In society today, Human is still for "achievement", also a pianist, a dancer and others in the creative field. Who has a Ph.D. Graduated or not, working on the wise in the industry is "Leistung", not Vergütung. From this reason, many Dance solo and group in performing arts are doing in non-profit and non-commercial such as off theater.
Perhaps someone who lives without a monetary function in today's society can say that, but this person is only someone who has died. The art judgment can only apply to artworks by artists who died, after the artist's death.
On Klänge for Variation I
What do we need art for? Not for satisfying but liberating ourselves. / Wofür brauchen wir Kunst? Dafür, dass wir uns nicht befriedigen, sondern uns selbst befreien.
What I am exploring is a critical study in the Fine Arts concerning the subject of gender and transculturality in artistic practice.
I would like to keep the idea as a foundation of Fine Art which is based on natural autonomy. Today, we know more deeply than the notion of Fine Arts, about what means ‘principle of nature’ and its complexity.
The idea of Fine Art is naive; however, this naivety is today's nostalgia. As an artist, we alienate (verfremden) the old sense and transform it into a new sense. I call this creative procedure ‘transformation’ which is a kind of cultural evolution. An example of this is Corona (1992) by Toru Takemitsu.
Berlin, 2020 July
Erika Matsunami
This "x" deals with philosophical contemplation in contemporary art, which deals with human capital in relation to and for human rights in the 21st century. As this capital increases with age, the pension system changes. People have the potential for abbilites, not work that is consumed. The concept of capital until the 20th century was based on production and consumption, because that was the capital stock.
In the 21st century we are all part of capital. The capital is not only immobile.
On Corona-STEMS-GALAXYOMEGA (May 2020), I have only technical questions currently. Because virtual reality as well as game is not my artistic discipline. My interest in this collaboration with Housen in Kunst-Forschung is rather musical ethics and Belgian symbolism towards Japonism (Huisman explores the piano piece by Japanese composers in the last 50 years practically, that is his postdoc artistic research project.). I can see Japonism in Dutch, German, and other central European fine arts. This cultural subject is still open. Thereby the exchange between Housen and Matsunami, in the artistic technical aspect, is how deals technology with individual creative ideas, and on the levels of visual arts and music, that we will deal with the topic of abstraction. On the scientific level, Housen and Matsunami are on the same sage, due to the contemporary materiality and immateriality, we are a contemporary artist in contemporary arts.
variation l
a practical contribution Corona (1962) for a pianist(s) by Takemitsu towards "x" - something in 2021:
Philosophical contemplation in variation l is an expression of freedom in a (semi-) formalism and its openness.
Thereby transculturality "x" refers to the second research question in my Ph.D. proposal in 2019.
The second research question is "What is pleasure for us which is an important element x in our life?"
I can start to design the research project with this second question also. Thereby the second research question is "If things (Dinge) are ugly, moreover, if something wriggles in things, is it something in what?",
Manifold research question(s)
As artwork as well as art object of Variation I and II, in music, that is a new multi-layered open score, and in visual art as performance art, that is a pianist "x" - something (When a pianist will naked at MoMA, ) in the prologue for variation II, which is the lingering memory of variation I, at the same time, that is the prologue for variation ll. That refers to via Arnheim's last essay to enactivism, and for attempting to grasps cognitive philosophy.
Variation I and II are 4 ch mono discrete sound system and 2 ch stereo, and grand piano and chamber.
Variation III is a performance in the site-specific installation and a manifold multi-layered open score "a piece without the whole".
-> a new assemblage for "new life" that is a goal.
In the project by OIO, the open score for the piece was my visual works (4 parts of 2ch video). We used each part of the 2 ch video at the beginning of the performance as the open score for performance, after this few minutes, we started to play the improvisation. So, we didn't need the rehearsals, we needed together technical checking. Without the rehearsal, we met in a rehearsal place once and I gave the DVD (4 parts of 2 ch video) as an audio and visual open score for the performance. Otherwise, without Red thread, musical improvisation kills all of the performance.
OIO doesn't rehearsal together, only via audio and visual open score. OIO's performance is improvisation. At the first, I created the video (visual score), and Anissegos created the sound for my visual score. We (Anissegos and Matusnami) produced the audiovisual open score "still/silent" (2 ch video stereo and 2 ch sound) during artists in residence of the media lab at the Hanger, Barcelona, Spain in 2008. At the end of this artists in residence, we performed in the part of the program of the Hanger in Barcelona.
