The concept (draft) pre-music production "a.o.i. - lasting memories" for a demo production under the COVID-19 pandemic condition (lockdown) referes to the portfolio (drafts).
3D dimensional on two-dimensional space (virtual) space is an illusion for "human seeing", thereby "Darstellung" (expression) requires the logic.
Two questions towards real space:
1. Axls of 3D dimensional on two-dimensional space (virtual) space.
2. Perspective
How will human recognise the 3D Darstellung (expression) from seeing? Thereby, how does the auditory perception work?
The most of through the eye movement. So, how relate listening and seeing for us?, which is complex sensible of (...)
3D multi-layered open score in the project a.o.i. -lasting memories is not conceptualised for the animation or moving image.
Short concept:
Replacing the DNA sequence with sound, it might be possible to imagine the time of chaining as an uninterrupted, continuous and manifold time. The elements and their factors associated with it, the dynamics of "life" through change and its activation might possibly be expressed as a rhythm in the body. How will it be possible to conceptualize this musically in a work of art from the natural being? How does it communicate in a multi- and sensory fashion* in the environment? How does it interactively work with memories?
*In this question, it is to feel and recognize through listening, and to enact.
The (3D) multi-layered open score for piano(s) and live electronics deals with the visual sense (the sense of sight) for transforming the information into a musical act. The working method is interactive in two different paths of artistic intention. The common artistic subject thereby is envisioning at auditory and visual levels.
A most important part of the collaboration in the multi-layered open score for piano(s) and live electronics, which is the core of this score and which address the nature of the genome, which overlaps the title a.o.i. - lasting memories. The title a.o.i. - lasting memories came from a motif: the malvaflower that means “noble beauty” in Japanese. Malva was given the name “Aoi (葵)” in Japan and has the same pronunciation as “Aoi (青い)”(adjective) meaning “blue”. It will be transcribed from “noble beauty” to novel beauty in a metaphysical text on life (on race).
Time is inside as well as outside of ourselves. Time is a perception. It is part of the outside world, but it is also a sensation immediately experienced in ourselves. We organize and crystalize the perception of time into the connotation of a continuous flowing time, which we measure by clocks, and we try to apply the same measures to the time experience in ourselves, to what we may call time sensation.... Time is an inherent part of the world of perception, outside and inside the body. (Schilder, 1936)
Notice:
Graph 1a: Transforming of the Malva flower as a motif into a multi-layered open score
Graph 1b: Transforming of the Malva flower as a motif into a multi-layered open score
Graph 2a: Empty space is an existing space which refers to the reference. (Mac Cumhaill argues in her contribution Specular Space, that the “empty space” of the depicted object is not physical empty space but is rather a mental “empty space” of specular experience through superficial phenomenon, which is able to be explained today through cognitive neuroscience and cognitive psychology scientifically. My artistic position is the same as Cage’s artistic position in this context, that he was always as an artist, not from and not towards technology, even if his idea was in the context of art and science. Thereby, I artistically explore the ethics of science in our lives.)
Graph 2b: What do I see from this object?
Graph 2c: A starting point of 3D draft (The limitations of sound expression are the range of audible sound and their transmission of how we humans can feel them.)
Graph 3: Color scale_basic
Graph 4a: A starting point of multi-open score for a layers; A drawing of topological space and time to transform from biological to musical.
Graph 4b: The starting point of Multi-Layered Open Score
Graph 5: Sketches from the score Ephemeris/Ekleipsis with the Set-up (two adjacent rooms at AdK Berlin) of 16 loudspeakers (Valerio Sannicandro)
(It refers to “Listening to Instruments.” Instruments for New Music: Sound, Technology, and Modernism, by Thomas Patteson in the theoretical exploration.)
Graph 6: Sketch for diffusion/non-diffusion Sound system
(Graph 1– 4: Drawings for a.o.i. - lasting memories by Erika Matsunami, ©Erika Matsunami/private, 2013/2020–2021, Berlin)
(Graph 5: Sketches from the score Ephemeris/Ekleipsis with the Set-up (two adjacent rooms at AdK Berlin) of 16 loudspeakers by Valerio Sannicandro,©Valerio Sannicandro/private, 2015)
(Graph 6: Drawing for a.o.i. - lasting memories by Erika Matsunami, ©Erika Matsunami/private, 2020–2021, Berlin)
Image 1: File:Genome map of the bacteriophage ΦX174 showing overlapping genes.svg - Wikimedia Commons
Image 2: Nucleic acid sequence
Duchenne Muscular Dystrophy (DMD) Mechanism of Disease
Artistic research “Variations”: On Klänge - Space, Time and Body by Erika Matsunami
Artistic research “Graphy”: GRAPHY by Erika Matsunami
Matsunami, Erika, Monograph "still/silent", Berlin: Revolver publishing, 2011
https://www.worldcat.org/search?q=isbn:9783868951943
https://d-nb.info/1018097201/04
Sannicandro, Valerio, Dissertation, “Toward space as autonomous music parameter, targets and methods”, Space and Spatialization as Discrete Parameter in Music Composition, Technische Universität Berlin, 2014, pp. 31–33.
https://www.worldcat.org/search?q=isbn%3A9783737513647&qt=results_page
Additional information:
Add. Participants for a demo track are a pianist (Interpreter) N.N and a sound engineer (the recording and the mixing) N.N.
