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."

Practical exploring

Artistic research: a parctical exploring in Variation I refers to Philosophy of Sound  

“Ich möchte über das Pathos hinaus die Bewegung ordnen.“

– Das bildnerische Denken,

Paul Klee, September 1914

4. a.o.i. - lasting memories

- on Universality

Meditative status, who is directly being through perception in the environment without mind (half-sleeping), that is a status of the high sensible sensation.

Unmittelbarkeit nicht materialisieren zu können, und "Stille" können wir nicht darzustellen/We cannot materialize immediacy, and we cannot represent "silence".

Sound Diary is for me an artist, inner world and outer world (outside and inside the body) to recognise in my environment in between coordinated activity and rest (Unmittelbar/immediacy subjectivity), and to memorise the embodiment of own sense, that is not intentional created an artwork for showing others.

Sound sketch is a study work of artist.

Sound 1 (excerpt) (4-ch mono discrete sounds was modified* in a stereo sound file, without any virtual sound spatialisations.)

*It is possible to be modified as simulation of 4-ch mono discrete sounds, but it is just in virtual space, that is an illusion.

Sound sketch no. 1  Sound Diary (excerpt) (From Series in 2011 – 2013)

Sound sketch no. 2 (excerpt) (From Series 2018 –)

Please Listen to the three sounds at the same time.


 Toy piano (excerpt) (mono)_A

Toy piano (excerpt)  (mono)_B


The sound on the street is O-ton (original sound) without editing. classical music as background was a musician played at the place, where I recorded the sound with a friend, who were talking. It was my artistic attempt to record the sound like a video recording. (Subject "I" was moving in a space, threrby there was the relationship with Object, Action and Background in the environment.)

What is mathematics, for what?

In briefly:

Random, is it open more than in a pressed file?

Question for the (sonic) phenomenology.

To mix the colours of red, yellow, and blue, it will be dark like dark gray.

To mix the colours of the light, it will be bright (transparent).

In the case of the sound, there are time, frequency, timbre, etc, make the vibration in the air.

On the Nonindependent Parts of Time-Consciousness: Husserl’s Early Phenomenological Investigations and the Perception of Melody

Music Theory Spectrum, mtaa022, https://doi.org/10.1093/mts/mtaa022
22 December 2020


Drawing upon Edmund Husserl’s Logical Investigations, I apply the laws of mereology—the study of parts and wholes—to the analysis of time-consciousness in his On the Phenomenology of the Consciousness of Internal Time (18931917), arguing that Husserl’s phenomenological solution to problems raised by empirical psychology in the late nineteenth century concerning the relation between subject and object was inspired by a rethinking of the notion of intentionality in terms of an extensional whole. Turning, then, to descriptions from Husserl’s careful analyses of tone and melody in On the Phenomenology of the Consciousness of Internal Time (18931917), I claim that melody’s structure of expression pertains specifically to retention (which I distinguish from recollection) as a nonindependent part of a flowing whole. This mereologic reformulation helps us think through the problem of how a melody is perceived in time. Furthermore, I show how, according to Husserl, there is a unity of the sensation of “tone” and the “flow of consciousness,” and I argue that by understanding this unity as a whole of nonindependent parts, we grasp a significant insight that illuminates phenomenology’s overall aim of considering the evidence of empirical science together with the formal laws of logic.