In society today, Human is still for "achievement", also a pianist, a dancer and others in the creative field. Who has a Ph.D. Graduated or not, working on the wise in the industry is "Leistung", not Vergütung. From this reason, many Dance  solo and group in performing arts are doing in non-profit and non-commercial such as off theater.

 Is absolute music pure? Then we have to examine: "What is pure in art?" We can never find out.

Perhaps someone who lives without a monetary function in today's society can say that, but this person is only someone who has died. The art judgment can only apply to artworks by artists who died, after the artist's death.

On Klänge - Space, Time and Body

On Klänge for Variation I


What do we need art for? Not for satisfying but liberating ourselves. / Wofür brauchen wir Kunst? Dafür, dass wir uns nicht befriedigen, sondern uns selbst befreien.


What I am exploring is a critical study in the Fine Arts concerning the subject of gender and transculturality in artistic practice.


I would like to keep the idea as a foundation of Fine Art which is based on natural autonomy. Today, we know more deeply than the notion of Fine Arts, about what means ‘principle of nature’ and its complexity. 
The idea of Fine Art is naive; however, this naivety is today's nostalgia. As an artist, we alienate (verfremden) the old sense and transform it into a new sense. I call this creative procedure ‘transformation’ which is a kind of cultural evolution. An example of this is Corona (1992) by Toru Takemitsu.


Berlin, 2020 July

Erika Matsunami



This "x" deals with philosophical contemplation in contemporary art, which deals with human capital in relation to and for human rights in the 21st century. As this capital increases with age, the pension system changes. People have the potential for abbilites, not work that is consumed. The concept of capital until the 20th century was based on production and consumption, because that was the capital stock.

In the 21st century we are all part of capital. The capital is not only immobile.

On Corona-STEMS-GALAXYOMEGA (May 2020), I have only technical questions currently. Because virtual reality as well as game is not my artistic discipline. My interest in this collaboration with Housen in Kunst-Forschung is rather musical ethics and Belgian symbolism towards Japonism (Huisman explores the piano piece by Japanese composers in the last 50 years practically, that is his postdoc artistic research project.). I can see Japonism in Dutch, German, and other central European fine arts. This cultural subject is still open. Thereby the exchange between Housen and Matsunami, in the artistic technical aspect, is how deals technology with individual creative ideas, and on the levels of visual arts and music, that we will deal with the topic of abstraction. On the scientific level, Housen and Matsunami are on the same sage, due to the contemporary materiality and immateriality, we are a contemporary artist in contemporary arts.

variation l

a practical contribution Corona (1962) for a pianist(s) by Takemitsu towards "x" - something in 2021:

Philosophical contemplation in variation l is an expression of freedom in a (semi-) formalism and its openness.


Thereby transculturality "x" refers to the second research question in my Ph.D. proposal in 2019.




The second research question is "What is pleasure for us which is an important element x in our life?"


I can start to design the research project with this second question also. Thereby the second research question is "If things (Dinge) are ugly, moreover, if something wriggles in things, is it something in what?",

Manifold research question(s)


As artwork as well as art object of Variation I and II, in music, that is  a new multi-layered open score, and in visual art as performance art, that is a pianist "x" - something (When a pianist will naked at MoMA, ) in the prologue for variation II, which is the lingering memory of variation I, at the same time, that is the prologue for variation ll. That refers to via Arnheim's last essay to enactivism, and for attempting to grasps cognitive philosophy.

Variation I and II are 4 ch mono discrete sound system and 2 ch stereo, and grand piano and chamber.
Variation III is a performance in the site-specific installation and a manifold multi-layered open score "a piece without the whole".

-> a new assemblage for "new life" that is a goal.

In 2018, Ichiyanagi was awarded the John Cage award, in terms of Takemitsu, Ichiyanagi and Cage, I explore till the end of 2020.

Cage had researched Mandara in Buddhistic culture area, I am researching MA (間)  in Buddhistic culture area.

