Why I started to study the Traditional Japanese Dance-Theater from the age of three, due to ethics in the literature, music and choreography. Antonis is also a generation from high school, he had studied piano at a dormitory-based music conservatorium. Music ethics was compulsory. So the composers, musicians and artists of our generation are not stylish.

My project is rather futuristic, feature, fiction from the real story, and from a critical point of view.

Through perception and psychological effect

Huisman and Housen, their project might possible from the aspect of original European Avant-Garde. There was interesting musical scale and language. and language, similar to Heian-period in Japan.

In a lecture at a conference in January 2021, I looked at an art object which was exhibited, was the compressed atlas maps that were solidified into a spherical shape. I didn't know the size in the photo. It was an exhibition around 2008. What I saw there, seemed to be an "act" that symbolized the era which was changing from the map on paper to digital, but it looked like "trash". It was an era that trash was an art object from critical aspect. What came out from this critical aspect, for example, creative ideas for recycling, save, review, share, community, platform, and so on.

‘inner vision’ (Zeki, 1999), I would like to distinguish between inner vision as well as immagination and mathematical envision.

I think that in the next 10 years, more and more, we Humans would deal with the topics in Anthropocene, and of non-human society for the reconciliation from the critical aspect.

On going artistic research: 

FROM THREEFOLDNESS TO MULTI-FOLDNESS

 

From threefoldness to multi-foldness: On Personal AI in visual arts and its perception in an artwork – What is artistic authenticity with AI (technology and which kind of (Wort fehlt/word missing) and how) in arts? In this project I explore practically and theoretically, in particular rethinking philosophical reflection on “A thousand plateaus” (originally published as Mille Plateaux, volume 2 of Capitalisme et Schizophrenic © 1980 by Les Editions de Minuit, Paris) by Gilles Deleuze and Félix Guattari. I've been dealing with this book in my project since 2000. Therefore I agree with the approach "Kunst kommt aus dem Schnabel, wie er gewachsen ist" (the title of an art catalog with 11 disabled artists) by Mosaik e.V. in Berlin, 2011. This artistic research addresses the issue of technology and humanities in arts. (Theorie und Praxis im künstlerischen Schaffensprozess)

Variations

-> As an Example in the case of Einstein (1879–1955):

He was sure in his study and its context, even if that was still in his envision and his theories.

1. A collaboration with Patrick Housen and Lukas Huisman on "Corona" (1962) for pianist(s) by Toru Takemitsu

 

- Developing for "Variation I"

 

 

Variation I

Their theories in modern school education that we start in elementary school, even if in my generation.

2. "Corona" (1962) for pianist(s) by Toru Takemitsu

3. A contribution by Erika Matsunami, Performance in the site-specific installation for Variation I:


"Corona" without Pianist for 4-ch mono-discrete sound installation - an invisible sense, "who is left to drift in the loneliness of the remaining scent."

Through cognition and recognition

4. Practical exploring: Variation I, II, and III

 

- Mapping on the floor.

or

- Projection on the floor.

 

contemporary ethics of sculpture as meta-code from the aspect of critical theories.

Surrealism:

Mathematical

Although knowledge today is not that of some researchers, its generalization cannot change our human fortune for life and death.

Reconciliation between psychology and mathematical envision

As a matter of fact, the European Avant-Garde was on this way through the Saints, but European Fascism of ideology by the world view of world domination cheated and robbed them, even if mathematical envision consisted of a part of our reality.

Artistic research: 

SILENCE SURROUNDS US, AND SILENCE AROUND US

Envision

Cognitive intelligence

Artistic research: Silence surrounds us, and silence around us.

This collaboration has taken place only via online due to the CORONA-Pandemic in 2020.

