a.o.i.-lasting memories_extra


Concept, Graphic notation, Composition

This graphic notation cannot be interpreted, but as a graphic, it is similar to Schönberg's logic 'disharmony' in harmony which is based on Gottfried Michael Koenig's idea of synthetic Klangfarben (Er hat Klangfarben figuriert, nicht moderiert./He figured timbres, not moderated them.). Koenig's idea was in the out of the notation (score) of the harmonic world, something new.

That is what I mention 'Post-Schönberg' on life–Ethics and Aesthetics are one–is a starting point.

However, there is the research problem practically.

This graphic is based on Genome principally. There is no logic in music, just there is expression.

I work on and focus on the last part as a whole, that is current research on circular geometry in '5'.

I organise 5 in a circle as a starting point, and I develop it for circular geometry with tonality. This is a new resarch for me.

3 is simpler than 5.

– on articulation

Ethics in Arts:

a.o.i.- lasting memories, Graphic Notation, 2021–2022,
Aquarell on paper

From my artistic point of view on the topic of quantum computing for time and space in music practically, thereby I explore cell cycle and mitosis. Because on the circumference, it will return if you go straight. But time is by no means a circular concept. There is also the concept of a spiral, namely it is the solar system galaxy universe. Time is forever, but life is not forever. What is life?

This idea for a graphic is based on the cell cycle and mitosis
How  I create the graphic coding, is my artistic intention on the topic of  "life". Furthermore, I transform it into a musical graphic notation.
My challenge as an artist is artistic creativity in how I can incorporate the principles of 'life' into our everyday.

During composing, I can't judge what I am doing without graphing the sound organisation. That is the same with the sculpture in fine arts and visual arts. Graphing is for us artists (composers, sculptors and architects) the explanation of the construction with the material in time and space.

For the composer, the notation aims for a play. But, since computer music, it has been overlapping with sculpture and architecture. e.g. the composer Xenakis.

Patinting is in the context of rethoric.

A genome is an organism's complete set of DNA.
All of the cells within a complex multicellular organism such as a human being contain the same DNA; however, the body of such an organism is clearly composed of many different types of cells.


There are three experiments.
- Monophony
- Polyphony
- (For) Quantum algorithms

timbre pitch (amplifier) frequency

the frequency ratio is r2 = 1.0592 = 1.122. (And of course r2 = 21/6.)

Sound organisation

(In: Autopoiesis and Cognition)

Page 48


VI. Conclutions

The aim set forth in the introduction has been accomplished. Through the description of the self-referring circular organization of the living system, and through the analysis of the domains of interactions that such an organization specifies, I have shown the emergence of a self-referring system capable of making descriptions and of generating, through orienting interactions with other, similar, systems and with itself, both a consensual linguistic domain and a domain of self-consciousness, that is: I have shown the emergence of the observer. This result alone satisfies the fundamental demand put forth at the outset: 'The observer is a living system and any understanding of cognition as a biological phenomenon must account for the observer and his role in it', and proves the validity of this analysis.

Although the answers to the various questions posed in the introduction and the fundamental implications of the analysis are to be found in the text itself to the extent that the theory adequately founds its whole development, there are several conclusions that I would like to state explicitly:



(i) The living organization is a circular organization which secures the production or maintenance of the components that specify it in such a manner that the product of their functioning is the very same organization that produces them. Accordingly, a living system is an homeostatic system whose homeostatic organization has its own organization as the variable that it maintains constant through the production and functioning of the componentsthat specify it, and is defined as a unit of interactions by this very organization. It follows that living systems are a subclass of the class of circular and homeostatic systems. Also, it is apparent that the components referred to above cannot be specified as parts of the living system by the observer who can only subdivide a system in parts that he defines through his interactions, and which, necessarily, lie exclusively in his cognitive domain and are operationally determined by his mode of analysis. Furthermore, the relations through which the observer claims that these parts constitute a unitary system are relations that arise only through him by his simultaneous interactions with the parts and the intact system, and, hence, belong exclusively to his cognitive domain. Thus, although the observer can decompose a living system into parts that he defines, the description of these parts does not and cannot represent a living system. In principle a part should be definable through its relations within the unit that it contributes to form by its operation and interactions with other parts; this, however, cannot be attained because the analysis of a unit into parts by the observer destroys the very relations that would be significant for their characterization as effective components of the unit. Furthermore, these relations cannot be recovered through a description which lies in the cognitive domain of the observer and reflects only his interactions with the new units that he creates through his analysis. Accordingly, in a strict sense a unit does not have parts, and a unit is a unit only to the extent that it has a domain of interactions that defines it as different from that with respect to which it is a unit, and can be referred to only, as done above with the living system, by characterizing its organization through the domain of interactions which specify this distinction. In this context, the notion of component is necessary only for epistemological reasons in order to refer to the genesis of the organization of the unit through our description, but this use does not reflect the nature of its composition.



