Today I know more about this, because the airlines have been recording the situations, positions and, conditions on air. 

I don't take a picture generally, I don't record the sound always, I don't make a video recording usually. During my stay in north, I took these four pictures. 

Thing is 'exist' and the thing will have appeared in space. But I don't know, how it will appear in front of us.

In this view from the window of an airplane, thereby I thought about a hole of the Ozone. What it means in our real life, I didn't know yet.

The camera itself is not so important, the question is always the same as what I want to take, it means what I recognise in a world ('something' what I found in everyday life.). A moment - like a small niche of between space, time and body or zwischenraum/intermediate space, which could correspond by a camera.


Page_mathematische Dinge/mathematical things (Y, X, Z)_parctical exploring_02


four dimensions -> t, x, y, z

2016 May, EM, from Berlin to North.


Photo by a digital small format camera (Panasonic/Lumix with Leica-Optics). The light was too dark for the standard film by an analog camera. This digital camera (Panasonic/Lumix with Leica-Optics) was an old model that was not bad and not expensive, its image was almost the same as how I saw the space, and I like it rauschen (rustle). I'm not a painter, this how I see the space that is the most importantly more than an object. My research subject is always "space, time and body". To create a sculpture, if a sculptor can not recognise its space, for what is a sculpture? A sculpture without recognising of its space, that is only for the cultural politics historically which is not for arts and humanities. Thus I need to know how I see the object in a space, 'space' is same as a society and also in the society.

Four-dimensional space 

Higher dimensional spaces have since become one of the foundations for formally expressing modern mathematics and physics. Large parts of these topics could not exist in their current forms without the use of such spaces. Einstein's concept of spacetime uses such a 4D space, though it has a Minkowski structure that is a bit more complicated than Euclidean 4D space.

Speed of light

The speed of light in vacuum, commonly denoted c, is a universal physical constant important in many areas of physics. Its exact value is defined as 299792458 metres per second (approximately 300000 km/s, or 186000 mi/s[Note 3]). It is exact because by international agreement a metre is defined as the length of the path travelled by light in vacuum during a time interval of 1299792458 second.[Note 4][3]According to special relativityc is the upper limit for the speed at which conventional matter and information can travel. Though this speed is most commonly associated with light, it is also the speed at which all massless particles and field perturbations travel in vacuum, including electromagnetic radiationand gravitational waves. Such particles and waves travel at c regardless of the motion of the source or the inertial reference frame of the observer. Particles with nonzero rest mass can approach c, but can never actually reach it. In the special and general theories of relativityc interrelates space and time, and also appears in the famous equation of mass–energy equivalence E = mc2.[4]

Relativity of simultaneity

According to Einstein's special theory of relativity, it is impossible to say in an absolute sense that two distinct events occur at the same time if those events are separated in space. If one reference frame assigns precisely the same time to two events that are at different points in space, a reference frame that is moving relative to the first will generally assign different times to the two events (the only exception being when motion is exactly perpendicular to the line connecting the locations of both events).

Relativity of Simultaneity Animation


This picture was my research conclusion and questions of this event, about what I talked with people there at this moment. Where I was, in a festsaal at a small museum in a historical city in northern Europe. This festsaal was a very impressive space to me, particularly the light and the acoustics there.

Ozone depletion consists of two related events observed since the late 1970s: a steady lowering of about four percent in the total amount of ozone in Earth's atmosphere (the ozone layer), and a much larger springtime decrease in stratospheric ozone around Earth's polar regions.[1] The latter phenomenon is referred to as the ozone hole. There are also springtime polar tropospheric ozone depletion events in addition to these stratospheric events. 

In einem Festsaal, ein gemeinsames Abendessen in einem Weißen Nacht, lauschen die Stimmen der 'baritone', 'tenor', 'soprano', betonte von 'forte' bis 'pianissimo' durch den Raum – Echodynamik.

Dabei fließen die Wörter in verschiedenen Sprachen, die  alles im Zufall klingen.

Durch den klanglichen Zufall macht es eine zusammenschließende Wörter des nordischen Nachts. – Eine magische Welt öffnet sich.

