<- INtro

Notion of the Environment between Western and Non Western in the arts: -> in the language and its communication was a traditional way -> between tradition and modernity

Theoretical exploring model x 1

On environment in music, visual arts, and architecture

Practical exploring model x 1

Choreographic Notion practically in this exposition (My movement in a video is not based on Noh-Dance, it is based on Gagaku Dance, which relates to Takemitsu's composition in Daosim. In-between Western and Non-Western, in-between tradition and modernity were the subject in post-war in Japan. I learned Gagaku choreography also, when I was a child, through Itsukushima, Hiroshima): A choreography (in a video, it is just a part of, therefore, I have been exploring rhythms (time in contemporary notion), and syntax (logic) of body and movement as an artistic language. – nonsense art without artistic expressional form (reduced choreographic decoration)), I started in 2011. The starting point of the last composition of Toru Takemitsu in the rage training space at the Dachverband Tanz Deutschland in Berlin. Because no one in the Japanese Traditional Dance Theater can create the choreography for the last composition of Toru Takemitsu. I asked my Master Hanayagi, Masatoyo (花柳雅豊) for the choreography of the last composition by Toru Takemitsu for the presentation in Berlin in 2012, she gave up it and gave me the Takemitsu's composition (material for choreography) back. (She has own research aim in the whole of her life in the Japanese Traditional Dance-Theater of Formalism in the context of Hanayagi-ryu. It is the academic study system in all of the world, not only in the Traditional Japanese Arts.). The choreography for the music composition in the Japanese traditional Dance-Theater is unusual, they don't analyse the music composition. The composer analyses the choreography.). Since then, she allowed me, my own Dance choreography freely. -Semi Formalism. Choreography by Erika Matsunami as an individual artist, not Hanayagi, Hosenyu (花柳豊仙遊). I can write the thesis. After 2012, I became a member of the international dance council CID/UNESCO, Paris, and I gave the lecture for the thesis at the CID World Congress. Choreography is an artistic language for us. There is the documentation of my solo Traditional Dance-Theater piece (original) with others at the presentation and lecture at the Dachverband Tanz Deutschland in Berlin. I have been solving the issue of the Japanese Traditional Dance-theater choreography in Formalism in the context of the Language in Japanese. In the Japanese Traditional Dance-theater choreography is the first line in the literature, and the second line is the choreography, which is an interdisciplinary study, and the third line is the music composition, which is the cross-disciplinary study. Then, there is the "entity" of openness in a transdisciplinary study in performing arts. On this guideline, the Japanese Traditional Dance-Theater is Comprehensive art dynamically. – flexibility toward the Western civilisation of coordination, systematization, morphology, organisation, and management in which refers to minimalism and neuroscience.

I reached the last composition of Toru Takemitsu in 2015, I would like to work in my own art for the collaboration with individual composers, musicians and many others autonomy, not in the guideline of Toru Takemitsu's composition. What I studied in the composition by Toru Takemitsu, was on embodiment in the environment in his composition, not embody to his music composition, is a musical painting in an abstract expression in semi-formalism. He is a composer between concrete and abstract from the aspect of visual arts, was his openness in his composition. from this aspect, my idea is critical toward practical Dr in piano performaning arts Luka Huisman's performance. But without rehearsal in the same place, we can never communicate, is the limitation of argument in the knowledge. Non-functional communication, it never solve the issue of research through the argumentation, as well as the question. Because of the notion of Takemitsu's embodiment. I attempted to do in the virtual space, but it is for us the third space and its warp (transposition) of time, space and body in Takemitsu's notion (for the creating in the arts), it was only stress, not for creative mentaly. Namely, Takemitsu's composition, it does not work within this working condition. For example, with the composition of Steven Reich, we can just read his composition (the notion of a composer) at the first, but Takemitsu's is, we cannot just read the notion of a composer, i.e. Corona (1962) for pianist(s)), which is in-"being". His notion will appear through the embodiment so that he wrote the notice (annotation) of his composition in his partitur precisely. He has dealt with between Western and Non-Western languages and notions. (I embodied it in a choreography in a video of this parctical exploring.)


The third space is not for the space of "embodiment", that I am exploring currently, which refers to cognitive neuroscience and psychology, such as in philosophy of language - communication

 

 

Tōru Takemitsu [武満 徹]: In an autumn garden

 

 

-> For what I had been writing the thesis on performativity?


