Abstract 

On ‘R’ - intermediate ‘R’ and the collective as a unit

Erika Matsunami

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.

In current artistic research Metamorphosis - Ethics and Aesthetics are One - from a Neuroscientific Perspective II (2025), I am exploring two types of communication "near and far", on-site community and long-distance community. Here, I refer not to community, which is a social function, but to methodologically about the intermediate 'R' between social and meta-knowledge and its notion of the collective as a unit. - on ‘R’

Thus, I challenge myself to deal with Mental Imaginary (Bence Nanay, 2023,OUP) Ch. III. Multimodal Perception and IV. Cognition in the context of a Neuroscientific Perspective.

Keywords: transversality; interface (interact); post-conceptual; assemblage; spatiality; randomness;

Introduction

“Neither the sense nor the meaning of a proposition is a tangible entity. These terms serve as incomplete symbols. It is evident that we comprehend propositions without necessarily knowing their truth value. However, we can ascertain the meaning of a proposition only when we determine whether it is true or false. What we grasp is the sense of the proposition.”

To fully comprehend a proposition \( p \), it is insufficient to merely recognize that \( p \) implies "p is true we must also understand that \( \neg p \) implies "p is false. This illustrates the bipolarity of the proposition. We grasp a proposition when we understand its constituents and forms. If we know the meanings of "a" and and if we understand what "xRy" signifies for all \( x \) and \( y \), then we also comprehend I understand the proposition "aRb" when I recognize that either the fact that \( aRb \) or the fact that \( \neg aRb \) corresponds to it. However, this should not be confused with the erroneous belief that I understand "aRb" simply because I know that "aRb or \( \neg aRb \)

This artistic research, titled Ethics and Aesthetics are One from a Neuroscientific Perspective (2024, Erika Matsunami), further investigates the thesis that "nature has no answers." In Ethics and Aesthetics are One from a Neuroscientific Perspective II (2025, Erika Matsunami), the focus shifts to exploring the concepts of time and space in relation to the framework of aRb through art. The propositions and B, or B, and into B, new meanings for us. Consequently, the question arises: how can 'into' function as a preposition? I propose examining the potential implications of time and space in the phrase into B as a methodological approach. The question now is: What constitutes a proposition?

Time and Space: From Niels Bohr to Albert Einstein

My research perspective on Joseph Nechvatal’s work focuses on the interplay of time and space through the lens of perception. In the 21st century, we recognize that time is neither a tempo, a line, a circle, nor merely a connection of points. Consequently, I delve into this complex concept of time and space.

“For me, the validity of art noise rests on the assumption that while rhizomatic growth and interrelations are unpredictable, this does not imply that they occur randomly. Noise may disrupt certain connections, but new connections will always continue to develop in other directions, generating new thoughts and new affects. The concept of noise as a form of creation is, therefore, an important idea that warrants reconsideration and reevaluation.” - Joseph Nechvatal in "Immersion Into Noise" (2011)

What is ‘nature’?

What is ‘human nature’?

Joseph Nechvatal explored noise music and art noise, as well as the noise culture that emerged from the aspirations of artists in American art and culture during the post-war period. This exploration began even before the conclusion of World War II. Nechvatal examined our human cultural desires within an art historical context. My focus in this artistic research, titled and Aesthetics are One: A Neuroscientific Perspective II, addresses the concept of 'Subjective-Objectivity' as articulated by Nechvatal in Bence Nanay’s research on 'Mental Imagery' integrates philosophy, psychology, and neuroscience. For me, this represents an exploration of the interplay between proposition, subjectivity, and objectivity, particularly in relation to the mind and logic, as well as the mind and body.

In the B.O.D.Y. Project:

What is the role of 'Nature' in our bodies from a methodological perspective?

I explore the concepts of time and space, from Niels Bohr to Albert Einstein, with a focus on light and waves. What are the shapes and boundaries within our bodies? This inquiry leads us toward a deeper understanding of transversal aesthetics. In conclusion, I propose a methodological approach to the concept of the intermediate 'R' that exists between social knowledge and meta-knowledge, as well as its understanding of the collective as a unit—referred to as 'R'.

