Updated on 2024/10/21

Information

 

写真a

 
JO KAZUHIRO
 
Organization
Faculty of Design Department of Acoustic Design Associate Professor
Center for Designed Futures of Kyushu University (Concurrent)
School of Design Department of Design(Concurrent)
Graduate School of Design Department of Design(Concurrent)
Title
Associate Professor
Contact information
メールアドレス
Profile
With a background in acoustics and interaction design, I’m doing practice-based research based on artistic creation. As an example of “Humanization of Technology”, I’m exploring a raison d'être of expressions beyond tech demos.
External link

Research Areas

  • Humanities & Social Sciences / Theory of art practice

  • Humanities & Social Sciences / Aesthetics and art studies

  • Informatics / Database

  • Informatics / Human interface and interaction

Degree

  • Ph.D. in Design

Research Interests・Research Keywords

  • Research theme: Generative Music

    Keyword: Generative Music

    Research period: 2024

  • Research theme: Physical Computing

    Keyword: Physical Computing

    Research period: 2024

  • Research theme: Interaction Design

    Keyword: Interaction Design

    Research period: 2024

  • Research theme: DIY/DIWO

    Keyword: DIY/DIWO

    Research period: 2024

  • Research theme: Acoustics

    Keyword: Acoustics

    Research period: 2024

  • Research theme: Media Arts

    Keyword: Media Arts, Media Archaeology, Personal Fabrication

    Research period: 2016.3

Awards

  • 2022年度異能vation ジェネレーションアワード部門 企業特別賞(NTTデータ賞)

    2022.11   総務省   Ferment Media Research (チェン ドミニク,ソン ヨンア,城 一裕,小倉 ヒラク,守屋 輝一,三谷 悠人,関谷 直任)での受賞

  • 第24回文化庁メディア芸術祭エンターテインメント部門審査委員会推薦作品

    2021.3   文化庁メディア芸術祭   城一裕「予め吹き込まれた音響のないレコード」(オンラインパフォーマンス)

  • Honorary Mentions, Digital Musics & Sound Art

    2019.4   Prix Ars Electronica   The SINE WAVE ORCHESTRA(城一裕,古舘健,石田大祐,野口瑞季)の作品《The SINE WAVE ORCHESTRA stay》での受賞

  • 福岡市科学館クリエイティブスペース プロデュースコンテスト 特別賞 (2018)

    2018.6   福岡市科学館   The SINE WAVE ORCHESTRA(城一裕,古舘健,石田大祐,野口瑞季)の作品《The SINE WAVE ORCHESTRA stay》での受賞

  • The Grant of the Saxon State Minister for Higher Education, Research and the Arts 2018

    2018.1   CYNETART Competition 2018, Germany   The SINE WAVE ORCHESTRA(城一裕,古舘健,石田大祐,野口瑞季)の作品《The SINE WAVE ORCHESTRA stay》での受賞

  • 第21回2018年文化庁メディア芸術祭アート部門審査委員会推薦作品 (2018)

    2018.1   文化庁メディア芸術祭   The SINE WAVE ORCHESTRA(城一裕,古舘健,石田大祐,野口瑞季)の3作品The SINE WAVE ORCHESTRA stay, The SINE WAVE ORCHESTRA in the depths, A Waveでの受賞.

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Papers

  • Life in the groove: Re-visiting the common sense of sound reproduction Reviewed

    Kazuhiro Jo, Paul DeMarinis

    Proceedings of RE:SOUND 2019   72 - 75   2019.8

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    Language:Others   Publishing type:Research paper (other academic)  

    DOI: 10.14236/ewic/resound19.11

  • The Similarities in Microbial and Chemical Patterns of Fermentation in Two Open Environments were Promoted by Using 150-Year-Old Nukadoko as Starters

    Yamaguchi, M; Imai, K; Chen, D; Seong, YA; Jo, K; Ito, K

    CURRENT MICROBIOLOGY   81 ( 8 )   250   2024.8   ISSN:0343-8651 eISSN:1432-0991

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    Language:English   Publisher:Current Microbiology  

    Nukadoko, a fermented rice bran employed in traditional Japanese pickling, uses lactic acid bacteria to ferment vegetables. Here, we report the microbial and chemical data of a mixture of matured 150-year-old nukadoko and commercially available rice bran placed in two open environments over 29 days. Across the two environments, Loigolactobacillus was identified as the dominant microbial genera in the later stages of fermentation in nukadoko. The period of increase in the relative abundance of Loigolactobacillus correlated with a decrease in pH and Oxidation–Reduction Potential (ORP) values. While the two environments showed a difference in the rate of change in microbial diversity, they shared the common process through which Loigolactobacillus outcompeted adventitious bacteria in nukadoko, as indicated by the alpha and beta diversity index. Thus, the similarities in microbial and chemical data across two open environments during fermentation using starters indicate that starters contribute to the stability of fermentation in open environments.