This artistic research is for my practical contribution "Corona" without Pianist for 4 ch discrete sound installation that is for variation l in the joint artistic research and its performance with Housen and Huisman in 2021 (It is necessary for two-three weeks artists in residence.). For us with this artistic collaboration project, the online streaming performance is not realistic. A pianist Lukas Huisman is in this project, a composer Patrick Housen's pianist. Huisman is not an independent artist, this artistic activity is his private activity. Housen and Matsunami are independent artists and this collaboration project is a professional artistic activity. The embodiment of "Corona" (1962) for pianist(s) by a pianist Huisman in the joint artistic research is "x" (Maybe this something would explain about creativity, or would not. In today's aesthetics, an act of playing music with the piano perfectly, it does not mean beauty or creativity.) between Housen and Matsunami for a new multi-layered open score "variations". In doing so, Husiman has a postdoc of his artistic research in piano/performing arts on the subject of Transclutrality. In my artistic research, it relates to the research question(s) of my practice-led Ph.D. proposal (2019). Thereby this "x" is not in terms of the thesis by Nanay, but rather Enactivism in which relates to Noë's Idea in Aesthetics and Cognitive philosophy. This forthcoming joint artistic research is Fachübergreifende Kunst-Forschung.

In my practical contribution Pain of Love (2018), I had attempted "x - x" as an attention theory in Enactivism (a site-spesific installation (art object) as "x" towards a dance performance in an exhibition.). From this practical contribution, probably I opened the door of cognitive philosophy in artistic research of B.O.D.Y. in 2018 that was for the artistic research N.N-Zwischenliegend (part 2 and part 3) in 2019, in which recent artistic research is Silence surrounds us, and silence around us in 2020. Keywords of these artistic researches are mainly transversal aesthetics and universality.

In 2011, there was Tōhoku earthquake and tsunami, and the COVID-19 pandemic in 2020, so I think that necessary to think about "new life" profoundly. 

"New life" in my artistic research, that is not a philosophical term, that is philosophical contemplation on metamorphosing which consists of organism from aspect of biology.

"Corona" without Pianist for 4 ch discrete sound installation in 2020 is an invisible sense such as literary musical expression in "who is left drift in the loneliness of the remaining scent."

In the project by OIO, the open score for the piece was my visual works (4 parts of 2ch video). We used each part of the 2 ch video at the beginning of the performance as the open score for performance, after this few minutes, we started to play the improvisation. So, we didn't need the rehearsals, we needed together technical checking. Without the rehearsal, we met in a rehearsal place once and I gave the DVD (4 parts of 2 ch video) as an audio and visual open score for the performance. Otherwise, without Red thread, musical improvisation kills all of the performance.

OIO doesn't rehearsal together, only via audio and visual open score. OIO's performance is improvisation. At the first, I created the video (visual score), and Anissegos created the sound for my visual score. We (Anissegos and Matusnami) produced the audiovisual open score "still/silent" (2 ch video stereo and 2 ch sound)  during artists in residence of the media lab at the Hanger, Barcelona, Spain in 2008. At the end of this artists in residence, we performed in the part of the program of the Hanger in Barcelona.

After "Variation I", we (me and Housen) will start to create our own multi-layered open score through the procedure of performance with a pianist Lukas Huisman.


Variation II

The research goal is Performance in the site-specific Installation "Variation III".

Till the end of 2020, I have been exploring "Klavier" on Klänge.

Joint artistic research "variations" in 2021

So, usually, I collaborate with a composer, due to the social connection. In the contemporary arts, we (visual artist and composer) need to study social science. Study in music, that is the study in sheet music.

Open score "still/silent" by OIO (Anissegos and Matsunami) for improvisation in the site-specific installation is regards to social science on the audio and visual levels literary.

Artists in Residence for the cross-discipline in arts is for composer and visual artist, otherwise, it will be a performing arts (theater) production with a choreographer in the artist residency program. My artistic research field is music and visual arts in performance art and site-specific installation. Music is experimental music and electroacoustic music, as well as video in experimental film & video. I had theatre productions as a choreographer (contract works).

Iconography (focus on aura in an image, and phenomenology):

Study for Graphic Score

Variation I 

Study for space, time and body

Study for the philosophy of sound

Research aim in this study:

To explore Iconography in a poetic way, and its manifoldness.

I studied thereby iconography in prehistory. It was very interesting, which explore to relate with the research by Nanay and also by Wiesing in artistic research N.N-Zwischenliegend, that was a new inspiration to me.



