Draft: Metamorphosis - Ethics and Aesthetics are One - from a Neuroscientific Perspective
Wittgenstein's "Ethics and Aesthetics are one" is the starting point of this research. "In the Notebooks, Wittgenstein states that 'the world and life are one', so perhaps the following can be said. Just as the aesthetic object is the single thing seen as if it were a whole world, so the ethical object, or life, is the multiplicity of the world seen as a single object". (Diané Collinson, The British Journal of Aesthetics, Volume 25, Issue 3, SUMMER 1985, pages 266-272)

Art transcends boundaries of race, nationality and gender. It is a creative act of unifying in the context of humanity, from the subject to the various topics, by asking questions. This point is the lack of "reality" (dealing with reality) from a sociological perspective. But it is impossible to define humanity and reality based on sociological statistics alone–is my perspective of Wittgenstein's "Ethics and Aesthetics are one". Thereby, I examine 'world and life' from the 21st century perspective.

The child's chair was suspended from the ceiling, and swing movement when you push them with your hands. Sound noise changes slightly due to its vibrations and spatial echoes. (I would like to set up the 7 children's chairs (with the sound) in a specific place. However, to detect the sound phenomenon through oscillatory motion, it would be a large (sound) installation.) What we can recognise from nature, is that natural phenomena don't happen very often. Nature is stable. Unless it is a volcanic explosion, the fire is a man-made disaster. The earth is a paradise-like environment for humans.

The sound changes slightly depending on the situation in the room. Viewing this sound installation allows visitors to discover the "subtleties".

For my Klang-Kunst/Sound Art Project, I needed to find a specific space for my artwork in the Urban Space, or in the Nature – Spatial Installation in an open space– It was not easy to find an optimal space for this project.

The exhibition and art project in an unconfigurable environment was an artistic challenge for me and a curator in Venice.

At the time, I was exploring the vibration of sound* and compositional installations.

An American composer Steven Reich had an interesting spatial installation (pendulum) with a feedback sound system and oscillatory motion using microphones in a room.

*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.

The wonder of generational (generative episodic memory) memory:

On August 6, 1945, when the atomic bomb was dropped, Rai (Fukuhara) NAKATSUI, who was left in the shadows, was my grandmother's mother and a schoolteacher.

Artist Tadashi TONOSHIKI 殿敷侃 (1942–1992), an atomic bomb survivor, was exposed to radiation when he was a child (3 years old at the time), just like my mother (5 years old at the time), and lost his father on that day. His mother died of atomic bomb disease a few years later.

There is a three-generation difference between me and Rai.

In Berlin, in Europe, I began a journey into my memories.

What TONOSHIKI's generation left us, in doing so, I have been exploring "time, space and body" in my own life. For me, the conflict in my self was a reflection of the historic catastrophe that ended in Japan in World War II.



On memory in 'my' body

Tonoshiki died in 1990 at the age of 50 after suffering from atomic bomb illness. In the early 80's, I visited his studio and talked about his work.

The people who were in Hiroshima at that time were not from the upper class, but for some reason, they were workers under military control in Hiroshima city.

Spatial installation in my artwork and Artist Tadashi TONOSHIKI, in the generational memory of Hiroshima

 On TONOSHIKI's work:

Spatiality and Meta-Notion as Knowledge in the real-world and Towards a Reality


– in-situ in a reality "Time, Space and Body"

His reality of body and memory in a time sense – to live

Toki no Wasuremono 時の忘れ物 / things left behind in time

http://tokinowasuremono.com/e/artist-b15-tonoshiki/index.html?

His print work is a masterpiece. He printed on Tesuki-Washi/ganpi, which I use also

http://tokinowasuremono.com/e/artist-b15-tonoshiki/13_fern.html

"Fern" (Provisional title)
Copperplate print on ganpi paper
Image size: 24.7×27.8cm
Sheet size: 32.5×36.8cm

http://tokinowasuremono.com/e/artist-b15-tonoshiki/08_block.html

A generation before him, Japan's world-renowned print artist also used this technique.

http://tokinowasuremono.com/e/artist-b15-tonoshiki/09_block.html

His father, like Rai, is also one of "left in the shadows" in the centre of Hiroshima.