    DOI: 10.1007/s00284-024-03760-3

    Web of Science

    Scopus

    PubMed

  • International Lecture Series

    BEYN Ariane, JO Kazuhiro, MAKINO Yutaka, MASUDA Nobuhiro, YUKI Madoka

    芸術工学研究   39   7 - 10   2024.3   ISSN:13490915

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    Language:English   Publisher:Faculty of Design, Kyushu University  

    This ongoing international lecture series introduces cutting edge positions of contemporary art through in-person encounters and conversations with artists. Artists of different disciplines are presenting and discussing their work to an audience of students, professors, and other members of the Kyushu University community, as well as an art-interested Fukuoka public. The series gives insights into diverse international artistic positions and understandings of contemporary art’s role within in society, as well as art’s potential links to other fields of research, such as design, humanities, science, and engineering.

    DOI: 10.15017/7170824

    CiNii Research

  • 音声波形画像のエッジ情報を用いた音声の生成

    木村 凪, 城一裕

    先端芸術音楽創作学会 会報   16 ( 1 )   67 - 73   2024.3

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  • 言語生成AIを用いたライブコーディングパフォーマンスの検討

    奥田 知希, 城一裕

    先端芸術音楽創作学会 会報   16 ( 1 )   54 - 58   2024.3

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  • 第三の自然における聴取の検討

    木村 幹久, 城一裕

    先端芸術音楽創作学会 会報   16 ( 1 )   59 - 66   2024.3

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  • チェンバロのハイブリッド化とミクスト音楽表現の試み

    松宮 圭太, 城一裕

    先端芸術音楽創作学会 会報   16 ( 1 )   2024.3

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  • EMSがもたらす新たな音楽体験

    石津 寛, 城一裕

    先端芸術音楽創作学会 会報   16 ( 1 )   13 - 18   2024.3

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  • Two Approaches to Human-decentred Design: Between Life and Matter

    Nobuhiro Masuda, Yosaku Matsutani, Yasuharu Akiyoshi, Juppo Yokokawa, Kazuhiro Jo

    WDO Research and Education Forum 2023 Proceedings / Design Beyond   99 - 104   2024.2

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  • Creation of an Audio Game That Uses Sonic Information as Input and Output

    NAKAYAMA Sogen, JO Kazuhiro, NISHIDA Hiroko

    Proceedings of Annual Conference, Digital Game Research Association JAPAN   14 ( 0 )   153 - 158   2024   eISSN:27586480

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    Language:Japanese   Publisher:Digital Game Research Association JAPAN  

    Audio games are a genre of games that are played using only sound without visual information. In this study, we propose an action game that uses sound information as input and output by introducing voice control into audio games. The player wears a headset with a gyro-sensor attached to it and attacks enemies coming from various directions in a threedimensional game space using his/her voice. In this paper, we will report the details of the game design and the results of a gaming experience questionnaire.

    DOI: 10.57518/digrajproc.14.0_153

    CiNii Research

  • Nukabot: design of human-microbe-computer entanglement

    Chen, D; Seong, Y; Jo, K

    PROCEEDINGS OF THE SIGGRAPH 2024 EMERGING TECHNOLOGIES   2024   ISBN:979-8-4007-0524-3

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    Publisher:Proceedings - SIGGRAPH 2024 Emerging Technologies  

    We present the latest development of Nukabot, a human-computer interaction mediation system that connects the fermented food microbiome with its human carer through voice communication. A nukadoko is a traditional Japanese fermentation technique that involves rice bran mixed with salt and water (nuka) put in a wooden, enamel, or plastic container (doko). The current version of Nukabot is a porcelain nukadoko equipped with chemical sensors to track the fermentation status, voice recognition, and vocal synthesis engines that enable humans to talk and ask questions about the ferment.

    DOI: 10.1145/3641517.3665786

    Web of Science

    Scopus

  • Investigation of Live Coding Using a Combination of ChatGPT and Fine-Tuned GPT-3 Reviewed

    Tomoki Okuda, Kazuhiro Jo

    in Proceedings of AIMC (The International Conference on AI and Musical Creativity) 2023   2023.9

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  • 時間と空間の混じり合い、と「音」そのもの Invited

    城一裕

    建築情報学会白書 2022-2023   46 - 50   2023.9

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  • 「研究」という概念を「GEIST」から考える Invited

    城一裕

    京都芸術大学〈舞台芸術作品の創造・受容のための領域横断的・実践的研究拠点〉2021年度 アニュアルレポート   vol.9   17 - 18   2023.4

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  • “A Medium for Images or Luminous Bacteria” 発光細菌とデジタルスクリーン製版を用いた映像の検討

    佐伯拓海, 城一裕

    インタラクション2023   344 - 347   2023.3

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  • “A Medium for Images or Luminous Bacteria” 発光細菌とデジタルスクリーン製版を用いた映像の検討 Reviewed

