ON KLÄNGE - SPACE, TIME AND BODY This artistic research project entitled "Variations'' by Erika Matsunami was started to explore a multi-layered open score, "Corona" (1962) for pianist(s) by Toru Takemitsu in 2020, which became a starting point of Takemitsu oeuvres. Thereby, I developed the different ideas of three variations from the aspect of the 21st century. The research question is: "Is music rather phenomenal than to express?" The starting point of this artistic research is a new interpretation "Corona-STEMS-GALAXYOMEGA" (May 2020) by Lukas Huisman who is a pianist and holds a PhD in the performing arts/piano in classic-modern music. (It is the same as the artistic master in the classical sense for teaching. He is not a performer, he can practically study the piano (artistic material) techniques at the academic level, and he can teach his techniques as his original in Toru Takemitsu. He is the PhD master of classic modern in piano for education.) He started to embody "Corona" (1962) by Takemitsu together with the composer and sound artist Patrick Housen. Huisman and Housen are called Graphology duo. (Graphology duo is a musical performative duo formed by Patrick Housen with live electronics and Lukas Huisman on piano.) With "Variations", I attempt to address the question of immateriality in the arts and the academic meaning (Sinne) on immateriality in artistic research. I question the context from the critical aspect of neuroscience, and ask whether "immateriality" – the aesthetic value in the arts – is or is not in today’s technology? How can "immateriality" in the arts be judged today with the technology in aesthetics? (The approach of Kant in today's aesthetics as well as philosophy, without the study of neuroscience, this subject could not be researched.) Takemitsu's aim of the study in his multi-layered open score "Corona" (1962) is not only for the general piano piece, it was also started in his musical composition study under Cage. In "Variations", I have been working and researching the origin of Toru Takemitsu's ideas. I collaborate(d) with Housen as a visual artist for a sound installation in this artistic project. This resulted in the artistic research project "Variation I", which relates to this artistic research on "Klänge - Space, Time and Body". I, as a visual artist, have been exploring the subject of time and space in "Corona" (1962) for pianist(s) by Toru Takemitsu for the exploration of a new interpretation; it was the starting point of "Variations" which consists of three parts of artistic research. My practical contribution is a performance in the site-specific installation for "Variation I" - ("Corona without Pianist for 4-ch discrete sound installation - an invisible sense ‘who is left to drift in the loneliness of the remaining scent’" in 2020. Thus, the theoretical exploration is in terms of ongoing artistic research in the philosophy of sound. The aim of this artistic research "On Klänge - Space, Time and Body" is toward the new multi-layered open score "Variation I, II and III". In 2020, it was simultaneously the subject of "Corona-STEMS-GALAXYOMEGA" by the Patrick Housen and Lukas Huisman duo, and "Corona without Pianist for 4-ch discrete sound installation - an invisible sense ‘who is left to drift in the loneliness of the remaining scent’" by Erika Matsunami. Variation II consists of a collaboration with the composer Valerio Sannicandro (PhD in Musicology) and deals with the subject of the spontaneous within the topic of DNA from the biological aspect. Therefore, joint artistic research will explore the philosophy of sound from the aspect of musicology and aesthetics in 2021. (In the works)

a.o.i. - lasting memories

- on Universality

Malva flowerdiagram

A starting point of a multi-layered open score

A most important part of the collaboration in the multi-layered open score for piano(s) and live electronics, which is the core of this score and which address the nature of the genome, which overlaps the title a.o.i. - lasting memories. The title a.o.i. - lasting memories came from a motif: the malva flower that means “noble beauty” in Japanese. Malva was given the name “Aoi (葵)” in Japan and has the same pronunciation as “Aoi (青い)”(adjective) meaning “blue”. It will be transcribed from “noble beauty” to novel beauty in a metaphysical text on life (on race). - a new biological aspect of natural beauty (without proportional beauty which includes ugly, such as random.).

Takemitsu's Multi-Layered Open Score was transformed from Mandara (Universe), my artistic approach is from the biological aspacet,which relates to Universe.

Genome between Humans and Plant, how does human deal with time and space of different Genomes? What means "Coexistence" today's human society? that changing of "Naturality". – A contemplation of "Coexistence" from the perspective of the Genome, is my artistic task in this artistic research.

I need to study the theory for creating artistic logic from nature. My art study is not "to imitate nature".

Without knowledge, I cannot create logic from nature.

Malva floral diagram

Knowing what? Radical versus conservative enactivism

Abstract

The binary divide between traditional cognitivist and enactivist paradigms is tied to their respective commitments to understanding cognition as based on knowing that as opposed to knowing how. Using O’Regan’s and Noe’s landmark sensorimotor contingency theory of perceptual experience as a foil, I demonstrate how easy it is to fall into conservative thinking. Although their account is advertised as decidedly ‘skill-based’, on close inspection it shows itself to be riddled with suppositions threatening to reduce it to a rules-and-representations approach. To remain properly enactivist it must be purged of such commitments
and indeed all commitment to mediating knowledge: it must embrace a more radical enactivism.

Keywords
radical, knowing, conservative, enactivism, versus
Disciplines
Arts and Humanities | Law
Publication Details
Hutto, D. D. (2005). Knowing what?

Enaktivismus ist ein theoretischer Ansatz innerhalb der Kognitionswissenschaften. Er basiert auf der Vorstellung, dass Kognition sich aus der Interaktion von Lebewesen mit ihrer Umwelt entwickelt. Dabei ist zentral, dass das Lebewesen als complete agent körperlich mit der Umwelt interagiert (Embodiment; embodied und situated cognition). Der enaktivistische Ansatz überschneidet sich weitgehend mit dem der Embodied Cognitive Science.
Der Enaktivismus kritisiert ältere Ansätze der Kognitionswissenschaften, die Geist (Mind) auf mentale Repräsentationen zurückführen wollen, und versteht sich als Alternative zu Kognitivismus, Computationalismus und Dualismus.
Der Begriff geht zurück auf das Buch Der Baum der Erkenntnis von Humberto Maturana und Francisco Varela.[1]
Heutige Vertreter des Enaktivismus sind u. a. Ralph D. Ellis, Daniel D. Hutto, Shaun Gallagher, Alva Noë und Evan Thompson.

References:

O' Callaghan, Casey, Beyond Vision: Philosophical Essays, Oxford: OUP, 2017

Schulze Holger, Sonic Fiction, London: Bloomsbury Publishing, 2020

Malva - reife und unreife Frucht

Malva - Ausgereifte Fruchte

Malva - Frucht

Malva sylvestris - Pollen (Rasterelektronenmikroskop)

Motion Capture and Emotion: Affect Detection in Whole Body Movement

Emotional Agency

Tip

Tip

Malva flowerdiagram

Malva floral diagram

Motion Capture and Emotion: Affect Detection in Whole Body Movement