Collective artistic research on "Corona"(1962) for pianist(s) by Toru Takemitsu. The starting point of this artistic research is an artwork Corona-STEMS-GALAXYOMEGA (May 2020) by Lukas Huisman who is a pianist and Ph.D. artistic researcher. He started to interpret "Corona" (1962) for pianist(s) by Takemitsu together with a composer Patrick Housen. I collaborate with him as a visual artist for a sound installation in this artistic project. Thereby the joint research subject is on the ‘transculturality of sounds’. As a visual artist, I research the subject of time and space in "Corona"(1962) for pianist(s) by Toru Takemitsu to explore new interpretations. Thus, theoretical exploration is in terms of ongoing artistic research in the philosophy of sound. Thereby I attempt to explore human nakedness in sound. To do so, I research listening from the aspect of cognition, which is the importance of this artistic research on Klänge (sounds). This artistc research aims for exploring the graphic score and sounds from the aspect of current science. 


A research collaboration with Niklas Schmincke (Tonmeister):
Niklas Schmincke studied sound engineering at the Berlin University of the Arts. He has taken part in the art project still/silent as a composer of OIO*. OIO is an artist group that consists of a collective form, was established by a composer and a pianist Antonis Anissegos and a visual artist and a performer Erika Matsunami in Germany, 2006, so that we have the authorship as a collective shared in a composition, that is as an artistic style "geistig (compositional) assemblage" which I conceived. For the artistic practice by OIO, "universality" is the important core in OIO statement, which was the foundation of the notion by Cage. Therefore, OIO has been exploring (...). He worked as a sound engineer for music recording and editing at the Sound Studio in Berlin, as well as being a film music composer. 
In 2012, he was employed as a sound engineer at BMW in Munich. Today, he is the director of the sound lab at the Japanese company of Chrysler Group in Germany. He gives practical internship training to university students (MA program) at this sound lab.


The material and the work process are different, working with a sound-installation is the same as working with sculpture, meaning it is based on time. This time-based art medium belongs to the end of the 20th and the beginning of the 21st century.
-Time, Space and Body.


Why is the sound installation the same as working with sculpture?


- Today, we understand virtual sound construction to consist of time and space. Thereby, we have to know about ‘listening’ –  this is most important for us to study with sound. We must always consider the ‘body’ on earth.

The sound is controlled by the speaker with the standard norm at the output of the sound. If one has complicated sound construction, one cannot actually listen. We are always under the law and democratically with the individual sense.

At the same time, the sound’s output will be alienated (verfremden) through the sound phenomena in the space, it is up to the space condition. We know what virtual sound construction is, it is the same as other virtual constructions that are just calculated models, that is not ‘reality’. 


- To know about ‘listening’:  There are two paths of research, one is from the aspect of medical research, such as music therapy. The other is from the aspect of epistemology, as well as aesthetics and neuro-aesthetics (musicology, linguistics, phenomenology, and so on).


I am hugely thankful to Lukas Huisman for his suggestion "Corona"(1962) for pianist(s) by Takemitsu by Lukas Huisman and Patric Housen in this collective artistic research project. "Corona“(1962) for pianist(s) by Takemitsu is the most important core theme in my artistic research, together with Cage's Idea. I think that "Corona"(1962) for pianist(s) was for Takemitsu himself the most important starting point of his artistic research; at the same time, it was a starting point for the 21st century. Today, we have arrived in the 21st century, and we are now standing at the gap to the 22nd century. Time does not go backward.


This joint artistic research project is between a pianist, Ph.D. in piano, and an artistic researcher in piano in classic-modern music Lukas Huisman and an independent composer Patrick Housen in Ghent, Belgium, and an independent visual artist and artistic researcher Erika Matsunami in Berlin, Germany.

The research method is to work independently (Work in progress).

Lukas Huisman is a pianist with the degree Ph.D. in performing arts/piano. His research field is in piano piece in western classic-modern music.  Huisman's musical background is from Wiener classic to French contemporary classic new music such as Iannis Xenakis (contemporary classic new music composer). Patrick Housen is a Belgian composer, his music compositional approach is contemporary music in the genre of live electronics and performance. He studied music composition in classic-modern music.


- To explore the subject of "Klänge" for the philosophy of sound. "Corona" (1962) for pianist(s) by Takemitsu from the aspect of iconography, in collaboration with Niklas Schmincke in Germany, for the construction of the 4 ch mono-discrete sound installation for real space. (Variation l - Corona without pianist (installation/live electronics) )

- Variation l: For the development of the dynamic of ‘time and space’ on a new interpretation of "Corona"(1962) for pianist(s) by Takemitsu in 2020. Variation l - Corona without pianist (installation/live electronics) is my part of practical contribution in this artistic research project with Lukas Huisman and Patrick Housen. The planned joint artistic research is Variation II and Variation III for a new multi-layered open score "Corona" in 2021. 

