This work, how I draw is not important to perceive. On the surface, the viewer looks at the drawing style, that is the general attention of the viewer today.

If I etched directly, and more etched, I could print my original draw. (How to) The stone is the medium, is stable.

Drawing, Notation and Composition for the Improvisational Performance




Automatic (automatisation of nature) is stable actually. (Reduce of the drwaing informations, Choherence, Technically there was no additional etching.)

The subject of this image is on the topic of topological space. This is deeply meaning of this image, actually, it was beyoned of. In this image, the attention of viewer is focused on the form precisely. – What is a form, which is dynamic? (Japanese calligraphy as a design)

Lithography Series (2023–)

o.T._#01, 2023, 36 x 45 cm, 3 Edition, 1 AP

On Paper (35 x 46 cm, 36 x 46 cm)

Crystal structure of silver halide
About the beauty of nature

Etsuo Fujii, Eary 1960, Japan

->From threefoldness to multi-foldness, On time, space and body

Geometorische Ansichten

Lithography Series (2023–)

o.T._#02_Masking, 2023
On Paper, 45 x 36 cm, 5 Edition, 1 AP

#Mono, #Zufall, # Nature, #Monocromatic, #MatterOfNature, #SpaceTimeBody


Lithography Series (2023–)

o.T. #02_procedure


On Stone

Time and Space of substacial emlusion (polarity) on the stone:

Different materials, and their boundarlity of time and space

The result is the different polarity

still/silent 2007 - 6 ch sound for the installation by Erika Matsunami and Niklas Schmincke, Performance by Antonis Anissegos and Erika Matsunami, GlogauAIR, Berlin, 2007

What is 'automatism' by the nature or the rule of the nature?

Nature has a law of returning from an active state to a resting state.

We need to have both states, stable and interventional in and out for our human development. – For human capacity, i.e. elasticity

This #01 is an error from a lithographic perspective. The right way is one-to-one, not from one to the other. It must be identical to the original (drawing on the stone). But topologically it is interesting and it is based on the lithographic property. (not silkscreen, not etching, and not photograph)
In other words, topology is an important essence in the lithography.

Bence Nanay addressed topological property (towards digital image) in the image as an aesthetic property in his thesis "Aesthetic as Philosophy of Perception" (Oxford, 2016). He overcame Heidegger's and Benjamin's, after Richard Wollheim in the 21st century (digital image) in aesthetics.
My artistic challenge is here, after Martin Supper, as well as in Sonic aesthetics, I explore it. 'MA' - between sound synthesis, What is nature? What is Sonic?
Sound requires a sound source.
Light requires a light source.
We measure time and define space through the properties of light and sound. For example, outer space (Universe).
Earth also exists in outer space (Universe).- from objective observation to subjective research, i.e. general relativity theory
(General relativity is physicist Albert Einstein's understanding of how gravity affects the fabric of space-time.

In my research, all philosophers in arts are Western researchers, so I keep Benjamin's (without divinity, Jesus is not god, that is the great issue (His position is a contradiction. What is a 'whole' of the world?) in the Christians) and Zeami's (including Dogen's) on natural life for us humans topologically (from the aspect of ethics towards natural life for us humans)

Basically, the study of art is an important knowledge in life.

What is 'creativity'?

I explore two types of topological sound composition methodologically, Max Eastley, Joseph Nechvatal and many others in this research context.

Nechvatal's is contradictional, in other words, paradoxical organisation

What is 'Paradox'?

Nature is paradoxical. There is no one way, no one seeing, no choice of right and wrong, no bad and good...e.g. if the sun as a symbolical is 'god', but the sun is paradoxical and changing permanently


Art studies in the context of character (literary)-centered visual arts

I explore therewith, not semiotic, but rather semantic.

Recently, It is analyzed the sentences (my writting) by artificial intelligence. What I am aware of is the reader.
My text has three patterns.
One is understood by those over the age of 16.
Second, university or above
The third is university graduates or above (for researcher). Therefore, I need to explore the character (literary)-centered visual arts practically. Theoretical exploring is more for the thesis.


 MA (間) in-between. -> MA (間) in-between and its infinity

A dialogue with Max Eastley's


A notice:

I write about emulsion and polarity, which applies to drawing on stone (lithography), as well as photographs, and also drawing on paper (in mixed media)

Drawing Series (2022–)

Dispositive Masking

Oil pastels and aquarelle on Paper (59 x 84 cm)

Drawing Series (2022–)

Procedure as detail, Oil pastels on Paper (59 x 84 cm)

What I thought in his composition wOOlf wOrdings Of OrlandO

The speech as a sound by AI, thereby from subjectivity to objectivity is an artistic characteristic of Joseph Nechvatal, that I grasp. But, a new way of subjectivity and an interactivity between human and non-human...

no nationality, no gender, no age, so, by non-human


Laut Diamond sei es jetzt Wittgensteins Auffassung von Philosophie, dass das komplette philosophische Vokabular auf diese Art ersetzt werden müsse. Das bisherige philosophische Vokabular sorgt für Verwirrung und muss deswegen analysiert werden und durch eine eindeutige Notation ersetzt werden. Wittgenstein versucht also mit seinem Tractatus zu zeigen, dass diese Perspektive, die versucht Eigenschaften der Realität durch die Analyse der Sprache zu entdecken eine Illusion ist. Sätze die aus ihr folgen sind nichts weiter als reiner Unsinn. Wittgenstein schreibt: „Jeder mögliche Satz ist rechtmäßig gebildet, und wenn er keinen Sinn hat, so kann das nur daran liegen, daß wir einigen seiner Bestandteile keine Bedeutung gegeben haben. (Wenn wir auch glauben, es getan zu haben.)“ (TLP 5.4733) „A ist ein Gegenstand“ ist Unsinn weil er eine Notwendigkeit behauptet, als ob sie von bestimmten Wahrheitsbedingungen abhängt. Wenn Sätze wie „A ist ein Gegenstand“ Unsinn sind, dann nur, weil wir einigen der Bestandteile keine Bedeutung gegeben haben. Der Begriff „Gegenstand“ der in der üblichen Sprache als Variable fungiert, wird hier in einer grammatikalisch komplett anderen Weise verwendet, der wir keine Bedeutung gegeben haben. So entsteht die Illusion wir hätten einen sinnvollen Satz gebildet.

Zufall and physical Authenticity, its onceness on stone.

In art, this is not that I "expressing" an image in my mind, but that I "manage" ("bedienen" in German)" the materials, including stone, through my artistic correspondence to what actually happened.

This artistic act is similar to Klang-Kunst.

My (artistic) research objective(s) is/are, how I solve this research issue i.e. pollution and coexistence (environment) and transform into something– Aestehtics and Ethics are one–Wittgenstein

I explore thereby the artistic research method and share it with the SIG (I am an active member of two SIG, one is the topic of spatial aesthetics/virutual<->physical, in music, visual arts and media art include paerforming arts/EU and UK, and another one is the topic of  contemporary art in music, visual arts and media art include paerforming arts/global south) in SAR (Society for artistic research) internationally.

This artistic method is might be possible to explore in the contemporary art today.

The aim is to explore 100 editions of the original in the series.
Then, it will be the level of the research by Dogen, and its volume 100.

Transformation: Image of Natural phenomena (Notation in my work of art) -> Imagination -> In my artistic activity: Sound synthesis -> Spatial installation -> Performance

#ecology, # coexistence, #transversal aesthetics, #naturalphenomena, #nature

art-without ego originates from an idea of Klang-Kunst, its origin was from natural science.

#ecology: It addresses here, e.g. oxidant, materials and environment.

Photorealism in painting is not 'mimesis' in the arts.

For example, "trompe l'oeil" in classical fine arts




National treasure of Japan

Korin Ogata

Edo Period
18th century

Recent topics:

volatility and its environment (on the stone)

The topic on image:

Two colours



-> A new image topologically

In Synapse, I explore nano ethics practically.

Ethics and Aesthetics are one – Wittgenstein's

This 'Ethics and Aesthetics are one' is a very complex transdisciplinary research. It is the similar to the research question 'What is life?'. Also, It requires to slove this research question 'What is life?', which requires to address to the environmental. Thereby, the research question is 'What is the space?'. So, we cannot ignore Einstein's theories.

In 2011, a scientific survey was conducted using a digital microscope, a portable X-ray fluorescence spectrometer, and a portable X-ray powder analyzer. As a result, we were able to confirm that gold leaf was used for the gold base that occupied the entire folding screen. In addition, silver remained on the entire surface of the water stream, and silver sulfide was detected in the black portion.

Historical background:

The first European to arrive in Japan was the Portuguese in 1543.

After the Portuguese and Spaniards imported guns and gunpowder to Japan, industrialization began in Japan as well. During the Warring States period and the Azuchi-Momoyama period, Toyotomi Hideyoshi's policies led to the samurai rule, including the taxation system for agriculture. This picture is from the Edo period, water pollution and crops were one of the causes of his famine.

In Klimt's case, the expansion of warfare and starvation caused by modernization and industrialization depicts the morals of the faith that "love" saves, and the gap and system (sociality of the time) of (globalized) modern life.– modernity and gloablization

Both works of art were actual. – Authenticity of art and its actuality

They researched and offered methodologies and techniques to manage this crystalline natural beauty 'on the surface'. – expression in logics, product and provide

In philosophy, aesthetics and phenomenology, that was researched such as in terms of 'visible and invisible', 'to (dis-) appear' literary.

Therefore, artists dealt with the topics using by the technology in everyday life individually, presented thier works in the society.

The curators represented the work of artists and mediated between notion and creation.

The critism reflected inbetween.

Little by little, technology took root in society as civilization.

And society has evolved culturally little by little while repeating reflections.

Changing Geography

From Royal territories to Nation territory

Colonialism (Capitalism is anot a new economical idea and concept. Capitalism in human civilization has been implementing since more than 2000 years historically. (Since the beginning of 'economy' with the money.) The only way to fundamentally change capitalism is to eliminate circulation based on the value of money. Nobody has the idea for a new economy system without using the money worth.

From the regional capitalism to the global capitalism

Since then, internationalized national terriroty

Rhetoric-> confusion of love  (from life)-> aesthetic intervention -> Joseph Nechvatal on the subject of 'Darkness' and Viral aesthetics (from death) -> Nonsense and Emotion

On Klangfarbe -> Soundsynthese -> Ethics and Aeshtetics -> Martin Supper (...) -> Logic (and Unlogic), and Randomness

Although there are various methodologies of artistic research,
The field of art is also to explore a new (aesthetic) value.
Artistic research is therefore very important.