After "Variation I", we (me and Housen) will start to create our own multi-layered open score through the procedure of performance with a pianist Lukas Huisman.
Variation II
So, usually, I collaborate with a composer, due to the social connection. In the contemporary arts, we (visual artist and composer) need to study social science. Study in music, that is the study in sheet music.
Open score "still/silent" by OIO (Anissegos and Matsunami) for improvisation in the site-specific installation is regards to social science on the audio and visual levels literary.
Artists in Residence for the cross-discipline in arts is for composer and visual artist, otherwise, it will be a performing arts (theater) production with a choreographer in the artist residency program. My artistic research field is music and visual arts in performance art and site-specific installation. Music is experimental music and electroacoustic music, as well as video in experimental film & video. I had theatre productions as a choreographer (contract works).
Research aim in this study:
To explore Iconography in a poetic way, and its manifoldness.
I studied thereby iconography in prehistory. It was very interesting, which explore to relate with the research by Nanay and also by Wiesing in artistic research N.N-Zwischenliegend, that was a new inspiration to me.
Research question 1 in my practice-led Ph.D. proposal (2019):
If things (Dinge) are ugly, moreover, if something wriggles in things, is it something in what?
I have a second question. Research questions are in which academic discipline regards with transversal aesthetics.
Artistic Research: GRAPHY
This explain is by the scientist Cumrun Vafa who is an Iranian-American theoretical physicist and the Hollis Professor of Mathematics and Natural Philosophy at Harvard University.
In this Path 2 'Storing theory'.
'Corner theories' which in a sense we can view 1,2,3,4,5,6, where a simple description of theory emerges, analogous to 'reference frames' in Einstein's theory of relativity:
The physics looks superficially different as we go form one frame to another, but the fundmental laws do not change.
'Shepard tone' in Klangsynthese
M.C. Escher's in visual arts
This joint artistic research is on the level of doctoral and postdoc artistic research in the research fields of Music, Visual arts and Aesthetics.
Hey Lukas & Erika
I just read the Final correction_7.8.2020_Project description_Corona
document and that is already looking pretty good!
I’m really liking the approach and format! Sound (art) is very ephemeral
by nature and I’m really looking forward to exchange thoughts on how it
can be implemented to paint a sonorous canvas.
I’ve nothing to add to the text both of you created so I’m all good there.
@Erika:
You write "The piece of sound art Corona without pianist will be realized
for 4 channel mono discrete sound. I will join the performance by Lukas
and Patrick in Gent, Belgium with my part via the internet from Berlin,
Germany. “ From a practical point of view: Keep in mind that if you work
with quadraphonics, most people won’t be able to play it back how you
envisioned it if you are doing it through streaming.
As in performance wise during the pandemic I imagine it can be rather
difficult to work with a quad playback. I have this at my home studio so
this shouldn’t be a problem when we are working though.
Furthermore I’m very curious to your approach in yourElectroacoustic sound
series. De-constructing and -contextualizing this during rehearsals will
be interesting: Maybe it’s a good idea if we create some of these swell?
So that we can incorporate both our palettes? (It’s a totally different
project I’m working on right now, but this is filled with all kinds of
subtle layerings of self recorded sound:
Maybe you can spot the bicycle pedals and female laugh in
there?) https://soundcloud.com/patrick-housen/cc16-droppy-premix/s-k6j01Oni2oZ?in=patrick-housen/sets/cc-collab-coalition/s-G3SF6AfzXtW
Keeping my fingers crossed for the project!
Warm regards
Patrick
As artwork as well as art object of Variation I and II,, in music, that is a new multi-layered open score, and in visual art as performance art, that is a pianist "x" - something (When a pianist will naked at MoMA, ) in the prologue for variation II, which is lingering memory of variation I, at the same time, that is the prologue for variation ll. That refers to via Arnheim's last essay to enactivism, and for attempting to grasps cognitive philosophy.