He talks about cognition in research. He defined "What is Observation?"

The next step:


Biology of Cognition. Humberto R. Maturana. Biological Computer Laboratory Research Report BCL 9.0. Urbana IL: University of Illinois, 1970. As Reprinted in: Autopoiesis and Cognition: The Realization of the Living. Dordecht: D. Reidel Publishing Co., 1980, pp. 5–58.

for a system


Circular Geometry

The research problem here is '5' for the circular organisation.

However, it is as the vowel in Japanese usual. 5.7.5 in Heiku

Haiku is a poem, similar to Klang Kunst, that is poetic but also meta-epistemological.

Organizing the sounds while listening to the scale becomes "expression", not a logic. Thereby "Klangfarben" in synthetic sound by the composer Gottfried Michael Koenig is a logic.



A complex topic

dodecaphony '12' by Schönberg


Solution of research problem:

5 is for articulation

12 is for quantum algorithms

-> Things that cannot be seen or heard are not art, so the unit here is ƒ (Frequency). That is sure. The objective(s) of artistic research is 'visible' through artistic mediums. We cannot create 'something' beyond our knowledge, however, there is imagination in the arts.

Such as fantasy, fiction and novels for enjoyment, inspiration, etc.

But, What is 'imagination' in the arts?

- Monophony

In the experimental film, Duchamp has been worked on this subject.





different as the expression in the art

Artistic research in music and art:


ƒ (frequency) - Hz

ƒ in the Western musical score is forte (for the player).

A440 (pitch standard)

This For 5ƒ and between is replaced with the time sequence.

Quality of the Sound

Richness of tone

Phonetic alphabet in Hiragana

Scale made from tone (Timbre) (Western music)

Scale made from voice (Vowel) (Japanese music in Heian-epoch)

Middle tone

In Klang Kunst, the sound would be organised without manipulation systematically. (Meta-epistemological)


a.ki.su.te.no, i.ku.se.ta.ni, u.ke.so.ta.ni, e.ko.sa.chi.nu, o.ka.shi.tsu.ne.

The phonetic alphabet in Japanese consists of a.i.u.e.o. – 5 vowel







ya.       yu.       yo.


wa.       o.         n.


Spatial aesthetics

the character or quality of a musical sound or voice as distinct from its pitch and intensity.

Question for


e.g. art movement "No wave" in the USA

Corona for pianist(s) (1962) by Toru Takemitsu is based on 12, playing together with the inside piano (for two hands or more players). In his score, there are 'Time' and 'Pitch' (out of rhythm) - metre for the interpretation of the player(s).

This is for 5. For 3, it might be possible to work on 12.


Autopoiesis and Cognition: The Realization of the Living With Francisco Varela. (Boston Studies in the Philosophy of Science), 1979


This "For 5ƒ and between" from the aspect of science with motion and time is the same principle of NASA's and other sicence research on time and space. (Physics and Biology in the 21st century)

It is




similar to the relationship

There is a possibility of '4' towards and in '12' by Schönberg, but I attempt with '5' for and in between.

- Polyphony

Transformative art and Transformation in the arts

Max Eastley has transformed the topic of 'wind' to noise, which is representational.

How it (the representation of an art object) could be interpreted–is an aesthetic value in the Traditional Japanese Fine Art–which is logic in mind in the Traditional Japanese Fine Arts.

I deal hereby with "Art and its Objects" – An Introduction to Aesthetics, Richard Wohleim, Grote Profession of Philosophy of Mind and Logic in the University of London, 1968

Quantum (computing)

- Constant radius and its repetition

- Appropriate radius and its repetition

Radius and wave(s) (in mathematics)

- (For) Quantum algorithms




Traditional Japanese Music:


Koto Godan (-> 5 Grade/Pitch, Metre for stringed instrument)

An ensemble of two kotos in Honkumoi-choshi (本雲井調子) treble and flat-choice  bass honte (平調子)



-> In the art and philosophy for the culture, Theodor A. Adorno

Most of the contemporary artworks are in the context of cybernetic today, due to the motion (changing of time) in the artwork phenomenologically.

