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On artistic research

Articulation

Practical exploring

Materiality

Body

Circral geometry

Time

Topological Space

The difference between articulation and collective:


The collective is a work organisational method, that has been developing, it is often misunderstood as a worker's collective under the dictator (one national head) system in the East sector. At that time, it was important to have one head in the proletariat class against capitalism. It was a gathering of work-power as a right of work.
After world war II, in the West sector, it was started a collective of individuals. Each has a private right in civil rights. Thereby, it was possible to develop each ability and can serve and propose each ability. At the same time, in the West-collective, not only as a work-system, but rather it has effected 'licence' management by individuals, as well as a collective.


'Articulation' is not a work method, but rather a method for a creative account. Probably, it will be effected as a new 'licence' management by individuals, as well as a collective from now. In my view, 'articulation' as a method might be possible to solve the issue of global economic parallelism, namely gaps and strife between West and East capitalism in the 21st-century methodologically, but in the East sector, there is no individual right of the property even today.

All the composers including contemporary art composers Joseph Nechvatal and Max Eastley are the composer of Atnoality, as well as Valerio Sannicandoro, who is a contemporary classical music composer in the context of Edgard Varèse.

Articulating and evolving with the knowledge of other cultures as well as disciplines continues...

Theoretical exploring

'Articulation' is here a method for interdisciplinary artistic research, that aims for the objectivation of the research context.  Thus, it might be beyond the limits of musical and visual artistic commons, such as the norm of the stage or the artistic industrial norm in the arts. This theoretical exploring articulation aims for the artistic ethics in the audio and visual arts, that is "Art is Anarchy, but human ability is limited".  Today, there is no God-head in that art, it is possible.

My research question is "Could an articulated (un)familiar Avant-Garde account be possible to distribute attention and uniqueness?".

A new articulation for a practice-based contribution in Project Untitled I a.o.i. - lasting memories:

For the concept of project Untitled, which research objectives are for aesthetic education and art education in the 21st century, such as deep learning in art. - providing the knowledge

Thereby the method of articulation is my new artistic research method, since 2021, that I have been exploring.

A practice-based art and aesthetic research need to be explored from a subjective aspect. Traditionally, the research in aesthetics was interpretation, and in the contemporary, that is an analytic research method. And in artistic research, it needs a subjective aspect methodologically.

(I applied this artistic research method articulation for the Swedish research council last year, it was too early stage. Thereby I grasped artistic researchers as well as artist-researchers need professional experience and knowledge profoundly, as well as theoretically. Artistic research is complex research in and through art.)

 


John Cage -> x ->

Alvin Lucier -> Atom (The Sun contains approximately 1057 atoms of hydrogen.) ->

 

How many atoms is the earth?
According to the US Department of Energy's Jefferson Lab, the answer is:

133,000,000,000,000,000,000,000,000,000,000,000,000,000,000,000,000. That answer comes from an estimation of the number of atoms in each of Earth's elements, like Iron, Oxygen, Silicon, Magnesium, Sulfur … etc.


Toru Takemitsu -> Time ->

Together with A and T, it is Anarchy.  e.g. „CORONA“ (1962) for pianist(s) by Toru Takemitsu

 

Chris Dahlgren -> Code and De-code (in this Improvisation-based performance in between B-flat)-> A new mode (A connection with anthropology) ->

 

Valerio Sannicandro -> Victoria / Valiant (gender nutral) -> brave -> Will

Valerio Sannicandro, his artistic character is a really traditional academic composer who is a conductor for an orchestra, based on the Italian renaissance. I explored it in his doctoral thesis, which referred to the traditional European symphonic composition and their future. I said to him, he is an authentic traditional European composer, but probably the last generation. Because there is no education system in Europe, this traditional way of 'master'  class is academic. His traditional geometric compositions and as it a choreographic for musicians are excellent. Thereby, he developed a method for his musicians. (I call Valerio,  as Victoria in my artistic research, his artwork is feminine, that refers to the Italian Renaissance.) -> Renaissance and Psychology on 'spatial figure' as a beauty in the context of Sanicandro's exploration, is an invisible figure. Practically, the Italian Avant-garde composer Luigi Nono had dealt with that subject, was his vocal composition works towards Italian futurism. (Valerio's theme has been an important theme in Western classic music since the Roman Empire in Italy and after Napoleon in France, as well as in Germany. I explored Nono's at the Nono's foundation in Venedig, Italy, in private as an artist for an intervention in music from visual arts. It was between 2006 - 2009. I was often in Venedig from the early of the 1990s till the end of 1990s, till 1995, I spent time in Venedig twice a year for the summer and Christmas holidays. In Valerio's subject, my artistic position is in Nono's exploration. I met Valerio Sannicandro at TU-Berlin during his promotion. He presented his composition, which was written through the (music compositional virtual) spatialization of a computer program for the composer, that I explored in Variation II, in 2021.) – Difference between Nono's and Schönberg's subjectivity in their composition)

Thereby, I mention a subject of Walter Benjamin's doctoral thesis from the perspective of the 21st century, which is from the perspective of neuroscience, as a critical theory.



That contrast with Wittgenstein's. In Wittgenstein's, it is rather a 'gesture' of beauty in a spatiality, that affects us mentally, is communicative, because we can see it and feel it in shape, colour and lines of matter and subject. It has Renaissance geometry and mechanics in it, which I think is great.

 

Es ist klar, daß sich die Ethik nicht aussprechen läßt.

Die Ethik ist transcendental.

(Ethik und Aesthetik sind eins.)3

 

Ludwig Wittgenstein -> Latin -> Letter /code (as stoff/mater, subject) -> Logic ->


-> Ratio


Max Eastley -> Matrix(es) (something within or from which something else originates develops or takes the form) -> physical body (in-situ, spatiality, environment, ) -> installation -> physical experience in a space (seeing-in/hearing-in multi-dimensional object(s) from physical experience at the cognitive level)

Max Eastley is a British artist and an important subject in my artistic research. From the aspect of art history, his oeuvre is similar to Rebecca Horn, such as kinetic art, intervention, performance art, his oeuvre in Film, and so on. Keywords are in-situ, spatiality, environment, ecology, and so on. He intervened in music as an avant-garde musician with his hand-made instrument, which was really great, and powerful. The artistic style was noise and minimal art. I explore his two installations and had written a review, that was presented at a conference. Thereby my interest in artistic research with his two installations is manifold (manifoldness) in the art, which subject is randomness and MA (間). -> Artistic research Variation III

(Martin Supper (Composer, Musicologist, computer scientist): my extra research field, which terms of my great aunt and great uncle's research field of natural science in the post-war mathematically and methodologically.  Dr Supper explored that in arts and humanities. i.e. Zufall in theory refers to Reconciling intuition and probability theory, and so on.) -> Aesthetics -> Transversal aesthetics


Max and Joseph are already historical artists, and their oeuvres are already in the data bank of such as Tate Modern, and MoMA, they are British artists and American artists.


Joseph Nechvatal -> (in secret) -> J/ψ meson -> virtual body (in-situ, spatialization, environment, ) -> painting -> seeing-in/hearing-in on two-dimensional surface (an image as an object) from virtual experience at the cognitive level

The J/ψ meson or psion is a subatomic particle, a flavour-neutral meson consisting of a charm quark and a charm antiquark. Mesons formed by a bound state of a charm quark and a charm anti-quark are generally known as "charmonium".

-> Aesthetics -> Transversal aestehtics

(He is painting with the help of a robotic arm, thereby using AI, but through the DAT signal of algorithmic composition.)

 

Erika Matsunami -> Emotion -> Un-sinn -> An new account  (A connection with the anthropology)->

(I explore thereby Emotional intelligence, for that, creating an account, is an objection in this artistic research. In other words, its an account is the research objectives.)