The aim of this artistic research, titled and Aesthetics are One: From a Neuroscientific Perspective II, is to methodically explore the concepts of and peace within the context of art and science in the 21st century. In other words, my challenge in this artistic inquiry is to investigate the ethical and aesthetic principles of regeneration, sustainability, and coexistence. The significance of this exploration lies in the examination of Wittgenstein's aRb, particularly concerning the development of circularity and its structure as a solution to the problem of perpetually recurring "beginnings and ends how it ultimately breaks off. Consequently, Joseph Nechvatal's essay a potential solution for achieving collectivity through our bodily senses.

Immersion into Noise

 I have been exploring the contributions of American artist Joseph Nechvatal, particularly his work Into Noise” (2011). In this endeavor, I am challenging myself to examine his significant contribution from a neuroscientific perspective. Nechvatal's work is not merely an exploration of the nature of noise; rather, it delves into the creativity involved in confronting noise and, by extension, confronting oneself. Additionally, it addresses the historical and cultural (philosophical) implications of our understanding of noise—specifically, the interplay between imagination and knowledge. 

I contend that it is not an exaggeration to assert that cultural noise and noise art symbolize the underlying chaos and suffering inherent in humanity, as well as the latent social issues, particularly those related to the environment. These forms of expression address and explore the subjective nature of ethics in postmodernism.

Here, I have selected three works by Joseph Nechvatal, along with an image (Figure from the book *Immersion Into Noise*), to illustrate the concept of flowing citations. 

Uplifting, 1983, 11 x 14 inches, graphite on paper, by Joseph Nechvatal.

Palace of Power, 11 x 14 inches, graphite on paper, 1984, by Joseph Nechvatal

End of the World, 1980, by Joseph Nechvatal

Hiroshima after the Dropping of the Atomic Bomb, 1945

Hiroshima lost everything except for the memories of individuals and the deceased, or fragments of their lives, when the atomic bomb was dropped on August 6, 1945. It is a city that vanished from history. The same is true for Nagasaki, which also lost everything when the atomic bomb was dropped on August 9, 1945.

“With this in mind, we shall now turn our attention to what I perceive as the genesis of immersive noise vision: the adorned prehistoric cave. We will approach the resplendent prehistoric cave with the understanding that, according to Marshall McLuhan (1911-1980), form influences the process of mediation, which in turn shapes meaning.”

A prehistoric painted cave is all that, enhanced moreover through the emotional defamiliarizational powers of art. 

(...)

Gradually during the Gravettian Period (approximately 20,000 to 25,000 years ago), people began to embellish the walls and ceilings of a few small shallow caves. 

(...)

To enter a cave is to move into it and, as such, initially involves a directedness away from the periphery and to- ward depth, toward noisy density, and away from dispersion. 

(...)

The regular waxing and waning of light is often dramatically altered in its character and intensity by the apparent vicissitudes of changing atmospheric conditions. In order to realize how essential this combination of direct and diffused light is to our sense of well-being, one need only recall the deadening aftermath of a heavy overcast day when the whole world seems to be enshrouded in a pervasive melancholy.”

Maybe ancient memories in caves are close to the memories I have from when "I" was fertilized until I was born into this world from the darkness - to feel the light and to start to cry. 

His exploration of noise culture extends beyond the advances in science since the modern 19th century to the origins of "human cognition, linguistics, and space-time."

What is human evolution? I believe it is semiotically linked to language. For example, DNA is code for life.

The insights generated by Noise went beyond Renaissance geometry and proposed a new economy of time and space in the 20th century. Probably, we live closer to nature today, but it is synthetic in the sense of Simultaneously, Stimuli, and Simulation. They go beyond the concepts of "materiality and immateriality" and bring us a new linguistic quality.

Joseph Nechvatal mentioned in the chapter Noise Vision “Now the noise eye and ear has been removed from the action of the rite and separated from the whole and

placed at rest, aloof and detached through distance by the mounting stone seats which semi-circle the spherical omphalos-based orchestra pit. What an emphasis on aesthetic immersion into noise does, is to place us back into a ritual position by dragging art down into the felt 360° noise-perspective of the enthusiastic and participatory (if we fight to

overcome cultural impediments).” While subjectively reading the cultural history of ancient Greece from the mind-boggling ancient murals, I feel that this essay Immersion Into Noise by Joseph Nechvatal, which embodies the origins of Western art, is itself a dark underground cave. And then, I come out at the exit of the modern age.

