Synthetic Sounds

Vier Klänge A with crack/Knack on a virtual as a phrase

Noise 3

Vier Klänge B without crack/Knack as a phrase

Noise 2

There is a crack search of the sound file. The crack is really an error in the sound system. However, there are many fashionable sounds of noise through the sound synthesis in pop music.

Visual 1

Visual 3

Visual 2

Practical exploring: on articulation

Under construction

Single time sequence - Mono

Collective time sequence

Frequency can describe variable, such as fixed or freely or wavy

Sound 3

Frequency

is based on post-conceptual practical exploration methodologically

Ratio

Theory of Relativity in six sentences

4. Time is the 4th Dimension.

- Constant radius and it repetition

- Appropriate radius and its repetition

two-dimensional

three-dimensional

four-dimensional

Sounds are variable

- in and out of a tone (a long sequence)

- continuous a same tone

- continuous different tones

and so on

Time of sounds are variable

Sound 2

Sound 1

## 18 Linear Algebra

- Constant radius and its repetition

- Appropriate radius and its repetition

Time

Circle Geometry

Materiality

Topological space

From Virtuality to Physicality (body in the air and in the physical space)

Virtuality includes notation, score, graphic that are described on the two-dimensional surface or without dimensional space, what is considered time, and created space(s).

In doing so, in the near future, AI will be able to read and transform into a creation.

However, humans create their meanings, namely semantic and semiotic as a creation or communication.

Graphics (Notations)->

Research objectives in this practical exploration are for creating a composition from a new perspective of 'something'.

There is no error even if there is 'crack', that is noise.

I compose a piece with crack.

Body

Spatial installation->

Music composition between high art and avant-garde in the 21st century

What is 'pure' in art?

What is the 'authenticity' of art?

My question is in the music standard, i.e. the decision between tone A with a crack and tone B without a crack.

Both are high-quality standards of digital sound, even if with cracks.

What is 'beauty' for us humans?

Is it the "object" we are looking at?,

or is it a "mental image" that we feel?

Is it in situational or in relational?

Noise 1

Those questions deal with a phenomenon.

i.e. Vier Klänge A with crack/Knack as a phrase

It is on a virtual phenomenon that occurred when creating that phrase.

Another phenomenon is the noise that occurs when playing sounds using a stylus. -> Electroacoustic sound  through the recording of the objects in a space, that in representation (for Wiedergabe) with the correct recording sound

The crack/Knack will be corrected generally.

Noise 3

Acoustic noise

Sound phenomenon:

The wind (vibration in the air) as a sound phenomenon in the art including performance

-> Max Eastely

His work 'in-situ' (Kinetic Installaton and Performance) represents to me, how 'Klang' including the surrounding noise so transcendence and mystic. These works are sometimes cheesy of contemporary, sometimes elegant, it changes with the “place” (space) and time, such as through the weather or dailty-time (at morning or at night).

Noise 2

Synthetic Noise on a virtual space

-> Account of "Viral aesthetic" of Joseph Nechvatal

Theoretical exploring on articulation

I collected the artistic approach to the question of 'natural-being' in theoretical exploring on articulation, which does not address in the context of music and art history, but rather it is a biological collection of the coexistence of humanity. – The question of 'Coexistence' in the quantum era, between Synthetic and Co-Existence

Today's in post-feminism, there is no gender difference, rather individual.

-> Joseph Nechvatal's work (Visual- and Sound Composition) is unique, that virtually deals with the chemosynthetic world in 'darkness', not with the photosynthetic world. It (darkness) is a part of the natural world. However, it addresses a relatively new study, which is a study has been started in the early 20th century i.e. virology.

There is high-quality sound even if it is noise.

Western painting is a study of imitating nature. However, Japanese painting resembles Western surrealist techniques.
There are also many "pictures" as descriptions for texts.

The technique of printed matter has been developed since ancient times and was used for communication.

Rather than studying the forms of nature, there are many paintings that reflect "images" and compositions of pictorial semantics by semiotics. For example, fish and plant motifs depict seasons, climates, and customs.

"Red and White Plum Blossoms" is one of intellectual pictorial semantics, which overcomes imitation.

virtual space

physical space

I really admire Max Eastely's work.  That is although there are many artists who deal with the theme of "wind," but he has achieved a unique symbolization or coding. That is how "wind" has been transformed into an aesthetic spatial metaphysics rather than as a natural phenomenon literary. it was my question to him on 'MA'. -> Artistic research Variation II and III

Articulation

The artworks of both artists Max Eastley and Joseph Nechvatal (post-conceptual art) are perceptual more than conceptual, that is the reason, I explore both artists in the context of Bence Nanay's research towards Richerd Wohlheim's additionally. I add the explanation from the practical sight for Bence Nanay's account of 'semi-formalism' in the context of his research.

