"tu fui ego eris"

On "Corona" (1962) by Takemitsu, in 2020 by Housen&Huisman, from Takemitsu's "Emptiness" to "full of Egos" in the 21st century. 

Before, it was the cultural hierarchy.

Ego is a Latin word meaning "I", which is related to the Greek word "Εγώ (Ego)" meaning "I".

"The Death of the Author" (French: La mort de l'auteur) is a 1967 essay by the French literary critic and theorist Roland Barthes (1915–1980). Barthes's essay argues against traditional literary criticism's practice of incorporating the intentions and biographical context of an author in an interpretation of a text, and instead argues that writing and creator are unrelated.

*Graphology duo is a musical performative duo formed. Project-based: in each project we create a 'field' while playing. Our source material is graphic work that we convert into a listening experience. Graphic objects are our building blocks that are taken out of context and deconstructed to carefully reconstruct them in our own narrative; in the search for the answer to the question: "How do we look at music & how do we listen to images?" Sounds and music, coming from the acoustic piano, are molded and interpreted using live processing and effects in a shared sound world. The graphic source material is projected live, with our working sketches

displayed as an overlay to provide visual support to the listener. (Text: Lukas Huisman)


Cultural homogeneous 

As an artist collective in the same subject, but in different contexts via the internet between two different places, thinking about how artists work internationally and changing in the future.

Variation I

The relation between Adoration of the Mystic Lamb by Jan van Eyck and "Corona-STEMS-GALAXYOMEGA (May 2020) " by Huisman and Housen is, if Adam and Eve in the context of  Jan van Eyck 's would change with, is it might be possible a cultural evolution in the 21st century? My artistic challenging thereby is to implement a painting on the sonice level musically.

I mean that "full of egos" as a performance by Housen&Huisman, their CORONA-OMEGA-Galaxy, it works as an artwork in visual arts, if they don't use the artwork of others that is our reality and current state in the art. I think that a topic in the art in the 21st century is not "geist", but rather "ego" of human is. (From Self-Awareness to Self-Actualization.)

I think that my artistic research "Variations" is rather deconstruction from the transdisciplinary aspect. I agree with Barthes's, therefore I deal with Corona by Takemitsu without reading about his work.

My motivation for their project is Housen's musical Dutch ethics, it evoke mine, which is by his authentic cultural identity (personal). My goal in this collaboration is to bring contemporary music into "pop art" at the sonic level (Exchange), how to incorporate it, and to generalize it in a way that suits the current social situation. However, in this long-distance research under the corona lockdown situation, it is impossible to express clear things and "confidence".

"Corona" (1962) for pianist(s) by Toru Takemitsu is a qnique score, this duo with Huisman and Housen at this level is impossible to implement without the Takemitsu concept.

In my artistic research on Klänge - Space, Time and Body, I explore it. (from the perspective of my side.), that is the agreement between me and Housen at the sonic leve non-verbally. Regarding this project, I think that they are two in one, particularly, at the musical ethic level, it refers to the Adoration of the Mystic Lamb by Hubert van Eyck and Jan van Eyck, together with the back panels which refers to Belgian symbolism (objective and subjective perspectives). 

3. A contribution by Erika Matsunami, Performance in the site-specific installation for Variation I in 2020:

"Corona" without Pianist for 4-ch mono-discrete sound installation - an invisible sense, "who is left to drift in the loneliness of the remaining scent."


- Mapping on the floor.


- Projection on the floor.


contemporary ethics of sculpture as meta-code from the aspect of critical theories.

Conclusion of variation I with Housen and Huisman will be worked on the subject in a real space practically.

One year of hard training with the artists of the Belgian Conservatory (Phd in Piano/Music Performance and Composition) in 2020.

However, it is possible to embody "Corona" - full of egos.

1. A collaboration with Patrick Housen and Lukas Huisman on "Corona" (1962) for pianist(s) by Toru Takemitsu




- Developing for "Variation I" in 2020



2. "Corona" (1962) for pianist(s) by Toru Takemitsu

The score looks abstract, however, like a modern dance choreography, Takemitsu has covered with the symbolic expression on "space, time and body". A beautiful symbolic expression, like a painting (depiction) in expressionism. Musically, it was a starting point of the avant-garde in the 1970s. Played by Roger Woodward in 1973.

 Artistic research: "Corona" (1962) for pianist(s) by Toru Takemitsu

- On Klänge - Space, Time and Body

*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.

