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 ->
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. )