Destruction, death, chaos, hallucinations - At the end of the world in the 20th century:

(Please imagine: Figure 2– Palace of Power, 11x14” graphite on paper, 1984, Joseph Nechvatal)

“One can say with assurance that his thinking consisted of a meditation on, and fulfil-ment of, transgressions through excess. Thus Bataille's Visions of Excess immediately impressed me as it resonated handsomely with the overloaded nature of my palimpsest-like grey graphite drawings from the early-1980s (which were reflective of the time's concerns with the proliferation of ideology connected to the proliferation of nuclear weapons).”

(Please imagine: Figure 3– End of the World (1980), Joseph Nechvatal)

“As Rudolf de Lippe pointed out in his book La Géometrisation de l'Homme en Europe à L'Epoque Moderne, increasingly in the Modern era the geometricization of human vision became the general methodical condition in the West, characterized by an analytical sight which decomposes the immersive noise vision sphere into geometricized fragmented parts. This is a modern technological vision whose effectiveness lies in its tendency to isolate and decontextualize noise scope. Indeed, modern technology had an enormous social impact in the 20th century in this, and other, respects. The automobile and electric power, for instance, radi- cally changed both the scale and the quality of 20th century life, promoting a process of rapid urbanization and a substantial change in lifestyle through mass production of household goods and appliances. The rapid development of the aeroplane, the cinema, and the radio made the world seem suddenly smaller and more accessible. Since 1900, the speed of travel has increased by a factor of 10 to the 2nd power, known energy resources by 10 to the 3rd, explosive power of weaponry by 10 to the 6th, and speed of communication by 10 to the 7th power. Such new ways of understanding involve a change in perspective, and that change is marked in the 20th century by an extended propensity for immersion into noise.”

I am grateful that Nechvatal's essay "Immersion Into Noise", is true. It strongly points to the need for the 21st century to break away from the 20th century Western concept of nation-state: Those are which imperialism is based on socialism in liberal economics and which militarism is based on socialism and communism, and which notion of 'universality' in worldview to move towards neocolonialism in the 21st century.

“I have deduced that something in the consciousness of society was altered following the war and have further deduced that the bombing of civilian centers in the course of the war (that is, Köln, London, Tokyo) culminating with the American atomic bombings of the civilian Japanese cities, Hiroshima on August 6th, 1945 (circa 140,000 victims) and Nagasaki on August 9th, 1945 (circa 70,000 victims), changed the world's sense of space radically.

(...)

The first nuclear weapons were bombs delivered by aircraft. War- heads for strategic ballistic missiles, however, have become by far the most important nuclear weapons. The U.S. stockpile of nuclear weapons, which included the hydrogen bomb that was first test exploded in 1952, reached its peak in 1967 with more than 32,000 warheads of 30 different types. The Soviet stockpile reached its peak of about 33,000 warheads in 1988. Throughout the ballistic missile arms race, the United States tended to streamline its weapons, seeking greater accuracy and lower ex- plosive power, or yield. Most U.S. systems carried warheads of less than one megaton, with the largest being the nine-megaton Titan II, in ser- vice from 1963 through 1987. Meanwhile, the Soviet Union, perhaps to make up for its difficulties in solving guidance problems, concentrated on larger missiles and higher yields. The Soviet warheads often exceeded five megatons, with the largest being a 20 to 25-megaton warhead deployed on the SS-7 Saddler from 1961 to 1980 and a 25-megaton warhead on the SS-9 Scarp, deployed from 1967 to 1982. Hence at mid-20th century, space became the range of both humanity's greatest fears (nuclear extinc- tion of life on the planet) and its boldest aspirations (co-operative peace- ful space exploration).

(...)

In terms of a transformation of our sense of internal space, I find it amazing that Dr. Albert Hofmann (a biochemist at the Sandoz pharmaceutical firm in Basel, Switzerland) accidentally discovered LSD (lysergic acid diethylamide tartrate) the same year that rocket-launched bombs began to drop from the sky: 1943. LSD was first synthesized in 1938

(Please imagine: Figure 15 / 4– Hiroshima after the dropping of the atomic bomb, 1945)

by Hofmann but he did not know what he had synthesized until 1943 when he accidentally absorbed a small amount of LSD (which is color- less, odorless, and tasteless) and thus discovered its visionary properties. With this ingestion, Hoffman, after surveying the room he was in, realized that he now formed a nice noise continuum with everything in sight. The room seemed to shimmer in the sunlight, and he became aware of the atomic substructure that underlay the visible world of the senses.”