My argumentation for the artistic approach by Patrick Housen (composer) and Lukas Huisman (Pianist) in their "CORONA-OMEGA-Galaxy" (2020) is in terms of the paper “Sonic Handwriting” - Media Instruments and Musical Inscription by Thomas Patteson (2016):

“Sonic Handwriting” - Media Instruments and Musical Inscription

by Thomas Patteson (2016)


"Every sounding object employed by the composer is a musical instrument."1—Hector Berlioz

My argumentation for their idea of phonography as a performance with "CORONA-OMEGA-Galaxy" in the aspect of digital sound system that they call a musical performance Duo "Graphology"*.

Therefore, I would like to introduce THE EMERGENCE OF SOUND FILM in the paper “Sonic Handwriting” - Media Instruments and Musical Inscription by Thomas Patteson (2016) from the aspect of sonic in physics. 

Hypothesis: The digital system is a system that consists of the phenomenon of human egos (Big Data) as the centre.

The difference between optimisation and solution in the art.

What I thought when I read this text by Lukas Huisman was that he is rebelling against me, or against French post-structuralism. (Because of an artistic research tutor training with Huisman, he is a postdoc artistic researcher, PhD in piano/performing arts. He argues that my artistic research is theoretical too high. However, in my generation, it is usual. It (art as a practical contribution) requires theoretical discourse.) I have no children, but maybe children in my generation, they are so, as well as in Japan. The thesis of French post-structuralism too high level and too complex for the young generation. Today's society and its system are simpler than at that time but more rhizomatic.

Both artists want to create a something new artwork together  (would like to be creative) and also together with others, not only embody a music. My question is always "What is an artwork?". --->

Individual cultural group identity

4. Practical exploring: Variation I, II, and III

Research question: 



Takemitsu's Corona: Sun in Japan is a symbol of female (in Shinto), and Multi-foldness (Mandala in Buddhism) – Eight million Gods in Shinto and Buddha fusion. The position of the performance is the pianist is in the centre, and moves (on earth). Like Feng Shui, the north, south, east and west are fixed.
Huisman and Housen's Corona: Corona moves, and the perspective is one. Moreover, therewith, Housen's subjective symbolism overlap. In this sense, I think that is a nice work of them. Their fashion is a Dutch.

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?". 

Subject: Simultaneous*

Artistic research: Silence surrounds us, and silence around us.

The Problem of Logical Omniscience:

The alleged problem: deliver a plausible theory of propositional content that doesn’t close knowledge under logical relations that grossly overestimate the knowledge of ordinary agents. Who is this a problem for (if anyone)? How urgent or deep is it? How do we know if we’ve solved it?

(The workshop by Peter Hawke, who is Assistant Professor of Philosophy at Lingnan University. 2021)

Notice: The planning of performances Variations with the international partnerships are for 2022/2023, due to the COVID-19 pandemic.

Cultural heterogeneous

Aesthetic intervention


„Corona“ (1962), Toru Takemitsu :

- Roger Woodward

- From John Cage „Shock Vol. 1“

- Corona 1 Jim O'rourke

Dirección: Antonio Pérez Díaz

- Corona, Study for vibration


Problematic research question as the starting point of a duo performance project: My interest in their research question, how they will deal with it in relation to representation theory practically? How will we/I be in our/my emotional agancy? 


The term “hard problem of consciousness” was coined by philosopher and cognitive scientist David Chalmers in his 1995 paper Facing Up to the Problem of Consciousness. In it he first describes the easy problem: finding neurological bases for mental phenomena like focusing attention, behavioral control, and integrating information. The hard problem, in contrast, asks why subjective experiences rise out of the brain’s informational processing systems. As Dr. Chalmers wrote, “Why should physical processing give rise to a rich inner life?”

(The lecture "The Biology of Consciousness" with Christof Koch | Neuroscientist | Chief Scientist, MindScope Program, Allen Institute for Brain Science)

Artistic research:




1. The music project a.o.i. - lasting memories

- Sketch for 3D* Multi-layered open score

The collaboration with a composer, conductor (New music in classical music) and researcher PhD. in Musicology Valerio Sannicandro in Paris, which started in January 2021:

Improvisation and Avant-Garde in Multi-foldness -> OIO

Variation II

- Sketch for electroacustic, electro sounds

- Malva (aoi) draft

The working method is interactive in two different paths of artistic intention.