Variation l - Corona without pianist (installation/live electronics) ist dispositive of "Corona" (1962) for Pianist(s) by Takemits, on earth.


Research question 1 in my practice-led Ph.D. proposal (2019):

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

This is a research question for a mathematical equation, which I expressed literary.

I have a second question. Research questions are in which academic discipline regards with transversal aesthetics.

Artistic Research: GRAPHY

Two paths of work  process:

Path 1.

Emotional intelligence

Path 2.

String theory on the level of knowledge. - awareness.

These 'Corner theories' are somethimes referred to as 'Duality frames'.

This explain is by the scientist Cumrun Vafa who is an Iranian-American theoretical physicist and the Hollis Professor of Mathematics and Natural Philosophy at Harvard University. 

In this Path 2 'Storing theory'.


'Corner theories' which in a sense we can view 1,2,3,4,5,6, where a simple description of theory emerges, analogous to 'reference frames' in Einstein's theory of relativity:

The physics looks superficially different as we go form one frame to another, but the fundmental laws do not change.

For example, in the fine arts academic education today, to study sculpture, the study does not aim for making a statue. The study aims together with recent science for social critical consideration. With the different materials to explore on imateliarity and immateriality. Also with time-based artistic medium. different techniques such as Installation, Art Object, Kinetic for the subject in terms of Gender study, Queer study, to explore cross-dispricinary or interdisciplinary.

'Shepard tone' in Klangsynthese

Project "B.O.D.Y." - piece of glass-original by Erika Matsunami and Niklas Schmincke, 2012
A part of this sound is created/generated with Shepard tone.

A Shepard tone, named after Roger Shepard, is a sound consisting of a superposition of sine waves separated by octaves. This creates the auditory illusion of a tone that continually ascends or descends in pitch.In Sound synthese

M.C. Escher's in visual arts

This joint artistic research is on the level of doctoral and postdoc artistic research in the research fields of Music, Visual arts and Aesthetics.

Joint artistic research with Patrick Housen, Lukas Husiman and Erika Matsunami

Hey Lukas & Erika
I just read the Final correction_7.8.2020_Project description_Corona
document and that is already looking pretty good!
I’m really liking the approach and format! Sound (art) is very ephemeral
by nature and I’m really looking forward to exchange thoughts on how it
can be implemented to paint a sonorous canvas.
I’ve nothing to add to the text both of you created so I’m all good there.
You write "The piece of sound art Corona without pianist will be realized
for 4 channel mono discrete sound. I will join the performance by Lukas
and Patrick in Gent, Belgium with my part via the internet from Berlin,
Germany. “ From a practical point of view: Keep in mind that if you work
with quadraphonics, most people won’t be able to play it back how you
envisioned it if you are doing it through streaming.
As in performance wise during the pandemic I imagine it can be rather
difficult to work with a quad playback. I have this at my home studio so
this shouldn’t be a problem when we are working though.
Furthermore I’m very curious to your approach in yourElectroacoustic sound
series. De-constructing and -contextualizing this during rehearsals will
be interesting: Maybe it’s a good idea if we create some of these swell?
So that we can incorporate both our palettes? (It’s a totally different
project I’m working on right now, but this is filled with all kinds of
subtle layerings of self recorded sound:
Maybe you can spot the bicycle pedals and female laugh in
Keeping my fingers crossed for the project!
Warm regards

As artwork as well as art object of Variation I and II,, in music, that is  a new multi-layered open score, and in visual art as performance art, that is a pianist "x" - something (When a pianist will naked at MoMA, ) in the prologue for variation II, which is lingering memory of variation I, at the same time, that is the prologue for variation ll. That refers to via Arnheim's last essay to enactivism, and for attempting to grasps cognitive philosophy.

References in "When a pianist will naked at MoMA," (Arbeitstitel) for a thesis after practical exploring that is for a future new multi-layered open score and installation which is the aim of this artistic research:

- Nanay, Bence, Aesthetics as Philosophy of Perception, Oxford: OUP, 2016

- Recki, Brigit, Aura und Autonomie: Zur Subjektivität der Kunst bei Walter Benjamin und Theodor W. Adorno, Würzburg: Könighausen & Neumann, 1988

Joint artistic research with Patrick Housen and Lukas Huisman for practical exploring:

We have not to chance to discuss and exchange in the theoretical exploring yet, however,  both are in this context, but specific in music. I think presumably, Housen as a contemporary composer or Huisman's Tutor of Ph.D in artistic research/music understands this context of my artistic research.

