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 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, conductor Valerio Sannicandro in Paris, France (...)