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4 A few thoughts on [Orail-In Retrospect of the International Symposium on Electronic Art, 2002 NAGOYA MOTOYAMA Kiyofumi 32 Considerations on Possibilities of Computer Art-Beyond the trap laid by Marcel Duchamp KATSUMATA Masanao 18 [Orail-My impressions of the works of art I saw in the MEDIASELECT2002 AKIBA Fuminori
ISEA2002 Official Programs Artworks 26 Exhibitions 32 Performances 36 Concerts 38 Electronic Theater
MEDIASELECT2002 42 alternative moments 46 Alternative Communication@OSUElectronic Village 48 electropti [el nice meeting you@NACOYA 54 Consciousness of Water 56 Peaks 58 The Early Works of Video Art in japan 62 YAKATA 64 mental rotation 70 The immortal space
Associated Programs 76 JIMCAMPBELL [Data & Time] 80 Concert for Electroacoustique and Computer Music in Nagoya 81 Lecture: Roy Ascott [PLANETARY TECHNOETICS: art, technology and consciousness]
Related Programs &I ZKM Project web of Life] by Michael GLEICH & JeffreySHAW
Symposium, Paper Presentation, etc. 98 Opening,lSEA General Meeting, Paper Presentation 104 [Orai] Symposium 106 Welcome Party, Excursion 108 Social Event [No, but It's all right!] 110 CAFE, GALLERY, DJ-VJevents
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%sfBTmWQ#%ZLt:OM, MIHI2000 $a/.evA& a%T&3t:o w@MMM=*B, 994Y* b9 bas! ISEABA#Gz&T:37M, iZhk3CZS < OlAt:%trl?tG-f SFW, #%T rtPQ5J a*~aBi!iflBlA\5a~da 7b\ktZC 8 Lt:, ISEA Japan ~lW#?i3%&hEMC81, Re, &6t~&%ar%la%htL\GZ4&6kZ3OISEA* Zb)ZTISEAfiS MOTOYAMA Kiyofumi -To provide a forum where various opinions "come and go (Chairperson, Steering Committee, 11th lntern&.onal Symposium (i.e. [Orai])" relating to electronic art and media art. on Electronic Art, 2002 NACOYA/Representative, MEDIASELECT) -To provide a chance for electronic art to mutually stimu- late and corroborate on "street (i.e. [Orai])" with various fields International Symposium on the Electronic Art, 2002 and sciences in close'relationship, such as cognitive science. NAGOYA has ended. The 5-day long official programs were -To provide a site to carry out experimentation within the the forum for 328 artists and researchers from 30 countries increasing city "traffic (i.e. [Orai])" between the real world and presenting their work and thoughts. Over 10,000 general virtual world. I public participated. 34 related events organized in various parts of Nagoya and others combined, it turned out that as -To provide a place for "contact (i.e. [Orai])" where people of many as 120,000 people saw the electronic art firsthand. At Asian and Western cultures meet and realize their differences. the Port of Nagoya Public Aquarium, Oasis21 in Sakae Park -To provide a place for "communication (i.e. [Orai])" where and in Shirakabe-cho house, many citizens experienced new the citizens and those relating to art, communicate and pro- breeds of art and witnessed their beauty. mote mutual understanding. What are the things that ISEA brought about and left behind? While it is certainly true that we could feel a sense These are the thematic topics that have been upheld for of fulfillment and some kind of reward in the thick atmo- Nagoya Symposium and have been mentioned several times sphere filled in the warehouses of Garden Pier and Harbor already. Although I dare not to repeat them here, I should Hall, it also seems true that achievements or significance of like to point out a few issues discussed in the preparation all the events still need some time before they take shape. phase, and then emerged in the symposium. Catalogues of the artwork and proceedings of the research The Steering Committee of the Symposium was mainly presentations have already been published in time with organized by members of MEDIASELECT, a group of art- the symposium. This booklet, therefore, is complied with ists who think and act about media and art. The group was an intent of over viewing the official programs as well as founded in 1999 when warehouses at Garden Pier, a central recording the results of such tandem programs as MEDIA- location for the ISEA artwork presentation this time, were ! SELECT2002, a program organized and implemented by for the first time opened to artists and the public. That 1 MEDIASELECT, associated programs and related programs. year should have hosted The 6th International Biennial in Besides documentary nature, this booklet is designed to Nagoya-ARTEC. At the time, exhibition MEDIASELECT was serve as a catalogue giving a larger space for introducing launched, so to speak, to return our gratitude to what ARTEC works of art and artists. From the beginning we considered had archived during the decade. ARTEC started from 1989 it important for this booklet to carry texts as well. Before the with background of manufacturing, an industrial feature of this symposium, we asked Mr. KATSUMATA Masanao to write an region, was originally planned and produced at the time of the essay on [Orai] from the comprehensive, sociological view- World Design Expo. At its natural consequence, technology art . .~ A few thoughts on [Orail-In Retrospect of the International Symposium on Electronic Art, ZOO2 NAGOYA 7 & L. known as high-tech art, a combination of art and advanced, nal world. In contrast, booths in warehouses function as a frontier technologies, were brought forward. At the same system to mediate exterior natural environment, i.e. winds time, ARTEC also embraced extremely high quality contem- and lights and even human eyes. Now introduced nature and porary art. This can be demonstrated by the faces of invited white cubes together take away elements of illusion-project- artists. There are not a few artists who unlikely to be catego- ing space from the site, and in return, send back media art to rized into electronic or media artists or who do not want to the context of modernism. be categorized as such. The boundary between Art and Tech- nology was ambiguous in ARTEC. Some people might have felt a sense of incompatibility, since MEDIASELECT had been aware of it since its inception. exhibits in MEDIASELECT2002 were not limited to media art. Furthermore, it felt that ISEA2002 should serve as a place to Broad range of artwork including paintings were presented. question the relationship between media art and contempo- This was another approach to exemplify [Orai]. Artwork rary art. Out of the attempts to put our question into action gradually shifts to less electronic media, as if drawing a soft was to carry out site planning of official programs, especially gradation, as the location geographically moves from the cen- exhibition planning. Through proposals by and discussion tral port site to the peripheral areas. Nagoya City Art Museum, with PH STUDIO, a group of artists and architects filled with half away from Garden Pier, organized JIM CAMPBELL Exhibi- new ideas and energies, exhibition planning for media art tion. In the state of ambivalence, high degree of harmony of presentation was given a new direction. Common sense in media and art was presented. The exhibition "The immortal the world of media art, i.e. artwork shall be presented in a space" organized at NAGOYA CITIZENS' GALLERY YADA, the closed environment where external lights are shut out, is exhibition site located at the extreme end, cast a question completely overturned with an intake of ocean winds and concerning flatness, the formality of modernism, through sunlight. White cubic booths were created to avoid interfer- "moving images". ence of work pieces and to guarantee a certain controllable There are a few problems left unsolved. One is the defini- space for each piece. Large entrance doors of warehouses are tion of terminologies: electronic art and media art. In this wide open towards the ocean, allowing external fresh air symposium of "electronic art", MEDIASELECT has opted for flowing in and bright sunlight shining in. By adjusting the term "media art" where possible. There were some criti- booths layout, winds and lights are controlled sometimes cism or skepticism to our stance. However, the debate over boldly and sometimes delicately, responding gently to each the terminology has not developed further after our initial object's request. This approach of creating a space made up argument, in which we adhered more to the attitude of of white cubes accommodating visuals and other media art- questioning the relationship with media than to the use of work pieces gained favorable response from both the artists electronic technologies. When we attempted keyword search themselves and audience. in the proceedings, it has been found out that "media art" Let me supplement a bit here. [Orai] in this context rep- hit twice as many times than "electronic art". If this is simply resents interaction between media art and contemporary the result of confusion of terminologies, it might create a dif- art. Since the days of "Fantasmagorie", screens serving as ferent problem, though. information projection system as was in the words of Erkki HUHTAMO have functioned as a system of sending audience It was decided that Nagoya would be the next venue for the into world of illusion by shutting them out from the exter- symposium when the Paris symposium in 2000 was over. We 8 A few thoughts on [Orail-In Retrospect of the International Symposium on Electronic Art, 2002 NAGOYA had only 2 years for preparation. Inexperience of MEDIASELECT for us to make ISEA2002 NAGOYA possible. I would like to and excessive expectation pinning on Japan, a nation said to thank Mr. ABE Yoshiyuki of ISEA Japan and others who have be high-tech, electronic-oriented society, not enough com- a long involvement in ISEA for giving us precious advice. munication with ISEA headquarters arising from cultural They encouraged us and sometimes scolded us to make this differences, and a number of other factors overwhelmed us symposium really worthwhile.. I would also like to express until the last minute. my sincere appreciation to Mr. SAKANE Itsuo, President of Behind these backdrops, the ISEA2002 NAGOYA was con- IAMAS, Mr. MORI Shigeki, Director of ARTEC 89/97 and vened. As far as the site preparation and operation are concerned, other artwork committee members for their fair and serious we are proud that these are nearly perfect. Communication judgment during 5-day long tough competition. I would infrastructure enabling optimum network environment, a also thank staff members of Art Paradise who also worked as main concern expressed by people concerned in the initial the secretariat of "artport" for their painstaking efforts. In phase of planning, turned out to have sufficiently worked, addition, I do appreciate so many volunteers who supported thanks to full cooperation of public organizations. Tightly ISEA2002 on site. As a member of steering committee and as scheduled performance programs and research presentations a member of MEDIASELECT, I would like to express my sin- at 5 different rooms conducted in parallel went smoothly. cere gratitude to all the people concemed. Coordination among universities, private and public sectors, which together constituted the steering committee worked also well. These were only possible with extensive coopera- tion and understanding of local communities. There were a few regrettable points. Although, we had a lot of student participants from Korea, there were few from other Asian countries. It was also regrettable that some par- ticipants from the Western nations insisted why they should pay charges even though they came far away. As far as the former is concerned it might partly have been caused by poor PR, but at the same time, it suggests that we are facing a serious reality of divide, as had been pointed out by people concerned. As for the latter, I felt that cultural diversity advocated by ISEA has not taken root fully yet. Compare East Asians going to ISEA symposium being held in Europe, and Europeans coming to Far East. To them, this seems to be an asymmetric event. These issues made us aware of Euro- centrism or Japan's position in Asia. This also must be a grave challenges that [Orai] presented to us. We are grateful for the help and assistance extended by many people, without which it would not have been possible A few thoughts on [Orail-In Retrospect of the International Symposium on Electronic Art, 2002 NAGOYA 9 %I Y ~/Sakae Area 7t-X=>9 rARchJ U+%fll[l09=9t- Opening Electronk Music Project [ARch] 3-74 711-9 g-fP€>F*-IC NADYA Park Diamond Hall Concerts Computer Lsbo ExhlMtlon Void Aichi Prefectual Art Theater NADYA Park Exhlbltlon (Globe jungk Project) NCSM h JSEM Scknce Talk h Electronic Concert Oimatsu Park [Melgetsu-Oral] (The Moon-Oral) ...... Planetarium, Nagoya City Science Mmm altwtfvemoments - %bL\RM - alternative moments (NCSM) *P~X21 : ~#1m Oasis21: Sakae Park llwamo2PRE-EVENT Alternative CommunicationOOSU SPMAL EXHiBillON OF MEDIA ART: Electronic Vlllage F€rERBENZ OSU GOODWIU Entertainment Digital Mall Gallery Plannet Boy& Barista Coffee ISHIDA Hisashi Solo Exhibition electroptl [el nice meeting you@NAtOYA Galleria Finarte Shumokukan INOUE Hlsako Solo Exhibition JIMCAMPBELL [Data &Time] IT0 Tadashi Solo Exhlbltlon Nagoya City Art Museum Westbeth Gallery Kozuka Concert for Electroacoustlqueand Exhibition and Performance Computer Music In Nagoya [Town Is fading away.] Aichi Prefectual Art Theater canolfan Lecture: Roy Ascott NAKAZAWA Hldekl Solo Exhlbition [PLANETARY TECHNOETICS: [Clrcult] art, technology and conrdousneu] Gallery Celler Nagoya City Science Museum MUSASHl Atsuhlko Solo Exhibition [MIRROR MARKS] Heartfii Cdery YAKATA Bb.B%W# ExhRltbm warehouses Na4.20, Garden Pier p&omwKM Sodrl Em[No, but Ys aU rlghtl] warehowNa20, Carden Pier WmtdMSM-ht0baF'a.k P~.PortofNagoya ...... ~Rolea[WcbofUf~l byMkMtlEKnhJcfhrpSHAW warehoureNo20,GardenPier MORIYAMA Daklo Sdo Exhibition [ShlnJuku- Platform-Light &Shadow] The Museum of Contmpxary Art, Nagoya CAFE, GALLERY, DJ.VJevents Warehouse No.20, Garden Pier mental rotation Exhibitton ~SIT2002] NAGOYA CITIZENS' GAUERY YADA Nagoya Zokci e, Bauhaus Unlvcrslty NAGOYA CITIZENS' GALLERY YADA The Immortal space NAGOYA CITIZENS' GALLERY YADA %&HW/Nagoya Station Ibum:~randh~artR~~ Kmmura Yosuke sob exhibition [baum: ] sound h visual art t JR t>b3lb99-~1~99-~f5?r7ti--lb Towers Plaza Hall, 1ZF jR Central Towm [photo actbe Hitsuda Tamaml h Yoshldu Toshlnao]-Printing MeU~odology#3- Gallery BE & be, Nagoya University of Arts D1glt.l Art h Design Exhibition [Oral-RoJI] , Sb~~O*WT'4F%YZ- Media Center, Nagoya Kogakuin College IV. &* (2%1=3--93>) az#i ED*';, b9Wh:8kY6S%AiEa&3tb60&tbbaA\0 %k%MbL3E*tZ8k36*qO%RCZTO%EBJQH 6ZkAiTsbaTM&68b\A\o H*UI*WM, #f£kBE&bF#&kb\3%747CDX Whzdc~T,t%mtb#MWOMl8B%mtb%cDC:'if6 ZkT, E!*a3z =~=3--9s>QW~Lt:o eaaA Lt:3 Z I=*-9 s >O2M tZ;Xb\T, b < cnrnRAf* Qh, P GGr;FIIBA\Gb< aUSAi4aX Pht:, %t:W S@*%M, Sa*#%k LT%% LTb\3 t:o #mcz8 b\TM#hH.?ZXt:@BUit'Z kT, QatB%iBQ@& t:$ 4k Rl$bo EFO#A #!!JZE%MZ~#EiaR@8%OR@, P B cz&3AamC@iz%~LizO WRcr9$L~SltfitB%AiS da&sh, eas~,%t:tbtBnAixsi'if.a0 QLPM r#&%%J (mixed reality) AiRCLfiShTb\bo Z ZT Mn&TMtb <. %hkSda8b+2CZ&&%T:tbtB%UI# %Ai&QPhTb\tzOTT"dj&, #POtB%T%, 8 t:ThNmcD;FIIaatB%T6, E1C Ik#ID&WW!X.ffMtbb\o E'Jl2TM4'FIT%&6L, Btzdj GdakaC%tbGtbb\, EXM#$#ZT&3 t:, TZAiW @bZ, .fKPO#8QrOrb.tt~b%3-T"4*-9-P6&3 f:, f:, @MbL4~~ZkC:~%158R~Tb\t:, Considerations on Possibilities of Computer Art It should be also noted that Duchamp was an -Beyond the trap laid by Marcel Duchamp unrivaled chess player. Therefore, his works can be compared to chess problems; viewers are tempted to KATSUMATA Masanao (Associate Professor, Nagoya City University) solve the problems and cast a contemplating look at his pieces, in place of moving chess pieces. But Duchamp I. Trap of Duchamp invented a way never to lose chess games. Thus, once Every time I visit a contemporary art exhibition, I we are lured into his world, we are forced to play a game cannot help saying to myself, "Unsuccessful copies of with no hope of winning. Duchamp are everywhere. They are still caught in the trap of Duchamp." 11. Restrictions of Computer Art Oftentimes, artistic and aesthetic values of contem- When "The Nude Descending a Staircase" was painted, porary works of art are hardly recognizable at a first a human body was already translated into a kind of glance. This is because these works exist for the purpose mechanical being in Duchamp's mind. His other mas- of prompting viewers to explore the meaning of art and terpiece, "The Large Glass" (The Bride Stripped Bare by beauty. In other words, works of contemporary art deal Her Bachelors, Even), forces viewers to look at the world with the very basic question, "what is art?" through a glass on which humans are depicted as a Needless to say, no other artists have questioned the combination of mechanical parts. This painting com- nature of art more eloquently than Duchamp. Specifi- pels us to translate the world into a combination of cally, he so conclusively indicated that art is one form mechanical components. With the advent of comput- of institution through his pieces called "Readyrnades," ers, translating or converting humans and living things which include an ordinary urinal with his signature on into mechanical movements became a phenomenon of it ("Fountain"). its own kind. In other words, it is equal to converting Under his influence, the practice of letting works of the world of analog continuity into a world