Leitmotif -> Light including reflection -> Max Eastley on the topic of 'Wind' -> Environmental Uniqueness

A notice:

At the point in the sentence where there are typos, I leave this point to rethink. (There is no marker in this system. And when I use the marker, there is a misread. To me, in this case, an error is much better than a misread.) For me to explore, it looks perfect is dangerous.

The coherence (in the case, if it is not analysis) in artistic research is my questioning (Fragestellung).

The sound composition is noise for this image. Thereby the sound synthesis  as well as (algorithmic) for the composition is the art representation, that is trans-media.

The next step is, I transcode this image to the motion, that is the art representation. Thereby, I need to explore programming (in computer science) or using animation. (using the animation of line, I did in the project 'still/silent'.)


Composition in the post-conceptual era:


Joseph Nechvatal


The Viral Tempest


von Joseph Nechvatal


I am dealing with transversal aesthetics and exploring Japanese aesthetic Wabi-Sabi, but in a contemorary context.

Because everyone is obsessed with style (by How to create Japanese Wabi-Sabi learning) and not essential.

From the 17th century to the 18th century, the Dutch (Today's the Netherlands) had the record of more than 700 trips from Europe to Japan via the Indian Ocean per year. (Dutsch Ships sailed every day. How many world the free trade have come from Europe since Columbus globally? Only from Eruopa, but Ships sailed every day. – Global slavery and colonization

In contrast, landlocked countries in Europe were poor. So the war was started globally, at the first was in the Europe.)

At that time, regarding to Dutch research, they exlored the Asian art, and the influence of the Japonesque in Europe was a form of art that was socio-political critical towards idealism in the European modernity.

Current globalization has been since Columbus (16th century), as American historians have noted since the 1970s internationally or before, they has been claiming since early of the 20th century.

The, art history, anthropology, and ethnology compared to between it and before the 16th century.

For example, the difference between the territory of residence and management until then and its distribution and communication and so on.

We cannot research and explore thing(s) and its (their) event(s) at the level of "good(-ness) and bad (-ness) decision, thereby, what is the norm of "good and bad"? 


“Wabi-sabi” aesthetics solved this pollution problem at that time, however, not only through the art, it was an exploration by Dogen (Zen) basically and literally (in Ethics). In the Dance-Theater, it was by Zeami (in Aesthetics). The art was important for the practical exploration and civilization from the socio-political critical aspect. – The matter of art, and its correspondence

Expression or/and Description on nature:

o.T._#01 is simply to explore, it does not address the issue.

We can't research without a research question, without developing, there is no wrong.

o.T._#02, we need to explore the potentiality (including possibility and opportunity) in the environment,

necessity of exploring, cannot determine simply

the biological life is a complex

What is 'nature'?

Nature and our life –> civilization

Thereby the technology is the invented machine to use for organising of, management of, producing of, transporting of, in human society (collective of societies)

o.T._#02, cannot be expressed by digital synthesis (virtualy) as a natural phenomena yet.

-> Chemistry, Physics, Mathematics -> Molecular biology

From an immunology point of view, minerals are also important to our body components. However, there are also many substances that are absolutely damaging. (Pollution)

But humans also emit farts (methane gas) and exhale carbon dioxide. We are also in a part of the componets of the pollution in the nature – Neutralization of waste and emissions are the important subject in the arts and design today– art is the an important component of our lives in everyday life– the matter of art

My (artistic) research objective(s) is/are, how I solve this research issue i.e. pollution and coexistence (environment) and transform into something– Aestehtics and Ethics are one–Wittgenstein

Japanese painting was not an idealist format, but rather epistemological through the natural phenomena. Later, it was explored a socio-political aspect in the art. (A misreading of Japanese painting by the Western in Idealism, that was on 'Love'.

In the Western, Love by/for God in arts and humanities; in the Japanese, on Human love, Life and Nature in arts and humanities.

Love is an (maybe the most) important topic of the high art in the Western fine arts originally.)

This painting 紅白梅図屏風 is a critical towards human civilisation (on materiality and its procedure), i.e. observation on the ground (earth), site-specific, water pollution.

On Zufall (Random)

When creating art, we invent in nature and explore nature. In doing so, we explore different techniques related to nature, develop techniques, create tools and promote culture.

Drawing is an important artistic act of creation.

"Zufall" in the art: Mostly in natural phenomena, observing, exploring, and managing the "phenomenon" of nature that occur by chance (Zufall), is one of the tasks of our artistic creation.

It is very difficult to embody in an artistic way this accident of nature (Zufall), an unintended act of human creation.

Joseph Nechvatal's sound composition is one of artistic creation in the context of Zufall.  Another composer is such as Iannis Xenakis, his sound synthesis.

These accidental (Zufall) natural phenomena, unintended natural phenomena by humans, occur in our bodies at the level of neurons and cells also.

"Substance" is basically eternally unchanged (does not decay), and the change that occurs is "weathering". – Oxidant (Das Oxidans)

(Thereby, from this point of view, philosophical exploration which was translated in English 'appear' is rather 'occur'. 'appear' is an intentional phenomena.)

About drawing an artistic act:

In addition to the act of observing, there are various methods of artistic drawing, such as exploring the level of cognition under one's own consciousness.

What I am exploring here "drawing" in the artistic research Untitled* is 'my' relationship with nature.

In other words, it explores creativity through self-awareness of the relationship between "I", space (environment), and our knowledge in the 21st century.

"On the fundamental theme of "time and space"


Erika Matsunami

The topic of "time and space" is not only dealt with in art but also in philosophy.

For this study, I defined the topic “space” in the POINT IN TIME 2013 project; a three-dimensional space is not only a physical space but also a social or mental space. In doing so, I based the topic of space and the work of the artists on the literary topos1 and also on other cultural definitions. I also looked at the metaphysical definition of "time and space" in different cultural spaces.

'Time' can be described or explained with the philosophical definition, but also with the philosophy of mathematics. 'Time' is not an empirical term. It cannot be perceived by us objectively, but only subjectively, this affects e.g. memory, existence and death.

The theme "space and time" focuses on the fundamental questions of memory, existence, future (vision) and death and thus also on questions about the type of identity and that of the body (substance). However, I not only address space and time metaphysically but also mathematically, i.e. geometrically (Euclidean geometry and Euclidean space).

1. topos (pl. topoi, from ancient Greek τόπος topos "place, topic, commonplace"): this is a commonplace, a stereotyped idiom, a pre-existing linguistic image, an example or motif (e.g. navigatio vitae, "the ship of life") ). The technical term "topos" is sometimes also translated as "topic", "argument" or "on the agenda".


Related sciences: topology, topos (humanities), topos (mathematics), metaphor

„Nach Nelson Goodmans These sind Sinn und Zweck von Kunst und Wissenschaft gleich. Beider Ziel sei Erkenntnis. Und zwar Erkenntnis als (selegierende, sortierende, konstruierende) Organisation von Wissen. In diesem Sinne ist das Wesen von Wissenschaft und Kunst gleichermaßen >kognitiv<, ihre Qualität >kognitive Vortrefflichkeit1<.“ (S. 81, Franz Koppe: Kunst als entäußerte Weise, die Welt zu sehen. Zu Nelson Goodman und Arthur C. Danto in weitergehender Absicht. In: ders. (Hrsg.): Perspektiven der Kunstphilosophie. Texte und Diskussionen; Frankfurt/M., 2. Aufl. 1993)

Mit diesem Zitat, das meinen Aufsätzen POINT IN TIME als These zugrunde liegt, habe ich das Projekt POINT IN TIME systematisiert.

Franz Koppe schreibt, dass Kunst gegenüber dem Kriterium der Wissenschaften von Goodman durch Abweichung von diesem quasi idealen Zeichencharakter bestimmt ist:  und zwar durch das Fehlen von Kriterien der Notationalität und durch Formen und Kombination syntaktisch-semantischer Uneindeutigkeit, Unartikuliertheit, Undifferenziertheit.

„Auch Dantoinsistiert auf dem Zeichencharakter der Kunst, auf ihrer Sprachlichkeit.2 Im Unterschied zum bloßen Ding ist das Kunstwerk nicht nur etwas (wie jedes Ding), sondern auch ‚über etwas’ (wie jedes Zeichen). Diese zusätzliche Dimension der ‚aboutness’ nennt Danto auch (und zwar in diesem weiten Sinne) ‚Darstellng’“ (S. 84, Franz Koppe: Kunst als entäußerte Weise, die Welt zu sehen. Zu Nelson Goodman und Arthur C. Danto in weitergehender Absicht. In: ders. (Hrsg.): Perspektiven der Kunstphilosophie. Texte und Diskussionen; Frankfurt/M., 2. Aufl. 1993)

Dieser Aufsatz von Franz Koppe gab den Impuls, die Kunstwerke zu präsentieren, und er war auch der Anreiz, über gegenwärtige Kunst und Kultur zu diskutieren.

„Kunst als entäußerte Weise, die Welt zu sehen. Zu Nelson Goodman und Arthur C. Danto in weitergehender Absicht.“ Der Aufsatz von Franz Koppe dient als Kern des Projekts POINT IN TIME. Ein Satz daraus (bzw. seine Bedeutung) wurde in die Präsentation eingebaut, die Kunstwerke wurden zusammen mit der Szenografie neu artikuliert, wobei eine Szenografie des praktischen und ästhetischen Raums geschaffen wurde.

1 Goodman (1973), Kap. I und VI (und passim); vor allem I.I (bes. S. 19), I.7(bes. S. 42f.), VI.6 (bes. S. 259f.) und VI. 7.

2 Danto (1984), Kap. 1 bis 5, im Folgenden bes. Kap. 1 „Kunstwerke und reine reale Dinge“ und Kap. 3 (über den Sprachcharakter der Kunst und ihren Zusammenhang mit der Philosophie).

Drawing 'dream' in surrealism is also an observational artistic act in nature (including human nature in the environment.)


-> 'something'

not dimentional space and time, but rather time in(to) time, space in(to) space.

conjunction between them

Sound Composition


Post-conceptual art

spatial aesthetic in transversal aesthetics



"There's this huge gap between reality and its possible representations. And that gap is impossible to close. So as artists, we must try different strategies for representation. [...] [A] process of identification is fundamental to create empathy, to create solidarity, to create intellectual involvement."


