"N.N-Zwischenliegend" - a progressive investigation into errors/eine fortlaufende Untersuchung zu Fehlern by Erika Matsunami

„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.

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

In the project N.N-Zwischenliegend, I would like to use the image as an error to deal with the philosophical reflection on the subject of “estrangement” in the photographic perspective as a narration as well as with the alienation and self-alienation of the situation and the object. To do so, I explore the images on the practical and theoretical level for the purpose of a threefold distinction, namely between image carrier, image object, and image subject.

On twofoldness and threefoldness:

Today's digital camera concept is based on aesthetics, especially the depiction of the value of aesthetics. In this section I would like to research the topic of “threefoldness” by Lambert Wiesing and Bence Nanay. According to Nanay, “Lambert Wiesing, relying on Husserl, also makes a similar distinction in Wiesing (2009), where he distinguishes between image object and image subject.”¹ Nanay writes that Wiesing is similar to him, which makes a threefold distinction between the image carrier, the image object, and the image subject. These three entities would roughly correspond to what he calls: (A) the two-dimensional picture surface, (B) the three-dimensional object the picture surface visually encodes, and (C) the three-dimensional depicted object. “The emphasis of Wiesing’s discussion is the image-object, which has a mere ‘artificial presence’ (Wiesing 2009, p. 35). And this emphasis also helps us to see the differences between my approach and Wiesing’s. Wiesing, again, following Husserl, takes the image object to be the representation which represents the image subject, and he understands this representation relation as a version of resemblance (Wiesing 2009, pp. 36–38).”²

Nanay's account is on picture perception and the aesthetic appreciation of pictures, and Nanay asks how we represent these three folds. In my artistic research, I have dealt with the question of how I can visually encode the three-dimensional reality on a two-dimensional image surface with the help of the digital camera. To do so, I examine the images on a practical level for the purpose of a threefold distinction, namely between image carrier, image object and image subject. (...)

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- Estrangement (Entfremdung) as Verfremdungseffekt (V-Effekt)

Subjectivity and Objectivity

Abstracted momentary

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1. Bence Nanay, Threefoldness, (open access at Springerlink.com, Published online: 23 January 2017) 170–172,

2.Ibid., 1.

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