of digital art explain itself, or creating self-referential works, has discontinuity. High-performance computers can convert become a major trend among contemporary artists. As sounds, images and movements into digital data and '- viewers wonder the artistic value of an object they are process such data instantly and easily. This means we examining, they are inevitably entrapped by an endless can adjust and change images, sounds and movements loop of self-reference. Duchamp was fully aware that immediately, and display the results by using interface. such active involvement would add artistic value to the This ability opened up the possibilities of interactive art. object. Considerations on Possibilities of Computer Art-Beyond the trap laid by Marcel Duchamp 15 However, no work of interactive art allows the viewer the Internet, our individual consciousness will be com- to play outside of the sphere of the game defined by the bined globally and fused into greater consciousness, and artist who created it. Viewers are forced to stay within this will be a breeding ground for new art. the "palm of Buddha," or, in this case, the "palm of the In the ISEA 2002, however, only few artists used the artist." It is hardly possible to go beyond the realm of Internet as a means to present their pieces on a global the game. basis, and even the artists who did so were only able to This also applies when we watch Duchamp's pieces, cause elation no greater than the one likely to be felt in since we are entrapped by Duchamp and forced to play a ceremony held to commemorate the beginning of an a chess game with him which we will never win. We international telephone service. Most works of art were still remain caught in the trap laid so cleverly by Duch- still confined to the realms created by stand-alone com- amp. puters. Then, how can we break through such restrictions of Furthermore, the expansion of consciousness to the computer art? cyberspace and the fusion of individual consciousness It seems a hint to the answer lies in Duchamp's pieces into such expanded consciousness can be dangerous, themselves. Through his pieces, Duchamp succeeded in that they can lead to a kind of totalitarianism. For in inspiring discussions on art. This means, his works this reason, Ascott, who merely glorified such style of can facilitate interactive communications. He even art earlier, is now insisting the importance of "double attempted to issue bonds with his photograph printed consciousness" - consciousness of each individual and on them ("Obligations pour la roulette de Monte-Carlo"). cyberspace. By doing so, he tried to shift the focus of the artists' role from the creation of works of art to the provision of IV. Art of "Orai" (Communications) venues for communication and exchange. How will art in cyberspace evolve in the future? I think Following this line of thinking, we may conclude that we can answer this question by tracing the development the key to removal of the restrictions of computer art of the Japanese literature. lies in communications made possible by the ubiqui- Looking back on the history of Japanese literature, tous, not stand-alone, computing environment. it is apparent that the introduction of letter-writing, a new written media involving paper and the art of callig- 111. Expectation for art in the cyberspace and the reality raphy, allowed lovers to exchange love poems between Roy Ascott strongly maintains that art in cyberspace has them without meeting one another in person, and thus great possibilities. He argues that in the cyberspace cre- the scope of communications between men and women ated in the ubiquitous computing environment such as was expanded. In the sphere of the expanded communi- 16 Considerations on Possibilities of Computer Art-Beyond the trap laid by Marcel Duchamp cations, many waka poems were created, and from these When ISEA2002 was held, works of and people associ- ' poems, a number of tales were born. On the other hand, ated with computer art gathered in Nagoya and entered the tradition of the "interactive" literature gave birth to into the everyday life of local citizens. In this sense, I renga (linked verses) and haikai (poetic form of alternating believe Nagoya was a space of mixed reality with the stanzas by different authors to continue to transform and possibility of developing into a new world during this develop the world of the poem). period. Matsuo Basho, a master haiku poet of the Edo period, A park named "Oasis 21" was completed at the center applied this principle of haikai to his journeys and even of Nagoya as if in time for the opening of ISEA 2002. his life. He created a new world by overlapping the This complex is comprised of a bus terminal, a shopping poetic world and reality, and in this new world, he con- mall, and a park. Interestingly, several spaces for traffic, tinued an unceasing pursuit of "mixed reality." In other such as a bus network, the square of the underground words, a new world resulted from this overlapping and shopping mall, the aboveground park, and the space the gap between the poetic world and reality, not from under the large roof, are linked together by the Oasis the fusion of the two. 21. As you get off a bus and walk toward the under- In the world of haikai, and that of earlier waka ground shopping mall, you will be automatically led to poems, there is no distinct division between readers an open square connecting to the park. Looking above, and authors. This means readers themselves are also you can see dim shadows of people walking on a water- authors, as it should be. Basho was a haiku author, but filled, large roof named "Water Spaceship." Here, several at the same time, he was a professional coordinator who spaces overlap and link with each other to create a new cleverly managed the haikai circle. In fact, he was more space. proud of his ability to coordinate than the ability to If a new art space is to be created by media art, it compose haiku. will have the "linking" structure just like the Oasis 21. In this space, viewers will have to play the role of art- V. City as an exhibition space ists themselves. (With computer assistance, doing so will It is true that computer-assisted cyberspace art is still at and should be much easier than before.) Artists will no a developing stage with no definite goals, and has been longer be creators, but they will serve as coordinators presented only insufficiently so far. However, if cyber- or curators to provide or set up new space. When the space art is to evolve into something like Japan's "art real world is linked to various other worlds created by of Orai," it will undoubtedly go through the process of media, the reality that looks boring and gray will be coping with a different reality and then creating a new lighted anew and begins to shine. This is where we find reality, not that of fusing into the entirety. the possibilities of computer art. -- - Considerations on Possibilities of Computer Art-Beyond the trap laid by Marcel Duchamp assLTZ~BO~MMP~, P- F 13, saoa 5 M a2##&&5ZL&fitGBA~7Q~%kQSX&e7L\ <;f;b%~na~'&~bs60~.rt,z ZPMY- 1.8, rB fiZW <@A~LA~3t:AB,E%S<@%LAt3t:%%, A\ ~.tmmmmi~.a~L:T*s~:A YAKATA (%&BBBI) %&E%BWEL,IJIIB~~T, g&R%rrA.;5, *P a 5 - trtZLW+~-&Jtt~ QO3$#6#4tbHkAtQ QJZGYG~~t:, &A\T6, g~garn~~ar;13 A\%&&J =A~~t?A~EkdOHAS&~=AM,k ~OBJ~~A~%TB~BB#~~AS%BB~T~~%Lt:, S&b2I@WO&ii&b\3fiTG&, ultra living OH# +@R%RfPLf:, @6(nP%M, s8l&U (&& Q+ %h !I 1 Q%f:&b\FZ%OtbA\C:, fiS5%cn#$4E&b MB%&s~B~Y&~&~~ET@Gzs~T@< %OP$fit\ 4a(n@I~M,QZCrEBEAW, ((;~uBME*L'J--x) m't%74Y*Y-b@ , ralternative moments - % L L\RM -1 %&E~%%EfY9X2lTEbhkZ~Z&a3%, ht:LfiiMBT3t:aMri;i#sa&Sha (\j=';l9- 4'/ 9-7rdX2 (5'/9h.P3t~)) fZL-fTLt:, tBt$t BWBTT, 4~ F7%>Bfi\b-fSo QaALLTBBB B39EL&Ai\'6%LbTo +cDftAi, Z04FAAO2hRAi& QM~85Bhttsf1\66B,t:Lfi\tr+3-cI/t:, #+a ~~Bfi~~5j~fi\5$EzXX,Eil5jcnaLt:B%b\3$5jtr Tt)L93-T437Q=~=9-';/a>@ ~zXs~\bA\~&b~,bk L~~~~A~c-~cL~~-~ kBzL3 bu=u3ELrYJ %XMBCtzMX~7LT,%%8h8< &37@0Mb\ k%M%B%o WSPIaQ3RE8fi'T \ %jW@LBM %%L&3Lt6rBI, #PA\\'6cnZF:LB5jcDlPcnPbl b\t:?43~99fB;btMA\h, 4'/3r-*.:, bcrdcsx b';D\', Bb\A\sSs&3crbt:Lbza.>T< 50 m@L7 b 9-< 9YAiEbh7b\QLt:, k@ShL#HSha b\ttsaA\bA\58< &Q, AQBATLSb\QLRo 38 T99f .if\-&?'/J J>VC=, +&SkB2XTcnK <#PLJ< ==9- bB67:83aA&kM\ 8E?TkW%L BT Lf:, iFl& 5 6 €ha, S3f %iZIR&a (ISEA) + &bf.hld& D &%!A, sfb\WEf tritj3t:, Tbt: LJ a a%at=wsrm.e t7-r3~ T~~~T~cLE~%B~ A--BBXX7b\6%a ~~b'il@B!Lfi!G&'t&m@L7 ISEA TffhhkSS, #L, #I!&$(, $ c&%ZZT@# b\S Lt:, rnS@B3cRZ3A&kM, B5jT*XtsC-fhH& *&h. BtlYSh, NCnMBL L7%BShWSBW50 5 8%!h0 (10 B 30 8) itj5~~ISEA a+~a8fii, ISEA ~~%~h;aa2 M~J~IUI ~P~BQZ~T%BLWSB#~', ehM, ISEA +a%a AiW-CDlR&L&5&b\t:83GL ISEA 8MBs~bL7&B Lt!Sht:, % 3Uk3cn%&cn&BT& 5 8 Lt:, zcns BM\ F4 !Y\ '74T-)bjf9j\9XINkYaY&&h Q%X&ZLTSGG:i#kTb\B Lk, k%M%/l.