I understand that this duo is more of a "musical-theatrical play" than an art, and they are a contemporary Western modernist (performers and musicians). This theaterical development is their creativity.They could work with their idea in the theater-project. (It is their study of Fine arts in performing arts in the EU.) They use the work of art by Takemitsu yet, they didn't create something. Their idea is the same as if they use the score of Brahms. This idea is a current solution in classic music/performing arts at the art academy (in the EU).  For that, I have challenged to draw (developing of) the theatherical idea in 2020, but it is from the aspect of 21st century. Now, I need to write in words as a piece. My understanding in performing arts, without literary sense (study) it does not work.

My artistic research method is a mathematical solution, which is the same no matter how many problems there are.

I have no manual, I just deal with subject. For that, the knowledge helps me. There were/are many fashions of solution in the science historically.

 

Radio waves are part of the electromagnetic spectrum, as is visible light. H.R. Hertz provided practical demonstration of Maxwell's theory and, in 1888, actually performed radio-wave-reflection experiments.       

https://www.thecanadianencyclopedia.ca/en/article/radar     

The cognitive ability of persons with disabilities is similar to the relationship between the child's "reality" and "self", and it cannot be said that the cognitive ability is low.

The human "brain" of primates is as unknown as the study of the universe. Since I have been studying in this research area from the aspect of aesthetics, then I understood, we humans live in-universe.

-> From the aspect of Neuroscience, as well as cognitive psychology. cognitive linguistics, cognitive aesthetics.

-> Artistic research:  REFLECTION ON THE AUDITORY AND VISUAL ASPECTS OF 'SITE-SPECIFIC' IN ARTS

Myths of everday life

->There is a dilemma in their duo, that is, for Huisman, to play an unfinished piano piece, it lowers his title as the pianist, for Housen, to write a music piece through the sounds by the pianist, then he will lost his title as the composer. How they would like to solve this problem between them, so, they want to become an "artist".

 

-> In their work on "Corona" (1962) for pianist(s) by Toru Takemitsu. He has conceptualized "Mu/無" (subjective) in his multi-layered open score, however Huisman's understanding about it is "Nichts" (objective) that is similar to Heidegger's. In this aspect, I can dealt with their Corona. But, I think that Cage's is the correct way (American Avant-Garde), if artists/researcher would like to research in this subject. In this artistic way, Housen and Huisman are European Avant-Garde. Thereby Housen challenged his subjective symbolism to draw in "Corona" by Takemitsu. So, they transformed an unusual culture into Belgian (Dutch) musical ethics. 

It was the ones who incorporated different cultures into their (Dutch) ethics without excluding them that was the study method of Dutch academy, and was their "Transculturality", which was the opposition of the German method such as Heidegger's. Today it is the study at KU Leuven, Belgium. My great interest in a collaboration with Huisman and Housen is at this level of study, because I need to write.

-> I encouraged Housen to grasp e.g. the African and Latino American beats of American contemporary music for his future artistic collaboration.

Huisman researches on "fusion" in music (piano piece by the Japanese composers in post-war/last 50 years in Japan) between Western and Eastern cultures.

-> A dilemma in the creative procedure between Housen and Huisman explains how "paradox" is misunderstood. That is similar to our current cultural state. To be created a "dilemma" intentionally, however, it might be a limited idea. Thereby my attempt is, how I solve this dilemma artistically.

Van Eyck. An Optical Revolution

The Fall of Antwerp

Jan van Eyck

Madonna omringd door serafijnen en cherubijnen 

Jean Fouquet 

<- Background of Freedom of Expression

The Method of Levels of Abstraction


Luciano Floridi


Received: 17 May 2007 / Accepted: 28 July 2008 / Published online: 15 August 2008 ©Springer Science+Business Media B.V. 2008