Alfredo Jaar - The Silence of Nduwayezu

The starting point of the curent project o.T., I am dealing with ‘Wabi-Sabi’ on the stone - an ethical and astehtical notion of the Traditional Japanese Aesthetics in the context of ZEN practically, which is site-spesific and enviromental aesthetics.

Time won't back, it fluxes, but it lies in-between in the natural system – It is my imagination of the notion “time” – for a drawing.

I embodiment with nature through the procedure of the lithography (an imaginative natural processing), and how I will transform it into another. This is an artistic challenge for a creativity. The goal of this creativity is for an idea of the assemblage.

As you can see here, time never goes backwards. Therefore, the theme of my art and artistic research, "memory", is found in natural phenomena. (our brain and cells are also a part of the nature and its natural law.)

You can see the diverse future images in the 21st century from the "Natural Events" in this series of works.


Why it is lithography?

I can deal with the quantum mechanism in nature. – chemistry, physics, mathematics in art


What is today's synthesis?


What is 'digital' as the material?

Digital phenomena is not enough towards 'Nature' yet, that requires to a specific enviroment.

“A language is therefore, ­a social institution and a system of values. It is the social part of language, it is essentially a collective contract which one must accept in its entirety if one wishes to communicate. It is because a language is a system of contractual values that it resists the modifications coming from a single individual and is consequently a social institution. In contrast to language, which is both institution and system, speech is essentially an individual act of selection and actualization. The speaking subject can use the code of the language with a view to expressing his personal thought. It is because speech is essentially a combinative activity that it corresponds to and individual act and not to a pure creation.“ (Barthes, 1967, pp. 14-15)

For example, as we are experiencing with Russia's recent military invasion of Ukraine, it is not about winning or losing a war, but the change in the value standard of things.

How does it affect our lives in complex ways?

Thus, the solution to this lithography problem is experiential art learning.
Manualized art learning (how to do it) cannot solve that problem.

One know s very well how to make a skin colour exactly, and can make it quickly and perfect. Even if in the norm of 'creative', there is a standard norm. Everyone is wonderful today.

We reached common sense which consists of a collective of individium and its commoning for a new framming already.

For more than seven years, after digitization and social media, many art teachers in artistic research, especially in art studies, have been critical of manualized art teaching (how to teach art).


Indeed, in general, as a whole, everyone is now able to express themselves openly. And that's what makes art and artistic value. But it can only be established within certain fixed standards. One of them is the community idea. We all enjoy the creativity of art in our daily lives, and by exhibiting online and in galleries, we have established a distribution system for sharing.
The next step is materiality.


The current state of affairs can anyone to draw their own personality with acrylics on canvas. Anyone can work with digital photos and create unique images with Photoshop. It applies to all kind of arts generally today.


Today art is a creative act that anyone can do.

Sound Composition


Time seems to follow a universal, ticktock rhythm. But it doesn't. In the Special Theory of Relativity, Einstein determined that time is relative—in other words, the rate at which time passes depends on your frame of reference.
The special theory of relativity was based on two main postulates: first, that the speed of light is constant for all observers; and second, that observers moving at constant speeds should be subject to the same physical laws.
The main takeaways behind Einstein's general theory of relativity: 1. Time and space are neither flat nor fixed; they are curved and distorted by mass and energy. 2. Gravity is not a force, but rather a distortion of time and space.
The theory of general relativity says that the observed gravitational effect between masses results from their warping of spacetime.

-> 'something'


Richard Wohleim, Ludwig Wittgenstein and others



Nanay, Bence, Aesthetics as philosophy of perception, Oxford: OUP, 2016

Supper, Martin, Geschichte und Ästhetik der Computermusik, Darmstadt: Wissenschaftliche Buchgesellschaft, Hofheim: Wolke Verlag, 1997

Wohleim, Richard, Art and its Objects – An Introduction to Aesthetics, , Grote Profession of Philosophy of Mind and Logic, London: the University of London, 1968


On  Freischwimmer: The fact that Tillmans expressed the virus that infection in the blood in his art medium in an internal way epistemologically.

It is the same as the side of human vitality.

And he dealt with coexistence (not only with virus, but rather with others in his environment) in his work ethically. – it was his artistic way of 'exposed' the subject, not 'Andeuten/indicate'. It's towards Christian culture such as Morals of contraception, conception and abortion,
Morals towards homosexuals,
Criticism of exclusion and persecutionism from the perspective of coexistence.

What I mention hereby, is not by God(s), who research and explore the law, their suggestion is an expression of mathematical logic literally. Through "Freischwimmer", I thought about the contemporary law. Nechvatal's work is similar to this expression of mathematical logic (on "artificiality" i.e. his robot's arm helped painting and his AI generated composition as a neuronic coding by human senses. He coined that 'viral aesthetic' in Aesthetics.) literally, in which 'liberality' is explored in the context of contemporary law.

- What is ethics and aesthetics in the arts, in contemporary?

Honesty, I mention to students on RC–what I explore–that is ethics in the contemporary art.

Wolfgang Tillmans had an important exploration, and post-Tillmans is Alfredo Jaar in the context of humanity, that is the ethics in the contemporary arts which refers to Danto's ("After End of the Art", 1996).
In doing so, I am exploring Post-Alfredo Jaar.
In other words, Post-Danto in the contemporary art at the audio and visual level. (Such as Nechvatal, Elastley and many others, thereby Xenakis's is an important on the topic of 'Zufall'.)

Wolfgang Tillmans "Freischwimmer" (2003), He succeeded to manage and synthesize the material (substantial randomness), but did not engage in synthesis as a thesis in the art. Xenakis did it, which requires the mathematical expression. Wolfgang Tillmans explored it literately. (When it would be referred to Heidegger's phenomenology, then it would happen to discuss 'high-art' in German idealism, not about the avant-garde. It was the strategy of Tillmans for the (from his 'own') existential reason in ethics, but it applies to others in the same time–coexistence– its humanity)

Alfredo Jaar is methodologically observational from the point of view of the Southern Hemisphere, which is a anthropological way of conceptual, in terms of the art representational theory. (Most of artists in the conceptual art from Duchamp who worked in this context were critical towards mass media and its undemocratic authority in the capitalism.)

Today's is through the changing of the media criticism in the information and digital age, in the 21st century, because of the self-determine in the social-media, which is managed by AI, etc. We live in an age where it is not always the people who are responding to us, who we cannot see, on the other side of us.

The Berlin gallery Thomas Schulte mainly represents works of art and artists in metaphysics (but in the context of the western avant-garde). So I think Alfredo Jaar is working in the context of Christian culture, but from the perspective of the southern hemisphere.

His metaphysical work is (he expore) rather on the topic of (metaphysical and geometrical) 'tolerance'  towards Christian culture in idealism from the critical aspcet, that I saw in (he curated exhibiton) THE TEMPTATION OF EXIST at Galerie Thomas Schulte in Berlin.

In short, after the world war II, during the period of rapid growth after 1950, culture was rapidly industrialized globally, and that culture, including the Hollywood film industry, was based on Christian idealism. The Korean War, the Vietnam War, and the Cold War got worse, and Christian-centered idealism in capitalism conquered the world culturally. The situation is similar today with Russian military aggression against Ukraine and "back to Russian communist basics", is extreme.

Ethics and Aesthetics in music and visual arts


My interest in the work of Tillmans Freischwimmer is not in the synthesis.
As you can see from this free share digital video from WIX, it has already happened. Tillmans hisself knows about that.


Humans are animals, not a plant. The desire for human reproductive behavior and the pleasure of sex is something that everyone has. But for some people the act is painful. And the act may become sexual violence by power relations.

Human beings constantly reflect on the human habits and activities of the time, and human beings build civilization based on them.

If we look at modern history around the world, we find that it is based on Western (European) cannibalism and caste-based slavery. (There were every where on earth.) 

One of those standards is the Ten Commandments of Christianity (a universality of one world) at that time.

(I am taking part of a reading group (in the post-colonial context)of an art and culture foundation in the context of art history)

In contrast, I have been searching ancient Greek culture since 2016, which ruins were re-excavated in 1965 in Greece. (There are gaps between studies today's, and from the 19th century to the 1930s.)

My focus:

They had a democratic and collective system already. Their mimesis was biological and universal – on communication and correspondence– how they organised the society and managed their economy

What was the world for them?

Then you can grasp the artist collective OIO (Antonis Anissegos, Chris Dahlgren, Erika Matsunami, Niklas Schmincke)'s dialogue in the catalogue still/silent, Revolver Publishing, Berlin, 2011.



My theme is "time, space and body". What I am suggesting is about "time within time" and "space within space". – natural space/ space in nature (in physics, biology, mathematics)– epistemology

It is about how the "dimensional space" that we think of is conceived by flat human thinking (because of seeing by humans commonly), especially since the Renaissance. – human's space (in mind) – it was 'metaphysics'

In Klang-Kunst (a research filed), my artistic research Untitled* - a.o.i. lasting memories, I explore 'micro-tonality' transdisciplinary, in terms of transversal aesthetics. – exploring methodologically

a.o.i. - lasting memories

Notation 1

Notation 2

On Zufall

the quantum algorithm, its principle

-> parctical exploring as a starting point ->


Psychology is a study which has been based on the Christian culture in Europe since Renaissance. In Japan, it (ego-'I') is (in) 'mind' individually, (culturally, spirit, ghost), in which refers to the study of neuroscience today. There was no recognised knowledge as 'egoism' in Japan, which word was introduced together with Psychology from the Western culture. (culturally, geist, horror in the western Christian culture)


My Klang Kunst and drawing course is not only artistic mediation of Klang-Kunst as German cultural heritage or my own as an artwork, but also it is based on Thomas Fuchs's "ecology of the brain" (OUP, 2018) as a reference.

Therewith, I think the German Academic Society will be happy to accept it. He is one of the leaders of the German Academic Society in Neuroscience. His book has been known as the title "Das Gehirn - ein Beziehungsorgan" in Germany, 2007, in the research area of - internal medicine- Neurology, not psychoanalysis, not robotics, which research objective is healing from the medical aspect.