His images consist of noise, is the detail of these images by TONOSHIKI.

– The question for 'Being' and Humanity

Theoretical exploration in Post-Feminism:

- History of Feminism (Western and Non-Western), Feminism in Art (Western and Non-Western) History

- Chromsome:

Chromosomes are the carriers of genes and thus hereditary information. A human cell usually contains 23 pairs of chromosomes, for a total of 46 chromosomes. One of these 23 pairs of chromosomes determines gender: in women it consists of two X chromosomes, in men it consists of one X and one Y chromosome.

Maleness and femaleness are NOT determined by having an X or a Y, since switching a couple of genes around can turn things upside down. In fact, there's a whole lot more to maleness and femaleness than X or Y chromosomes. About 1 in 20,000 men has no Y chromosome, instead having 2 Xs. (https://www.fhi.no/en/publ/2016/ikke-invasiv-prenatal-testing-nipt-for-kjonnsbestemmelse-av-foster.-metodev/)

Chromsome Y

Identifying genes on each chromosome is an active area of genetic research. Because researchers use different approaches to predict the number of genes on each chromosome, the estimated number of genes varies. The Y chromosome likely contains 70 to 200 genes that provide instructions for making proteins. Because only males have the Y chromosome, the genes on this chromosome tend to be involved in male sex determination and development. Sex is determined by the SRY gene, which is responsible for the development of a fetus into a male. Other genes on the Y chromosome are important for enabling men to father biological children (male fertility). (https://medlineplus.gov/genetics/chromosome/y/)

Das X-Chromosom als Modell für genetische Regulation

https://www.mpg.de/18548899/molgen_jb_2021

Research question 1 in the spatial installation "still/silent" (2011):

Describe the relationship of gravity and space in the installation "still/silent" (2011).

What is the effect of gravity in this work?
How do we perceive the effect of gravity?

Explain these on the topic of 'artistry' and the correspondence involved.

Therefore how technology would be involved in this artwork?

And for, which notion would be represented with the technology in this artwork?

---

In the context of art history, on minimalism

From classical minimalism to minimalsm in postmodernity

---

On assemblage in post-conceptual

- the topic of 'visible and invisible' in assemblage in the spatial installation, in which terms of notion of 'gravity' epistemologically and the relation to phenomenology.

Silence surrounds us, silence around us - X

GEM 2023 – Generative Episodic Memory: Interdisciplinary perspectives from neuroscience, psychology and philosophy

https://www.fens.org/news-activities/fens-and-societies-calendar/meeting-event/gem-2023-generative-episodic-memory-interdisciplinary-perspectives-from-neuroscience-psychology-and-philosophy

Metamorphosis in Geometry:

Visual composition

M.C. Escher (1898–1972)

Metamorphosis I, II, III

- M.C. Escher, Metamorphosis I, woodcut, printed on two sheets, May 1937

- M.C. Escher, Metamorphosis II, woodcut in black, green and brown, printed from twenty blocks, on three combined sheets, November 1939 – March 1940

- M.C. Escher, Metamorphosis III, woodcut in black, green and reddish brown, printed from thirty-three blocks on six combined sheets, mounted on canvas, partly coloured by hand, 1967-1968

https://www.escherinhetpaleis.nl/story-of-escher/metamorphosis-i-ii-iii/?lang=en

https://www.escherinhetpaleis.nl/story-of-escher/metamorphosis-i-ii-iii/?lang=en 

I believe, "If the Empire of Japan had surrendered to the Allied Forces one month earlier, there would have been no atomic bombing on humanity."

– "Still/Silent" (2011), the galerie weisser elefant in Berlin-Mitte, Germany, 2011

STOP THE WAR

Although each culture has a different story about the creation of humans and the world, but the scientific and medical facts are the common. (Since the global coronavirus pandemic, the world has been full of contradictions.)

Nowadays, new knowledge is spreading all over the world, and from a biological perspective, human history is a starting point of "rebirth".