Abstract



The use of ‘‘levels of abstraction’’ in philosophical analysis (levelism) has recently come under attack. In this paper, I argue that a refined version ofepistemological levelism should be retained as a fundamental method, called the method of levels of abstraction. After a brief introduction, in section ‘‘Some Definitions and Preliminary Examples’’ the nature and applicability of the epistemological method of levels of abstraction is clarified. In section ‘‘A Classic Application of the Method of Abstraction’’, the philosophical fruitfulness of the new method is shown by using Kant’s classic discussion of the ‘‘antinomies of purereason’’ as an example. In section ‘‘The Philosophy of the Method of Abstraction’’,the method is further specified and supported by distinguishing it from three other forms of ‘‘levelism’’: (i) levels of organisation; (ii) levels of explanation and (iii) conceptual schemes. In that context, the problems of relativism and antirealism arealso briefly addressed. The conclusion discusses some of the work that lies ahead,two potential limitations of the method and some results that have already been obtained by applying the method to some long-standing philosophical problems.


Keywords Abstraction, Level of abstraction, Gradient of abstraction, Levelism, Observable, Stance

Generally, people talk about contemporary art, that is probably about "contemporary culture", not contemporary art.

There are different things between "Free opinion and right to speak" and "Freedom of Expression".

Project B.O.D.Y. (2010) mentions how looks the body through technology (the question for current measurement)  and how we look the body. (Freedom of Expression) (I am writing on.)

I don't claim and demand anything with this project, I question our Human fortune.

Being born with a disability is not the "sin" or "misfortune" of the person, just the inevitability of the gene.

Question for "What is a person?" and its right to live.

-> one of a new measurement.

Transkulturalität 

Grundlegend für das Kulturverständnis von Welsch ist, dass Kultur nicht etwas Trennendes, sondern etwas Verbindendes ist. Bei der Begegnung zweier unterschiedlicher Kulturen gibt es stets Anknüpfungspunkte, die als Konsequenz zu einer Verwischung der Grenzen, möglicherweise aber auch zu einer Aufhebung dieser Grenzen führen können.[2] Jedoch entsteht aus den separaten Einzelkulturen des klassischen Kulturbegriffs keine Globalkultur, keine uniforme Weltkultur, sondern Individuen und Gesellschaften, die transkulturelle Elemente in sich tragen. Die Kombination von verschiedenen vertikalen und horizontalen Elementen verschiedener Herkunft macht so jedes Individuum transkulturell.

In Germany today,

Wolfgang Welsch

The four lower panels of the closed altar are divided into two pairs; sculptural grisaille paintings of St John the Baptist and St John the Evangelist, and on the two outer panels, donor portraits of Joost Vijdt and his wife Lysbette Borluut; in the upper row are the archangel Gabriel and the Annunciation, and at the very top are the prophets and sibyls. The altarpiece is one of the most renowned and important artworks in European history.

-> Character of a person and/or artistic character (Eingenschaft).

Ghent Altarpiece (Adoration of the Mystic Lamb, Dutch: Het Lam Gods)

My comment for a performance Corona-STEMS-GALAXYOMEGA (May 2020) by Huisman and Housen is maximal praise (hervorragend) which is terms of Jan van Eyck as their background. They are the performing artists in Ghent, and a Duo - contemporary artists, who work in the critical aspect. Ich research Jan van Eyck, his critical concept. A work by Huisman and Housen is a Duch contemporary, their musical style to research is not my task. My task of research in art and humanity is "concept" in a context. The abuse of beauty is also in the same construction of the discrimination in the racism, such as grouping, identification and exclusion. Style of art is not important, most important in art and humanity is the concept of the artist, that its essentiality phenomenologically and epistemologically, we perceive philosophically. The depiction of Jan van Eyck, there is no "good and bad" parted world, there are no categories. It mentions, not by god, but rather it shows us humans responsible optically. Joseph Beuys worked from this aspect, he questioned for humans responsible, thus he coined "social sculpture". Thereby, he did not mention "social sculpture is high art.".

-> Cage's and Takemitsu's generations in post-war.

->The rassism and violence between people and police in the USA recently (mishandlung and misbrauch), I think that a facotor is the digital communication and its system. e.g. the mis-using of the big data such as the using of the term in the wrong way via social media. So that, I have to study and research to write a concept in art and humanity which refers to science.