Crossdisciplinary, Transdisciplinary Research:

Multimodality through envisions (envisioning) in music from the aspect of music (seeing-in from auditory sense (perception), from seeing-in to auditory sense (diagram).) and visual arts (from perception (sense of sight) to auditory sense (space and time), to transform into diagrams) .


- Semi-formalism from twofoldness to manifoldness for the (project) concept practically and theoretically.


Subject: Spontaneous

Research question: 

Replacing the DNA sequence with sound, it might be possible to imagine the time of chaining as an uninterrupted, continuous and manifold time. The elements and their factors associated with it, the dynamics of "life" through change and its activation might possibly be expressed as a rhythm in the body. How will it be possible to conceptualize this musically in a work of art from the natural being? How does it communicate in a multi- and sensory fashion* in the environment?  How does it interactively work with memories?


*In this question, it is to feel and recognize through listening, and to enact.

Philosohpy of Art, Philosophy of Nature, Aesthetics (of Everyday), Ethics,

Ethics divorced with Philosophy of Religion. 

"geist" (spiritmindghostintellectwit, psyche) in German is rather in term of philosophy of religion (Art and Humanity).

"geist" in English is overlapped with intellect and mind, today it is in the research field of neuroscience. (Philosophy of Nature)

Intimitate in Arts:

"Intimism (French: intimisme) was an artistic movement in the late 19th-century and early 20th-century that involved the depiction of banal yet personal domestic scenes, particularly those within domestic interiors. "

I think it was Picasso who talked in his paintings about his intimity for love in the 20th century. In addition, he depicted his "intimacy" with humans. In contrast to Picasso, I drew with sounds about my intimacy for myself, which was really different as a self-portrait. 

How and what I did: I recorded myself (sound) in my surroundings (Environment) for 24 hours with a break, but it was aimed for "one day". It means that I recorded when I was sleeping at night also. I listened all recorded material.

So what did, I appreciate and think from the recording of that sound.

- Time

- Space

- Happning

- Event

- Things

- etc.

(The idea to record the sound of own everyday life came from Prof. Dr Supper's seminar. How I explored it, that was my own research method in artistic research. Subsequently, we discussed about each practical research in the seminar.)

In space, human beings become "sounds" as beings when we make sounds from our bodies, when we are in contact with something, and when we are talking and moving. It was very "intiem" sound for me, that is "privat" with who I can share, who I love...When I love you, any sound "I feel adorable." I think "love" is what makes your child's poop look cute, and worry about his/her health, that is an intimity and humanity.

Human beings become "sounds" as beings in a space, that is likewise a "creatures", which I would like to refer to Dante's (1265 – 1321) in the Late Middle Age. Nono and other musical composers, they transcribed/transcribe its human-beings into musical language, since Renaissance, as well as in the painting and the sculpture. There are many paintings in the Renaissance for the study of medicine. For instance, we can see how infectious diseases were. The purpose of looking at your baby's poop is to check your baby's daily health. 


Philosophy of Transculturality in Germany:

Wolfgang Welsch

Die Feature-Antennen-Kochshow

In some moments during listening for me likewise "Apple falls into the floor.”, that gave me a special moment. It is a magic of sonic phenomena.

The light, we cannot calculate, but with the sonic, we can calculate between object and object, it calls a perception (Wahrnehmung) for time and space. Perception of sight is for reading, even if we see an object.

This performance by OIO in 2007 is live electronics by Antonis, live electronics by Erika in the 6-ch mono-discrete sound computer programmed system (in juxtaposition with two live electronics), and 2-ch Videos.

During the performance (improvisation), During the performance (improvisation), Antonis started to play and came from his memory suddenly, which one of his natural musical modes appeared. Usually and generally, Atnonis performed music as his job (coordination). I would like to give him a chance of subjective experience from the perspective of visual arts in the performance, which refers to the painting Renaissance. (Free to play without limitation in the dynamic(s), which was my artistic approach for Freie Musik, that was a starting point of my artistic research "still/silent" practically, which was by my artiatic work method of aphroditeI have a few of my own specific artistic work method.) So, we started the project "still/silent" together, and the performance. In 2008 at the HKW Berlin, it was the duo improvisation more than 3 hours without break. "still/silent by OIO in 2007 is "Übergang/transition" from "transformation#2" in 2006.