References in "When a pianist will naked at MoMA," (Arbeitstitel) for a thesis after practical exploring that is for a future new multi-layered open score and installation which is the aim of this artistic research:
- Nanay, Bence, Aesthetics as Philosophy of Perception, Oxford: OUP, 2016
- Recki, Brigit, Aura und Autonomie: Zur Subjektivität der Kunst bei Walter Benjamin und Theodor W. Adorno, Würzburg: Könighausen & Neumann, 1988
Interview with a neuroscientist in my Ph.D. proposal:
The question on Intention as well as sensation of time.
Particularly, in terms of "ecology of the brain" by Thomas Fuchs, I as an interviewer from the aspect of a visual artist.
Theoretical exploring:
On Nanay's account "Semi-formalism" in Music, that is towards the sheet music in the context of western music, which is in his thesis (2016). However, there is a gap between visual arts and music in his thesis (2016). About what I have been exploring, that is this gap in my artistic researches. The background of this gap is in the western arts, and also in Anglo-American (analytic) philosophy and Continental philosophy. Thereby, as openness in this explanation, I explore the subject of "Transclutrality". This research on Nanay's account "Semi-formalism", that is for me, a renewed contemplation in aesthetics as well as philosophy (since Kant and many others) from the aspect of cognitive neuroscience.
Research question 1 in my practice-led Ph.D. proposa (2019)l:
If things (Dinge) are ugly, moreover, if something wriggles in things, is it something in what?
This research question is for time-based media or/and text or/and notation or/and play or/and performance or/and collage or/and photography or/and installation in semiotic and semantic.
This research question is one of the research questions my Ph.D.proposal.
It aims to explore "phenomenon and causality" from the biological aspect in sensation of time, in terms of fine arts.
-> This prologue of "variations" towards 4'33" (1952) for piano by John Cage.
Emptiness in Corona (1962) by Takemitsu, and active silence without expression of a piano piece by Cage. It was a shock, a significant American composer has rejected artistic expression at all.
In this prologue of "variations", not by the composer or the artist, but rather by a pianist with free will. (a creation or a creative act without score by a pianist, we never know before.)
Philosophy of experience
Massumi's approach to perception and the philosophy of experience is closely tied to his political philosophy through the theory of affect.[32] Massumi famously distinguishes emotion from affect. Following Spinoza, he defines affect as "the capacity to affect and be affected." This locates affect in encounters in the world, rather than the interiority of a psychological subject. Emotion, he argues, is the interiorization of affect toward psychological expression. He locates affect as such in a nonconscious "zone of indistinction" or "zone of indeterminacy" between thought and action.[33][34] This zone of indeterminacy is the "field of emergence" of determinate experience, but itself resists capture in functional systems or structures of meaning.
Affect's resistance to capture leaves a "remainder" of unactualized capacity that continues in the world as a "reserve" of potential available for a next determination, or "taking-form" of experience in definitive action, perception and emotion.[35][36] Massumi refers to this remaindering of potential across an ongoing process of serial formation as the "autonomy" of affect[37]
As a performance, the approach in this joint research is an artistic intervention between three musical approaches. How Housen has expressed this joint artistic research on this performance. To quote Housen: "Co-creation builds a shared sound world that makes me shift my focus to the broader picture. It’s always interesting to see who takes on what role and how everything evolves." Hence, openness and liberality are important foundations of our collaboration.
Joint artistic research, we must stop for a while due to the COVID-19 infection in this moment of the CORONA-pandemic, till next year after the new year 2021.
In December, we will have a meeting for the year 2021. With the joint artistic research, all of us are sure, but we have a very sad experience with COVID-19 Pandemic, we need to have time for each by ourselves now in November 2020.
The first (it can be the second question) research question is, "What is pleasure for us which is an important element x in our life?"
A film work by Lucien Castaing-Taylor (verrückte Zeit in sensation stands by duo work) across from Imhof's intuitive work, who is the director of the sensory labs at Harvard University. On madness of a Japanese, experimental documentation, which film was represented at the Venice Biennale. Both works are thematized rather about their motives, "madness", but I wanted to focus on the time-sensation of humans literary.
In the research process, what I can mention about the madness of humans, that I can say nothing about "madness". We can never know about madness, even in neuroscience. This term "Madness" is a fantasy of literature, not by medical. In arts and humanities, the researchers are exploring the contradiction from the aspect today.
Notably, I wanted to research his film, he was one of the related artists in my Ph.D proposal. In the subject of his leitmotif.