My transdisciplinary artistic research is in terms of Nanay's thesis, and I have been exploring the way of transversality and universality practically.

Nanay's thesis is a reference for exploring the Doctoral thesis (since 2016). However, for that is necessary a lot of studies. But, little by little, I see the light in this dark way. Why I have started to research his thesis because I don't need to back to history. He had summarised the 20the century from the perspective of the 21st century in aesthetics mathematically, by the way of recent analytic philosophy. His thesis is rather the subject of composer and visual artist, due to epistemology.

Huisman explores thereby musical mode (with piano) on the subject of "Transculturality".

I explore on Klänge (sounds) - Space, Time and Body, therefore the new construction on "Corona" (1962) by Takemitsu of Housen's live electronics (two-channel stereo) as his juxtapositional composition and my 4 ch mono discrete of "Corona" (1962) by Takemitsu dispositive on earth are together with Huisman's embodiment, that is a fantastic idea for our joint artistic research in this context. Housen is a contemporary composer at this level practically. I think that he is also like me on the way of the procedure.

For our joint artistic research, a dialog with Huisman, we could be four research members, me, Housen, Huisman and a Ph.D. tutor in artistic research/music.

Currently, my problem is, Housen infected with COVID-19. We don't know when and where will be infected and how many time we will be infected. The infection COVID-19 makes me very sad. Because my father died of sepsis. I know sepsis.

The prologue for variation ll of "variations" on Corona (1962) by Takemitsu in the practical exploring is "When a pianist will naked at MoMA," (Arbeitstitel), (this Arbeitstitel is a symbol without a whole sentence. It means that is "x" in this piece. That is my approach in this piece into music (classic modern), how I deal with the thesis in visual arts on "creativity" in terms of Arnheim. This is my specific artistic research in terms of the thesis of Nanay (2016) and the account "semi-formalism in music (classic modern). Thereby "x" is his/her "intention" with her/his "free will" in this piece. Art to appreciate is not to believe, but rather to perceive. This act applies also to the thesis on "creativity" by Arnheim.) with Huisman's new music mode by a new embodiment (this prologue is for the approach of the study of performing arts. - as an open code), towards new start-up of Human life in the 21st century from the aspect of biology.

The relation with Huisman's research in this context, in which of Brahms's works, was contributed by Schönberg. Huisman had explored and researched on the subject in Brahms. In this context, my suggestion for Huisman's research is artistic research together with a biologist, and social scientist.

I think that a practice-led Ph.D. in Visual arts, Music Composition, and Film can write the Doctoral thesis in terms of aesthetics, which relates to ethics in arts.
Huisman's practice-led Ph.D. in Music is his Doctoral thesis in performing arts mainly.

This is practical of from the idea of my Ph.D. proposal, which I have written under Prof. Schiesser (the ex-director of Ph.D. in artistic research) at the Zürcher Kunsthochschule in Switzerland via the Internet last year.


Interview with a neuroscientist in my Ph.D. proposal:

The question on Intention as well as sensation of time.

Particularly, in terms of "ecology of the brain" by Thomas Fuchs, I as an interviewer from the aspect of a visual artist.

Theoretical exploring:


On Nanay's account "Semi-formalism" in Music, that is towards the sheet music in the context of western music, which is in his thesis (2016). However, there is a gap between visual arts and music in his thesis (2016). About what I have been exploring, that is this gap in my artistic researches. The background of this gap is in the western arts, and also in Anglo-American (analytic) philosophy and Continental philosophy. Thereby, as openness in this explanation, I explore the subject of "Transclutrality". This research on Nanay's account "Semi-formalism", that is for me, a renewed contemplation in aesthetics as well as philosophy (since Kant and many others) from the aspect of cognitive neuroscience.

This is a research question for a mathematical equation, which I expressed literary.

Research question 1 in my practice-led Ph.D. proposa (2019)l:

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

This research question is for time-based media or/and text or/and notation or/and play or/and performance or/and collage or/and photography or/and installation in semiotic and semantic.

This research question is one of the research questions my Ph.D.proposal.
It aims to explore "phenomenon and causality" from the biological aspect in sensation of time, in terms of fine arts.




