In Kant's context, it becomes objective, controlled by the mind (transcendental), and a gap with the body.  So, 'thought' will more moralic - good or bad decision. Because it far from the fact (what 'I' perceive.). Thereby the question is What is 'imagination'?

Role model such as a vision? or an image of consciousness?

What is 'thought'? and how will we 'thought'? – intentionally or without intention

Russell had claimed in this point of view towards German idealism. Russell was the professor, who invited Wittgenstein and also for Wohlheim.

Russell had initiated the Statement. – Russell and Nordic Academic Society.

A question for a factual objective:

Who killed him? or He died? or He was killed by whom?

- language, fact and objective

for French phenomenology and contemporary philosophy

factual objective: On August 6, 1945, an atomic bomb was dropped on Hiroshima.

detail and its environmental facts, social, economic, historical or international and national. (This question was a very important theme in Hiroshima's atomic bomb education. This is because "I'' was not killed in the atomic bombing, "I" was not born in 1945 at that time here yet. Because identification becomes the reality of the child's life. - Abolition of discrimination based on parental exposure to radiation and existence of atomic bomb diseases due to parental exposure to radiation

I had deal with my fate in my reality. I was 6 years old and the Model Hiroshima's atomic bomb education was started at the public school.

Modernist justice consists in defeating and killing evil. Post-modernist does not deal with good or bad level.)

-> Autobiographical Consciousness; and Living in Words: Literature, Garry. L Hagberg

I dealt with Russell's in the exposition N.N-Zwischenliegend

I started to explore from Russell's to Wittgenstein's and Wohlheim's, as well as Dogen's.

On the topic of factual objective, is an important question for human and non-human society on the topic of 'Time, Space and Body', how we can perceive, define and communicate commonly.

Metamorphosis in Geometry:

Visual composition

M.C. Escher (1898–1972)

Metamorphosis I, II, III

- M.C. Escher, Metamorphosis I, woodcut, printed on two sheets, May 1937

- M.C. Escher, Metamorphosis II, woodcut in black, green and brown, printed from twenty blocks, on three combined sheets, November 1939 – March 1940

- M.C. Escher, Metamorphosis III, woodcut in black, green and reddish brown, printed from thirty-three blocks on six combined sheets, mounted on canvas, partly coloured by hand, 1967-1968

https://www.escherinhetpaleis.nl/story-of-escher/metamorphosis-i-ii-iii/?lang=en

https://www.escherinhetpaleis.nl/story-of-escher/metamorphosis-i-ii-iii/?lang=en 

Lithography and Klang-Kunst (sonic/sound art):

On technology - What is 'technology'?

The development and realization of computer technology began in Great Britain during World War II, by Alan Turing (1912–1954) an English mathematician, computer scientist, logician, cryptanalyst, philosopher and theoretical biologist.

History of computer science

- On medium:

In Germany, it was physics, then chemistry and mathematics.

Lithography covers the semiconductors (polarity)* in physics, as well as chemistry and mathematics. They began to consider printing techniques as well as manipulation from the original philosophical and metaphysical considerations.

This would have disrupted German idealism in ontology in the similar way of the science that current social media interventions have –Transmission, multiplication – Transformative Transcendence Boundary – Communication, Correspond

- Ontological contradictions of German idealism in German language

- Exploration from a mathematical perspective, and logics

*The polarity of a semiconductor can affect its properties in several ways. For example, polar semiconductors may have different band structures and energy levels due to their dipole moment, resulting in different electrical conductivities and optical properties.

Discovered in Germany in 1798 by Aloys Senefelder in 1798, it wasn't until 1820 that lithography became commercially popular. Compared to earlier techniques such as engraving and etching, lithography was easier and more versatile.

History of Science Museum l Lithography, University of Oxford

Johann Alois Senefelder (1771 – 1834) was a German actor and playwright who invented the printing technique of lithography in the 1790s.

Born Aloys Johann Nepomuk Franz Senefelder in Prague, then capital of the Kingdom of Bohemia, where his actor father was appearing on stage. He was educated in Munich and won a scholarship to study law at Ingolstadt. The death of his father in 1791 forced him to leave his studies to support his mother and eight siblings, and he became an actor and wrote a successful play Connoisseur of Girls.