Visual arts Today, its performativity from collective and expressive to artistic intervention, happening, improvisation. Today's painting of "performativity" of fiction is transformed into a performance (live), due to time-based medium. To study in painting can use many other art mediums, it can be an auditory piece, performance, video, installation, photography, writing, also to study in sculpture, it can be a sound art, installation, video, art object, performance, photography, writing, and so on. Art academy in Norway, they are very open for art mediums through the combination with technology.
I see Imhof's collective performance as a painting, and its performativity of fiction in painting but it happens in real-time. It consists of only different acts without expression that is a time-based composition in space.
I know, the classical artists in music, they think visual artists are crazy because they have the metronome. Maybe I am also one of them. But our time sense (intuition) is changing. Many visual artists are the choreographer for a new contemporary allegory (Semantic and Semiotic of painting, as well as metaphor of painting) in the (national) Dance-theater, in Europe today. Since 2000, how I have been working as a visual artist as well as in the field of performing arts, that is usual today, after Picasso.
There is no fixed style and no norm for the competition.
Today's jury judgment, they say that is a democratic decision, an artist who gets a majority vote.
There is "no high art" in visual arts since the end of art, which is not like in music. Because there is no genre in visual arts, there is no discipline of classic visual arts like in classical music. To study classic visual arts is for art restorer.
In this artistic research, I overcome Corona (1962) by Takemitsu already in the perspective of the 21st century. Hence, I create a new one.
-> I think (but I am not sure), I can research his film in Anthropology and Transversal aesthetics. Motive is a Japanese in Japan, but the characteristic towards renaissance. (Continental philosophy) I think that the representation of his film at the Venice Biennale in Italy was sensational, not the subject, but rather the deep meaning in the culture.
Neue Kunst entsteht außhalber der Kunst Szenen als Hypothese habe ich drei Künstlern in meinem Ph.D. Vorhaben.
Ein Künstler ist Lucien Castaing-Taylor
Drei Künstlern haben erforscht, in der Forschungen, dass wir nicht im Bereich Kunst studieren können, in der Kunst (arts and humanities) umgesetzt.
Patrick Housen understood my idea of my artwork "Corona" without pianist in my part of the joint research project, how I will join in as a visual artist. He as a composer accepted to explore my audio painting. That was started in 2007, since I have been working with Live Ableton. I started to work with Live Ableton, as my sound colour palette freely, and it was a very new sense for me at that time.
But, to develop a performance for online space, I didn't want to do it. However, we need to think about online space, due to the COVID-19 pandemic.
Is the online space a performance space for arts?
Sensory experimental documentation (in the literary sense from the aspect of neuroscience, transversal aesthetics) and artistic fantasy
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)
From time-based medium to non-human (includes sensors)
If Housen didn't infect the COVID-19, we are in the procedure of a new type of SONIC youth with Huisman (Real-time of Juxtaposition composition by Housen) - music without the whole in the 21st century currently. The background of SONIC youth was Post-structuralism.
Exploring for a new contemplation on the philosophy of sounds in many others. (Keywords: transversality, universality, )
But, in Germany, the lockdown will be started from the 2nd November 2020.
As an artist, I have to think about life now, due to the COVID-19 pandemic.
My performance work Sensation of Motion in Time at Martin Gropius in Berlin in 2003, what I did.
It was an artistic intervention in the cinemas at Martin Gropius.
I performed with two disabilities performers before starting the film about Frida Kahlo. We were standing three different positions in the dark in the cinemas. One performer is in a wheelchair, on the left side of the cinema screen. Another performer is at the entrance on the left side of the cinema. On the right side of the cinema, I had three people on the triangle in the cinema space. I used a projector to project a picture of a part of their body along with their movements. This pictures were my photographic work "bodylandscape". We created multimodality of body, time and space in the cinema. Both performers had spasticity body handicapes. This performance was a part of program of the exhibition "(im-) perfekte Menschen". In 2003, this performance (artistic intervention) was still sensational because of artistic intervention which was not theatrical performing. Thereby, I used a ethno music, it was also still unusual musical code. Today, there is youtube, we can listen to all kinds of music easily.
In the case of Taylor's film, generally, we humans have the abilities the dealing with consciousness and cognition (reality), but this Japanese is a case who lost this human ability. The importance for us in their film, the procedure of, and ..., they had dealt with philosophical contemplation on this topic. How they dealt with the medium of film on this topic. (...)