-> This prologue of "variations" towards 4'33" (1952) for piano by John Cage.
 Emptiness in Corona (1962) by Takemitsu, and active silence without expression of a piano piece by Cage. It was a shock, a significant American composer has rejected artistic expression at all.

In this prologue of "variations", not by the composer or the artist, but rather by a pianist with free will. (a creation or a creative act without score by a pianist, we never know before.)

Corona without pianist 4ch discrete installation:

- Open score

- Thesis

- Tech rider

- Sound file





Brian Massumi


Philosophy of experience

Massumi's approach to perception and the philosophy of experience is closely tied to his political philosophy through the theory of affect.[32] Massumi famously distinguishes emotion from affect. Following Spinoza, he defines affect as "the capacity to affect and be affected." This locates affect in encounters in the world, rather than the interiority of a psychological subject. Emotion, he argues, is the interiorization of affect toward psychological expression. He locates affect as such in a nonconscious "zone of indistinction" or "zone of indeterminacy" between thought and action.[33][34] This zone of indeterminacy is the "field of emergence" of determinate experience, but itself resists capture in functional systems or structures of meaning.

Affect's resistance to capture leaves a "remainder" of unactualized capacity that continues in the world as a "reserve" of potential available for a next determination, or "taking-form" of experience in definitive action, perception and emotion.[35][36] Massumi refers to this remaindering of potential across an ongoing process of serial formation as the "autonomy" of affect[37]

Rudolf Arnheim (1904 – 2007)

As a performance, the approach in this joint research is an artistic intervention between three musical approaches. How Housen has expressed this joint artistic research on this performance. To quote Housen: "Co-creation builds a shared sound world that makes me shift my focus to the broader picture. It’s always interesting to see who takes on what role and how everything evolves." Hence, openness and liberality are important foundations of our collaboration.

Joint artistic research, we must stop for a while due to the COVID-19 infection in this moment of the CORONA-pandemic, till next year after the new year 2021.

In December, we will have a meeting for the year 2021. With the joint artistic research, all of us are sure, but we have a very sad experience with COVID-19 Pandemic, we need to have time for each by ourselves now in November 2020.

The first (it can be the second question) research question is, "What is pleasure for us which is an important element x in our life?"

On perception, in terms of Aesthetics As Philosophy of Perception by Nanay (2016)

A film work by Lucien Castaing-Taylor (verrückte Zeit in sensation stands by duo work) across from Imhof's intuitive work, who is the director of the sensory labs at Harvard University. On madness of a Japanese, experimental documentation, which film was represented at the Venice Biennale. Both works are thematized rather about their motives, "madness", but I wanted to focus on the time-sensation of humans literary.

In the research process, what I can mention about the madness of humans, that I can say nothing about "madness". We can never know about madness, even in neuroscience. This term "Madness" is a fantasy of literature, not by medical. In arts and humanities, the researchers are exploring the contradiction from the aspect today.


Notably, I wanted to research his film, he was one of the related artists in my Ph.D proposal. In the subject of his leitmotif.

Visual arts Today, its performativity from collective and expressive to artistic intervention, happening, improvisation. Today's painting of "performativity" of fiction is transformed into a performance (live), due to time-based medium. To study in painting can use many other art mediums, it can be an auditory piece, performance, video, installation, photography, writing, also to study in sculpture, it can be a sound art, installation, video, art object, performance, photography, writing, and so on. Art academy in Norway, they are very open for art mediums through the combination with technology.

I see Imhof's collective performance as a painting, and its performativity of fiction in painting but it happens in real-time. It consists of only different acts without expression that is a time-based composition in space. 

I know, the classical artists in music, they think visual artists are crazy because they have the metronome. Maybe I am also one of them. But our time sense (intuition) is changing. Many visual artists are the choreographer for a new contemporary allegory (Semantic and Semiotic of painting, as well as metaphor of painting) in the (national) Dance-theater, in Europe today. Since 2000, how I have been working as a visual artist as well as in the field of performing arts, that is usual today, after Picasso.


There is no fixed style and no norm for the competition.

Today's jury judgment, they say that is a democratic decision, an artist who gets a majority vote.


There is "no high art" in visual arts since the end of art, which is not like in music. Because there is no genre in visual arts, there is no discipline of classic visual arts like in classical music. To study classic visual arts is for art restorer.



- Anne Imhof. Angst II | Film zur Ausstellung

In this artistic research, I overcome Corona (1962) by Takemitsu already in the perspective of the 21st century. Hence, I create a new one.