I think that there is the international and the national levels of the control by the US (West) in the social media which analysis is used through AI, as well as by Russland (East). This way is every where that is the same as in Japan for "Suspected figure", but is it maybe created "Suspected figure" digital phenomenolly or phenomenologically? In the sociology, it calls "discrimination" generally.

 

 

Variation II

1. Project a.o.i. - lasting memories

- Sketch for 3D* Multi-layered open score

- Sketch for electronic sounds

What is the difference between Perception and Action? Prof. Bence Nanay

-> I agree with "level of abstraction", that is for the organisation. But it is not to relate to the aesthetic experience. For "beauty", levelism is a kind of fascism, because it does not make sense, but rather a kind of beauty contest. In other words, it might possible to organise a culture-politic like by the German Nazi Regime in term of German idealism. I would like to liberate "beauty" from this ideological system. Thus, I believe in early 21st century, that is possible now.

Levelism (Lev"el*ism, n. The disposition or endeavour to level all distinctions of rank in society.) is not my research subject, however, as fact in art and humanity, I think that is not an overstatement, that is a fundament of abuse of beauty. What is the measure for beauty?

"Beauty" is a reflection in the human mind, and freedom of expression, as well as freedom of decision. Beauty is not an object, an image and a symbol. 

Schiller’s Aesthetic Freedom and the Challenges of Aesthetic Education


Maftei Ştefan-Sebastian*


Babeş-Bolyai University, Str. M.Kogălniceanu 1, Cluj-Napoca, 400084, Romania


Abstract


The purpose of this paper is threefold. First, to analyze Schiller’s notion of aesthetic “freedom” throughout his aesthetic dissertations, a notion which is closely related to his famous theory about the “aesthetic State” as the ultimate form for the aesthetic education, a theory sketched out at the end of his 1794 Aesthetic Letters(or his Letters on the Aesthetical Education of Man). Second, to address Schiller’s critical reception of Enlightenment’s views on beauty, particularly Kant’s, who is Schiller’s main source of inspiration and criticism in aesthetics, emphasizing the relation of his own theory of beauty to aesthetic education. Third, to discuss the challenges that Schiller’s theory brings to the idea of “aesthetic education” in the aesthetic theories of the Enlightenment. Again, our main source for criticism will be Kant.   


Keywords:Schiller; aesthetic State; Enlightenment; aestheticfreedom; aesthetic education


1.Introduction

As many others throughout the XVIIIth century, the German poet and philosopher Friedrich Schiller was the advocate of a theory of aesthetic education informed by an idea of Enlightenment: the idea of the progress of man as a progress in civilizing, in leading humanity out of its natural, brutish state towards a state of autonomy. In Schiller’s terms, enlightening man will mean the achievement of man’s state of freedom, where human freedom and the human being itself should be envisioned as a whole, both sensual as well as rational. By contrast, in Immanuel Kant’s terms, Enlightenment apparently meant the emergence out of man’s “self-imposed nonage,” ashe describes it in What is Enlightenment?, emphasizing the achievement of man’s final state of autonomy (freedom) by reason alone. Yet, the role of aesthetic education in relation to Enlightenment is generally not fully explicit. In certain cases, aesthetic education would appear both as a mean as well as an end: it could be a mean, insofar as it leads man on the path towards (further) enlightenment; it could also be seen as an end in itself, insofar as it encourages man to develop its own faculty of taste, to know and cultivate freely its own power of feeling, and, ultimately, to adhere freely to the tastes of others. All this boils down to a fundamental question regarding the aim and implicitly the particular nature of the Enlightenment itself: is there a single aim attached to the Enlightenment’s project and is this aim achievable in one way only? However, in both Kant and Schiller, aesthetic education is vital precisely because it supports the emergence of a common sense, a Gemeinsinn, in the case of which man is able to adhere, by way of beauty, to a sense of belonging together. This Gemeinsinn distinguishes a community of taste, of aesthetic appreciation. As we will see, this spirit of Enlightenment in aesthetic education has been informed by the aimsof the Enlightenment’s project, outlined initially by the French Enlightenment thinkers.