The Buddhist worldview is a worldview that includes everything or the worldview consists of everything, which is the universe. However ontological recognition of life, we need to work on continuously. I dealt with the topics in the individual artistic practices* (many others including mine) and explored them as the notion, and discussed them at the World Congress of CID/UNESCO. If I write about Butho Dance, it will be only a part of the counter culture (maybe it would use as a material or became a part of a notion in the cultural study) historically, won't be recognised as an artistic notion. Japanese culture and art in post-war, when I read Takemitsu's composition in his notion, that is not wonder, something came out after the tradition in the modernity (curtural eveolution in Japan).


*Artistic practices are not only something produced or decorative creation, but rather it includes "embodiment" of. Probably, it is most complex in the arts between realtiy and mind,

 

Editing techniques for the logic and the syntax in this exposition: All video editings are raw material without any effects and filters at the audio and visual levels. I will edit only with recording (Aufnahme) and film montage techniques, probably, for the final work, I will use my sound composition as the second line of.


And it will be transformed into "a.o.i. - lasting memories" through the artistic theoretical exploring (in logic).

-> Takemitsu's flexibility as an ability

In the choreography, deduction of decoration, I mention that refers to "adjective" (expression) in the choreographical sentence (semantics). i.e. in the traditional Japanese Dance-Theater choreography is Interjection, which we can see in the ballet in the Western culture. It calls the expression of spirit, was a symbolic expression, it depended on the literature and mise-en-scène, i.e. abstract, impressive, expressive and so on, that was created in terms of metaphor together with the music composition.

On Formalism and Semi-formalism in which has the connection with the notion of Takemitsu's in-between Western and Non-Western from the aspect of Japanese Tradition.

What is Rhetoric? and its gap in the digital age?

What is Nonsense in terms of Wittgenstein?

in the context of art and philosophy

In the theoretical exploring, I attempt to explore from the two perspectives of knowledge, one is from my life experience which is based on my cultural contexts of Western and Non-Western languages. Another one is from the theories, in doing so, I will deal with contradiction in the research context.

"Uniqueness"

Between Western and Non-Western

In doing so, I dealt and deal with

- singularity

- plurality

- multiplicity

Under construction

Nelson Goodmann

Arthur Danto

Jane Forsey

Towards expression theory

Between Dehumanization and Humanization, between Anthropocene and Naturalization, between control and phenomenological being, between notion and phenomenal being, between inhabit and habit, and so on, ...

In the theses Brain-Mind: From neurons to Consciousness to Creativity by Paul Thagard, OUP, 2019, Thagard started to explore Human intelligence in chapter 1 "What Are Minds?", that is the same direction of my artistic research, 2016 I have been exploring specific, probably, I have been exploring since 1990 or before. Because of the Traditional Japanese Arts, they had described in this way of diversity.

One of important Japanese researcher is Dr. Takeshi Youro (養老孟司)

There are many other perspectives of transversal aesthetics, this exposition is only one of them. For example, it might possible to explore transversal aesthetics in the Indian culture, that there are many possibilities to explore in transversal aesthetics, such as on the topic of Chaos* in their culture. I explore hereby transversal aesthetics in artistic research also methodologically.


The research in the classical aesthetics and philosophy of art was based on the interpretation of Western knowledge through the Western language and/or to be transformed into the Western language. Thereby, this transformed terms in the Western knowledge, they inserted in their colonial country as the Unification of the Western Civilization, i.e. by Heidegger's transcendence for Asian culture, was based on the colonial ideas by the Western culture. It was the same within the Greek Ancient culture in Europe. - The transcendental central European knowledge as the centre of hierarchy.

My suggestion for transversal aesthetics is not "Abdruck", but rather "Projection" in the exploration methodologically.


In art and technology, there are many theories towards idealism such as Heidegger's (neoromanticism and human essence through art and technology in arts) critically.

One is in Canada, "Char Davies's Immersive Virtual Art and the Essence of Spatiality", Laurie McRobert, Universitiy of Toronto Press, 2007


*complete disorder and confusion.

