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

 

 

Iconography:

Study for Graphic Score

Variation I 

Study for space, time and body

Study for the philosophy of sound

Abstract

 

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, that 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 Berlin University of the Arts. He has taken part of the art project still/silent as a composer of OIO. OIO is an artist group that consists of 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 collective shared in a compostion, that is as an artistic style "geistig (compositional) assemblage" which I conceived. For the artistic practice by OIO, "" 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 backwards.

 

This collective artistic research project is between a pianist, Ph.D. in performing arts/clavier, and artistic researcher 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).

 

- 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 a real space.

- The exploration by Lukas Huisman is probably for his new interpretation of "Corona" (1962) for pianist(s) by Takemitsu, together with the complement composition by Patrick Housen in Ghent, Belgium.

- 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. This Variation l is the research conclusion of the collective artistic research project with Lukas Huisman.

Artistic Research: GRAPHY

My suggestion for art education in performing arts and fine arts/visual arts. in the subject of "Corona" (1962) by Toru Takemitsu.

 

There are two paths.

This artistic research based on the following two paths.

Page: Draft of variation l for performance 

Path 2.

String theory on the level of the knowledge. - awareness.

Path 1.

Emotional intelligence

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.

'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