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)

Page: a draft of variation l for performance

Working title: Variations

Short description:

During the four weeks of our virtual partner artist residence, we will rehearse and discuss

virtually from our workplaces in Belgium and Germany, collectively developing, testing out and exploring new concepts. We want to develop new interpretations of the graphic score Corona for pianist(s) (1962) by Toru Takemitsu: Corona with pianist by Lukas Huisman (keyboard instruments) and Patrick Housen (live electronics), and Corona without pianist by Erika Matsunami (live electronics).

Project description:

This project is a collective musical project involving Erika Matsunami, a visual and sound artist, living and working in Germany. She will work together with pianist Lukas Huisman and composer Patrick Housen, both based in Belgium. Each artist will first explore Corona for pianist(s) (1962) by Toru Takemitsu independently, after which we will start our online collaboration.

Lukas Huisman and Patrick Housen will prepare a version as a duo, thereby exploring the juxtaposition of the new medium that is live electronics with the classic medium of acoustic piano and cembalo. In Huisman's research on interculturality, he uses traditional Japanese music as an inspiration, further transforming his interpretation of the graphic score Corona that he will develop with Housen. This cyclic and multi-layered graphic score describes, in an almost poetic way, events in time, at the same time leaving much room for experimenting with sounds.

Patrick Housen's role is to interpret a layer of the score using live electronics. Through this new medium, he will join this collective artwork – our collaborative performance. We will develop our own creative approach, discuss online, and exchange information and views from each participant's artistic background.

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.

Erika Matsunami will explore sound compositions, guided by the space and time described in the graphic score of Corona. The piece of sound art Corona without pianist will be realised for four-channel mono discrete sounds. Erika Matsunami will join in real-time musical production via the internet by Lukas Huisman and Patrick Housen in Ghent, Belgium from Berlin, Germany. In doing so, Matsunami will add three layers of the wide-ranging interpretation of Corona. These layers include the level of different sounds from tonality to atonality, auditory subjectivity and objectivity, and musical semiotic and semantic. Matsunami’s interest in this collaboration is the exploration of new musical and visual ethics from the aspect of art and science. Before starting the virtual partner artist residence, Matsunami will make an electroacoustic sound series. In the rehearsals of the virtual artist residence, these electroacoustic sound series will be de-constructed and modulated, using live electronics.

Draft I by Erika Matsunami, Summer 2020 ->

Lukas Huisman

Patricks Housen

Erika Matsunami

Work material for the project:

I will explore atonality as a sound composition which consists of space and time. My aim is to explore the philosophical sound in everyday life in the contemporary social context. I will focus on four mono discrete sounds as the output for a stereophonic. An example of my work for this project is Variation I and the audio and site-specific installation Les coloris (2010). The link to Vimeo is as follows: https://vimeo.com/26532668. For this installation, I dealt with a Japanese poem that highlights Japanese Surrealism and a Japanese modern poem. Takemitsu had composed the music in this poem. His composition piece focuses on darkness and melancholy. I composed a version of Les coloris which opposes Takemitsu’s piece as a way of creating the harmony of yin yang. This modern poem explains the meaning of Japanese ethics.

Link to video:

A piece for sax + electronics by Patrick Housen Frag the Gods (2013)

4 ch mono discrete sounds, output for a stereophonic, an example of my work is "Les coloris" (2011).

Sound file: No. 09061220_Corona without pianist_Erika Matsunami

This sound is artistic research on subjectivity and objectivity, DNA, Transversal aesthetics

Musical expression: my Vorstellung for DNA and Proteins in the body (alive), ... It is as much as possible to express on space and time in body musically.

We (Music composers, artists, and academic researchers) are standing at the same point as Schönberg today.

In the time of Schönberg, he had understood the theory of relativity by Einstein, what "Nature" could be. His new musical theory is his Vorstellung of "our world" of nature. Schönberg had overcome "Romantic" and its realism. After Schönberg, many composers in the world had explored his new theory in diverse perspectives that is contemporary music, generally, it calls "New music" includes experimental music.

Today, we are knowing about the nature of our body phenomenologically, neuroscientifically, mathematically, biologically and aesthetically.

Link to recent work:

Wide-ranging transversality in this project as a potentiality:

Patrick: Performing music and real-time composition in a context.

Lukas: European musical modes and Japanese musical modes in the sense of aesthetic.

Erika: Homogenous and Hetelogenous in musical Gender (in auditory and visual senses), Objectivity and Subjectivity (to be realised on the auditory level) in this project, at the same time, it will be explored on the visual level.

The above points are also a potentiality in our project that is the performativity of the manifold-modality in a music piece, which is not symphonic. Beethoven had realised alone his "Vorstellung" in a symphonic (universality/nature refers to Kant's transzendental Ästhetik, The end of art, Kant's autonomy that was really wonderful at that time.), we will realise the manifold-modality in a music piece collectivity (transversality/nature refers to Nanay,'s Wiesing's and many others. After, after the end of art, (Evolutionary) autonomy at the starting point with the third gender, non-human's and human's society in the 21st century.).

From the perspective of artistic research:

In Research objectives for the draft l, "When a pianist would naked at MoMA, ..." in Post-contemporary art is on Mu (無), I call it "ZERO". It was a big subject during the 1970s in the Western arts. Today's Mu (無) versus AI, which is not in senses (taste), rather in the mentality. AI's affection as an effect it influences for humans in the mentality individually. For example, if "WIKI" by AI and its collectivity as of today's common sense and generality. Today, we have a new meaning of "collective" and its function more than as political meaning and its social system of collective.

Empirical research in biology as well as medicine, such as blood test, there are many norms, as well as speed, gravity, thereby Heart is the important function that is pulse against the natural movement of gravity in body. We need resistance pulse toward gravity always, without this power, we can not "stand". It is the same as the case of the "Stand up" body movement. Rather, things consist of manifoldness.

For us to live naturally on earth means to live in space and time. It requires "balance" which condition is "Earth" condition in-universe. Today, this is "common sense" in our country.

Koto (琴)

for the music composition, live electronics and improvisation

Until end of October in the works

My sound composition Corona without pianist is a complementation of Space, Time and Body (in the aspect of today's image of natural body) towards Takemitsu's time and space that is performed through Huisman's embodiment, in doing so, Housen transforms Huisman's play with keyboards (Piano and Cembalo) into another transaction. In this Corona without pianist, I explore the subjects of "auditory objectivity and subjectivity" and its transversality.

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Thomas Nikolaus Haider ist KI-Forscher am Max-Planck-Institut für empirische Ästhetik in Frankfurt am Main

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Virtuelle Gehirne und transhumanistische Sehnsüchte

Poetologische Überlegungen zu algorithmisch generierten Texten

Lyophilia von Ann Cotten

Die Kraft der ReduktionMinimalismus in der Kunst