I am very thankful to Œuvre of both artists.

Both artists are, who rejected 'musical score', and they created their own new accounts of musical creation consequently. Their artworks are authentic and unique.

For that, I write reviews on each artwork.  I started to research Max Eastley's artwork and I presented it at the conference in 2018 already. However, Joseph Necvatal is himself, an art critic, who has a PhD in Philosophy under Dr Arthur Danto at Colombia University, so, I have very difficulty writing about his artwork. Both are really great artists, how they worked and are working.

I started to explore Bence Nanay's post-doc thesis in 2016, after then I visited the exhibition and performance of Max Eastley at the DAAD gallery in Berlin, it was in 2017.
Thereby, I thought "maybe this is one of".

I mention that audiovisual artwork is not only film and video in their narrativity, but rather like the artworks of both artists, which are through perception beyond the art medium.

Particularly, Max Eastley as a British artist is one of in the context of Wittgenstein and Wollheim.

As a British artist, he's rare and specific, because British art is centred on the metaphysic as high-art philosophically.
And as a contemporary artist, he works also on environmental issues.

So, both artists are working in Avant-Garde and universal of liberal arts in the 21st century.

From those aspects, Bence Nanay's post-doc thesis is very advanced, which is not in a general epistemological context, but rather a new one from the aspect of cognitive neuroscience in the context of aesthetics, which might follow up the context of cognitive linguistics.

The artistic approach in the tempera by Joseph Nechvtal:

Japanese National Treasure "Red and White Plum Blossoms Folding Screen" 日本の国宝　「紅白梅図屏風」

https://www.moaart.or.jp/events/kouhakubai2023/

From my research aspect, Joseph Nechvatal is not a media artist, but rather a fine artist in the context of DADA and Surrealism from the 20th century.

Joseph Nechvatal should be in the context of UNESCO actually.

In Japanese Traditional Art, the meaning of transmedia is the Japanese National Treasure "Red and White Plum Blossoms Folding Screen".

The commonality between Max Eastely, Joseph Nechvatal and Erika Matsunami (originally from the Japanese Traditional Art), who do 'nothing' creating an object, drawing an image and taking a picture, just to do 'transmediating' of.

For me, that is not a wonder due to Japanese Traditional Art. My question is about the process of how they came into that.

Probably, from John Cage or from Dutch in the 17 century.

Another commonality between Max Eastely, Joseph Nechvatal and Erika Matsunami (in the air from the point of view of photochemistry) concerns the topic of random.
Joseph Nechvatal's topic of random in chemosynthesis relates to today's nanotechnology.

Max Eastely's work on the topic of random is metaphysical, particularly, he dealt with this topic in his new installation mathematically.

His early works are on the topic of random through the wind, which is an Asiatic cultural topic, as well as in ancient Greek culture.

They are masters of the art.

random in my exploration is similar to Joseph Nechvatal, it can be explored in virtual also. However, it is still an early stage. (-> spatial aesthetic, transversal aestehtics)

To reach the metaphysic in art, which in a sense of British is generally from 70 years old. Max Eastely and Joseph Nechvatal reached in each artistic field already.

----

random variable as a function

The random variable is then a function from any outcome to a quantity, such that the outcomes leading to any useful subset of quantities for the random variable have a well-defined probability.

http://theanalysisofdata.com/probability/2_2.html

https://www.investopedia.com/terms/r/random-variable.asp

-> An example my part of the sound composition in the context of Japanese Traditional art which refers to the Japanese National Treasure "Red and White Plum Blossoms Folding Screen" that is in deflection (Videofilm for audiovisual installation, editing by Avid) in the project of Rasenjo no Jikan (spiral time) - deflection (Performance in the audiovisual installation) with Antonis Anissegos and Niklas Schminke in 2005, at the Kyoto Art Centre, Japan.

Representation of Videofilm deflection: Transmediale at Academie der Künste and many other film festivals in Europe and South Korea.

In the context of traditional Japanese art historically, the artist must beyond his/her master with a specific way of own artistic approach. That is the Japanese avant-garde and high art historically, is 'semi-formalism' in the context of traditional Japanese art historically. (In the context of traditional Japanese art, the exploration of 'nature' is high art that involves human nature.) In the British and American way, it is 'creating own account' philosophically.

Minimal art or Minimalism, or neither?

Both artworks are a kind of something, and also without function.

From the point of view of traditional Japanese art, it might be possible to be positioned in minimalism due to the mathematical dealing with the topics. By the way, they are emotional intelligence in this context.

Of course, for me, there is an artistic interventional freshness from a different culture to Japanese traditional culture in this context.