2.Enlightenment’s Aim(s)

In his articlePhilosophefrom the Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers (Du Marsais, 2010),Du Marsais sees in the “philosopher” the key figure of the Enlightenment. Actually, in the figure of the “philosopher” we can easily find the model for the man of the “Enlightenment.” The “philosophic spirit” is described as “a spirit of observation and of precision, which relates all things to their true principles.” However, “it is not the philosophic spirit alone which the philosopher cultivates, he carries his attention and his concerns further.” It is reason that “compels him to know, to study, and to work to acquire sociable qualities,” so the philosopher’s life is a life dedicated to the enlightenment –both moral and intellectual –of fellow human beings. The philosopher is “an honorable man who wishes to please and to make himself useful.” He is not a social hermit or a social outcast. His correct use of reason is also his honorable use of reason: “Feelings of probity enter as much into the mechanical constitution of the philosopheras the enlightenment of the mind.” In contrast to “fanatics” and “superstitious” people, the philosopher’s attitude towards reason will thoroughly influence his life and conduct, as well as the life and conduct of others: “The more reason you find in a man, the more probity you will find in him(plus vous trouverez de raison dans un homme, plus vous trouverez en lui de probité). In contrast, where fanaticism and superstition reign, there reign the passions and anger. The temperament of the philosopheris to act according to the spirit of order or by reason; as he loves society deeply, it is more important to him than to the rest of men to make sure that all of his actions produce only effects that conform to the idea of the honorable man.” (Du Marsais, 2010)

   Thus, the idea of the “honorable man” (honnête homme) is the cornerstone of Enlightenment’s view on man. However, the profile of the honnête hommealso suggests that, to the authors of the Encyclopédie, Enlightenment had a threefold aim: moral, intellectual and social, the third one being, apparently, its ultimate goal. It is thus obvious, at least by the words of Du Marsais, that one’s enlightenment is not achievable by one’s own alone. One needs the others to live in an enlightened society, which is the apparent goal of the whole project. 

Abstract

This essay re-evaluates Schiller's idea of beauty as "freedom in appearance," as brought forward in his Kallias or On Beauty (1793), against the backdrop of early modern and modern thinking that based itself on a fundamental split between nature and freedom, world and man. Schiller's claim that natural beauty results from freedom in nature bridges this gap. His suggestion is confirmed by modern science. Schiller's view is recommended and defended as a way of escaping modern bigotry.

Key words

beauty, Critique of Judgment, dualism, ethics of respect, freedom, Goethe, Hegel, Kallias or on Beauty, Kant, Letters on the Aesthetic Education of Man, modernity, nature, objectivity, Schiller, self-organization, subjectivism 

Indebted to the International Gothic as well as Byzantine and Romanic traditions, the altarpiece represented a significant advancement in western art, in which the idealisation of the medieval tradition gives way to an exacting observation of nature[2] and human representation. A now lost inscription on the frame stated that Hubert van Eyck maior quo nemo repertus (greater than anyone) started the altarpiece, but that Jan van Eyck—calling himself arte secundus (second best in the art)—completed it in 1432.[3] The altarpiece is in its original location, while its original, very ornate, carved outer frame and surround, presumably harmonizing with the painted tracery, was destroyed during the Reformation; it may have included clockwork mechanisms for moving the shutters and even playing music.

Back panel Ghent Altarpiece

Why the culture so nationalised in the young generation? There are many factors, such as Global Art Market, the value of art and culture, heritage boom, cultural war, economic war, and so on.

- Mappe_a.o.i. - lasting memories

Variation III

My motivation for their project is Housen's musical Dutch ethics, it evoke mine, which is by his authentic cultural identity (personal). My goal in this collaboration is to bring contemporary music into "pop art" at the sonic level (Exchange), how to incorporate it, and to generalize it in a way that suits the current social situation. However, in this long-distance research under the corona lockdown situation, it is impossible to express clear things and "confidence".


