Queer Sites in Global Contexts
Technologies, Spaces, and Otherness, Routledge, 2020

"Queer Sites in Global Contexts showcases a variety of cross-cultural perspectives that foreground the physical and online experiences of LGBTQ+ people living in the Caribbean, South and North America, the Middle East, Europe, and Asia.

The individual chapters—a collection of research-based texts by scholars around the world—provide twelve compelling case studies: queer sites that include buildings, digital networks, natural landscapes, urban spaces, and non-normative bodies. By prioritizing divergent histories and practices of queer life in geographies that are often othered by dominant queer studies in the West—female sex workers, people of color, indigenous populations, Latinx communities, trans identities, migrants—the book constructs thoroughly situated, nuanced discussions on queerness through a variety of research methods.

The book presents tangible examples of empirical research and practice-based work in the fields of queer and gender studies; geography, architectural, and urban theory; and media and digital culture. Responding to the critical absence surrounding experiences of non-White queer folk in Western academia, Queer Sites in Global Contexts acts as a timely resource for scholars, activists, and thinkers interested in queer placemaking practices—both spatial and digital—of diverse cultures."

Editor(s)

Biography

Regner Ramos is Associate Professor of Architecture at the University of Puerto Rico. His research on the relationship between queerness and space is informed by experimental research methods, shifting between model-making, drawing, and performative writing. He is the Editor-in-Chief of informa journal and the architecture Editor at Glass magazine, and Co-Director of Wet Hard Agency. His current research project, “Cürtopia: Queer Maps for Puerto Rico”, is funded by FIPI.

Sharif Mowlabocus is Associate Professor of Communication and Media Studies at Fordham University. He is the author of Gaydar Culture (2010) and his forthcoming book, Interrogating Homonormativity, explores the British gay male culture in the ‘post-equalities’ era.

https://www.taylorfrancis.com/books/edit/10.4324/9781003002338/queer-sites-global-contexts-regner-ramos-sharif-mowlabocus

Mac Cumhaill, Clare, “Specular Space”, Proceedings of the Aristotelian Society, vol. 111, 2011, pp. 487–495.

Thagard, Paul, Brain-Mind: From neurons to Consciousness to Creativity, OUP, 2019

Nalvantian, Susanne, Matthews, M. Paul (edit), Secrets of Creativity: What Neuroscience, the Arts, and Our minds Reveal, OUP, 2019

Geometry is a visual method of description of three-dimensional objects in two-dimensional space.

Hereby, I worked with symmetric ideas and I explored the limtation of symmetry.

#North

Racism is a very complex human issue, just like hatred.

For example, the Black African, Islamic and/or Israeli heterosexuals, and other orthodox in the world are against homosexuality or compassion.

-> It seems also an intersectionality of fundamentalists in the social media, e.g. as well as the Antisemitism movement in Germany together with German nationalist and Islamic-German immigrants today, like a #hate

The hate issue

JewKkKlansman

Brett Ashley Kaplan

BRETT ASHLEY KAPLAN directs the Initiative in Holocaust, Genocide, Memory Studies and is professor in the Program in Comparative and World Literature at the University of Illinois. Her most recent book is Jewish Anxietyand the Novels of Philip Roth (Bloomsbury Academic, 2015) and she is currently writing a novel, Rare Stuff

Patricia Cadavid: Electronic_Khipu_

http://smallforms.org/patricia-cadavid/

https://www.patriciacadavid.net/

Artistic representational models in seeing:


-Recognize the object and its space through the reflecting of the light (light and shadow, for example, painting, sculpture)


-Projection of the light (projection and reflection, for example, Video and Film projection)


-Monitoring (images emit the light of the colours, for example, TV, computer monitor)

-Illumination (the electric light emits)

Treating Disabled Adults as Children

An Application of Kant’s Conception of Respect

Adam Cureton

Keywords:   respect, disability, Kant, disrespect, competent, adults, children

Why is professionalism in the profession questioned in the 21st century? It is currently (although it is a budget sheet for the project, I am also working on a budget sheet. For that we need to work on the concept, for the concept, we need to do the research. There is no idea for the part-time worker in the arts. The fee in the arts is for a limited period, the money is not for time-working.) in our countries, it is not an "hourly wage" but an "ability wage". The labour unit of unskilled labour is gone. The evaluation of "ability salary" is related to the professionality of the profession. It varies widely depending on the purpose of the project.
I think that the current art project (in the 21st century) involves philosophical considerations of human ability in time and space (environment, milieu), not producing (production), but rather that is for creativity (creation). From that aspect, I am convinced that it is very likely to contribute to society. For example, I'm essentially asking for that, 'What is human ability?' and 'What is coexistence?'.