Betty Gloria Miller^[1] (July 27, 1934 – December 3, 2012),^[2][3] also known as Bettigee (which was her signature on her artworks)^[4] was an American artist who became known as the "Mother of De'VIA" (Deaf View/Image Art).^[5]

https://en.wikipedia.org/wiki/Betty_G._Miller

Leon Lim (born in Kedah, Malaysia) is an artist, designer and photographer who was schooled in Kedah and Penang and lives in New York City. He has been profoundly deaf since birth and his deafness developed his strong sense of seeing. His independence began at the age of 14 when he started to live alone in Penang.^[1] He received his Bachelor of Fine Arts degree from Rochester Institute of Technology, New York. He competed in the second season of the Bravo television network's reality television series Work of Art: The Next Great Artist.^[2]

https://en.wikipedia.org/wiki/Leon_Lim

Andrew Clemens (c. January 29, 1857 – May 14, 1894) was a sand artist from Iowa in the United States. Clemens formed his pictures by compressing natural colored sands inside chemists' jars to create his works of art.

https://en.wikipedia.org/wiki/Andrew_Clemens

Nancy Rourke is an internationally known Deaf artist and ARTivist, with a focus in oil painting. Her pieces carry the themes of resistance, affirmation, and liberation, with stylings falling under 'Rourkeism' and 'Surdism'.^[1][2][3][4]

https://en.wikipedia.org/wiki/Nancy_Rourke

Granville Richard Seymour Redmond (March 9, 1871 – May 24, 1935) was an American landscape painter and exponent of Tonalism and California Impressionism. He was also an occasional actor for his friend Charlie Chaplin.

https://en.wikipedia.org/wiki/Granville_Redmond

This performance in the installation still/silent (2011) solo by Erika Matsunami  has consisted of the video and the multi-channel mono discrete sound that takes place while the audience looks into the room. There were the layers of three spatial artworks (spatial installation, video and multi-channel sound installation for live electronics) in a room.
The video (without sound, silently) shows only the information; the names, years, and locations of world wars after the dropping atomic bomb on August 9, 1945 (after the dropping atomic bomb on Hiroshima and Nagasaki in 1945) till 2011. Thereby the sound was an improvisation(live electronics) -performance.

In 1947, the atomic bombings of Hiroshima and Nagasaki were still classified as military secrets by the Allies, and people did not have easy access to them.

In Japan, it was taboo to mention the dropping of the atomic bomb to Emperor Showa (1901–1989) until his death and in the 1990s.
According to my great-uncle-in-law Etsuo, in the summer of 1946, a year after the atomic bomb was dropped on August 9, 1945, a university professor confirmed that there were survivors among the students from the Faculty of Science* at Hiroshima University who were evacuated from Hiroshima. He called up to rebuild the Faculty of Science building and resume classes.

They began reconstruction work for their study in Master of Science at Hiroshima University in 1947. (It was two years later)

Their master of sceince projects, including my great-aunt's Hideko, were research into quantum electronics**. They commissioned the glass craftsman to make the vacuum tube gas installations at a time when nothing existed.

They were able to imagine what happened at ground zero in Hiroshima.

*The Faculty of Science is an academic field that unravels the workings of nature in fields such as mathematics, biology, science, and physics, as the name suggests. The Faculty of Science, which conducts research to elucidate theories from an abstract level, includes departments such as the Department of Mathematics, Department of Chemistry, Department of Physics, Department of Biology, and Department of Earth Science.

**Quantum electronics is a technology that uses transitions between quantum mechanical steady states of atoms and molecules to amplify, oscillate, or detect high frequencies, and is applied to communication, measurement, information processing, etc.

Relativity (1953), Lithography, M.C. Escher

Probably, today's time, space, and body
on Being in M.C. Escher

Similaire n°1 (1970)

from Complete Works 02 by Luc Ferrari

On Sound composition

- From surrealism to musique concrète

From automatism to an experimental technique of musical composition using recorded sounds as raw material.

From tape (electro-magnetic) to digital sound (sonic).

What is an electro-acustic music and what is an electro music?

