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.