"snow caused chaos in the region"

  • Physics
    the property of a complex system whose behaviour is so unpredictable as to appear random, owing to great sensitivity to small changes in conditions.
  • the formless matter supposed to have existed before the creation of the universe.
  • Greek Mythology
    • the first created being, from which came the primeval deities Gaia, Tartarus, Erebus, and Nyx.
      noun: Chaos
    Origin
    late 15th century (denoting a gaping void or chasm, later formless primordial matter): via French and Latin from Greek khaos ‘vast chasm, void’.
    Translate chaos to
    Use over time for: chaos
     



 Definitions from Oxford Languages

 

In-Between of Western and Non-Western culture


-> Transversal aesthetics


If it is possible, I would like to reach on the topics of contradicition, paradox, and so on.

Dehumanization means a wide range

Theoretical exploring model x 2

When I explore Wittgenstein's theoretically, then I need to challenge to dealt with

References

Everyday Language as Nomenclature in the Tractatus


Abstract

 

Not only the Philosophical Investigations but also of course the Tractatus of Wittgenstein is of great importance in the history of linguistic thought. This statement is not generally accepted, mainly for cultural reasons. Those most directly concerned with such a history are the students of general linguistics, but they seem to take little interest in Wittgenstein. The most recent works on the general history of linguistic thought (Arens, 1955; Leroy, 1963; Bolelli, 1965) do not quote Wittgenstein; indeed, they never even mention his name. Wittgenstein is mainly read by students of logic and of general philosophy; therefore the best-known aspects of his thought are those concerning logic and metaphysics or morals. Even Carnap (p. 261), writing as early as 1928, considered the two greatest merits of the Tractatus to be its contribution to logic and its ethical attitude. These two features have also drawn the attention of other scholars such as Scholz (1962, p. 143), Weinberg (1950, passim), Colombo (1959, passim), Barone(1953, pp. 95–122). The latter speaks of the “linguistic solipsism” of Wittgenstein, but he stresses the noun and not the adjective. Everyone knows that there are linguistic theories in the early Wittgenstein, but these theories are usually presented as a bridge Wittgenstein built to get to logic and to an ethical attitude. There is, however, at least one notable exception to this rule. G. H. von Wright, Wittgenstein’s successor at Cambridge, writes:

“Wittgenstein’s Tractatus may be called a synthesis of the theory of truth-functions and the idea that language is a picture of reality.” (Malcolm, 1958, p. 8).

 

Keywords

Linguistic Theory Ethical Attitude Everyday Language Philosophical Investigation Logical Aspect

- Pragmatism

- Skepticism/scepticism

-> A pragmatic theory of truth

-> Ancient Greek Philosophy

-> Immanuel Kant

In Wittgenstein, it is propositions in Latin.

-> simplex sigillum veri -> simplicity is the sign of truth

It was for "naturalization", not rationalization.

Wittgenstein's Aesthetics and Ethics:

"It is clear that ethics cannot be expressed.

Ethics is transcendental.

(Ethics and aesthetics are one.)"

Wijdeveld, Paul,  Ludwig Wittgenstein Architect, Cambrige, Massachusetts, London: The MIT Press MIT Press, 1994 p. 183

Takemitsu's naturalization and Wittgenstein's naturalization in ethics and aesthetics:

Additionally, I explore feminist logic, i.e. Hildegard von Bingen (She studied natural medicine), and others in terms of today's queer study

Language

Components

Philosophy

Mechanism

Logics

Hildegard von Bingen had respected the relationship (love) with the same sex (homosexual). The woman was not the role of chaste wife under the man and not the role of the mother in the family, was a person independently and naturaly.–Liberalization from sexism, after modernism, was explored by Simone de Beauvoir, she mentioned, "One is not born, but rather becomes, a woman.". – educationally.


 A man lusts for a woman (automatically)" is animalistic and human nature.–That is wrong. In modern society, it is "superstition." 

Human reason is natural aesthetically, and that is humans naturalization in the environment.

Composition

Gesture

-> The Varieties of Goodness

-> Introduction 

„Silence surrounds us, silence around us“ - X

on Green x by Erika Matsunami

Theoretical exploring model x 2

-> The issue of the art representational theory in the context of idealism must be good ethically, the question is always is for good and its morality such as taboo. Thereby, art is an ethical model, must be good. Or it is a model that can be considered critically. However, at which level? Does art have to be some kind of ideology? In today's society, we can think by each individual and we can make a decision by ourselves.

Why does art have to be a position of preaching that includes moraic duty as the common sense?

Practical exploring model x 2

Model x