My PhD exposé „B.O.D.Y. - Contemporariness“ for the doctoral program in Art at the beginning of 2019 started here. I took with my draft the tutorial for the doctoral program in Art/Fine Arts in 2019, I was supervised my exposé for the Doctoral Program in Fine Arts by Prof. Giaco Schiesser (Head of Artistic PhD Programme Fine Arts), Zurich University of the Arts in Switzerland.
To address the subject of the professor's advice "Metamorphosis", I needed to explore the details of my project's "B.O.D.Y." in artistic research. At the end of my exploration in the details of my project's "B.O.D.Y.", I reached out to the subject of "Metamorphosis" that he suggested, and I have a book in my hand now.
When I questioned about the PhD in a new Doctor of Fine Arts program Prof. Sarat Maharaj the head of the Doctor in Fine Arts program at the Malmo Art Academy and Lund University in Sweden, which he associates with Goldsmiths University in the UK, and I showed this proposal draft, which I had explored under Prof. Schiesser – the quote from his Email: "Your proposal touches on vital and rather promising areas: it worth pursuing for serious research and analysis. Your ideas are perhaps still in a rudimentary stage: try to keep reading in and around the field. Also, keep looking around at how all of this has a bearing on visual experience and art practice. (...)", it was very appropriate and thorough advice. Thereby I realized that I had to keep reading and producing until I had narrowed it down to just one book. That is what it means to become a specialized course researcher and scholar. It requires artistic creativity, advanced language skills, and specialized knowledge. In my case, the language is German, English and Japanese, three languages and between two continents. Just narrowing down the research focus was a huge amount of work. And that goal is to teach that knowledge and experience. Artistic research Untitled* – Shortly after that, due to the spread of coronavirus infections, the lockdown began (Mid-March 2020), and I had to suspend my research.
I am deeply grateful to Porf. Supper for giving me words of encouragement when I was feeling down. And especially thanks for the contributions of Dr Joseph Nechvatal, his doctoral thesis "Immersion Into Noise" (2011) and his artwork, which is evolutional. (...)
"Metamorphosis" in my artistic research involves breaking habits and acquiring a new sense. – Semi-Formalism
Not Kant's necessity, but rather inner inevitability.
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.
Keywords: Transversality*; Interface (interact); Post-conceptual; Assemblage; Spatiality; Randomness; Environment; Coexistence;
*In mathematics, transversality is a notion that describes how spaces can intersect; transversality can be seen as the "opposite" of tangency, and plays a role in general position. It formalizes the idea of a generic intersection in differential topology.
noun
1. geometry
a line intersecting two or more other lines
adjective
2. a less common word for transverse
In 2024, why is the artistic study of "Metamorphosis" important I propose, rather than Kafka's "Metamorphosis" towards Kafka's?
At that time, research into things like viruses and cancer was still within the scope of physics. From the perspective of current molecular biology and physics, not only dementia, but also cancer, and viral infections such as AIDS are becoming even clearer. Above all, due to Einstein's theory of relativity and quantum theory* (Human Nature and Environment - What is nature?). In the 21st century, the Max Planck Institute in Germany, the Niels Bohr Institute in Denmark, and research institutes in Japan are each independently contributing to the peaceful uses of science and medicine. This includes, of course, the United States, but 100 years ago especially Germany and Denmark, whose field of research has become the study of nuclear weapons, and Japan, as a country that has suffered from atomic bombings, is in this field of research.
This exposition B.O.D.Y. - the second skin is a contribution of the post-Kafka's in the 21st century from the critical aspect of a socio-critical theory, which aims a social evolution at the mental level. In particular, Germany, Denmark, and Japan are countries where medical counselling must be at this level commonly. However, Germany is generally a very backward country among these three countries.
What is different from Kafka's time is that neglect is not recognized as a human right. What is different from Kafka's time is that there are no isolated families on the moon's surface, so leaving him in an isolated situation with a family alone is not recognized as a human right. It was true even under the circumstances of the spread of coronavirus infection in the world. Currently, artistic practice research is progressing on technology and the living environment from the perspective of daily life and medical issues on a global scale. In doing so, I contribute with my artistic research B.O.D.Y. - the second skin / Metamorphosis in visual arts and Untitled* / a.o.i. - lasting memories in music to the topic of life and technology in Artistic Research methodologically. – Time, Space and Body
*Einstein is considered the third founder of Quantum Theory because he described light as quanta in his theory of the Photoelectric Effect, for which he won the 1921 Nobel Prize. May 15, 1935: The Physical Review publishes the Einstein, Podolsky, and Rosen (EPR) paper claiming to refute Quantum Theory.