A future variation in 2022 for the performance, a pianist by N.N, live electronics by Erika Matsunami and/or N.N in the 6-ch mono-discrete sound system, Valerio Sannicandro for rehearsal and performance, a sound engineer N.N.
References:
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Mac Cumhaill, Clare. “Specular Space.” Proceedings of the Aristotelian Society, vol. 111, 2011, pp. 487–495.
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“Listening to Instruments.” Instruments for New Music: Sound, Technology, and Modernism, by Thomas Patteson, University of California Press, Oakland, California, 2016, pp. 1–17.
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O' Callaghan, Casey, Beyond Vision: Philosophical Essays, Oxford: OUP, 2017.
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Schulze Holger, Sonic Fiction, London: Bloomsbury Publishing, 2020.
The starting point of the collaboration, currently I research the problems in the concept (draft) for the exploring the Joint Artistic Research.
Space, Time and Body:
Dots are bodies.
Space and Time are phenomena, therefore it relates to each body or phenomena of between bodies or independently.
Ephemeris/Ekleipsis (2015) for two musicians in two adjacent spaces - 1st Part Ephemeris (recording at AdK, Berlin)/Valerio Sannicandro
Limina (2019) for 6 musicians/Valerio Sannicandro
As a music score for a music approximately 15—20 minutes, it is a score of "slow music" full of emptiness as an existing space.
Graph 4b: A starting point of multi-open score for a layer: A drawing of topological space and time to transform from biological to musical.
References are for the theoretical and practical exploring on philosophy of sound.-->
Why are the sound theories philosophy of listening?
Because the sound has wide meaning in our lives. Probably, more than perception of sight. A creation from the listening, not force to heard.
The human body contains a complex immune system that performs its functions silently. Our immune system can even retain “memories” in the form of antibodies, but we have no conscious access to them.
Consciousness is independent of behavior, emotion, and language.
Consciousness does not require behavior or action. We are able to experience consciousness even when we are dreaming and our muscles are temporarily paralyzed.
Catatonia, a state of motor immobility and behavioral abnormality, provides another piece of evidence that consciousness does not require action. Patients with MPTP toxicity who have gone into a state of catatonia are still able to experience consciousness.
While emotion enormously enriches the conscious experience, it is also unnecessary for it. Many individuals with affective disorders, who have lost the capacity for normal emotional experience due to loss of underlying brain regions, continue to have conscious experiences.
Pre-linguistic children and patients who are aphasic (have lost the ability to speak) have conscious experiences.
Even self-consciousness and the ability to learn are not essential aspects of consciousness.
Self-consciousness, or self-awareness, is the ability to recognize oneself as a distinct individual and to think about oneself from an outside perspective. It is overdeveloped in humans, particularly adults. Self-awareness is thought to develop relatively late in life due to the late stage myelination of the projection systems into the prefrontal cortex.
Self-awareness is not required for basic consciousness, it is just one highly-developed aspect of it. Despite an incomplete development of self-awareness, children are still able to have conscious experiences.
Speech comprehension occurs subconsciously so that our conscious minds can focus on the actual information being exchanged.
Self-awareness is an important part of human psychological development, but it is not critical for consciousness. In fact it does not even completely develop until your 20s, and very young children lack it. Even as adults, when we engage heavily in external tasks like exercise, our self-consciousness diminishes/disappears, yet we remain conscious.