Art goes out from the Art world methodologically:

After the end of art, art was no longer for appreciating something.

What kind of collective knowledge as common can art become?  And how can we share or provide that?

That was the same as Louise Bourgeois's, art was no longer for appreciating something.

-> On creativity


(Aesthetics As Philosophy of Perception, Bence Nanay, OUP, 2016)


For me, it was an escape from classical art and music, classical aesthetics and philosophy as well as modernism finally.

 

 

Ramón Reichert -> Radius -> Eternity ->

(Digital humanity, Digital materiality, Digital communication,  Cultural studies, Film and New Media Study, )

Digital humanity is based on RAdius and its geometry, that is eternity. So, I think that Digital humanity is an idea of eternity. How humans want to leave our knowledge. It's like the reproductive desire of human sperm and uterine DNA.

(From the aspect of Ramón Reichert's recent feminist theory, for that he is masculinity by female artists in the art. i.e. Glitch Feminism refers to Nechvatal's recent work also. However, there is also masculinity in right-wings feminism today. )



 




 

 

Orgasm and organism from the aspect of biology:

 

Orgasm occurs after stimulation of the genitals or erogenous zones.


The questions here:
skin stimulation
auditory stimulation
visual stimulation
olfactory stimulation
taste stimulation


and so on


transmission of communication


The theme is not the act here, the main subject is 'stimulation'.

How do hormones work?

I proposed the concept of inviting three guests to a workshop on Green x in 2021.
One was Joseph Nechvatal (Artist, Art criticism)
The other was Thomas Fuchs (Neuroscientist)
The third was Bence Nanay (Philosopher, Professor of Philosophical Psychology)


On Telepathy itself there is a long-term case study in Western research, which research has been studying since the early 20th century.


I deny the Western classical psychology of the early 20th century. This is about when I was in high school, I had read Freud's and when I was 20 years old, I studied educational psychology in the study of Fine arts.

One reason was, it was very difficult to adapt Western classical psychology to Japanese culture, specifically in the Japanese language. From this point of view, Western classical psychology had a big role in Western colonialism. For instance, there is the idea and habit of Telepathy in Japanese traditionally, instead of Western classical psychology.
In the 21st century, finally, neuroscientists found and described the special ability of humans such as Telepathy transdisciplinary. This theme has long been debated with Western idealist colonialism. For example, the Western customary perception of non-Western multiculturalism was a descriptive 'error'. What they did was fix it through medical treatment using the drugs or kill the error.

Today, we know transdisciplinary that the human brain is a complex organ.

However, Freud's dream analysis was interesting methodologically, i.e. deep psychology. Today, I describe it in terms of subconsciousness, perhaps, when I had read Freud's, the subject was rather on mind to me already.

Aiming of workshop  Green x for a new art education and enjoyment with and in art (anti-sexual abuse and anti-mobbing/towards sexism and racism):


When I criticize something, I do not target people. Don't blame people for the problem. That is where Western psychology differs. My criticism is about the environment and the social system. I think that is what social criticism must study and pursue.

I never target someone for social criticism, I explore the issue from diverse perspectives. Regarding youth hate speech, I think there is a problem in the current "adult society". In this wide-ranging and complex society, where it is difficult to see problems, adults who can only judge what is good or bad have problems.

This is because adults who do not understand anything force children to understand. The problem is that the child stops growing.

I think adults should study first, instead of forcing children to be right. I think adults should honestly tell children if they don't understand what they don't know, instead of using their authority.


And as adults, please grow up with your children. (I mean that 'your children' is in your relationship.)

The problem is that adults are selfish because Adults are busy raising children and it is a burden. Such as the child turns the adult's problem into an act of "hate".

Until they reach adulthood, children have no "choice" as long as they are under the protection of an adult/parent.


When both men and women reach the age of 50, physical changes begin to occur as "elderly" disorders. hormone balance, etc.
I think that it's time to give feedback for a moment when you're young. That may be a dilemma, that was my case.

Recently, looking at my male friends of the same generation who has been with me for many years, I wondered what "elderly" disorders in men look like.


Namely, Walter Benjamin's cultural evolution in his artistic and cultural research -> Empirical Aesthetics and Empirical Cultural Studies

I studied hormones online (at futurelearn). Orgasm is for the concerning concretely.

hormones and stimulation -> emotion

In my case, I think the stimulation of a kind of Orgasm for hormones is yoga.

Sexual stimulation and mental stimulation through own body

Myths of everyday life

 


Erika Matsunami

 


The fact that we cannot manage to achieve more than an unstable grasp of reality doubtless gives the measure of our present alienation: we constantly drift between the object and its demystification, powerless to render its wholeness. For if we penetrate the object, we liberate it but we destroy it; and if we acknowledge its full weight, we respect it, but we restore it to a state which is still mystified. It would seem that we are condemned for some time yet always to speak excessively about reality. This is probably because ideologism and its opposite are types of behaviour which are still magical, terrorized, blinded and fascinated by the split in the social world. And yet, this is what we must seek: a reconciliation between reality and men, between description and explanation, between object and knowledge. (Barthes, 1957/1972)1

 

 


-> Artistic research Variation III



Music,  Architecture,



I chose Aesthetics As Philosophy of Perception, Bence Nanay, OUP, 2016 as my starting point for contemporary aesthetics in 2016, it was the BSA conference in Oxford, the UK. Bence Nanay represented his book at the conference, he was a speaker at this BAS conference.

(A traditional young researcher sitting next to me asked me, what do I think about his talk? (that I can see what he is doing (researching), It was so new.) I answered him, "I need to think. (maybe it is not yet, maybe later or future, we might be possible to see it." Because of his research, what we cannot see, but Nanay explored it as logic, giving us many possibilities of research, which is not any more ontologically. It relates to my research in Benjamin's sometimes opposed. For this solution, I explore a reading of plurality.)
After his (Bence Nanay's) talk, I bought his book Aesthetics As Philosophy of Perception at this conference.

At the conference dinner, I met the Canadian researchers. One of whom I met in a session between traditional and contemporary philosophical perceptions between Western and Asia, such as Kant and Confucianism/China aesthetical analysis at the ESA conference in FU-Berlin. A Canadian researcher, his research was from the aspect of cognitive neuroscience.

I thought that a question was 'What is the philosophical mind?'. -> Introspection, however, 'Introspection' is a very difficult philosophical term.

So, I explore 'subconsciousness'. Because I am critical towards deep learning by machines, in which case of programmed mentality and manualized specifically.


In doing so, I attempted to explore and hacked* (making an another path) a metaphysical (generally as an ethic in the philosophy of art towards an art object) in his research with my artwork B.O.D.Y - そして、それから_work in progress (2018)_x_Schmerz der Liebe in 2018, was for advancing Klee's and many others practically and transdisciplinary. (I just added the research perspective of neuroscience towards perceptual philosophy. Because the dimension of our humans brain is growing today.)

*I hacked an account of the commercial scheme (schema or diagram as an idea of a safety life) of love, and I worked on the subject of 'mental' from the recent aspect of neuroscience.

The problem with classical psychology in art is that the interpretation of art is a depiction of the psyche of the creator. For example, aspirations. In art, 'What is the authenticity of art' is renewed in the 21st century. From this point of view, I think that W. Benjamin was not wrong, in opposition it was an innovative study. In regards to W. Benjamin's cultural-educational method, Race, gender, age, and IQ are irrelevant, for the art, it is authentic of art. As well as the judgement of Van Gogh's, and the research of W. Benjamin's, I see thereby the approach from medical science was an intervention in the arts and humanities.

If you start to question "What is pure in art?" in your research, this question will be able to never solved, and your study will be fallen into a loch, even if a question is opposed, that is not a dispositive solution.