Tillmans established the foundation in Berlin, thereby he cares for the artists (artist in residence) and represents the artwork by them (sharing in community and platform through his foundation (non-profit) in the context of LGBTQ+/Gueer studies.) Today is in berlin, before was in London (He had organised a non-profit gallery in London.), he is doing so for more than 20 years long. (working with the community)
Tillmans also exhibited in cafes in his early days. He taught as a guest professor at the art academy in Germany.

In the past, art universities were behind the art world, but now art university research is 5 to 10 years ahead depending on the research field. Due to the AI and global art academic and academic networking.

I thought Tillmans's approach to the reason of existence may have gone beyond Kant's, which was not conceptual art.

Wolfgang Tillmans is an international German Photographer-artist. His HIV positive is public history. He won international awards, today, he is top 100 artists globally. His artist value globally, he is today (Top 10) more than Van Gogh (Top 100).

In my words, Thillmans is an international well-known German photographer-artist who strove for reasons of existence, overthrew Heidegger's, defeated Kant's, shattered German idealism, created an international art community, and established the art and culture foundation (in the context of Queer studies). And he won numerous awards (e.g. from Turner Preis in 2000  (first time for photography), the British Royal Society of Photography, the Hasselblad foundation international award in Photography, and many other).

From a biological point of view, when humans lose "ego", humans will lose intelligence and autonomy.

For example, it may be necessary to consider the improvement of the socio-economic system rather than the moral idea, that the destruction of nature due to large-scale development based on capitalism is caused by human egoism on the earth.



Heidegger's 'Dasein' addressed actually in the research area of the philosophy of religion, but he rejected the traditional way of research, and eventually his thesis was referred to transcendental philosophy.

What does Heidegger say about intersubjectivity?
Heidegger rejects traditional theories of intersubjectivity because they characterize the self as a type of isolated, independent substance that is required to 'bridge the gap' to reach or recognize others like itself.

A realistic way, I suggested a draft of my 2015 PhD in the art thesis “Minimize and Maximize“, was, i.e. Maximize is a black hole.

The reason why this draft of the PhD in art for proposal in 2015 was the significance of this research at the visual and auditory levels.
At the same time, it is the limit of "dimensional space" in art since the Renaissance.–that has been arguing more than 40 years long by researchers. Therefore, I will explore a new proposal. It was a goal of this artistic research at the doctoral level in art.

I showed my draft to the (ex-) supervisors in visual arts in Germany, they answered to me "overwhelmed" with your subject. Their suggestion to me was, to look for another subject...(since then, I am looking for 'something'.

But, this research goal of my draft of the PhD in the art for the proposal in 2015 is already started (already going as a scholarship program) in the research field of image sicence and fine arts in the USA.

The issue with 'perspective' in visual arts is how humans see the object(s) in space.

In the Today's fine arts education, it is not important to draw with perspective techniques. Thus, what is important is the communication between humans through the drawing.

To draw with 'perspective' does not mean the same with human intelligence. Today, we have many different types of communication methods. It applies to the Western music score and its geometrical aesthetic (proportional beauty as a nature) also.

I am also an art-teacher for

Experimental design, Drawing (Fine Arts) and Klang-Kunst in Visual arts/Music, Writing (storytelling) and Performance (Dance-Theater/Music Composition, Dramaturgy and Choreography) in Performing Arts, and art representational theory.

Drawing and physical mixed media in art:

There are many materials for the artistic drawing media, also using paper, stone, metal, wood, textiel, ceramic, cement, etc

As human attitude through the art in the world culture, paper and textile are final work for the representation.

A new artistic medium for the representation in the 21st century is 'digital' medium. It requires to use the apparat.

What are the components of natural ink?

Plant Material/Color + Water/Oil + Binder = Natural Ink

What are the raw materials of ink?
The Process. A wide range of raw materials are used in ink formulations including resins, polymers, plasticizers, dyes, conductive salts and premicronized pigments. These are supplied in powdered form, liquid form (i.e. predispersed in aqueous or organic solvent), and “chip” form.
What does ego mean in psychology?
the self
n. 1. the self, particularly the conscious sense of self (Latin, “I”). In its popular and quasi-technical sense, ego refers to all the psychological phenomena and processes that are related to the self and that comprise the individual's attitudes, values, and concerns.

Psychology during Renaissance and Enlightenment

The Renaissance, a cultural and intellectual movement spanning the 14th to the 17th century, played a pivotal role in reigniting interest in individual personality and laying the groundwork for the eventual emergence of psychology as a distinct discipline. This transformative era set in motion a sequence of events that culminated in psychology’s recognition as a science in the 19th century, marking a significant evolution in the understanding of human nature and behavior.

1. Renaissance’s Impact on Individualism: The Renaissance marked a departure from the collective mindset of the Middle Ages, emphasizing individualism, personal expression, and human potential. As art, literature, and philosophy celebrated the uniqueness of human experience, the notion of individual personality gained prominence. This shift in focus laid the conceptual foundation for the exploration of human nature and the study of the mind in the years to come.

2. Seeds of Psychology in the 17th Century: The seeds of psychological inquiry were sown during the 17th century, as thinkers like René Descartes and John Locke pondered questions about the mind, consciousness, and human behavior. Their writings laid the groundwork for the systematic study of psychological phenomena, setting the stage for the development of psychology as a distinct field.

tent, .sim

Joseph Nechvatal artwork is opposed of the general data science, that is very interesting. – which idea goes beyond the idea of input and output with the data.
I call it environmental data science. The data has also the unit of 'speed' physically, as well as 'volume', it can make an amount with medium.

Lithography, that requires knowledge of physics and chemistry, is concerned in this project with an aesthetic based on the exploration of nature in "Wabi-Sabi (侘び寂び)". 

It explores artistic metaphors by solving research problems in the context of serendipitous events on stone through the laws of nature.

Thagard, Paul, Brain-Mind, Oxford: OPU, 2019, pp. 252–275

What is art generally?

One is, that consists of human 'phantasy'.


What is 'truth'?

Nature and its event(s), but an event that is diverse.


What is human body?

It is a part of nature.


I dealt with "After End of the Art"(1996) by Arthur C. Danto in my artistic research project "Point In Time" (2013 – 2014 until April) in German and English

As a research position of 'Feedback': Nechvtal and Elastley.

Nechvtal's doctoral thesis "Immersion Into Noise" (Open Humanity Press, 2011) is one of my research aims. – contemporary art in post-photographic and post-conceptual era

Tillmans and Nechvatal explored similar artsitic approach of immersion into noise, however, as well as Xenakis, and Nechvtal had explored "Zufall" in the synthesis. In the exploration of Nechvatal, there is 'dealing' through the computer scientific way methodologically. – (algorithmic) automatisation, which started to deal with automatisation by surrealists in the art.

Elastley is a resarch position of 'niether' but rather enviromental exploration of the topic of noise, but through the wind (observational natural phanomenon).

In doing so, he explored and created own instrument.


Tillmans's was through the light and exposure to light (exposed) towards German realism such as in painting.

Eliminating the culture of colonialism and Christian dominance at the academic level is an important issue for free economy capitalism at the global level as well, especially for the democracy, after the informational society, social media (self-determine) epoch in the 21st century.


Certainly, I think that Tillmans is an international artist who was based in the London art scene, in terms of the organizational strength that has made use of the media of the time strategically and formed their own art scene and its community.

His foundation Between Bridges is committed to humanism, solidarity and against belittling democracy. It promotes the arts, supports LGBT rights and anti-racist work.

Beyond academic concepts and their terms, what is academically recognized is the human imagination in the context of arts and humanties.

I'm looking forward to seeing how his fluid activities will change from now on. His foundation which is based in Berlin, supports young artists, especially those from Eastern Europe, who will lead society in the future.


For us, academic knowledge of 100 years ago is a classic already– in the research field of art history, archeology, anthropology, ethnology–How we know, there are always gaps between classic and modernity

Biochemistry or biological chemistry is the study of chemical processes within and relating to living organisms.[1] A sub-discipline of both chemistry and biology, biochemistry may be divided into three fields: structural biology, enzymology, and metabolism. Over the last decades of the 20th century, biochemistry has become successful at explaining living processes through these three disciplines. Almost all areas of the life sciences are being uncovered and developed through biochemical methodology and research.[2] Biochemistry focuses on understanding the chemical basis which allows biological molecules to give rise to the processes that occur within living cells and between cells,[3] in turn relating greatly to the understanding of tissues and organs, as well as organism structure and function.[4] Biochemistry is closely related to molecular biology, which is the study of the molecular mechanisms of biological phenomena.[5]

If each one can deal with these topics, everyone can begin to go beyond Kant's theory in the 21st century finally.

The issue of materiality and its beliefs in German history. One is, we can see it in 'metaphysics' in Germany historically. I claim that 'monadology' is one of them – a wrong knowledge (human contradiction) – today's issue of German idealism

Thereby the problem is AI would become this position of transcendence. However, AI is mamaged by humans through the organisation.


It is an era of human love, not God's love in the 21st century.

One can change ones destiny.

Ethics and Aesthetics in music and visual arts in the time-based medium

Performative and Performativity

Performance and its dealing with

A notice:

After Freischwimmer, I have been exploring 'Imagination', in artistic research, a project is "Point In Time" (2013–2014), regarding to Danto and many others on contemporary art.

There was a discussion in the third part of "Point In Time" in the context of the topic of cultural 'Migration' on the 'contemporary' from the aspect of feminism in contemporary art. It was, they (Immigrants most of them were Turkish female artists in Europe*) insisted that their art is "contemporary" art that lives and works now (their existence). Thereby my question was "What is 'now'?", it was my research question in Point In Time. The aim of this artistic research project Point In Time was to solve the research question democratically. (A procedure of exploration for the research method of 'work in progress'.) It was very interesting for me, thereby there was a big gap between art theories on 'contemporaries' in art and art practice from the aspect of post-colonial. (My question was thereby, whether the post-colonial era is still in the colonial context?)

*I presented two art projects by two artists from the Berlin Artists' Archive Berliner Pool. One of them was a German artist who had an artist residence in Turkey. It was at the end of 2013. In 2014, I have been edited "Point In Time" for publishing on Research Catalogue. (In the early morning of April 1, 2014, my studio was robbed and all my computers and data backups were stolen. Only part of the documents are keeping on Research Catalogue.)