The speed and sophistication of mobilization within the new world organisation of the erased borders, in the digital age in the 21st century, means that it showed us to have even more nuclear weapons than in the 20th century.

On March 15, 2025 according to Deutsche Welle: “US missiles in Germany: Germany has lived under the US nuclear shield for decades. Up to 20 US nuclear weapons are stationed at a Bundeswehr airbase in Büchel in the state of Rhineland-Palatinate. Only the US president has the code to release them. However, theBundeswehr supplies the fighter planes that would fly them to their targets in an emergency. "Nuclear sharing" is what NATO calls this jointly organized nuclear deterrence with US weapons, and which also extends to other European countries.” Would you entrust the future life, death, and destruction of humanity to the President of the United States or/and the president of Russia or both? – To understand a proposition p it is not enough to know that p implies "p is true", but we must also know that -p implies "p is false".– These military conflicts around the world, which at first glance seem to be caused by bipolar politics, but rather our reality of capitalism and the world economy and politics, so called the world and our life.

“This reciprocity of rupture and rapture is of utmost consequence. The rupture of noise is the embedded, immersive and immanent space from which the signal comes and to where it goes. Noise in art deconstructs signalness/thingness by functioning as a self-withholding ground for signal: something raw beneath and beyond conceptual language. (From Notes 389: In this sense, noise art equates to the sound of the rage of the sea—the sea being the source of all life.)
But noise has no inherent value. It can be awful for you, or grand. It can be grand when it reminds us of the marvellous: that preeminent primal energy that surrounds and forms us, both beneath and beyond us—and when it de-metaphors our techno-mechanical society.  (Notes 390: For a probing investigation of this subject, see Quentin Meillassoux’s After Finitude: An Essay on the Necessity of Contingency (London: Continuum, 2008).)
But mostly, it is gradational and, as such, a conceptual tool for the judicious revolutionary: those that coordinate reason and irrationality, harmony and dissidence, lucidity and obtuseness in the interests of open-minded transformation.”

How Joseph Nechvatal evokes through art those that coordinate reason and irrationality, harmony and dissidence, lucidity and obtuseness in the interests of open-minded transformation may not be far-fetched from the perspective of 21st-century molecular biology and neuroscience.                                                          

    A problem with logic: Kant's idealist paradigm assumes that any difference from reality is a "false." - Is it true or false? For example, the difference between an indigenous Brazilian activism in Brazil (Private) and a poster of indigenous (anti-racism) by a white Brazilians’ in Brazil (Institutional) about artistic research in Germany. In this case, I think it's not Kant's idealist (Idealism) paradigm that's false, but rather the problem lies in the ontology. Thereby, I am exploring a new polarity in my lithography studio in Berlin by contrasting (on porarity) lithography with the Japanese aesthetic of wabi-sabi is because I am exploring it for the invisible German culture that was lost in academia when the German Nazis burned books almost 100 years ago.

Is visible true? or is invisible true?

– On R

Figure 5 –Lithography Untitled*Synapse, “Memory of the Stone”, Drawing on Stone (in the process) Erika Matsunami, 2025

Figure 6 –Lithography Untitled*Synapse, “Memory of the Stone”, Drawing on Stone (completed), Erika Matsunami, 2025

In the 20th century, Our creation was mainly intentional, but in the 21st century, we are exploring interactive and its diversity with half-automatic creativity – so-called Human and Non-human society.

What is a space (world) and time (life) in terms of ‘conscious’ and ‘unconscious mind’:

I have been exploring Bence Nanay's research since I subscribed to and explored his book "Aesthetics as Philosophy of Perception" (OUP, 2016) in 2016. Understanding art as philosophy led me to the question, "What kind of knowledge can art become, rather than a cultural custom?" However, I had doubts about Western "recognition" (the worldview of traditional epistemology that has become habitual over a long history).