This paper is a very nice paper.
It's a paper on the history of digital humanities and digitalisation.

I have been working with computer since the 1980s in Japan and later in Germany.

My personal computer in Berlin in early of the 1990s was a used PC desktop (which was from a friend in Berlin), which was still a DOS system (Today the computer is a luxury good, but the computer which was used did not cost at that time. life in East Berlin was like a total coordinated prison by the control, but in the Western countries, was through an individual free decision.), later mac came in the UdK Berlin. In early of the 1990s, I had an email account at the Rechnung-Zentrum, the Humboldt University, Berlin through the institution for art in context, Berlin University of the Arts. I was the first student in the faculty of Fine arts at Berlin University of the arts. Who applied an Email account at the the Rechnung-Zentrum, the Humbort Unviersity, Berlin.

In Berlin, this field such as computer communication and so on was still a self-taught field for all academic fields, so, I knew the community from students in Berlin.

What appealed to me about the computer was that it solved the problem of social and traditional Japanese gender discrimination against women.

Japan introduced AI from the United States in the 1980s and built up the social system with AI. I was not happy with the digital time and space of the 1980s in Japan, because of the moral of punctuality and generating with the digital system, which was still too naive.

Today in Western countries, AI is a part of a complex system. i.e. with sensors, interactivity, and so on. Particularly, AI has vast historical and actual information as well as specialised in the law.

AI in the Western countries protects our privacy generally, due to/through the law, it must protect.

I think that one of the most important researches in ethics for transforming bad into 'goodness' in modernity, is the research of Georg Henrik von Wright.

I explore in this theoretical exploring model x 4 from aspects of biology and anthropology in the 21st century.

II. Instrument and technical goodness

III. Utilitarian and medical goodness. The beneficial and the harmful. Health and illness

IV. The hedonic good

V. The good of man

VI. Good and action

(pp. 19 – 135)

I drafted my homepage (my digital home)  art-identity.de in 1999 at the advanced professional training "HTML and Javascript" for the artists in Berlin, which was a blueprint of this homepage.

I liked this idea of 'my digital home' at that time, my homepage art-identity.de was published online in 2003, and it was innovative within the digital revolution in 2000.

My homepage art-identity.de as a function is an artist portfolio (publication).

Moral Responsibility and Determinism: The Cognitive Science of Folk Intuitions

Shaun Nichols

Department of Philosophy, University of Utah Salt Lake City, UT 84112

snichols@philosophy.utah.edu

Joshua Knobe

Department of Philosophy, Princeton University Princeton, NJ 08544

jknobe@princeton.edu

For theoretical exploring model x 5, I will explore ethics from aspects of biology and anthropology in the 21st century.

VII. Virtue

VIII. 'Good' and 'Must'

IX. Duty

X. Justice

(pp. 136 – 216)

in the works

Scientific paper

UDC 930.85:004.9

Ramón Reichert

ramon.reichert@univie.ac.at

Universität Wien

Notice:This is the text corresponding to the lecture author gave at University library ”Svetozar Markovic” which was published under title Digital Humanities in Jens Schröter (ed), Handbuch Medienwissenschaft, Stuttgart/Weimar: Metzler 2014, 511–516. For Serbian audience and Infotheca journal the text has been addditionaly changed and enriched.

