Artistic research through and on Envision in language, this research is pre-research for the Joint Artistic Research. Currently, I study philosophy of language, and attend the lecture series, which is hosted by the academy (institute).

Simultaneous: Existing, happening, occurring, operating, etc., at the same time; coincident in time. So "contemporaneous" refers to things that happened in, or are associated with, the same period of time, whereas "simultaneous" refers to things that happened at the same moment.

Research method to delve into the theme through the current knowledge informationally. 

Research method to delve into the theme through the experience oriented. 

Virtual collectivity in the each space without touching of sensation in a real common space.


This artistic research refers to the academic art educators for the concept of art education, not general art education, between the Western fine arts and Non-Western fine arts in the 21st century.

2. Contribution Variation I

3. Contribution Variation II

4. Contribution Variation III


5. Conclusion for the new generation on Creativity (Discussion)

-> I mention that "collectivity" does not work on art at the virtual level. We need to share a real space for working collectivity. Otherwise, the meaning of the collective would be rather functional and each responsibility. 

6. References

1.  Variations I, II, II

Why I think about the necessity of contemplation on aging from the aspect of molecular biology philosophically (metaphysically):


One is from the aspect of the human evolution historically (Human DNA and/or DNA on earth and its evolution, which relates to universe.).
Second is the Virus SARS-CoV-2, its pandemic and mutation.

Artistic research "Variations'' by Erika Matsunami was started to explore a multi-layered open score "Corona" (1962) for pianist(s) by Toru Takemitsu in 2020, which was 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?". 

*Some common synonyms of simultaneous are coeval, coincident, contemporaneous, contemporary, and synchronous. While all these words mean "existing or occurring at the same time," simultaneous implies correspondence in a moment of time.

In Variation I, it is possible to research collectivity in which terms of Ethics and Aesthetics.

Post-doctoral senior level of project in music and visual arts.

Doctoral level of project in visual arts and performing arts.

Post-doctoral level of project in composition of music and visual arts.

In Variation II, it is possible to research collectivity in Art and Science from the aspect of the 21st century, which refers to Ethics and Aesthetics.

Universality has no above and down, no high and low, no right and left, no front and behind, no beginning and end.

In Variation III, it is possible to research collectivity in Art and Science from the aspect of the 21st century, which refers to Ethics and Aesthetics.

Universality in the research is a research method, it does not apply to every situation in everyday life. It's up to the context of your being.

Subject: Simultaneous*

I would like to mention that the art itself, regardless of who creates it, is conventional and conservative when compared to its original state. Therefore, I would like to focus on "creativity" in artistic research. 

Subject: Spontaneous

Subject: Zufall (Randomness), MA

What is the new approach for the new interpretation of Corona (1962) by Toru Takemitsu: 

On Space, Time and Body from the perspective of 21st century.


Variation I consists of a juxtapositional performance by the pianist (performer) Lukas Huisman and the composer (arranger) Patrick Housen on Corona (1962) by Toru Takemitsu, thereby the visual artist in liberal arts Erika Matsunami has an out of effect on their performance. Each artist has a different perspective towards the multi-layered open score "Corona" (1962) by Toru Takemitsu. (impossible triangle towards a new interpretation)


In Variation II,  the composer and conductor Valerio Sannicandro will a new interpretation towards Corona (1962) by Toru Takemitsu, in collaboration with the Visual artist in liberal arts Erika Matsunami, who work on transversal aesthetics and transculturality. As well as in Opera (also in non-Western music composition), the new interpretation in the music composition is for the post-doc level. Usually, the new interpretation is the work by the director in performing arts.


In Variation III, two visual artists/liberal arts and other field of art will work on Corona (1962) by Toru Takemitsu performative and performativity (...) . (in the work till 2022)


Performance in the spatial/site-specific installation. (performance is not for the stage.)

We do not create an art object, rather through notion it comes out something in things collectivity.

Deconstruction of performativity in art requires the scientific knowledge as well as linguistics, social science, otherwise, it would be just destroyed.

Senior generation in the digital age. I am already in the Senior generation.

Valerio Sanicandro in Variation II is a Academic and Artistic colleague, we met in the University, Berlin, 2013, as well as Artist in Variation III. We are all Academic and Artistic colleagues.

Young generation in the digital age.

Lukas Huisman in Variation I is a virtual colleague, we met the art academic meeting (organised by Erasmus program for Tutors, Students and Researchers in Artistic research) on the internet. We know each other informatically.  