After "Point In Time" (2013–2014), regarding aesthetics and ethics, I explore "Immersion Into Noise" (2011) by Joseph Nechvatal. Xenakis had expressed the synthesis, however, Nechvtal is one of after them who dealt with the topic in the context of Aesthetics and Ethics practically. If it were just the literary level, not the mathematical level in the literature, it would be a moral versus moral debate.

So, I would like to commit to Between Bridges for collaboration (today's art event is not only the artist as the presenter and the guest as the listener, the art event consists of both activities. – participational and interactive representation. In contemporary art, a work of art is no longer an 'object' to be viewed. My intention was for their summer school, it was started in 2023.). I suggested it to Between Bridges already. (I am taking part in and visiting their events. I am not still sure in which form I would like to join, as an artistic researcher or an artist or a Nachbarschaft or as an initiative of queer LGBTQ, because of my post-feminism approach...)

However, just, I am an artist who is not in their art world field. I was in the 90s in the West-Berlin, and you can see it (Berliner culture politic) Berliner mayors until 2020, especially it was generalized in the 2000s democratically (i.e. educational). I am their generation, and I am active on this topic from the cultural aspect.
But Tillmans is always actual in his reality, and he must actually always be in reality.– it applies to everyone individually

Xenakis explored what Schoenberg did not do, and Nechvatal explored what Danto did not do. So, I attempt to explore what ... did not do. 'Post-' all of them, which I explore it in terms of post-feminism.

This book Immersion Into Noise (2011) by Joseph Necvatal is a book that will make one's head spin when one is automatic at the mental level. 

Breaking away from routine does not mean breaking the rules. It consists in overcoming, but not in transcending.

As well Schoenberg, and Xenakis, who had explored 'liberality' in ethics and aesthetics practically, their practical contributions do not open and entertain us. Because on the other side of (beyond) freedom is death. – The natural law

In other words, liberality might possible become a power. In the nature, everything has the power.

I prefer 'spread' over consistency through automation.

For example, viruses continue to evolve through extending their life force by reproducing.

I am questioning (on) the topic of 'reduce' as coherence automatically.

– my biological consideration on the topic of 'life' from the aspect of molecular biology

Therefore, I mention that 'Freischwimmer' by Thilmans addresses 'coexistence' ethically–its balance in the environment–for a new way of thinking in which terms of molecular biology. Coexistence is not about the territory.

Bacteria thrive in areas of the body where light cannot reach. Bacteria is a part of our body naturally. "Bacteria are microbes found on the skin, in the nose, mouth, and especially in the gut. We acquire these bacteria during birth and the first years of life, and they live with us throughout our lives."

Biology is not political, but it explores our existence as human beings.


Thagard, Paul, Brain-Mind, Oxford: OPU, 2019, pp.18–71


Tusche with biological Bond/Bindung for the Traditional Japanese Painting (botanical)

It is not different from chemical to see it on surface.

I never use the bond for my asselmblage as well as collage.

How I work and construct through the original traditional Japanese methods and materials.


One of the causes of water pollution problems in Asia is chemicals such as bonds.


This is a deadly level.
It causes thalidomide disease.

Sources of toxic chemicals include improperly disposed wastewater from industrial plants and chemical process facilities (lead, mercury, chromium) as well as surface runoff containing pesticides used on agricultural areas and suburban lawns (chlordane, dieldrin, heptachlor).


For adhesives, there is the issue of formaldehyde and other VOCs (volatile organic compounds). Formaldehyde is highly acutely toxic, and has a particularly strong irritant effect on mucous membranes, so it is treated as a deleterious substance and is designated as a Group 2A carcinogen by the International Agency for Research on Cancer (IARC).

Quantum algorithm

It is no exaggeration to say that people with disabilities in Asia are victims of the modernization of developed countries. Today, the state of the post-war developed countries has become global.

Reconsidering the coexistence of tradition and nature and modernizing it - That is one of the recent new materiality

I visited the architecture and material fair last year.

It changes the design completely. Traditional materials from Asia and Africa and modernization of their utilization, and so on. – after the post-modernism in the 21st century

This is the age of nanotechnology. The material is natural, light and durable. intelligent and modern. Environmentally friendly.



A visual sense of subjective and objective time and space without music and sound effects.
It consists of a series of unmanipulated videos (filming and editing) on an audiovisual level, without effects. (Raw materials, O-Ton (original sound))

It's a simple piece (enough for study), but you can see that social media video clips have the same level of stimulation as video games in our daily lives.

Hand (writing) Creating in Fine Arts and its authenticity of Art:

A notice:

I think it's clear why exploring 'mimesis' for all types of arts (music, architecture, design, visual arts, etc.) is important in relation to 'imagination' in the arts and humanities. – Man is a part of nature (and its law).


Representation method of multi-channel video work:

This work will follow narratively as a series of works one at a time only at the beginning, but after that it will be random according to the length of each video work in a loop.

I think that without reset, it will never back to the beginning of a series of works one. (This is still an idea, I need thereby to calculate the each of video length mathematically. If I would like to know about randomity of this work (monitoring video installation)

Two important things are observational (natural time without effect) and slowly (for recognision.) These are same as my sound composition i.e. observational without time stretch. )

I considered this work for dealing with the narrative of painting as a starting point, not time and space of sculpture. As a result, or 'neither'.

The camerawork is thereby observational subjectivity and objectivity like a painting.

Joseph Nechvatal's work is the painting with the help of a robot's arm through his composition (following DADA and Surrealism). Thereby he is writing, that is his mimesis.

Max Eastley created the site-specific installation. Thereby he created his own instrument (for playing the improvisation), that is his mimesis.

Wolfgang Tillmans created photographs. Thereby his mimesis is "Freischimmer" (2003), we can see it in his photography series.

In the exhibition "Imaginarium III" Galerie Wedding in Berlin, I took part in the exhibition "Imaginarium III" with my project "B.O.D.Y. "(2010). Thereby the curators selected my work "B.O.D.Y. - hidden codes" together with the project B.O.D.Y. (2010), that was my mimesis in this project "B.O.D.Y.".

In the case of John Cage, in the Ryoan-ji, his mimesis is his drawing.

The next task and issue of the lithography:

Etching is a type of surface processing method that mainly targets metals, glasses, and semiconductors, and uses the corrosive properties of acids, alkalis, and ions to partially scrape the surface to obtain the desired shape.


Chemistry: Acids and Alkalis

"We can change our destiny." – on creativity – for the ecological life

Studying through the lithography about nature, and human activities
in design and art, and human life and society,
when we are considering the future,
Lithography is a great art medium for teaching and learning with children.

The artistic research objective(s) with the lithography and sonic art are a possibility of the new ecological design in the 21st century from the nanotechnology - coexistence and sustainability - for a new life (style)

Every substance have energy. Good or bad, we can't judge.


All molecules are made up of atoms that are bonded to one another with tiny bundles of energy. In chemistry, you study many kinds of bonds, some of which are strong, and others that are weak. The strongest bonds contain the most energy; the weakest ones have the least.

In my case of etching, the semiconductor itself as a material is not a problem, I can probably change it quite easily. My painting technique is based on traditional Japanese painting, so this method is much better for my painting when I convert it to lithography. For me, it is healthy to work and I don't want to give any health damage to the print-master (the technician) for my artwork. My collaborator sound-master today, he is working with the scientists as a leader of the international project. He said me that it is really different work with the artist. Yes, of course, the task and objective of the artist is in terms of ethics and astehtics. Thereby, there is no 'Function'. And in the case with the scientist, there is the Function. If your object has the function, it is usually in the branch of the industry design. Even if my lithographic work, if there is function, it is for examle a sign for showing the direction in the building. Between these two different creations, there are different types of licence.

Here, in this artistic research, I explore aesthetic and ethic, that is no moral. I think that is an emotional intelligence (the capacity to be aware of, control, and express one's emotions, and to handle interpersonal relationships judiciously and empathetically.)To listen the classlcal music is not enough, and just to draw freely is not enough for developing emotional intelligence. We can have many experiences from the nature.

The next research question is the material of paint, that is today's water-based paint. However, it is made by latex, as a bond of the pigment. This is why my paintings are not cheap and there are few of them. Depending on the colour, I also buy some watercolours from the USA. I started to draw with original material and methods of the ecological in art again, which was for showing in my art teaching class. So, I did not present my drawings in the exhibition, only those related to my installation. Most people, how to know the art through the screenshots today. The material for the painting does not mean only several types.

Thereby, what we can change essentially that is "constitution improvement".

B.O.D.Y. – そして、それから_ et ainsi de suite_o.T. : sense (2014)

This drawing is a part of the spatial installation. Love for the earth (ground), but at the same time, an attention ecologically.

There is another one in this spatial installation, that is the components in the air, and an attention ecologically.

I dealt with the different types of red colour (natural red pigment).

In the case of digital, the colour is 'number'. It is usuful for the industry product, however, final product is with the physical material. Today children do not know, 'What means the nature and its component.'

The work by artist, the (im-)materiality and aesthetic that is one of the topics of "The Matter of Art". In the conference #APRAN2023 is the artistic research by Dr. Carolyn Meckenzi-Craing -> #APRAN2023


I think the Bed-in activism of John Lennon and Yoko Ono became a hot topic in Japan.
It was when I was still going to kindergarten.
I remember my mother scolded me for talking too much in the kindergarten.

(It was not wrong, the new familiar relationship started post-war globally.)
My kindergarten teacher said to my mother: "I hear about you from Erika-chan well. It is good that you have a good relationship with your husband."
My mother asked me what I talked about at kindergarten. When my kindergarten teacher asked me, "How are your dad and mom?" I answered to my kindergarten teacher, "Yes, my mom and dad are fine! Dad and mom sleep in the futon together."

I don't remember the Bed-in action of John Lennon and Yoko Ono clearly, where I watched. However, it was 'impacted' me. And this action was for me, "Dad and mom sleep in the bed together."

So, it was normalized in my generation - 'mom and dad sleep in the bed together.' The bed became a ritual and open space..., not just to sleep...

Perhaps those most affected were my father's and mother's generation. (social affection)

It made sense: "No nationalism!", "No more Hiroshima and Nagasaki!", for more family and love, love and peace. Especially in Hiroshima, due to the experience of the 1945 atomic bombing of Japan.

Thanks to John and Yoko's action, the family around me in every house was full of love... and so the people of Japan were also against the war.

Natural Red Ochre pigments have been used since prehistory. They are derived from earths that contain high amounts of hematite, a blood-red mineral. PR 102 is usually more opaque than Synthetic Red Iron Oxide (PR 101).