When was a period of the starting point of Klang-Kunst (Sonic/Sound art)?

It dates back to ancient Greek epoch.

Klangkunst (auch Audiokunst oder, aus dem Englischen entlehnt, sound art) bezeichnet die intermedialen Kunstformen, (...)

Knowledge, American Feminism, Feminist Art and Avant-Garde in American Contemporary Art.

- Performative in Art and Art movement internationally

The relationship between art and sociology

On Being

Body and its Contemporaries*

*1. belonging to the same age; living or occurring in the same period of time

2. existing or occurring at the present time.

The wonder of generational memory:

On August 6, 1945, when the atomic bomb was dropped, Rai (Fukuhara) NAKATSUI, who was left in the shadows, was my grandmother's mother and a schoolteacher.

Artist Tadashi TONOSHIKI 殿敷侃 (1942–1992), an atomic bomb survivor, was exposed to radiation when he was a child (3 years old at the time), just like my mother (5 years old at the time), and lost his father on that day. His mother died of atomic bomb disease a few years later.

There is a three-generation difference between me and Rai.

In Berlin, in Europe, I began a journey into my memories.

What TONOSHIKI's generation left us, in doing so, I have been exploring "time, space and body" in my own life. For me, the conflict in my self was a reflection of the historic catastrophe that ended in Japan in World War II.



On memory in 'my' body

Tonoshiki died in 1990 at the age of 50 after suffering from atomic bomb illness. In the early 80's, I visited his studio and talked about his work.

The people who were in Hiroshima at that time were not from the upper class, but for some reason, they were workers under military control in Hiroshima city.

Spatial installation in my artwork and Artist Tadashi TONOSHIKI, in the generational memory of Hiroshima

 On TONOSHIKI's work:

Spatiality and Meta-Notion as Knowledge in the real-world and Towards a Reality


– in-situ in a reality "Time, Space and Body"

His reality of body and memory in a time sense – to live

Toki no Wasuremono 時の忘れ物 / things left behind in time

http://tokinowasuremono.com/e/artist-b15-tonoshiki/index.html?

His print work is a masterpiece. He printed on Tesuki-Washi/ganpi, which I use also

http://tokinowasuremono.com/e/artist-b15-tonoshiki/13_fern.html

"Fern" (Provisional title)
Copperplate print on ganpi paper
Image size: 24.7×27.8cm
Sheet size: 32.5×36.8cm

http://tokinowasuremono.com/e/artist-b15-tonoshiki/08_block.html

A generation before him, Japan's world-renowned print artist also used this technique.

http://tokinowasuremono.com/e/artist-b15-tonoshiki/09_block.html

His father, like Rai, is also one of "left in the shadows" in the centre of Hiroshima.

His images consist of noise, is the detail of these images by TONOSHIKI.

– The question for 'Being' and Humanity

Relativity (1953), Lithography, M.C. Escher

Probably, today's time, space, and body
on Being in M.C. Escher

On Audiovisual work by Joseph Nechvatal:

Noise and Meta-Notion as a Knowledge from the virtual world

– artificiality (or simulation) in-vitro towards a reality

His work is an algorithmic piece derived from tape music. The question is What is algorithmic? and its diversity?

This is noise music that uses tape as a material, rather than recording composed music on tape. Furthermore, he was coding it for drawing images of microscopic aggregates with the help of a robotic arm using th AI.

His works within his account of viral aesthetic drive researchers into a labyrinth of thought – Immersion Into Noise – from the molecular biological aspect

I define artificiality, that is a state or thing in which the constitution of some form or phenomenon, is replaced with something else.

I define simulation, that is an expression of something that is happening using a certain phenomenon.

For example, at the level of modern medicine, it is impossible to consider a pregnancy without sexual activity to be an artificial pregnancy.

Genetic modification, on the other hand, is artificial.

Its sound is an imitation which is created a heartbeat.