&b\k %%!%I T&&J @aitjZilo %QB@ 5 3TTo 5 < \ 98Cn ISEA O&A\T, 8t% r@&J [Orail-My impressions of the works of art I saw in tactfully involved two cheerful middle-aged women - the MEDIASELECT2002 who were seated in the front row, and in doing so, the performers succeeded in representing the "Orai" AKlBA Fuminori (Associate Professor, Nagoya University) mood, unique to Osu. Speaking of coming and going between different times and spaces, a musical perfor- An ideal, self-contained body has broken apart. Art is mance and video presentation given by a group called associated with a plastic bod$ that continues to dimin- "ultra living," is also worthy of special attention. Their ish its capabilities in the process of repetitive intake and music is unfixed without any definite edges (beginning excretion of foreign matters. In this paper, I define art as and ending), during which carefully designed "surprises" something that is based on a plastic body which allows are repetitively presented to evoke many different feel- the body to travel to a time and space that was unimagi- ings amongst listeners. During the performance under nable in the past; in doing so, art can be "art of living" discussion, a radio broadcast of a Japan Series baseball that is transformative and individual, not universal, and game, "the Lions vs. the Giants," was suddenly inter- capable of causing political changes in our everyday jected (and the apocalyptic video image was interrupted by a lives. In other words, art is 'seeing a man with a bent popular, two-hour TV suspense drama). Thus, the audience, back and weak knees stand up and walk by, and encour- who had been entirely absorbed in sound and images at aging him to use his body in a different manner to make the beginning, was suddenly made conscious of a dif- 1 up for his bent back and weak knees?' In MEDIASELECT, ferent incident concurrently happening in a different I was able to view many pieces as part of my pursuit of space, and the process was immediately incorporated "Orai," an art which allows the viewer to travel back and into the performance and further transformed. During forth between different times, different spaces, and dif- this process, different hidden dimensions of the present ferent realms. In the following sections, I will discuss my time repeatedly emerged and disappeared, making us impressions of the exhibits in relation to successive time. feel that our "present time," which we had previously thought of as unique and absolute, was only a relative Excursion Program - YAKATA (Port of Nagoya) being. We got on a boat and departed from the Port of Nagoya, On our way back to the port, we sighted a work of cruised along the Hori River, and then returned to the art titled "Toge (peaks)"'. The view of the blue gleaming Port of Nagoya. Literally, it gave us a sea-borne "Orai" objects conjured an image of days gone by, and I imag- (coming and going) experience. Various performances ined what people might have seen as they approached were given onboard. Especially, two performers from the coast on boat. In those days, high-rise buildings and Osu left a strong impression on me. The performances electric lights were unheard of, so people approaching E [Orall-My impressions of the works of art I saw in the MEDIASELECT2002 the cost must have only seen the distant mountains sil- former, looked as if they had been a set of tea utensils, houetted against the sky. If I hadn't had the chance to which she used to make sounds (I remember that I could see the coast from the sea, I would not have thought of feel the soul of heavy sounds traveling freely in the air, the past in such a manner. (October 27) which came to us with a roar and dealt us with an uppercut on our bottoms). Ms. Ueyama was completely hospitable Exhibition - mental rotation towards her guests, Mr. Iwata and Ms. Kotaki, as she (Nagoya Citizens' Gallery Yada) conversed with them, but the encounter with the soul Thanks to the kind efforts of Mr. Iwata, one of the orga- of the sounds was a fearful one for me. In saying that, I I nizers, I was able to watch a video letter entitled "Enren" sincerely thank Ms. Ueyama for the experience. 6 (approximately one hour) produced by Ms. Minako Kita- Another exhibit I saw was a group of dying TV sets I yama. This video letter comprised an array of questions installed in a classical warehouse on the first floor. The about fiancee; asked to people from various parts of display itself had an appearance of a Buddhist altar, the world, including Japan. The questions themselves and thus evoked an electronic image of the coming and were not heard or superimposed, but viewers were able going between the lands of the living and the dead. It to speculate what the question was by listening to the is my opinion that welcoming spirits and spirits of the responses. As I listened to the responses, I became either dead were everywhere in the venue. (October 29) sympathetic or antipathetic towards the interviewee, and this process gave me a vague idea about their way Project - of thinking and their background, and I was also made Alternative Communication@OSUElectronic Village aware of my own sentiment. Mental rotation. Osu is an electronics town. Here, in the center of the (October 29) IT industry, a micro radio station was set up to offer an Internet streaming service using weak electric waves. Exhibition - electropti [el nice meeting you@NAGOYA This project was prepared by a duo from "Radio Home- (Shumokukan) run" (Mr. Oenoki and Mr: Tsuda) together with university I was unable to see a lot of these performances because students. Above all, I think this was an "alternative" the venue was partially booked for a party on that approach to the International Symposium on Electronic day. However, "Pukuon:" like a bowl of thick tea, had Art (ISEA). The radio station immediately collected data a heavy impact on my stomach (and bottom), as I lis- from meetings, events, and exhibitions held as part of tened to the performance sitting on my legs in a dark, ISEA. Then they reedited, analyzed and compiled the carpeted room on a basement floor. The Mac computer information from a different angle broadcasted it for and other devices placed around Ms. Ueyama, the per- listeners to respond to. In some cases, the radio station [Orail-My impressions of the works of art I saw in the MEDIASELECT2002 served as a venue for ISEA participants to send infor- immediately, and the very moment I decided I would mation about ISEA, in a manner not expected by the not wait any longer and was about to ask another ques- organizers, in order to receive listeners' responses: In tion, the answer from the other person and my last this sense, it provided a channel of another "present question came to me, overlapping each other. This time" which was created through ISEA itself to ensure made me confused and speechless. We had to develop a that ISEA wouldn't be the only reality. As well, the par- way to communicate with another person by ourselves. ticipation of the students from the Weimar Bauhaus Thus, what had supported "my" identity - succes- University contributed to the expansion of the channel. sive time and other:- as written in an old philosophy Osu is one of the few towns that have a feel of "Orai" in book, was lost. Then how can we support our identity? the nature of street performance. I even heard that the We have to find an answer to this question on our own. general public also participated in the event. Perhaps, (October 30) this event represented the concept of Orai better than f any of the other ISEA events. 