Hematite is an important ore of iron and its blood-red color in the powdered form lends itself well as a pigment.

Haemoglobin is the red pigment which carries oxygen in the blood. RBC contain haemoglobin in it. Haemoglobin is an iron-containing protein that carries oxygen from the lungs to the body.

The objective(s) of these drawing and painting were, attention to the ecology and its beauty.

Its matter of biological nature cannot 'keep' forever. -> oxidation

Not only in drawing/visual arts, also in Klang-Kunst (through Klang-Forshcung, i.e. sine wave), I teach with the natural components. -> sound/sonic composition for the stutdy of Klang Kunst and Klang-Forschung


In the historical and traditional way of

Johannes Itten (11 November 1888 – 25 March 1967) was a Swiss expressionist painter, designer, teacher, writer and theorist associated with the Bauhaus

Today's international industrial norm. But it is also a part of the Western European tradition, they had the coronial background and worked still in the coronial context of the global free tread.

Things are different now than when I was a child.
It was a time when the world was still divided into north, south, east and west.
What I have noticed since 1990, and what I still think about, is the fact that completely opposite worlds existed while confronting each other. It was a world where the meanings of "freedom", "time" and "money" were completely different and had no commonalities.

Phénomènologie de la perception, Merleau-Ponty, published 1945 by Gallimard, Paris

Phenomenology of Perception

‘In this text, the body-organism is linked to the world through a network of primal significations, which arise from the perception of things.’

Michel Foucault

‘We live in an age of tele-presence and virtual reality. The sciences of the mind are finally paying heed to the centrality of body and world. Everything around us drives home the intimacy of perception, action and thought. In this emerging nexus, the work of Merleau- Ponty has never been more timely, or had more to teach us . . . The Phenomenology of Perception covers all the bases, from simple perception-action routines to the full Monty of conciousness, reason and the elusive self. Essential reading for anyone who cares about the embodied mind.’

Andy Clark, Professor of Philosophy and Director of the Cognitive Science Program, Indiana University

Lithography, that requires knowledge of physics and chemistry, is concerned in this project with an aesthetic based on the exploration of nature in "Wabi-Sabi (侘び寂び)". 

It explores artistic metaphors by solving research problems in the context of serendipitous events on stone through the laws of nature.

Artists in the early 20th century argued that the realism of Western art is the image being made intentionally, that is not evidence or truth of. Furthermore, through interpretation, it becomes just a understanding of the viewer. It disconnects of a reality. So, realism in the Western art is an artistic style of art. It is a sort of fiction that is based on non-fiction. It is not a documentary, and it lies in another research field.

The artistic methods are not far removed from the artistic methods of John Cage.

Which material(s) deal with the topic(s) and how it is organized in the artistic media - it is up to the artist.

John Cage dealt with various (im-)materials, dealt with different themes, and developed artistic techniques. Therefore he organized them in the artistic and auditory media for representation. His works were "performative". He transformed them from one to another into something.
In these procedures, he created the notion such as an art technique or a new matter of art, not the artwork.
If an art object represents no 'notion', that is an object, maybe just a cute one.

The debate that occurs is a discourse, which is different from a scandal, which becomes a social theme depending on the way the art is expressed.
John Lennon and Yoko Ono's Bed-in action in 1969 was more conceptual artistic activism. They were political and provocative. They used the mass media for their message of peace against the Vietnam War in real-time and worldwide. Their actions were invitation-type actions, not occupation-type actions. An action that occurs when you invite someone into your private realm. Participatory type with external intervention. However, it was reflected through their action (When the TV team arrived at their private space for the interview,) 'They were naked on the bed', namely, they intervened in the audience's realm by having their actions televised live.

Artistic interventions and artistic activities evoke discourse through the creation of extraordinary or unusual rituality. Such as Aktionkunst by Joseph Beuys
Any direct action that destroys or harms another's property is distinct from artistic intervention.
They were post-war pioneers. There were many post-war pioneers-artists in the Western countries, that was the post-modern era (postmodernism in the art)

I explore the sound/sonic composition (Klang Kunst) in the context of heritage technology.

Without 'Function' in visual arts and with 'Function' in music



a relation or expression involving one or more variables.

What is the meaning of function ():?
noun. the kind of action or activity proper to a person, thing, or institution; the purpose for which something is designed or exists; role. any ceremonious public or social gathering or occasion.

Music has a beginning and an end. Time-based art has a beginning and an end, so it has a possibility of "afterglow". - interpretation
Visual art has a surface, and two-dimensional expression like painting has a front side and a back side. - interpretation
Performance art, action performance, happening and action art were explored against the background of these artistic qualities in post-war.

Contemporary art is really interesting, later, as the art historical notion of their art activism was coined and termed 'happening' in performance art.

Art historical discourse in contemporary art is not so important for us in the context of the study of aesthetics. The relativization of 20th-century art history research is beginning now.

The philosophy of art is advanced research, it must be adavanced more than art history.

Here, I would like to refer to the last sentence of Arthur C. Danto's "The end of art"(1996) – it is more important for us in the context of the study of art. He opened the (art) world.

The study of aesthetics reflects also the social science. The study filed of neuroscience will be more important for the study of aesthetics. i.e. Bence Nanay and many others.

However, from the art history, we can study many things, such as original ideas, as well as on the topic of art and culture. For example, I studied his method of systematization of nature  and philosophy and colour (modernisation from the tradition, aesthetic and ethic) from the Itten's colour study.



From artistic research project POINT IN TIME 2013

Original text is in German

Franz Koppe was a German philosopher and professor of philosophy at the Berlin University of the Arts. Since he passed away, So, I was preparing to publish this catalog in early 2014, POINT IN TIME 2013, to dedicate it to him.

Franz Koppe had not much publication, however, he was an interesting professor of philosophy. At that time, the rector of the Berlin University of the Arts was a German art curator. I could study in the wonderful environment for the study with the professors there. I have learned so many things so well.

On the fundamental theme of "time and space"


Erika Matsunami

The topic of "time and space" is not only dealt with in art but also in philosophy.

For this study, I defined the topic “space” in the POINT IN TIME 2013 project; a three-dimensional space is not only a physical space but also a social or mental space. In doing so, I based the topic of space and the work of the artists on the literary topos1 and also on other cultural definitions. I also looked at the metaphysical definition of "time and space" in different cultural spaces.

'Time' can be described or explained with the philosophical definition, but also with the philosophy of mathematics. 'Time' is not an empirical term. It cannot be perceived by us objectively, but only subjectively, this affects e.g. memory, existence and death.

The theme "space and time" focuses on the fundamental questions of memory, existence, future (vision) and death and thus also on questions about the type of identity and that of the body (substance). However, I not only address space and time metaphysically but also mathematically, i.e. geometrically (Euclidean geometry and Euclidean space).

1. topos (pl. topoi, from ancient Greek τόπος topos "place, topic, commonplace"): this is a commonplace, a stereotyped idiom, a pre-existing linguistic image, an example or motif (e.g. navigatio vitae, "the ship of life") ). The technical term "topos" is sometimes also translated as "topic", "argument" or "on the agenda".


Related sciences: topology, topos (humanities), topos (mathematics), metaphor

„Nach Nelson Goodmans These sind Sinn und Zweck von Kunst und Wissenschaft gleich. Beider Ziel sei Erkenntnis. Und zwar Erkenntnis als (selegierende, sortierende, konstruierende) Organisation von Wissen. In diesem Sinne ist das Wesen von Wissenschaft und Kunst gleichermaßen >kognitiv<, ihre Qualität >kognitive Vortrefflichkeit1<.“ (S. 81, Franz Koppe: Kunst als entäußerte Weise, die Welt zu sehen. Zu Nelson Goodman und Arthur C. Danto in weitergehender Absicht. In: ders. (Hrsg.): Perspektiven der Kunstphilosophie. Texte und Diskussionen; Frankfurt/M., 2. Aufl. 1993)


Mit diesem Zitat, das meinen Aufsätzen POINT IN TIME als These zugrunde liegt, habe ich das Projekt POINT IN TIME systematisiert.

Franz Koppe schreibt, dass Kunst gegenüber dem Kriterium der Wissenschaften von Goodman durch Abweichung von diesem quasi idealen Zeichencharakter bestimmt ist:  und zwar durch das Fehlen von Kriterien der Notationalität und durch Formen und Kombination syntaktisch-semantischer Uneindeutigkeit, Unartikuliertheit, Undifferenziertheit.


„Auch Dantoinsistiert auf dem Zeichencharakter der Kunst, auf ihrer Sprachlichkeit.2 Im Unterschied zum bloßen Ding ist das Kunstwerk nicht nur etwas (wie jedes Ding), sondern auch ‚über etwas’ (wie jedes Zeichen). Diese zusätzliche Dimension der ‚aboutness’ nennt Danto auch (und zwar in diesem weiten Sinne) ‚Darstellng’“ (S. 84, Franz Koppe: Kunst als entäußerte Weise, die Welt zu sehen. Zu Nelson Goodman und Arthur C. Danto in weitergehender Absicht. In: ders. (Hrsg.): Perspektiven der Kunstphilosophie. Texte und Diskussionen; Frankfurt/M., 2. Aufl. 1993)


Dieser Aufsatz von Franz Koppe gab den Impuls, die Kunstwerke zu präsentieren, und er war auch der Anreiz, über gegenwärtige Kunst und Kultur zu diskutieren.

„Kunst als entäußerte Weise, die Welt zu sehen. Zu Nelson Goodman und Arthur C. Danto in weitergehender Absicht.“ Der Aufsatz von Franz Koppe dient als Kern des Projekts POINT IN TIME. Ein Satz daraus (bzw. seine Bedeutung) wurde in die Präsentation eingebaut, die Kunstwerke wurden zusammen mit der Szenografie neu artikuliert, wobei eine Szenografie des praktischen und ästhetischen Raums geschaffen wurde.


1 Goodman (1973), Kap. I und VI (und passim); vor allem I.I (bes. S. 19), I.7(bes. S. 42f.), VI.6 (bes. S. 259f.) und VI. 7.

2 Danto (1984), Kap. 1 bis 5, im Folgenden bes. Kap. 1 „Kunstwerke und reine reale Dinge“ und Kap. 3 (über den Sprachcharakter der Kunst und ihren Zusammenhang mit der Philosophie).



