On Klänge - Space, Time and Body by Erika Matsunami

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)

*3D herewith means as much as possible to describe 3-dimensional and 4-dimensional sound space and time in a multi-layered open score. In this regard, Toru Takemitsu's multi-layered open score is an excellent one with the piano, which is intended for pianists.

a.o.i. - lasting memories

The collaborative artistic challenge and exchange rest in the context of new music, in the fine arts and music from Art Nouveau to Art Nouveau to Japonism, however, that is from the aspect of the 21st century. Therewith, Matusnami's artistic challenge rests on the perspective of molecular biology, to transform the concept of DNA and to describe it in order the sound composition. Housen's artistic challenge is to describe the new musical modes towards the new performing technique with piano. In doing so, a pianist Lukas Huisman will embody this multi-layered open score in the site-specific installation. Therefore, Matsunami will work on a kind of secondary space and time that is not synchronized, and that is probably topologically manifold in the real space.

Housen and Matsunami will exchange and research the topic of transculturality in order to create something in this project. Thereby, a suggestion by Matsunami to Housen is transcoding the Koto scale as an abstraction for pianist(s) in a 3D multi-layered open score a.o.i. - lasting memories.

draft: (3D*) multi-layered open score for pianist(s)

My artistic challenge on the perspective of molecular biology, to transform the concept of DNA and to describe it in order the sound composition:

An example of my sound compostion from the project KI-Impromptu

I think that thereby the piano piece would be characteristic such as simple, minimal, authentic, dynamic, emotional, sensible, individual, freely, and naturally.

We will explore in the Joint artistic research "variations" in 2021 for music and visual arts education (crossdisciplinary), for example, which is for everyone with the new musical performing techniques in the 21st century.

The subject of this sound composition is indescribable life (life force), which refers to the title "KI-Impromptu". In Western classical music also, there were music compositions, which were worked on the subject of biology. I worked on this sound composition from the aspect of biology in the 21st century.

This sound compostion, I created for an experimental film (digital, without film development process, an experiment for digital materiality and its gap of cognition (2003–2011)) and for a musical and visual improvisation with Antonis Aniseggos (Piano), performed by Antonis Anissegos and Erika Matsunami at the Festival and Gesellschaft Ort (Peter Kowalt Foundation) in Wuppertal, 2008.

My artistic challenge was Biology, which is a world no dualism, how it consists of different elements in a context to describe musically. For more than 100 years, many artists all over the world have attempted. So, we can understand the phenomenological idea of art and the idea of idealism in art doesn't function. Humans studied Dualism in art, it was rather only human's belief level, not consists of real space. So, thereby humans have started to study towards "reality", most important was "existence", what it is. Humans had studied "How the world consists.".

To transform "Klänge" In Biology as well as in Molecular biology:

- In vitro

- In situ

- Simultaneously analysing

Musical expression for

Memory and Enactivism towards cognitive philosophy

Question for aesthetic experience towards digital (simulated) experience

lively, vital

-> It is Research questions in my Ph.D. proposal in Artistic research in Arts.

The conclusion is, how to use digital material in art.

Thereby the question was about digital normalisation and individuality without natural phenomenon in art.

For a musical (artistic) intervention in music improvisation, it was an idea by OIO's audio (electroacoustic, live electronics and grand piano) and visual (live video performance) improvisation.
We had non-stop improvisation performance for more and less than 5 hours. One was the first-day improvisation for 5 hours and the second day the performance for one hour at the Ballhaus, Berlin-Kreuzberg, it was by three performers, and for open-end improvisation (We performed for 5 hours) in parallel with the film program 5 hours Chinese documentation about the chinese culture revolution at the Haus der Kulture der Welt, it was by two performers. It means that was no repeat, we worked on the subject "onceness". We were very happy with the result of our performances. We have all documentations.

Tip

Tip