„N.N-Zwischenliegend“: Ich forsche zum Thema "Paradoxität" in einer Kunst (Praxis und Theorie) von einer Dokumentation (Realität) – Zeit, Raum und Körper. Eine künstlerische empirische Forschung. Diese Kunst-Forschung ist die Fortsetzung von der Kunst-Forschung „still/silent“ (This artistic research is the continuation of the artistic research "still/silent" on the leitmotif of peace. (In art, there was and is the subject, but the most important is the leitmotif, whether it will appear in the work of art. Art critic, it will be written on those subjects, materials and their phenomenal events representationally, how it will be reflected generally. It is the same in the film.)). Erster Teil ist N.N-Zwischenliegend - a progressive investigation into errors/eine fortlaufende Untersuchung zu Fehlern (in der Bildwissenschaft und Ästhetik), diese Forschung geht es nicht um digitale photographische Technik, sondern um digitale photographische Technik und experimental Photography heute, und um (Neo-) Repräsentationstheorie (Multimodalität und experimental Dokumentation) : In the part of my artistic research in the N.N-Zwischenliegend project – namely digital photography – I am investigating the potentiality of inspiring errors and imperfection, employing three research methods. First, according to the definition, “errors” in this artistic research are not intentional, but rather are created in the concept by chance due to natural phenomena in the digital camera. In the concept of experimental documentary photography of N.N-Zwischenliegend, I did not try to photograph things (Dinge) and objects (Gegenstände) only, but rather I try to grasp temporal and spatial depth as well as the potentiality of the natural phenomenon. I have implemented this idea in an image with photographic techniques and double exposure, whereby these photographs were combined in the same documentary photo series. Second, I examine the photos for errors from the perspective of different disciplines such as photochemistry, physics, phenomenology, cognitive science, science of images, philosophy, and psychology to reflect whether there are flaws or gaps in the entire N.N-Zwischenliegend series. Third, in the N.N-Zwischenliegend project, I deal with the image as an error or gap with the philosophical reflection on the theme of “estrangement” from the photographic perspective as a narration. If the potential of the fault opened up to us, and if the error thus contributed to an “elasticity” of consciousness or the illusion of depth, I thus question the paradox of seeing in arts, which refers to the question: "Could the fault inspire us in this sense?" To answer this question, in this article, I connect to the evolution of consciousness from the perspective of psychology and neuroscience. “The AST (Attention Scheme Theory) covers a lot of ground, from simple nervous systems to simulations of self and others. It provides a general framework for understanding consciousness, its many adaptive uses, and its gradual and continuing evolution.”1 At the same time, it deals with the question of experimental or digital photography today, its perfection and errors in both the world of artistic photography and digital culture. 1: Graziano, Michael, A New Theory Explains How Consciousness Evolved - A neuroscientist on how we came to be aware of ourselves, The Atlantic, June 2016.

N.N-Zwischenliegend – a progressive investigation into erros / eine fortlaufende Untersuchung zu Fehlern

INTRODUCTION (EN/DE)

Draft_A

1. Random deviation or random error / Zufällige Abweichung oder Zufallsfehler (EN/DE)

2. Question of cognition / Fragestellung zur Erkenntnis (EN/DE)

3. Photographic perspective as (a) narration / Fotografische Perspektive als Narration (EN/DE)

- Philosophical contemplation / philosophische Reflexion (EN/DE)

- Aesthetic research on Philosophy of perception: contemplation about the contemporary philosophy in theory and artistic practice (EN/DE) (in the works)

- Reflection on the auditory and visual aspects of 'site-specific' in arts (EN/DE) (in the works)

- Artistic research part 2: N.N-Zwischenliegend–non-calculable time, space and body (Words, Image and Sound)

- Artistic research part 3: N.N-Zwischenliegend–Intermediality on time, space and body, Zwischenliegend (Gestaltung/design) (working title)

References

Colophon

After this CID World Congress/UNESCO in Athens, Summer 2016, I visited the Acropolis Museum. There was a special exhibition (I have bought the catalog only in Greek. For this reason the language is in Greek, I can not write about this exhibition profoundly. ). However, in this exhibition, about what I thought and understood, it was on "Artifact". What I looked at the Exhibition, that was the original meaning of the Artifact.

Probably, the original meaning of Artifact was in regard to "Artefakt" in Diagnostik closely.
"Artefakt nennt man in der Diagnostik einen scheinbaren, tatsächlich jedoch unbeabsichtigt künstlich herbeigeführten Kausalzusammenhang, zum Beispiel durch Fehler bei der Datenerhebung, -auswertung, -dokumentation oder -interpretation.

Artefakte sind durch menschliche oder technische Einwirkung entstandene Produkte oder Phänomene. Sie sind wissenschaftlich wertlos, weil sie nichts über den eigentlichen Untersuchungsgegenstand aussagen, sondern lediglich eine diagnostische Fehlerquelle darstellen."

Between film montage and video editing, between analogue and digital

Lucien Castaing-Taylor and Véréna Paravel

: Leviathan

Javier Toscano

"Betrachtung"

-> in the environment -> the sound and the moving image

-> by the camera eye

Reality and its narrativity

Tip

Tip

Lucien Castaing-Taylor and Véréna Paravel

: Leviathan