Digital Humanities

Abstract:

Digital humanities is a transdisciplinary scientific area that can be seen both as a research subject and as a methodological tool. It connects humanities with information and communication sciences, that is, it connects the pragmatic (user and programing) dimension with the media historical dimension of information technologies and their usage. The term digital humanities hasn‟t been established until the emergence of the Internet and realization of the importance of processing of and research over large data sets. Terms that were used before, such as Humanities Computing and Computer Linguistics have been replaced with the concept of humanities in the context of not only digital surroundings, but also digital artefacts as subjects of interest for scientists in the broad field of social sciences. In this paper, we outlined not only the history of Digital Humanities, but also the history of the ideas of digitization, i.e. converting data into another format of presentation, more complex for humans, but easier for machine, computer processing. It is important to point out that in this nexus of disciplines and scientific areas, avid representatives of digital thought are not in conflict with practitioners of digitization. Both of them, in spite of different traditions, follow the general line of the shared ideology of unfaltering confidence in the scientific truth provided by technology. The aim of this text is to reflect upon that truth from the perspective of socio-cultural historical archaeology of science and media.

Key words: Digital Humanities, Media theory, Historical methodology of digitization, History and philosophy of science, Computational linguistics, Actor-Network

Date of submission: 10 September 2014

Date of acceptance: 20 December 2014

“Digital humanities” are a heterogenic field of research between IT, cultural studies and humanities in general. Recently, because of higher availability of digital data, they gained even more importance. The term “Digital humanities” has prevailed due to the wider usage of the Internet and it replaced the terms like “Computational Science” and “Humanities Computing”, which have been used since the beginning of the computer era in the 60s. These terms were related mostly to the methodological and practical development of digital tools, infrastructures and archives. In addition to the theoretical explorations on science according to Davidson (2008), Svensson (2010), Burdick (2012) and Gold (2012), Digital humanities are divided into three trend-setting theoretical approaches, simultaneously covering the historical development and changes in the field of research according to the epistemological policy: 1)The usage of computers and digitalization of “primary data” within humanities and cultural studies are in the center of Digital humanities. On the one hand the digitization projects relate to the digitalized portfolios. On the other hand they relate to the computerized philology tools for the application of secondary data or results. Even today these elementary methods of digital humanities are based on philological tradition, which sees the evidence-driven collection and management of data as thefoundation of hermeneutics and interpretation. Beyond the narrow discussions about the methods, computer-based measuring within humanities and cultural studies claims the media-like postulates of objectivity within modern sciences. Contrary to the curriculum of text studies in the 50s and 60s within the “Humanities Computing” (McCarthy 2005) the research area of related disciplines has been differentiated and broadened to history of art, culture and sociology, media studies, technology, archaeology, history and musicology (Gold 2012). 2)According to the second phase, in addition to the quantitative digitalization of texts, the research practices are being developed in accordance with the methods and processes of production, analysis and modeling of digital research environments for work within humanities with digital data. This approach stands behind the enhanced humanities and tries to find new methodological approaches of qualitative applicationof generated, processed and archived data for reconceptualization of traditional research subjects. (Ramsey/Rockwell 2012: 75-84). 3) The development from humanities 1.0 to humanities 2.0 (Davidson 2008:707-717) marks the transition from digital development of methods within “Enhanced Humanities” to the “Social Humanities” which use the possibility of web 2.0 to construct the research infrastructure. Social humanities use interdisciplinarity of scientific knowledge by making use of software for open access, social reading and open knowledge and by enabling online cooperative and collaborational work on research and development. On the basis of the new digital infrastructure of social web (hypertext systems, Wiki tools, Crowd funding software etc.) these products transferthe computer-based processes from the early phase of digital humanities into the network culture of the social sciences. Today it is Blogging Humanities (work on digital publications and mediation in peer-to-peer networks) and Multimodal humanities (presentation and representation of knowledge within multimedia software environments) that stand for the technical modernization of academic knowledge (McPherson 2010). Because of them Digital Humanities claims the right to represent paradigmatically