This contribution, I will contribute towards “Musical Twofoldness.” by Bence Nanay for his coined account "semi-formalism" in 2016.


Nanay, Bence. “Musical Twofoldness.” The Monist, vol. 95, no. 4, 2012, pp. 606–623. JSTOR, Accessed 7 Feb. 2021.


At the end of this artistic research (includes the musical performance), I will write a paper together with the parctical exploring for the BSA and ASA.


I am writing a paper "Aesthetic attention beyond the object (in sense beyond the subject) for the NSA in 2021. (I will attend the conference of NSA in 2021 which was postponed from 2020.)

From twofoldness to manifoldness seeing-in.


Sketch for 3D* Multi-layered open score

- Drawings for (3D*) multi-layered open score and sounds

- Project description

Measure 1: Time, Duration

Minimal status gives me a new idea.

Interaction with live electronics

*3D means that its concept consists of three axles (X, Y, Z) idea. However, on the surface in the visual arts, there are the perspectives.

L'objet sonore







Timbre (Klangfarbe)

Factor: Zufall (Random), Probablity, Manifoldness

The opposite direction is noise (music) / electoro, industry. It was the starting point of the idea of noise music in the 20th century.

Sound phenomenon

construction - deconstruction


The title a.o.i. - lasting memories came from a motif: the flower Malva that means “noble beauty” in Japanese, Malva was given the name “Aoi (葵)” in Japan, with the same pronunciation, “Aoi (青い)”(adjective) means blue.

Sonic sound




Measure 2:  Octave, Pitch 

Perception (Human)


What humans can hear and how humans hear.

Research question: Takmitsu has covered Darstellung of sound phenomenon with "expression". Without expression, what is the possibility for unwritten things or unable written things?

My artistic challenge is "things will be apprared".

An expression, that rejects the expression and has no expression.

Enaktivismus ist ein theoretischer Ansatz innerhalb der Kognitionswissenschaften. Er basiert auf der Vorstellung, dass Kognition sich aus der Interaktion von Lebewesen mit ihrer Umwelt entwickelt. Dabei ist zentral, dass das Lebewesen als complete agent körperlich mit der Umwelt interagiert (Embodiment; embodied und situated cognition). Der enaktivistische Ansatz überschneidet sich weitgehend mit dem der Embodied Cognitive Science.
Der Enaktivismus kritisiert ältere Ansätze der Kognitionswissenschaften, die Geist (Mind) auf mentale Repräsentationen zurückführen wollen, und versteht sich als Alternative zu Kognitivismus, Computationalismus und Dualismus.
Der Begriff geht zurück auf das Buch Der Baum der Erkenntnis von Humberto Maturana und Francisco Varela.[1]
Heutige Vertreter des Enaktivismus sind u. a. Ralph D. Ellis, Daniel D. Hutto, Shaun Gallagher, Alva Noë und Evan Thompson.

Person A





Live electronics

Person B

Research question: Takmitsu has covered Darstellung of sound phenomenon with "expression". Without expression, what is the possibility for unwritten things or unable written things?

I have incorporated the phenomenon of sound into a musical performance.

- Enactivismus in a musical performance, without expression.

How can this idea be scored?

Contemporary art in music

Performance art

I confirm "existence" in my environment (which is in a performance), that is an act of embodiment.

Takemitsu expressed it by the act of playing (Embodiment).

  • “still/silent” 6-ch-mono-discrete sound for 2-ch video installation (Erika Matsunami&Niklas Schmincke/OIO, published by revolver publishing, Berlin, Germany.)


- Sound synthesis as a musical mode

- Takemitsu explored it (expression) to draw musically.

Improvisation in a specific condition (factor).

How he usesed musical mode for his musical drawing?

I think that Cage gave us a new attention and a solution for the decision making. Why do we have to return to modernity now? and for what?

Wittgenstein's aesthetic

Piece of glass 4

Piece of glass 5

Piece of glass 6

-> John Cage and many others.



The cage's graph (score "Roanji") is based on his mapping (drawings) a kind of reconciliation between being and space (environment) objectivity and subjectivity, which is not based on the idea of "harmonising". Cage has transformed "awareness" in a sense (in a fact) into musical mappe. At the same time, it was reconciliation between Western (Christian culture) msuic and Eastern (Asian/ out of Christian culture) music in traditional.

-> Synthesizer


Sound is a vibration that moves through the air. So if it's an "object", one can make noises.