I also had an MRI scan of my brain in 2017 when I was admitted to a university hospital due to illness. Blood tests are also done regularly. The fatty liver that arose during the spread of the coronavirus has completely healed and returned to its previous state. The current situation is good for dementia, diabetes, liver disease, etc., which are concerns in the future as we get older.
The logic of "B.O.D.Y. - the second skin / Metamorphosis" is one that both children and the elderly can relax and enjoy playing.
The aim of my artistic research is the "play" (遊 yu) in participatory art.
I am more than happy to be able to resume my interrupted research.
B.O.D.Y. - the second skin/Space-y/Metamorphosis
The relationship between liberal arts and musicology since ancient Greece:
Sculpture, Photography and Lithography
– On 'Transferring' and Artifacts:
Physicality and Contemporaneity in Human and Non-Human Society:
'My' love to Wittgenstein's thesis and the transformative processes of 'Metamorphosis' - Self-:
Topic "Metamorphosis" and the sonic composition in Klang-Kunst/Sound Art
The Cop - The Art of Feedback, Advancing supervision for artistic research doctorates, Orpheus Instituut, Ghent, Belgium in 2020
The Exhibition SKIN, within the framework of the Copenhagen Photo Festival, Dark Gallery CPH, Copenhagen, Denmark, June 2023.
The conference on Artistic Research #APRAN 2023 ”The Matter of Art” (The Asia Pacific Artistic Research Network (APARN) is a new initiative from the Centre of Visual Art, University of Melbourne and the Indonesian Institute of the Arts Yogyakarta), Yogyakarta, Indonesia, July 2023.
The BBK-Berlin Lithography workshop since June 2023.
I dedicate this exposition B.O.D.Y. - the second skin to Prof. Dr Martin Supper, Professor of Musicology (Head of
UNI.K l Studio für Klangkunst and Klangforschung, Faculty of Music), and Prof. Dr Michael Fehr Professor of Art History (Head of Institute for Art in Context, Faculty of Fine Arts) at the Berlin University of the Arts, Prof. Giaco Schiesser (Head of Artistic PhD Programme Fine Arts), Zurich University of the Arts, Switzerland, Ex-president of Society for Artistic Research (SAR)
With gratitude for the practical and theoretical contributions;
• Research question(s), Objectives / Fragestellung(en), Projektziel(e)
Research question(s):
Arti-fact is not a Botschaft. Thus I go back to the question of Vilém Flusser in his thesis: “In the new context, however, the question of freedom is formulated differently: If everything is based on chance and necessarily results in nothing, then where is there space for human freedom?”
Objectives:
An objective of my research is to pursue and prove the potentiality of the body and its sensation, which is neither “perfection” nor “perfectionism” in art. I contemplate the limits of “physicality” in contemporary society with the development of high technology. One attempt is to prove the potentiality of human evolution through artistry, philosophy of art, and aesthetics theories. Another attempt is to research the direction of art in today’s society, what art is now, and how is art able to be in contemporary society? In so doing, I will challenge new forms of art. This is in addition to research about the implementation of art such as freedom of expression, recreation, product design, education, therapy, etc. Thus which direction of art with other relationships and roles can be developed in contemporary society? I hope that this research will become one of the factors which will give us a new perspective on the direction of art in contemporary society.
I explored the research question, that was my presentation at the APARN conference The Matter of Art in 2023. Recently I work on the contibution B.O.D.Y. - the second skin
N.N-Zwischenliegend has been suspended due to the spread of coronavirus infection since March 2020. I am currently restarting and creating a script for a performance. The photograph is taking the part of the collective Exhibition Peace on Earth, curated Bill Gaskins at Maryland Hall for Creative Arts, Maryland, USA
Objective and Artistic Research Project "Metamorphosis" in Artistic research B.O.D.Y. - the second skin/Space-y/Metamorphosis", Untitled*/Synapse, and Untitled*/a.o.i. - lasting memories
Concrete and Abstract in Visual Arts and Music:
These topics were the most I struggled with when I researched as a guest auditory under Prof. Dr Martin Supper at UdK Berlin.