Sound composition

These three composers are the same generation, and academic doctors (Max Eastley had received the DAAD artist scholarship in Germany.), and they work in the context of Fine Arts.

They are the contemporary fine artist as well.

What is 'Fine arts' in today's contemporary context?

One is a cognition-based art, it is possible to be organised for a design (Gestaltung), which is not a modeling-based.

What is 'cognition-based'? and What is 'cognition'?

The British Artist Max Eastley, his oeuvre is a wonder, his main topic is 'wind'. And how he started his exploration on the topic of 'wind'.

'Wind' is a very interesting subject in art and philosophy, as well as ecology. I am exploring the aesthetic value of Max Eastley's oeuvre.

- The procedure and its transforming

- From a metaphysical aspect

- On randomness and MA (間)

- Imagination in the arts


For me as a Japanese, his work is aesthetic deeply.
He has no sense of contemporary kitsch (style), even if his installation is in the context of contemporary art, but in the context of Wohlheim, Wittgenstein, and so on.

His installation Rotation 1 and Rotation 2 (2016) is trans-coding of nature from observation, not by the analysis of nature. He deals with the topic of time and space as 'motion'–on Randomness and MA (間)–is his own knowledge through his observation in nature. (From my research aspect, he is an artist (in ecology) in the context of Tate Modern.)


I like the artists (composers) Max Eastley, Joseph Nechvatal, and Martin Supper–their individual 'figuration'–logic in art, and nonsense. It gives me a new aesthetic and essentiality, despite fascination, towards the new technology with artificial intelligence, robotics, and high-speed internet communication.


There is the wind, so there is 'change' in everyday life. That is 'motion' in nature.

Another composition is from the environmental sound, that is electro-acoustic sound composition. i.e. Musique Concrète


dodecaphony '12' by Schönberg is main in the music education from the aspect of the 21st century.


Basics of Fine Arts, Formalism

(Classical composer, work with the contract) Martin Supper: His title of 'doctor' and 'professor' in musicology–his occupation is the academic professor–is today's PhD and EdD doctorate.

The common point between these three composers and my " light " research topic in terms of cognition and perception. Who researches the subject of 'light' is the scientist.

For example, Joseph Necvatal's darkness contrasts with the topic of 'light'.

When I deal with the topic of light, I need to deal with the environment, such as the atmosphere, or shadow.

It's more about unintentionally exploring themes while playing with materials rather than expressing them. Currently, the sound work is for me unintentionally exploring.

Artistic research project

Geometry in the context of Dutch, British, and Anglo-American in the art.

Did Renaissance take place in Germany and Austria? In reality (historically), I think that they/their being in terms of (Renaissance) were persecuted.

Renaissance originally was not the 'Vorbild' (and its interpretation) like the study of Leibniz (Monad), but rather Renaissance was based on observational methodologically.

The shift from art for appreciation to art for having individual experience, e.g. participation

Art project

The EdD is focused on individuals who want to apply their knowledge to practice, while the PhD is more focused on research.

Artistic research Untitled* is oriented to EdD transdisciplinary research, that is my challenge of artistic research in terms of the academic field of aesthetics.

My research objective(s) are practic-based research in transversal aesthetics.

The next step is Art in the social context, i.e. in the socio-political context.


(Contemporary composers, work  only for own art project, that is the same as painting.) Max Eastley, Joseph Nechvatal

Practice-led research in the arts:


A practice-led approach

Known by a variety of terms, practice-led research is a conceptual framework that allows a researcher to incorporate their creative practice, creative methods and creative output into the research design and as a part of the research output.

Practice-Based and Practice-Led Research

If a creative artefact is the basis of the contribution to knowledge, the research is practice-based. (-> Joseph Nechvatal: He holds the PhD in philosophy (art philosophy in aesthetics) and in computer science. He is an artist and art critics.)

If the research leads primarily to new understandings about practice, it is practice-led.(-> Max Eastley, he had received the DAAD scholarship for the artist in Germany. He is an artist and practice-led art discipline.)

In the artistic research "Untitled*" hereby,
Which type of researcher am I, and you?
For my generation, they are the model for my research.

Until now, each research theme has developed its own methodology, but these days, the artistic research has been organized.

For the art project

Artistic Research Urban Hub

Research project is

including Green x (for the community)

Research keywords are Transversal aesthetics, Coexistence, Environment, Ageing, Barrier-free

In the context of design in terms of fine arts, music and architecture


Artistic intervention in music, visual arts and architecture in the urban space