Grand piano is of the same quality no matter who plays it. Therefore, the important thing is how to play, which is the technique, but traditional Japanese instruments are not the same no matter who plays them, and no sound is produced without "how to play". We can listen as well as violin, a subtle "touch" and breathing of player.

It is a big mistake that the direction of a purpose in new media art is phenomenal "control". What art is and what human creativity is, that are fundamentally wrong.

Art is the inability (impossible) to systematise an artist's unique sense into an AI system informationally.

Performing arts

->For pianists, it depends on the quality of the score. Is it possible to have a piece of contemporary music with such quality?

How I look for the musician, in a case of the pianist, on "musical score" of them (repertoire), in a case of Traditional Japanese musican, it depends on the instrument, how he/she performs (how he/she manages (bedinen) the instrument.).

Antonio's aim to work as a duo with me to discover his musical potentiality from new musical essences, through improvisation he maked it his own work. Therefore, I had to study the claviers for the creating the sounds. My sound work has been such as the stringed instrument since around 2008. I have never discuss with Antonis, but by listening to the "sound", we can understand each other's "will" and each artistic potentiality.

It was in 2003 that I met Antonis and Berlin in an art project (a theater project). This project was for the year 2004. My task was a choreographer and a visual artist, and to create the 2-ch video as an installation for a theater piece. I choreographed with actors a 2-ch video installation piece for this theater piece specially. Antonis was a pianist and a performer with a opera singer and actors on the stage. 

In 2005, I collaborated together with Antonis a project "deflection" - Rasenjo no JIkan. It was an improvisation (dance/performace and music) 2-ch audiovisual installation at Kyoto Art Center in Japan. It was Antonis's early phase of his improvisation in his life. He was a pianist, like a prima donna in ballet, he was still young.

During this residency in Kyoto, we had first rehearsal, due to improvisation, artists never do "Übung" together. In 10 days, we constructed a piece (the duration of 60-70 minutes) together with others (includes workshop) in Kyoto. We produced the audiovisual installation in Berlin allready.


During the rehearsal, I undestood Antonis's play "How it is" lika a prima donna in ballet, such as his interval, pitch, right and life constructions and its timing, timbre, modulation, and so on. He played with his maximal. Just, I had to play with my maximal, but my task was a "performer".  It was an interesting reconciliation in this piece between audiovisual work, music and dance-performace. (time, space and body) I performed (danced) a body of paradox in time and space.


This project was successful in a similar context of "Ryoanji" by Cage , in Kyoto, Japan.


After this project in Kyoto, Japan, I had problems rather in Berlin (Germany, in the EU) with the European Avant-Garde, beccause they had no reconciliation, rather with their "Konsequenz" (consistency).

I would like to publish a catalogue with this project.


Art is consisted of an association of encoding and decoding at the visual and auditory levels. Thereby as an artist, how and what I encode and decode in the context, that is my task as an artist. In doing so, what comes "something" in a context out, that is a new inspiration for us. This "something" in a context might be an artistic intervention at the visual and auditory levels.

Design has the function in our life. Through this "function", we will have been reconciling or feeling a paradox with a new lifestyle in everyday life.

Antonis was in an European Avant-Garde, I work in a context of rather American Avant-Garde in a context of Cage, which work method of not Konsequenz" (consistency), rather reconciliation with Art and the reality. Such as Cage, he had his artistic approach, but he did not define an artistic style as his artistic identity, so he was a natural person and an (authentic) artist. I mean that an artistic identity is Cage's way.

An example of Antonis's improvisation in his early pahse of improvisation with Tony Buck who is an Australian drummer and percussionist, it was at the Ballhaus Naunynstraße (I think that it was in 2004.), between an European Avant-Garde and an American Avant Garde, thereby I understood that was Konzequenz (consistency) without "Reconciliation" in music. Reconciliation for the European Avant-Garde in music was a kind of fusion of harmonic variation at a sonic level. However, in the American Avant-Garde, "Reconciliation" is an intelligent level of solution which is not a kind of fusion of harmonic variation at a sonic level. At this level of artistic activity, it might be possible to arise "something" between intentions by musicians.

Basically, I think that it's easier for artists to get older. That's because what "I" am doing that isn't ideal and it's easier to see. 

For artists, aging is a state in which light can be seen from a fumbling state.

-> There are many great artists (visula arts, music, performing arts and literature) intermediated paradox between the European Avant-Garde and the American Avant-Garde. Most of them are experimental, therefore, some of them conceptualized and organized the new art movement.

