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In my project B.O.D.Y., I attempted thereby to describe the changing of understanding about the body on the epistemological level with artistic mediums.

Virtuality in this sound work is by binaural recording and simulation. I work with minimal art even if in sound composition, however, which is not minimal music. Minimal music is the composition e.g. Alvin Lucier, and many others in post-modernism.
I manage 'sonic' as an artistic material, that is a theme in my artistic research sonic (sound) as artistic material and its materiality. From this perspective, I explore immateriality in art from the perspective of  the digital era.

The original recording of sound source:

Recording with the sound engineer at the sound studio in Japan and Germany.
Thereby some sounds were from a private archive (documentation) by the sound engineer, were recorded the sounds by him in the Ex-DDR (Former GDR).

"7" is a basic (invisible) key in this project (Installation, Sound composition, and Performance).

I explore "7" as an (invisible) key of an artistic method and artistic technique for the assemblage in my art project practically.

7 (seven) is a natural number and a prime number between 6 and 8.

 Work method of B.O.D.Y. : The experimental film of space, time and body

This work B.O.D.Y. is a projection with B&W positive film (Analog Photography)

Intimität und Humanität in der Kunst

The projection is today's digital image without Spiegelung (mirage, reflection) and Negative.
Image with Spiegelung (mirage, reflection) and Negative is for example X-ray image (Röntgenbild) from Modernism. In this point of view from the 21st century, I explore the terms in philosophy of photography, philosophy of science, as well as epistemology in which relates to pictograms from the ancient culture.

"Seeing-as*" by Ludwig Wittgenstein


Richard Wollheim,

Ernst Cassirer, 

*upon Ludwig Wittgenstein's concept of seeing-as (Philosophical Investigations, 1953). Wittgenstein pointed to the epistemological significance of puzzle pictures, such as the ambiguous “duck-rabbit” that can be seen either as a duck's head facing one way or a rabbit's head facing another way.

Seeing-as, seeing-in, and pictorial representation in art and its object by Richard Wohllheim:

We read the object and are recognizing by looking (seeing-as), but we are perceiving the situation of the object by listening, at the auditory level of cognition. I call it also seeing-in. (envision) Therefore I think seeing-in is two active actions of visual and auditory, that we cannot separate sensation of seeing and hearing.

For example, 200 years ago, even if it is possible to take photos in the 19th century, it was not possible to record and play sounds. Western people looked at the Japanese painting (depiction) in their country, and imagined a world in the world of their languages environment. That was the same if Japanese looked at a Western painting (depiction) in Japan. 

At the time, depiction was sensational.

Therefore, Benjamin and Adorno are Reception theory from the critical aspect. (Thereby, I am thinking about the relation to Sartre for the post-structuralism in post-war.)

B.O.D.Y. is a part of project for doctoral study.

My research position is the same of those philosophers, due to my practical exploring on "projection and reflection", and philosophy of science in the aspect of heliocentric theory.

Theoretical exproling for doctoral study

The “B.O.D.Y.” consists of pictures and recorded sounds of different people, nationalites, gender and age groups, as well as a part of myself.

My audiovisual concept on the subject of the body comprises both feelings of closeness and distance.
I try to create a virtual world of sensitive touch which interacts with the shared senses of others.

The project ”B.O.D.Y“ 2000-2009

The performance project “sensation of motion in time” began in the year 2000 with two actresses from Theater Thikwa, a Berlin-based theatre project by actors with and without disabilities. It was originally conceived as a performance and video installation on the subject of “time, space and bodies”, which was presented at the “touch” exhibition held at the Künstler Bahnhof Westend by the Karl-Hof society. Both of the actresses I worked with back then suffered from spastic paralysis. Later in 2003, I worked with two other actresses from the same theatre on my performance project “sensation of motion in time#2”, which was presented within the scope of the exhibition “(in-)perfekte Menschen” (literally: (im)perfect people) at the Martin-Gropius-Bau museum in Berlin.

The visual piece “body landscape” evolved at the time of this second performance in 2003, when I started taking microcosmic shots of body parts and skin. I was reflecting on nature, ultimately comparing it with social beauty criteria. In their natural environment, trees and plants have their own forms and do not underlie any fixed norms when it comes to how they look. Looking to the landscape, it became clear to me back then what life means. With the microcosmic photos of body parts in the work “Landschaft (landscape) des Körpers (body)”, I examined issues of identity, gender, beauty ideals and body consciousness.
Up until today, I continually turn to the subject of “time, space and bodies” in my work, using this theme in various media such as photography, video and sound art, performances and mix-media installations. In doing so, I deal with the transformation of thoughts and feelings, as well as the creation of conceptional content.