->Belgian symbolism

-> I think (but I am not sure), I can research his film in Anthropology and Transversal aesthetics. Motive is a Japanese in Japan, but the characteristic towards renaissance. (Continental philosophy) I think that the representation of his film at the Venice Biennale in Italy was sensational, not the subject, but rather the deep meaning in the culture.

Neue Kunst entsteht außhalber der Kunst Szenen als Hypothese habe ich drei Künstlern in meinem Ph.D. Vorhaben.

Ein Künstler ist  Lucien Castaing-Taylor

Drei Künstlern haben erforscht, in der Forschungen, dass wir nicht im Bereich Kunst studieren können, in der Kunst (arts and humanities) umgesetzt.

Patrick Housen understood my idea of my artwork "Corona" without pianist in my part of the joint research project, how I will join in as a visual artist. He as a composer accepted to explore my audio painting. That was started in 2007, since I have been working with Live Ableton. I started to work with Live Ableton, as my sound colour palette freely, and it was a very new sense for me at that time.

But, to develop a performance for online space, I didn't want to do it. However, we need to think about online space, due to the COVID-19 pandemic.

Is the online space a performance space for arts?

Sensory experimental documentation (in the literary sense from the aspect of neuroscience, transversal aesthetics) and artistic fantasy

Artistic research:  from threefoldness to multi-foldness


From threefoldness to multi-foldness: On Personal AI in visual arts and its perception in an artwork – What is artistic authenticity with AI (technology and which kind of (Wort fehlt/word missing) and how) in arts? In this project I explore practically and theoretically, in particular rethinking philosophical reflection on “A thousand plateaus” (originally published as Mille Plateaux, volume 2 of Capitalisme et Schizophrenic © 1980 by Les Editions de Minuit, Paris) by Gilles Deleuze and Félix Guattari. I've been dealing with this book in my project since 2000. Therefore I agree with the approach "Kunst kommt aus dem Schnabel, wie er gewachsen ist" (the title of an art catalog with 11 disabled artists) by Mosaik e.V. in Berlin, 2011. This artistic research addresses the issue of technology and humanities in arts. (Theorie und Praxis im künstlerischen Schaffensprozess)


From time-based medium to non-human (includes sensors)

Maybe to me, Dekadenz, some of them are pathetic. Likely "Madness" is a fantasy in literature. The current exhibition "Dekadenz und dunkle Träume" at the Alte National Galerie is a fantastic "feature".

If Housen didn't infect the COVID-19, we are in the procedure of a new type of SONIC youth with Huisman (Real-time of Juxtaposition composition by Housen) - music without the whole in the 21st century currently. The background of SONIC youth was Post-structuralism.

Exploring for a new contemplation on the philosophy of sounds in many others. (Keywords: transversality, universality, )



But, in Germany, the lockdown will be started  from the 2nd November 2020.

As an artist, I have to think about life now, due to the COVID-19 pandemic.

My performance work Sensation of Motion in Time at Martin Gropius in Berlin in 2003, what I did.

It was an artistic intervention in the cinemas at Martin Gropius.
I performed with two disabilities performers before starting the film about Frida Kahlo. We were standing three different positions in the dark in the cinemas. One performer is in a wheelchair, on the left side of the cinema screen. Another performer is at the entrance on the left side of the cinema. On the right side of the cinema, I had three people on the triangle in the cinema space. I used a projector to project a picture of a part of their body along with their movements. This pictures were my photographic work "bodylandscape". We created multimodality of body, time and space in the cinema. Both performers had spasticity body handicapes. This performance was a part of program of the exhibition "(im-) perfekte Menschen". In 2003, this performance (artistic intervention) was still sensational because of artistic intervention which was not theatrical performing. Thereby, I used a ethno music, it was also still unusual musical code. Today, there is youtube, we can listen to all kinds of music easily.

In the case of Taylor's film, generally, we humans have the abilities the dealing with consciousness and cognition (reality), but this Japanese is a case who lost this human ability. The importance for us in their film, the procedure of, and ..., they had dealt with philosophical contemplation on this topic. How they dealt with the medium of film on this topic. (...)

-> Myth and limited myth.

not direct for symbolism, due to projection. that images were a small part of their own body, that I transformed into a visual poem.

Verfremded symbol (as handicapper) and verstarkt their Sensation of Motion in Time.