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B.O.D.Y. is my artistic research project that I [11]have been working on for a long time. The installation B.O.D.Y. (2010) consists of analogue photography and sound composition.  Thereby I collaborated with the sound engineer Niklas Schmincke for the sound composition.

The visual part of this work is a formalistic installation construction of analogue photography, which is based on physical space-time phenomena, in contrast to the space-time of the sound composition. One of them is photography with the use of lenses and light. It is a series of photographs of scars and human body parts from different people, including myself. It is a method of observation that occurs when the lens and the distance of the viewing point bend the normal physical phenomena of space-time. It is based on the geometry of cubism. It deforms the ideal proportions of the body.

My proposition there is the space-time of light and reflection mentioned by Einstein. "Einstein wrote a series of papers that would transform the way we see the universe. They included his theory of special relativity and the famous equation E = mc². The first paper described his particle theory of light [12], which was one of the foundations of modern physics."[[13]


We perceive objects in space through the reflection of light.

Another physical factor in analogue photography is the exposure of the film and photographic paper. This work was photographed with an analogue single-lens reflex (SLR) camera and the film was scanned with high technology to create an installation using 36 mm film (the 35 mm format of 24 mm x 36 mm) as the material.

 

 


[11]  Erika Matsunami, https://www.researchcatalogue.net/profile

[12] The Particle Theory of Light: In developing his quantum theory, Einstein suggested mathematically that electrons attached to atoms in a metal can absorb a specific quantity of light (first termed a quantum, but later changed to a photon) and thus have the energy to escape.

https://www.olympus-lifescience.com/en/microscope-resource/primer/lightandcolor/particleorwave/#:~:text=The%20Particle%20Theory%20of%20Light&text=In%20developing%20his%20quantum%20theory,have%20the%20energy%20to%20escape.

The starting point for the sound composition was a seminar by Prof. Dr. Martin Supper, UNI.K - UdK l Studio für Klangkunst und Klang-Forschung, Faculty of Music at the Berlin University of the Arts in 2009. In the seminar, we had an individual project with sound recordings. One of the sources for the installation was the recording of people's breathing. Breathing is a very difficult thing to do in a recording.

For this sound composition, I conceived of combining the 7 numbers as a multi-layered sound composition, where each listener can individually choose the numbers they want and combine them freely. - It is the narrative of this sound piece.

I composed the pieces together with the sound engineer Niklas Schminke in his studio in Berlin by modelling (transferring and modifying) recorded sounds. The various sources of sound: We created an artificial space and time of sound based on recorded sounds such as binary street recordings (special recordings), historical sound recordings (personal archives, telephone noise from the former GDR), recordings of breathing (intimacy), a child's singing (friendship) and footsteps in a corridor (architecture, sound source and echo). This sound work is characterised by the relationship between sound semiotics and poetic language, compositional syntax through articulation, inner feeling and subjectivity. The compositional construction of these sounds is primarily based on the half-automatic, random sound drawings of Surrealism.

 

 

Figure 6 (Sonic Composition): B.O.D.Y. 1-2-3-4-5-6-7

https://www.researchcatalogue.net/view/161645/168411

 

 

How do we interpret this abstract sound composition based on soundscape noise (concrete) as sound semiotics? How does its introspective world turn into another nonsense?

After this sound composition I started to compose the 4-dimensional sound composition "B.O.D.Y. - piece of glass" (2012). There are several variations of this composition, with and by Niklas Schmincke and by myself. The sound synthesis was explored from these variations. 

 

 

 

The performance in the installation B.O.D.Y.

 

'Border' is not a primary theme here, but rather an element of thoughts on several phases of spatiality through the construction of lines and movement. Thereby, 'Boundary' is the subject of this series B.O.D.Y. performance in the installation.– between you and me, me in space or you in space, or between inner- and outer world


Boundary is "something" (such as a river, a fence, or an imaginary line) that shows where an area ends and another area begins*.


*Britannica dictionary

Figure 3

 

Figure 4

 

Figure 7: Performance B.O.D.Y. - Minotaurrus in the installation, Frauenmuseum Bonn, 2011

 

Video 2: Performance B.O.D.Y. - trace in the installation, Galerie Wedding, Berlin, 2012

Figure 5: Silver halides, Dr Etsuo Fujii, Dr Hideko Fujii[15]

 
 
 

[15] "Photographic film and photographic paper have a basic structure in which an emulsion of fine silver halide crystals (particles) dispersed in a binder such as gelatin is coated and dried on a support (film or paper). The high sensitivity, precise image quality, and rich gradation that are characteristic of silver halide photography are entirely dependent on the structure of the silver halide crystals.", The beauty of nature's shapes,

Crystal structure of silver halide, Dr. Etsuo Fujii, Japan

“We must not say, the complex sign ‘aRb’ says ‘a stands in a certain relation R to b’; but we must say, that ‘a’ stands in a certain relation to ‘b’ says that aRb” (3.1432).”[17]

 
 

[17] Introduction, Bertrand Russell, “Tractatus Logico-Philosophicus”, Ludwig Wittgenstein, LONDON: KEGAN PAUL, TRENCH, TRUBNER & CO., LTD., NEW YORK: HARCOURT, BRACE & COMPANY, INC., 1922, p.9

 

“He compares linguistic expression to projection in geometry. A geometrical figure may be projected in many ways: each of these ways corresponds to a different language, but the projective properties of the original figure remain unchanged whichever of these ways may be adopted. These projective properties correspond to that which in his theory the proposition and the fact must have in common if the proposition is to assert the fact.”[14]     

 
 

[14] Introduction, Bertrand Russell, “Tractatus Logico-Philosophicus”, Ludwig Wittgenstein, LONDON: KEGAN PAUL, TRENCH, TRUBNER & CO., LTD., NEW YORK: HARCOURT, BRACE & COMPANY, INC., 1922, p.9

 

“Wittgenstein uses, as an analogy, the field of vision. Our field of vision does not, for us, have a visual boundary, just because there is nothing outside it, and in like manner, our logical world has no logical boundary because our logic knows of nothing outside it. These considerations lead him to a somewhat curious discussion of Solipsism[16]. Logic, he says, fills the world. The boundaries of the world are also its boundaries. In logic, therefore, we cannot say, there is this and this in the world, but not that, for to say so would apparently presuppose that we exclude certain possibilities, and this cannot be the case, since it would require that logic should go beyond the boundaries of the world as if it could contemplate these boundaries from the other side also. What we cannot think we cannot think, therefore we also cannot say what we cannot think.”[17]

 
 

[16] Solipsism is the philosophical idea that only one's mind is sure to exist. As an epistemological position, solipsism holds that knowledge of anything outside one's own mind is unsure; the external world and other minds cannot be known and might not exist outside the mind.

[17] Introduction, Bertrand Russell, “Tractatus Logico-Philosophicus”, Ludwig Wittgenstein, LONDON: KEGAN PAUL, TRENCH, TRUBNER & CO., LTD., NEW YORK: HARCOURT, BRACE & COMPANY, INC., 1922

Exposition B.O.D.Y. - Contemporariness

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