It's not about the standard of doing or not, good or bad, it's about the level of knowledge, and it is a foundation of ethics.

A Geiger counter is a device that measures radiation, which is particles and electromagnetic waves generated when radioactive materials decay.
What is electromagnetic waves?
When the direction or strength of electric current or magnetism changes, the electric and magnetic fields interact with each other, causing a phenomenon that propagates over long distances like waves. This wave is called an electromagnetic wave, and the place where the wave travels is called an electromagnetic field.

– Our world is a world of noise

Nechvatal's work conveyed to me the transition of the contemporary concept of time from existence to being.

Towards the "rhizome" of the French theorists Delouse and Guattari*, which was considered to be metaphysical in Western philosophy. However, there was a gap between interpreting modern thought and their postmodern way of thinking, the theory of molecular biology in Western philosophy.
Joseph Nechvatal transformed into contemporary art and generalised to deal with a new notion of time and one's 'being' in the environment from the aspect of critical theory. - What is our natural being and technology?

*General interpretation of Rhizome: A rhizome is a post-structuralist concept describing a non-linear network. It appears in the work of the French theorists Deleuze and Guattari, who use the term in their book A Thousand Plateaus to refer to networks that "establish connections between semiotic chains, organisations of power and circumstances related to the arts, sciences and social struggles" without any apparent order or coherence.

Magnetic tape is a medium for magnetic storage made of a thin, magnetizable coating on a long, narrow strip of plastic film. It was developed in Germany in 1928, based on the earlier magnetic wire recording from Denmark. Devices that use magnetic tape could with relative ease record and playback audio, visual, and binary computer data.

Magnetic tape revolutionized sound recording and reproduction and broadcasting. It allowed radio, which had always been broadcast live, to be recorded for later or repeated airing. Since the early 1950s, magnetic tape has been used with computers to store large quantities of data and is still used for backup purposes.

Magnetic storage or magnetic recording is the storage of data on a magnetized medium. Magnetic storage uses different patterns of magnetisation in a magnetizable material to store data and is a form of non-volatile memory. The information is accessed using one or more read/write heads.

https://en.wikipedia.org/wiki/Magnetic_storage

"In fact, magnetic recording techniques are still the most common way of recording signals, but the encoding method is digital. Magnetic recording relies on the imposition of a magnetic field, derived from an electrical signal, on a magnetically susceptible medium that becomes magnetized."

The quantization of the electromagnetic field means that an electromagnetic field consists of discrete energy parcels called photons.

Magnetic fields are produced by moving electric charges and the intrinsic magnetic moments of elementary particles associated with a fundamental quantum property, their spin.

– A simulation of quantum in my definition of 'simulation'

Joseph Nechvatal uses this method with AI – Post-Xenakis – taking over tasks left behind by Edgar Varèse, such as the Greek-French composer and architect/engineer Xenakis. (Antoher French composer in this context is Marc Battier, which I explored (I wrote an article) in 2018 for the IEM confernece in Italy)

Metastasis was inspired by Einstein's view of time (a function of matter & energy) and structured on mathematical ideas by Xenakis's (Xenakis and Kyoto Prize)

Methodlogically both composers are in Wabi-Sabi aesthetic context

Wabi-Sabi aesthetic is a critical theory on Being in the nature – the question for 'Coexisitence'

Therefore, the coexisting relationship between form, including materials and processing, and nature is explored. Thereby the content of artwork is a Notion–Knowledge–Perceptional phylosophy through an artistic experience

For example, in a tea ceremony, after drinking tea, you look at wabi-sabi tea utensil in your hand and express your appreciation in the tea room.

Without Function in the Intermedia:

These two composers work, also Max Elastly's installation. In my artwork, I explored it in the art project Les Coloris.

In Japanpese artist, that is Ryoji Ikeda's work in the context of intermedia art.

All electronic music requires power.

Intermedia requires research at the level of the “time, space and body” ethics of sculpture rather than the rhetoric of painting.

