sany0289-tm.jpg by naotokui

参照：
天才のためのツールとは？ (かつて音楽と呼ばれたもの by naotokui)
いつか音楽と呼ばれるものを考える#1 (My Codex Leicester by nagano)

「万人に役に立つ／有用性」の世界と「一万人に一人のため」の世界という切り分け方．薄っぺらい大義と視野狭窄な自己満足．どちらともそれ自体が目的化される事柄ではない．状況認識に過ぎない．ここで考えさせられるのは，｢自分のために役に立つ｣というスキームがあまり語られていないことだ．自分という地平と他者という地平が相互作用する中間領域を考えずして，｢有用性｣の議論は行えないのではないだろうか．

続きを読む "｢いつか音楽と呼ばれるものを考える｣に対する応答" »

時間浴（Time Bathing）という言葉を思いついた．ウェブで検索してみるも，｢時間を浴びる｣という表現は見つからなかった．感念(affect)インタフェース．

時間の流れ，という漠然としたイメージを少しでも具象化してみるために，時間の粒子のようなものを想起する．身体と環境を常に貫いていく，無数のパーティクル．

忙しく，時間がないと思うときほど流れが速いが，能動的にその流れを遅くしてみる．粒子の流れそのものを遅くして，ゆっくりと全身で浴びるイメージを作る．そのイメージがフィードバックして，実際に時間の流れが遅くなる．

有為の最中に無為を挿入すること．その逆に，無為の時を加速させてみることも出来るかもしれない．いろいろな方法で時間を浴びてみよう．

an incomplete translation of Yuji Takahashi's diary during the 1970's. [draft]

self-note: Translation accelerates understanding.

続きを読む "ぬきがき：『時空の編み目をくぐって』、高橋悠治" »

an incomplete translation of Yuji Takahashi's diary during the 1970's. [draft]

self-note: Translation accelerates understanding.

続きを読む "ぬきがき：『時空の編み目をくぐって』、高橋悠治" »

ARTiTの1月号に美術と検閲についての論考を依頼された．が，ミスコミュニケーションの結果，私が書いた論考は「アジアにおける検閲事例の取材」という特集の趣旨に合わなかったため，残念ながら同誌に掲載されないことになった．小崎編集長の合意のもと、ここにその論考をsalvageすることにする．

続きを読む "検閲を検閲することについて" »

私はHeideggerのいう「言語は存在の家である」という言葉や、Lacanによる象徴界・想像界・現実界の象限分けに影響されているし、（不幸にも）西洋的弁証法を義務教育レベルで叩き込まれてもいる．言語は数多ある情報伝達手段（メディア）のなかの一つのツールに過ぎないが、人間の生態的実在が視覚により大きく依存しているように、私たちの社会活動は未だに言語に大きく依存しているといえるだろう（神経接続が実現しない限りにおいて、ではあるが）．その意味で、言語で理解できる世界は既知内領域であるといえる．自分を取り巻くある「事」を、言語というある程度抽象的な道具で表現できたり再表現できたりすれば、それ以外のメディアを利用する必然性はない．

続きを読む "言葉のmashup ：既知外領域へ [02]" »

尊敬するアーティストがとある公の場で，精神病患者に対する差別用語と捉えられる言葉を多用していた．彼の目的は、作品を作る際にどれほど非日常的な精神状態に没入するかということを伝えることであり、決して件の患者を差別することは念頭になかった．むしろ、アウトサイダー・アーティストに嫉妬する美術家のように、そうした精神状態を生きる人に対する敬意も孕んだ語用であることも私は理解している．

続きを読む "言葉のmashup ：既知外領域 [01]" »

足立正生監督《幽閉者—テロリスト》を観て、大いに触発されたので、足早に反応を返してみる。

続きを読む "幽閉者・消失者・媒介者　〜　足立正生監督《幽閉者—テロリスト》への反応として" »

an incomplete translation of Yuji Takahashi's diary during the 1970's. [draft]

self-note: Translation accelerates understanding.

続きを読む "ぬきがき：『時空の編み目をくぐって』、高橋悠治" »

émission du dimanche 28 janvier 2007
La poste à relais

Didier Gazagnadou, élève de GIlles Deleuze devenu anthropologue, décrit vivement l'évolution des réseaux mongols en pointant l'importance de la pure technique d'état qu'est la poste à relais. Il note aussi comment ce vaste étendu de communication a permis aux différentes cultures de réaliser de véritables échanges aussi bien physiques que culturelles, spécialement chez les héritiers islmaques de l'Empire Mongole comme les Mougals et les Mamlouks.

I registed the top banner image of this blog with RegistedCommons (under the same CCPL with this blog of course)

air.drift.jpg

an incomplete translation of Yuji Takahashi's diary during the 1970's. [draft]

self-note: Translation accelerates understanding.

続きを読む "ぬきがき：『時空の編み目をくぐって』、高橋悠治" »

an incomplete translation of Yuji Takahashi's diary during the 1970's. [draft]

self-note: Translation accelerates understanding.

続きを読む "ぬきがき：『時空の編み目をくぐって』、高橋悠治" »

an incomplete translation of Yuji Takahashi's diary during the 1970's. [draft]

self-note: Translation accelerates understanding.

