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.

The child's chair was suspended from the ceiling, and swing movement when you push them with your hands. Sound noise changes slightly due to its vibrations and spatial echoes. (I would like to set up the 7 children's chairs (with the sound) in a specific place. However, to detect the sound phenomenon through oscillatory motion, it would be a large (sound) installation.) What we can recognise from nature, is that natural phenomena don't happen very often. Nature is stable. Unless it is a volcanic explosion, the fire is a man-made disaster. The earth is a paradise-like environment for humans.

The sound changes slightly depending on the situation in the room. Viewing this sound installation allows visitors to discover the "subtleties".

For my Klang-Kunst/Sound Art Project, I needed to find a specific space for my artwork in the Urban Space, or in the Nature – Spatial Installation in an open space– It was not easy to find an optimal space for this project.

The exhibition and art project in an unconfigurable environment was an artistic challenge for me and a curator in Venice.

At the time, I was exploring the vibration of sound* and compositional installations.

An American composer Steven Reich had an interesting spatial installation (pendulum) with a feedback sound system and oscillatory motion using microphones in a room.

*The source of a sound vibrates, bumping into nearby air molecules which in turn bump into their neighbours, and so forth. This results in a wave of vibrations travelling through the air to the eardrum, which in turn also vibrates.

Theoretical exploration in Post-Feminism:

- History of Feminism (Western and Non-Western), Feminism in Art (Western and Non-Western) History

- Chromsome:

Chromosomes are the carriers of genes and thus hereditary information. A human cell usually contains 23 pairs of chromosomes, for a total of 46 chromosomes. One of these 23 pairs of chromosomes determines gender: in women it consists of two X chromosomes, in men it consists of one X and one Y chromosome.

Maleness and femaleness are NOT determined by having an X or a Y, since switching a couple of genes around can turn things upside down. In fact, there's a whole lot more to maleness and femaleness than X or Y chromosomes. About 1 in 20,000 men has no Y chromosome, instead having 2 Xs. (https://www.fhi.no/en/publ/2016/ikke-invasiv-prenatal-testing-nipt-for-kjonnsbestemmelse-av-foster.-metodev/)

Chromsome Y

Identifying genes on each chromosome is an active area of genetic research. Because researchers use different approaches to predict the number of genes on each chromosome, the estimated number of genes varies. The Y chromosome likely contains 70 to 200 genes that provide instructions for making proteins. Because only males have the Y chromosome, the genes on this chromosome tend to be involved in male sex determination and development. Sex is determined by the SRY gene, which is responsible for the development of a fetus into a male. Other genes on the Y chromosome are important for enabling men to father biological children (male fertility). (https://medlineplus.gov/genetics/chromosome/y/)

Das X-Chromosom als Modell für genetische Regulation

https://www.mpg.de/18548899/molgen_jb_2021

Research question 1 in the spatial installation "still/silent" (2011):

Describe the relationship of gravity and space in the installation "still/silent" (2011).

What is the effect of gravity in this work?
How do we perceive the effect of gravity?

Explain these on the topic of 'artistry' and the correspondence involved.

Therefore how technology would be involved in this artwork?

And for, which notion would be represented with the technology in this artwork?

---

In the context of art history, on minimalism

From classical minimalism to minimalsm in postmodernity

---

On assemblage in post-conceptual

- the topic of 'visible and invisible' in assemblage in the spatial installation, in which terms of notion of 'gravity' epistemologically and the relation to phenomenology.

Silence surrounds us, silence around us - X

Interview with Rudy Oriandini by Erika Matsunami

- How did you start making the video? And when?

I remember that since childhood I always wanted to make videos, that’s why at the age of 13 years old I asked my parents to give me a video camera and started to make my first videos

There were periods when I stopped making it because of various situations but I never gave up, I kept learning by alone and myself how to make videos 

- Please tell me about your motivation for working on the video.

Besides work, I have always been pushed by a sensation which I needed to help and encourage people, that’s why I started to make these videos and publish them on SNS.

- Can you describe the theme of “sound through your body”?

I love bass, since a kid, I always pushed the volume of the stereos because I could listen to the powerful vibrations of the music through my body. Not only, do I consider the sound of the wind on my skin or drops of water on my hand, I am not sure what they sound like, but in my mind, I create my sound when I get in touch with the natural elements. 