alternative form of knowledge production. In thiscontext one should reflect on the technical fundamentals of the computer-based process of gaining insights within the research of humanities and cultural studies while critically considering data, knowledge genealogy and media history in order toevaluate properly the understanding of a role in the context of digital knowledge production and distribution (Thaller 2012:7-23). History of digital humanities Digital Humanities have been considered only occasionally from the perspective of science and media history in the course of last few years (Hockey 2004). Historical approach to the interdependent relation between humanities and cultural studies and the usage of computer-based processes relativize the aspiration of digital methods on the evidence and truth and support the argumentation that digital humanities were developed from a network of historical cultures of knowledge and media technologies with their roots in the end of the 19thcentury. Relevant research literature of the historical context and genesis of Digital Humanities regards as one of the first projects of genuine humanistic usages of computer a Concordance of Thomas of Aquino based on punch cards by Roberto Busa (Vanhoutte 2013: 126). Roberto Busa (1913-2011), an Italian Jesuit priest, is considered as a pioneer of Digital Humanities. This project enabled the achievement of uniformity in historiography of computational science in its early stage (Schischkoff 1952). Busa, who in 1949 developed the linguistic corpus of “Index Thomisticus” together with Thomas J. Watson, the founder of IBM, (Busa 1951; 1980: 81- 90), is regarded a founder of the point of intersection between humanities and IT. Roberto Busa and associates during the preparation of cards for the Index P. Tasman about the methods used in the Index of Roberto Busa The first Digital edition on punch cards initiated a series of the following philological projects: “In the 60s the first electronic version of „Modern Language Association International Bibliography‟ (MLAIB) came up, a specific periodical bibliography of all modern philologies, which could be searched through with a telephone coupler. The retrospective digitalization of cultural heritage started after that, having had ever more works and lexicons such as German vocabulary by Grimm brothers, historical vocabularies as the Krünitz or regional vocabularies” (Lauer 2013:104).At first, a large number of other disciplines and non-philological areas were formed such as literature, library and archive studies. They had longer epistemological history in the field of philological case studies and practical information studies. Since the introduction of punch cards methods, they have been dealing with quantitative and IT procedures for facilities of knowledge management. It should be noted that the presentation and popular intermediation of research based on data relied on earlier cultures of data. Both historical continuity and a number of media turnovers which could be understood only if put in historical, social and cultural context charterized those cultures (comp. Gitelman/Jackson, 2013). Comparative analysis of data processing with an overview of matreial cultural practice with regard to processing of data from 19th to 21st century, shows that as early as the 19th century mechanicalpractive in data processing procedure greatly influenced the taxonomy of epistemological interest of researchers – long before the computer methods of data collection appeared (comp. Driscoll, 2012). Since the introdcution of the punch cards method various scientific dicsiplines have dealth with quantitative and computational procedures of knowledge management. That ishow Kevin Driscoll did research on the genealogy of processing of big data in which he discerened three historical periods: “The first period begins in the late-19th century with the development of mass-scale Information processing projects and the electro-mechanical punched card systems that madethem possible. Although these early machines were gradually replaced by programmable Computers in the 1950s and 1960s, the organizational logic embedded in such systems persisted more or less unchanged until the 1970s. The second period is marked by the rise of database populism and the increasing availability of microcomputers in the late-1970s. Implementations of the relational data model enabled the production of more accessibleInterfaces for non-specialists and large institutional databases were increasingly accompanied by small personal databases built by individuals and stored on microcomputers. In the third period, however, small personal databases receded from the desktop with the increasing sophistication of spreadsheet software and the diffusion of internet access. In the early 21th century, the demanding, task of tracking millions of users through highly-centralized communication systems such as Facebook brought about new approaches to database design that departed significantly from the previous four decades.” (Driscoll, 2012: 6) Driscoll‟s periodization of the history of Big Data forms a promising approach in the sense of reveiling social and historical results of processing of such information. From this perspective one can notice that neither Busa‟s set up of research nor that method was without preconditions so they can be projected in the wider history of knowledge and archeology ofmedia. Library