One of the reasons why the human species can be human race is they extended their body by using tools actively, and they made it practicable to realise what they could not do by their body. The progress of humans has proceeded with the development of tools equally. On this point, the development of a tool means updating the hardware of an auxiliary device of the body. In 1985, Donna J. Haraway defined a cyborg as a hybrid of machines and bodies, a creature of fiction and social reality, in her essay Cyborg Manifesto. In this way, we can now call ourselves cyborgs. We are cyborgs when using a keyboard, drinking iced americano with a straw, and wearing glasses. Furthermore, the primaeval cyborgs are the cyborgs who operated stoneware.

 

The very oldest brush known to date was made between 16,500 and 13,000 B.C. and was produced by wrapping animal fur in leather and attaching it to bones. Passing the time and developing human society, tools used at that time entered the tomb. However, a brush is one of the few tools that still retains its ancient appearance in human evolution. In fact, the brush I use is a bamboo-tipped weasel's fur, which may be technically worse than a pre-B.C. brush.

 

Humankind has made countless advances whenever developing techniques to expand their body. Even if looking at writing, the work most similar to painting, it is easy to see the impact of the development of printing and computers on their progress. Also, many ways of painting have been invented in recent hundreds of years, such as printmaking, photography, and computer graphics. In addition, historical progress in society surrounding art has been achieved several times. The current pace of development of the tool has become a speed that individuals catch up with no longer. Every moment, cyborgs completing new updates are being born. However, among the society built by novel cyborgs, some are still using the oldest hardware. Why do we still paint with brushes, and why are new painters still being born?

 

The brush we use is a tool invented for the purpose of recording. For the purpose of conveying whether it is dangerous or edible, humankind began to record what they saw and were seeing. It is not different from current society. The reason why recorders are interested in recording but why interested in maybe other for each individual. However, there is one reason why all recorders are constantly recording. Recorders are recording what we want to 'convey' based on what we have seen or are seeing. The same goes for painters who use brushes. They are recording on canvas because they are interested in the behaviour of recording and the behaviour of closely observing the object being recorded. However, unlike other recording methods, the fun while performing the drawing action has a profound effect on the motivation of the painter's recording. A tool is needed to record. A brush, a tool that works between a painter and a screen, is simpler than any tool, so the painter can experience the liveliness of the action that records closer than any tool. Therefore, the artist cannot escape from the fun of the recording behaviour itself more than any recorder. In addition, the brush that enables this behaviour, which reflects on the object one by one and reproduces the senses in detail, will not disappear no matter how much the painting evolves. This is because the brush is made for this function. The brush, the longest surviving tool, is a tool that gives you the fun of recording near the body.

 

On the other hand, how these painted records/paintings are shown has constantly changed from caves to temples and white cubes to the metaverse. The change in the way shown altered the role and the concept of painting. In the midst of this, the characteristic of painting that does not change is the aestheticism that comes from the relationship between the producer and the viewer. In the midst of this, the characteristic of painting that does not change is the pleasure from aestheticism that comes from the relationship between the producer and the viewer. As mentioned earlier, the producer's pleasure from aestheticism comes from the process of observation, description, and conveying. One of the factors that cause the audience's pleasure from aestheticism that has not changed yet is the synchronisation with the producer through watching. One factor that makes dance interesting is that the audience imagines the dancer's movements in their head and gives them an opportunity to experience the dancer's actions in a roundabout way. Likewise, painting is interesting in the process of inferring how the creator observed and recorded the object. I would like to look back on why we, the oldest cyborg, have been able to last so far and propose a viewing environment suitable for the cause.