- Did you study at a general education school?

Despite my deafness, I have always attended “normal” school

- What was it like for you to learn in an integration class with students without disabilities?

Like anything, there are always advantages and disadvantages, I couldn’t make friends because of my deafness and my personality, it isolated me, but at the same time I learned and understood the “normal” world, which made me stronger and prepared

- How does living and working in Kyoto, Japan, feel compared to Italy?

My personality fits better in Japan than in Italy, even if I find it difficult to understand the Japanese and English language by reading lips compared to Italy. However, the “balance” that I have here in Japan is great.

I had always a special bond with Japan since childhood, I am happy that I was able to reach my dream.

Kyoto has many stories and legends, and this mix of feelings is magic to me, I have never been so inspired in my life. 

Thank you

GEM 2023 – Generative Episodic Memory: Interdisciplinary perspectives from neuroscience, psychology and philosophy

https://www.fens.org/news-activities/fens-and-societies-calendar/meeting-event/gem-2023-generative-episodic-memory-interdisciplinary-perspectives-from-neuroscience-psychology-and-philosophy

Consideration from a medical perspective in the context of Ethics:

This is about communication.
For example, a long-distance collaboration via the Internet with deaf artist Rudy.
Rudy has the hearing impaired. Rudy told me that he could hear some slight sounds. (I don't know if he is wearing a hearing aid or not.)
He said that it is possible to agree on the composition of my sound. Normal communication is written language, sign language and lip reading. Rudy attended the regular school in Italy, not a school for the deaf. Integration of deaf people and the social, and societal understanding in today's advanced technology and medical world.

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 

I believe, "If the Empire of Japan had surrendered to the Allied Forces one month earlier, there would have been no atomic bombing on humanity."

– "Still/Silent" (2011), the galerie weisser elefant in Berlin-Mitte, Germany, 2011

STOP THE WAR

Although each culture has a different story about the creation of humans and the world, but the scientific and medical facts are the common. (Since the global coronavirus pandemic, the world has been full of contradictions.)

Nowadays, new knowledge is spreading all over the world, and from a biological perspective, human history is a starting point of "rebirth".

Betty Gloria Miller^[1] (July 27, 1934 – December 3, 2012),^[2][3] also known as Bettigee (which was her signature on her artworks)^[4] was an American artist who became known as the "Mother of De'VIA" (Deaf View/Image Art).^[5]

https://en.wikipedia.org/wiki/Betty_G._Miller

Leon Lim (born in Kedah, Malaysia) is an artist, designer and photographer who was schooled in Kedah and Penang and lives in New York City. He has been profoundly deaf since birth and his deafness developed his strong sense of seeing. His independence began at the age of 14 when he started to live alone in Penang.^[1] He received his Bachelor of Fine Arts degree from Rochester Institute of Technology, New York. He competed in the second season of the Bravo television network's reality television series Work of Art: The Next Great Artist.^[2]

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

Andrew Clemens (c. January 29, 1857 – May 14, 1894) was a sand artist from Iowa in the United States. Clemens formed his pictures by compressing natural colored sands inside chemists' jars to create his works of art.

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

Nancy Rourke is an internationally known Deaf artist and ARTivist, with a focus in oil painting. Her pieces carry the themes of resistance, affirmation, and liberation, with stylings falling under 'Rourkeism' and 'Surdism'.^[1][2][3][4]

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

Granville Richard Seymour Redmond (March 9, 1871 – May 24, 1935) was an American landscape painter and exponent of Tonalism and California Impressionism. He was also an occasional actor for his friend Charlie Chaplin.

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

Appreciation as a work of art in the context of Aesthetics

Consideration from a medical perspective in the context of Ethics

-> Wittgenstein 'Ethics and Aesthetics are One'

Dynamic of; Logic and Unlogic, Constructive and Deconstructive,

Gesture

This performance in the installation still/silent (2011) solo by Erika Matsunami  has consisted of the video and the multi-channel mono discrete sound that takes place while the audience looks into the room. There were the layers of three spatial artworks (spatial installation, video and multi-channel sound installation for live electronics) in a room.
The video (without sound, silently) shows only the information; the names, years, and locations of world wars after the dropping atomic bomb on August 9, 1945 (after the dropping atomic bomb on Hiroshima and Nagasaki in 1945) till 2011. Thereby the sound was an improvisation(live electronics) -performance.