In my current research, the theme of perception is focused on the promotion of "cognitive" research in brain science.


-> I explored the subject for the workshop with Thomas Fuchs, ecology of the brain, Thomas Fuchs, OUP, English Version 2018. A friend of mine is a German PhD in Psychology and Homosexual, he is critical towards his theory. He is in the context of Marxist psychology. Therefore, I think that his critical thinking is towards new capitalism in the 21st century from the critical aspect. However, my research position is a bit different from his research position, that is on subjectivity and objectivity because Thomas Fuchs's position is the medical doctor. I believe that his thesis and research are for medical treatment, but many others are researching robotics in neuroscience. For this reason, I work in the context of towards new capitalism in the 21st century from the critical aspect, such as on materiality in the 21st century from the aspect of the art, is post-marx theory towards new capitalism in the 21st century practically and critically.

In my generation, the Ph. D. holders in the end of 90s in Germany, who were the research of the young hopes, they are now outdated and drawing from the forefront of mainstream research, i.e. changing from Soziologie to Social science in arts and humanities. However, instead of mathematics, psychology made up for it, but due to neuroscience research, literature alone is no longer enough.


I applied for the lab programme 2021 at the Bauhaus foundation in 2020 with a project of after my art project of B.O.D.Y. - そして、それから_work in progress (2018)_x_Schmerz der Liebe, was not successful, so I  attended the workshops by the Bauhaus foundation in 2021. The lab program was from the perspective of the global south. It was a good chance to research those subjects from the global south for grasping and finding the solution to world issues through the perspective of the global south objective.

(After the workshops of the Bauhaus foundation in 2021, recent my task is the exploration of 'reasonable' such as Reducing Knowledge to Society, Circular Economy, and so on between art and society or art and non-society.

– Art is anarchy, but my capacity is limited.)

There was another impressive researcher. He was a young professor at FU-Berlin.
His research was "cognition" (from the perspective of Philosophy of Perception) which is common to anthropology and is a very important study in Germany. Particularly, after the German Nazism in the German academy. However, it is in terms of Archeology in the academy ontologically.

In 2021, I participated in a European Academy session via ZOOM. In the research field of the philosophy of art, I felt the limitations of traditional high art morphology and the Western perspective of their objective analysis. -> I explored it in my artistic research.

He is the first scholar in the philosophy of art to me, who took the perspective of a child. It was his child and the pictures of his child in terms of Aesthetics as Philosophy of Perception as his account. His episodic writing is from his subjective perspective, sometimes beyond the secondary person, is his wife or girlfriend.
The conventional interpretation of children's drawings becomes psychological analysis by child psychology, which is a traditional way.
Bence Nanay accounted that "cognition" is a way of philosophical thinking, which relets to Joseph Nechvatal's attention in his artwork. Bence Nanay is an advanced scholar, he opened us to the possibility of a new study in and through art for the future.


In these combinations of Nechvatal and Nanay, they are advanced scholars in the philosophy of arts contemporary. Therefore, I would talk to Thomas Fuchs on a subject, for an account of transversal aesthetic commonly.



 


 

A practice-based doctoral and also post-doctoral theses in the context of my artistic research.

I am very thankful for this paper

Big Data and CSR Communication

by Ramón Reichert.

 

"To ensure the long-lasting availability and ongoing development of the research results, the participatory processes of the specialized and collective roles are continuously evaluated and processed in feedback procedures for the innovative development of socio-cultural sustainability. In addition to the technical organization of crowdsourcing, the institutional anchoring of cultural sustainability also seeks to answer the question about how to design the bridge across to new forms of medial and cultural expression and use, in order to ensure the sustainable integration of the users within the agenda of big data research on social networks sites."

Human-hotel


An example of a digital and physical community (one), is designed by Danish Curators using AI internationally.

Non-commercial; Legality; Friendship; Patching (Un)Familiar; Coexistence;

An Art Project Green x (Winter 2022/2023–):

 

An exposition

On Telepathy


  • tacit understanding and tacit misreading
  • communion of mind with mind
  • sympathy



As a art project aims to design for Workshop, Digital and Physical Community

-> How I propose a 'Digital community' and its aim is my task currently, including the concept of financing, administration and data protection.

Project Geometrische Ansichten

 

 

 Devils, angels, gods, and even war all depend on humans in the narrativity.


On materiality in the art: how we deal with material/stoff in the matter and that subject in terms of social context or other within or without of the context of.


'What is nature?', 'What is coexistence?', 'What is life?', in the music composition, might possible to question. It applies also to the visual arts. The world consists of the components of nature.

 

One of the reasons why articulation became male artists is that after the war, in the art world, masculinity and femininity in the Renaissance have been switched.

 

On gender, my question is thereby 'What is a man?' and 'What is a woman? '

Gender Identity?, Cultural Identity?, Hormone?, Chromosome?, Socialization?, and so on.

'What is Chromosome?'


on environmental genetic reasons in my research context in Fine arts/liberal arts and cognitive linguistics, is practical work for the geometry of sustained/Geometrie der Nachhaltigen

 

Environmental seeing from the inside of the body




DCS | Digital Culture and Society | Vol. 4, Issue 1 | © transcript 2018DOI 10.14361/dc s-2018-0102

Introduction

Rethinking AI. Neural Networks, Biometrics and the New Artificial Intelligence

Mathias Fuchs & Ramón Reichert


"Two aspects guide her investigation: Firstly, she is interested in self-playing game worlds, self-acting characters and non-human agents traversing multiplayer spaces. These automated actors and environments are more than a merely technological enhancement of gaming. Secondly, based on a decentralised post-humanist reading, we might have to rethink digital games and play. This serves also for a critical reflection of games AI, which due to the fictional character of video games, often plays by very different rules than the so-called “true” AI. Catherine Griffiths writes about the visual tactics toward an “ethical debugging”. Her critical study of artificially intelligent algorithms, strate-gies from the fields of critical code studies and data visualisation are combined to propose a methodology for computational visualisation. She argues that computa-tional visualisation seeks to elucidate the complexity and obfuscation at the heart of artificial intelligence systems. This is the source for ethical dilemmas, that are a consequence of the use of machine learning algorithms in socially sensitive spaces, such as in determining criminal sentencing, job performance, or access to welfare. The paper of Monica Monin is concerned with the ways in which present day artists are engaging with artificial intelligence, specifically material practices that endeavour to use these technologies and their potential non-human agencies as collaborators with differential objectives to commercial fields."

In the fact, the study of Digital Culture, the researchers can suggest the attitude with the issue, and argument as well as claim, but they can not solve the issues.

In the study of the Philosophy of Information, the researchers can solve the solution, thereby they explore the ethics of digital culture and society. Between them, there is also AI, is today's global academic system.

For the Philosophy of Information, the study of Digital Culture globally is an important study. However, for the Philosophy of Information, the most important is the institutional digital systems, such as healthcare, insurance, employee, profession, organisation, free economic market, and monetary circulation in terms of gender, sexism, racism, and so on, for the aiming of the improving the society.

 


As an artistic researcher and artist, I would like to explore in-between those research fields, such as being of '0' (ZERO) towards that a new metaphysics in the digital materiality (material/stoff, its matter and subject).

 

The art that Ramón Reichert proposes as a critic is social critical art that is often as an 'artefact'. That is written by him on it (social critics through the art) in the film mostly.
What I offer as an artistic researcher here is the methodology of art and the possibilities of creativity in art, and to provide them with that is my task as an artistic researcher and as an artist.

On the research by Ramón Reichert; I feel that his dilemma by himself in the gaps between contemporary and the nature of his own traditional cultural identity.

On narrativity (in film and other new media artworks including social media and its networking as a new culture sense.)