1 would like to thank all of Exhibition The immortal space - 1 the participants for presenting such an inspiring perfor- (Nagoya Citizens' Gallery Yada) I mance despite the cold weather. Mr. Yasuo Miwaki asked in a brochure how are we able I (October 29) to unfold the concept of immortality without rely- ing on the fraudulent asceticism and cynicism with I Oasis 21: Sakae Park Public Media Art Program which we pretend to pursue transcendents such as real - alternative moments - experience and Japan, and yet turn to fetishism instead, Though several events were held in Oasis 21, a new without choosing the easy way of sinking into everyday landmark of Nagoya, I was only able to attend the life. We must bear this question in mind if we are to "Sonic Interface 2 (Random Access)" presented by Mr. appreciate the value of this exhibition. The works of Mr. Akitsugu Maebayashi. During this event, I was made Takeshi Masada, Mr. Katsuhiro Yamada, and Mr. Kohei to carry a device on my back and wear a headphone Takahashi left a strong impression on me. Mr. Shigeo in order to communicate with another person as we Ogawa painted a picture of his own house based on a walked back and forth in an underground passage. I photograph taken by another person. This work, as well was told that this would amplify the effect of the per- as all the other works shown in the exhibition, seemed formance, and it was true. I could hear what the other to represent serious efforts to maintain the memory person said after only a considerable delay and I was for the things that had surely existed before the artists unable to determine when my voice would return to were born, and to record the methodologies and objects me. Accordingly, my questions were not answered which were not their own properties, but without [Orail-My impressions of the works of art I saw in the MEDIASELECT2002 23 which their identities would be lost, by means of trans- "Orai." Yet, this event made me aware that the time formation and restructuring. (October 29) and relation with other people, which support my identity, were on the way to destruction. It also pro- Exhibition - The Early Works of Video Art in Japan vided me with many important suggestions as to how (Assembly Hall, Nagoya Port Building) I could allow myself to travel to a different place in a An image of a hand was projected onto a floor which different manner, without making up for the distortion served as a screen, and pins were stuck one by one experienced with new transcendental matters, but by along the outline of the image until the entire outline accepting the distorted state as it is. Lastly, I would like was pinned (of course, the result was not a hand itself, to express my gratitude to all the people concerned. but an "image" of the hand's image). Then, the pins were removed one by one. This is what the work of art titled "TIES' was all about. Here, the question first raised by Plato was dealt with in a time-oriented manner only 1. This expression is taken from the remarks by Ms. Kaoru made possible by using video. The combination of suc- Motomiya in the Orai Symposium on October 30. 2. Remarks by R. Shusterman, Professor of Temple University, cessive time, others (as source of light), and the screen who advanced the theory of Somaesthetics. made it possible to create the image, even though it was 3. Works of Mr. Michiro Tokushige and Mr. Daisuke Furuike. 4. For me, this performance was full of discoveries; I was phantasmal and momentary. Probably, it was when the especially amused to know that the Chinese word for a pins were removed one by one even without rewinding fiancee means, literally, an "unmarried husband." The the video tape that the resulting destruction was most one-hour footage went by so fast. 5. Work of Ms. Tomoko Ueyama. evident. (October 31) 6. Work of Ms. Arisa Wakami. 7. The ISEA participant I saw at the radio station was Ms. Machiko Kusahara (UCLA). Exhibition - Consciousness of Water 8. To be more accurate, it is "time, others, and synthetic (Port of Nagoya Public Aquarium and the Museum of imagination." Contemporary Art, Nagoya) 9. Work of Mr. Yoshiomi Yamaguchi. This was an exhibition of rapid water flow from ears, eyes, and nostrils. It was so out of place in the aquarium, yet so well suited to the Museum of Contemporary Art. Besides the above, there were many other exhibits I didn't have the chance to see or experience, which is a pity. I can discuss what I saw in no other terms than [Orail-My impressions of the works of art I saw in the MEDIASELECT2002 I( 24 1, ISEA2002 Official Programs Artworks EJE& Exhibitions October 27 (Sun.)-31 (Thu.) Warehouse No.4, Garden Pier in port of Nagoya Warehouse No.20, Garden Pier in port of Nagoya Oimatsu Park 4 qLkZ t: 20 -mBPPB&Ytr Lt:BW&M 396 #(nfi4J For exhibitions at warehouse No.4 and warehouse ;b%h 5. QPBBifi L 7: 96 4FBO 3 4 55 #B;bt&Y tZE No.20 in the port of Nagoya, we had 396 entries. From 5YSdt3 Lt:, &~f88@~k~t~hUBO~&BFP~L\,\Z\the 96 works which passed the judging, 55 works were 4Y9-3-Y b&#%Lt:#bii+\ A;b<;b\ba4229 exhibited in the site. We had many large installations, L-9s YOl4FB;b~S< *5h& Lko %t:, FPEObV? works connected to the internet, and interactive pieces am~~~a03~e27-932;b~s~a~~~L~Z~ using moving images which took the leading part of the show. We also had a presentation of work at Oimatsu Park in the central area of the city. Paul HERTZ Crossworlds ^I 15EAZlN2 mcial program heria1 23! - - J %ifffB?j-f >6\84%+1 Warehouse No.4, Garden Pier in ~ortof Naaova tUiEfi AKAMATSU Masayuki Time Machine! Peter BOSCH, Simone SIMONS Aguas Vivas Keith BROWN + Imaging Technologies Croup DMU SpaceForm-01 Beatriz DA COSTA + Robotics Consultants: Ben Brown and Garth Zeglin CELLO Ursula DAMM, Matthias WEBER, Thomas KULESSA Memory of space Shawn DECKER Scratch Studies #3: Moths Shawn DECKER The Night Sounds Kim Dotty HACHMANN Piktmovies Paul HERTZ Crossworlds Tiffany HOLMES Follow the Mouse UkHPgl IIMURA Takahiko Seeing / Hearing / Speaking Troy INNOCENT Artefact *Ell#! KASUCA Akira b87f-7 ZOO2 topophonia 2002 George LECRADY, Stephen Travis POPE George LECRADY t Stephen Travis POPE Sensing Speaking Space Sensing Speaking Space SAITO Tetsumasa Robert B. LlSEK 1,800MB Ideology STACK &mists\e*B@ QJlliO MIYABARA Mika, SUGIMOTO Tatsuo SHIRAKAWA Yoshiyuki -#G%B-- W*%B9IJ-X-9 bounce street Safe Torturing Series - 9 8tbVfi\Ei Tamara STONE MOTOMIYA Kaoru "Are You Afraid of Dogs" r%R5;hlJ7itJC=7b€>A California lemon sings a song #*&a SUZUKI Yasuhiro @L*3 g0-7. Pt>9JC-?OPr9 I-+%.Y*\fi@P(01f7it--7>X MURAKAMI Fumlakl Globe JungleProject + Performance, Oimatsu Park Reverse '%YT(DEZ&%&3l811TQ,if7f-?>A rnABjOblr+,, Anneke PETTICAN, Spencer ROBERTS QH%W The Trespass of Her Gesture TAKAHASHI Keiko, SASADA Shinji Rakugaki Timothy PORTLOCK Super Spectacular Margaret TAN + Technical collaborators: Yeo Gek Hul, Wong Keen Hon,Wang Meng, Freddie Wu Ying Hui Martin RIESER Virtual Bodies in Reality Understanding Echo LIJ #i+ softpad Axel ROCH toru yamanaka + softpad visionary.apparatus information WIBS Nanette WYLDE SAITO Tetsumasa about so many things 1,800%fl)Y.l bag# 1,800MB Ideology LLljZISS YAMABE Masaki PBDiWU An Experiment For New HIRAGANA SAT0 Tomohiro %B*a#JBO Floating Memories Margaret TAN +Technical collaborators: Yeo Cek Hui, Wong Keen Hon,Wang Meng, Freddie Wu Ying Hui Virtual Bodks In Reality %&B%L~-F>~\WZOSAR Warehouse NO.20, Garden Pier in Port of Nagoya JoselyCARVALHO Book of Roofs & Page I tile #0114: Xeths Ualim CHAN Self Adjust E&&, TMB* CHlKAMORl Motoshi, SHIMOMURA Tomoo 0 [en] - Internet Version - Jean DUBOIS, Francis QUEVILLON TACT smslrp FUJIWARA Junpei A-Life gracie / speakman / bradley / marlowe / mawford 32000 Points of Light Megan HEYWARD "of day, of night" sea HOSHl Takuya spatial memory architecture Ia*fT\ 1DIi14iM INABA Nobuyukl, SHIMBORI Takaaki TIAN!!] #i(R%fQ, LLISI INOMATA Takeshi, YAMAMOTO Tsutomu Talking Tree 6MRRE Jiro ISHIHARA + programming: ICARASHI Hisakazu metroscope @@MY IT0 Akihito One-second Encounters (24fps) Maria MENCIA INABA Nobuyuki, SHlMBORl Takaaki Bird Singing other Birds Songs, i4udible Writing Experiments rMNIIj Ceert MUL Nancy NISBET Popl Goes the Weasel Transfer Points Nancy NISBET pop! Goes the Weasel nonsection hearing colors Melinda RACKHAM Empyrean - soft skinned space I I -FktB* 5HIMOMURA Tomoo Network Planet Ensemble - JohannesKepler "Harmonice Mundi" Squidsoup the-phone-book Limited a) the-phone-book.com b) the sketch-book.com r) live chat discussion on content development for wireless WONC Sala, Peter WILLIAMS Encased C YAMAMOTO Keigo %BY4 7 035% No.8 I' 1 Wgg instrument no.8 Peter BOSCH & Simone SIMONS Aguas Vlvar MURAWMI Furniaki Reverse s lSEA2002 Official Programs Artworks 1 31 i Performances October 27 (Sun.)-31 (Thu.) Warehouse No.20, Garden Pier in port of Nagoya JETTY, Port of Nagoya We had 92 entries for performances and 38 works passed the judging. 16 performances were mounted in the north room of warehouse No. 20 and in a vacant shop space in a shopping mall called JElTY. Anne WALTON public address 1e7*-33/x Performances October 27 (Sun.)-31 mu.) Warehouse No.20, Garden Pier in port of Nagoya JETW, Port of Nagoya We had 92 entries for performances and 38 works passed the judging. 16 performances were mounted in the north room of warehouse No. 20 and in a vacant shop space in a shopping mall called JETIY. Anne WALTON public address FUKUHARA Teuuro, OK1 Keisuke, Tokyo Space Dance Space Dance, Postures and its Transportation - Performances ISEA2002 Ollic~alPrograms Artworks 1 33 BrfBSfl >&E820*6* B&B%YlF4 Warehousc . .