Daito Manabe + Nosaj Thing: Eclipse/Blue
"We first got the chance to ascend into Nosaj Thing's sonic dreamworld at our The Creators Project: New York 2011, where he performed alongside some fittingly fantastical installations like Zigelbaum + Coelho's Six-Forty by Four-Eighty and Team Dis-Kinect's motion-mimicking puppet. Engaged in a subtle dance with his MPD32, Nosaj wove together a pounding, wistful set before projected visuals. As surreal as that live experience was, its visual component is nothing compared to what technology artist Daito Manabe has accomplished for Nosaj Thing's 'Eclipse/Blue.'
With support from The Creators Project, and collaborating with Perfume choreographer MIKIKO, Manabe created a dynamic virtual environment to serve as the backdrop for two dancers whose movements across the stage are amplified by the graphics behind them, making each action feel larger and more emotive."
(The Creators Project)
CONTRIBUTOR
Simon PerkinsSHARE
Transitional Cardboard Cathedral for Christchurch
"2011年2月22日に発生したM6.3のカンタベリー地震は、街のシンボル的存在であったクライストチャーチ大聖堂にも深刻な被害をもたらした。これを受け、新たな仮設のカテドラルを設計することとなった。
現地で調達可能な紙管とコンテナーを用いて三角形の断面を形成する。オリジナルの大聖堂の平面と立面のジオメトリーを受け継ぎ、同じ長さの紙管の角度を徐々に変化させている。700人収容可能で、教会としての機能の他に、多くのイベントやコンサートとしての使用も視野に入れている。
2011年7月31日に、同地にてプレス発表が行われた。2013年2月頃の完成を目指している。
The February 2011 Christchurch earthquake (magnitude 6.3) inflicted crippling damage on the Christchurch Cathedral which was the symbol of city. In response to this situation, we were asked to design new temporary cathedral.
Paper tubes of the equal length and 20 ft containers form triangular shape. Since geometry is decided by plan and elevations of the original cathedral, there is a gradual change in each angle of paper tubes. This cathedral, which has a capacity of 700 people, can be used as an event space and a concert space.
There was a media conference in Christchurch on 31st of July, 2011. We aim to open cardboard cathedral in February, 2013."
(Shigeru Ban Architects)
CONTRIBUTOR
Simon PerkinsSHARE
The Art of Tatebanko
"河出書房新社さんから「そのまま立版古」という本が出版されました。 広重、北斎の名作浮世絵を元素材に、５作品が立版古になったものを作って楽しめるキット本となっています。 またキット部分以外でも簡単な「立版古の説明」などの情報もあります。出来上がりは丁度手のひらに乗るくらいのコンパクトな感じに仕上がります。"
Fig.1 Hokusai (circa 1830). "The Great Wave off Kanagawa (北斎 / 神奈川沖浪裏), woodblock print
Fig.2 Daniel Rua (February 2010)
[Hokusai's Great Wave off Kanagawa uses layering much like that used in the traditional Japanese art form of Tatebanko.]
CONTRIBUTOR
Simon PerkinsSHARE
The Impact of Japanese Comics and Animation in Asia
"Taiwanese comics are the most Japanese of all Asian comics. Many Taiwanese comic artists copy the Japanese style faithfully and one can hardly find any Taiwanese elements in their works. However, there are Taiwanese artists who have attempted to create something original based on their mastery of Japanese techniques. The most successful example is perhaps Zheng Wen who has skillfully combined Japanese (particularly Ikegami Ryoichi and Kojima Geseki's) and Western comic styles with Chinese painting and calligraphic skills in his comics, such as Stories of Assassins (cike liechuan, 1985) and Stories of Eastern Zhou Heroes (dong Zhou yingxiong chuan, 1990). Taiwanese animators have only produced a few commercial animated films and television cartoons, but they are very active in making on-line animation. The most successful Taiwanese on-line animation is perhaps Ah Kuei, a satirical and humorous short piece, in which character design and visual presentation are influenced by Japanese animated works, such as Crayon Shinchan and Chibimaruko-chan. Ah Kuei will be made into a television cartoon series, live-action drama serial and animated film. Recently, Taiwanese on-line animators have begun to experiment animated serials and movies. A three-hour on-line animated film, Love 1/2E, has been serialized. Its story is similar to Tokyo Love Story and Beautiful Life and its drawing is very Japanese. Besides, influenced by the Japanese, Taiwanese animators pay attention to the important role of 'voice actors or actresses.' (seiyu). This is an area that most other Asian nations have overlooked."
(Ng Wai-ming, Hong Kong)
Journal of Japanese Trade & Industry: July / August 2002 p.2
CONTRIBUTOR
Simon PerkinsSHARE
T. Enami: Early Japanese Stereoscopic Photography
"T. Enami (T probably stood for Toshi), whose real name was Nobukuni Enami (or, in Japanese name order, Enami Nobukuni) was a 'photographers photographer' who in his youthful 20s was a student and assistant to K. Ogawa , and then a professional until he died at age 70 in 1929.
His own studio, established in Yokohama in 1892 when he was 33 years old, then passed to his son, Tamotsu (not a photographer), who carried on as a commercial DPE photo processor and printer for locals and tourists, as well as a publisher of his father's photographs."
(Okinawa Soba)
CONTRIBUTOR
Simon PerkinsSHARE