Perhaps, I think that my consideration is close to minimalism. The concept of time is varied and diverse in its expression specifications depending on the environment and culture.
But fundamentally, I think our thoughts are common and can be shared.

As an installation artist (visual arts), I have studied sound art with Prof. Dr. Martin Supper, and I was more concerned with music composition than with sound installations. Installation was a sound system. I was more concerned with virtual aesthetics than an installation.

So my work in the room installation is done with mixed media. The loudspeakers are required for the sound installation.

I made also them by myself, that is a kind of time-based topological object.

In doing so, my research problem was always the gaps between visual arts and music, due to intentional 'function'.

Another Hausarbeit was "still/silent", thereby I researched "spatial acustic"

Today, I explore it for the spatial installation "a.o.i. - lasting memories". ->

The study of Klang-Kunst and sonic research is a study of music composition. I explore this study crossdisciplonary methodologically. So, I call my sound composition a sound painting. That is a solution of the research problem of "Function" in music.

"You and I met a long time ago in New York, but you now live in New Orleans and I in Paris. So let’s catch up on what you have been doing in your life and in your curatorial practice. What led you to such an exhaustive deep dive into the magickal chaos of Artaud and your emphasis on tracking his transition (or metamorphosis, as you call it) between his (mystical) white and black periods: a metamorphosis that hinges on the peyote rituals he experienced with the Tarahumaran people in Mexico in 1936 that led to his famous theory of a theater of cruelty based on a “body without organs” (so influential upon Deleuze and Guattari’s BwO ‘virtual’ body as described in their all-important A Thousand Plateaus: Capitalism and Schizophrenia)."

The body without organs (or BwOFrenchcorps sans organes or CsO)[1] is a fuzzy concept used in the work of French philosophers Gilles Deleuze and Félix Guattari. The concept describes the unregulated potential of a body without organizational structures imposed on its constituent parts, operating freely. The term was first used by French writer Antonin Artaud in his 1947 play To Have Done With the Judgment of God, later adapted by Deleuze in his book The Logic of Sense as part of a response to psychoanalysis, and ambiguously expanded upon by himself and Guattari in both volumes of their work Capitalism and Schizophrenia.

Stemming from the general abstract notion of the body in metaphysics,[2] and the unconscious in psychoanalysis, Deleuze and Guattari theorized that since the conscious and unconscious fantasies in psychosis and schizophrenia express potential forms and functions of the body that demand it to be liberated, the reality of the homeostatic process of the body is that it is limited by its organization and more so by its organs. There are three types of the body without organs; the empty, the full, and the cancerous, according to what the body has achieved.[3]



As a drawing, a natural one without any artistic styles, but it is a mimesis and an enviromental perception. – drawing through the cognition

When I read this text, what I thought, it was about surgical treatment:

Surgical treatment is, of course, surgery.
However, in the past, amputation was a last resort because it was life-threatening (this was an era when life expectancy did not change much whether amputation was performed or not).
Today, the treatment is highly developed, and even amputation, prosthetic technology is advanced, so the conclusion may be quicker than in the old days.

Body without organ:


For example,


3D VR?

Schizophrenia What's missing?
Studies to date have reported nutritional deficiencies in long-term psychiatric patients. ・Long-term patients with schizophrenia: Decreased blood levels of vitamin E, folic acid, vitamin B12, vitamin C, zinc, selenium, etc.

The risk of developing this disease, which is said to be 1 in 100, begins in adolescence.

Dietary and hormonal balance.
related to the brain.

It may be one of the causes of adolescent suicide.

It's very serious.

Statistically, it is most common in the adolescent to 30s.

I think it's best to have a simple daily life, like, "Children should move their bodies, laugh, and go to bed when they're tired."

It is a modern disease that worries children greatly.

Technology and Nature, Nature and Technilogy

Digital photography, manuel

The project N.N-Zwischenliegend (2015–2020) Digital photography, double exposure
visible and invisible: On natural light

In Berlin, 2014

Digital photography: How different to digitalized image, (What the digital photographic technology reached today?). This is photography in a few second of happening today, that is impossible with CG. What is digital phenomenon (of image sensor)? Photographic technically, double exposure, and phenomenologically, what is a digital phenomenon in photography?

In 2014, I reached digital photography and its process. Not only analogue camera, also I can serve (bedienen) the digital camera without automatic program. Digital photography does not have a negative process. And there is no developing process.

This is not 'manipulation', but rather the phenomenon without intention.

What is 'manupulation' in the digital photography?

What is the digital phenomenon in the digital photography?

About 'death'

Sleeping, eating, waking up, working, and procreating are habitual (and predictable, it is able to be organised), but death is special because it is not habitual and cannot be predicted by anyone.

“Forgetting” or “resetting” is important not only for monkeys, but also for humans...
There is research on the human subconscious.

Monkeys also have psychology.
Monkeys forget it.


-> On Mind

PhD in photography is very difficult today, due to 'image sensor'.

Its emphasis addresses the context of image science. -> Artistic research N.N-Zwischenliegend

The Philosophy of Photography

A (Post-) PhD in photography program together with the Hasselblad Foundation is on (terms of) VR.

These photographs are Raw

Humans have 23 pairs of chromosomes, while chimpanzees have 24 pairs.
Although they are similar, they are completely different.
It is said that humans and chimpanzees separated (divided) into separate species 6 to 8 million years ago, but I believe they were originally separate species. I think species cannot separate into completely different species. (Reexamining past studies in the future may yield completely different results.)


One copy of the human genome consists of approximately 3 billion base pairs of DNA, which are distributed across 23 chromosomes. Human chromosomes range in size from about 50 million to 300 million base pairs.


The chimpanzee and human genomes are both 3.2 billion bases longs, but the base sequences show a difference of about 2%.


Human evolution

Digital photography, o.T. - transformative process (2014–2022)

(Today's geometory in the digital photography and its time and space)

I want to take more photos of nature and rural life. The European countryside (landscape) still looks like the Middle Ages (in painting: the landscape would geographically change, but 'nature' itself is never change, biological is biological, substance is substance, human is human, dog is dog, bird is bird, and so on. The latitude of the earth has not changed either.), however, every countries are same, not only in Europe. In the tradition, the idea of natural life is not so far from Middle Ages, that is not strange. Therefore, I would like to challenge to explore 'natural life' with the recent knowledge (i.e. biology). – Coexistence between nature and human

The futuristic landscape is merely in the international airport, the part of the metropolis, in the center of systematic buildings, and in the virtual image, are the architecture, transport, energy and communication.

Finally, I think that conceptual art in today's contemporary art is less of a metaphysical concept and more of a subconscious of the artist in his/her/their environment. And the concept of surrealism is also over. Just as men (humans) are beginning to understand death, so men (humans) are beginning to understand dreams. I feel that men (humans) are losing more and more "shape".

The brain is an organ.

Perhaps in the near future, what men (humans) will leave behind in the future may be the 'meta-' vision in our "intangible'' brains.

Analogue and digital materials in art, its principle and essentiality

Contemporary society and bodily contemporariness (contemporaneous) (This is the topic of my practic-based doctoral thesis (draft) in 2019 with audio and visual art mediums), which is towards the foundation of today's conceptual art from the critical aspect

-> Post-conceptual in the post-photographic era

From my research aspect, many artworks (conceptual art) are wrong. So, I cannot write anything about the artwork. Thus, about what I can write on the issue of the problem of which outcome is wrong or a creative joke? Today's conceptual art is a type of creative joke. However, I spoke with the artists (some of whom were granted in the last three years), and their artworks are serious and they believe that their works are conceptual art in the context of Duchamp. But I saw their works, and what I thought, were they a joke?

Finally, conceptual art itself is maybe a creative joke or joker towards the high art.

– About manipulation or error in the art? Is it the reflection of the social phenomenon?

-> artistic research N.N-Zwischenliegend


As you can see from this point of view, humans are different from other animals. From the perspective of genetics research, monkey and human DNA are (it looks) similar but completely different genes. Genes do not mix together during the process of evolution. These different genes never combine–It doesn't grow as a living thing, nothing happen–Humans are humans by nature, and monkeys are monkeys.


Artificial insemination: What it is?


When you look at the works of conceptual artists in the context of conceptual art today in the 21st century, you can understand their level of grasping on 'life' biologically. Most of are dealing with the topic of cultural behaviors, not on life.

The basis of most conceptual art works is wrong, and that is their sub-consciousness.


Currently, researchers in contemporary art are not studying so-called conceptual art as an bachelor art in high art, as was the case with postmodernism.

Some people look at this photo and interpret it as an environmental problem. That's because "yellow" is the predominant color in sunflower photos.
This photo shows a field of sunflowers at the end of summer. In Europe, it is the harvest season of the sunflower seeds.

I like to take pictures in late summer and early fall. I like this between two seasons. I like to move between South and North in Europe, more than between West and East.

This is possible, the research Untitled* Snapse together Untitled* a.o.i.- lasting memories will be explored in the context of the PhD research in Fine Arts, Artistic Research, Visual Arts, and Music (and it relates to Architecture).

Joseph Nechvatal research is right way of practice-based research.
Max Easteley research is practice-led research, is right way.

Analogue photography, manuel

We don’t want to live in a Universe, We want to live in a Pluriverse!

Warren Neidich, Elena Bajo, Edgar Calel, Mithu Sen

Galerie Priska Pasquer 

August 26 through September 23, 2023

By JOSEPH NECHVATAL September 3, 2023


The root prefix pluri- comes from the Latin plur-, meaning plus, many, or more than one: Multi. Like the rhizome concept in post-structuralism that connects any point to any other point according to French theorists Gilles Deleuze and Félix Guattari (who used the term in their book A Thousand Plateaus to refer to networks that establish connections between semiotic chains, organizations of power, and circumstances relative to the arts, sciences and social struggles with no apparent order or coherency) a pluriverse challenges the modernist ontology of universalism or universal truth in favor of what could become a poetic multiplicity of possible worlds and means of expression. It challenges the idea that scientific rationalism is epistemically superior to all other traditions by making room for other forms of wisdom tied to alternative future histories of strangeness.


These analogue photographs (1990 – 2009) are from the project Wonderland, which consists of fragments with text and sound composition.

