existence of idealism (ethics for and within nature). – It was by his hand-writing

The materials themselves, such as gold, diamonds and oil, are not very expensive. Gold needs to be a mass (like a lump form, becasue of the wight is worth of the gold. The gold is a (material of) 'token'.). The value changes depending on the processing, the process, and the concept of use.

American contemporary music and arts are rather in the direction of DADA, Bauhaus and Surrealism. Because the artists have exiled to America from Europe in the  20th century due to Fascism in Europe.

From this aspect of Van Gogh and Rembrandt, the research method of Dutch artistic research in performing arts makes sense, is based on their liberalism.


Writing As Research As Writing

I solved about Ethics of Joseph Nechvatal's artwork in contemporary society in terms of Danto through those three different artworks and their environmental thoughts, as well as his musical composition which roots in DADA's notion and (e)motion.

->The most important in the artwork by Nechvatal as well as by Musique concrète is the medium or material were magnet tape and its magnetic field. Nechvatal's viral aesthetic does not apply to all meanings of sonic as music expression. He represented it in the first track of his latest album. The music composition before the digital revolution and its informatic technology.

Theoretical exploring model x 5

Elizabeth Glaessner's Four legs in a garden painting is a habit in the European culture, is 'narrativity' in the way of seeing in. But from the critical aspect towards European habit of 'narrativity' -> Seeing and its interpretation are ethic and aesthetic -> Virtual human world -> Mentality

Euroepan academic fine arts -> European Traditional art -> Art as going back to the future -> Mental infinity

From my research aspect, I can represent these three paintings/drawings in an exhibition.
The working title of this exhibition is "Randomness of blueprints by hand-writings" from the aspect of the 21st century.

-> Transversal aesthetics


Three paintings/drawings as a human artistic act (hand-writing) from my research aspect:


“Ich möchte über das Pathos hinaus die Bewegung ordnen.“

– Das bildnerische Denken,

Paul Klee, September 1914

My critical thinking towards recent feminism (art) is the standard for the sociality of "men and women" and their equality, of course, it belongs to the society and the economy which is based on Marx's theory of Western modernism.

What was missing from the idea of the Bauhaus?

It was a sense of being "in the environment".

Transversality and Randomness

Logic of time and space appears

-> In order to bring in a system that is more suitable for human beings, it is a prerequisite that the human beings are not completely incorporated into the system and that they have not lost the ability to resist for and in life. -> TH. W. Adorno "Minima Moralia: Reflections on a damaged life " (1951)

A conceptual drawing (blueprint) Lulalä in the series Les colories, 57 x 75 cm Japanese aquarelle and mixed media (gold leaf/24K, Nikawa/膠, Dosa/ドーサ ) on paper, 2022, the gaps between Materialism and Neomaterlialism (in the works),

As a contribution towards a concept of Duchamp's. Whether Rembrandt or Duchamp, their ethic and aesthetic in art (with which subjects they dealt) were in the context of a social democratic society or toward a social democratic society.

As an artwork, I create whether it is an art object or a painting (drawing) or neither?

Materialism; it is kitsch (in the art, we can see it.)

The existence of gold, which is the material of the earth, is not so great and a very little part. There is also no meaning. The materialism of capitalism in the modernity of the 20th century is changing currently, such as the Russian Military Invasion of Ukraine is a conflict between Western and Eastern.

An aesthetic and ethical in a drawing

I explore modernity for deconstructing and constructing, which aims for something new.

Study of sound spectrum in the 21st century:


the representation of sound in terms of its frequency composition. Any physically realizable sound and, more generally, any waveform can be represented as a function of time or of frequency. These representations are uniquely related by the Fourier transform or Fourier series (see Fourier analysis).

The drawing of lulalä is conceptual without function, and without using the way of seeing in, that is the logic of visible and invisible from a critical aspect towards European narrativity and its interpretation as ethic and aesthetic. -> DADA

Therefore, I explore 'randomness' and its dynamic. -> Logic of nonsense towards Wittgenstein's ethic and aesthetic -> Art as something x

(Thereby concept is an art as something x as a commoning of individual creative coding, and the gaps between materialism and neo materialism. -> Duchamp)

Between Western and Non-Western fine arts -> Contemporary art (From Schönberg, DADA, Duchamp and many others) -> infinity of In-Between (i.e. between 0 and 1, 1 and 2 ...)