in the Army Medical Museum and Library Front page of the journal in which advantages of punch cards compared to the older system are shown. Table describing the writing keyboard and tabulator used for reading the cards. As one can see, neither the research question nor the Busa‟s methodological procedure have been without its predecessors, so they can be seen as a part of a larger and longer history of knowledge and media archaeology. Sketch models of mechanical knowledge apparatus capable of combining information were found in manuscripts of Suisse Archivar Karl Wilhelm Bürer (1861-1917, Bürer: 1890: 190-92). This figure of thought of flexible and modularized information unit was made to a conceptional core of mechanical data processing. The Archive and Library Studies took part directly in the historical change of paradigm of information processing. It was John Shaw Billings, the doctor and later director of National Medical Library, who worked further on the development of apparatus for machine-driven processing of statistical data, machine developed by Hermann Hollerith in 1886 (Krajewski 2007: 43). Technology of punch cards traces its roots in technical pragmatics of library knowledge organization; even if only later – within the rationalization movement in the 1920s – the librarian working procedure was automatized in specific areas. Other projects of data processing show that the automatized production of an Index or a Concordance marks the beginning of computer-based humanities and cultural studies for the lexicography and catalogue apparatus of libraries. Until the late 1950s it was the automatized method of processing large text data with the punch card system after Holerith-Procedure that stood in the center of the first applications/usages. The technical procedure of punch cards changed the lecture practice of text analysis by transforming a book into a database and by turning the linear-syntagmatic structure of text into a factual and term-based system. As early as 1951, the academic debate among the contemporaries started in academic journals. This debate saw the possible applications of the punch-card-system as largely positive and placed them into the context of economically motivated rationality. Between December 13 and 16 1951 the German Society for Documentation and the Advisory Board of German Economical Chamber organizeda working conference on the study of mechanization and automation of documentation process, which was enthusiastically discussed by philosopher Georgi Schischkoff. He talked about a “significant simplification and acceleration [...] by mechanical remembrance” (Schischkoff 1952: 290). The representatives of computer-based humanities saw in the “Literary Computing”, starting in the early 50s, the first autonomous research area, which could provide an “objective analysis of exact knowledge” (Pietsch 1951). In the 1960s the first studies in the field of computer linguistics concerning the automatized indexing of large text corpora appeared, publishing the computer-based analysis about word indexing, word frequency and word groups. Hollerith‟s tabulator used in Census, photographed probably in 1890Example of a punch card from the University of Kansas Library Programming with punch cards, second half of the 20th century. The automatized evaluation procedure of texts for the editorial work within literary studies was described already in the early stages of “Humanities Computing” (mostly within its areas of “Computer Philology” and “Computer Linguistics”) on the ground of two discourse figures relevant even today. The first figure of discourse describes the achievements of the new tool usage with instrumental availability of data (“helping tools”), the other figure of discourse focuses on the economical disclosure of data and emphasizes the efficiency and effectivity of machine methods of documenting. The media figure of automation was finally combined with the expectance that interpretative and subjective influences from the processing and analysis of information can be systematically removed. In the 1970s and 1980s the computer linguistics was established as an institutionally positioned area of research with its university facilities, its specialist journals (Journal of Literary and Linguistic Computing, Computing in the Humanities), discussion panels (HUMANIST) and conference activities. The computer-based work in the historical-sociological research has its first large rise, but it remains regarded in the work reports less than an autonomous method and it is seen mostly as a tool for critical text examination and as a simplification measure by quantifying the prospective subjects (Jarausch 1976: 13). One of the early platforms for Digital Humanities was created in partnership with the King‟s College in London.A sustainable media turn both in the field of production and in the field of reception aesthetics appeared with the application of standardized markup texts such as theStandard Generalized Markup Language established in 1986 and software-driven programs for text processing. They made available the additional series of digital modules, analytical tools and text functions and transformed the text into a model of a database. The texts could be loaded as structured information and were available as (relational) databases. In the 1980s and 1990s the technical development and the text reception was dominated by the paradigm of a database.