-> In this concert, I understood Toy Buck was really an improviser as an Ethiker like in pop art, but he could not describe metaphysically yet. Because his task was "performance" (he was not a musical composition) at the nonverbal lebel. From this aspect, the communication at the nonverbal lebel for his performance is the most important of life that is a way of reconciliation.

Recently, he has a collaborator (of duo performance), who is a pianist. She is writing at the art acedemy, that is a reconciliation.


A Greek composer and pianist Antonis was like a prima donna in ballet and a type of German idealism, he was great always.


What I would like to create therefore, that was "deflection" - Rasenjo no Jikan, with Antonis and Niklas, also in Kyoto, Japan for something. NIklas studied "reconciliation" between American Avant-Garde and European Avant-Garde at the sonic level of the nonverbal communication.

We know what we cannot describe without the sonic level of study since Pythagoras in music.

Big Data EpistemeDatenkritische Perspektiven der Social Media Research

Ramón Reichert


Digital social data are now ubiquitous. It not only refers to economic data practices, italso represents social change and a media culture on the move. How does big data influence our communication culture and its shifts of power? The starting point of my contribution is the diagnosis that the big data approach is not as much representative of a digital turning point in the objectification of collective practices but embedded in historical cultures of information, media, image and narration itself. In a methodological regard, it is essentially important not only to reconstruct a history of big data fromthe early modern period to the present, but also offer a critical perspective on the historical developments of modern data practices and epistemologies. To resolve the sequestions, my contribution should reflect the changing role of the database in society and the draft will provide a historical depth to the on-going discussion of the so-called Control Revolution of dataintensive modes of knowledge production. Which types of media and which information technologies enable shaping the big data, and what kinds of narratives, images and fictions are involved? To resolve these questions, my contribution will tackle the practices of the “Facebook data team” by subjecting the pre-sent and everything “data” to a critically diagnostic scrutiny.


Das Schlagwort „Big Data“ ist in aller Munde – und beschreibt nicht nur wissenschaftliche Datenpraktiken, sondern steht auch für einen gesellschaftlichen Wandel und eine Medienkultur im Umbruch. Mit der Annahme, dass die digitalen Medien und Technologien nicht einfach nur neutrale Botschaften übertragen, sondern ein kulturelles Gedächtnis etablieren und eine soziale Wirkmächtigkeit entfalten, können sie als Selbstverständigungsdiskurse der Gesellschaft verstanden werden. Die dabei angewandten Forschungsmethoden, wie etwa die Text-, Sediment-, Netzwerk- und Bildanalysen basieren auf der Erkenntnis, dass sich das Social Web zur wichtigsten Datenquelle bei der Herstellung und Verwendung von Regierungs- und Kontrollwissen entwickelt hat. Die sich dabei verändernden Selbstverständnisse, wieauch die lokalen und globalen Erwartungen an Wissenschaftskulturen und Epistemologien bewirken, dass die der Big-Data-Research zugrundeliegenden fächerübergreifenden Praxisorientierungen eine nuancierte Genealogie, Datenkritik und Medienreflexion der datenintensiven Formen der Wissensproduktion erfordern. Eine medien- und kulturwissenschaftliche Reflexion der digitalen Großforschung distanziert sichvon den normativen Diskursen des Daten- und Informationsmanagements, welche die Ansicht vertreten, dass die Entwicklung der spät modernen Gesellschaften einerseits von der zunehmenden Verbreitung und alltäglichen Nutzung Sozialer Medien und andererseits von der Nutzung von Großdaten abhängig ist. Wenn wir vor diesem Hintergrund akzeptieren, dass Soziologen in den Konstruktionsprozess der Daten involviert sind und es von daher keine objektivierende Distanz zum Datenmaterial geben kann, dann kann auch im sich wechselseitig bedingendenVerhältnis gefragt werden, auf welche Weise Mediendispositive, technische Infrastrukturen und kulturelle Kontexte die digitale Wissensproduktion und ihre Wissensansprüche formieren? Welche Medien und Wissenstechniken ermöglichen vor diesem Hintergrund die Modellierungen der Big Data und welche Narrative, Bilder und Fiktionen sind in diesem datenintensiven Konstruktionsprozess wissenschaftlichen Wissens beteiligt? Ich gehe in meinem Beitrag aber auch von einer kulturalistischen These aus und versuche zu argumentieren, dass der Big Data-Ansatz nicht ausschließlichfür eine digitale Wende bei der Objektivierung kollektiver Praktiken steht, sondern selbst in historische Wissens-, Medien-, Bild-, und Erzählkulturen eingelagert ist.