We see things through Phenomena of light, we understand the matter in space through Phenomenon of sound.


Experiment using two tuning forks oscillating at the same frequency.

- Acoustic resonance

- Reverberation

- Accoustic space

Colour 'White/Weiß/白 Shiro - Three different cultural philosophies of 'colour', it was an important subject in this composition "still/silent" (2010) that is one of my approaches on the subject of 'Transculturality' in my artworks as well in my artistic research. White/Weiß/白 Shiro is 'geistig' colour in all three cultures, this colour in the traditional Japanese culture is also for the costume of the dead, therefore who is dead, would appear with the white costume of the dead, which is not for the marriage. There is no Teufel/devil, it means that there is no 'black' colour of Teufel/devil. Teufel/devil exists in the christian culture.

Sound/Music performance in the spatial installation "still/silent" (2010) in Dresden. (Please see the DVD "still/silent".)

White violet in a summer night for us,
that is MA (間) an empty space in between,
it is an adoption in between two different spaces of.

–Its mythic expression through Phenomena of Nature.

 a nordic night in summer, Erika Matsunami, May 2016

Artistic research: GRAPHY

- Communication

- Creation

Transculturality in Europe: 

- From North Europe to central Europe

- From South Europe to central Europe

- From East to central Europe such as in Prussia 

- From Out of Europe 

Influence to Johann Wolfgang Goethe and others in Germany and Austria (Vienna)(from north Europe to the central Europe).

Carl Linnaeus

Linnean classification system 


When Linnaeus first described his system, he named only two kingdoms – animals and plants. Today, scientists think there are at least five kingdoms – animals, plants, fungi, protists (very simple organisms) and monera (bacteria). Some scientists now support the idea of a sixth kingdom – viruses – but this is being contested and argued around the world.“

Cell structure


Universal of North from the perspective of the (Human) nature. Civilization is based on the human nature.

Two drawings of Kjello Torgård, who was born in Norway and he had studied fine arts BFA in Norway. Today, he lives with his family and works in Berlin, he is the owner of a shose shop in Berlin.

Natüralität, Körperlichkeit und Ethik, die aus der Gewöhnung stammt.

self-portrait is a depiction through mirror reflections byself.

Vincent van Gogh - Self-Portrait

From 1990 to 1995, I worked many self-portraits with photography and in drawing.

e.g. Alptraum (drawing), Pastell auf Papier, 64 x 50 cm, 1991, Berlin

Wenn er ohne Vorbild sowie ohne Abbildung (Foto) gezeignet hätte, diese Zeichung wäre seine Intuition, eine Zeichnung für die Kunst-Forschung in Ästhetik zum Thema in the aesthetics of everyday life ich suche. Aufgrund der Coronavirus-Pandemie, habe ich noch nicht original diesser Zeichnung mir angeschuat, ich weiß noch nicht das Material und Technik dieser Zeichnung von Kjello Torgård. Ich versuche im beschränkten Raum wegen der Coronavirus-Pandemie weiter zu forschen, ob ich neue Forschungsmethode der Kunst-Forschung via Internet entwickeln kann. In der Bibliothek ist es in Ordnung, aber für die Generalität der Kunst ist es fast unmöglich.

Central european populists think that Europe is one world, but Europe is not one.

-> Dispositive

Fate and luck, we can never control.

They tens mainstay IV

Hilma af Klint

Tree of Knowledge No.2 Series W

Hilma af Klint

I found Hilma af Klint's painting to be a kind of fiction, like magical realism in literature. It was her imagination through her autonomy in which situation, at that time, the woman had very few opportunities to study.

Hilma af Klint (October 26, 1862 – October 21, 1944) was a Swedish artistand mystic whose paintings were, to the current art community, the first Western abstract art.[1] A considerable body of her abstract work predates the first purely abstract compositions by Kandinsky.[2] She belonged to a group called "The Five", a circle of women who shared her belief in the importance of trying to make contact with what she called the "High Masters"—often by way of séances.[3] Her paintings, which sometimes resemble diagrams, were a visual representation of complex spiritual ideas.

The problem with high technology, I need more higher knowledge to control high technology.