I responded to the last sentence of the paper by Mathias Fuchs & Ramón Reichert from the perspective of the arts on creativity and its autonomy. Furthermore, I will explore in my review and practical exploring. ->

Communication

Collaboration

Commoning

Community

Circular economy

Climate change

Coexistence



Visual arts,



social critical vs. analysis

Trans-Culutrality

Representational theory, Aesthetics and Image science from the aspect of cognitive neuroscience, and so on -> Materiality, Transversal aesthetic, Cognitive linguistics, Individuality, Naturality,


Visual arts,  Architecture,



An artistic and artist research, practice-based research method I: theoretical exploring cross-over disciplinary in the  context of contemporary fine arts basically

<-

-> Today, we overcame already the taboo of visual and audio accounts, its 'aesthetic vandalism' was really great and is successful for our human knowledge, today's vandalism is 'writing' in narrativity.

So, we contemporary artists are working in writing that is an important creative act in the art today.


-> creative writing and its narrativity in art is a new aesthetic vandalism and intervention of artistic disciplines.

Today, everything is acknowledged as 'knowledge', as well as the FLUXUS art movement. You can create any accounts by yourself, and you can organise them by yourself legally. Thereby technology helps you.

Here in the art, 'account' is similer to a concept.

Humanhotel is really one of projects in the paper of Big Data and CSR Communication by Ramón Reichert, but it isna self-organised one.

I think that Denmark is one of the most culturally growing countries in Europe, so without the influence of British culture and knowledge, but more individually.


-> on creativity


-> Adriana Knopf (Young amateur Artist, Scientist (Phd in Xenogogy), Engineer, Transgender):

Her art project and writing workshop.

I attended her workshop at ICI, Berlin,  in person, in 2021.

I like Adrian's workshop very much, and also I like Adrian, her sensitivity. (But my idea is a little bit different from her workshop. The focus of writing and its meaning are different. I grasped 'environmental thinking' at her workshop from the aspect of xenology, and have been exploring it in my own artistic research method. S. Portfolio 2022 for 2023. It is a result of my attending her workshop at ICI, but I am still writing (creating, generating) on. -> for Geometrisch der Nachhaltigen


Finally, I can go to the next step of my artistic research practically.

Who can read my artistic research, one is Adriana Knopf, is my wishing..., actually, she said (wrote) to me, "writing to me." -> working in Telepathy

In artistic research, I am working in Telepathy with many others, which you can read it.

-> Internet communication and its global timely friendship.

People (myself included), "When I write myself, I find that I don't think about anything particularly important."

Through my writing experience, which I call 'writing-drawing', I understand ' how subconsciousness is important in our mind, its flux, and how and why it is flux by myself.


-> Subconsciousness and emotional intelligence


The good thing about this creative act in writing is that it makes you want to study on your own voluntarily. And you start to understand what your interests are.


This method is my art reaching for the beginner in parallel with artistic practical teaching.

Towards the exhibition The Woven Child by Louise Bourgeois at Gropius Bau, Berlin: I am really thankful for the curator of this exhibition Julienne Lorz.

I realized once again that technology has liberated me (women) from the curse of giving birth to a boy for the family and for the nation. I thank humanity for allowing women to leave behind female knowledge instead of bearing children, and for its equality.


I write a review of this exhibition in terms of some artworks of Loise Bourgeois, which refers to biopolitics and posthumanism from the aspect of biology and ecology.

The exhibition The Woven Child by Louise Bourgeois at Gropius Bau was wonderful.

(There were many exhibitions of Louise Bourgeois. such as Curator of Jenny Holzer, and also of many others.)


Kunstmuseum Basel - Louise Bourgeois X Jenny Holzer

Jenny Holzer (b. 1950), one of the leading contemporary artists of her generation, has curated an exhibition of the work of Louise Bourgeois


 

The Philosophy of Information is a new metaphysics but in English. I (Erika Matsunami) think that such as the country in Germany, The Philosophy of Information in arts and humanities is a new study in the 21st century after the computer revolution. However, without the philosophy of Information, we cannot explore ethics in AI society. That is a new sentence of AI society in the UK. The UK is a country of Alan Turing's origin, and many others.

 

In-between two papers of "the digital culture and society" and "the philosophy of information", between critical theory and metaphysics:

 

AI society is an 'alphabet'-based society or an 'alphabet'-centred society. I as a two culture-folder artist, how I think about AI society. My mother language is Japanese which language is a non-alphabetic language.

It was in the 80s that Japan introduced artificial intelligence from the United States. It was a dilemma between tradition and Western modernism, probably, it was culturally, also for changing the lifestyle.

In 1989, when I came to Europe, I was so surprised, at how people were living so traditionally. Latin was still centred in European culture more than English. During my year in Vienna in 1989, I really enjoyed living without technology.

However, compared to today's technological development, even in Japan at that time, if I went to the countryside, I could live like Vienna without any problems traditionally.

I loved life in Venice without cars. It was a hard life walking and carrying goods. In Venice, everyone has to walk.

I don't really need high technology, but I always want to update my "knowledge". It is my strong desire. There is always a new possibility and probability.


On a case-by-case basis, the interesting thing about artificial intelligence is that there are no psychological games. So I thought about the difference between emotion and psychology.


The acceptance of artificial intelligence information may differ from country to country. Depending on how one uses it, it could be the control.

Therefore, we humans are asking how we can define "autonomy" and transform it into culture and customs, or knowledge. Having a civilization means that if we don't have more knowledge than that civilization, we can't use it.

I think nothing makes us more unhappy than just convenience. Rather, it requires the ability to solve problems. I believe that civilization exists to solve problems. Then think about what the "problem" is. For instance, social design for the next 30 years from now can create problems. Preparing in advance makes an issue, such as the current problem with Russia the Nord Stream. The current situation is quite the opposite, and even more complicated.

So I would argue that convenience is not civilization.


Now, in this articulation, I am fascinated by the magic of the alphabet.

-> Multiculturalism and Walter Benjamin


-> Multiculturalism in the myth, and its universality

Conclusion:

Changing of 'universality' in the 21st century to the xenological aspect (biological idea and the environment).

Changing of it in the epistemology in terms of arts and humanities in the 21st century.

Namely, I explore it between explorings of Joseph Nechvatal (virtual environment and its spatiality) and Max Eastley (physical environment and its spatiality) on introspection in the arts from the perspective of the 21st century.


Everything, we cannot see it.

Changing of 'universality' in the 21st century to the xenological aspect (biological idea and the environment).

I mention that the key to the 21st century is how we can recognize what we cannot see it epistemologically.

FONDERIE DARLING

TU M'ENVELOPPES ET JE TE CONTIENS / EXPOSITION ANNIVERSAIRE

Aesthetic Vandalism

Music,


V

A

M






Jenny Holzer was one of the artists in my practice-based Master Thesis (Video clip 'FEEL' (1997)) at the Institute for art in the context (liberal arts), UdK Berlin. From the same cultural point of view, I had dealt with the subject. My work Video clip 'FEEL' (1997) was represented at the Rundgang in the UdK Berlin in 1998.

The Woven Child (2003) by Louise Bourgeois

I studied sculpture.  It might be possible for a practice-based doctoral thesis in the context of my artistic research. In 2001, I represented my artwork Sensation of Motion in Time (Performance in the Video installation with two disability performers Martina Nitz and Tim Petersen) at the Künstlerbahnhof Westend/Karl-Hofer Gesellschaft UdK Berlin in the Exhibition touch-Zeit, Raum, Körper by women artists collective EIGENART (Berlin-Wien).

Sensation of Motion in Time is an important work of my oeuvre, after the Video clip 'FEEL', and dealt with two artists (one was Jenny Holzer) artistic approaches and their feminism in the art. In the 1990S, I studied already the basics of the Philosophy of Information in Berlin, and I developed it for the new conceptual art within digital materiality methodologically, that is the text (concept) of Sensation of Motion in Time. It was an important question, 'What is conceptual art within digital materiality?'. Therefore, I dealt with the composer Steven Reich in my performance with two disabiltiy performers.

