Metamorphosis - Ethics and Aesthetics are One - from a Neuroscientific Perspective II by Erika Matsunami

This research is an advanced research of Metamorphosis - Ethics and Aesthetics are One - from a Neuroscientific Perspective in 2024. I explore post feminist theory from a new perspective in the 21st century. Thereby I deal with spatiality between virtual reality and physical space theoretically and practically. 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.

Joseph Necvatal's Allegory

- (in-)visible touching and non-sense (working title)

Virtual reality is a reality and a fact in a virtual space, not an artificial reality.

His work on viruses in biology is natural. A virus is nonsense, and biologically, it is like a code.

He expresses a biological nonsense world literary in a subjective way, is a new type of artwork and lies in posthumanism.

He is an American artist who has contributed greatly to postcolonialism, particularly his work on the theme of the AIDS (Acquired immunodeficiency syndrome) and HIV (virus) in the 1980s in NY.

His contributions are wonderful (he solved the subjectivity and being of virus), and from a cultural point of view, they released Africa from AIDS colonisation (racism) -> Unconventional artwork, Innovative, Solution of coexistence

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

-> Concentional artwork, Conservative, Solution of killing

The world of viruses was already symbolized in literature in the Middle Ages (roughly spanned from the fall of the Roman Empire in 476 A.D. to the early stages of the Renaissance in the 14th century). It was an ominous presence, like the Grim Reaper. It has gone beyond the world of imagination.

"Anti-Jewish story surrounded the origins of the Black Death in 1349. This bubonic plague devastated Europe in the fourteenth century, killing an estimated 25-50 million people. As medical knowledge in the medieval period was extremely limited, people offered religious explanations for the catastrophe."

https://www.theholocaustexplained.org/anti-semitism/medieval-antisemitism/the-black-death/

Tip

Tip