I explored Carroll's and Nanay's "x" in the sentence, an installation as Begriffe from the perspective of neuroscience. (Objectivity and Subjectivity in an account of surrealism.) Carroll's and Nanay's "x" is not the same. How it is different, Carroll's "x" addresses in a three-dimensional space, Nanay's "x" addresses on a two-dimensional surface. Nanay's "x" in the context of Klee is, in my opinion, that is in-situ and a biological "x". Carroll's "x" is rather material "x", which is reflected in the mind phenomenologically.

Research questions were:

1. What is pleasure for us which is an important element x in our life?


2. If things (Dinge) are ugly, moreover, if something wriggles in things, is it something in what?    

My joint artistic research Variations is for exploring on naturality from the perspective of critical theories (neuroscience).

Will we be designed through art or is the art a natural being of individuality?

My research question(s) in PhD proporsal in 2019 (draft) was not wrong, was from my project installation B.O.D.Y.  - そして、それから_work in progress (2018)_x_Schmerz der Liebe (draft).

The topic of universality of Toru Takemitsu's "Corona" in which artistic research “Variations” relates to the Bauhaus's context:


The starting point for this collective projects are based on Toru Takemitsu's multi-layered open score "Corona" (1962) for pianists, the "blueprint" (poiesis) of our project, but is abstracted.

In doing so, in Variation I with the collaboration of the composer and sound artist Patrick Housen and the pianist and artistic researcher PhD in Piano/Performing arts Lukas Huisman in Ghent, Belgium, each artist creates his or her own "blueprint" (poiesis) with the theme of the infrastructure of each artistic discipline (artistic profession). Poiesis is the most important foundation of Bauhaus's philosophy of creating "models" (mimesis). On this foundation, Bauhaus artists have collaborated in a universal context, without artistic and philosophical realms (without ideology), in other words, outside the realm of aesthetics and philosophy of the German idealism, was in Dessau, which was toward metropolitanism of Berlin. They conceptualised the social-democratic metropolitan in Berlin. It was the deconstruction of the class-different social system in the city.

The universality of Toru Takemitsu's "Corona" for pianists (1962) comes from the mandala he abstracted and transformed into a multi-layered open score. That is the counterpoint of cross-cultural joint projects between different ideas of the individual artist on universality.

In Variation II, it is based on DNA in molecular biology in which regards to the project a.o.i. - lasting memories with the collaboration of the composer, researcher, and conductor PhD in Musicology Valerio Sannicandro in Paris, France (...)



In this artistic research, there are many references of researchers, I would like to thank you for the researchers and their studies indeed, particularly, for the account "semi-formalism" by the philosopher Bence Nanay, for the possibility of forthcoming in the study of art into the 21st century. Why I study his thesis for deconstructing Modernism because I studied Sculpture and liberal arts at the institute for art in context for research with my artistic mediums practically. Theoretically, I explore the philosophy of sound between sound mute in the non-western culture and echo of sound in the western culture. I research the account "semi-formalism" by the philosopher Bence Nanay from the aspect of cognitive neuroscience, thereby I study in this contribution aesthetics as philosophy of perception, what is the new approach for me his contribution, even though I studied the western fine arts, (...)

I am greatly thankful for the research by the philosopher Bence Nanay. He gave me/us for a new start of the research in arts, is the escape from tradition (with the technology and without the technology) in modernism..

In the near future, I would like to describe how their researches relates to my artistic research as much as possible obviously and briefly.



I am very glad to collaborate with artists in Variations, also thankful for artists.

When Lukas Huisman gave me the multi-layered open score "Corona" (1962) by Toru Takemitsu in May 2020, I didn't know how I can explain the essence of art at the practical level of arts logically, what I saw in "Corona" (1962) by Toru Takemitsu.

I am happy to have the chance of researching and exploring with different artists these subjects of Simultaneous in Variation I, Spontaneous in Variation II, and Zufall and MA in Variation III at the anthropological and philosophical level practically and artistically.

I would like to contribute the artistic research Variations for the young generation toward the topic of "creativity".


My artistic research method is not hermeneutics, my research method is based on materiality. It was my question in the lecture on ancient sculpture on materiality and metaphysics of sculpture. So, I research also materialism in Marx's theory, I need to know. This subject of materiality, I have been researching since my study in sculpture. In the research (analytics) at Columbia University, she answered my comment in a lecture, thereby she said "I will tackle, ...", she solved the paradox (research problem in materiality), that was my comment. Other researchers in Europe, most of them research in which research method is known as hermeneutics in Germany philosophically,  I know it as theory, but I did not need to study advance these theories at the UdK Berlin.

We have the gap of objectivity and subjectivity between academic artistic researcher and academic researcher in the seminar/conference. 

