Ich bedanke mich bei Prof. Paulo de Assis für seine Kunst-Forschung.
Paulo de Assis, ‘Con Luigi Nono: Unfolding Waves‘, Journal for Artistic Research, 6 (2014)
Partitur for Lukas and Patrick:
Pink - Lukas (Pianist/Performer)
Green - Patrick (Composer/Live electronics)
I understand that Lukas can improvisation. Today, music improvisation is a specific musical technique.
I thank Lukas so much for his suggestion of the collaboration with me.
Takemitsu's composition „Corona“ (1962) is an idea for the collaboration in an artistic research project in the doctoral context. I have to design an artistic research project in the doctoral context as a suggestion to Lukas. (The research (practical collective exploring) method of action and interaction via the Internet, after the corona-crisis, for development of a new research method of the collective artistic research in Arts. )
This draft Variation I, II, IIl is for three parts of musical performance (Variation lll with meta-text for voice). For a dance performance, it requires movement and voice. Variation I, II, IIl maximum duration ca. 80 minutes.
Timeline:
- Variation I (Current – November/December 2020) Representation in November 2020.
- Variation II (January – June/July 2021) Representation in June 2021.
- Variation III (August – November/December 2021) Representation in November 2021.
Variation I is on semi-formalism.
Which subject is from the aspect of aesthetics, on transculturality in terms of attention in aesthetic value.
Artistic research: FROM THREEFOLDNESS TO MULTI-FOLDNESS
Variation II is current my artistic research which I exploring practically and theoretically. Which subject is from the aspect of aesthetics, on unfinished beauty and attention in aesthetic value.
Artistic research: REFLECTION ON THE AUDITORY AND VISUAL ASPECTS OF 'SITE-SPECIFIC' IN ARTS
Sound installation Corona without pianist - Emptiness for (piano and live electronics) improvisation. There are two type of improvisations (one is piano and live electronics, and another is with other instruments).
Variation III is the goal of this artistic research project.
Extra page 02 : Developing for a new version „Corona for pianist(s) / pour clavier(s)“ (1962) by Toru Takemitsu
Fortsetzung von/Continued from „Corona for pianist(s)“ by Toru Takemitsu - new version (work title), Patrick Housen, Lukas Huisman, Erika Matsunami, EU, 2020
Sound installation Corona without pianist - Emptiness for Corona-STEMS-GALAXYOMEGA, by Patrick Housen (Composer), Lukas Huisman (Pianist) 2020 May and (piano and live electronics) improvisation. There are two type of improvisations (one is piano and live electronics, and another is with other instruments).
Research question: Creation, what it might be?
Nano 10-9and Giga 109 (1960)
Yocto 10-24 and Yotta 1024 (1991)
„Corona without pianist“ - Emptiness is based on time and space from the historical-cultural idea as a starting point.
Therefore, the musician(s) play in the installation - this performing form is today's Body.
Variation I:
Corona-STEMS-GALAXYOMEGA, by Patrick Housen (Composer), Lukas Huisman (Pianist) 2020 May
Corona without pianist - Emptiness, Erika Matsunami (Visual artist), 2020
„Corona without pianist“– Emptiness for an installation (2020) and for the collective performance with Patrick Housen (Composer), Lukas Huisman (Pianist) (2020).
<- For the traditional arts, I think that I have to write about my idea briefly, due to the formalism of the traditional arts, but in the contemporary performing arts, it is more autonomy today. It means that is my responsibility. In the theater rule, e.g. in Germany right is in England light, it is not important, in this plan, what is important is for musical performance, composition, and auditory space design.
The starting position of this artistic research project with Patrick Housen (Composer), Lukas Huisman (Pianist):
Besetzung der Performance:
Klavier von Lukas Huisman
Live electronics von Patrick Housen
Live electronics von Erika Matsunami
Artistic research:
FROM MULTI-FOLDNESS TO MANIFOLDNESS - ON NATURAL SPACE
Page: Variation I ->
„Corona“ (1962), Toru Takemitsu :
- From John Cage „Shock Vol. 1“
- Dirección: Antonio Pérez Díaz
- Corona, Study for vibration
-> Vietnam War
Variation III: New Graphic Notation for pianist(s) (2020)
CORONA New transcoding from original (Feng shui) in Today's time and space „Corona“ (2020) for X (Music performance) by Patrick Housen (Composer), Lukas Huisman (Pianist), Erika Matsunami (Visual artist).