So I started 2000 (I came into the 21st century) in my artwork. I submitted Transmediale in 1999 with a video Drei Bewegte Figuren (editing by AVID/professional film editing computer program). I had an AVID studio with an artist(Visual communication/UdK Berlin) in Berlin, until 2012.  After then, I have been working with Final cut. Since 2012, I have been my onw studio in Berlin, it was in Berlin-Kreuzberg. This studio was till 2016, due to an Implantate op error in Germany, I had to the treatment and rehabilitation(REHA) till the re-op in March 2019. Even though, I have been working as a disability artist* till 2018 and had worked at an artist sharing studio with five artists. Thereby an artist was a female Iraqi artist who studied Fine arts in the UK, married to a German, who is a young German lawyer (who a researcher had researched at an institute.). Perhaps she was also upper or middle class in Iraq, but she was identical to Europeans and was an emancipated contemporary woman. I met a young female performance artist from Turkey in the studio, who was also like her, an emancipated contemporary woman. She had an event of her performance at Centre Pompidou in Paris


What is 'Migrant' today?

In Germany, until 1991, fugitives from the former East Germany were refugees and immigrants. This question applies to the question of whether the cultural identity of origin or race (roots).

Since the concept of the state was formed in the 20th century and the state was founded, "migrant" is to move from one territory to another. For this reason, since 2000, it does not apply to EU citizens, was a new sentence in Europe. As a result, the concept of consanguinity disappeared and the concept of "settlement" was formed. There is transdisciplinary research on 'home', as well as 'family' recently.


In the world, women are the emancipated contemporary generally and internationally today.Why are we the emancipating contemporary woman killed by the authorities in the world now, especially after the Russian military invasion of Ukraine?
Here I don't say Iranian women specifically, but rather I say 'we'. Even I will be killed also when I will go there in their territory. – Current war and territorialization by the authorities

In reaction to this, the activities of right-wing conservative feminists (also left-wing (communist) conservative feminists) have become stronger over the past eight years worldwide, particularly centred in Europe.

In doing so, I explore the 'queer' cultural movement more and more for our future of humanity strongly and profoundly.


Two aspects of the Artistic and Academic Research methods in Film and New Media:


Researching 'queer' films, one is Michael Brynntrup's, who is a filmmaker and a professor at an art university in Germany, and he is a queer.

Research 'queer', body codes/semantics/cognitive linguistics/critical media theories specifically. (philosophically and aesthetically) -> Erika Matsunami (artist, artistic researcher in study of fine arts and design)'s research (subjectives and their social contexts)

Another research method is the research in the queer (as well as Migration) movement and culture in film and new media that is for and in a social condition/social science/cultural studies/gender studies/queer studies/media theories commonly. (social critically) -> Ramón Reichert (journalist, academic researcher in cultural studies, media and film )'s research (objectives and their social contexts)


Do these two methods together make a new sentence?

This question is an important question on Artistic research which is transdisciplinary research in art and culture.

In academic, it terms in anthropology, an example of the academic lab in arts and humanities is the Sensory Ethnography Lab (SEL)* at Harvard University in the USA.

 


I am really thankful to the curator of this exhibition Julienne Lorz indeed.



The aim of this research Untitled* is the contributing to the new art age in the RC and SAR from the aspect of the cultural minority i.e. non-European culture and language.

-> I mention that today, art as a human act is in the context of biology and ecology towards posthumanism.

 

What is the theory of posthumanism?
Posthumanist theory claims to offer a new epistemology that is not anthropocentric and therefore not centred on Cartesian dualism. It seeks to undermine the traditional boundaries between the human, the animal, and the technological.

Section I Introduction

What is the Philosophy of Information?,

Luciano Floridi


"The subsequent growth of the information society and the appearance of the infosphere (the semantic environment which millions of people inhabit nowadays) led contemporary philosophy to privilege critical reflection on the domain represented by the memory and languages of organised knowledge, the instruments whereby the infosphere is modelled and managed thus moving from epistemology to philosophy of language and logic (Dummett 1993)and then on the nature of its very fabric and essence, information itself. Information has thus arisen as a concept as fundamental and important as “being”, “knowledge”, “life”, “intelligence”,“ meaning” or “good and evil” all pivotal concepts with which it is interdependent and so equally worthy of autonomous investigation. It is also a more basic concept, in terms of which the other can be expressed and interrelated, when not defined. In this sense, Evans was right:

Evans had the idea that there is a much cruder and more fundamental concept than that of knowledge on which philosophers have concentrated so much, namely the concept of information. Information is conveyed by perception, and retained by memory, though also transmitted by means of language. One needs to concentrate on that concept before one approaches that of knowledge in the proper sense. Information is acquired, for example, without one’s necessarily having a grasp of the proposition which embodies it; the flow of information operates at a much more basic level than the acquisition and transmission of knowledge. I think that this conception deserves to be explored. It’s not one that ever occurred to me before I read Evans, but it is probably fruitful. That also distinguishes this work very sharply from traditional epistemology. (Dummett 1993, p. 186)."

CONVERSATION : MOJEANNE BEHZADI & JAMES OSCAR

-> In short, on the exhibition The Woven Child by Louise Bourgeois at Gropius Bau, BerlinThe exhibition begins with her later work in 1996 "Ohne Titel/Untitled", is a mxed media installation.
In the installation, the female underwears camisoles (Tuch) are hanging on the bone of the cow (beef bone) at the stand of the steel. The women in male society as sex slaves, that I perceived from the 21st century today, even if the 'Wife', was not different, that was under the law.

Her works especially in her late phase is an 'introspection', that is a transformative philosophical psychology. She was an artist, who reached in a world of introspection.

Art cannot be any instruments of politics, economics, and others. Art is a philosophical introspection.


That is the background of "I write a review of this exhibition in terms of some artworks of Loise Bourgeois, which refers to biopolitics and posthumanism from the aspect of biology and ecology.".

How do I deal with those propositions in the paper by Luciano Flridio?

Therefore, I suggested the global issue of the Philosophy of information and AI society in the case of Japan, that is in English, and English-centered culture.
Thus, my attempt on the subject of the information is on Alphabet, and its communication, as well as the dilemma in communication between contemporary and tradition culturally.

In short, I describe 'what is Aesthetic Vandalism?', I am writing now.

In Japanese classic-modern literature, an example is "檸檬 (Lemon)" by 梶井基次郎 Motojiro, Kaji. It was a literary transformation in a sense and was an aesthetic vandalism in Japanese classic-modern literature. i.e. Rational and Irrational (in the environment)

For creative writing, for example, how can you describe your orgasm (in other words 'ecstasy') in a literary sense?

How can you describe your environment from your inside bodily sense?

Writing yours by yourself. – subjectivity and objectivity


Adriana did not say these questions to the attendance at her workshop, but it was the aim of her workshop. She gave only a chance of an experience, changing of seeing-in, and writing a letter.

So, she wrote to me for writing a letter to her in mind.

In doing so, I explored my artistic research on Telepathy in 2021 continuously.


In the context of aesthetics, I would like to discuss this with the chair of somaesthetics, who had established Soma Aesthetics.

I attended the conference of Soma Aesthetics in 2021.

On transformative in somaesthetics, including 'ecstasy', dealing in the art and Human Pleasure and Anxiety. It is also an important subject in neuroscience, e.g. treatment and therapy for pain. However, in the treatment of medicine, it will be medicated. Many people suffer from untreatable pain. If you can live without feeling any pain, nothing would make you happier. Humans also suffer from itching (Mainly allergies).