By martumili Artists, that is 'commoning' as an artistic action in the environment and coding(s) of creativity. That is thing(s) without the context and without norm(s), are biological. -> Being is ethic and aesthetic -> in-situ in  a real world

Nature, Science and Fine arts -> Art and Life -> Art and Culture -> Art in the future

Realism in art from the aspect of the 21st century is from their 'truth' in the environment. -> Thereby my question is, whether a 'being' is 'truth'? Generally, I think that is yes. – Truth of a being in the environment

Elizabeth GlaessnerFour legs in a garden

Le Consortium

37, Rue de Longvic, Dijon

February 4 through May 22, 2022



Commoning in design:

Narrativity appears

Why I would hate art when I will see those paintings of Glaessener is that the liberation of the "female" sexuality is not a free will, but an image itself, that of the limits of Western feminism, what they so-called it in 'immagination' by herself. (The liberation in immagination.) Because there is no doubt that she is a woman, is her self-reflection and a critical aspect in her culture through her paintings. That she shows me. For this reason, why I work on 'post-feminism', such as a subject of female 'being' by free will.The (research) question for 'What is female as a being, to be or not to be?', on free will in my artistic research. We Humans don't know well about hormones yet.

So, I learned the art at home.

Ethics is on 'oneceness' and 'oneness' in the environment. Hereby, Black is on death towards life generally. This Ethics lies in the Traditional Japanese Art original of Zeami, referenced to Dogen.

Partiture and Notation between the Western and Non-Western

On undescribed Femininity/unbeschriebene Weiblichkeit and gender equality in the digital and information society era -> Post-feminism in the 21st century

From the Non-Western aspect in Toru Takemitsu's, timbre, and its musical semantics by the musical scala:


From the Western aspect, that is the musical scala of ratio, symmetry, geometory and so on.

Nechvatal worte in his review 

Elizabeth GlaessnerFour legs in a garden

Le Consortium "In general, Glaessner works with a gleeful narrative modeling based on quasi-literary or pictorial synchronic propositions, but with precious little visual resistance. I mention this word resistance with caution, not seeking to evoke examples of useless failed revolutions that we have seen in the past, but to think through the problem of art today in the way that Walter Benjamin did with his focus on mechanical reproduction. Her work acts in a naive way from the point of view of Benjamin’s take on Surrealism and also from the point of view of current technology. Though fantasy based, her paintings sustain the instrumentality of illustration and so maintain unitary effects upon the configuration of our subjectivity. It is true her work gives us an expanded lexicon and a certain quality that involves us in imaginary duration, but what it ignores is that there has been a major change in our society that can be felt as fragmentation. The unified concept of our being, that had remained untouched for centuries, since the Greeks at least, is under certain scrutiny. Indeed, I think it always had several meanings that were being repressed."

Nechvatal's review is a self-reflection of European culture towards Glaessner's paintings. I found her paintings interesting in the context of traditional European art. Especially European Ghost has legs and its rhetoric is made up of spiritual narrativity. Although Glaessner's intentional illustrated fantasy did not express anything like by Rembrandt on a two-dimensional surface. Even though the narrativity on a canvas by Glaessner is left to the viewer, but it is a virtual world.  My question is thereby, 'What is imagination in and by art?' in which terms of Benjamin's.

On spatial figure: It is without intention. Today, humans are using the machine to work without intention, such as with AI and its algorithmic. But there are many questions, today researchers from different disciplines transdisciplinary, inter- and cross-disciplinary are studying.

As a blueprint, I am drawing 'spatial figures' in the series 'Lulalä' (2022), Les colories by hand-writing for the starting point of my project and maquette for the installation and sound composition. Wittgenstein mentioned and explored his aesthetic and ethic was originally for 'spatial figure' in Latin. – A life in the environment, escape from Idealism and Feudalism.

The "reflection of colour", not light, gives humans emotion, which relates to our ethics to grasp our world for the reflection. For that, we need the pigments (The reflection of mineral is our world, what we see in the enviroment). On the subject of 'life' in contemporary, there are artificial colours, which are needed for exploring drawing in ethics and aesthetics. -> Visual arts, Music and Architecture

There were the starting point of Bauhaus.



-> Reference: The Aesthetics of Design" (OUP, 2013), Jane Forsey, and many others.