Ein Film Die neue Wohnung (1930) von Hans Richter
Cage had explored in his musical and artistic works from the perspective of philosophy, phenomenology and aesthetics. For example, he as well as Duchamp and other artists, they have explored the most under of the transcendental position in the hierarchy, which was 'Dinge' and its 'Ereignis' in the monarch, and represented in the vitrine at the museum or at the concert hall. In which epoch was the starting point of contemporary philosophy.
Variation II:
Corona for pianist(s) by Takemitsu (1964) for study in 2020.
Research focus:
Practical level
- New musical mode
- Transculturality in Music
- Performing in three constructions or three performing dimensions in a construction
- Today's technology and creation
Theoretical level
- Representational art theory (ditto performing)
- Art theory from three dimensions of Music Compostion, Music Performance, and Visual art and its auditory reception.
Thereby I explore Corona without pianist in terms of the piece of Takemitsu
/on Takemitsu's transcoding*.
*convert (language or information) from one form of coded representation to another.
Der Ethik der Sorge um sich als Praxis der Freiheit
»L'éthique du souci de soi comme partique de la liberté«
(...)
– Sie sagen, dass es die Freiheit ethisch zu praktizieren gilt ...
– Ja, denn was ist die Ethik anderes als Plaxis der Freiheit, die reflektierte Praxis der Freiheit?
– Das heißt, Sie begreifen Freiheit als eine bereits in sich selbst ethische Realität?
– Die Freiheit ist die ontologische Bedienung der Ethik. Aber die Ethik ist die reflektierte Form, die die Freiheit annimmt.
(...)
– Ein Imperative, der die Assimilation der logi, der Wahrheiten impliziert.
– Ganz gewiss. Man kann sich nicht um sich selbst sorgen, ohne zu erkennen. Die Selbstsorge ist selbstverständlich Selbsterkenntnis – dies ist die sokratisch-platonische Seite –, aber sie besteht auch in von Prinzipien, die zugleich Wahrheiten und Vorschriften sind. Sich um sich selbst sorgen heißt, sich mit diesen Wahrheiten auszurüsten: Dies ist der Punkt, an dem die Ethik mitdem Spiel der Wahrheit verknüpft ist.
Transculturality in threefoldness ->
(My attention theory, which I'd like to coin in terms of cognitive science and asthetics.)...
I have not a CV of Lukas Huisman yet, we are in an artistic research community in the doctoral context. He is a French who holds Ph.D. in performing arts (clavier on Iannis Xenakis and others (The contemporary composer, at the same time, they are French Cultural heritage. The art criterium between Japan and France are opposed.), a pianist, and a teacher for piano at the art academy. What we are exploring that aims only for artistic research. I'm developing thereby the research concept on the subject of ' Transculturality' autonomically.
-> I don't know both of the Ph.D. research, the next step is we will know each other for a collective research project. I think that they would like to help my research, because my research objective is not in the historical arts as well as fine arts, but rather it is focused on the new field of academics, they would like to understand practically.
Many of Digital Data Materials on the internet, as well as following WIKI text as common knowledge are by AI today. AI controls also Fake, copyright, and so on on Internet at the national level of society today. I show in the artistic research on online such as in this research, how humans think individually, I as an example of a human online. Because scientists need to know about humans also, not only the exploration of Intelligence. Digital Data on Internet as Big data will be the research material of the scientists.
AI works everywhere today, for example, after the corona-crises, such as internet communication with the passenger by the airline company to solve the problem of the passenger, which is by AI. If I communicate with AI, I write to AI, like my comment, because AI responses to me, AI is smart, but AI never gets angry and doesn't laugh. AI can understand human psychology. Hence clever AI can analyze and respond humans with empathy (AI is programmed for human-like responses.). AI is standard for everyone, it calls neutrality, and it is limited paths by AI, it calls equality, however, AI has the whole of actual information which relates to Corona-Pandemic. AI's information capacity is very large at the worldwide level and it's actual.
What I do with the following WIKI text in my artistic research, I transform AI's Information into individual Human thinking, that is my attempt with Artificial intelligence how I would like to be interactive. AI is a kind of robot.Today's education program would be designed by AI. At the University, the academicians have been using AI today, thereby the students have been studying systematically. For example, in collective research with three researchers in a common research context, AI summarizes thereby three research data in one essay. For that, the research design would be very important. I have conceptualized the project and the catalogue „still/silent“, it was just before the generality of AI in the society.
In doing so, I explore the research question as well as research subjects from a subjective perspective to the objective. It is opposed to AI that can explore from an objective perspective. In the academy today, it is allowed to write the paper from a subjective perspective "I" that was not allowed 10 years ago.