What does it mean for a person to have agency?
In social science, agency is defined as the capacity of individuals to act independently and to make their own free choices. By contrast, structure are those factors of influence (such as social class, religion, gender, ethnicity, ability, customs, etc.) that determine or limit an agent and their decisions.
What is emotional agency?
EMOTIONAL AGENCY* Botond Koszegi. This paper models interactions between a party with anticipatory emotions. and a party who responds strategically to those emotions, a situation that is. common in many health, political, employment, and personal settings.

- Concept

- A mappe_a.o.i. - lasting memories

Cultural intermediate


--> Amore

The question is always "What is "Amore"?

Maybe contrary to rationality, probably irrationality, perhaps ridiculous in the whole of the story.

Human-being and Human love.

Do you believe in love?

Study of Biology, Neuroscience, Physics, Mathematics, Aesthetics (since 2015 have been studing online/künstlerische Fortbildung für Professionälle Künstler*in):

in 2020,

How Does the Body Use DNA as a Blueprint?

University of Aberdeen (With the test and the certificate)

and other courses in science (neuroscience, medicine, and others)


in 2021

Genomic Technologies in Clinical Diagnostics: Molecular Techniques,

Molecular Techniques, Genomic Technologies in Clinical Diagnostics: Next Generation Sequencing, St George's, University of London

Whole Genome Sequencing, Health Education England

Study of medical ethics in regards to arts and ethics.


The original context of this research questions is in molecular biology, that I studied the current basis in 2020. Therefore, I transcript into the context of music from the aspect of the auditory and visual perceptions.

->When "cooking" is an art, it refers to the method of cooking, what material is cooked and how it is eaten in which context. It can designate,  also "street food" as an art such as in popular culture (lifestyle and culture). It might possible to research towards a philosophical contemplation. This feature shows us also "environment" of things, what we cannot see in the event.

->From a painting point of view, this work is one of my masterpieces, and onceness.

-> It is musically recitative, an oratorio (how I expressed it with piano freely, and consists of 6-ch mono-discrete sound system (installation) as a sonic-painting for 2-ch videos.)


Variation III

Cultural evolution

Italian futurism in the history of Sound Studies was a suggestion by a student, and a subject of this Seminar under Prof. Dr Supper. My artistic position was/is critical towards Italian futurism. Therefore, I researched Surrealism in Sound Art (Klang Kunst) toward Italian futurism.


-> My paricical exploring was B.O.D.Y. (2010)

Subject: Zufall, MA

I think that a beauty of Renaissance (the 15th and 16th centuries, long Renaissance" was in the 14th century and its end in the 17th century), was based on Latin in the language.

It is the same as in the Japanese, was Ancient Japanese.



Aigoyoku kaiteno chikaraarukotoo gakusubekinari


Es geht um "Liebe" von Dogen (1200 – 1253) in Kamakura Period (1185 –1333), die Angelegenheit auf der intellektuellen Ebene der Menschen, z.B. bei der Kommunikation (klassische Kommunikation ist z.B Brief zu schreiben, in der Kunst, z.B. Musik Improvisation mit mehrerer ist eine intuitive Art der Kommunikation.), dass Menschen diese Intellektualität (human intellectual abilities) lernen müssen. d.h. Unmittelbare und mittelbare Gedanke, Empfindung und Wahrnehmung über sowie 'love', 'desire' 'jealousness' und 'being' sprachlich umsetzen. Das kann ein Gedicht sein, bei einer alltäglichen Unterhaltung sein, eine bildnerische Ebene sein, oder eine musikalische Ebene sein. Er erklärt die Liebe, eine universelle Intellektualität der Menschen ist.

-> When I intensively listened to a long recording of myself sleeping, the dialogue with myself "being" in that space made me feel like I was separated from my body for a moment, that was an aesthetic intervention to me between subjectiveity and objectivity. Because to understand as well as percive from auditory sense about the events and things, also their relations in the time perception, "What I recognise from them?".

Sound "Empty City" for the performance (Live electronics), I call it "Luft", that is a contemporary "aria" in the piece of "still/silent". I created the noise for Empty City with the material of plastics, and composed.

Nanay's account "Semi-formalism" ->

Questions for Semi-Formalism:

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 (...)

Greek mythology:


Genealogical diagram of the Greek mythological figure of Taltalos/Tantalus

Japanese mythology is based on the universe in which relates to "life and death", but Greek mythology mathematically (logics) describes the structure of the earth, which consists of complexed stories.



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".