Nonverbal expression such as music composition, and dance choreography e.g. in Japanese traditional dance is also in the language, in which research is terms of cognitive linguistics.

Time and Free WillAn Essay on the Immediate Data of Consciousness by Henri Bergson

"In Time and Free Will, written as his doctoral thesis, Bergson tries to dispel the arguments against free will. These arguments, he shows, come from a confusion of different ideas of time. Physicists and mathematicians conceive of time as a measurable construct much like the spatial dimensions. But in human experience, life is perceived as a continuous and unmeasurable flow rather than as a succession of marked-off states of consciousness — something that can be measured not quantitatively, but only qualitatively. And because human personalities express themselves in acts that cannot be predicted, Bergson declares free will to be an observable fact."

Critique of Pure Music

James O. Young


This book is a critique of formalism in philosophy of music. Formalism is the view that music is appreciated as pure musical form: music is not about anything, it does not represent, and it has no content or, at any rate, no important content. According to the anti-formalist position defended in this book, many works of music, including some of the greatest masterpieces, are valued as sources of insight into the emotional lives of humans. Drawing upon the latest psychological and musicological research Chapter 1 argues that music is expressive of human emotions by resembling human expressive behaviour. Chapter 2 then argues that by being expressive of emotion, music is able to arouse ordinary emotions such as fear, joy, sorrow, and melancholy. Chapter 3 argues that by resembling human expressive behaviour, music represents such behaviour. Moreover, the power of music to arouse emotion makes possible the representation of emotion in music. Listeners gain insight into emotions by having emotions aroused in them. Chapter 4 argues that, contrary to what formalists have assumed, vocal music (including opera) and purely instrumental are appreciated in the same way. Chapter 5 argues that only by accepting that music is able to represent emotion, and by doing so provide psychological insight, can the profundity and full aesthetic value of music be explained. By representing both the expression of emotion and emotions themselves, music can characterize emotions (as, say, tragic, noble, or dignified) and thereby provide psychological insight.

Keywords: philosophy of music, aesthetics, expressiveness, emotion, representation, opera, profundity, formalism

I haven't read his thesis yet, but my deconstruction has a similar basis to his theory and is my natural evolution in western contemporary music. Deconstructing of such a musical expression in Takemitsu's composition. My theory is more geared towards enactivism, embodiment, transformation and translation which is not based on the musical expression of emotions, rather metapher, abstraction, and so on.

What sites of intersection provide promise for collaborative research between music theorists, musicologists, and performers?

In Variation II, what I am exploring, neither sheet music nor improvisation, but rather an artistic method of "translation" for a performance.

My hypothesis for future performance in the enactive system for a new assemblage is, the computer will analyse, human(s) will translate as a performance.
It might be possible for an assemblage. Thereby the data is a "space and time".


The possibility of performance data "space and time" with the musical instrument, vocal, literature, film, and so on:


- Each performer create data of "space and time" for an assemblage. -> Variation I
- An visual artist or composer creates data of "space and time", and performer(s) will enact. (such as for theater or opera piece, etc.) -> Variation II
- Audience will enact additionally and performance will be changed by chance. (such as interactive performance)



Thereby the most important procedure is the conjunctive process such as rehearsal and/or meeting (communication).

This question is for an unusual collaboration.

-My answer is: a new approach for overcoming of the conventional music genre and research method, e.g. in terms of transdisciplinary research, which research method has not the aim of the computional know-how, but rather in which is based on current knowledge practically and theoretically.

Research method of Variations:


-  The analysing of Corona (1962) for pianist(s) by Toru Takemitsu



- Variation I

Subject on Simultaneous, its parallelity and simultaneity


- Variation II

Subject on Spontaneous


- Variation III

Subject on Zufall (Randomness), MA

The method of analysing and translating are based on DNA sequencing, which will be an important of the notion in the 21st century.

->Research schedule: the study will be (started to) published or presented by the end of the year.

Philosophy of mind:

Miracle and Uncanny -> through natural phenomena and by artificial intention

How does it reflect in mind?


I think the limitation of Freud's dream theory, that his psychoanalytic dream interpretation was through the "interpretation objectivity" without environment (mind without body). It called "geistig or geist" at the time.

If the art is based on "geist" by human, 

-> The computer analysis the DNA for translation.

DNA's the natural phenomena and its miracle.

The universe never stops, never ends, and continues to change.

The notation about space-time by the individual recognition is like a reflection in mind with body (in the environment -> on earth). -> enactivism

What is analysis (by the computer/digital or analogical)?

In this case, includes gravity, situation and environmental standards.