In 1947, the atomic bombings of Hiroshima and Nagasaki were still classified as military secrets by the Allies, and people did not have easy access to them.

In Japan, it was taboo to mention the dropping of the atomic bomb to Emperor Showa (1901–1989) until his death and in the 1990s.
According to my great-uncle-in-law Etsuo, in the summer of 1946, a year after the atomic bomb was dropped on August 9, 1945, a university professor confirmed that there were survivors among the students from the Faculty of Science* at Hiroshima University who were evacuated from Hiroshima. He called up to rebuild the Faculty of Science building and resume classes.

They began reconstruction work for their study in Master of Science at Hiroshima University in 1947. (It was two years later)

Their master of sceince projects, including my great-aunt's Hideko, were research into quantum electronics**. They commissioned the glass craftsman to make the vacuum tube gas installations at a time when nothing existed.

They were able to imagine what happened at ground zero in Hiroshima.

*The Faculty of Science is an academic field that unravels the workings of nature in fields such as mathematics, biology, science, and physics, as the name suggests. The Faculty of Science, which conducts research to elucidate theories from an abstract level, includes departments such as the Department of Mathematics, Department of Chemistry, Department of Physics, Department of Biology, and Department of Earth Science.

**Quantum electronics is a technology that uses transitions between quantum mechanical steady states of atoms and molecules to amplify, oscillate, or detect high frequencies, and is applied to communication, measurement, information processing, etc.

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

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

What is a musical error?

Similaire n°1 (1970)

from Complete Works 02 by Luc Ferrari

On Sound composition

- From surrealism to musique concrète

From automatism to an experimental technique of musical composition using recorded sounds as raw material.

From tape (electro-magnetic) to digital sound (sonic).

What is an electro-acustic music and what is an electro music?

(From B.O.D.Y. and  Still/Silent to Two lines and a.o.i. - lasting memories)

Artistic research What is a musical error?

Andrew Clemens's sand art.

https://commons.wikimedia.org/wiki/File:Sand_Art_Andrew_Clemens.jpg

Notice:

 Each piece of artwork is composed of layered sand that is naturally colored, and sourced all within America, no adhesive was used keep the sand in place.

Andrew Clemens (January 29, 1857 – May 14, 1894) was an American deaf sand artist who formed his pictures by compressing natural colored sands inside chemists' jars to create his works of art. At a young age Andrew experienced encephalitis which caused his lifelong deafness. At the age of 13 Clemens was entered into the Iowa State School for the Deaf in Council Bluffs, lowa.

A world without the sound of outer world from Andrew Clemens's view, I thought probably it was a starting point of (American) conceptual art, but it was not organized as an art movement yet.

– A world that transcends technique and materiality, is a work of art

The colorful sand art objects tell a story of American materialism, symbolism, and capitalist exploitation since the British Industrial Revolution (1760-1840). They were all sealed inside the glass jar. This point is a conceptual perspective that differs from critical theory of painting. His work then asks the viewer whether his work is an "art object" or "goods" ? – It's an artifact.

This sound composition is four dimensional sound: the sounds are not only placed in any position in a three-dimensional field, but they also move in time. So, the sounds fly around, change shape.

Quantum physics in neuroscience and psychology: a neurophysical model of mind–brain interaction

ABSTRACT

Psychology
Difference between seeing and hearing

What they have in common is skin sensation

Climate Change

Five key greenhouse gases are carbon dioxide, nitrous oxide, methane, chlorofluorocarbons, and water vapor. While the Sun has played a role in past climate changes, the evidence shows the current warming cannot be explained by the Sun.

https://science.nasa.gov/climate-change/causes/

Climate change refers to long-term shifts in temperatures and weather patterns. Such shifts can be natural, due to changes in the sun’s activity or large volcanic eruptions. But since the 1800s, human activities have been the main driver of climate change, primarily due to the burning of fossil fuels like coal, oil and gas.