The foundations of John Lennon as well as Duchamp's, know that the statement of FLUXUS is already a historical one, even though it is against capitalism.

-> The necessity of rethinking today's capitalism in the 21st century

If you deny capitalism altogether, you lose your "individual rights" and the state won't authorize yours. Thereby, people need to respect each other's

The artistic action by FLUXUS artists, what they destroy in their performance, it was the symbolic object by their owns, was an introspective action (an event, which was included negligence such as error, mistake, failure, and blunder as a happening in the performance ) for the audience, was called intervention in arts.

Yoko & John's work was in regards to civil rights, so it was the beginning of an era without heroes. At that time, in the art industry, it was the subject of 'idol', was a new symbolism, but it was from popularity. Yoko & John's work was a starting point of popular art in the art industry. – Changing norms, property and values in art, also for the appreciation of artwork from haute couture via mass production to ready-made, it was a reflection of the society.

Today's issue of this artwork by Yoko & John is represented on side of idealism in the context of the global economy and industry through commercialism, especially in the context of the global art market and its industry. So, their worth of artwork would be dead as generality already, thereby there is no meaning anymore with their work, probably it produces the emotion, and evoke the historical memory. But it is not my aim for research. It is just the strategy of Nechvatal's criticism, his criticism is from the death side. Therefore, I attempt to explore it through contemporary ethics, which is my wish for 'peace'.

Nechvatal studied PhD in philosophy of art under Prof. Dr Arthur Danto at Colombia University in 2011, so he is still from the site of the 1970s, from it, we cannot explore the contemporary ethics of human and non-human society critically. He as an artist explored art with AI already in the 1980s. Actually, he needed to study in PhD after the digital revolution, and for comparing with the 1907s. It lacks the philosophy of information for the art criticism in the context of contemporary in which terms of art in 'After the End of Art' by Arthur Danto. Anyhow all East countries in the world, lack media theory, critical theory and the philosophy of information and so on in the study of arts/fine arts in which art field of performing arts, fine arts and music, as well as visual arts.

However, I attempt to mention why Fluxus manifesto (1963) by George Maciunas in Nechvatal's review does not work today briefly.

Fluxus manifesto (1963) by George Maciunas was based on an idea of plurality for diversity, which was focused on Western capitalism and Western society. It was a deconstruction of the bourgeoisie such as the monopoly economy, that was an important art movement for civil rights. In the USA, it was such as the Black movement, and Indigenous movement. Culturally, it was successful, they got the right of their own initiative and as well as fundraising of their cultural identity.

Fluxus manifesto (1963) by George Maciunas is today a reflection of the French social issue of two social division, that does not work anymore as goodness for plurality. Its social backround was; In 1989, the fall of the Berlin Wall and the collapse of Eastern Europe. In 1990, (Re)unification of Germany. The collapse of the Soviet Union and the Gulf War in 1991. In particular, at the starting of the 21st century, in 2000, the euro became legal tender, the Digital Revolution, and in 2001, the designation of the European Year of Languages by the Council of Europe and the European Parliament and the September 11 attacks in the USA. High economic growth in Europe, and in 2020, Britain's withdrawal from the European Union. The Ukraine crisis in 2014.
On 24 March 2014, the G7 members cancelled the planned G8 summit that was to be held in June of that year in the Russian city of Sochi, and suspended Russia's membership in the group, due to Russia's annexation of Crimea.
After then war as well as civil war and refugee issues, and terrorism continued. In 2020, the Corona pandemic.
Nevertheless, from 2014 till today's Russian Military Invasion of Ukraine, Russia has been stopped short of outright permanent expulsion. The current situation of plurality is the nuclear power generation since the 1970s, including Western countries, right-wing and Russian classical capitalism based on mass production and real estate, and on another side, the focusing of the technological development of renewable energy, the environment, share and care, which is new Western capitalism from the aspect of biology in the 21st century since the Digital Revolution. They are divided into two dimensions of new economic institutions. And so forth, there were many happened in the world.

Fluxus manifesto (1963) by George Maciunas is original, but biologically, its originality is time for them to perish, and to transform into something new. Now, we need a completely new perspective for the 21st century.

On mimesis in the 21st century briefly:

Since the study of quantum mechanics from the middle of the 19th century, especially since the 20th century, the imitation of nature is not mimesis. Mimesis is a kind of grasp of nature essentially, that is not for production, but rather for creation. For example, mathematical nature is from my research aspect, is mimesis. With it, we can never produce something, just we can create something, and I call it 'X'. Thereby 'X' is not to believe in a spiritual state, but rather it will change and give us a new sense for an escape from bad habits.

We can understand it (a new sense), for example, 'Responsibility and Response ability' for Humans, which is an awareness by humans.

By the definition of the eastern 19th and early 20th centuries, the middle class of today's western developed nations would be the bourgeoisie. But that's because the development of civil rights has made it possible for anyone to have an individual "right" and the possibility of holding the property.

Illustration as a work of art:


A perfection of illustration in art as a work of art is an imitation, which is not original, but it seems the same as the original. That is not a creation, but rather that is a counterfeit, or a fake of 'truth'.