Imitation was an old type of human learning process. Adulteration in art was generally a perfect imitated object as a work of art would be represented or produced. At that time, there were many Art Fakes as high art would be represented, and people believed that was the hight art. Today this type of object is just a cheap object. Duchamp has painted as clear fake or false as his artwork by his concept in which terms of 'imitation', according to his artwork, whoever forged or copied his painting, it does not become a work of art. Thus he has rejected the high art boom.
What is a single and individual personal android robot of the professor in Japan?
- A personal computer with sensors (AI + NI)
- The process of converting space development robots into multipurpose for personal use
- Is it modeling of a copy (imitation) of a person-self?
Thereby there are many questions from different aspects of research fields. How the professor can know own?
-
For the development of AI between USA and Japan, they are two different types of research and exploring, because both countries have each scientific license, but they have the option of the corporation. Scientific research and exploration can not imitate others.
My idea in my artwork Ich trage mich selbst, that is for the rejection of the control by technology in terms of Michel Foucault. In the opposite of my idea, that is the android robot in Japan, however, it is better than an idol robot for human. The scientific creative idea in Germany seems later than the USA or Japan or England, but it is much more sophisticated and progressive due to the background of the evangelical notion which is deeply and for geistig (intellectual) freedom of human as well as homosexual or platonic love, at this level of the way of thinking, Today's Japan is a bit conservative or no interest in this level of the subject such as in Gender Study. The many origins of historical scientific theses are in German. The professor in Japan has created his android robot of own data, and he controls his copy by himself. (He is knowing by himself and he is controlling his copy (an android robot) by himself.) – for the development of the single and individual personal robot, such as in the case of medical care for a person/patient who has dementia. thereby teaching Art (Acting, Performing, Expression, Coordination) to the robot.
HAL 9000: "I'm sorry Dave, I'm afraid I can't do that"
An excerpt from the 1968 film "2001: A Space Odyssey" directed by Stanley Kubrick.
HAL has no feeling, but it seems that HAL has 'will'. What is 'will'?
It seems that it relates to the mechanic of the brain. I think that it is 'consciousness'.
The scientists imitate the human brain for the creation of a product. But we as humans don't need to imitate AI.
Rasenjo no jikan (a different type of helical structure of time - helix) :
Performance for improvisation ;
Music Performance, Piano by Antonis Anissegos,
Performance, Dance (Performer) by Erika Matsunami,
Audio visual Installtion; Audio by Antonis Anissegos, Audio Engineer by Nikals Schmincke, Visual by Erika Matsunami,
Film „deflection“ by Antonis Anissegos, Erika Matsunami, Niklas Schmincke.
Kyoto art center, Kyoto, 2004.
When I listen to this version the first time, I thought that 'misread' of original might create something new, which is not interpretation or imitation by artists, because it is their own thinking, finally, he translated it in his own style.
The most important is where was the piece/artwork represented for the documentation, the archiving also for the copyright, not the name value of the representational place.
Android robots (AI) are working as actors, models, (They could work as musicians, authors.) and also Android robots take to communicate and care for humans in our sosciety.
The creators of robot word, Karel Čapek, and his brother Josef Čapek
The robot word was conceived in the beginning of 1920 by the Czech writer and playwright Karel Čapek (see biography of Karel Čapek) (with the help of his brother Josef, an acclaimed painter, graphic artist, writer and poet), and was introduced in his drama R.U.R. (Rossum's Universal Robots), published in November, 1920 (see the lower image). Since then, and almost immediately, the robot word has become a universal expression in most languages for artificial-intelligence machines, invented by humans.
A starting point of our concept was on 'deflection'.
Anissegos had a composition „Helix“, he had composed with the idea in which terms of the Indien philosophy.
Art education today does not mean 'Übung' anymore, but rather it is in aesthetic education.
- What is aesthetic education today?
Now I understand „Corona for pianist(s)“ (1962) by Toru Takemitsu as Kunstwerk, who has the responsibility of this piece (Copyright). (I will write in my paper on this research project.) As researcher, from which perspective I research on „Corona for pianist(s)“ (1962) by Toru Takemitsu.
- Transcoding of Historical culture idea as Metaphysics
- Musical semiotics and semantics as new compositional idea by Cage and Takemitsu.
- Klavier as the Instrument in this piece.
On transcoding in the auditory level today for musical semiotics and semantics as a new compositional idea.
