Brain-Mind
From Neurons to Consciousness and Creativity
Paul Thagard
Oxford Series on Cognitive Models and Architectures

3. Perception and Imagery
Why Perception and Imagery Matter to Mind and Society
From Sensation to Perception to Imagery
External Senses
Internal Senses
Imagery
Mental Mechanisms for Imagery
Neural Mechanisms for Imagery
Uses of Imagery
Summary and Discussion
Notes to Chapter 3: Perception

https://global.oup.com/academic/product/brain-mind-9780190678715?cc=de&lang=en&#

Note:

Theoretical and practical advice for the recording of diffusion:

This research-specific recoding for the representational medium is the same level as the research question such as the last CD autumn garden for Gagaku Orchestra by Toru Takemitsu, produced by Sony, Japan, which CD I have (is a spacial programed with tracs CD for this project, Because GAGAKU orchestra is originaly not a Western orchestra form. The recoring technique and its rules (formalism) are based on the Western orchestra. GAGAKU orchestra is rather diffusion. Takemitsu's endeavour in his life was for creating a new way from the perspective out of Western music formalism, and his own style of modernity, which is a not high-art.  His composition of 'autumn garden' is an avant-garde, and his own drawing. He didnot want to study the Japanese tradition, but rather to create something new in this context. So, he rejected the award by the Japanese Art academy for his GAGAKU orchestra composition. I am also after Takemitsu's generation in post-war. ).  From my research aspect–is 'art representational'–that is an artifact (epistemological). The artefact is not an artistry dish, but rather for collected data (content) on how it is 'represented'. – Art medium and human communication

Ancient Greek vases are artifacts in mediums ranging from wall paintings/documents on the wall  (ancient Egypt) to ceramics (portable and mobility in ancient Greek: It was a 3D Perspective Painting through the form of vase and its time and space on the two dimensional surface), which were a starting point of 'democracy' in humankind.

The writing on papyrus is the category of a book in this context.

Takemitsu's artifact is in 1997 towards 2000 digital age. Today, virtual reality, artificial spatiality and its aesthetics are main subject as well as in music.

This model is for studio recording.

For the research of the setting of the microphones, that is the complex setting with the microphones to understand the character between two performers (live electronics and contrabass) in the installation in the studio.

I Am Sitting in a Room (1969) for voice and electroacoustic tape is a composition by Alvin Lucier.

He is sitting in a room, speaks with a microphone, will be recorded (Aufnahme) his voice, and will be reissued (Wiederausgabe) in a room. (Time direction of this piece is for the future, not for a memorial.)

This recording material (Aufnahme)-his voice-was reissued (Wiederausgabe) in a room, and was recorded and was reissued was repeated until nothing, thereby he is sitting in a room in silence.

Totally another silence with the composition by John Cage 4'43", as an act of immersion into noise, whether by a pianist on the stage in the concert hall or by a composer, himself in a room.

I Am Sitting in a Room (1969) for voice and electroacoustic tape is a composition by Alvin Lucier, advanced performance and composition in minimal music. (Lucier's is post-Cage)

Therefore, Erika Matsunami and Chris Dahlgren, we have been exploring (on-site in Berlin-Kreuzberg, as well as the sound engineer and the sound studios are on-site (not virtual) in 2023) post-Lucier's and post-Takemitsu's approach from the perspectives of Western side and Eastern side inter- and cross-disciplinary.

La Monte Young's work is more than “What I like” but rather a part of my cultural identity after Toru Takemitsu's generation in Japan. Between tradition and modernity, Toru Takemitsu gave my parents' generation a great influence on Japanese post-war culture.

La Monte Young and his artists gave us, that has a great impact on the breadth of cultural knowledge. With their artistic activities, the concept of high culture and low culture disappeared as the cultral norm.

The American composer La Monte Young:

In affirming our current artistic position from the perspective of music and fine arts, we (I and Chris Dahlgren in this artistic research a.o.i. - lasting memories in the performance as an objective of this research) cannot start without La Monte Young, especially after the modernism of music composers like Toru Takemitsu in the 20th century.