Atherton, Margaret; Hecht, Heiko; Schwartz, Robert (edit), Loking into pictures: An interdisciplinary approach to pictorial space, Cambrige, Massachusetts, London: The MIT Press, Massachussetts Institute of Technology, 2003

Chapter 10

Pictures of Perspective: Theory or Therapy?, Patrick Maynard

From my research aspect, it works as a therapy in social media also.

Seeing-in and psychology as well as emotion, our epistemological comprehens

This work portrays an area of Country that can be interpreted in multiple ways. Firstly, the image may be read as an aerial representation of a particular location known to the artist- either land that they or their family travelled, from the pujiman (traditional, desert dwelling) era to now. During the pujiman period, Martu would traverse very large distances annually in small family groups, moving seasonally from water source to water source, and hunting and gathering bush tucker as they went. At this time, one’s survival depended on their intimate knowledge of the location of resources; thus physical elements of Country, such as sources of kapi (water), tali (sandhills), different varieties of warta (trees, vegetation), ngarrini (camps), and jina (tracks) are typically recorded with the use of a use of a system of iconographic forms universally shared across the desert. 

An additional layer of meaning in the work relates to more intangible concepts; life cycles based around kalyu (rain, water) and waru (fire) are also often evident. A thousands of year old practice, fire burning continues to be carried out as both an aid for hunting and a means of land management today. As the Martu travelled and hunted they would burn tracts of land, ensuring plant and animal biodiversity and reducing the risk of unmanageable, spontaneous bush fires. The patchwork nature of regrowth is evident in many landscape works, with each of the five distinctive phases of fire burning visually described with respect to the cycle of burning and regrowth.  

Finally, metaphysical information relating to a location may also be recorded; Jukurrpa (Dreaming) narratives chronicle the creation of physical landmarks, and can be referenced through depictions of ceremonial sites, Songlines, and markers left in the land. Very often, however, information relating to Jukurrpa is censored by omission, or alternatively painted over with dotted patterns.


I am not sure whether the aesthetic judgement for and in the work of art really applies today.

Martumili Artists involved in landmark exhibition at Art Gallery of WA

Published on Wednesday, 16 March 2022 at 4:03:40 PM

Environment appears

-> Avant-Garde and Musical expressionism

If I respond to the review by Nechavatal -> Furthermore, I can address the review of Ramón Reichert (critical theory -> critical epistemology). It is about a documental film,  which documental film was about the Hydrogen bomb test in the Bikini Islands from the aspect of critical theory. (Reichert knows well about the historical background from the aspect of Vienna.)

The logic in Wittgenstein's ethic and aesthetic is a kind of magic, so it was solved by many artists such as DADA toward the fake by the German Nazis due to their imperialism and colonialism.

'Fountain' was a typical monumental representative work by the German Nazis (the German right-wings). But it was a fake. The work of art as the historical evidence, that the German Nazis had made up the fake story, and the Germans had believed their fake.

-> 'Fountain' (1917), Duchamp's readymade was against the fake of the German Nazis "Fountain", the procedure of fascism is very similar to today.

Aesthetic resistance was 'Fountain', which was Duchamp's readymade toward the fake of German Nazis.

There are very few authentic artworks in the world.

Glaessner's artwork has a reason, why I don't want to touch or address today's European women's art. Therefore, I see Glaessner's artwork as a critical expression toward today's women's art by herself. We are going back and forth between the deception and humiliation of being a woman.

If I will look at their artworks, I would be able to really hate art.

So, France is a country of Marine Le Pen today.

It is no exaggeration to say that fascism in the 21st century is the political power of women also, and women have the same power as feudal men, but in a mercuric way.

The work of art by Martumili Artists makes me feel the joy and sadness of "living."

In this idea of an exhibition from the perspective of the 21st century, I deal with the topics of the European fine arts and Non-European fine arts from the aspect of biological and environmental thoughts in the context of a historical acknowledged idea since the early 20th century, such as by the Vienna circle. At the time, there was no transdisciplinary in the study of fine arts. Thereby the art was believed only in the traditional European way.

– In a representational art and its notions,

a work of art is neither a figure, a model, nor a copy of anything.

-> In Wittgenstein's time 100 years ago (at that time, it was still "Time is Money", was an important idea in materialism.), the spread of infectious diseases and the war (through imperialism and colonialism, today, it is by Russia. How they do in Ukraina (the Russian military invasion in Ukraine), it is not resistance against capitalism, imperialism and colonialism) continued as humans do today.