(From B.O.D.Y. and  Still/Silent to Two lines and a.o.i. - lasting memories)

Artistic research What is a musical error?

Andrew Clemens's sand art.

https://commons.wikimedia.org/wiki/File:Sand_Art_Andrew_Clemens.jpg

Notice:

 Each piece of artwork is composed of layered sand that is naturally colored, and sourced all within America, no adhesive was used keep the sand in place.

Andrew Clemens (January 29, 1857 – May 14, 1894) was an American deaf sand artist who formed his pictures by compressing natural colored sands inside chemists' jars to create his works of art. At a young age Andrew experienced encephalitis which caused his lifelong deafness. At the age of 13 Clemens was entered into the Iowa State School for the Deaf in Council Bluffs, lowa.

A world without the sound of outer world from Andrew Clemens's view, I thought probably it was a starting point of (American) conceptual art, but it was not organized as an art movement yet.

– A world that transcends technique and materiality, is a work of art

The colorful sand art objects tell a story of American materialism, symbolism, and capitalist exploitation since the British Industrial Revolution (1760-1840). They were all sealed inside the glass jar. This point is a conceptual perspective that differs from critical theory of painting. His work then asks the viewer whether his work is an "art object" or "goods" ? – It's an artifact.

The California gold rush (1848–1855) was a gold rush that began on January 24, 1848.

According to the United States Geological Survey, Nevada is the leading gold producer in the U.S., responsible for nearly 84% of the country's gold. Most of this gold comes from the Carlin Trend, a line of mines and prospects north of Carlin, Nevada, known as North America's largest concentration of gold deposits.

Quantum physics in neuroscience and psychology: a neurophysical model of mind–brain interaction

ABSTRACT

Climate Change

Five key greenhouse gases are carbon dioxide, nitrous oxide, methane, chlorofluorocarbons, and water vapor. While the Sun has played a role in past climate changes, the evidence shows the current warming cannot be explained by the Sun.

https://science.nasa.gov/climate-change/causes/

Climate change refers to long-term shifts in temperatures and weather patterns. Such shifts can be natural, due to changes in the sun’s activity or large volcanic eruptions. But since the 1800s, human activities have been the main driver of climate change, primarily due to the burning of fossil fuels like coal, oil and gas.

Burning fossil fuels generates greenhouse gas emissions that act like a blanket wrapped around the Earth, trapping the sun’s heat and raising temperatures.

https://www.un.org/en/climatechange/what-is-climate-change

The effects of human-caused global warming are happening now, are irreversible for people alive today, and will worsen as long as humans add greenhouse gases to the atmosphere.

https://science.nasa.gov/climate-change/effects/

Science, Solutions, Solidarity

https://www.un.org/en/climatechange

Homage (Respect) to Ryuichi Sakamoto, for his life work.
"decaying,
the flow of time
Awareness
decaying,
It's the appearance
without sound,
 its still, in silence”
– Erika Matsunami, 5.5.2024, Berlin

朽ちていく、
時の流れの
あはれさを
朽ちていく、
姿こそ
忍びなく、オマージュ（敬意）、坂本龍一氏へ、松並えりか、ベルリンにて、２０２４年５月５日

Robert Ryman: The Act of Looking at Musée de l’Orangerie

Richard Hunt (September 12, 1935 – December 16, 2023)
Branching Construction, 1961
Welded steel and bronze, 73 7/8 × 27 1/8 × 19 7/8 in., Whitney Museum of American Art, New York

Research question 1-2 in Branching Constuction, 1961

Describe the relationship of gravity and material, also its procedure in "Branching Constuction" (1961).

Explain these on the topic of 'artistry' and correspondence involved.

Therefore how the technology would be involved in this artwork?

And for, which notion would be represented with the technology in this artwork?

---

In the process of creating sculptures, changing method (materiality and technique) from the classic methodology of making molds from clay and pouring bronze into them.

What is an 'assemblage' in sculpture?

'assemblage' in ontological methaphysics

on the topic of 'being' in methaphysics.

From classical ontology to postmodernism in sculpture

The concept of time here is in the joint of two different materiality.