Academic and business writing are important skills. Academic writing is often for analytical, Academic writing today, AI can do it very well. For example an academic text through big data by an institution. There is proofreading by a human. This is a reason, how the language is changing. I think thereby that the reading skill is the most important. Therefore, I like to read enigmatic and philosophical texts again.

And how I read this essay, from which perspective and how I connect it in a thesis, is the most importantly more than analytical in my artistic research, before starting to write a thesis academically.


This artistic research is in the field of aesthetics of every day, in which terms of the philosophy of art, particularly within the Anglo-American tradition (including the nordic culture). For this reason, aesthetics of every day was rather unfamiliar for the continental philosophy in central Europe. 



About what I as an artist can write a myth or draw today.

In the USSR, the eleven-year period from the death of Joseph Stalin (1953) to the political ouster of Nikita Khrushchev (1964), the national politics were dominated by the Cold War; the ideological U.S.USSR struggle for the planetary domination of their respective socio–economic systems, and the defense of hegemonic spheres of influence. Nonetheless, since the mid-1950s, despite the Communist Party of the Soviet Union (CPSU) having disowned Stalinism, the political culture of Stalinism—an omnipotent General Secretary, anti-Trotskyism, a five-year planned economy (post-New Economic Policy), and repudiation of the Molotov–Ribbentrop Pact secret protocols—remained the character of Soviet society until the accession of Mikhail Gorbachev as leader of the CPSU in 1985. 

Roland Barthes

This year the Nobel Prize in Literature has been granted by the Swedish Academy to the French writer Jean-Paul Sartre for his work which, rich in ideas and filled with the spirit of freedom and the quest for truth, has exerted a far-reaching influence on our age.

It will be recalled that the laureate has made it known that he did not wish to accept the prize. The fact that he has declined this distinction does not in the least modify the validity of the award. Under the circumstances, however, the Academy can only state that the presentation of the prize cannot take place.


In a public announcement, printed in Le Figaro of October 23, 1964, Mr. Sartre expressed his regret that his refusal of the prize had given rise to scandal, and wished it to be known that, unaware of the irrevocability of the Swedish Academy’s decisions, he had sought by letter to prevent their choice falling upon him. In this letter, he specified that his refusal was not meant to slight the Swedish Academy but was rather based on personal and objective reasons of his own.

As to personal reasons, Mr. Sartre pointed out that due to his conception of the writer’s task he had always declined official honours and thus his present act was not unprecedented. He had similarly refused membership in the Legion of Honour and had not desired to enter the Collège de France, and he would refuse the Lenin Prize if it were offered to him. He stated that a writer’s accepting such an honour would be to associate his personal commitments with the awarding institution, and that, above all, a writer should not allow himself to be turned into an institution.

Among his objective reasons, Mr. Sartre listed his belief that interchange between East and West must take place between men and between cultures without the intervention of institutions. Furthermore, since the conferment of past prizes did not, in his opinion, represent equally writers of all ideologies and nations, he felt that his acceptance might be undesirably and unjustly interpreted.

Mr. Sartre closed his remarks with a message of affection for the Swedish public.



At the banquet, S. Friberg, Rector of the Caroline Institute, made the following remarks: “Mr. Sartre found himself unable to accept this year’s Prize in Literature. There is always discussion about this prize, which every one considers himself capable of judging, or which he does not understand and consequently criticizes. But I believe that Nobel would have had a great understanding of this year’s choice. The betterment of the world is the dream of every generation, and this applies particularly to the true poet and scientist. This was Nobel’s dream. This is one measure of the scientist’s significance. And this is the source and strength of Sartre’s inspiration. As an author and philosopher, Sartre has been a central figure in postwar literary and intellectual discussion – admired, debated, criticized. His explosive production, in its entirety, has the impress of a message; it has been sustained by a profoundly serious endeavour to improve the reader, the world at large. The philosophy, which his writings have served, has been hailed by youth as a liberation. Sartre’s existentialism may be understood in the sense that the degree of happiness which an individual can hope to attain is governed by his willingness to take his stand in accordance with his ethos and to accept the consequences thereof; this is a more austere interpretation of a philosophy admirably expressed by Nobel’s contemporary, Ralph Waldo Emerson: ‘Nothing is at last sacred but the integrity of your own mind.'”