Art education addresses more 'sensitivity' than 'psychological' currently.


 

Es ist klar, daß sich die Ethik nicht aussprechen läßt.

 

Die Ethik ist transcendental.

 

(Ethik und Aesthetik sind eins.)3


social critical vs. analysis

Changing of ästhetische Wahrnehmung/aesthetic perception in Erkenntnistheorie/epistemology.

*->The Sensory Ethnography Lab (SEL) at Harvard University is an interdisciplinary center for the making of anthropologically informed works of media that combine aesthetics and ethnography. Production courses associated with the SEL are offered through Anthropology, Visual and Environmental Studies, and the Graduate School of Design.[1]



Aesthetic experience from the third person in specific narrativity:

In the language, the first person is 'I', and the second person is you. Here I mean that the 'third person is the third position in specific narrativity.

I describe it in the catalogue "still/silent" in 2011.

It was my experience about the dropping atom bombe in Hiroshima, on 6th August 1945.
I have looked at survived my family from their back in the same space, the same city Hiroshima. If my mother did not survive, I was not born here on earth.

Pseudo experience.

When I was a child, at some point, my mother's experience became my own experience. That's because her mother continued to talk to me as a child about her fragmentary memories. However, she thought that I didn't understand. It wasn't until much later, I realized that it was my mother's experience, not mine.


This way of writing is considered by many Germans to be apolitical. In Germany, high art is political, and socially critical art, that should reach the impact of art and cultural matters, is German idealism.
But from my point of view, my avant-garde work is practical and poetical, it was the same as Paul Klee's. Since 2020, practically, I explore it again from the aspect of the 21st century originally. (There were many practical types of research on Paul Klee's in Germany in the 20th century, especially in Neue Musik towards visual arts. That is cognitive linguistic research in art and music practice.)
That is the context of my specific art research, what I specialized in for the last 30 years long in Germany. Today, I can never find a tutor in this context of the study of Fine arts (visual arts) at the art academy in Germany, because of German idealism, and they call it avant-garde today.

This theoretical exploring "articulation" aims for the artistic ethics in the audio and visual arts, that is "Art is Anarchy, but human ability is limited". Today, there is no God-head in art, it is possible.

 

Finally, I start to write a short review of Aesthetics As Philosophy of Perception, Bence Nanay, OUP, 2016 little by littel, that I wanted to do for so long.

This is a proposal for a PhD and postdoc in Liberal arts/Fine arts and artistic research transdisciplinary.

The transdisciplinary artistic research on transversal aesthetics, there is research from neuroscience, but in the arts. Today, who has the degree of a Master of Science, researches in the arts and humanities practically. They are innovative but it lacks in their research, namely on materiality, because they did not study Fine arts.

Their research aim is not for robotics, but rather they research in Fine arts.
Thereby the study of the research method is from the aspect of Fine arts contemporary.
Art studies are now being studied from all academic disciplines internationally.
The purpose here is to grasp how far innovative research methods can be researched.
If we Humans have been changing naturally, we will forget about 'colonialism'. – Towards a new age of art and coexistence in the world.

Probably that is a suggestion of a Canadian Philosophy and Social theorist Brian Massumi, I call it after Rhizome by Deleuze and Guattari. Because Canadian artistic research is from all academic disciplines internationally.

The aim of this research Untitled* is the contributing to the new art age in the RC and SAR from the aspect of the cultural minority i.e. non-European culture and language.

*-> Each two and three months, I had the medical examination such as the blood text. After that Implantat surgery, due to rejection, allergies, etc., the inflammatory level in the blood rises, so regular examinations are still required. During my two years of drug treatment, I needed blood tests and doctor's orders even during my short stay in Japan. I could not leave Germany, due to my main doctor. Her treatment was main inverstigation internationally.

"The diagnosis made by doctors at Japanese university hospitals will probably never be cured. You will not be able to leave the medicine", It was a medical diagnosis. That powerful drug requires a doctor's diagnosis once every two to three months. This diagnosis has a limited lifespan.

The diagnosis of German doctors and doctors at university hospitals, the drug treatment will be over in two years. It was a diagnosis that even if it won't completely be cured, but it would be cured. In the two years, I did not need to take that That powerful drug anymore. After then, I had been REHA, and I had to dedox. But Corona Impfung damaged my health condition in my liver a bit, becasue the direct afther another strong chemical medicine. The liver doesn't hurt or itch, but it's the organ through which everything we eat passes.
I need to have a condition without under strong stress currently. 

In 2016, if things continued like that, I thought I would die in 5 or 6 years little by little, but certainly. Thus, my artwork B.O.D.Y. - そして、それから work in progress (2016 –) came out.

The problem was that the cause of the disease is not in my body originally i.e. canser, or infection or other sickness (Ich war internistisch Gesund, bis zum meinen Gehirn.), the cause is unknown, and the medical examination took a very long time.

I was admitted to the Charité Berlin of the University Hospital for the medical examinations.


My health condition is ok now. My shock was, this feeling "I thought that I would die in 5 or 6 years little by little, but certainly.", which I never had before. Then, from 2020, it was the corona pandemic untill 2022, in this year in 2022, the Russian Military Invation of Ukraine was started.

In that way, mankind will be exhausted.

I think it may be peace that leads the world to 'ecstasy' with creative art.

-> 'What is a social critical art and/or a social criticism in the arts and their/its reflection universally?'

I solved the issue of AI analysis in Extypes already about the subject of the paper Artificial Intelligence, Deepfakes and a Future of Ectypes, Luciano Floridi1,2.


And I am suggesting the future ectypes in the arts. The current phase of my artistic research in this subject is the gaps between physical and virtual, such as on gravity 'What is the space where we humans live?'. (Art project geometrische Ansichten)
How I am solving this issue in 'materiality', is the same method in the sound study. In this research, I will describe it in my artistic research Urban Hub.
(I solved this issue from the aspect of the artist/author, who is hacking the account always. That is the author, thereby the question of the author and its authenticity is the main question of Luciano Floridi. Thus, he has been exploring ethics, for us, it is protecting privacy, in private, it is the manner of sharing and caring for the data of others and also ourselves. I need to explore this ethics in the arts, is my task as an artist and artistic researcher.
The issue in the paper of Luciano Floridi, is the issue of the economic handling globally, and its worth. That is the aim of hacking the account of the copy of Rembrandt by Microsoft, whether it is an imitation or a new norm. What might be possible of a new norm, that is for sharing and caring of the protected digital image, that was a big issue for such as a digital signature. Thereby I mention that a digital image is an object. The question is, therefore, 'What kind/sort/type (a digital matter and/or in a matter of the materiality) of an object is it?' That point of view is advanced compared with the theory in the 1990S, referring to the research of image science. -> The starting point of my artistic research (Aesthetics As Philosophy of Perception, Bence Nanay, OUP, 2016) after 2016.
By presenting the problem themselves, Microsoft presents the metaphysical limits of the philosophy of Information.)

In the music composition, I describe it together with Sannicandro's method as an example and also with others in the practical exploring of the artistic research Untitled*.
Thereby software for the visual arts and architecture, recently I am working with Vectorworks, which is a new to me.
Sannicandro's method is his dilemma with the computer software for the composer and its spatiality, and why? relates to Alvin Lucier's explorations.

The issue in the sound study against Fine arts, sometimes, they kill Fine arts, as well as  Fine artists, due to computer analysis. Even if scientists are programming as the information human psychology, AI has no feelings. So, a Machine is a machine.
Please don't forget, Machines don't understand us, we have feelings for them. Human emotions are simply input into the machine as logic. Machines have been analyzing us. Thereby, what we need to grasp, what is 'analysis', is a new Verständnis/comprehension for us Humans.

Whether you make it by hand, use a machine, or use a robot, you can choose the method you like. The question is, as artists, to what extent do you "know/grasp" the methodology of art?