For example, the notion of time in wood and iron
Wood has distortions.
Iron rusts.

Oxidation causes this natural material to decay.

Ryman's work at Musée de l'Orangerie has gaps on two-dimensional surface, that gap gives us attention. These gaps would give an association of notation on a monotone (monochrome) painting. – A depicted world without colour

If the work allows us to touch 'it', the feeling of touching it may also have meaning. It's a poetic work, probably it's a socio-political work. In a world without colour, the worldview is inverted.

Robert Ryman (May 30, 1930 – February 8, 2019) was an American painter.

I have great respect for the sensibilities of American postmodern artists, especially for the New Yorker Artists.

Artistic confrontation for survival by American Postmodern Artists as an art movement towards American Idealism and Capitalism*.
It makes the society alive.

*A controversy about a new method and seeing-in towards classical formalism in painting.

The state of nature (hypothesis)

In a reality

Not everyone can photograph a “naked person” under specific condition.
This is only permitted under limited conditions and circumstances. Not everyone can exhibit “their own creations”.

“Private” may be shown in certain limited locations and under certain conditions.

Private is fundamentally protected.

This raises many questions about human beings in industrialized society, such as on the topic of freedom and hunamity.

References:

Knowledge through imagination, Amy Kind, Peter Kung, 2016

Ecology of brain, Thomas Fuchs, 2017

Aesthetics as philosophy of perception, Bence Nanay, 2016

keywords: cybernetics; gender-fluid; fiction; transferred autonomy; queer posthumanism; viral aesthetic;

Exercise 1:
How to read this article and information in this article.
Transcript into metacode

On rite Of spring (2005) by Joseph Nechvatal
computer-robotic assisted acrylic on canvas

Erika Matsunami

rite Of spring (2005) by Joseph Nechvatal, a mystic and mysterious monochrome acrylic painting raises questions for "viewing'' (appreciation) and "beyond the creator's intentions'' (creativity).

“Ich möchte über das Pathos hinaus die Bewegung ordnen.“

 Paul Klee, September 1914

According to Roman Barthosch and Julia Hoydis in their article Narrating the Edges of Humanity: Conceptions of Posthumanism in Anglophone Fiction, "Focusing on the symbiotic interdependencies between the human, the animal, and the machine as well as ethically charged ontological distinctions between the human and the nonhuman, the general preoccupation of posthumanism is seeking a redefinition of the category of the human. As a philosophical concept, it also interrogates the legacies of Western humanism and captures the tension between perceived risk of losing the traits of the 'essential' human, which Francis Fukuyama, for lack of a better term, calls the "Factor X" (2002, 149), and the embrace of new possibilities of (co)existence, as envisioned, for example, in Pramod K. Nayar's notion of a "species cosmopolitanism" (2014, 150)."

The monochrome world was drawn by the assisted computer robotic on a two-dimensional canvas is virtual, without the perspective of the world we "seeing-in"in the real world.

The creativity brought about by the narrativity of this robot-assisted acrylic painting–that is free of depictions–between the random construction and collapse of a certain rhythm is unintentional space and time. There is no category of gender in our 'thoughts'; rather, gender is 'intangible' in relation to the "I" of physical existence. It might be possible to begin to think in this fiction that "I" does not lie in my thoughts, but it exists in ‘my’ DNA. There, traces of memory are also intangible. The secret of the life force lies not in an external paradigm but in a series of random events, and its possibilities are immeasurable. Needless to say, today's science has proven that this invisible and a collection of cells formed by formless information is our individual "essentiality", one is by Genomic sequencing research.

Pathos and Cybernetics in Art which refers to Rhetoric: The word "pathos" has undergone many changes in meaning since it was first systematically defined in Greek rhetoric, the basis of all traditions after ancient Greek culture. In rhetoric, pathos refers to the means of persuasion in speech. In the context of Post-Warhol's painting, in which the' world and life' would be involved, that is more organic and biological. – The transition from metaphysical inorganic to organic in art since the 1980s.