Burning fossil fuels generates greenhouse gas emissions that act like a blanket wrapped around the Earth, trapping the sun’s heat and raising temperatures.

https://www.un.org/en/climatechange/what-is-climate-change

The effects of human-caused global warming are happening now, are irreversible for people alive today, and will worsen as long as humans add greenhouse gases to the atmosphere.

https://science.nasa.gov/climate-change/effects/

Science, Solutions, Solidarity

https://www.un.org/en/climatechange

Homage (Respect) to Ryuichi Sakamoto, for his life work.
"decaying,
the flow of time
Awareness
decaying,
It's the appearance
without sound,
 its still, in silence”
– Erika Matsunami, 5.5.2024, Berlin

朽ちていく、
時の流れの
あはれさを
朽ちていく、
姿こそ
忍びなく、オマージュ（敬意）、坂本龍一氏へ、松並えりか、ベルリンにて、２０２４年５月５日

Robert Ryman: The Act of Looking at Musée de l’Orangerie

Richard Hunt (September 12, 1935 – December 16, 2023)
Branching Construction, 1961
Welded steel and bronze, 73 7/8 × 27 1/8 × 19 7/8 in., Whitney Museum of American Art, New York

Research question 1-2 in Branching Constuction, 1961

Describe the relationship of gravity and material, also its procedure in "Branching Constuction" (1961).

Explain these on the topic of 'artistry' and correspondence involved.

Therefore how the technology would be involved in this artwork?

And for, which notion would be represented with the technology in this artwork?

---

In the process of creating sculptures, changing method (materiality and technique) from the classic methodology of making molds from clay and pouring bronze into them.

What is an 'assemblage' in sculpture?

'assemblage' in ontological methaphysics

on the topic of 'being' in methaphysics.

From classical ontology to postmodernism in sculpture

The concept of time here is in the joint of two different materiality.

For example, the notion of time in wood and iron
Wood has distortions.
Iron rusts.

Oxidation causes this natural material to decay.

Ryman's work at Musée de l'Orangerie has gaps on two-dimensional surface, that gap gives us attention. These gaps would give an association of notation on a monotone (monochrome) painting. – A depicted world without colour

If the work allows us to touch 'it', the feeling of touching it may also have meaning. It's a poetic work, probably it's a socio-political work. In a world without colour, the worldview is inverted.

Robert Ryman (May 30, 1930 – February 8, 2019) was an American painter.

I have great respect for the sensibilities of American postmodern artists, especially for the New Yorker Artists.

Artistic confrontation for survival by American Postmodern Artists as an art movement towards American Idealism and Capitalism*.
It makes the society alive.

*A controversy about a new method and seeing-in towards classical formalism in painting.

The state of nature (hypothesis)

In a reality

Not everyone can photograph a “naked person” under specific condition.
This is only permitted under limited conditions and circumstances. Not everyone can exhibit “their own creations”.

“Private” may be shown in certain limited locations and under certain conditions.

Private is fundamentally protected.

This raises many questions about human beings in industrialized society, such as on the topic of freedom and hunamity.

References:

Knowledge through imagination, Amy Kind, Peter Kung, 2016

Ecology of brain, Thomas Fuchs, 2017

Aesthetics as philosophy of perception, Bence Nanay, 2016

keywords: cybernetics; gender-fluid; fiction; transferred autonomy; queer posthumanism; viral aesthetic;

Exercise 1:
How to read this article and information in this article.
Transcript into metacode

As a counclution of this artistic research B.O.D.Y. - the second skin / Space-y / Metamorphosis, I dealt with the research theme in the context of practic-based artistic research transversally.
"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."

I am writing a review rite Of spring (2005) by Jsoseph Necvatal and an article Space-y / Metamorphosis.

Joseph Nechvatal

by: Lyndsey Jennings

Viractualism 

Viractualism is a term created by artist Joseph Nechvatal in 1999 to explain a conceptual art theory, which means the interface between the biological and the technical. “The basis of the viractual conception is that virtual producing computer technology has become a noteworthy means for making and understanding contemporary art. This brings art to a place where one finds the merging of the computed (the virtual) with the uncomputed corporeal (the actual).”[1]

In order to bring these two elements together Nechvatal often creates animation and images depicting biological elements.The work then gets put through a series of adaptations involving a man made computer virus, which etches away and changes the image. The final output is then painted onto a canvas using acrylic paint by means of a robot. As well as bringing elements of biology and technology together it also comments on the idea of traditional art media being replicated by mechanical means. Nechvatal's work stretches to many fields, including music, computer coding and writing. He is also a researcher, who looks into the possibilities of using viruses to produce chaotic elements into an image. 