"Corona" (1962) for pianist(s) by Toru Takemitsu is a qnique score, this duo with Huisman and Housen at this level is impossible to implement without the Takemitsu concept.


In my artistic research on Klänge - Space, Time and Body, I explore it. (from the perspective of my side.), that is the agreement between me and Housen at the sonic leve non-verbally. Regarding this project, I think that they are two in one, particularly, at the musical ethic level, it refers to the Adoration of the Mystic Lamb by Jan van Eyck.

The relation between Adoration of the Mystic Lamb by Jan van Eyck and "Corona-STEMS-GALAXYOMEGA (May 2020) " by Huisman and Housen is, if Adam and Eve in the context of  Jan van Eyck 's would change with, is it might be possible a cultural evolution in the 21st century? My artistic challenging thereby is to implement a painting on the sonice level musically.

Historical artistis even in naive art, they had more than approximately 120 IQ, because art is envision.

My research field is cognitive neuroscience in art and humanity. There is no term "talent". 

I think that talent is a measure for the work ability. For example, talent for the organisation, talent of organising, work skill is a bit different with artistic ability.

God does not appear as figure. So, the depiction the Adoration of the Mystic Lamb by Jan van Eyck is conceptualized for the law and the ethics from the aspect of critical theories (I think that was towards Imperialism as well as sacrifice, scapegoat, witch-hunt in the 15th century.), in the subjects of fairness, impartiality, justice, independence, tolerance, equality. 

Christ is not the figure of the Almighty, but rather the Messiah. Hence, my interpretation is Liberté (The Virgin Mary), égalité (The Almighty), fraternité (John the Baptist). It was the culutral evolution in Dutch culture, at the same time, it was the social evolution. I like the masterpiece "Adoration of the Mystic Lamb" from the critical view more than other Weltanschauung (the master piece of the world view), which "one worldview" as high art was separated from up and down, left and right extremely. From the critical view in "Adoration of the Mystic Lamb", I mean that towards "Utopia", today, that is the social system of the non-human, and its world-view.
Adam         The Virgin Mary          The central figure, usually referred to as "The Almighty"  (God or Christ)         John the Baptist         Eve

It is self-evident that nothing concern ing art is self-evident any more, not its inner life, not its relation to the world, not even its right to exist. - Theodor Adorno, Aesthetic Theory, 1969
It is the mark of the contemporary peri od in the history of art that no con straints govern the way works of visual art should look. An artwork can look like anything, and be made of anything - anything is possible.

 

   For example, shortly after the terrorist attack on the World Trade Center in New York in 2001, the composer Karlheinz Stockhausen proclaimed it "the greatest work of art ever. " Since his lan guage conveyed extreme admiration, he was instantly disgraced in the minds of most. That such a claim could be made at all underscores the total openness of the contemporary concept of art, how ever monstrous the consequences of conceiving art in that way.


   The philosophical history of art culmi nates in the recognition that there is no merit in asking any longer whether this or that can be art, for the answer will al ways be yes, noting that limits external to the definition of art - moral consider ations above all - always remain. The de finition of art must accordingly be con sistent with an absolute pluralism as far as works of art are concerned. I am al most certain that Adorno's cultural de spair derived from this perception, though not even that paradigmatically pessimistic thinker, whose thought was darkened by the Holocaust, would have been able to imagine a statement like Stockhausen's, let alone the horror that occasioned it.

   The publication of Adorno s Aesthetic Theory in 1969 coincided with the end of a decade of remarkably intense inquiry, conducted by artists as well as philosophers, though largely in independence of beauty one another. Indeed, an essay with which the decade properly began - Clement Greenberg's i960 "Modernist Painting" - remarked upon a parallel be tween modernist art and a certain form of philosophical practice. Comparing contemporary art with a form of self criticism exemplified in the Critique of Pure Reason, Greenberg called Kant the first modernist. Self-criticism in the arts, as understood by Greenberg, consisted in purifying the relevant medium of the art form. Thus three-dimensionality was extrinsic to painting, which was essen tially flat, in Greenberg's view.