The quality of human life depends not only on external conditions but also on individual happiness. In our age of standardization and complex social systems, awareness of the meaning of life for the individual has perhaps not been lost, but it has certainly been dulled; and it is as urgent for us today as it was in Nobel’s time to uphold the ideals which were his.”

From Nobel Lectures, Literature 1901-1967, Editor Horst Frenz, Elsevier Publishing Company, Amsterdam, 1969 

„Es darf sicher als ein Maß unserer gegenwärtigen Entfremdung gelten, daß es uns nicht gelingt, über ein unstablies Erfassen des Realen hinauszugelangen: wir gleiten unaufhörlich zwischen dem Objekt und seiner Entmystifizierung hin und her, unfäig, seine Totalität wiederzugeben. Wenn wir das Objekt durchdringen, befreien wir uns, aber zerstören es, und wenn wir ihm sein Gewicht belassen, achten wir es zwar, aber geben es mystifiziert wieder. Es könnte scheinen, daß wir noch für einige Zeit dazu verurteilt sind, auf exzessive Weise vom Wirklichen zu sprechen. Das liegt sicher daran, daß der Ideologismus und sein Gegenteil infolge der Zerreißung der gesellschaftlichen Welt noch magische, terrorisierte, verblendete und faszinierte Verhaltensweisen sind. Und doch zeigt sich darin das, was wir suchen müssen: eine Aussöhung des Wriklichen und der Menschen der Beschreibung und der Erklärung, des Objekts und des Wissens. September 1956“ („Notwendigkeit und Grenzen der Mythologie“, Mythen des Alltags, Roland Barthes, Frankfurt am Main: Suhrkamp, 1964)

On October 22nd, 1964, Jean-Paul Sartre had declined the Nobel Prize for literature, which he was awarded.

When I read the writing by Barthes from the perspective in 2020, I felt that we are a little smarter and braver today. Our actual subject in humanity and arts is such as Human capital.

Page: Barthes ->

From this perspective, I'd like to say Sartre “Thank you“ that he has kept his academic position neutral, which was not a political position like other philosophers in the early of 20th century. I have great respect for his research, because his profound research was not for his academic career. I think that the revolution in the academy is not important, the important is ongoing scientific shift continuously, therefore the question is, moreover, how it reflects in our life.

Human capital is the stock of habits, knowledge, social and personality attributes (including creativity) embodied in the ability to perform labour so as to produce economic value.[1]

Human capital is unique and differs from any other capital. It is needed for companies to achieve goals, develop and remain innovative. Companies can invest in human capital for example through education and training enabling improved levels of quality and production.[2]

Human capital theory is closely associated with the study of human resources management as found in the practice of business administration and macroeconomics.

The original idea of human capital can be traced back at least to Adam Smith in the 18th century. The modern theory was popularized by Gary Becker, an economist and Nobel Laureate from the University of Chicago, Jacob Mincer, and Theodore Schultz. As a result of his conceptualization and modeling work using Human Capital as a key factor, the 2018 Nobel Prize for Economics was jointly awarded to Paul Romer, who founded the modern innovation-driven approach to understanding economic growth.

In the recent literature, the new concept of task-specific human capital was coined in 2004 by Robert Gibbon, an economist at MIT, and Michael Waldman,[3] an economist at Cornell University. The concept emphasizes that in many cases, human capital is accumulated specific to the nature of the task (or, skills required for the task), and the human capital accumulated for the task are valuable to many firms requiring the transferable skills.[4] This concept can be applied to job-assignment, wage dynamics, tournament, promotion dynamics inside firms, etc.[5]

Human capital infographic

The digitising of Human ability as capital of the nation in the digital industrial system. No matter whether in the communist system or free economic market. Such as individual existence as a dot in the digital system, we lose freedom and we long for freedom.

Our world is not one, but rather multifold-assemblage of individual, even in own body it is multifold-assemblage of individual.

In the 21st century, our knowledge of individuals will more profound in the level of humankind.

I'm very sure that I don't stand in the wrong way with my artistic research, it's by my natural state.