These photographs are Raw

Pluriverse: A Post-Development Dictionary contains over 100 essays on transformative initiatives and alternatives to the currently dominant processes of globalized development, including its structural roots in modernity, capitalism, state domination, and masculinist values. It offers critical essays on mainstream solutions that ‘greenwash’ development, and presents radically different worldviews and practices from around the world that point to an ecologically wise and socially just world.

A Post-Development Dictionary
Edited by
Ashish Kothari, Ariel Salleh, Arturo Escobar, Federico Demaria, Alberto Acosta
Published by: Tulika Books, New Delhi in association with AuthorsUpFront

In my case, my mother had been exposed to radiation, and the moment I was born, my mother's doctor suspected that I was a deformed child.
Her doctor was worried because my palm was half open, and they thought my fingers were stuck to my palm.

Because of my allergies, I am physically unable to tolerate artificial hormone therapy or modern medical drug therapy.

If I had to choose to prolong my life by several weeks with systemic steroid hormone treatment, at treatment costs of tens of thousands of euros, or choose to die of natural causes... who would choose in this case? is my family who has to finance this expensive treatment.
Once cell destruction begins, life doesn't last long. (Do you understand what I mean?)

Transgender people can undergo surgery, if they are young, it is possible have limbs amputated, and their muscles and bones can be strengthened somehow, also for artificial hormone therapy.

but fractures in the elderly can be life-threatening.

Who is living with prosthetic legs, they train every day. When their muscles grow weak, their tomorrow is...

I think the question here, rather than rapid scientific progress, is always the state of "capitalism." We have always had to explore new ethics for our body, our senses, our life, and our environment.

In 2022, UNESCO published a report on the “Ethical Issues of Neurotechnology,” which calls for the creation of “neurorights”, outlining the need for mental privacy by adopting laws that protect brain activity and freedom of thought regarding neurotechnologies.,treating%20post%2Dtraumatic%20stress%20disorder.

We are beginning to recognize and understand what “death” is in the 21st century.

The transition from childhood to adulthood is similar to the hatching of a butterfly from a chrysalis. It's a metamorphosis. Hormones are out of balance and it's a very difficult time.
The next stage of metamorphosis is old age. It's a painful time also that is menopause ...

What are function symbols examples?
Algebra symbols
SymbolSymbol NameExample
f (x) function of x f (x) = 3x+5
(f ∘ g) function composition f (x)=3x,g(x)=x-1 ⇒(f ∘ g)(x)=3(x-1)
(a,b) open interval x∈ (2,6)
[a,b] closed interval x ∈ [2,6]

Symbol "F" in physics is force (Kraft in German)


Why the Darwinian school of evolution has its limits:

Darwin's natural selection, which broke away from the narrativity of Adam and Eve, was wonderfully innovative. However, from the perspective of current genome research, I think that "natural selection" was just a figment of Darwin's imagination.

Natural selection is the differential survival and reproduction of individuals due to differences in phenotype. It is a key mechanism of evolution, the change in the heritable traits characteristic of a population over generations. Charles Darwin popularised the term "natural selection", contrasting it with artificial selection, which is intentional, whereas natural selection is not.

Variation exists within all populations of organisms. This occurs partly because random mutations arise in the genome of an individual organism, and their offspring can inherit such mutations. Throughout the lives of the individuals, their genomes interact with their environments to cause variations in traits. The environment of a genome includes the molecular biology in the cell, other cells, other individuals, populations, species, as well as the abiotic environment. Because individuals with certain variants of the trait tend to survive and reproduce more than individuals with other less successful variants, the population evolves. Other factors affecting reproductive success include sexual selection (now often included in natural selection) and fecundity selection.

A symbol function is used to set a symbol value depending on the parameters provided for the function. A symbol function is identified by either an exclamation mark ( ! ) or a question mark ( ? ) that is used as a start value.

The Detail Question

Under what circumstances can a detail be isolated as a part of the whole?

These works are very close to the "Japanese (traditional) literature", e.g. Waka (和歌), but in the English sense, which works are not ambiguous, but rather are clear constructed. If you see these images on the face, you will be grasped on the subject of "relationship" and by whom see these images profoundly, the deep meaning is found. They were written by the subjective (perspective of a person, not plural) but from the objective sense (like a Gohst, without psychology.). That I also saw it in European surrealism, as well as in Belgian Symbolism.

Why it is in English sense, I saw it in the drawings as well as in the painting, there is 'articulation', which cannot describe in Japanese.

-> Synapse, Dream, Memory, Subconsciouness, Conjuction, Time, Space (Environment) and Body


'x' in art without F

(From Joseph Nechvatal's art blog on the online contemporary art magazine.)

As with her painting Split Bed, Birth & Death sets up a division space for ideas to swell and dwell. Here a top hat high cultural symbiosis creates a con-fusion between old and new ways of dealing with our non-quantifiable spectrum of lived reality. As if magically pulling a rabbit out of a hat to enhance and foster life and to confront the challenges of the future, Birth & Death defines enough mental space not only to question faultless digitalization, but to fold into image making ancient, folkloric, pre-industrial strategies as well. For as with her predecessors-influencers Niki de Saint Phalle and Annette Messager, Enell investigates herself in her dreams. In art she measures her dreams against their social impact so to interrogate the role we assign both art images and dreams to our emotional life as a whole. Almost like a magician she guides us to see how we too can combine our emotions with natural and technological neural networks by including ancient esoteric practices such as divinations that probe the subconscious/unconscious secrets of the complex inner world. Such heady probes may even lead us to walking in peace on thin air.

<- e.g. fertilization by sperm

In formal logic and related branches of mathematics, a functional predicate, or function symbol, is a logical symbol that may be applied to an object term to produce another object term. Functional predicates are also sometimes called mappings, but that term has additional meanings in mathematics. In a model, a function symbol will be modelled by a function.

Specifically, the symbol F in a formal language is a functional symbol if, given any symbol X representing an object in the language, F(X) is again a symbol representing an object in that language. In typed logic, F is a functional symbol with domain type T and codomain type U if, given any symbol X representing an object of type T, F(X) is a symbol representing an object of type U. One can similarly define function symbols of more than one variable, analogous to functions of more than one variable; a function symbol in zero variables is simply a constant symbol.


In the 21st century human rights, the choice of how to live lies with oneself. That "will" is not egoism.
'Ego' is the era of exploring for something.


What is 'egoism'?

In the 21st century human rights, when it comes to choosing to live, Switzerland legally recognizes natural death through the advance of medicine.

Now is the time to explore what is 'free will'? biologically.

In my work of art, a detail is often 'x' (in a part of whole).

The Detail Question

Under what circumstances can a detail be isolated as a part of the whole?

What is a 'Detail'? (Gaiger, Oxford, 2023)

I would like to explore 'randomness' and the character of.

-> Quantum biology

VR research today is for using the communication, which is a virtual simulated and situated – without body in a place – meeting in a virtual third space

This work satirizes the idea that "life and death" are also designed. The humorous irony is interesting.

-> A very simple, but that's an interesting notation as a painting or an installation or a drawing.

like A (life) and B (death) are but in a group and apply to the individual.

i.e just the attention is on the description of different. The question is What is  different? That idea is natural.

It is truth, life is growing, death is ending, both are different, that is nature of (natural direction of life and death).

This image might be possible a metaphysical...(but it is not important, whether a metaphysical or not.)

Quantum biology is the field of study that investigates processes in living organisms that cannot be accurately described by the classical laws of physics. This means that quantum theory has to be applied to understand those processes. All matter, including living matter, is subject to the laws of physics.

'Virtual Reality, Depiction and Imagination' (Fisher, Cambridge, 2023)

The issue of the judgement of VR is impossible to see it objective. From this point of view, Kant's does not apply to the image. Only it applies in the literature its narrativity objectivity. This raises the question of artistic and natural beauty as the artist's “intention”; how can one distinguish between “pure-” and “naivety”?

'trompe l'oeil' itself in the context of VR is not a manipulated, merely an 'trompe l'oeil' itself in the context of VR is not a manipulated, just an illustrated reality or which overlapping in a real space. reality or which overlapping in a real space.

What is VR? – is a simulated moving image

'trompe l'oeil' is not wrong, 'trompe l'oeil'  is 'trompe l'oeil'. It has consequently advanced technique methodlogically.

My question from the context of neuroscience is on the topic of visual memory and subjective experience by the simulated moving image (illustrated image (illusion))–which does not need to believe, rather deal with the task(s)–that is a new type of portable cinematic equiptment for the entertament, mostly of are called 'game' or 'play' freely. That is today's artistic new media for the amusement. Thus, the question is always about the capitalism. Thereby, is the task 'x' or our emotion with play 'x'?

Some people use the AI-equipped children's doll to manage or care for own health as they see fit, while others damage the AI robot. It's up to person.

An artist's work is not a mirror of that person. You/I can't learn about a person from the image in english. However, ``how to draw'' is individual.
There's nothing we can learn from this picture yet, but it's unique. Probably, her/his society is unique. Due to the languge of her/his society.

On subjectivity and objectivity:

What is 'writing' for and by human?

What is 'writing' by non-human?

How does it affect to human(s)?

What is 'reading' for human(s)?

What is 'reading' by non-human(s)?

Is there 'collective' reading today?

Is there 'collective' writing today?

Digital as a material in itself is not a big issue. The questions are;
"How will our 'human' attitudes changed through a new technology?"
"How will we 'humans' correspond to the things and events around us?"

My performance project "Sensation of Motion in Time” (2002) was represented in a part of the program of the exhibition (im-)perfekt Menschen, that was by the German Hygiene Museum (Deutsches Hygiene-Museum Dresden) in cooperation with the Museum Martin Gropius Bau in Berlin.

This exhibition (im-)perfekt Menschen was conceived and curated from the medical aspect in the 21st century, as well as with the academic approach in humanities together with scientific challenge.

The exhibition had completely different vector* from those in China and India (as well as Canada).

Artificial womb

* Vector


a quantity having direction as well as magnitude, especially as determining the position of one point in space relative to another.
an organism, typically a biting insect or tick, that transmits a pathogen, disease, or parasite from one animal or plant to another.

Kant argues that such aesthetic judgments (or 'judgments of taste') must have four key distinguishing features. First, they are disinterested, meaning that we take pleasure in something because we judge it beautiful, rather than judging it beautiful because we find it pleasurable.

Difference between monkey and human is to be able to explore the topic of 'death’ and it is humans civilization and evolutionarily. Namely, food (agriculture), cooking, health (medicine), law, architecture, communication,