To create the works in bOdy pandemOnium, Nechvatal used a custom virus program created by Sikora in the C++ programming language. Sikora's virus invades, destroys, and transforms Nechvatal's painterly images, which are based on intimate parts of the body. The images were initially taken from online medical images. The painting frOnt windOw retinal autOmat displays the eye and rectum, which represent the highest and the lowest orifices of the human body.[1]

https://www.doc.gold.ac.uk/creativeprojects/index.php/work/joseph-nechvatal/

The A-life Undeadening of Painting via the Digital[1]

Joseph Nechvatal

“Eroticism which is a fusion, which shifts interest away from and beyond the
person and his limits, is nevertheless expressed by an object. We are
faced with the paradox of an object which implies the abolition of the
limits of all objects, of an erotic object.”

-Georges Bataille [}

For me, the digital has brought back from the dead the practice of
painting. It has made it alive. It has made it bloom in the
enthusiastic and relevant sense of the word alive -
but it has made painting alive in a more specific sense also, as I
began mixing my digital painting practice with techniques of
artificial life (a-life). Therefore the digital as applied to painting
excites me - and this excitement allows me to work with passion.


A curious alliance: the cold impersonality of technology with the heat
of ecstasy.

https://intertheory.org/Nechvatal.htm

Painting

From Photography to Film ->

Sculpture (Relief)

From threefoldness to multi-foldness

André Masson: There Is No Finished World

Theory of Art

Philosophy of Art

Aesthetics

Anthropology

Futurism

On dispositif

The term algorithm derives from the name of Muhammad ibn Mūsā al'Khwārizmī, a ninth-century Persian mathematician. His latinized name, Algoritmi, meant “the decimal number system” and was used in this meaning for centuries.

With art mediums of drawing, text, photography, sound composition and spatial installation

The research method is Multimodal Minimalism with various art mediums, its assemblage

The aim of the project is that it's concerned with develop the study of geometry, which I transform from the biological to the literary. This is my artistic challenge of geometry in the sense of humanity, like the linguistic logic, the feeling, etc. in a certain way. - How do we live with nature, in urbanic (urbanised) nature and its coexistence with all of us (humans)?

Outline: Metamorphosis - Ethics and Aesthetics are One - from a Neuroscience 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.

Reference: Metamorphosis in Geometry
M.C. Escher (1898–1972)
Metamorphosis I, II, III:
Metamorphosis I (1937), Prints, Woodcuts
Metamorphosis II (1939/1940). Prints, Woodcuts
Metamorphosis III (1967–1968), Prints, Woodcuts