The wall installation “B.O.D.Y.” consists of a series of 20 fine art archival prints sealed with Fotosec and presented in a 20 x 100 cm space, as well as seven different sounds which can be heard through binaural haedphones and consist of recordings of people of different nationalities, gender and age groups. The 20 photos of different human bodies have been hung next to each other at 10–25 cm intervals, arranged from light to dark or dark to light gradients (there is no beginning or end of an image). In addition, seven sounds which individual guests can listen to through binaural haedphones (individual hearing in the closed system) supplement these images. Physical sensitivity is intensified together with the dual intimacy of the acoustic setting – a physically “attached” way of listening through binaural headphones where synthesised sound with an “intestinal” imagination evokes the function of internal organs (the steady rhythm of a heartbeat, breathing and the tentative sounds of organs). The intensity in both the audible range and field of view stimulate the onlookers’ imaginations, which in turn leads to a sensitisation for the otherwise invisible details of living bodies. This wall installation was created with a collage technique and the audio is based on the Surrealist method of dépaysement. The effect of the installation is intensified by the sounds, which, as a sensual audible expression, are completely devoted to the audience and allow onlookers to ultimately make their own free associations with the images.
The gradient from light to dark or vice-versa is a metaphor for “time, space and bodies” in nature, for life and for death.

B.O.D.Y. - 7 x Sound (electroacoustic Sound)
Erika Matsunami
Audio Engineer : Niklas Schmincke

sound composition:

©Erika Matsunami and Niklas Schmincke (GEMA, Germany)

Dimension: 590-875 (variable) x 100cm, 7 sounds (7 MP3 player + 7 binaural headphones)

Practical exploring for doctoral study

The questions for my doctoral artistic research:


- How can I design the research with the gaps between philosophy of art and contemporary philosophy as well as philosophy of science?
- What is the relationship between Wittgenstein, Cassirer, and Wollheim in the art, and Deleuze and Guattari in the philosophy?

- Therefore, Benjamin and Adorno are Reception theory from the critical aspect, which is the research in representational theory (-> is based on Kant).

Cognitive linguistics

Cognitive neurosceince

The Sound B.O.D.Y.  for an idea for post-queer theory

Human right in today's society, actually we don't need to be "queer", we are all queer and individual. We can live naturally, to be natural of each being (from the aspect of biology. – Genetic aspect.).

- Work method of the experimental film of space, time and body and the philosophy of information in an online expression (Darstellung).

Representational space design:

Representational space (the lived space), representations of space (the conceived space), and Spatial practice (the perceived space), each relates to the produced social space.

My artistic gender is Bi that consists of Bildende Künstlerin / Komponist, also Asia / Europe, e.g. Christian- / Buddhist- Culture, German / Japanese, thereby Semi-Formalism that is Anglo-American  (...)(English), it system is "Openness”. -> Intermediate

On body in the 1990s and post-queer in the 2020s 


"I am bi." - bi-sexuality, bi-cultrality, bilinguality.

Gender and cultural neutrality that is as our human nature, not ideological. In the mental, I am a free-gender, probably, it applies so, because I live and work in Berlin, Germany. I can to being, I am "i" a person. Its attitude also might be possible to addresses the deconstruction of discrimination and prejudice. 


Intimitate in Arts:

"Intimism (French: intimisme) was an artistic movement in the late 19th-century and early 20th-century that involved the depiction of banal yet personal domestic scenes, particularly those within domestic interiors. "

I think it was Picasso who talked in his paintings about his intimity for love in the 20th century. In addition, he depicted his "intimacy" with humans. In contrast to Picasso, I drew with sounds about my intimacy for myself, which was really different as a self-portrait. 

How and what I did: I recorded myself (sound) in my surroundings (Environment) for 24 hours with a break, but it was aimed for "one day". It means that I recorded when I was sleeping at night also. I listened all recorded material.

So what did, I appreciate and think from the recording of that sound.

- Time

- Space

- Happning

- Event

- Things

- etc.

(The idea to record the sound of own everyday life came from Prof. Dr Supper's seminar. How I explored it, that was my own research method in artistic research. Subsequently, we discussed about each practical research in the seminar.)

In space, human beings become "sounds" as beings when we make sounds from our bodies, when we are in contact with something, and when we are talking and moving. It was very "intiem" sound for me, that is "privat" with who I can share, who I love...When I love you, any sound "I feel adorable." I think "love" is what makes your child's poop look cute, and worry about his/her health, that is an intimity and humanity.

Human beings become "sounds" as beings in a space, that is likewise a "creatures", which I would like to refer to Dante's. Nono and other musical composers, they transcribed/transcribe its human-beings into musical language, since Renaissance, as well as in the painting and the sculpture. There are many paintings in the Renaissance for the study of medicine. For instance, we can see how infectious diseases were. The purpose of looking at your baby's poop is to check your baby's daily health. 

--> Amore

The question is always "What is "Amore"?

Maybe contrary to rationality, probably irrationality, perhaps ridiculous in the whole of the story.

Human-being and Human love.

Do you believe in love?

-> When I intensively listened to a long recording of myself sleeping, the dialogue with myself "being" in that space made me feel like I was separated from my body for a moment, that was an aesthetic intervention to me between subjectiveity and objectivity. Because to understand as well as percive from auditory sense about the events and things, also their relations in the time perception, "What I recognise from them?".

In this seminar, what was an important thing on the topic of intimacy, was with my body and its "being" from another perspective of hearing. It was a transformation of the inside of the body (I found thereby the difference between subjective own body and objective own body through hearing. Thus, a question came out "What is 'being'?"). It might be possible to transform literary expression by artistic technique and medium. 

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.  Even if a performer with autism, she could coordinate by herself through her will.

-> 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.