This is a reason, a researching the work of an artist does not help much to explore the art generally, that is including my artwork.
There are independent, non-comparable differences between concrete and abstract music and the concrete and abstract in the visual arts, in other words: completely different differences between concrete and abstract music and the concrete and abstract in the visual arts. that confuses us. These terms and artistic techniques were researched in the context of the Study of Western Fine arts. – Formalism
In music, abstract music is in the context of German idealism and romanticism. In the visual arts, Konkret stands in the context of German idealism and naturalism. When the musician makes an audiovisual work that is normally concrete and concrete, the result is that the music is wonderful and logical, but the visual is terrible in the context of German idealism, i.e. in the philosophical guiding of Heidegger's Phenomenology is high art for them.
The problem here is that although it is a cognitive academic field, visual art that is a model of what "should be, must be'' is nothing more than boring.
Many European musicians are visually and artistically German idealistic. In that sense, free jazz musicians were also interesting as visual artists.
One is the most interesting musician-artists in this research context is Peter Brötzmann (1941 – 2023), who studies painting in Wuppertal and was involved with the Fluxus movement. He was not one of the established Fluxus. Art movements have no fixed format. Especially in the case of semi-formalism, that applies to Cubism, Surrealism, etc. Recently, some artist-researchers at the post-doc level research to coin Fluxus movements as knowledge of the 20th century is almost founded. One is Dr Joseph Nechvatal and many others from diverse perspectives in contemporary art, but rather in the context of aesthetics and art history.
Bence Nanay explored them in aesthetics, in his thesis, which dealt with the topic of Musical twofoldness, which helps my research in Semi-Formalism
-> Reference
2019 (August–November) PhD in Fine Arts. The tutorial (das einzelne Tutorium) under Prof. Giaco Schiesser (Head of Artistic PhD Programme Fine Arts), Zurich University of the Arts, Switzerland
1. Warum wollen Sie als Künstlerin einen PhD machen?
Kunst ist sehr vielfältig und Kunst hat unbegrenzte Möglichkeiten. Ich glaube, dass die Kunst eine wichtige menschliche Fähigkeit ist. Kunst ist nicht nur der individuelle Ausdruck des Menschen, seine freie Meinungsäußerung und sein Einfluss auf Kultur und Gesellschaft, sondern im 21. Jahrhundert ist sie auch eine wissenschaftliche Disziplin der Anthropologie1. Sie hat einen mehrfachen Bezug zu unterschiedlichen wissenschaftlichen Disziplinen wie der Humanwissenschaft. Die Kunstforschung als Wissenschaftsgebiet reicht von der Neurowissenschaft über die Linguistik, Ästhetik, Evolutionäre Psychologie, Biologie, Humanökologie bis hin zur Informatik, dennoch ist sie ein neues Forschungsgebiet jenseits der darstellenden Künste und künstlerischen Objekte. Ich glaube, es benötigt eine Interaktion mit anderen wissenschaftlichen Disziplinen wie Therapie, Bildung, Design und Architektur, um die Kunst zu erforschen. Tatsächlich überlappen sich heutzutage die Forschungen verschiedener wissenschaftlicher Gebiete oder sie sind miteinander verknüpft. Dabei ist die Kunstforschung im 21. Jahrhundert noch ein neues Forschungsgebiet, das über den Umfang und die Gesamtheit der Kunstforschung im 20. Jahrhundert hinausgeht.
Als Künstlerin möchte ich dieses neue wissenschaftliche Kunstfeld mit Kollegen weiter erforschen, um dafür notwendiges Wissen zu vertiefen, um mich mit den Themen zu befassen und um weiter zu forschen. Ich möchte promovieren, weil ich durch die Interaktion mit der Kunst zur Innovation und Weiterentwicklung des Bewusstseins der heutigen Gesellschaft beitragen möchte.