->'Orgasm' is here feeling-in, medically, it is about hormones, that is the same as 'ecstasy'. In other words, "Can you describe the affection of your hormones in your body?"

How many people know about "hormones" in our human body?


If you are a father of a son, and for him, if you can describe transformative yours for your son, it would be fantastic.

It applies to a mother for her daughter. If you can describe your own body of changing phases from childhood to adult transformative, it would be fantastic.

Letter from parents:

 

I have letters from my mother, father and grandfather.

The letters from my mother and my father were special and beautiful.

They wrote to me in Berlin, her and his thought to me from Japan, it is my treasure.

My father is already dead. So, I could not ask him about his letter.
I asked my mother about her letter, and she did not remember what she wrote, that is nice to me. 'Thought' is something special, as a parent to a child. It can not compare with a daily conversation between us.


My mother was extremely weak physically due to atomic exposure to radiation in her childhood, and I used to call my grandmother "Mother." My mother was like my sister, so I was very surprised by the letter from my mother.

I had an open relationship with my mother. And we talked about sexuality in a normal way. I didn't start talking to her about my private, but when I was old enough, she told me about her experience. So, I know everything, how she met my father, where they had a honeymoon, and I also know where I was conceived.

In 2016, my mother and I went to the place of their honeymoon. We stayed at that hotel in Hakone, Japan. That night, I couldn't sleep because I was so moved that she got pregnant here. It was 'me'.

This is my case with my mother because my father was dead.

I said to my mother always "You were lucky to meet my father.", it was so, he was really nice to her/us. My father told me that he decided to marry my mother because he wanted to protect and support her for the rest of his life.

At that time in Japan, there was still discrimination against female A-bomb survivors. My mother was really lucky, but she was not one, I know many female and male A-bomb survivors, they had married with happiness and lots of love.


I took the pictures there as a time, that overlapped between her and me.

 

When my mother's boyfriend's husband died two years ago, he said to his wife, who had taken care of him for a long time. Because he had a difficult illness and in the last, he could not see.
"Thank you for a long time. From now on,  please be fashionable and have a good time. I left my property for you. Please enjoy the rest of your life after I'm gone." He passed away after saying that, his last word was "I love you"...


No one needs to tell to your child about the location and situation clearly.


If you can write to your child your 'thought', it might be a beautiful souvenir for your child in her/his life.

I am also writing a letter 'thought' for you.

 


 

social critical vs. analysis

Artistic Research Urban Hub

For those who don't type 'thoughts' in their mind:


This book Aesthetics as Philosophy of Perception cannot interplate and read with meaning generally, because of perception in the aesthetics.


From the aspect of 'thought', I would like to mention Aesthetics as Philosophy of Perception by Bence Nanay. He dedicated his book Aesthetics as Philosophy of Perception to Richard Wollheim but in his organized thoughts.

Richard Wollheim was a British philosopher noted for original work on mind and emotions, especially as related to the visual arts, specifically, painting. Wollheim served as the president of the British Society of Aesthetics from 1992 onwards until his death in 2003. (From Wiki)

My relation to Richard Wollheim's writing and theories was not only seeing-in perceptual visual experience, what he argued but rather its affection for us. It was the definition of art, which is open, subjective and debatable.


On Uniqueness in his book, from my experience as an artist, 'uniqueness' is something unconventional metaphysical object (Ding), situation (Verhältnis), event (Ereignis), occasion (Gelegenheit) and so on, not something of the characteristic Darstellung (representation) of artists.

Thereby the most relevant subject is "time and being", which is phenomenological and epistemological in modern philosophy, today, in contemporary art, it is added scio-political context. Thus, it is more and more ego-centred towards the social issues in the art, and it must be natural in a sense.

Bence Nanay has a solution in his research, it was "distributed attention", probably, can describe e.g. as the diversity of.


...On each chapter of this book, I can start writing something, and add an unfamiliar aspect of his context that is from Traditional Japanese Aesthetics.

Only one thing is a pity, it lacks Theodor W. Adorno's. Because of 'minimal art' and 'minimal music', and their 'uniqueness'.

However, Bence Nanay is so smart, he coined "distributed attention" and shifted the research issues from modern art into the 21st century naturally and universally.

At the same time, we need to shift Adorno's stage into the 21st century, e.g. intellectuals, and individuals sociologically.

 

Adorno argued, along with other intellectuals of that period, that capitalist society was a mass, consumer society, within which individuals were categorized, subsumed, and governed by highly restrictive social, economic and, political structures that had little interest in specific individuals. (https://iep.utm.edu/adorno/)
 
 


 



My research question is "Could an articulated (un)familiar Avant-garde account be possible to distribute attention and uniqueness?".


With the purpose of adding complementary readings on perception to my research on artificial intelligence, I decided to participate in the ‘Aesthetics and the Senses’ a seminar dictated by Rebecca Ariel Porte, organized by The Brooklyn Institute of Social Research in partnership with The Goethe Institute of New York, in the fall of 2016. In the first discussion were selected some of the fundamental concepts that support the aesthetic approaches of Kant* and Hegel*.

This discussion took as the thematic thread the problem of the sensual and the rise of modern aesthetics from a first historical, and later, linguistic approach. Rebecca was making a point about non-rational experiences and the sense of perception as philosophical problems in the eighteenth and nineteenth centuries.

The Mind Project graphical schemes arise from the approaches and terms studied in the readings of both authors. They translate ideas from the linguistic plane to the visual plane, where formal decisions and compositional methods appeal to the interpretation of the syntactic and semantic values of the image, seeking to generate meaningful correlations that represent the original philosophical ideas. These final models have been based on my comprehension processes as well as on the result of the dialogues among the twenty-one people who made up the course.

My essay on ‘Aesthetics and the Senses’ is composed of four diptychs: Kant-Hegel; Benjamin-Adorno; Levinas-Merleau-Ponty and Scarry-Ngai.

All the composers including contemporary art composers Joseph Nechvatal and Max Eastley are the composer of Atnoality, as well as Valerio Sannicandoro, who is a contemporary classical music composer in the context of Edgard Varèse.

Theoretical exploring

A new articulation for a practice-based contribution in Project Untitled I a.o.i. - lasting memories:

For the concept of project Untitled, which research objectives are for aesthetic education and art education in the 21st century, such as deep learning in art. - providing the knowledge

Thereby the method of articulation is my new artistic research method, since 2021, that I have been exploring.

A practice-based art and aesthetic research need to be explored from a subjective aspect. Traditionally, the research in aesthetics was interpretation, and in the contemporary, that is an analytic research method. And in artistic research, it needs a subjective aspect methodologically.

(I applied this artistic research method articulation for the Swedish research council last year, it was too early stage. Thereby I grasped artistic researchers as well as artist-researchers need professional experience and knowledge profoundly, as well as theoretically. Artistic research is complex research in and through art.)

 


John Cage -> x ->

Alvin Lucier -> Atom (The Sun contains approximately 1057 atoms of hydrogen.) ->

 

How many atoms is the earth?
According to the US Department of Energy's Jefferson Lab, the answer is:

133,000,000,000,000,000,000,000,000,000,000,000,000,000,000,000,000. That answer comes from an estimation of the number of atoms in each of Earth's elements, like Iron, Oxygen, Silicon, Magnesium, Sulfur … etc.