Yes, it was in the historical sequence, but I argue for a rhetorical expression "Rooted in the bizarre refreshments of" in this text Mixed media (or multi-media) music.

"Rooted in the bizarre refreshments of surrealism and dada (1910-20, Breton, Apollinaire, Duchamp, etc) mixed media flowered in theatre, music, film, and the visual arts after World War II. As the trend became a movement, John Cage emerged as the prime musical mover and his 'happenings' influenced both composers and other creative artists. " 

<- This type of text, AI would ignore, but it might be possible to affect Humans, who relate to the art world, especially people in the art market.

Antonis had an improvisation style in his early phase of improvisation, it was a kind of "Spontaneous" personal mixing of great composers' works.  That was like a generating in his brain which realtes to each situation. It was a time, before "algorithmic" in music composition. Antonis had an improvisation style in his early phase of improvisation, it was a kind of "Spontaneous" personal mixing of great composers' works. That was like a generating in his brain which relates to each situation. It was a time, before "algorithmic" in music composition. It was my artistic approach of outcome from sound collage e.g. Schaeffer in musique concrète.

I think that Buck and Anissegos, they have been exploring their own words and sentences musically, that is the human act and "life". In science today, that is "DNA sequence", it is our life and our fortune. From this aspect, my improvisation with Antonis in a 4 part of "deflection" Rasenjo no Jikan was not wrong, was an artistic conclusion for the early 21st century. I was very happy to implement it in place, in Kyoto, Japan. (Thank you so much for everyone.)

With regard to Butoh, "Dark Butoh / 暗黒舞踏" mentions the Japanese social structure and the class system of day laborers from Tohoku (northern Japan) and from southern Japan, who supported the Japanese high economic growth phase, but also reformed the social system. Today in Japan's 21st century, Butoh in this context is considered already part of the history of Japanese art.

Are Arab countries, as well as in South America, Africa, and Southeast Asia probably at that economic phase?

-> That's really true.


-> So, for me, the necessity of academic writing grew. Academic writing does nothing more than my own knowledge, I have to just study. Creative writing is after then. It is similar to the procedure of painting (depiction of things in an event and its method).

-> At this level, I think that all as well as government bureaucrats, politicians, and people can make mistake, so "Humans make a mistake." in the global digital world through the controll of AI. Why we (Humans) are so stupid in the non-human society? But, What is a "mistake"? How it would be recognised, and in which stats? In the case of the device, it is a defective case and system malfunction, which is an "error" usually.

Thereby, I would like to know the ethics of AI such as "tolerance" for decision making.

Heike Ortner, Daniel Pfurtscheller,

Michaela Rizzolli, Andreas Wiesinger (Hg.)

Datenflut und


© innsbruck university press, 2014

Actually, German idealism in music ended with the German composer Stockhausen (his mention, it brought a radical ending of German idealis in music.) at the beginning of the 21st century. However, after the end of German idealism came out a new, it was from the context of Hanns Eisler. Antonis had a project that was Amoebas 4 in this context, this project had a higher potentiality of "something". Therefore, I researched in the context of Hanns Eisler. Even today, in this Eisler's context of German new music is a "new" context of music in Germany after the end of German idealism at the beginning of the 21st century. A new reconciliation between American Avant-Garde and Eisler's approach towards German idealism in Music.

The end of German idealism at the beginning of the 21st century was the same as the end of German expressionism.

It was a time of starting to a really new in music at the beginning of the 21st century in Berlin.

From the commercial industry, it does not come out a new in the culture, only it comes from artists and in its environment. If a commercial  industry tries to create something new, it is culturally a "lie" from the biological aspect. I mean that the artistic idea comes from the artists, not from the economic idea of the commercial industry.

-> The AI database is global and covers everything from the birth of the Earth to Mars and the universe. It is Human wisdom for over thousands of years. In that sense, humans have become independent of God, nevertheless, we (Humans) cannot change our biological destiny with respect to life and death.

I think that it is no exaggeration to say that music research refers to a large position in the design, architecture, systems, and ethics research ideas in the field of technology, which addresses in the composition of our contemporary social system. 

Study for Graphic Score and its performance ->

On Space, Time and Body