Wittgenstein explored his architectural theory as logic. Today, research from the perspectives of neuroscience and biology – which theoretically represents an abstract and transcendent boundary – addresses with mathematics in literature, and referes to in fine arts – is the study of sculpture today in the 21st century

– Ethics and aesthetics for architecture

Humanity between Japanese Fascist Colonial Imperialism and American Colonial Democratic Imperialism

Dealing with reality, Tadashi Tonoshiki, "Dome Brick (1)" (1977): What's left, time and memory (A fact that does not disappear even with the passage of time) – Imagination of Humanity, Yves Klein, "Hiroshima" (1961): Shadows of Hiroshima in the desert of the atomic catastrophe, (...)

 COLOR, LIGHT, MOTION - EPISODE 23: INGEBORG REICHLE

Jean Tinguely (1925–1991)

Artwork must be without F:

A work of art has no function. What is not there is a work of art. In the case of music, it is the frequency, but since it becomes a function, the ethics of music and media art are particularly strict. These two composers are exploring the ethics of music and media art.

That is why music cannot be divorced from Western scores, but with current technology, it can be analyzed and researchers are exploring its methodology, specifications, and creativity.

These two composers, as well as as the researcher in musicology, media art, computer science at the top leve internationally.

How can we teach this knowledge in an age where media art can be easily created and published online around the world? – An exploration in ethics and aesthetics from tape music to AI generated msuic practically and theoretically

– which referes to comparative literature and aesthetics in arts and humanites – Liberal arts /Freie Kunst

When science knowledge intervenes in art, in the context of liberal arts, which referes to comparative literature and aesthetics in arts and humanites. Thereby I am an artistic researcher in semiotics in this context (logics),  in visual arts and music (including performance art, performing arts/improvisation) which referes to architecture – Etchis and Aesthetics in the topic of 'Time, Space and Body'

Post-conceptual art in post-photographic era:

MT: Do you feel that digital painting enables you to express yourself effectively as compared to traditional painting?

JN: My- yes. Today I think the logo representational paradigm is being replaced by the new one based dynamic systems, connectionism, situatedness, embodiedness, etc. – connectionism replacing congnitivism and symbolic models; emergentist, dynamic and evolutionary models eliminating reasoning on explicit representations and planning; neuroscience eliminating cognitive processing; situatedness, reactivity, cultural constructivism eliminating general concepts, context independent abstractions, idealtypical models. Emerging is a new “synthetic” paradigm: a paradigm that puts together, in a principled and non eclectic way, cognition and emergence, information processing and self-organisation, reactivity and intentionality, situatedness and planning, etc.

(DIGITAL BRUSHSTROKES:

DIVERSE TECHNIQUES IN CONTEMPORARY DIGITAL PAINTING)

It is only in recent years that countries around the world have abolished the death penalty. A true democracy is a society without the death penalty.

In the 21st century, I don't think there will be the world war like World War II where unconditional surrender is the end, but rather it would be the end of the mankind.

La Monte Young

Composition 1960 No.7

With 4'33'' Cage paved the way for works such as Young’s Composition 1960 pieces, which provide one of the basic foundations for the idea to serve as the artwork by itself, with no unnecessary embellishments. Central to Young’s work is the concept of “stasis,” as opposed to “Fluxus.” “Change or flux is inevitable,” Young wrote. “Stasis, or remaining the same, is impossible. Therefore, to achieve the static state is the goal, while the state of flux, variation, or contrast, is unavoidable and thus unnecessary as a goal.” Later, Composition 1960 pieces appeared alongside works by other artists in An Anthology (1963), edited by Young, a publication characterized as “chance operations, concept art, anti art, indeterminacy, . . . improvisation, meaningless work,” and “natural disasters.” In 1960 and 1961, together with Yoko Ono, Young organized a series of events at Ono’s loft on Chambers Street that had a germinative effect on the formation of Fluxus*.

13 I 73 5:35 - 6:14:03 PM NYC

13 I 73 5:35 - 6:14:03 PM NYC is a sub-section of Map Of 49's Dream The Two Systems Of Eleven Sets Of Galactic Intervals Ornamental Lightyears Tracery, begun in 1966 as a section of the even longer work: The Tortoise, His Dreams And Journeys which was begun in 1964 with The Theatre Of Eternal Music. Performed on 17 January 1973 at La Monte Young's private studio.