(The lecture "The Biology of Consciousness" with Christof Koch | Neuroscientist | Chief Scientist, MindScope Program, Allen Institute for Brain Science)
Performance (still/silent, 2010)/Chris Dahlgren & Erika Matsunami
still/silent (2007 – 2011): Still/Silent 6-ch Mono-discrete Sound for 2-ch Video Installation/Erika Matsunami & Niklas Schmincke
B.O.D.Y. (2010) 2-1/Erika Matsunami & Niklas Schmincke
B.O.D.Y. - piece of glass (2012)/Erika Matsunami & Niklas Schmincke
As a professional independent visual artist, sound composer, artistic researcher, and choreographer based on the performing techniques of traditional Japanese dance theatre and others, my function in the project a.o.i. - lasting memories (in artistic collaboration with the composer and the conductor Valerio Sannicandro) comes from the aspect of visual and time perceptions (from twofoldness to manifoldness) of the multi-layered open score and aesthetics on the sonic level, which musically develops in the part of the multi-layered open score for piano and live electronics interactive with Valerio Sannicandro in the context of DNA sequencing. In doing so, I will deal at an individual level in art with the subject of transculturality which addresses the cultural migration and the cultural integration between two different cultures and continents. My ultimate motivation to artistically explore DNA sequence in this context, particularly its meaning in music is my artistic challenge to musically denote and connote it at the poetical level of sonic art (live electronics). The function of the project partner, the composer Valerio Sannicandro, is the musical composition of the partiture and to rehearse it with musicians through his specific and highly artistic technique, together with the performance technique and musicians from classical music, which makes profound sense in cognitive linguistics. There are some common subjects at the artistic research level on the “aesthetic attention beyond the object” (in a sense, "beyond the subject"). Therefore, for example, "traversal" in medicine between crafts and its balance which consists of complex manifold space and time in the body, which is the subject of the composer, sculptor and architect in today's science. What I would like to explore in this collaboration with Valerio Sannicandro is sound synthesis as a new musical mode towards (cross-over, combined with) piano(s) which is probably a musical intervention, an idea of graphical space and time in the music score which refers to diffusion, embodiment through seeing-in*, in which it might be possible to develop the variation with the performance, and/or with additional instrument(s) for future performance.
*seeing-in is not curiosity in the general situation, that is an act by the educated artist, i.e. "Three-dimensional object in a real space would be transformed into a two-dimensional surface." (encoding), "The notation of space and time would be transformed into auditory expression through the movement." (decoding)
Intimitate in Arts:
"Intimism (French: intimisme) was an artistic movement in the late 19th-century and early 20th-century that involved the depiction of banal yet personal domestic scenes, particularly those within domestic interiors. "
I think it was Picasso who talked in his paintings about his intimity for love in the 20th century. In addition, he depicted his "intimacy" with humans. In contrast to Picasso, I drew with sounds about my intimacy for myself, which was really different as a self-portrait.
How and what I did: I recorded myself (sound) in my surroundings (Environment) for 24 hours with a break, but it was aimed for "one day". It means that I recorded when I was sleeping at night also. I listened all recorded material.
So what did, I appreciate and think from the recording of that sound.
- Time
- Space
- Happning
- Event
- Things
- etc.
(The idea to record the sound of own everyday life came from Prof. Dr Supper's seminar. How I explored it, that was my own research method in artistic research. Subsequently, we discussed about each practical research in the seminar.)
In space, human beings become "sounds" as beings when we make sounds from our bodies, when we are in contact with something, and when we are talking and moving. It was very "intiem" sound for me, that is "privat" with who I can share, who I love...When I love you, any sound "I feel adorable." I think "love" is what makes your child's poop look cute, and worry about his/her health, that is an intimity and humanity.
Human beings become "sounds" as beings in a space, that is likewise a "creatures", which I would like to refer to Dante's. Nono and other musical composers, they transcribed/transcribe its human-beings into musical language, since Renaissance, as well as in the painting and the sculpture. There are many paintings in the Renaissance for the study of medicine. For instance, we can see how infectious diseases were. The purpose of looking at your baby's poop is to check your baby's daily health.
The question is always "What is "Amore"?
Maybe contrary to rationality, probably irrationality, perhaps ridiculous in the whole of the story.
Human-being and Human love.
Do you believe in love?
Joint Artistic Research: Variation II
Artistic Research: Silence surrounds us, silence around us
Variation: Research for space, time and body
– Semi-formalism from twofoldness to manifoldness for the concept practically and theoretically.
*DNA is the molecule that is the hereditary material in all living cells. Genes are made of DNA, and so is the genome itself. A gene consists of enough DNA to code for one protein, and a genome is simply the sum total of an organism's DNA.
The important is the information of phenotype and genotype, not white or black, there are no types and category of white and black in the aspect of biology.
DNA* sequencing test is not for knowing ones origin, that is a medical examination for one's health care and about the originally of the illness, also its potentiality.
a.o.i. - lasting memories Music pre-production, that was in words of the music industry, Draft for a piano piece by Erika Matsunami, Composition arrangement by Valerio Sannicandro for four weeks. But, after I read the doctoral thesis by Valerio Sannicandro, I started to work on the concept for the Joint Artistic Research for a new research field with my artistic research since 2016, and with my new approach after the COVID-19 pandemic in 2020. In 2020, I explored a new research method (module) together within the academic research field, due to the research problems of variation I, to solve these research problems in variation I. The problem was, how I can exchange the "seeing" study of visual arts, as well as in the aesthetics simply. I have been academic research on seeing and listening since 2016, and I interested in a new approach.
It is the aim of the collaboration between me and Sannicandro on manifoldness from the perspective of two paths in artistic research in music practically.
Crossdisciplinary, Transdisciplinary Research:
Multimodality through envisions (envisioning) in music from the aspect of music (seeing-in from auditory sense (perception), from seeing-in to auditory sense (diagram).) and visual arts (from perception (sense of sight) to auditory sense (space and time), to transform into diagrams) .