Joseph Necvatal holds a double PhD in (computer) science and in philosophy. He is one of similar to Picasso from the aspect of image science in the 21st century. (I am exploring) From my research aspect, he should be in the program of DAAD, but his exhibition in Berlin was totally in another context of the art field.

On articulation is based on the notion of 'quantum', i.e. quantum computing. In the notion of quantum computing, it won't be mixed. It means that each strong character will be kept (Eigenschaft). I mention that the idea of (dis-)harmony in the contemporary music composition by Schönberg was not wrong. That is in the category of harmony, because of the timbre of tone. But it is (dis-)harmony in harmony, after the composer e.g. Alvin Lucier, and many others - elasticity in music
Today's is post-conceptual in the 21st century.

The colour is mixed and will be another colour, and the light will be clear and bright that is logic.
The sound has no idea of being mixed because the sound is the wave of the signal and vibrations in the air. Thereby John Cage explored the sound composition in music, that is 'organisation', namely, it is sound synthesis and sonic composition. In the 20th century, it was L-system and linguistic minimalism relevant to those explanations. In the 21st century, how the sonic will be managed, will be changing due to the programming of quantum computing. e.g. new algorithms
Big data itself is rather the data for economic reasons, which is not so important, as how people think. Life doesn't get in the way of not using social media.
-> on Coexistence in the near future from the biological aspect

Artist statement in photography

Erika Matsunami

My artistic intention in analogue and digital photography is to transform things in space on a two-dimensional surface through exposure to film by releasing the shutter.
That is not a trick, but rather that it happens through natural phenomena. Thereby, the chemical phenomenon in analogue photography has totally different from intentionally dealing with natural phenomena with digital photography.
And in the process of taking a picture to create an object of the image, furthermore, it will be transformed into another space and time.
I work under the limited condition of photography generally. Thereby I use the specific optic, optic condition, film or other materials. Thereby, I enjoy taking unusual pictures under the low condition of photography.
It might be in between real and unreal or unknown places. I like very much the anonymity of photographic images, which makes sense for new narrativity in everyday life.
In both analogue and digital photography, I deal with the light, not the shadow by releasing the shutter. In other words, I do not engrave anything in the photographic picture, just I have been there. It addresses being in time and space, and today, it leads to contemplating the humanity of digitization in the digital era. Mostly, I am interested in another aspect of photography more than as an artistic act, namely, as a philosophical consideration of 'time and space' as an artistic object.

In doing so, I explore a new art and music theory, e.g. Micro-tonality, and other dynamics and their probability in virtual and physical spaces.

– Post-Schönberg's in the 21st century.

Something to create or creating something in which does not have the optimal conditions. That is an autonomy of my seeing the world of nature involving a synthetic world from the scientific perspective. Because I work with my will for taking a picture in a situation, and I am very sure, why I want to catch this situation on a film for seeing. We are seeing what is in light. If we cannot perceive light, we cannot see anything.

– What is 'seeing' for us Humans?

Humans' perception through seeing by the naked eye, is limited. Therefore, I mention that photography will be beyond or have been overcome the painting. (The Renaissance would be inconceivable without the development of the telescope. The time and distance between the space in which we live and the space in the distance began to change mathematically.)

A blind artist can move using the sensor device.
We live in an age when a blind artist uses a light sensor to capture her/his daily life with a digital camera, how he/she feels a space and time her/his daily life.

The film and tape are important artefacts, particularly in the 20th century.

(From that artistic approach, photography is not my industrial job, but rather an important art medium of mine.)

Barrierefreiheit/Barriere-free and private policy are together.

The information of barrier-free is public information generally.

Post-feminism in gender study is such as gender share public toilet.

No role of the mother and the father, the parents are each individual person.

A society will be built on mutual respect by individuals.

Barrierefreiheit/Barriere-free in the case of Japan is used to explain simply and illustrate medical information generally. That aims and applies for all patients from children to seniors can grasp the information.

The fact that those observations were recorded and described becomes metaphysical research.

I mention always in Phenomenology, Metaphysics, and Transcendental Philosophy, thereby Heidegger's Thesis is out of metaphysics. It lacks 'fact' of components, rather is centred on the narrativity of the inner and outer world. How we can describe it in Metaphysics? It is impossible.

Today's Phenomenology, Metaphysics, and Transcendental Philosophy themselves limit and start a new study. Probably, digital humanities is one of the new studies after historical Phenomenology, Metaphysics, and Transcendental Philosophy.

Is art by the talent of a person?

If it is, what is the 'talent' of a person?

It is rather Heidegger's metaphysical viewing. And the economist with the commercial likes Heidegger's metaphysical viewing.