As for the relationship between image and information, the image consists of a group of encodings because the information such as B -> x7  + [} <---, with which methodological research began, for example at the beginning of the 20th century by Paul Klee in the context of fine art and music–He started to design fictional virtuality methodologically–that was his paintings with a new mode–which referred to visual code and its logic through lines and colours. He explored these methods for his teaching at that time, which was the so-called 'visual poem' (organisational visual composition). At first glance, the methods of creating space-time on a canvas of two-dimensional space using the visibility of lines and colours may seem similar, yet Joseph Nechvatal's visual fiction is a completely different methodology than that of Paul Klee. But rather in contrast. Paul Klee advanced the evolution of language through compositions based on a new mode of visual code. Joseph Nechvatald's methodology is a shift from drawing to visual expression through writing. The visual mode that we see and the composition of that visual mode are the same and are not acts. The act of drawing has been transformed into the act of programming.

My challenge to explore from the mechanical aspect:

Joseph Nechvatal's work of context, in which has been explored 'automatism', was coined by surrealists, MANIFESTO OF SURREALISM was issued by André Breton in 1924. André Masson (1896–1987), his experimenting of automatic drawing with a group  in 1923 was a starting point of surrealism. 100 years later, nowadays, I would like to note that an interpretation of the digital as material requires an understanding about the transfer of coding in the structure of the computer system. (Reference: Artistic Research N.N - Zwischenliend) Empirical experiments in science have methodologies for creating virtual situations, but this is different from that virtual world. It is necessary to consider modern diversification, such as the virtual world, which cannot be simply called, which case also applies to the concept of automatic which was coined by the original surrealist's concept today. 

This quote is an excerpt from an essay written by Lyndsey Jennings about the work of Joseph Nechvatal.

"(...) Nechvatal's work stretches to many fields, including music, computer coding and writing. He is also a researcher, who looks into the possibilities of using viruses to produce chaotic elements into an image. 

To create the works in bOdy pandemOnium, Nechvatal used a custom virus program created by Sikora in the C++ programming language. Sikora's virus invades, destroys, and transforms Nechvatal's painterly images, which are based on intimate parts of the body. The images were initially taken from online medical images. The painting frOnt windOw retinal autOmat displays the eye and rectum, which represent the highest and the lowest orifices of the human body.[1]"

What I would like to focus on here is Nechvatal's research into the possibility of using viruses to create chaotic elements in images. To create the works in bOdy pandemOnium, Nechvatal used his custom virus program that his Sikora created in his C++ programming language. Sikora's virus invades, destroys, and transforms Nekvatar's pictorial image, which is based on intimate parts of the body. The images are originally obtained from online medical images–in this method, I refer to this "image" as a template or schema–a virus infiltrates the digital image and causes it to collapse. It's like a virus entering your body and destroying your cells. Antibodies resist the virus, and the destroyed environment repeats the reproduction of the virus, resistance by antibodies, and reproduction. The technique and method are completely different from the collage technique of "cutting and pasting'' used by DADA art movement. The random repetition of invasion, destruction, reproduction, and reproduction in time and space is a phenomenon created by computer programming techniques as the method. – What new creativity do they bring us?

The act of driving a car, riding a bicycle, or using an instrument becomes part of our human senses. From this point of view, my questions are between "viewing'' (appreciation) and "beyond the creator's intentions'' (creativity) about what applies perhaps to our human evolution in the 21st century. 

keywords: cybernetics; gender-fluid; fiction; transferred autonomy; queer posthumanism; viral aesthetic;

As a counclution of this artistic research B.O.D.Y. - the second skin / Space-y / Metamorphosis, I dealt with the research theme in the context of practic-based artistic research transversally.
"Art transcends boundaries of race, nationality and gender. It is a creative act of unifying in the context of humanity, from the subject to the various topics, by asking questions. This point is the lack of "reality" (dealing with reality) from a sociological perspective. But it is impossible to define humanity and reality based on sociological statistics alone–is my perspective of Wittgenstein's "Ethics and Aesthetics are one". Thereby, I examine 'world and life' from the 21st century perspective."