Relativity (1953), Lithography

B.O.D.Y. - contemporariness

bOdy pandemOnium

Immersion into Noise

Joseph Nechvatal

II. History of Algorithmic Complexity

Historically, an interest in optimizing arithmetic algorithms can be traced back to the   Middle   Ages   (Chabert,   1999).   Methods   for   reducing   the   number   of   separate   elementary steps needed for calculation are described in an Arabic text by Ibn al-Majdi, a fourteenth  century  Egyptian  astronomer.  He  compared  the  method  of  translation,  which  was used to find the product of two numbers, as well as the method of semi-translation, which  was  used  only  for  calculating  the  squares  of  numbers.  Based  on  Ibn  al-Majdi’s  writings,  if  one  were  to  use  the  method  of  translation  to  find  the  square  of  348,  for  example,  it  would  require  nine  multiplications.  However,  if  one  were  to  use  the  method  of   semi-translation   to   calculate   the   same   product,   it   would   require   only   six   multiplications.  In  general,  when  squaring  a  number  of  n  digits,  the  translation  method  takes n2  elementary  multiplications  while  the  semi-translation  method  takes  n(n-1)/2 elementary multiplications. In considering the number of steps, it is important to note that Ibn  al-Majdi  counted  neither  the  number  of  elementary  additions  nor  the  doublings  (Chabert, 1999).  Attempts  to  analyze  the  Euclidean  algorithm  date  back  to  the  early  nineteenth  century.  In  his  well-known  1844  paper,  Gabriel  Lamé  proved  that  if  u > v >  0,  then  the  number of division steps performed by the Euclidean algorithm E(u,v) is always less than five times the number of decimal digits in v (Shallit, 1994). Although Lamé is generally recognized as the first to analyze the Euclidean algorithm, several other  mathematicians  had previously studied it. Shallit (1994) notes that sometime in between 1804 and 1811, Antoine-Andre-Louis Reynaud proved that the number of division steps performed by the
TME, vol. 13, no.3, p.221Euclidean algorithm, E(u,v), is less than or equal to v.  Several years later he refined his upper limit to v/2 (which Lamé proved to be false).  Schreiber  (1994)  notes  that  algorithmic  thinking  has  been  a  part  of  the  study  of  geometric  constructions  since  Antiquity.  He  explains  that  “the  first  studies  on  the  unsolvability  of  problems  by  special  instruments  (i.e.  by  special  classes  of  algorithms)  and  the  first  attempts  to  measure,  compare,  and  optimize  the  complexity  of  different  algorithms  for  solving  the  same  problem”  were  in  the  field  of  geometric  constructions  (Schreiber,   1994,   p.   691).   These   attempts   can   be   seen   in   Émil   Lemoine’s   1902   ‘Géométrographie’ (Schreiber, 1994).  In  1864,  Charles  Babbage  predicted  the  significance  of  the  study  of  algorithms.  He wrote, “As soon as an Analytical Engine [i.e. general purpose computer] exists, it will necessarily  guide  the  future  course  of  the  science.  Whenever  any  result  is  sought  by  its  aid,  the  question  will  then  arise  -  By  what  course  of  calculation  can  these  results  be  arrived at by the machine in the shortest time (Knuth, 1974, p. 329)?” The time taken to execute an algorithm, as Babbage predicted, is an important characteristic in quantifying an algorithm’s efficiency.   In  1937,  Arnold  Scholtz  studied  the  problem  of  optimizing  the  number  of  operations required to computexn (Kronsjö, 1987). In order to computex31, for example, it  can  be  done  in  seven  multiplications:x2,x3,x5,x10,x20,x30,x31.  However,  if  division  is  allowed,  it  can  be  done  in  six  arithmetic  operations .  Kronsjö  (1987)  notes  that  the  problem  of  computing  xn  with  the  fewest  number  of  multiplications  is  far  from  being  solved.  x2,x4,x8,x16,x32,x3
Nasar In  the  1950’s  and  1960’s,  several  mathematicians  worked  on  optimization  problems  similar  to  that  of  Scholtz  and  Ibn  al-Majdi.  In  order  to  evaluate  a  polynomial  function f(n)anxnan1xn1...a1xa0 at any point, it requires at most n additions and 2n-1 multiplications. Horner’s method, which involves rewriting the polynomial in a different  form,  only  requires  n  multiplications  and  n  additions,  which  is  optimal  in  the  number of multiplications under the assumption that no preprocessing of the coefficients is  made  (Kronsjö,  1987).  In  order  to  multiply  two  2x2  matrices  using  the  standard  method,  it  requires  eight  multiplications  and  four  additions2.  In  1968,  V.  Strassen  introduced a ‘divide-and-conquer’ method that reduced the number of multiplications to seven at the cost of fourteen more additions (Wilf, 2002). Generalizing his method to the multiplication  of  two  nxn  matrices  (where  n  is  an  even  number)  reduces  the  number  of  multiplications  from  n3  multiplications  to  7n3/8  multiplications  (Kronsjö,  1987).

https://scholarworks.umt.edu/cgi/viewcontent.cgi?referer=&httpsredir=1&article=1375&context=tme

Ans please listen on headphones

Both performances Minotauros (2011) and trace (2012) were, that I reacted towards the sound or music and noise in the space (room). The first one was the sound compositions were played by the computer (automatic, electroacustic music, digital), and the second one was played by the notation by the pianist (manual, interpretation, acustic music).
Both performances were interpreted by performers such as within music scour, and/or space (spatiality) and so on without interaction between music and visuals. However, there was an interaction, that was with the audience in the exhibition space.

The keywords here are interpretation, intention, reaction, interaction, automatic and manual, cognision and happening.

What is 'happening' in the art?

The final work of transformation in these both performances were "Aesthetic Attention''–a visualization of the red thread that I drew on the floor with the red thread.