Electronic music (Lautsprecher music) and me as a visual artist:
Electronic music is originally computer music whose sound synthesis is generated by programming.
I mostly generate the sound with electro-acoustic sound (but it is a wave of signal in the computer), and I compose with both sound synthesis and computer-generated sound.
My generation is after 'new music' in post-war, there is advanced sound synthesis and computer software as a Werkzeug/tool, as well as devices which connect with the computer software.
Changing musical semiotics and musical syntax is probably an evolutional culture in a linguistic sense.
How much they differ from each other is that the sound synthesis is generated by programming, is precise and most composers thought "pure" towards musical (interpretational) aesthetics of romanticism. It was the idea of 'new music'. I think what is important about 'pure' in the new music composition, is a different way of 'pure' in the Western classical music composition and its interpretation of 'pure' was the psychological aspect. However, 'pure' in the new music composition in the half of the 20th century was on 'matter' of nature, which is not in human psychology. It was an artistic activity of the cultural evolution by humans.
The loudspeaker was possible as a sound source in the music composition. - Lautsprecher Musik
Live electronics is extended Lautsprecher Musik.
My artistic research had been started with two books in 2016 specifically.
One is Gesichte und Ästhetik der Computermusik (1997) by Martin Supper, and the second one is Aesthetics as philosophy of perception (2016) by Bence Nanay. My research focus is mainly on 'spatial aesthetic and transversality', not only material or physical space and time, but rather also addresses topics in the brain, in which research field of visual arts and music, as well as in the context of architecture.
From the traditional Western art of depiction, I could not study from the aspect of contemporary mathematics and mechanics from the seeing of aspect in the context of transversal aesthetics. However, both depiction and composition are the same in the context of ethics and aesthetics. So, I started to study cross-disciplinary and as well in the study of classical liberal arts, the study of music is necessary for the study of visual arts.
My art teaching is the study of visual arts, methodologically, from the aspect of German Klang Kunst, on time and space, and its spatial aesthetics, as well as the context of transversal aesthetics.
The sound of the wind: I suggest that it is a transcendental sound. It calls "Rauschen" in German, in English, it is 'noise', that is my argument.
The noise of the sign wave is the same as the machine's noise generally. Dr Supper had three paths of research on noise, he as a composer himself researched the aesthetic of noise with sine waves, that is computer music. And my research on noise, electro-acoustic noise. Thereby I have been using the sound synthesis of space and time. About that, I have to write and compose methodologically, thus, I call it 'sound painting' from the aspect of visual arts.
His three paths are sound synthesis, the computer-generated algorithm and space and time. (I research the potentiality of his research from the aspect of the 21st century in artistic research variation III. – on Randomness for a new algorithm)
My research topic is on 'space and time', and its spatial aesthetic from the aspect of cognitive linguistics.
a.o.i. - lasting memories
Dr Supper's role in my artistic research is in the context of aesthetic judgement.
He is a German art academy and one of the very valuable researchers. I have read so many books, but there is no one who researches next to him in Germany. Most researchers are in literature and cultural studies in arts and humanities or technical from the context of science. He is a researcher of the 'conjunction' of in-between research fields.
Indeed, Chomsky's system is a kind of minimalism, but it lacks the Transversal Aesthetics of minimalism.