On Authenticity in art:

As well as John Cage had explored 'Authenticity ' in the arts.



I would like to clarify thereby on the critical theory which was in the context of Walter Benjamin's and others at the time, is today's critical epistemology.

Which paper I have read, I cannot find this moment, it is in my memory.  But I can find it in my archive (artistic research). -> After I have read Reichert's paper, I read articles about the trial case in the USA.

Ramón Reichert's research field lies in cultural studies, but in science, not only from the side of art and humanity.

My research approach is tackling the science in the context of research in Fine arts, for example, image science and philosophy of the information, such as the icon and the new communication, and their limitation from the critical aspect epistemologically. For that, I cannot ignore neuroscience.

From those aspects, Toru Takemitsu was a creative classic music composer between Western classic music and Non-Western classic music in the 20th century, but he is a music composer, not in the contemporary, but still in modernism, who lived in post-war. – Post-Modern (in Postmodernism)

His musical logics was postmodernism, not the artistic style.

Culture and Identity Politics: Narrative Strategies in Austrian Marshall Plan Movies

Ramón Reichert



Even after its discontinuation in 1952, the Marshall Plan has been a symbol of identity for the Austrian self-image of postwar reconstruction and the rhetoric of a new beginning. The embedding of the Marshall Plan in Austrians’ collective memory was made possibly to a large extent by the way it was staged in the media. The subsequently explored films Gute Ernte (1950) and Wunden Vernarben (1952) were commissioned by the Austria Newsreel as explicit propaganda films for the European Recovery Program (ERP).

Walter Benjamin's unclosed (an open) account 'Aura'. Actually, and also theoretically, only it happens in the reflection of the piguments of colours (light absorption, reflection, scatter and (in the cases of water and cristal) refraction by the object. In the painting, it is the pigments on the surface, which does not happen in the sound (music composition) itself.

"I feel something" in hearing (from the music and other auditory expressions) is different from 'Aura'.

'Aura' in Van Gogh's paintings was mentioned by Benjamin went beyond the traditional Western painting techniques and semiotics. It was also the evolution of the Dutch academy at the time, such as the law, medicine and ethics through the Dutch research between Western and Non-Western cultures (in-Between two continents (Europe and Asia) after 1600. In the 1850s of Van Gogh's time, those studies became common.

-> A very beautiful exhibition, commoning in the art
From the aspect of the 21st century, this painting is not a naive art from the early 20th century, that is a metaphysical expression. Today's knowledge is at the nano* level, the imitated nature through the painting, and how we look at a depicted nature, have no specific meaning in art anymore.
My drawing is a conceptual one, how it is conceptual, for that I am encoding and decoding through random phenomenologically.
But there, artists are painting phenomenological, which is regenerative. Their body and sense are in the environment, not out of the environment.
Can you code through your sense on a two-dimensional space without intention?
*Nano (symbol n) is a unit prefix meaning "one billionth". Used primarily with the metric system, this prefix denotes a factor of 10−9 or 0.000000001. It is frequently encountered in science and electronics for prefixing units of time and length.
Yocto (symbol y) is a unit prefix in the metric system denoting a factor of 10−24 or 0.000000000000000000000001.

-> The proceedings in the United States are already over.

Sure, Republican politicians in the United States are domineering in the global American egoism, but I think that they are, in fact, the most advanced country in the world when it comes to proceedings in the 20th century of America's international political affairs.

In this chapter "Theoretical exploring model x 5), I solved my questions such as on "the notion of the avant-garde", "Whether the art could be 'knowledge'?" and so on (from music composition to the art movement of Fluxus) from the chapter of "Theoretical exploring model x 1".

In the Rembrandt era, the number of people who could read, write, literate and create knowledge was still uncommon and very limited. Paintings were technics of pictorial notation, symbolized and allegorical narrativity, it's like a movie today and it was the philosophical and ethical notion.

Resistance in Fluxus's statement and their art movement was something that happens within itself and may be revolutionary in a phenomenon, but it is quite different from the commonly used term of historical revolution.

I think that it is necessary for human beings in the process of growing and transforming themselves. Otherwise, humans will be manipulated like robots in the prescribed curriculum, especially in the study of Fine arts. Because studying Fine arts is centred on individual cognitive physical and sensory abilities more than other studies.