2. Wieso bei mir bzw. in meinem Programm?
Sie sind einer der wenigen Supervisoren für transdisziplinäre Kunstforschung im deutschen und englischen Kulturraum. Ihre Forschungsmethode umfasst die asiatische Kultur, sie schließt andere Kulturen, wie bspw. die chinesische und die japanische, nicht aus, sondern verknüpft sie miteinander. Ihr Programm ist der einzige PhD im Fine-Arts-Programm transdisziplinäre Kunstforschung in Europa. Mein Interesse gilt Ihrem Forschungsfeld sowie Ihrer Erkenntnistheorie, Themen wie Rassismus, Widerspruch und Ihrer Forschungsperspektive, die ich im Bereich Kunst und Kultur für innovativ halte.
1 https://www.spektrum.de/lexikon/biologie/humanwissenschaften/32821
Ich untersuche noch in der zeitgenössischen Philosophie in Bezug darauf.
3. Was ist ihr Thema bzw. was sind Ihre Themen und welches (falls schon überlegt und formuliert) sind Ihre Forschungsfragen?
Diese Themen und Fragen beziehen sich auf das aktuelle Kunstforschungsprojekt N.N- Zwischenliegend.
Hauptthema: Kognition
Themen:
Die Veränderung der menschlichen Wahrnehmung durch die Entwicklung moderner sozialer Systeme und Technologien.
Die mögliche Beziehung zwischen Kunst und Menschen in der zeitgenössischen Gesellschaft sowie die Entwicklung der Erkenntnistheorie in der Kunst.
Fragen:
Wenn die Kunst ein Wissen sein kann, was ist dieses Wissen, wozu dient das Wissen und welche Erkenntnisse kann die Kunst liefern?
Was ist „neu“ in der heutigen Kunst (im 21. Jahrhundert)?
Diese Fragen sind aus der Perspektive der zeitgenössischen Kunst- und Ästhetikforschung gestellt.
4. Worin besteht die Aktualität Ihres Themas/Ihrer Forschungsfragen bzw. inwiefern ist das, was Sie in Ihrem PhD interessiert, nicht nur für Sie interessant (sondern z.B. auch für die Künste oder einzelne Künste, für wissenschaftliche Disziplinen oder für die 'Gesellschaft')?
In meinem PhD interessiere ich mich besonders für die Schwerpunkte Evolutionäre Linguistik, Evolutionäre Psychologie, Kognition und Ästhetik durch die Kunst. Durch deren Interaktivität ist es möglich, ein Gesellschaftsmodell zu gestalten. Dabei möchte ich in meiner Doktorarbeit auch das Paradox in der künstlerischen Praxis berücksichtigen.
In meinem aktuellen Forschungsprojekt N.N-Zwischenliegend besteht die Herausforderung darin, Theorie und Kunstpraxis in die Forschungsmethodik einzubauen. Ich erforsche die
Wissenschaftstheorien in der Kunstpraxis, dabei befindet sich meine Kunstforschung für die Promotion noch im Anfangsstadium. Insbesondere recherchiere ich die Theorien in der Evolutionären Psychologie, und ich beschäftige mich nicht nur mit visueller und auditiver Wahrnehmung, sondern mit Kognition allgemein. Ich befasse mich mit Forschungsthemen und Forschern der Evolutionären Linguistik und Neurowissenschaft sowie der Ästhetik. In diesen Forschungsgebieten recherchiere ich zurzeit.
Audiovisual Sketch Untitled 2009
PW: 23&10
This audio-visual work is by me (Erika Matsunami), and is based on abstract expressionism, and experimental audiovisual poetry. (without intention, randomness, post-conceptual) In this audiovisual memorial work, what I express is the "notion of time" through the memorial of Hiroshima – What 'nature' is and our environment is – Time, Space and Body (Without intention, phenomenological, post-conceptual)
– Editing is based on Film Montage Techniques and Methods
Abstract in the visual art of Western musicians and composers in general, based on idealism and plakativ in German (striking in English), is at first glance very similar to abstract in visual art, but more in terms of abstract symbolism and intentional. Thereby 'truth' is a very important element in their videos (the centred element, that is symbolism), even if their audiovisual work is a manipulated moving image. (intentional, symbolic, conceptual)
– Editing Concept is based on the Music Score and Visual effect
These problems with modern Western music scores have been reformed since Schönberg in the 20th century. Just like visual art, these are things you will learn during your undergraduate degree course.