続きを読む "ぬきがき：『時空の編み目をくぐって』、高橋悠治" »

このテクストの目的：
形態の類似する好きなものと嫌いなものを比較して、自分の志向性を確認してみること。

このテクストの裏側：
ただし好き／嫌いは二値的な関係ではなく、好きだけどくだらないもの、嫌いだけど重要だと感じてしまうもの、があるように、こうしてそれを対象に考察を書いているということ自体が筆者にとってそれらが別々の意味で重要だということ。まだ粗雑な書き方だが、「好きな方だけど、それ以上なにも感じないもの」と「嫌いだけどどうしても反応してしまうもの」のあいだには天地ほどの差がある。

このテクストの前提としての限界：
両者のものはこれしか読んだことのないという筆者の両者に対する底の浅さ、純文学に分類される作品をここ数年読んでいないという筆者の怠惰。

続きを読む "金原ひとみ「ハイドラ」と平野敬一郎「決壊」（文學界2007年1月号）を対照的に読む" »

an incomplete translation of Yuji Takahashi's diary during the 1970's. [draft]

self-note: Translation accelerates understanding.

続きを読む "ぬきがき：『時空の編み目をくぐって』、高橋悠治" »

This quartet has derived from the ONJQuintet --> ONJOrchestra, with drummer/trumpetist Yoshigaki, saxophonist Sakagami, basist Mizutani, and Yoshihide Otomo. The show included new songs written for this quartet, and also featured Optron (Atsuhiro Ito).

続きを読む "Otomo Yoshihide New Jazz Quartet feat. Optron @ PIT INN 2006.12.24" »

Origins of media art

archaeology of interactive art

"VNS"(1982) by Dvid Rockeby Canada
"Videoplace"(1974) Myron Krueger (US)
"Handsight "(1992) Agnes Hegedush Hungary

1)
e: exploring the intimacy / immediacy of the human / comupter feedback loop
--> commodization to eyetoy, DDR, Wii
Difference with game is that DRs works are open-ended, without specific goals preset.

2)
camera as input
he creates art-context, not the piece itself.
the interaction is the locus of art moment.

3)
invisible layer of data made visual through hand intervention.
instinctive invitation to interaction.

interactive art as an emotional experience, with intellectual and historical connotations.
almost alternative reality.

---
computer culture triggered the nurturing process of computer-mediated-art, computer-aided-art,
--> Xerox Parc - MIT Architecture Machine Group (i.e. N.Negroponte's SEEK project)

MIT AMG: Aspen Movie Map 1978-80
laser-disc interaction
Michale Nemark / Rebecca Allen
--> Fujihata Alsace GPS map
--> Google Map, A9 project

definition of Interaction:
mutual and symiltaneous activity on the part of both participants human and machine, usually working toward some goal, but not necessarily.
Andy Lippman in Stewart Brand' The Media Lab: inventing the Future at MIT *1988 p46

PutThatThere - finger pointing user interface
Spatial Data Management System *1978 MIT
--> Spatial Intelligification project *(Todai 2006)
--> synchronicity with artists" creation (or derivation into art): J.Shaw, Points of View, 1981

art's role:military technology turned into poetic context
ex: .Shaw, Legible City 1989

Paul de Marinis and Laetitia Sonami: Takes Command at ARS

e: computer was not something automatically interactive, its' interactivity had to be discovered.

Media Representation of COMPUTER in the 50's:
'I'll be dammed. It says "Cogito, Ergo Sum"'
image: Little human beings, with gigantic mainframe computer.
image: mysterious nature of computer
''Do you ever get the feeling it's trying to tell us something'

Ted Nelson's Computer Evolution Dream Machine
classc to the baroque computer,
and the domesticated personal computer

classic: IO simple
baroque computer: IF device, teletype, getting the output like a paperfeed.
dream machine: the user is smiling in front of keyboard and screen

Spacewar open-sourcedly developed in many universities around US.

wider context of interactivity:
- mechanization 1800: full mechanization from around 1900
- automation (cybernation): automata, automatic machines in late 19th century, full automation around 1950s
- interactivity; since the 1960s entering the culture of interactivity, but when?

Full Mechanization
human machine relation: Fordism
- a hierarchy of standardized segmented and subsegmented parts and subparts, all interchangeable
- a fully Tailorized workforce, performing stadardized repeated actions
-a continuous, sequential assembly line
*Peter Wollen)

de-humanization process of industrialization
--> full automation: human beings are not directly involved in the production line
dark side: alienation of the work force / people are not related with the work process, and the unemployment

--> interactivity: entertainment application of technology

D: isn't there a sort of fascism side inside the interactivity

origins of media art:
- changing the spectator and art audience into active participants
- breaking taboos of the untouchability of the art object by bridging art and life.
- go much further back in time than digital technology
- media art has been influenced by technology and popular culture, coming from outside of the traditioanl art world

e: Counter Machine
machine used for pleasure, and not for productivity.
the initiative belongs to the user.
- counter-machines for everal purposes: selling snacks, postge stamps, etc, gaming, development of skills, fortune telling...
- physical interaction
i.e. pinball
d: Hedonic Intrinsic motivation (Benkler)