*When I research the Fluxus art movement, the statements of the Fluxus art movement make us think about what a "statement"  in (Fluxus Manifesto, 1963, by George Maciunas) is. This exposition explores the differences between Russell's and Fluxus's statements, and also transference in each one. “Fluxus was an international, interdisciplinary community of artists, composers, designers and poets during the 1960s and 1970s who engaged in experimental art performances which emphasized the artistic process over the finished product. Fluxus is known for experimental contributions to different artistic media and disciplines and for generating new art forms.“ (Wikipedia)

Today's research requires exploring the details. In my artistic research, I do not engage in an art historical context, but rather from the aspect of anthropology, namely the work of John Cage; Yoko Ono and La Monte Young, this is a new study of art history in the 21st-century, which is Prof. Dr Bence Nanay's research focus. It applies to musicology in the 21st century. That is the research objective,  the practice-led contribution referees to the Academic research in Arts and Humanities from artistic research. I explore Prof. Dr Bence Nanay's and many others' contributions and explore artistic research methods. Reference

Therefore, I explore a Danish Female composer Else Marie Pade (1924–2016)

In Else Marie Pade's generation, there has not been a Japanese female composer with her level of knowledge yet, but there are some in physics and chemistry.

One is Hideko (Nakatsui) Fujii* (1924-2012), she was Japanese and Christian, her Christian name is Hildegard. She was a daughter of Rai (Fukuhara) Nakatsui. Hideko Fujii herself is a survivor of the atomic bomb in Hiroshima. After 1945, she studied physics at the Faculty of Physics at the University of Hiroshima. In the 1950s, she received a short-term scholarship from Hiroshima University to Oxford University, the UK. At the end of the 1950's she carried out research as part of the research project by Etsuo Fujii/Tsukuba Institute,  Japan and Dr Joseph Demers and Dr Pierre Demers at the University of Montreal, Canada. This project was the starting point of her research for her doctoral thesis. Her research from 1990 till around 2000: she contributed in which research applies to the image science since end of 1980s in Japan. She wrote about new development possibilities and future visions regarding digital images.

I would like to leave behind her ethics - scientific knowledge for peace.

I explore ethics from her non-Western perspective in her research. The question is 'What is science for peace?' The goal of this artistic research is the peaceful use of knowledge.

One is in art, but in and with which method?

*Hideko is Rai's youngest daughter and my grandmother's sister.
This generation worked very hard and reformed post-war Japan after World War II. Without them, it was impossible to imagine what Hiroshima would be like after the atomic bomb was dropped.

Rai (Fukuhara) Nakatsui's father was a scholar of Dutch study under Yukichi Fukuzawa in Kyushu who was the funder of Keio University, Tokyo.

Hideko completed her Bachelor of Science at Tokyo Women's Pharmaceutical University and her Master of Science in Chemistry-Physics at the Department of Physics at Hiroshima University. She taught at the Japanese Red Cross Women's Junior College, and was an assistant researcher at the University of Tokyo.

Reference:

Deleuze and Guattari

Difference and Repetition (French: Différence et répétition) is a 1968 book by French philosopher Gilles Deleuze. Originally published in France, it was translated into English by Paul Patton in 1994.

Difference and Repetition was Deleuze's principal thesis for the Doctorat D'Etat alongside his secondary, historical thesis, Expressionism in Philosophy: Spinoza.