From Multi-foldness to Manifoldness - Attention theory in terms of cognitive science and contemporary asthetics.
Artistic resarch:
- GRAPHY
Our cultural common consists of color, form for seeing in and reading (seeing in), but also hearing in, touching, tasting, and smelling, although these senses are individual and phenomenological.
Natural Intelligence (NI) is the opposite of artificial intelligence: it is all the systems of control present in biology. Normally when we think of NI we think about how animal or human brains function, but there is more to natural intelligence than neuroscience. Nature also demonstrates non-neural control in plants and protozoa, as well as distributed intelligence in colony species like ants, hyenas and humans. Our behaviour co-evolves with the rest of our bodies, and in response to our changing environment. Understanding natural intelligence requires understanding all of these influences on behaviour and their interactions.
Human intelligence is the intellectual capability of humans, which is marked by complex cognitive feats and high levels of motivation and self-awareness.[1]
Through intelligence, humans possess the cognitive abilities to learn, form concepts, understand, apply logic, and reason, including the capacities to recognize patterns, plan, innovate, solve problems, make decisions, retain information, and use language to communicate.
Intelligence has been defined in many ways: the capacity for logic, understanding, self-awareness, learning, emotional knowledge, reasoning, planning, creativity, critical thinking, and problem-solving. More generally, it can be described as the ability to perceive or infer information, and to retain it as knowledge to be applied towards adaptive behaviors within an environment or context.
Intelligence is most often studied in humans but has also been observed in both non-human animals and in plants. Intelligence in machines is called artificial intelligence, which is commonly implemented in computer systems using programs and, sometimes, specialized hardware.
Emotional intelligence (EI) is the capability of individuals to recognize their own emotions and those of others, discern between different feelings and label them appropriately, use emotional information to guide thinking and behavior, and manage and/or adjust emotions to adapt to environments or achieve one's goal(s).[1][2]
― Vilém Flusser, Towards a Philosophy of Photography
― Vilém Flusser
On oeuvre: We don't analyze the oeuvre and also we don't define the criteria of the oeuvre, but rather we can consider the oeuvre. (in the work)
In the aesthetic, it has been exploring 'aesthetic value' which includes quality of art and aesthetic of art such as beauty or/and augury, thereby I explore 'unfinished beauty' in the 21st century. I need many variations of audio and visual work, an example is the project N.N-Zwischenliegend (A practical exploring in the project of N.N.-Zwischenliegend->). On art-style as well as -ism to research is in the research field of art history, which the researcher can not about the actual stand. For that the researcher in the culture science explores.
This project with Lukas and Patrick is in the project N.Z-Zwischenliegend that I have been exploring in my artistic research, in doing so, a new collective research project will be born by me, Lukas and Patrick this Autumn/Winter.
I think that the score „Corona for pianist(s)“ (1962) by Toru Takemitsu is an 'oeuvre' which is through Takemitsu experience between Western and Asia (Japanese) music.
"Hello HAL, do you read me?" includes its interpretation in the meta-age.
HAL in the film "2001: A Space Odyssey" in 1968 still a computer, however in the dialog of this scene between HAL and Dave, we can see that it is a starting point of AI with sensors in the cultural understanding about the technology.
Apollo 11 was on the moon in 1969. (July 16–24, 1969)
This film "2001: A Space Odyssey" in 1968 is a cultural and historical background of "Corona" (1963) by Toru Takemitsu, thereby John Cage has developed the meta-tonality with the piano who was a pioneer.
I'd like to develop furthermore the meta-tonality for "I hear you."
I think that HAL in the 21st century, HAL would hear me and feel my subjectivity from the perspective of objectivity.
(The development of robotic science is for medical care and education also.)
Page: Variation I -> sound work „Lucas, I hear you...“, 2020 July.
-> I'm exploring the intermediate improvisation -> Artistic research: What is a musical error?
Das Gesetz in Japan basiert auf der Humanwissenschaft, nicht auf Tradition oder Religion. / The law in Japan is based on human science, not tradition or religion.
2001 A Space Odyssey - ending:
Monolith is the blueprints of the digital revolution, at the same time, it is the 'evolution' of biology. We arrived in the 21st century, but the concept of the scientists was rational and higher philosophical.
Therefore I had consisted in my choreography (I call it Meta-choreography for disability actors and non-disability actors) and sound in the ending scene of the theater play “Ohne Titel 4 – Odyssee” (Untitled 4 – Odyssey) that is a new interpretation of the film 2001: A space odyssey by disability actors, Carsten Ludwig, and me, Theatre Thikwá (actors with disability and non-disability) in Berlin, 2003 Director: Carsten Ludwig from the critical aspect. I'm still happy with it.