-.20, Garden Pier in port of Nagoya JETW, Port of Nagoya Tony ALLARD, Dwight FRIZZELL lOB27B (B) world-mix-nagoya October 27 (Sun.) Mark AMERIKA, Chad MOSSHQLDER Anne WALTON FILMTEXT 2.0 public address Atelier Avant Austria running-figure-lantern Yan BREULEX NEVERWDINGSTORIES.ORG DJI, Robot Sound System DJI, Robot Sound System: Rockin' steady in the dot JP T Sidney FELS, Sachiyo TAKAHASHI, Baerbel NEUBAUER ! Waking Dream SrnErn. NSfi. *sxfl-x9>x FUKUHARA Tetsuro, OK1 Keisuke, Tokyo Space Dance Space Dance, Postures and its Transportation HC Cllje, Kelly SUB -35 Suguru COT0 VirtualAERl II 18smIL KAMIYA Teruyoshi, Warabi, Hiroko MAEJIMA, Alaln GUISAN Dance of Stone kondltion pluriel schem II PacJap D System Alain THIBAULT, Yan BREULEUX FAUSTECHNOLOGY #E*R, WMrnfi TSUBAKIHARA Akiyo, KAWAMURA Yosuke &5Z)lrL\W# 2 Ambiguous Senses / Misleading feelings 2 TSUBAKIHARA Akiyo, KAWAMURA Yosuke Amblguous Senses I Misleading feelings 2 Guy VAN BELLE, KUBOTA Akihiro society of algorithm - translocal mutations KAMIYA Teruyosh~,Warab~, Hlroko MAEIIMA, Ala~nCUISAN Dance of Stone Performances ISEA2002 Official Programs Artworks 1 35 - I>Y-t- Concerts October 28 (Mon.), 29 (lue.) Aichi Prefectural Art Theater We had 61 entries for concerts and 17 works passed the judging. 9 works were performed with the use of com- puters and moving images at the two-day electronic music concert. Cat Hope 10R29EI (99 , q LJ J\-V)bZs I~SIIIIIT%OUa\?I\*-Jb ~n,) October 29 (Tue.) rsal Room, Aichi PI -refec Art Theater The Mini Theater, Aichi Prefectural Art Theater Chiristian ELOY Musica mundana -Tape music Thomas CERWIN Punftum bS3a Akeml ISHIJIMA TIME DROPS Seiji Nagai Group NACAl Selji, KAWAl Kojl, YONEMOTO Minoru, WATANABE Koichi Electronic Noise Improvisation "Chaosmos" Andreas WEIXLER WAON Lidia ZlELlNSKA JUSTTOO MANY WORDS Elsa JUSTEL Destellos klji Nagai Crou ISWOO2 Official Programs, Artworks I 1L/3b0=~3979- Electronic Theater October 26 (Sat.)-31 (lhu.) Assembly Hall, Nagoya Port Building 4F In the venue, 34 works were put on the screen out of the 40 works which passed the judging. Each work could also be seen from archives on the computer screens installed in the room. Agricola de Cologne Dietmar OFFENHUBER, Sam AUINGER, Sarah WATERMAN, Elise CHOHAN, Identity of Colour Hannes STROBEL, Laura BELOFF Peter GREEN, Amanda TERRINGTON, besenbahn Edward KELLY, James PADLAY, Suzanne ~TLLIC.1#%9. EWL- FOSSEY, Donald and Lawrence BRADBY, AKAYAMA Hitoshi, KAME1 Katsuyuki, NlSHl AS@* Tim HOLMES, Richard BURNS, Leigh Koichi OHIRA Takafumi HODGKINSON, Barnaby TEMPLER sweet colors %BT Sonimation (a compilation of 6 sound films) In the seaside Jose Carlos CASADO Claudia WESTERMANN, Sean REED pandora's box (revisited) lrena PASKALI btd x On the way to / FROM Macedonia Se-Lien CHUANG 811138Z Lauf-auf Semi RYU YOSHIKAWA Hideo HUNGBOGA insect Barbara DOSER see you see me **W& SAKUNAKA Nao Alain ESCALE SB THE TALE OF THE FLOATING WORLD ka-ho Julie-Christine FORTIER Sumugan SIVANESAN Mechanical Rodeo COMPOSITION-RGB-2 JasonFRANK, Mathew RILEY Sumugan SIVANESAN Psychogeographical Map: The commute SEISMIC Alistair GENTRY, Joe MAGEE %*@a HYPNOMART SUZUKI Eri August 6, 1945 Marie-France GIRAUDON, Emmanuel AVENEL TRANS(E) BLUE Francis THEBERGE LIFE AFTER DEATH Isabelle HAYEUR Vertige (Vertigo) Brad TODD Screen Schawn JASMANN The Shadow Dweller's Gaze Matto Carlos TRONCOSO Traficoinspirar Patrick LiCHTY 8 Bits or Less KROMA Productions Ltd. Magnusborg Studios Director: MILLA MOILANEN Florin TUDOR, Mona VATAMANU, PASSAGE Radu NEGULESCU Hyperhouse Anne-Sarah LE MEUR Where It Wants To Appear I Suffer Susan TURNER Alien Hand Claudette LEMAY Rentre chez toi (Coming Home) VJ Anyone Single's Bar 01 Patrick LICHTY 8 Bits or Less Laura WADDINGTON CARGO Electronic Theater lSEA2OO2 Official Programs Artworks 1 39 ! C b#l@/lSHII H~NO dB;bf;fB&/MMWYASHI Akitsugu '7-ff -9-9 Jb ver.2/Firedrcle ver.2 "-~9- TY9-714x2 i~~J~li~9tLa)/30&lntwface2 %Jal@ : snd/round by snd 6#ms ilirSWR 1997 gsn~a~rnme~~f-~/ry-FY 9'971 1991 r77~~-9.s1-9~9 .~YFI~Y~Y.IYY-~-I (B&B*ff%l. B&B*H9@, BbB) (9-4r97h -)b, *F) mE/T-BRAIN CLUB (R%Hl%KldSbhl, Cbe Y9-, JRB) 1993 [Sound lmage Crossing1 (7- b 73-1 hb*, Rf) 1998 ISEA '98 "revolution" 1995 rmwYxxo)caLet:cc~(1cc~t.1~-, 58%) (?IlrY-)b, thephone-book limited Fee Plumley I Ben Jones the-sketch-book.com rhe-phone-book limited 7-i--a541~- - 93-YX 1995 LJ -XR%PB&MN@% 1995 9 -XhPB&%%N@% 1998 1\3'-X74-IC FRWY953F-f l7lC3%T'-f PN 1998 [Film making for the Interned @% (IDEA, 7>5rX9-) ; f@f ASllg3' created benjones.0rg.uk. 1998 Project Facilitator, ISEA '98 2000 picked up .wml (wireless markup language) WAP f0913 bARSE (Foundation for Art & Creative Technology) the-phone-book.com. 4 Y b 5* a b#%(Sage,7>5rX9-) 1998 Temporary Cover Media Arts & Literature Administrator (NWAB) 2001 Y=A--L~Y9'J--X(fl2E)rNewtonandClaytonJ~R 1998-1999 fOPr3t-P FS-Xt-b-9- (Amaze. 1JIfl-IC) (PaulWilde&t#fF) (Y'>FrrX9-l+-fF~ FtbC) 1999 rCheeky Dog Disco; short drama / animationJ ?031-V- 2001 -2002 At % f Y 4X9 Y [Bob the Builder, Series' 6&71 (BigFatFlavour Films) it[^ l-P=S-33>, V'>f rX9-) 1999 ~~O-I~IC~ICFAF-I~4~9-71-aJ 70913 b 2001 Lynx1 5-9 3 Y 3 Y b 0-ICER (Pete Brewster, Lynx) 3f-9t- (FACT& Home) 2002 [FlairJ 5- 9 3 Y 3 Y I- q -IC@RJ (Peter Rush, Mark Roberts 1999-2002 rwww.superchannel.orgJ 70 31 9 t- 7f-9-P- (FACT) Motion Control Ltd) [new channelsJ F3=AtIC3YVlCb Y t- (FACT & Superflex) 2000 7 LJ -3 YXhY If=- rfeefyfofum.co.ukJ I* Ben Jones(Director of Photography) 2002 ~www.exposedsystems.com.J3 I?-54 9 - 1995 BA Hons Dramatic Arts (Bretton Hall, Leeds University). 1998 'Film making for the Internet' course (IDEA, Manchester); Fee Plumley (Production Director) created benjones.0rg.uk. 1995 BA Hons Theatre Design & Techndogy (&emHall, Leeb Un'knily). 2000 picked up .wml (wireless markup language) to develop wap 1998 MA Interactive Multimedia Production (Huddersfield University). project ideas; designed the-phone-book.com. lntranet Architect 1998 Project Facilitator, ISEA '98 (Sage, Manchester). (Foundation for Art & Creative Technology). 2001 created 'Newton and Clayton' with Paul Wilde, 12 episode 1998 Temporary Cover Media Arts & Literature Administrator animated series for MUTV (Manchester United TV); (NWAB). created www.newtonandclayton.com. 1998-1 999 Projects Administrator (Amaze, Liverpool). 2001-2002 Camera Assistant for Bob the Builder, Series' 6617 1999 Producer, Cheeky Dog Disco; short drama / animation (Hot Animation, Manchester). (BigFatFlavour Films). 2001 trained in Motion Control using Lynx software on a Cygnet rig 1999 Curatorial Project Manager, Global Multimedia Interface (Pete Brwvster, Lynx). (FACT & Home). 2002 trained in Motion Control using Flair software on Panther rig 1999-2002 www.superchannel.org (FACT). (Peter Rush, Mark Roberts Motion Control Ltd). Project Manager to Autumn 2001, now Technical Consultant for new channels (FACT & Superflex). 2000 launched 'feefyfofum.co.ukl, freelance company. 2002 copywriter for www.exposedsystems.com. #HfPi* . BIY~/HITSUDATamami + YOSHIOKA Tohinao 7%bP9f 4 3 in SAKAE/Photo Active in SAKAE lHSA 1984 SWYlllrHWriAqRWi (MBlPlr)Q7 1997 Royal College of Art (MA /f BEhJCdhAqlh?) 1997 The Bed Show (Zelda Cheatle Gallery, Y F >) 1998 IY'JYi95-4%-9>!YAS4~W? RSiS 1999,2001 iBlE (tJ\LLlEll*Ytr3 V-, !kR) 1998 fHE (+Y >7'3YAIBi, RE) 2000 SF4 PkL/9 b rresolution WBDbQBl 1998 #PY-i-7=1PlC'98 rflft&*/. . .J (~am%n-~~~~mzoe~a,B&B) (PIIFY-t-k2I,.?,9e>9-, SR) ZOO1 TAMA VIVANT 2001 (blLSffh+lE#Y-P 7 'J -, RR) 1999 484aa~am~6imi- LJIY~-I/E (EM) 2002 ramw ~a#ms~llg,1s) (C\coltrrfftcon!Jll\ a%) 2000 RK~YIYY-~~LD~EIYE (ABIRQBRS#t?>9 -, A&) HITSUDA Tamami 2001 VOCA 2000 (hSCDPX%@,!RT) 1984 Painting at Aichi Prefectual University of Art (MAF) 1997 Printmaking at Royal College of Art (MA), UK YOSHIOKA Toshinao 1997 The Bed Show, Zelda Cheatle Gallery, London 1995 Graduated from Kyoto City University of Arts, BFA. 1998 EPSON COLOR IMAGEING GRAND PRIX, Grand prize 1997 Completed Graduate School of Kyoto City University of Arts, 1999, 2001 Sole Exhibition, Tomio Koyama Gallery, Tokyo Painting Department, MFA. 2000 MEDIASELECT, "resolution", Warehouse No.20, Garden Pier in 1997 "International Print Triennial '97-Cracow" Special prize port of Nagoya, Nagoya 1998 Sole Exhibition, KlRlN PLAZA OSAKA, PLAZA GALLERY II ZOO1 TAMAVIVANT 2001, Tama Art University, Tokyo 1998 "Kobe Art Annual '98 minking Visuals]" Kobe Art Village 2002 "HENSIN-GANBOU", Fukui City Art Museum, Fukui Center, Hyogo 1999 "KOCHI INTERNATIONAL TRIENNIAL EXHIBITION OF PRINT" Fourth Prize 2000 "Osaka Triennale Collection", Osaka Contemporary Art Center 2001 'The Vision of Contemporary Art" The Ueno Royal Museum, Tokyo alternative moments MEDIASELECT2002 1 45 R 7t)b9f 742lZz=9-93> @ AfSEIbZI b0=93Cb~9 Alternative Communication@OSUElectronic Village October 27 (Sun.)