My interest in the work of La Monte Young is his humanity in the arts from the aspect of performing arts towards future human and non-human society. In the context of philosophy, it addresses 'enactivism' in terms of cognitive science, but La Monte Young's work is more widespread sense.

La Monte Young and my father has the same year of their birth. La Monte Young is my father's generation. I have a great experience from La Monte Young's work towards post-Toru Takemitsu in Japanese fine arts. – post-musical score (deconstruction of the musical score as a metaphysical expression)

Toru Takemitsu was a Japanese composer in-between between Western and Eastern arts and in-between modernity and contemporary towards the digital age, who was one of the composers, who worked with decolonial artistic approach in the fine arts (in the context of from pop music to classical Avant-garde music in term of the music score between Western and Eastern music, was created the communication by Toru Takemitsu horizontally.) in the 20th century. During the coronial era in the world, the Western music score was the main domain in the music worldwide. There was no communication between Western and Non-Western music until post-war in the 20th century. One is in my artistic resarch variation I, Corona (1962) for pianist(s) by Toru Takemitsu. This is a representative work. This his work Corona (1962) incorporates the essence of performing methods such as the "koto (琴)" as a new way of playing the piano.

Avent-Garde in Music: John Cage -> Toru Takemitsu (Toru Takemitsu studied the music composition under John Cage. In post-war, to study Fine arts/music in Avant-Garde, there was no possibility to study Avant-garde in music at art academy or art university. There was still the era of the music conservatory.)

                                                               -> Alvin Lucier, La Monte Young ->

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• Piece for Cello and Saxophone

• von Terry Jennings

   

  2xLP
• Schallplatte/Vinyl + Digitales Album
   
  Mastered by Stephan Mathieu and cut to vinyl via direct metal mastering by Hans-Jörg Maucksch at Pauler Acoustics. Pressed at RTI and housed in gatefold jackets printed at Stoughton. Includes a four-page insert with liner notes by La Monte Young, Charles Curtis, Anthony Burr, and Tashi Wada.
  
  Enthält unbegrenztes Streaming von Piece for Cello and Saxophone über die kostenlose Bandcamp-App und außerdem den hochwertigen Download als MP3, FLAC und mehr.

  Ausverkauft

über

Mitwirkende

Artistic research a.o.i. - lasting memories consists of four stages of research. 1. Notation: Cycles and Geometry in Music

2. Sonic composition and interpretation on Notation a.o.i. - lasting memories: Sonic composition by Erika Matsunami, and the composition through the interpretation by the contrabass performer Chris Dahlgren. And its composition (sound organisation) and on Randomness.

3. Spatial installation (multi-channel mono discrete) which is based on notation a.o.i. - lasting memories and their diffusional spatiality in real space.

4. Contrabass and live electronic improvisational performance (with feedback, etc.) in a spatial installation–contingency composition

The theme is coincidence and randomness. Our artistic theory mentions the nature of sound in a particular environment, and how we organize its natural contingencies, that is the new musical aesthetic by the artists.

Keywords: Sonic; Cognition; Embodiment; Randomness;

The current project is a.o.i. - lasting memories, which are focused on the topic of life from the aspect of molecular biology in the 21st century. This project is for an improvisational performance with Chris Dahlgren (contrabass) in the installation, which project I explored after the Corona pandemic in early 2021. Therewith, I explore ethics and aesthetics with Chris Dahlgren (contrabass) from both aspects of music and visual arts at a practical level interdisciplinary (improvisation). Musicology is progressing from representation of the ethics and aesthetics by the traditional music scores to exploring 'embodiment' towards ethics and aesthetics "on-site" from the perspective of cognitive science in the 21st century. Therefore, an artistic method is an improvisation. According to the art representational theory by Richard Wollheim, he explored in his essay "Art and its objects: an introduction to Aesthetics" in 1968.