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.