Theoretical exploring: on articulation

Under construction

This articulation consists of 9 composers, who are also visual artists and academicians in musicology, and one academician in digital cultural studies.

explanation ->

There is no F (function) in this articulation physically resp. in physics.

It aims for transversality as well as exploring transversal aesthetics. In phenomenology, it has been researched between  'invisible and visible' or/and 'visible and invisible' phenomena.
'invisible and visible' or/and 'visible and invisible' in my research refers to transversal aesthetics, that challenge for and in 'being'.
It is my suggestion for 'coexistence' in an environment, which is not in a specific context.


Why does this articulation address (ent-) feminism?

This existence of cycle geometry* addresses post-feminism. – From feminism to femininity, as well as from patriarchy to masculinity
*The study of cycle geometry in mathematics is not on symmetry, but rather it involves symmetry.

 

'Silence' is an introspective state into noise, that is the most active will(ness) in the mind, everyone has in everyday life.

 

 


The aim of this theoretical exploration of "on articulation" is for ethics and aesthetics.

Articulation as an artistic method itself does not mean 'something' in art.


The issue of the European-centered so-called Baroque in Renaissance is even today the dominant worldwide, that is the higher position of the high culture, as well as even if in the avant-garde and pop music including Metal and Rock. Thereby ontological research in art does not help advanced research in contemporary art and music. The out-of-context of the European-centered so-called Baroque in Renaissance is 'Ethno' culture in the world, particularly it applies in music and dance.

100 years ago, Arnold Schönberg intervened in visual arts and deconstructed Romanticism in the Central-European.
Now, I as a visual artist will intervene in music, thereby my artistic challenge is for deconstructing Romanticism in the Central-European for creating something new in the context of transculturality.


Intervention between different disciplines is actually cross-discipline. Arnold Schönberg intervened in visual art so that he could be 'naive' towards the art. Musically in the philosophy of art, he was already 'lofty' as a composer. Hence, he destroyed his own himself, which is an intervention for making a new sense and a new connection of 'conjunction' in the art.

In my artistic project a.o.i. - lasting memories, I intervene in architecture with cross-discipline of visual art and music. That is the advanced artistic research from the study under Prof. Dr Martin Supper at UdK Berlin for new research in art. Thus, I needed to be 'lofty with the study of art in Fine arts, was my artistic research last 10 years with regards to the aesthetics and the philosophy of art. Otherwise, I had nothing x in my artistic sense to destroy my own myself.

The last work in this context is the series of B.O.D.Y. - そして、それから work in progress_ x "Pain of love".


E=mc2, Equation and Einstein's idea:
Energy equals mass times the speed of light squared.
Energy and mass (matter) are interchangeable.

Einstein said "Everything is energy and that's all there is to it. "


Sine wave as material today:

Humans are using it from health care, via enjoyment of communication to weapons.


Dimension of space in nature


Dimension of space in the brain


The sound is transmitted by vibration in the air. We also feel the sound through the skin.

The source of a sound vibrates, bumping into nearby air molecules which in turn bump into their neighbours, and so forth. This results in a wave of vibrations travelling through the air to the eardrum, which in turn also vibrates.

Thereby, I need to explain 'matter' in materiality, in terms of digital sound, which is a new sound source, that applies to the digital image as well.
The digital material in art, that is for us humans a new synthetic 'matter'. (Today's art teaching commonly -> cognition in epistemology)

Sound is represented us through vibration, and Image is represented us through light emission.

Cutaneous sensation is mediated by topographically distributed receptors of several kinds, innervated by different classes of afferent nerve fibers. These receptors are distributed in a grid pattern in the epidermis and dermis (Fig. 42-1; also see Chapters 8 and 34).

Vibration: Vibration in the skin is experienced when rapidly adapting touch sensors are stimulated rhythmically, for example when the hand strokes a texture, or when one sits on a chair and a truck is driving by, causing vibration of the floor. Receptor organs in the upper layer of the skin are sensitive to low frequency stimulation, the deeper receptors to high frequency stimulation (Sekuler and Blake, 1994).


 

Theory of Relativity in six sentences