-30 (Wed.) OSU GOODWILL Entertainment Digital Mall Boyds Barista Coffee Director: OENOKI Jun, TSUDA Yoshinori Cooperation with: ITACAKI Hanae, SUZUKI Sachie, TAKASHIMA Mitsuko, TANAKA Daisuke, OKUMURA So, MATSUBARA Mikoto, KATO Hideyuki, MAEHARA Kenji, TAKAMURA Natsuko, YAMAMOTO Masayo Alternative Communication@OSU Electronic Vil- lage was the event which was related to "ISEA2002". "ISEA2002" was held in Nagoya. But, many presen- tations were given in the suburbs. We thought that "ISEA2002" was tied to the street. So, we made the space in Nagoya's downtown "Osu". And, "Osu" is "Electric Town" of Nagoya like Akihabara of Tokyo. "Osu" was a suitable place for "ISEA2002". This was an experiment of the communication by micro electronic media. We made an FM station in a micro-area accompanied with Streaming (Internet broadcasting). Timetable FM narrowcasting : FM89Mhz Streaming : http://ff.ff.tku.ac.jp/ October 26 (Sat.), 5pm-7pm (JST) "Report Exhibition ISEA 2002 Nagoya in Garden Pier" October 27 (Sun.), 5pm-7pm (JST) "Report Opening ISEA 2002 in Nagoya" October 28 (Mon.), 5pm-7pm (]ST) "Sound Performance - Kenji Maehara -" "Report ISEA 2002 in Nagoya" October 29 flue.), 5pm-7pm (IST) "Report ISEA 2002 in Nagoya" October 30 (Wed.), 5pm-7pm (JST) "Report ISEA 2002 in Nagoya" "Sound/Visual Session - students of Bauhaus Univ. (Weimar) with Kenji Maehara -" alternative CommunicationOOSU Electronic Village s, electropti [el @ %SE electropti [el nice meeting you@NACOYA 10~28~(R) -31 cm) October 28 (Man.)-31 (Thu.) tfms Shumokukan em% Ylf- : Members: 6%k&F, 31+7 b€~,/J\%@F, IZbttt%~, ISHlZAKl Naoko, UEYAMA Tomoko, KOBAYASHI Keiko, %Smf O, N+%fi, &H@, EREJOS HASHIMOTO Tomoko, NllTSU Adoka, MURAKAMI Taisuke , YX b+rn : MORITA Ken, WAKAMI Arisa & [el is a place for you and us to meet and communicate to each other. This time, we held our event at SHU- MOKU-KAN, which is an old, western style house and is going to be broken down next year. We want to have a good time together at [el with various guests through our exhibition, workshops and cafe. r;t L t & & t L/HASHlMOTO Tomoko T-9 9 3 YI/ELEFUNTONE WORKSHOP [el @@/[el Opening movie RBlC!RLffltldXLf, [el W/[e] on a byoubu screen ISHlZAKl Naoko I was born in HIROSHIMA WAKAMI Arisa I studied arts in SHICA It makes through the dream in which scribble I studied the installation in GlFU and itself saw. I worry about life in TOKYO NllTSU Adoka 31V3 bE3 Graduated from Woman's college of Fine Arts, UEYAMA Tomoko and International Academy of Media Arts and http://www.iamas.ac.jp/-uerapa0l I Sciences (IAMAS). My installation and animation will makes you feel a real stream of information, obsession of communication and desire in com- munication through media technology. I want people all over the world to be zingy! H-taE9-P KOBAYASHI Keiko MURAKAMI Taisuke FUKUNACA Mari IAMAS grad. I am enjoying being involved [email protected] Born in Tokyo, Japan. Entered to Soshun-kai in varies media, such as exhibitions, website association to study the tea ceremony under and books. I think that I am "Jack of all trades, Mrs. Soshun lgarashi after graduated from master of none". women's collage of art and design. Concerned in a repair work for a garden of the tea cer- emony in Soshun-an, suginami, Tokyo. Working MORITA Ken for an organic restaurant to investigate a new 3DCG Designer style of "entertainment" assimilated to a tra- Lecturer, TRIDENT College of Information ditional idea of "entertainment" at the tea Technology ceremony and reach after an "entertainment" at HASHIMOTO Tomoko a food service. Born in Kyoto, Japan. Artist of experimental film and video. electropti http://www.electroptl.com/ electropti [el nice meeting youONACOYA MEDIASELECT2002 1 49 ifj%t%I/A view of the Shumoku-kan B < &flX ,, run,,-un .,lar~ /Cafe "maccha cafe In shumoku-kan" MkSfi/MURAKAMI Taisuke 4 Y X 9 b-9 a Y TBiUzkJ /Installation "Memory water" ------4 electropti [el nice meeting you@NACOYA MEDIASELECr2002 1 $g la mrd tog . '. 'L; 4 [&I MfFB/[e] movie works El% 0 b/WAKAMI Arlsa ttlbl\/nia to meet you US@* W/NllTSU Adoka IT-ITV Y 9 Y >'//Barbaric Song BP @/MORlTAKen d- t- b4 t-/A portrait .Fi*?%@i3/1~HIZAKi Naoko Y9F ?EJ\?tD/And a Rower blooms %Baj0 B/WAKAMI Msa - - , 4 YX9L/-1 3 Y r01 /Installation "one" ' 4; . 8 Uve Performance "PUKUON serles vol.3 [+ - k F Consciousness of Water October 24 (Thu.) - November 3 (Sun.) Port of Nagoya Public Aquarium / The Museum of Contemporary Art, Nagoya Artist: KAWARASAKI Takamitsu The works for the exhibition are video installations in front of a large scale pool for dolphins and in the cafe space of the museum. The exhibition is designed to make the audience be conscious of water. LBm &I dmPsvh Inrr*a~~&Ei~~hP~e~1fdw89ngh~0fl mre mixrbxalng ptLtS8E There an tMim menwr& iaawfie €he ma to h d**~% bws dtbthe &01phh, and &eir bray they BpahW~We-&% &a FewIe itwho wfCh ;ehe mate @@dlt~~esl ia tbe €#xi6 have It In tb&kwfi&Ttte maan* CFhljbmmM wm@%&I.) m Mew b @%qxa*'drErtg fbP-Mu$q*the W@!3 fnm hew eru* pl*u;rp+I.~~~ZX~-UP& t!he stra b pssfta PmIewhaWWwqm;rllWyin tBwwlW Anil@W,bItJ.Bb!~~-h~~ftrelIrtPHW~l~. NR@BdR* 1975 !#MPbh 1997 %5~%&E~RE1>?-1) 7-393'97 [bottle ~0.1-~0.31 7 r cafe version (BbBmXm.BbBmR%e, B&B) 1998 r;@RAltiE@TTti\?J (Yt?'J-LllU, AS) 1998 rmil (The University of Michigan School of Art Design, Media Union Gallery. ? % 'J 2) 1999 MEDIASELECT rtracerJ (BbE%ESfl--T'Y&\E320 BBB) ZOO0 Kommen Sie nach Hause rzawvaa (~)CY/=1-3-3/?L/SL/T/AjiC) 2001 channel N r&aifl (RBnEWrj+~93'-, R%) 2002 [the sourceJ ($?7'J-16.8%/ Through the Water $ ? 5 IJ - caption . 6%) The taste of drinking. When drinMng coffee, the first thing to assail you is the amma. WARASAKI Takarnitsu Location also plays a part. It seems as though deciding where to drink causes the 1975 Born in Shizuoka aroma to reawaken in your mind. Roasting your own coffee, and especially grind- 1997 The 5th International Biennale in ing your own beans, awakens a sensation of having already imbibed. Slurp some Nagoya ARTEC '97, "bottle No.1 -No.3" down. Touch the aromatic bitterness and the warmth, and feel the ardma rise Nagoya City Art Museum / above your head. Nagoya City Science Museum, Nagoya bvour the atmosphere when you drink your fill of this kind. View it the same 1998 "Is this material correct?", way. Pouring a cup of coffee is like pouring images through your head. Gallery Yamaguchi, Tokyo View the artefacts in the museum, and view the sea from the terrace; come and 1999 MEDIASELECT, "tracer", sample new vistas wMle drinking a llttle coffee. Warehouse No.20, Carden Pier in port of Nagoya, Nagoya 2000 "Kommen Sie nach Hause", Koln, German 2001 channel N "conversational", Kyoto Art Center, Kyoto 2002 "the source", Gallery 16, Kyoto / Gallery caption, Gifu Conxlousness of Water MEDIASELECT2002 1 5 Peaks October 25 (Fri.)-November 4 (Mon.) Warehouse No.20, Garden Pier in port of Nagoya Artists: TOKUSHlGE Michiro, FURUIKE Daisuke Director: MEDIYAN The work is for audience on the sea, and supposed to be seen from ships coming into the port. The audience on the ground are alienated from the represented land- scape. A concept of landscape always recall nostalgia to your mind. Since the landscape is supposed to rep- resent the past, everyone might be alienated from that. Exempligratia: the landscape seen from the sea which meant to direct ships to the port. If you would like to simulate the gaze, you want to try the crotch peep which is a traditional appreciation method of the shore landscape. In brief, It is a story of the top and bottom of a mountain. o~Vl'33l'aDelnnaN e!Pa"JMaN ZOOZ eko6e~ 'do6eN 40 ~0dU! Ja!d UapJe3 '0~'oNasnoWeM 'D313SWa3W 666 L 0401'qdeJ60loI(d 40 unasnw uq!lodo~pwokyol ',,-a6v 3!uo~wl3aw lo sa6elul M~N- unok klle3!uonsala,, 866 L eko6e~'lunasnw a>ua!>S &!3 eko6e~/ LunasnW UV 43 eko6eN ',,L6,3UW,, eko6e~u! alPUUa!g leUO!leUJalul I(3S all1 L66 L (B9.8) IS8 it- The Early Works of Video Art in Japan October 26 (Sat.)