In art, if one wants to imitate perfectly, and/or correctly, not create, then it is maybe not an artwork.

When an artist begins to imitate an object perfectly, it may be the beginning of a thief. For this reason, the art education for the artist's originality is so severe.

Historically, why wasn't everyone allowed to do artistic production? It is because the number of thieves would increase potentially. For example, "money" banknotes, even copying by the copy machine, are not legally permitted.

"Things" as the artistic material in the visual arts, as well in the music composition, it must be totally transformed into something new.

Art is not historical evidence
The show with perfect timing is imitation. That was mentioned by Fluxus, in terms of professionality, which does not address 'creativity' in the art.

Fluxus addressed the subject of professionality in the context of the art world such as the art industry, theatre industry, film industry and music industry and so on. It was changing the medium and its popularity towards commercialism in capitalism.

However, its originality does not apply today, particularly since 2008, because of the development and spread of the social media culture and its global communication and economy, such as interaction, self-representation, self-governance, and thereby, there are important privacy policies and data protection, is for the democratic source.

I can check my paper with AI, and AI analysis my paper and shows me the related references and the subjects of my research. Then I can reflect quasi my transdisciplinary research field. This system with AI is for students, researchers and teachers. AI can read the image, but it is up to the type of AI. AI's reading of the image, its maximal way is like an IQ test without affection and without the norm. For example, a collective of subjectivity, and so on. I mention that it is important to research and explore 'subjectivity' more than 'objectivity' in the 21st century philosophically.

'Objectivity' in contemporary society is such as the sentence in the law, is based on today's metaphysic, and others including contradiction, paradox, and so on.

If you research in the study of neuroscience, the research field is wide and global. Otherwise, without AI, the research will be at the high school level. This is why today's transdisciplinary research which relates to science at the Art Academy (Art University in the study of Fine arts) will be at the high school level. Which I looked the artistic research in transdisciplinary, the most of them were interdisciplinary, not in transdisciplinary.

Theoretical exploring model series are quasi 'deep learning', but it is not only interactive with AI, but also the materials from workshops which I attended by the program of the institution, the university, and the museum. Later, I will list all of the workshops and their materials in reference.


The interaction with AI is some academic papers.

The aim of this quasi 'deep learning' is a study for the PhD (in arts) thesis. Thereby a subject is 'subjectivity' in the 21st century (within the society of human and non-human).

I explre quasi 'deep learning' is for the study of arts, which method of study is not with the study modules, but rather it aims for individually, is oriented to subjectivity. Thereby the role of AI is an association.

Thereby a subject in my artistic research in the visual study is Quantum mechanics.

I read in the thesis of Cassirer, was a starting point of.

Current practical exploring, one of my new projects in phisical space and vistual space, after the corona pandemic in 2020:

NFT art in 2022

A new series of digital collages with my drawing and photography, which token is a connotation of human-being.

https://opensea.io/collection/malva22-collection

Another project is „Silence surrounds us, silence around us I X“ for a performance in the installation, in the environment, together with the cellist Krischa Weber in 2022.

The music composition 4'33" (1952) for piano by John Cage is an intelligent artwork, which addresses the subject of 'subjectivity' in the music composition, particularly in the context of the Western music composition.

Therefore, John Cage's music composition 4'33'' gave me the question 'What is the score for and in the music composition?', for my artistic research on subjectivity and objectivity in the music composition and its representation, which addresses the visual study. It was one of the new notions in a sentence in the 20th century in which terms of the Western music composition and its formalism. -> Artistic research Variation III

Max Eastley is negative to sheet music, but his installation contributes to the original sheet music, and the concept of his kinetic installation is related to the time and space of the sheet, or I can mention that is beyond  'sheet', its formalism. This is the artistry of automation that Surrealism mentioned in the 20th century, which is for 'creativity', not for production.

For example, it applies to generative art also, but I don't see much the creative generative art. Joseph Nechvatal's artwork is one of 'creativity'.

How correspond the distinguish between creativity and production through automation?

I drew my PhD in arts proposal (Exposé) under Prof. Giaco Schiesser in 2019, thereby I mapped the references of artists who have the individual creative code (resp. logic) of artists in regard to my PhD in arts proposal (Exposé).