The work attempts a critique of representation. In the book, Deleuze develops concepts of difference in itself and repetition for itself, that is, concepts of difference and repetition that are logically and metaphysically prior to any concept of identity. Some commentators interpret the book as Deleuze's attempt to rewrite Immanuel Kant's Critique of Pure Reason (1781) from the viewpoint of genesis itself.[1]

https://en.wikipedia.org/wiki/Difference_and_Repetition



The Logic of Sense (French: Logique du sens) is a 1969 book by the French philosopher Gilles Deleuze. The English edition was translated by Mark Lester and Charles Stivale, and edited by Constantin V. Boundas.[1]

An exploration of meaning and meaninglessness or "commonsense" and "nonsense" through metaphysics, epistemology, grammar, and eventually psychoanalysis, The Logic of Sense consists of a series of thirty-four paradoxes followed by an appendix that contains five previously published essays, including a brief overview of Deleuze's ontology entitled "Plato and the Simulacrum". The Deleuzian understanding of nonsense considers that there is a "surface level" of nonsense which creates innocent, childlike preoccupations with contradictions (represented by Lewis Carroll), and the inner space of nonsense which deals with strong and violent contradictions (represented by Antonin Artaud). Leading on from Deleuze's ontology in his 1968 book Difference and Repetition, sense can only itself be understood as a constant set of correlations and associations. Nonsense, especially through the literature he analyzes, intrinsically avoids being defined, and can only be seen as "that which has no sense," but "is opposed to the absence of sense”.

https://en.wikipedia.org/wiki/The_Logic_of_Sense

Capitalism and Schizophrenia (French: Capitalisme et Schizophrénie) is a serial composed of two volumes, Anti-Oedipus (1972, translated in 1977) and A Thousand Plateaus (1980, translated in 1987). It was written by the French authors Gilles Deleuze and Félix Guattari, respectively a philosopher and a psychoanalyst, during the May 1968, a period of civil unrest in France.^[1]

Deleuze's translator Brian Massumi observes that the books differ drastically in tone, content, and composition.^[2]

https://en.wikipedia.org/wiki/Capitalism_and_Schizophrenia

https://en.wikipedia.org/wiki/F%C3%A9lix_Guattari

https://en.wikipedia.org/wiki/Gilles_Deleuze

Technology becomes some form of system and, as a result, controls us in some form. However, when it becomes a paradigm shift, it gives us a new perspective. That is our evolutionary process.

Human evolution through epistemological knowledge (objectivity) is expressed in Dōgen's *as "enlightenment" (objective subjectivity). – Awareness

*His method is theoretically "writing", and practically "Zazen/座禅", and thereby his creative act was mainly poem (Waka/和歌).

Note: When it comes to “happiness”, it is up to each person to think about it and decide for themselves. Nobody can measure the happiness of others. However, from the perspective of human rights, it can be organized in the recognition of “well-being”.

Autonomy is Dōgen's term which addresses birth, death, and destiny (life), but in Kant's term it is premised on the absolute existence of "God''.
What is 'Dignity' for humans?

– What is 'nature'?

Reading and Questions:

Question for love and hate of humans, as well as self-hate

Complacency ends there. – Self-criticism – Challenge by artist and its self-reflection

Draft: Metamorphosis - Ethics and Aesthetics are One - from a Neuroscientific Perspective
Wittgenstein's "Ethics and Aesthetics are one" is the starting point of this research. "In the Notebooks, Wittgenstein states that 'the world and life are one', so perhaps the following can be said. Just as the aesthetic object is the single thing seen as if it were a whole world, so the ethical object, or life, is the multiplicity of the world seen as a single object". (Diané Collinson, The British Journal of Aesthetics, Volume 25, Issue 3, SUMMER 1985, pages 266-272)

Art transcends boundaries of race, nationality and gender. It is a creative act of unifying in the context of humanity, from the subject to the various topics, by asking questions. This point is the lack of "reality" (dealing with reality) from a sociological perspective. But it is impossible to define humanity and reality based on sociological statistics alone–is my perspective of Wittgenstein's "Ethics and Aesthetics are one". Thereby, I examine 'world and life' from the 21st century perspective.

Modernism in Art history
Philosophy of Religion (dealing with the etchis on the topic of life and death in art and cultur)
Art and Culture

Art in everyday life

The liberal arts is based on art history, from ancient Greece to modern times in relation to science.

 The seven subjects in the ancient and medieval meaning came to be divided into the trivium of rhetoric, grammar, and logic, and the quadrivium of astronomy, arithmetic, geometry, and music. The modern sense of the term usually covers all the natural sciences, formal sciences, social sciences, arts, and humanities.