-31 (Thu.) Assembly Hall, Nagoya Port Building 4F Artists: NAKAJIMA KO, MATSUMOTO Toshio, KOBAYASHI Hakudo, IlMURA Takahiko, KAWANAKA Nobuhiro, YAMAGUCHI Katsuhiro, IMAl Norio, KWAK Duck jun, YAMAMOTO Keigo, KUROSAKI Akira, SAKURAI Hiroya, YAMAGUCHI Yoshiomi, MIZUNO Tetsuo, IDEMITSU Mako, INA Shinsuke, SAITOH Makoto, SHINOHARAYasuo, SHIMANO Yoshitaka, TERAl Hironori, NAKAl Tsuneo, TOYOHARA Masatomo, HAYAFUJI Hiroshi Director: YAMAGUCHI Yoshiorni, INA Shinsuke With cooperation of SEJIMA Kumico The dawn of "Video Art" started to form simultaneously with the personalization of video equipment which used to belong to special facilities like public broadcast- ing stations. There was a time, you had to wander from place to place to get the equipment you wanted. It was an era where 8mm film was still spry. Video Art should do something film that TV can not do. was the slogan of video artists at the time. In this exhibition, we present works exhibited in the early decade of video art in Japan. Images are captured horn originals. ~~k~~So?ZE~ KAWANAKA Nobuhiro 4~rrn9.r9 )C s Kick The World Biological Cycle 5 1974 1971 -1975 15min. BMI 3min. 1lsec. color &*fie* Lll nlBg5h MATSUMOTO Toshio YAMACUCHI Katsuhiro €+.'Jff ' I ?i#rnBWi5 MONA LISA 1 ;;;; Environs 1973 3min. color 9min. 52sec. color silent Mlt<25 9#W# (OBAYASHI Hakudo IMAl Norio 593'X3S1=9-43> t!r'#.Jf7f -7YX 1978- 1983 apse Communication DIGEST OF VIDEO PERFORMANCE 1978- 1974 1978-1983 15min. color 15min. 35sec. color 116iHEB llMURA Takahiko *%?-€=9-.7b-4 I@#&78 ;aMonitor, Frame aELF-PORTRAIT 78 I 1978 I 15min. BMI 3min. color silent U*SS *ssa YAMAMOTO Keigo MIZUNO Tetsuo Breath No.3 & No.4 F-flT-91 (J)@) 1978 diverge 15min. color 1982 I 9min. color silent fflXf3 IDEMITSU Mako 9L/-l-.TY- RX Great Mother (Harumi) 8min. color 1983 13min. color m#aa @%S% SAKURAI Hiroya INA Shinsuke SAKASA FLOW (2) 1981 1983 4min. color 6min. color LlIUBE YAMACUCHI Yoshiomi SAITOH*= Makoto TIES w-l 1 Frame by Frame (DO-OR TO-W-ER) 1981 1 5rnin. col~r '""' SHINOHARA Yasuo TOYOHARA Masatorno I AFTERIMAGE 3 Pyramid 1984 1983 7min.ZOsec. color 7min. color beit ar.3 SHIMANO Yoshitaka HAYAFUJIHiroshi ;hsS.t,4CD;h%S. zi~i3za73\3 1984 5mln. color %#%A TERAl Hironori 1 SAY 1983 5min. color YAKATA lOR278 (E) ffl#i1986 October 27 (Sun.) Departure 19:00 BzfBISIY From Nagoya harbor boarding place 7-F-fxb: Artists: USUSU (iF%-+iAilWifW+AIAl), jthBla%Q, USUSU (KID0 Koichi, SHlMBORl Takaaki, MlNAMl Takao), Ultra Living (BrtrftABT. Brtrpif 1, lWsff4, PHIRIP. *B%-, IKEDA Yasunori, Ultra Living (NONAKA Takuma, NOWTetsushi), I/€Y%bh, %B OKAMOTO Akio, PHIRIP, WATA Eiichi, Lemon chan, Danshaku w- b : wnajm, JIIMCS, nauw~ Support: AMARl Ayu, KAWABATA Satomi, BABA Akiko i~ia: m111m3 Plan: OKACAWA Takuji tsrn : nulfi-?r Cooperation: Higashiyama Garden !s!%aMvaeRA\ G*~~BLLlHaa,*E&%M, ia Yakata-bune, a Japanese houseboat used as a wagon MZtECr~A\bht:Bi#f Ltc0 -€#u!~tEFlfgRC=kk;tE boat for noble sightseeing, tax car~iering,and merchant B, MM, ZA. AR(nRtr34R&&b\3%G~@bb, fl shipping. In the Tokugawa period, its use changed and fir gartlrrrres L L\ --.=,osB# became an excursion boat for cherry blossom viewing, f ?ElkL7a@BJBRt:L'Tb\%$, enjoying the cool evening, fireworks, and viewing the YAKATA kk, E%M&b\3@MBS&S%Zt%F-fY% moon. In the present, emphasis is laid on the experience if$L7#@$6Wk44> b0 @!#, %%\ S%b\, VY of being aboard it and thus works as the moving public 1~94a*r~im~t~, a 2 ~MGZ~BB@~~:BI~ space. UBfL,AWdEkJ=Gh% Liz0 YAKATA is the on board event where you experience the space called Yakata-bune through various media. It had about 2 hour dense program A with moving images, music, comic stolies, real time net streaming, etc. 62 1 374 ~9 b2002 YAKATA *E(n;fi=*% (YAKATA Zl0515k~kD) - USUSU PROCESS ?FhD#, [m@l - Oli% Today's menu (From YAKATA Program) 974€5=*4 t- 2#:77f€FBt!Fe Boarding (PHIRIP, ZW, L/€Y?5'Ph, %IS#-) Opening Address Oli% Introduction and General Information about YAKATA Ultra Living 54 I (RQ : f68dr14) Departing Ceremony with Conch Horn .Mr% -USUSU PROCESS 2002 Autumn-Winter [the first half]- %HZ@% "lrTt;bbfiver. 1.41 +@ 5 minutes break -- USUSU PROCESS C&@l - Live Performance: 'Waraimochi Night" by Bracken-Starch Dumpling Lovers Club (PHIRIP, Danshaku, Lemon chan and IWATA Eiichi) 5 minutes break Live performance: Ultra Living (Msual Collaboration: OKAMOTO Akio) 5 minutes break Screening: "Tamafure ver. 1.4" by IKEDA Yasunori -USUSU PROCESS 2002 Autumn-Winter [the last halfl- Closing Address Arrival YAKATA %3,91L,0-7-933, mental rotation lOH22B(R) -llR3El(E) October 22 (rue.)-November 3 (Sun.) %&B*EYv~V-~€M NAGOYA CITIZENS' GALLERY YADA P-?-ixt-: Artists: %4,4LUIXW3, -bkR3, MI#-. TASKE. RYUSEI, KlTAYAMA Minako, ISHlKl Yaeko, KATO Yuichi, ~tltt*, amm, H*J~,acjllaa, m3,itmtes, BABA Takenao, TASKE, YAEKURA Ayumi, OKUHARA Satomi, %H)5)1B3, %%W, NlNYU WORKS AMARl Ayu, HUJIKAWAAsana, HAYASHI Midoriko, TOYODA Eri, @Ei Bi: EM%-, 4tlllk13,lJ\%EH3 ICHIMURA Misako, lZUMl Takaaki, NlNYU WORKS Director: IAWATA Eiichi, KITAYAMA Minako, KOTAKI Yumiko Mental rotation is the act in your head of rotating an image in an analog way to recognize the certain image. Images in your mind are not processed digitally with linguistic symbols, but processed in an analog way with real images. In this exhibition named "mental rotation" works are represented in all sorts of technique like drawings, three dimensional works, moving images, music, picture story shows, and performances. These representations confuse, bewilder, excite, bemuse, and interest the audi- ence. They are also images of uncovered emotions and desires which rotate in the artists' inner world and over- flow f~omthem. RYUSEI Musician Company. The 9 girls are performing Hawaiian Music. 10H22B (A) %a,TASKE it-?=>95-f? October 22 uue.) RYUSEI, TASKE Opening Live Jt;LLliB113 J'f7 it-? Y7. 7-?4 7. Fa %$g [eight81 9 rYa-ho! Mina Show Art for Kids] %Zqo7-t'tB%&SVB&%RS, ltY'T-$%J#O ZT-9 93 9 ?R3&Tf$&E%%!% KITAYAMA Minako Performance artist. Produced bathroom "eight", "Ya-ho! Mina Show Art for Kids", children's workshops through teaching English and making pancakes. 10823 (&), 30 (&), 31 El (*) rltlllXIJBF BERE@ET'itL/9-k@& rFiance Forever] (2002/61 min) 7.43-P lbY7.1- 108236 (7k) 3&~1L/%J$3%Slr\(EA, PlEmFM port wave. fiIELZ#) October 23 (Wed.), 30 (Wed.), 31 mu.) KITAYAMA Minako "Long Distance Love" (Video letter from Ibaragi-ken) Special Guest October 23 Wed.) Poetry Introducer / KUWAHARA Takiya (Poet, FM Yokkaichi-Port wavr Radio Dl, has held poetry reading event "POEDASHI") ISHlKl Yaeko Performance artist. Member of the shouting company "Hard Core BE, TASKE/RYUSEI, TASKE KAMISHIBAI" with KITAYAMA Minako. it-;l=>'/54 2/0pening Live JtLLISCBDF/KITAYAMA Minako illll%?BEfit bP-+@!g rFlance Forever] (2002/61min)/ "Long Distance Love" (Video letter from Ibaragi-ken) October 24 mu.) -&kRF/ISHIKI Yaeka 3-~LSYIBR ISHlKl Yaeko Workshop "Bag making" mental rotation MEDlASELECT2WI2 ( 65 KATO Yulchl Born in Gifu, 1973. Fine artist. Except for subjects with a motif of "sights" paintings. BABA Takenao Born in Mie, 1978. Poet. He loves "KFC" brand chicken. Originally he produces poems although, he also sings songs and paints. October 25 (Fri.) BABA Takenao Workshop "Public sound check" TASKE (57x9) S1-99*>., !&Ha, &S%%~&@~T~S)~~~~-P>XCI eafia2ficetsao TASKE Musician. He performed with NOMURA Makoto and SHIMABUKURO Michihiro on the street. lOB26H(f) TASKE ZJ -9 93 9 7 ~TAsKECD#B~~@@~@J October 26 (Sat.) TASKE Workshop "How to make music" YAEKURA Ayumi She takes everyday scenes with photos. OKUHARA Satomi Born in 1977. She takes everyday scenes with photos. October 27 (Sun.) OKUHARA Satomi, YAEKURA Ayumi Workshop "About photography" AMARl Ayu Video artist. She takes everyday scenes with short movies. October 29 (Tue.) AMARl Ayu Video Works "line 2002" Live Guest: MOMOJI& his Orchestra I\Sttb;/YAEKURA Ayumi BfJbilti* ZRWk, I\Stb/OKUHARA Satomi, YAEKURA Ayumi 9-gpa2a~% WM&@/AMAW Ayu line 2002 (6mln color DV) mental rotation -me**-- ''a ''a to, -- *--D - *--* c- - -=- Ir elm*-* * FUJIKAWA Asana 4-* --*---m"- She has been a Nagoya Creative and Art University's student. a- 0 ,, --:j Representing pureness. Works with knitting floor rug. Imm ------November 1 (Fri.) .) *-:... FUJIKAWA Asana Workshop "Let's contact with someting in your - brain" a?- - mri* - 1 HAYASHI Midoriko Born in Nagoya, 1972. Has held music events "Shunmao" and "mim- icry". TOYODA Eri Born in 1980. Has held an animation film festival. November 2 (Sat.) HAYASHI Midoriko, TOYODA Eri Workshop "Let's make a book" *H+/HAYASHl Midoriko mimicry $L!bl& fiQ tOQ, Rh .B&@hOYODA Eri Wh ICHIMURA Misako Paper theater artist. Dance performance artist. Has held children's workshops. #%wc 1978$t61R!R4Eho ~Y~!?~vIC.Y-F-~XI-~7-t-Xfl- X rdotJ% >lt-o +tTCD%afF81Cla, St&, E&< 3,6*1, ,!am, an%uazala&o lZUMl Takaakt Born in Fukuoka, 1978. Conceptual artist. Member of the art space "dot". Works with cans, papers, game cards, plaster sculptures, bal- loons and jump ropes, etc. NlNYU WORKS (1==15'-3'1) ~~~BRIC~%~&~A~~I~-?~lftQ,%%tbftthfiI,T3 ~~~~-4a~E~%fBRh~T-9La~?~fi~5~ NlNYU WORKS Mainly they are searching for a way of communication. 1183EI(B) NlNYU WORKS (zl.lLJ-3'X) NINYUWORKSHOPZ r$EJ November 3 (Sun.) NlNYU WORKS NINYUWORKSHOPZ "Jisyu" alt)eC3/1CHIMURA Misako HOUSE-E*aA, U-X7f 4 >. 989-X, O-5-XJC-5-5-. &S!balP b+$l/lZUMI Takaaki MI ZOO2 7lC-3- b, al NIMZ) WORKS (==z7-9I) NINYUWORKSHOPP ram mental rotation MEDiASELECr2002 1 69