  Around the same time, I read an article about Aesthetics from Neuroscience (Neuroaesthetics, which was coined as a term by Semir Zeki in 1999), a presentation of the research of Dr. Semir Zeki who is a French and British neurobiologist and his research with Japanese neuroscientists.                                                                             

    The reason I am exploring Bence Nanay's research book "Mental Imagery" (OUP, 2023) is what we call "心象/shinsho" in Japanese. I do not translate "心象/shinsho" into English as mental image. What is the difference?:  Is it the difference between written characters (象形文字/shoukei moji-association) and alphabets (phonetic language-articulation)? No, more than that, I argue that the perspective is different. This perspective expression, I call "subjective objectivity."

“Here is an analogy that might be helpful for explaining the role mental imagery plays in these two experimental paradigms. Imagine a ball that has a letter A painted on one side. The ball rolls on, and the letter A is no longer visible because it is now at the side of the ball that is facing away from us. We know from the amodal completion studies that it is still represented amodally—by means of mental imagery. The same goes for the object-specific preview benefit cases.2 And, mutatis mutandis, for trans-saccadic memory. The general gist of my argument is that we should not underappreciate mental imagery. Mental imagery is intricately complex. And it can do all the jobs that object files were posited to do.”

The development of technology has put limits on our "knowledge through perception," which calls into question our human capabilities. - It changes in the "world"

   When we consider these things from a religious perspective, in Christianity, when we humans begin to be able to academically confirm the vastness of the universe and the depth of the ocean, we realize that no one can know that God is a man. Our desire is "academic freedom," and we know that pursuing "academic freedom" also means the freedom to choose not to study. In Buddhism, it is the teaching of nature that life is always about exploration.

Bence Nanay in his book "Mental imagery" (OUP. 2023) explores in a modern way how these actions are essential for us humans until we die.

“In short, mental imagery can lead to new information and even knowledge. But even if mental imagery can lead to new information and even knowledge, this does not mean that it always, or even often, does so. And given the significant role mental imagery plays in everyday perception—our primary source of knowledge—we need to examine the epistemic credentials of the forms of mental imagery that are involved in perception.

(...)

Perception is supposed to be a good source of knowledge because perception tracks truth. But mental imagery is, by definition, a step removed from the truth it is supposed to track. Of course it can track truth, albeit in a fallible manner. The mental imagery used for filling in the blind spot, for example, is really very reliable. It can be fooled, but in the vast majority of cases it isn’t. So the mental imagery that is used to fill in the blind spot does track truth—not 100 percent reliably, but nonetheless reliably enough. And the reason we know this is that we know the exact mechanisms of how the visual system uses the sensory stimulation around the blind spot as an input when filling in the blind spot. If this mechanism were less reliable, this mental imagery would fail to track the truth.

(...)

The conclusion is that the question of perceptual justification is, at least in part, an empirical question—it requires the examination of the reliability of the forms of mental imagery that play a role in perception per se. This is a sense (a fairly narrow sense, to be sure) in which epistemology needs to be naturalized.” In doing so, I attempt to reflect on "consciousness and unconsciousness" phenomenologically and epistemologically, replacing them in the juxtaposition with "visible and invisible," "materiality and immateriality," and "digital materiality and physical materiality." Figures 4 and 5 show the same drawing on a stone. What do I perceive? – I see visible and invisible "time and space" materially on the stone. The visible was drawn with lithographic ink, the invisible with gum arabic. Both are physical materiality. 

In Immersion Into Noise, Joseph Nechvatal explored how noise art has been progressing in digital materiality:

“By refusing the dichotomized, utilitarian, manageable codes of representation with free non-logocentric associational operations, noise art triggers a multitudinous array of synaptic charges and thickens perception to the extent that it prevents the achievement of a prior determinate aesthetic. This threshold component of the immersive noise aesthetic adds enough uncertainty to the usual signals in the internal circuitry of the human biocomputer so as to make new configurations of the self probable (by organizing the internal energies of the self more broadly via disembodiment). The subsequent and ultimate aesthetic benefit of noise art, then, is in attaining a prospective realization of our perceptual circuitry as a self-re-programmable operation. 