I am thinking about racism, generally, how it consists of, and also in the law.

Thereby probably moral has a big role in racism and by racism...

I am referring to cultural evolution, not the cultural revolution, that addresses transversal aesthetics.

Erstn Cassirer, Walter Benjamin

Ludwig Wittgenstein

Commoning: I think that it is for sharing the environment. – Coexistence

The ethics of community and trusting relationships will also have grown. I think that it's voluntary, not politically controlled.


It might be time and space in reality and its materiality and property of the public and private, that is the contemporary society such as social issues, social welfare and politics and cultures.

Umberto Eco

Among Benjamin's best known works are the essays "The Work of Art in the Age of Mechanical Reproduction" (1935), and "Theses on the Philosophy of History" (1940).

What is Walter Benjamin's theory?

Benjamin is critical of the tendency to read back modern issues into older controversies. He argues that the 'spirit of the present age' is particularly prone to seize on past phenomena and 'take possession' of them without any feeling for their content, incorporating them into the self-absorbed fantasies of modernity.

I think that Benjamin's critical theory applies in the Western culture even today.

-> In the case of sound, there are reflections of sound in space and changes in timbre due to air, but if you describe it as a spatial figure or aura, what is reflected in the human mind (in the brain), is like "The existence of a ghost". Whether it may or may not be the case, no one can confirm it.

From this aspect, I am not sure about Holger Schulze's theory of listening yet. Perhaps his hearing may be incredibly well developed, like Van Gogh's seeing. (I thought in Van Gogh's paintings, how far he could see in the environment. He depicted how he saw and felt in the environment without allegory, also without using any photographic documents. All together paintings of Van Gogh made narrativity in everyday life, which was not symbolic, and new narrativity in the art.)

There is a new study in artistic research on listening today. Listening is not an atitude, still something we still don't grasp.

Since component art has something to do with machines in the 20th cenutry, it's kitsch or trash or something new as a style of art.

There is also the (aehstetic) value of 'kitsch'.

Avant-garde in the post-war music scene was colourful.

Sound phenomenon in the physical environment and in the virtual environment

However, the art itself in and through nature on the earth is forever (It does not (cannot) change the principle, of how humans will be born and die naturally), and is human natural life.

Regarding the relationship between material and processing technology, due to the technological changes, such as through nanotechnology a new art style appears.

There are loudspeakers for the representation (monitoring and projection in the sound composition)

-> "still/silent" lies from the aspect of critical theory in the context of Wenjamin's and many otners, towards mushroom cloud of the atomic bomb as a mythological and epistemological symbol in the post-war culture.

-> Is the Spatial Figure due to the phenomenon of sound dependent on the natural phenomenon of the "field" or the natural phenomenon in the semicircular canals?

What is "hearing"?

What is the difference between listening and hearing?

Changes in the sense of smell, taste, and hearing in the human environment.

It is natural for humans to change as (together within the changing of the environment) the environment changes. No one can stop it.

Mutations are rare, so we change in the context of our own DNA. Another idea is the transportation of new knowledge. -> Olivie – a new notion in a sentence


The three types of sound are:
  • Infrasonic: It is a sound with a frequency of less than 20Hz. Elephants use Infrasonic sounds to interact with herds hundreds of km away.
  • Sonic: It is a sound with the frequency between 20 to 20,000Hz.
  • Ultrasonic: It is a sound with a frequency more than 20,000Hz.

Humans can detect sounds in a frequency range from about 20 Hz to 20 kHz. (Human infants can actually hear frequencies slightly higher than 20 kHz, but lose some high-frequency sensitivity as they mature; the upper limit in average adults is often closer to 15–17 kHz.)

The Audible Spectrum

Neuroscience. 2nd edition.

I solved the research issue and potentiality of the composer and PhD in musicology (Dr.) Sannicandro in my artistic research "Variation II".

To the extent of our current knowledge, it is unrecognizable by seeing and hearing. Then, metaphysics will inevitably become logistics. Therefore, epistemology has to evolve.

What do we humans see and hear? 

So, Intellectual practice-led art research has begun, is artistic research /Kunst-Forschung today.

It is the environmental issue in the 21st century that a big gap is beginning to occur between what human beings think, their ideal world, and the actual environment.