Shamisen som kompositorisk ankerpunkt
(2023)
author(s): Olav Hanem
published in: University of Agder, Faculty of Fine Arts
Denne oppgaven utgjør en del et mitt kunstneriske utviklingsarbeid og fokuseres mot min rolle som komponist, der mine egne originale verk er objektet for utforskning. Hovedformålet med oppgaven er å undersøke innvirkningen japansk tradisjonsmusikk kan ha på min signatur som komponist. For å avgrense oppgaven ytterligere er det japanske musikkinstrumentet shamisen i fokus.
Not at Home: The Uncanny Experiences of Radio Home Run
(2018)
author(s): Heather Contant
published in: Journal of Sonic Studies
In this paper, I attempt to better understand the Japanese media artist Tetsuo Kogawa’s concept of radioart by examining the relationship of this concept to movement. To do this, I focus on the Japanese term ika, which can be used to describe the uncanny feeling that results from aesthetic strategies, such as Viktor Shklovsky’s artistic techniques of defamiliarization or Bertolt Brecht’s alienating tactics of Verfremdungseffekt (V-Effekt). Discussions of ika not only circulated through and around the intellectual and artistic communities that Kogawa participated in during the 1970s and 1980s, they also influenced the practices of the very low-powered FM radio stations, Radio Polybucket and Radio Home Run, established by Kogawa’s students in the early 1980s. By discussing the emphasis of ika and physical movement in Radio Polybucket’s and Radio Home Run’s practices, I begin to trace a central element in Kogawa’s concept of radioart, which I call a kinetic interaction with the material conditions of radio. Through this kinetic interaction, Kogawa makes the material aspects of radio phenomena—its technology, its electromagnetic waves, and its sonic content—perceptible in a new way and thereby reveals previously hidden possibilities.
コスプレ ko su pu re — Ti dedico corpo e animæ
(last edited: 2025)
author(s): Gloria Furlan
This exposition is in progress and its share status is: visible to all.
This research explores the phenomenon of Cosplay as experienced by Cosplayers themselves through a subjective lens.
A project that stems from specific personal attitudes and inclinations to the practice of Cosplay — コスプレ kosupure — in relation to japanese entertainment media. The focus of the analysis resides in individuals influenced to the point of bordering on obsession, surrounded by characters from works of Japanese animation, illustration and graphics — Anime, Manga and RPG — culminating in the practice of donating one’s body through the practice of interpretation, assimilation and appropriation.
Consistencies and idiosyncrasies between assumptions and experience are addressed starting from Japanese imagery, cultivated by years of tactile and vivid experience of this practice as carried out in Italy.
The impact and perceived impact of the journey facilitated a firsthand, lived experience through my month-long stay in Toshima, one of Tokyo’s twenty three special districts. The reiteration of this practice in the country accredited for the birth and export of Cosplay, put to test the skills and preconceptions developed over years of experience and virtual exploration. Analyzed the ideological presuppositions set forth by Luca Vanzella in Cosplay culture: fenomenologia dei costume players italiani, found within my personal experience in Italy, the same were used as a key to reading and interpreting the experience in Japan, analyzing points of contact and divergence. Through this paper I wish to document the vivid aspects of a research at a still embryonic state, without rushing to judgment.
A vision that is not intended to be faithful to reality as a focused image, but rather as the perception of light imprinted in the first impact with the retina. It represents, in its essence, an investigation that reports testimonies and subjective experiences, exploring with individuals the value placed on their choice of character, the reasons for choosing to lend one’s body to such practice. The unambiguous presence of the self, versus, the assumptions of loss of identity and desire for escape in the link between Cosplayer, performance act and self-perception. Analyzing the relational dynamics between Cosplayers and those shared personas, with a focus on the figure of the otaku and the way it relates to this practice.
This printed object consists of 2 main parts; the first visual and graphic and the second textual and theoretical. Bound together by the “japanese stab binding” technique, that has been appropriated in correlation to the practice of Cosplay. Becoming not only a physical link, but also a key conceptual and graphic element. Giving body and matter to the characters that make up the term Cosplay.
Exploring Japanese (Inspired) Music
(last edited: 2023)
author(s): Martine Mussies
This exposition is in progress and its share status is: visible to all.
Objective:
This proposed exposition aims to critically examine the pitfalls of Orientalism and Occidentalism within the context of artistic research in music. By delving into the complexities of cultural representation and misrepresentation, it seeks to challenge preconceived notions and foster a more nuanced understanding of cross-cultural musical encounters.
Methodology:
Comparative Analysis: Through an in-depth comparative analysis, I will investigate the ways in which Orientalism and Occidentalism manifest in music performance practices. Drawing on diverse musical traditions, including Japanese influences, I will explore the power dynamics, stereotypes, and misappropriations that can arise when engaging with cultural musical expressions.
Sonic Experimentation:
Building on my expertise as a professional musician, I will create original compositions and sonic installations inspired by the concepts of wabi sabi, mono no aware, and ma. These explorations will serve as sonic reflections on the intricate relationship between artistic research, cultural heritage, and personal interpretation, allowing for a deeper engagement with the complexities of musical representation.
Critical Reflection:
Throughout the exposition, I will engage in critical reflection on my own artistic practice, acknowledging and addressing the potential biases, blind spots, and unintended consequences that can arise when navigating the cultural landscape of music. By scrutinizing my own work and interrogating the underlying assumptions, I aim to foster a greater awareness of the ethical and social implications inherent in artistic research.
Expected Contributions:
Providing insights into the manifestations of Orientalism and Occidentalism within music performance practices and their impact on cultural representation.
Illuminating the potential pitfalls of cultural appropriation and misinterpretation in artistic research, while proposing alternative approaches that embrace collaboration and respectful dialogue.
Fostering critical dialogue within the field, encouraging fellow artists and researchers to engage in self-reflection and thoughtful engagement with cultural differences.
Audience Engagement:
To ensure a broad and inclusive audience engagement, I plan to organize interactive workshops and performances, inviting participants to immerse themselves in the sounds and stories that emerge from my artistic research. By actively involving the audience, I aim to facilitate meaningful conversations about cultural exchange, representation, and the potential transformative power of music.
Anticipated Impact:
This exposition seeks to challenge established paradigms, disrupt Orientalist and Occidentalist frameworks, and promote a more equitable and culturally sensitive approach to artistic research in music. By critically examining the pitfalls of cultural misrepresentation, it aims to contribute to a more inclusive and respectful musical landscape that celebrates diversity and fosters cross-cultural understanding.