    This self-re-programmable ontological operation occurs specifically in a constructed space between the noise art and the subject, similar to how Wolfgang Iser locates the encounter with a written text by its reader in a third realm of indeterminate interaction which he calls the work: a transaction situated “somewhere between” the text and the reader.359” 

From a natural scientific perspective, synaptic transmission can be either electrical or chemical—in some cases, both at the same synapse. Chemical transmission is more common, and more complicated, than electrical transmission. Traditional electricity is generated by the motion of free electrons, but the electricity generated by neurons results from the motion of sodium and potassium ions across the cell membrane. The electrical signals only help to transfer information from the cell body through the axon to the synapse (The electrical signals serve only to transmit information from the cell body along the axon to the synapse.). Through physical materiality, I explore a third realm of indeterminate interaction on the lithography stone– thereby a transaction situated “somewhere between” polarity.

    According to Paul Thagard, “Neurons have special properties that make them capable of contributing to representation. (...) The chemical reactions inside each cell body enable it to accumulate electrical charge, which it can discharge in a process called firing or spiking. Each neuron has an axon, a fiber connects it to other neurons by means of extensions (dendrites) that have junctions (synapses) with the axon.”

    Philosophical input in Immersion Into Noise: “According to Brian Massumi, the translator of A Thousand Plateaus the body without organs is “an endless weaving together of singular states, each of which is an integration of one or more impulses”. These impulses form the body's various “erogenous zone(s)” of condensed “vibratory regions”, zones of intensity in suspended animation. Hence, the body without organs is “the body outside any determinate state, poised for any action in its repertory; this is the body in terms of its potential, or virtuality”.176 “

Finally I reached out in Hegel's philosophy, our absolute sense is first a pure being identical with non-being’– is false from the aspect of molecular biology, however it applies in music theory even today.

                                                mmmmmmm

Transversality and juxtaposition without contrast and dispositive in the digital age:

“B.O.D.Y.” (2010)

– Self-Awareness, Memory, Collective, and Ecology 

The most important element of exploration in this work "B.O.D.Y." (2010) is light and sound. The exploration of light is photography, and the exploration of sound is sound composition, and this work is an actual work of art. The exploration of light in photography is a transition from the 20th century to the 21st century in the history and philosophy of photography. It has brought about a very big change in the history of visual art (art history and art philosophy). The exploration of sound is sound composition, and explored "What is sound?". The progress in the exploration of light has allowed us to know the vastness of the universe. And the progress in the exploration of sound has allowed us to know the depths of the ocean. In the last 100 years, we have developed technology that allows us to know without going to the place and surveying it. Regarding the body and medicine, the change from dissection, which involves cutting and seeing, has brought about a big change in our cognition. 

For example, Magnetic Resonance Imaging (MRI) and Echocardiogram (echo). These are peaceful uses of science, and digital advances have further contributed to peace by making these tests available to many people and everyone. Magnetic Resonance Imaging (MRI) is a non-invasive imaging technology that produces three dimensional detailed anatomical images. It is often used for disease detection, diagnosis, and treatment monitoring. And an echocardiogram (echo) is a graphic outline of your heart's movement. During an echo test, your healthcare provider uses ultrasound (high-frequency sound waves) from a hand-held wand placed on your chest to take pictures of your heart's valves and chambers.

Photography: The word photograph was coined in 1839 by Sir John Herschel and is based on the Greek φῶς (phos), meaning "light", and γραφή (graphê), meaning "drawing, writing", together meaning "drawing with light”. Photography is the process of recording an image—a photograph—on light-sensitive film or, in the case of digital photography, on a digital electronic or magnetic memory.

Sonic Art, Sound Composition, Noise Music: "Sonic" in Sound, The adjective "sonic" means relating to audible sound, or the speed of sound waves. When something travels faster than the speed of sound, it creates a sonic boom, a shock wave like an explosion. Sonic waves are a type of sound wave in the inaudible frequency range. Normal human ears cannot hear this type of sound wave. However, many animals can hear these sounds. The frequency of these waves is above 20,000Hz. 

　　Sound composition refers to the intellectual creation that underlies a musical work: melody, harmony, and lyrics. It is a "musical work" that is the basis of publishing rights and is protected by copyright law. It refers to an original musical composition. Noise music is a musical genre characterized by the use of noise. This type of music tends to challenge the traditional distinction between musical and non-musical sounds. Noise music often includes "non-musical" sounds (electronic noises, feedback sounds, screams, etc.), but exaggerates (excessive monotony and happening) or strips away (melody and harmony) musical characteristics. Noise is classified in four different ways. What we hear throughout the day can be either continuous noise, intermittent noise, impulsive noise, or low-frequency noise.