I am writing a review rite Of spring (2005) by Jsoseph Necvatal and an article Space-y / Metamorphosis.

Joseph Nechvatal

by: Lyndsey Jennings

Viractualism 

Viractualism is a term created by artist Joseph Nechvatal in 1999 to explain a conceptual art theory, which means the interface between the biological and the technical. “The basis of the viractual conception is that virtual producing computer technology has become a noteworthy means for making and understanding contemporary art. This brings art to a place where one finds the merging of the computed (the virtual) with the uncomputed corporeal (the actual).”[1]

In order to bring these two elements together Nechvatal often creates animation and images depicting biological elements.The work then gets put through a series of adaptations involving a man made computer virus, which etches away and changes the image. The final output is then painted onto a canvas using acrylic paint by means of a robot. As well as bringing elements of biology and technology together it also comments on the idea of traditional art media being replicated by mechanical means. Nechvatal's work stretches to many fields, including music, computer coding and writing. He is also a researcher, who looks into the possibilities of using viruses to produce chaotic elements into an image. 

To create the works in bOdy pandemOnium, Nechvatal used a custom virus program created by Sikora in the C++ programming language. Sikora's virus invades, destroys, and transforms Nechvatal's painterly images, which are based on intimate parts of the body. The images were initially taken from online medical images. The painting frOnt windOw retinal autOmat displays the eye and rectum, which represent the highest and the lowest orifices of the human body.[1]

https://www.doc.gold.ac.uk/creativeprojects/index.php/work/joseph-nechvatal/

The A-life Undeadening of Painting via the Digital[1]

Joseph Nechvatal

“Eroticism which is a fusion, which shifts interest away from and beyond the
person and his limits, is nevertheless expressed by an object. We are
faced with the paradox of an object which implies the abolition of the
limits of all objects, of an erotic object.”

-Georges Bataille [}

For me, the digital has brought back from the dead the practice of
painting. It has made it alive. It has made it bloom in the
enthusiastic and relevant sense of the word alive -
but it has made painting alive in a more specific sense also, as I
began mixing my digital painting practice with techniques of
artificial life (a-life). Therefore the digital as applied to painting
excites me - and this excitement allows me to work with passion.


A curious alliance: the cold impersonality of technology with the heat
of ecstasy.

https://intertheory.org/Nechvatal.htm

Theory of Art

Philosophy of Art

Aesthetics

Anthropology

With art mediums of drawing, text, photography, sound composition and spatial installation

The research method is Multimodal Minimalism with various art mediums, its assemblage

The aim of the project is that it's concerned with develop the study of geometry, which I transform from the biological to the literary. This is my artistic challenge of geometry in the sense of humanity, like the linguistic logic, the feeling, etc. in a certain way. - How do we live with nature, in urbanic (urbanised) nature and its coexistence with all of us (humans)?

Outline: Metamorphosis - Ethics and Aesthetics are One - from a Neuroscience Perspective
Wittgenstein's "Ethics and Aesthetics are one" is the starting point of this research. "In the Notebooks, Wittgenstein states that 'the world and life are one', so perhaps the following can be said. Just as the aesthetic object is the single thing seen as if it were a whole world, so the ethical object, or life, is the multiplicity of the world seen as a single object". (Diané Collinson, The British Journal of Aesthetics, Volume 25, Issue 3, SUMMER 1985, pages 266-272)

Art transcends boundaries of race, nationality and gender. It is a creative act of unifying in the context of humanity, from the subject to the various topics, by asking questions. This point is the lack of "reality" (dealing with reality) from a sociological perspective. But it is impossible to define humanity and reality based on sociological statistics alone–is my perspective of Wittgenstein's "Ethics and Aesthetics are one". Thereby, I examine 'world and life' from the 21st century perspective.

Reference: Metamorphosis in Geometry
M.C. Escher (1898–1972)
Metamorphosis I, II, III:
Metamorphosis I (1937), Prints, Woodcuts
Metamorphosis II (1939/1940). Prints, Woodcuts
Metamorphosis III (1967–1968), Prints, Woodcuts

Relativity (1953), Lithography