Currently, the study of music and visual arts in drawing is being reformed.
Thereby I explore from the position of a blind person.
Hierarchical consciousness: the Nested Observer Windows model
This research allows us to understand human mechanics, but at the same time, it is also research into the development of robots and communication with robots. – between human and non-human
Also it might be possible to understand the viewer's position of the moving image.
"Foremost in our experience is the intuition that we possess a unified conscious experience. However, many observations run counter to this intuition: we experience paralyzing indecision when faced with two appealing behavioral choices, we simultaneously hold contradictory beliefs, and the content of our thought is often characterized by an internal debate. Here, we propose the Nested Observer Windows (NOW) Model, a framework for hierarchical consciousness wherein information processed across many spatiotemporal scales of the brain feeds into subjective experience. The model likens the mind to a hierarchy of nested mosaic tiles—where an image is composed of mosaic tiles, and each of these tiles is itself an image composed of mosaic tiles. Unitary consciousness exists at the apex of this nested hierarchy where perceptual constructs become fully integrated and complex behaviors are initiated via abstract commands. We define an observer window as a spatially and temporally constrained system within which information is integrated, e.g. in functional brain regions and neurons.(...)"
From this aspect, Yayoi Kusama's print work is appreciated artwork.
Yayoi Kusama, Chapeau (II), 2000
Thereby I understand that the picture drawn is not the person (artist), but the person's (artist's) "environment''. When I looked the drawing by a child or a mental disability person, I read her/his images on the topic of her/his relationship in an environment. – Time, Space and Body
This research in cognitive neuroscience of consciousness investigated general people's ability as a model.
What is 'creativity' for us humans?
Post-conceptual art and Artistic research <<Transferring>> Societal Society
Withdrawal from consumer society
Socioeconomics* then asks citizens questions about economic efficiency.
*Socioeconomic factors affect one's ability to engage in health activities, afford medical care and housing, and manage stress. For example, employment provides income, which enables access to housing, education, childcare, food, medical care, and other needs.
- Sensation of Motion in Time (2000), British Film institution Archive
- "Dis/ability and thier possibility in the dance performance", the 45th world congress on Dance Research "Object and Dance", CID/UNESCO, Warsaw, Poland, September 21 - 25, 2016
Wollheim on art’s historicity: an intersection of theoretical art history and the philosophy of art, Jim Berryman
"Art and its Objects by Richard Wollheim had a major impact on aesthetics and the philosophy of art when it was first published in 1968. Of the arguments offered in response to Wollheim’s essay, Jerrold Levinson’s intentional-historical theory of art has been one of the most enduring. Levinson was influenced by three key sections of Wollheim’s enquiry: Section 40, which considers the claim that works of art fall under a concept of art, or that we are disposed to regard certain things as works of art; and Sections 60 and 61, which deal with art as a historical phenomenon, and problems arising from its identification and interpretation. To date, these claims have been raised as points of contention in the philosophy of art. This paper takes a different perspective. Wollheim’s understanding of art’s historicity draws explicitly on the literature of theoretical art history. Via Wollheim, old art-historical problems will reappear as new philosophical questions."
I explored the topic of 'Metamorphosis' in the historical arts, and I am shifting it in the artistic research B.O.D.Y. - the second skin /Space-y with regards to the context of Wohlheim's essay and Wittgenstein's.
I am sure this context (art in context) in the philosophy of art. (for example, the philosophy of mind* is not sure for me, whether I can read without searching.) That is what I studied and have been exploring since 1992 in Germany, and epistemological research in the philosophy of art is Benjamin's, which refers to Anthropology today. It is not an analytical method, but rather Kant's (e.g. Gilles Deleuze). Since 2016, I have been exploring analytical philosophy without the philosophy by Bence Nanay. My artistic research, from my 1992 project at the Berlin University of the Arts until today, is Art and its Objects by Richard Wollheim.
*Philosophy of mind is a branch of philosophy that deals with the nature of the mind and its relation to the body and the external world.