 According to John Cage “Noise is a sound that has not yet been intellectualized. The ear can hear them directly, but cannot assign them to abstract preconceptions. (The failure of attempts to harmonize these sounds results in noise.)“ 

      Computer music is the application of computing technology to music composition, either to assist human composers in creating new music or to allow computers to create music independently, for example using algorithmic composition programs. Computer-created music, or "electronic music", is broadly defined as a collection of musical genres created using electronic instruments, circuit-based music techniques and software, or general-purpose electronic devices (such as personal computers). It includes both electronic and electromechanical means (electroacoustic music). Computational musicology includes any field that uses computing to study music. It includes fields such as mathematical music theory, computer music, systematic musicology, music information retrieval, digital musicology, acoustics and music computing, and music informatics. So experimental music is a general term that refers to music or musical genres in general that push the boundaries and definitions of genres. Experimental music has an element of uncertainty, allowing composers to introduce chance and unpredictability into their compositions and performances. Artists may incorporate a fusion of different styles or incorporate unconventional and unique elements.

Figure–7 “B.O.D.Y.” (2010), Exhibition: Wo ist Sophia? Die Weisheit des Leibes, Frauenmuseum Bonn, 2011

Figure–8 “B.O.D.Y.” (2010), Exhibition: Wo ist Sophia? Die Weisheit des Leibes, Frauenmuseum Bonn, 2011

Figure–9 Photograph (detaile), “B.O.D.Y.” (2010), Exhibition: Wo ist Sophia? Die Weisheit des Leibes, Frauenmuseum Bonn, 2011

These drawings are from my memory on the topic of Hiroshima, which is so far but in a specific point it is very near.

Figure–10 Drawing I, “B.O.D.Y.” (2010), Exhibition: Wo ist Sophia? Die Weisheit des Leibes, Frauenmuseum Bonn, 2011

Figure–12 Drawing II, “B.O.D.Y.” (2010), Exhibition: Wo ist Sophia? Die Weisheit des Leibes, Frauenmuseum Bonn, 2011

Cybernetics: Intermediate between Analogue and Digital for concerning of materiality from Analogue to Digital

In short, in a part of our body and its collectivity in a cybernetic system. – The shift from art to appreciation to art to embody

“The modern means of communication, of feedback and viable interplay-these are the content of art. The artist's message is that the extension of creative behaviour into everyday experience is possible.” – Roy Ascott

Cybernetics is the transdisciplinary study of circular causal processes such as feedback and recursion, where the effects of a system's actions return as inputs to that system, influencing subsequent action.

These include artificial intelligence, bionics, cognitive science, control theory, complexity science, computer science, information theory and robotics. Some aspects of modern artificial intelligence, particularly the social machine, are often described in cybernetic terms.

In essence, cybernetics is concerned with those properties of systems that are independent of their concrete material or components. This allows it to describe physically very different systems, such as electronic circuits, brains, and organizations, with the same concepts, and to look for isomorphisms between them.

The term cybernetics refers to an approach for exploring and understanding different systems and how they interact, particularly in regard to circular causality. Circular causality, or a feedback loop, is when the results of one part of the system are taken as inputs for a following part.

Figure–13 Performance “B.O.D.Y.” - Minotaurus (2010), Exhibition: Wo ist Sophia? Die Weisheit des Leibes, Frauenmuseum Bonn, 2011

Sound composition–1  B.O.D.Y. (2010), Erika Matsunami

Link: 

With a 7 members sound series as a composition for listening with headphones individually, the audience can choose. The cognitive story of the sound composition has no beginning and end and always begins a new story.

Which number you choose and line up is up to you.

(Please imagine: Figure 14– XS the Opera: Shakespeare Theater Boston 1986)

“With this art of noise as an unlimited field of representation in mind, we will now open our eyes.” – Joseph Nechvatal

Sound composition–2 Immersion Into Noise ( ), Joseph Nechvatal

Conclusion

“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)