An interview with Rudy Orlandini conducted by Erika Matsunami in June 2024 (Erika Matsunami interviewed Rudy Orlandini on June 4, 2024:):
- 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 I asked my parents for a video camera and started making my first video.
There were periods when I stopped making them because of different situations, but I never gave up, I continued to learn how to make videos on my own.
- Please tell me about your motivation to work on the video.
Besides work, I've always been driven by a feeling that I needed to help and encourage people, that's why I started making these videos and posting them on SNS.
- Can you describe the theme of "Sound through your body"?
I love bass, ever since I was a kid I used to turn up the volume on the stereo because I could hear the powerful vibrations of the music through my body. Not only that, I think about 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 normal school?
Despite my deafness, I always went to a "normal" school.
- What was it like for you to learn in an integrated class with non-disabled students?
I couldn't make friends because of my deafness and my personality, which isolated me, but at the same time I learned and understood the "normal" world, which made me stronger and better prepared.
- How do you feel living and working in Kyoto, Japan, 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 lip-reading compared to Italy. However, the "balance" 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. (I have always had a special connection with Japan, since my childhood. I am happy that I have been able to fulfil my dream.)*
Kyoto has many stories and legends, and this mix of feelings is magic for me, I have never been so inspired in my life.
*Rudy Orlandini's first language is Italian.
A collaboration with Rudy Orlandini (b. 1991, Reggio nell'Emilia, Italy) in 2024. He is an Italian deaf video creator who recently he lives and works in Kyoto, Japan.
We exchanged through Internet communication, which was the first experience between us. Rudy Orlandini contributed his video Flusso (2024), and I contributed my sound composition B.O.D.Y. - Piece of Glass (2012/2024).
Rudy Orlandini's sign language and gestures for communication through bodily expression inspired the re-composition of my sound composition B.O.D.Y. - Piece of Glass (2012) for his video Flusso.
The habitual movements of his Japanese life and the logic and gestures of the Italian sign language transformed into a mystical expression. Still, they are simply nonsense syntax (informational) - do they make sense (Sinne) or meaning (Bedeutung)?
Video 4: Instagram @rudyorly, Rudy Orlandini
Video 3: #collaboration by Erika Matsunami B.O.D.Y. - Piece of Glass (2012/2024) and Rudy Orlandini Flusso (2024), 2024
"(...) The totality resulting from our hierarchy would be not merely logically inexpressible, but a fiction, a mere delusion, and in this way the supposed sphere of the mystical would be abolished. Such an hypothesis is very difficult, and I can see objections to it which at the moment I do not know how to answer. Yet I do not see how any easier hypothesis can escape from Mr Wittgenstein’s conclusions. Even if this very difficult hypothesis should prove tenable, it would leave untouched a very large part of Mr Wittgenstein’s theory, though possibly not the part upon which he himself would wish to lay most stress. As one with a long experience of the difficulties of logic and of the deceptiveness of theories which seem irrefutable, I find myself unable to be sure of the rightness of a theory, merely on the ground that I cannot see any point on which it is wrong. But to have constructed a theory of logic which is not at any point obviously wrong is to have achieved a work of extraordinary difficulty and importance.”[18]
[18] Introduction, Bertrand Russell, “Tractatus Logico-Philosophicus”, Ludwig Wittgenstein, LONDON: KEGAN PAUL, TRENCH, TRUBNER & CO., LTD., NEW YORK: HARCOURT, BRACE & COMPANY, INC., 1922, p. 19
Note:
Rudy Orlandini is a person who does not exist in the art world, in academic society and in 'my' location. He is present on Instagram and cannot be identified from 'my' side, who is. This is a current social media activity that brings us a global cultural phenomenon. For me, as an artistic researcher in human and non-human global society under capitalism, this is a necessary area to explore in the context of Wittgenstein's theory.
In the global digital world, we can play creatively. But there are practical problems beyond that. For example, we (users) cannot intervene in the real world of other work and life. We (users) are only at the level of virtual creativity.
In the future of digitalization, we will need to reflect not only virtual currencies but also the relationship between the digital 'virtual' world and 'life' world on earth.
I explore a virtual platform and community Green x .
Anonymity in social media and its privacy
There are two different things here;
One is my artistic research regarding Wittgenstein's in the context of 'virtuality' and its logic and unlogic, such as on the topic of 'nonsense' epistemologically.
Recently, how it applies to and how it would be changing our subjectivity from the aspect of neuroscience in the 21st century. In doing so, I am writing the introduction, an important part of the international art- and academic journal.
And the second one is a question of virtual collaboration and the identity of the person.
In this case, it is a request in Japan and/or Italy. For his artwork and its authenticity, one must take care of him and his artwork in his actual place of residence. In which country was the artwork made?
An artwork might be a baby of an artist.
My virtual collaborator Rudy Orlandini has agreed to present “Flusso” together with my sound composition B.O.D.Y. – piece of glass (2012/2024) for streaming on YouTube (for non-commercial purposes) educational purposes (non commercial use) in an artistic research catalogue and as well as to be issued on art- and academic Journal, also possibly a non-commercial exhibition in 2025 in Europe. The copyright was protected as a my virtual collaborator Rudy Orlandini. But I don't have his residence address. When the concept of the exhibition in 2015 will be granted, then I can start to make a contract of the permission with Rudy Orlandini.
If it is not possible to contact Rudy Orlandini for the exhibition, it is possible to offer the exhibition in a streaming format. The contract serves to cover his artist fee and other personal costs for him, such as travel from Italy (his country in Europe) and accommodation.
Note: This collaboration with Rudy Orlandini is long-distance via the Internet between Germany and Japan.
The collaboration through 'not knowing' about the general situation of the hearing impaired in society.
For example,
- The educational integration status
- Hearing impaired standards
- Educational practice and technology
Hearing devices
rather hearing his voice without having his voice – reading sign language or listening to sign language?
By covering all of these through communication, we are putting into practice a method that values individuality and the identity of each through arts.
– An exploration of post-conceptual art methodologically
My challenges as an artistic researcher
Possibilities for collaboration and joint research with Rudy Orlandini in artistic research
- Language-based artistic research in the case of sign language and audio - and visual work:
What role does the transmision between the soundless world and the world of noise? In the context of Wittgestein's theory of "World and Life"
- What would they express with regard to the philosophy of language? e.g. in the context of sematics.
These are the advanced artistic research B.O.D.Y. - the second skin (2023).