Lebende Zielscheiben 1913 Shoting range Cinemaograph

early 20th century avant-garde was influenced by popular culture
-dada and surreal
- exhibition design -- emergence of interactive art
- Firederick Kiesler's design for Peggy Guggenheim's Art of this Century Galery NY 1942 pointed toward interactive art.
ex: Kiesler" Lever-operated viewing box for peeping at Andre Breton, Portrait de AB the Actor
Duchamp's Boite en Valise in paternoster peep show

"a kind of artistic Coney Island"
"a penny-arcade show without the pennies"the association is correct

These artists; values have been shaped inside galleries, afterwards.
Artists have to face their identity problem, and look for meanings outside the art context.

roots of interactive art
- arcade and coin0operated machines
- educational devices like teaching machines
- porto-interactive television 1950 Winky Dink and you
- driving, flying etc simulators
- experimental instruments and IF created by artists Oskar Fischniger
- happening and performance fluxus
- optical and toher philosophical toys, including games

Intercultural Interfaces
against pro-western biases in the history of media culture

the Maginc Lantern showing caused as much fear to those who was not instructed of the system
--> at a chinese court

技術の恐怖
先進国の技術的みせつけによる恐怖／畏怖の植え付けが政治的に使われてきたという可能性
vehicle for ideology / political propagation

always a dominiation/dominaed relation is stressed. Passive/Active model is outdated and futile.
There's a need for multi-faceted studies of intercultural interfaces.

Questions:
- history of visual media is eurocentric
- hsitorical development needs to be re-written from the perspective of inter-cultural exchanges and influences
- methods of how local cultures have adopted and transformed these technologies imported from the west.
-

"MAPOFMIGRATION PATTERNS" of visual storytelling by Mair (1988)
D: アジアの移動分布の解像度が低い

民俗学的アプローチ　→　南方熊楠
Sol Worth and John Adair (Through Navajo eyes
Eric Michaels: Bad Aboriginal Art. Tradition, Media, and technological horizons (1994)
--> Michaels tries to understand the point of view of the aboriginis is a dilemmatic situation since he needs to keep his objectivity as a researcher.

model2:
Timon Screech: The Lens within the Heart. The Western Scientific Gaze and Popular Imageryu in Later Edo Japan (2002, orgi 1996)
- compreehensive reading of the Japanese receptio of Western optical technology during the Edo era.
Victor H. Mair has researched vectors of visual storytelling in Painting and Performance, 1988. A global insight on appllying principles of comparative cultural analisys. (author of the migration map)

Unresolved Problems:
- cross-cultural understanding. External and internal prejudices.
--> the censorship of peep-show in Cultural Revolution in China.

- access and language. how to find the knowledgeable people and their research? Disappearing cultures.

- gaps in basic knowledge: Joseph Needham's History of Science anTechnology in China, which is not enough. Basic research in English, but not in Russia or China

D: inter-plasticity of cultures: Timon Screech mentioning how Japan used foreign culture to build upon itself.

The Question of cultural orgigins / migration of cultural forms.

- where did traditions originate, how did they meet and merge? Does autonomous 'parallel creation' exist?
- Victor Muir's Painting and Performance (1988): migration theory of visual cultures

example:
Japan, 絵解き
China, 遍 Pien
Javanese Wayang-BeBer (scroll theater: wayang=performance; ambeber=to unroll)
Iranese, Parda-dar (絨毯の絵解き）

West Bengal, India: Chitrakar = Maker of Pictures
mythological representations still alive: interpretation of Tsunami 2005, Titanic Movie, etc...

Moving Panorama (mid-19th)
- origin of moving panorama is still unknown
--> Circular Panorama (The Colosseum, London): gigantic static image. only shows one frozen moment / immersive: surrouonds the audience, edges hidden: often no lecturer, music or special effects: differs in many ways from the moving panorama that is above all a visual storytelling medium and not an immersive place

moving panorama is not immersive, a quite traditional way of story telling.
d: presentation would never become immersive.

イスラムでは禁忌とされる映像をWayang Beberは投射するというカタルシス機構でもあった．

Carmontelle: english (asymetrical) gardener and transparent role artist
- Parc Monceau
- like japanese parcs

d: peep --> cutting out noise / immersion

bankelsang / moritat (de): 17th c. popular public 絵解き
le chanteur de cantique

q: today's pro-western bias / or japonism
q: how to think Asian presentation software (as opposed to the biased PowerPoint/KeyNote)

'See the whole world, see everything!"

人の内面を映し出す、という意味も付与されていたのは興味深い
（ホムンクルス的！→　天狗／軽い女／恐がり男）

巨大のぞきからくり（障子紙で出来ている）＝ローカルなマテリアル（素材）が活用されいている例

To check in relation with media art center / complex idea:

<KOP> R&D - COMMONS - Who Wants to Be - a nomic gameshow
Take this as a reference: Production Plan

Autonomy takes up on Openness

Also to read:

Paradox of Self-Amendment (+Nomic) by Peter Suber