-> Metaphysics is the branch of philosophy that examines the fundamental nature of reality, including the relationship between mind and matter, between substance and attribute, and between potentiality and actuality.[1] The word "metaphysics" comes from two Greek words that, together, literally mean "after or behind or among [the study of] the natural". It has been suggested that the term might have been coined by a first century AD editor who assembled various small selections of Aristotle’s works into the treatise we now know by the name Metaphysics (ta meta ta phusika, 'after the Physics ', another of Aristotle's works).[2]
Metaphysics studies questions related to what it is for something to exist and what types of existence there are. Metaphysics seeks to answer, in an abstract and fully general manner, the questions:[3]
- What is there?
- What is it like?
Topics of metaphysical investigation include existence, objects and their properties, space and time, cause and effect, and possibility.[4]
I as a person (I am personally), I have strong consciousness, and also I have the ability for conscious and will clearly, so that I have the resistance (Autonomy). At the same time, I need to know I as Human that I am not perfect, it means if I make wrong, or if I have the problem, I need to help with the solving of the problem.
But in the case of who has no power due to sickness or under the rule of order, the human might start to imitate the robot in the interactive relationship. I claim that it is a kind of mental manipulation.
The end of art
The basic meaning of the term "art" has changed several times over the centuries and continued to evolve during the 20th century as well. Danto describes the history of Art in his own contemporary version of Hegel's dialectical history of art. "Danto is not claiming that no-one is making art anymore; nor is he claiming that no good art is being made any more. But he thinks that a certain history of western art has come to an end, in about the way that Hegel suggested it would."[13] The "end of art" refers to the beginning of our modern era of art in which art no longer adheres to the constraints of imitation theory but serves a new purpose. Art began with an "era of imitation, followed by an era of ideology, followed by our post-historical era in which, with qualification, anything goes. In our narrative, at first only mimesis [imitation] was art, then several things were art but each tried to extinguish its competitors, and then, finally, it became apparent that there were no stylistic or philosophical constraints. There is no special way works of art have to be. And that is the present and, I should say, the final moment in the master narrative. It is the end of the story."[14]
- Nietzsche as Philosopher (1965)
- Analytical Philosophy of History (1965)
- What Philosophy Is (1968)
- Analytical Philosophy of Knowledge (1968)
- Mysticism and Morality: Oriental Thought and Moral Philosophy (1969)
- Analytical Philosophy of Action (1973)
- Sartre (Fontana Modern Masters, 1975)
- The Transfiguration of the Commonplace (1981)
- Narration and Knowledge (1985) - Including earlier book Analytical Philosophy of History (1965)
- The Philosophical Disenfranchisement of Art (1986)
- Connections to the World: The Basic Concepts of Philosophy (1989; with new preface, 1997)
- Encounters and Reflections: Art in the Historical Present (1990)
- Beyond the Brillo Box: The Visual Arts in Post-Historical Perspective (1992)
- Embodied Meanings: Critical Essays and Aesthetic Meditations (1994)
- After the End of Art (1997)
- The Abuse of Beauty (2003)
- What Art Is (2013)
- Remarks on Art and Philosophy (2014)
Thereby, my question is, why people by using technology since 2010 would change the direction, in which way is to back (go back to the formalism) as the future vision?
I argue for the art managers who are the amateur art scene of amateurism as like naturalism or pure -lism in the art market, they believe that art is, and also for the art auction of the amateur art scene of amateurism as like naturalism or pure -lism in the art market, such as imitation of art-style as art vandalism.
My interest in Corona-STEMS-GALAXYOMEGA, by Patrick Housen (Composer), Lukas Huisman (Pianist) 2020 May:
- Aesthetical aspect
Original by Takemitsu, From two musical and auditory aesthetical aspects of the instrument 'piano' and his own aesthetic style as he a Japanese.
Corona-STEMS-GALAXYOMEGA, by Patrick Housen (Composer), Lukas Huisman (Pianist) 2020 May is to me a new style of 'Corona' in the western music aesthetic such as French style that is a kind of a literary beauty. In some parts, such as at the beginning of this piece, I would like to listen to Lukas Huisman piano more.