Toru Takemitsu -> Time ->

Together with A and T, it is Anarchy.  e.g. „CORONA“ (1962) for pianist(s) by Toru Takemitsu

 

Chris Dahlgren -> Code and De-code (in this Improvisation-based performance in between B-flat)-> A new mode (A connection with anthropology) ->

 

Valerio Sannicandro -> Victoria / Valiant (gender nutral) -> brave -> Will

Valerio Sannicandro, his artistic character is a really traditional academic composer who is a conductor for an orchestra, based on the Italian renaissance. I explored it in his doctoral thesis, which referred to the traditional European symphonic composition and their future. I said to him, he is an authentic traditional European composer, but probably the last generation. Because there is no education system in Europe, this traditional way of 'master'  class is academic. His traditional geometric compositions and as it a choreographic for musicians are excellent. Thereby, he developed a method for his musicians. (I call Valerio,  as Victoria in my artistic research, his artwork is feminine, that refers to the Italian Renaissance.) -> Renaissance and Psychology on 'spatial figure' as a beauty in the context of Sanicandro's exploration, is an invisible figure. Practically, the Italian Avant-garde composer Luigi Nono had dealt with that subject, was his vocal composition works towards Italian futurism. (Valerio's theme has been an important theme in Western classic music since the Roman Empire in Italy and after Napoleon in France, as well as in Germany. I explored Nono's at the Nono's foundation in Venedig, Italy, in private as an artist for an intervention in music from visual arts. It was between 2006 - 2009. I was often in Venedig from the early of the 1990s till the end of 1990s, till 1995, I spent time in Venedig twice a year for the summer and Christmas holidays. In Valerio's subject, my artistic position is in Nono's exploration. I met Valerio Sannicandro at TU-Berlin during his promotion. He presented his composition, which was written through the (music compositional virtual) spatialization of a computer program for the composer, that I explored in Variation II, in 2021.) – Difference between Nono's and Schönberg's subjectivity in their composition)

Thereby, I mention a subject of Walter Benjamin's doctoral thesis from the perspective of the 21st century, which is from the perspective of neuroscience, as a critical theory.



That contrast with Wittgenstein's. In Wittgenstein's, it is rather a 'gesture' of beauty in a spatiality, that affects us mentally, is communicative, because we can see it and feel it in shape, colour and lines of matter and subject. It has Renaissance geometry and mechanics in it, which I think is great.

 

Es ist klar, daß sich die Ethik nicht aussprechen läßt.

Die Ethik ist transcendental.

(Ethik und Aesthetik sind eins.)3

 

Ludwig Wittgenstein -> Latin -> Letter /code (as stoff/mater, subject) -> Logic ->


-> Ratio


Max Eastley -> Matrix(es) (something within or from which something else originates develops or takes the form) -> physical body (in-situ, spatiality, environment, ) -> installation -> physical experience in a space (seeing-in/hearing-in multi-dimensional object(s) from physical experience at the cognitive level)

Max Eastley is a British artist and an important subject in my artistic research. From the aspect of art history, his oeuvre is similar to Rebecca Horn, such as kinetic art, intervention, performance art, his oeuvre in Film, and so on. Keywords are in-situ, spatiality, environment, ecology, and so on. He intervened in music as an avant-garde musician with his hand-made instrument, which was really great, and powerful. The artistic style was noise and minimal art. I explore his two installations and had written a review, that was presented at a conference. Thereby my interest in artistic research with his two installations is manifold (manifoldness) in the art, which subject is randomness and MA (間). -> Artistic research Variation III

(Martin Supper (Composer, Musicologist, computer scientist): my extra research field, which terms of my great aunt and great uncle's research field of natural science in the post-war mathematically and methodologically.  Dr Supper explored that in arts and humanities. i.e. Zufall in theory refers to Reconciling intuition and probability theory, and so on.) -> Aesthetics -> Transversal aesthetics


Max and Joseph are already historical artists, and their oeuvres are already in the data bank of such as Tate Modern, and MoMA, they are British artists and American artists.


Joseph Nechvatal -> (in secret) -> J/ψ meson -> virtual body (in-situ, spatialization, environment, ) -> painting -> seeing-in/hearing-in on two-dimensional surface (an image as an object) from virtual experience at the cognitive level

The J/ψ meson or psion is a subatomic particle, a flavour-neutral meson consisting of a charm quark and a charm antiquark. Mesons formed by a bound state of a charm quark and a charm anti-quark are generally known as "charmonium".

-> Aesthetics -> Transversal aestehtics

(He is painting with the help of a robotic arm, thereby using AI, but through the DAT signal of algorithmic composition.)

 

Erika Matsunami -> Emotion -> Un-sinn -> An new account  (A connection with the anthropology)->

(I explore thereby Emotional intelligence, for that, creating an account, is an objection in this artistic research. In other words, its an account is the research objectives.)


Art goes out from the Art world methodologically:

After the end of art, art was no longer for appreciating something.

What kind of collective knowledge as common can art become?  And how can we share or provide that?

That was the same as Louise Bourgeois's, art was no longer for appreciating something.

-> On creativity


(Aesthetics As Philosophy of Perception, Bence Nanay, OUP, 2016)


For me, it was an escape from classical art and music, classical aesthetics and philosophy as well as modernism finally.

 

 

Ramón Reichert -> Radius -> Eternity ->

(Digital humanity, Digital materiality, Digital communication,  Cultural studies, Film and New Media Study, )

Digital humanity is based on RAdius and its geometry, that is eternity. So, I think that Digital humanity is an idea of eternity. How humans want to leave our knowledge. It's like the reproductive desire of human sperm and uterine DNA.

(From the aspect of Ramón Reichert's recent feminist theory, for that he is masculinity by female artists in the art. i.e. Glitch Feminism refers to Nechvatal's recent work also. However, there is also masculinity in right-wings feminism today. )



 




 

 

'Articulation' is here a method for interdisciplinary artistic research, that aims for the objectivation of the research context.  Thus, it might be beyond the limits of musical and visual artistic commons, such as the norm of the stage or the artistic industrial norm in the arts. This theoretical exploring articulation aims for the artistic ethics in the audio and visual arts, that is "Art is Anarchy, but human ability is limited".  Today, there is no God-head in that art, it is possible.

The research question here is, "Does art become knowledge?", and if art will become knowledge, "What kind of knowledge is it?"In practical inquiry, articulation is not limited to the alphabet. This is an experimental articulation of the phonetics of my native language hiragana (Japanese) and the alphabet of 'x' for the probability of 'y'. That means for a composition of discrete random variables of the spatial installation. Thereby Geometry works methodically. The research question is "What is geometry in the art?".


-> In this context, my research position is on the same stage as Bence Nanay's pp.119-120 OUP 2016, namely "There are two very different versions of this ontological way of explaining the concept of uniqueness in aesthetics. Suppose that x is a work of art. If y has all the intrinsic and observable properties that x has, then (a) y is not a work of art (Macdonald, Hampshire)2 or (b) y is not a good work of art (Dewey).", for that, I shift their theses from the aspect of the 21st century practically. It is my artistic approach of 'non-sense/un-sinn', that I refer to the advanced research of Ludwig Wittgenstein. From this point of view, my research position is on the same stage as Bence Nanay in the context of Richard Wollheim's from the aspect of contemporary music composition, therefore, I suggest an account of semi-formalism.

Aesthetically, it is my artistic account of 'onceness', that is common* to John Cage's. In the composition, Ryoan-ji by John Cage is 'each onceness/each Ereignis(event) of 'oneceness' in a common element in an environment.

*broad sense of 'onceness' in Buddhism and its cultural sense. awareness in a sense, he de-constructed philosophical Zenbuddhism which was based on Heidegger's idea, his account of transcendence. It was a starting point of 'multiculturality' in a literary (cognitive linguistic) sense.

How does 'y' work in the artwork, that is the question of whether artwork or not. My research position is not 'y' as function in an artwork itself, but rather towards for aesthetic judgement.

In doing so, I mention for appreciating musical noise aesthetically that It applies to an aesthetic account of Joseph Nechvatal, his 'viral' aesthetic in his noise music composition as well. -> immersion into noise