Accordingly, he believed painting should be purged of illusionism of any kind, and depth given over by right to sculpture.

   Greenberg's agenda was one of art de fining itself from within, and there can be no question that this quasi-Kantian endeavor was pursued, often with a cer tain puritanical fervor, by a number of artists bent on making art in its concep tually purified condition. This was par ticularly the case with the so-called min imalists. But in truth, philosophy and avant-garde art shared a great many atti tudes in the 1960s.

   One aim of pop, for example, was to ironize the distinction between high and vernacular art - between the heroized painting of the previous generation of artists, the Abstract Expressionists, and the popular imagery of the comic strip and commercial advertisements - the 'High and Low' of a controversial exhi bition at the Museum of Modern Art in 1992. But comparably, it was an effort of analytical philosophy to overcome the pretensions of what we might call 'high' philosophy - the cosmo-tragical visions of the Existentialists or of the towering titans of metaphysics who loomed be hind them - by criticizing its language  against either the standards of ordinary discourse - where we know whereof we speak - or of a scientific discourse gov erned by strict considerations of verifi ability and confirmability. It is difficult to resist the impulse to see a cultural equivalence between the canonization of ordinary language cultivated by the Oxford School of Linguistic phenomenolo gy and the studied aesthetic of everyday objects in Warhol's Factory or Claes Oldenberg's 1962 Store on East Second Street in Manhattan, where one could buy painted effigies of gym shoes, auto mobile tires, and women's underpants. 

 

The Abuse of Beauty
Author(s): Arthur C. Danto
Source: Daedalus , Fall, 2002, Vol. 131, No. 4, On Beauty (Fall, 2002), pp. 35-56
Published by: The MIT Press on behalf of American Academy of Arts & Sciences

Takemitsu work and Huisman Housen: My understanding is, what is for them unknown in Takemitsu musical Ethics, such as from Heian-period, which is for them a common subject of tolerance, liberality, and so on. They incorporated it into their essence of musical ethics, that way is a Dutch contemporary for their cultural evolution, at the same time, that is their social evolution. During Edo-period, Dutch taught their way of culture evolution in South Japan also, it called Duchnology (Rangaku/蘭学 (Meidcine, Anatomy, Law, Physics, and so on.) in Japan.

Back panel Ghent Altarpiece

There are two perspectives, one is beyond from god, other is subjective from humans (authors perspectives), probably, that is the attention to "future".

Because of Infectious diseases, Pandemic, Epidemic (e.g. 

Plague, Leprosy, Smallpox, Syphilis, and so on.)

 

Christ in Majesty

Hubert and Jan van Eyck, Ghent Altarpiece, completed 1432. Saint Bavo Cathedral, Ghent

Van Eyck is not my research subject, however, is interesting to read it.

The 15th century

For those who did not study hard, their way of thinking was the idea of "right or wrong?", or"good or evil?", or "the god or the Evil?", but in reality, even "dualism" was not such a categorised "optional" theory. (In dualism, ‘mind’ is contrasted with ‘body’, but at different times, different aspects of the mind have been the centre of attention. ) 

Littel Ice Age

Ice Age


There Is No Impending 'Mini Ice Age' (NASA)

 

"Pink elephant in the room" time: There is no impending “ice age” or "mini ice age" if there's a reduction in the Sun’s energy output in the next several decades.

 

Through its lifetime, the Sun naturally goes through changes in energy output. Some of these occur over a regular 11-year period of peak (many sunspots) and low activity (fewer sunspots), which are quite predictable.

Nicolaus Copernicus

Galileo di Vincenzo Bonaiuti de' Galilei