I thought that they are brave, their piece gave me many new ideas. Because they broke through the highly aesthetic of Takemitsu. Anyway, it is a new idea of Corona for clavier(s). e.g. It could be played with a few keyboard instruments, or for pianist(s), it could be played by many hands of pianists. Takemitsu had written this partitur/score Corona for pianists, claviers, and for free interpretation of them in 1962. Lukas Huisman as a pianist, his free interpretation is creative and by his own. But I don't know that this his work as 'artwork' will be registered. As an artwork to be registreted, this is a starting point. He needs to over Takemitsu. But as an interpretation by pianist(s), it is possible to able to be registered. This is why I liked French music scene before, also Danish in which terms of Musique concrète and Contemporary music, as well as Bauahaus, New music in Germany, at the same time, American contemporary music was fantastic.
I asked thereby Lukas Huisman, if his work is a 'remix'?
His answer was a kind of an 'arrangement', and this work is dedicated to Corona-Pandemic in 2020.
I have to inquire for 'arrangement' of the original composition, specifically on 'Corona for pianit(s)' (1962) by Toru Takemitsu, before starting the project with him, I need to concern the project concept and its budget, because I am an independent artistic researcher and professional artist who live and work in Germany (I am not a student and I live and work in the German law.), although I think, for the 'arrangement', that is registered by the Institut in EU. I have been exploring and working my part in this project already. I have three variations.
The first suggestion of Lukas Huisman to collaborate with me was 'arrangement'on the subject of Transculturality. That is a kind of experimental music in the 20th Century. My suggestion to him is to create 'new' in the 21st Century.
Original is high aesthetical, especially with the instrument of the piano, but it is opposed to the western aesthetic.
Two paths of idea from Corona-STEMS-GALAXYOMEGA, by Patrick Housen (Composer), Lukas Huisman (Pianist) 2020 May on Graphic Notation, after listening.
Huisman is the Pianist who has interpreted the score of Takemitsu freely, and he has modeled new. When Takemitsu has allowed, it is no problem. I think that he had allowed in this his score for 'pianist(s)'.
I know some scores by the composers in the post-war generation 'free interpretation' for pianist(s), thereby I found funny, if the composer thought at that time, how the pianist would be..., how the keybord would be..., today's players can play the interconnection in the system.
Why I work Corona for pianist, because it is in regard to Cage's. It means, why Cage worked with piano in the research. Piano (clavier) itself is not my research subject.My research subject is thereby 'Timbre' in auditory sense on the research thema Transculturality in the project.
On Corona-STEMS-GALAXYOMEGA by Patrick Housen (Composer), Lukas Huisman (Pianist) 2020 May:
In the music, who can play (interpret) „Corona“ (1962) by Toru Takemitsu, it is more than the postgraduate level of the pianist. It is not general. The work method between Patrick Housen (Composer) and Lukas Huisman (Pianist) for a new interpretation, that is usual in Music today.
The score was published by the music publisher.
For the representation as well as publication, they will pay the usage fee for the publishing via such as GEMA in Germany or other organizations. Lukas's Youtube is private (research) which is not for sale-mode, that is a kind of demo. It will be the illustrative material of our collective artistic research.
But, this rule in visual arts is different from the case of music, due to artwork in visual arts is an 'object'. How many artworks are potential historical in the world currently, probably 3-7%, but, there are many different levels, at the international, continental, national and regional level, and also in different genres. In my Opinion, The score „Corona“ (1962) by Takemitsu is like a Hokusai.
As a visual artist, my starting point of collaboration with Lukas and Patrick on „Corona“ (1962) by Toru Takemitsu is for a new interpretation in 2020 (in the 21st century).
Extra page On piece of Corona-STEMS-GALAXYOMEGA by Patrick Housen (Composer), Lukas Huisman (Pianist) 2020 May in Page: Variation I ->
'arrangement' in the music is used usually, that is not the same in the painting (Visual arts), due to the aesthetic Judgement* in visual arts.
*What is aesthetic Judgement in art?
With Patrick and Lukas, I'd like to discuss about the experimental music in the 20th century and its current and future. Thereby I can not ignore Beckett.
- Teleology?
Video: Teleological vs Deontological
Video: Principles of moral reasoning :: Deontology, Teleology and Ontology
Video: Moral Reasoning Deontology & Teleology
Video: Ontology, epistemology and research paradigm
Video: Ontology X Epistemology
Video: Ontology and epistemology, positivism and interpretivism
Video: Constructivism vs Positivism - a false debate?
Academic paper and thesis which I read, they are in the specific fields of academic researches in arts and humanities, if I didn't study at the UdK Berlin (in theory and practice at the University of Arts), I could not understand them.
Mimesis (Imitation theory) in Visual arts