    城 一裕

    情報処理学会 インタラクション2023   -   344 - 347   2023

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  • 「研究」という概念を「GEIST」から考える

    JO Kazuhiro

    京都芸術大学〈舞台芸術作品の創造・受容のための領域横断的・実践的研究拠点〉2021年度 アニュアルレポート   9   17 - 18   2023

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  • 生物の鳴き声による創作楽器の制作

    鷲尾 拓海, 城 一裕

    研究報告音楽情報科学(MUS)   2022-MUS-134 ( 30 )   1 - 7   2022.6

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  • 海洋性発光細菌をインクとして用いたデジタルスクリーン製版による映像表現の検討

    佐伯 拓海, 城 一裕

    研究報告ヒューマンコンピュータインタラクション(HCI)   2022-HCI-198 ( 15 )   1 - 2   2022.6

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  • 生物の鳴き声による創作楽器の制作

    JO Kazuhiro

    情報処理学会 音楽情報科学 (MUS)研究会   30   1 - 7   2022

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  • 海洋性発光細菌をインクとして用いたデジタルスクリーン製版による映像表現の検討

    城 一裕

    情報処理学会 エンタテインメントコンピューティング(EC)研究会   15   1 - 2   2022

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  • “Naku”: A Performance with a Rapper in an Anechoic Chamber" Reviewed

    JO Kazuhiro

    The proceedings of TTT2020 (Interdisciplinary Conference TABOO - TRANSGRESSION - TRANSCENDENCE in Art & Science)   -   2022

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  • 人工喉頭と肉声の組合せによる歌声の芸術的価値の考察

    吉村帆生、城 一裕

    先端芸術音楽創作学会 会報   Vol.13 No.1   12 - 19   2021.2

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  • 日本の電子音楽の現状調査 — モジュラーシンセサイザーを対象として

    イ・スンギュ、城 一裕

    先端芸術音楽創作学会 会報   Vol.13 ( No.1 )   20 - 29   2021.2

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  • 人工喉頭と肉声の組合せによる歌声の芸術的価値の考察

    吉村帆生、城 一裕

    先端芸術音楽創作学会 会報   Vol.13 ( No.1 )   12 - 19   2021.2

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  • 日本の電子音楽の現状調査 ― モジュラーシンセサイザーを対象として

    イ・スンギュ,城 一裕

    先端芸術音楽創作学会 会報   Vol.13 No.1   20 - 29   2021.2

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  • Living Images: Images Supported by Living Things Invited

    Kazuhiro Jo, Juppo Yokokawa, Nobuhiro Masuda

    Proceedings of the International Display Workshops   27   850 - 853   2020.12

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    We propose the notion of "Living Images" by reviewing the historical background from early color photography through germ paintings with microbes to recent artworks include our audiovisual work Chromatophony. We aim to highlight the link between digital and living images and initiate discussions on future forms of display.

    DOI: 10.36463/idw.2020.0850

  • Modules for analog synthesizers using Aloe vera biomemristor Reviewed

    K. Nishida K. Jo

    Proceedings of the International Conference on New Interfaces for Musical Expression   111 - 115   2020.7

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  • 48.生物を用いた芸術作品の歴史的位置付けーケンサキイカの色素胞を用いた映像装置・作品の制作を通じて

    横川十帆, 城一裕

    共創学会第 3 回年次大会予稿集   -   73 - 76   2019.12

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  • 人と音と酒

    永田成彦, 城 一裕

    共創学会第 3 回年次大会予稿集   -   103 - 105   2019.12

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  • 「声」の楽器による楽曲制作を通じた、声の違和感に関する研究

    吉村帆生,城 一裕

    先端芸術音楽創作学会 会報   Vol.11 No.1   5 - 10   2019.11

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  • 音刺激を用いた海釣り用誘引デバイスの開発

    帯屋健之, 城 一裕

    先端芸術音楽創作学会 会報   Vol.11 No.1   36 - 42   2019.11

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  • 計算機による音生成の異なるあり方を探る 『Electronic Delay Time Automatic Calculator』の制作

    松浦知也, 城 一裕

    先端芸術音楽創作学会 会報   Vol.11 No.1   43 - 49   2019.11

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  • バイオメモリスタを用いたモジュラーシンセの開発とそれによる音楽表現の拡張の検討

    西田騎夕, 城 一裕

    先端芸術音楽創作学会会報   11   23 - 28   2019.11

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  • イカの色素胞を用いた新たな視覚表現の提案

    横川十帆, 城 一裕

    先端芸術音楽創作学会 会報   Vol.11 No.1   1 - 4   2019.11

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  • 音刺激を用いた海釣り用誘引デバイスの開発

    帯屋健之, 城 一裕

    日本音響学会九州支部,第13回 学生のための研究発表会   -   21 - 24   2019.10

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  • モーターを用いた擦弦デバイス“Gizmoviolon”

    清水久見, 城一裕

    情報処理学会研究報告(Web)   2018 ( MUS-119 )   2018.6

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  • 海釣り用の音刺激による誘引デバイス“Multi-Sounds Fish Call”

    帯屋健之, 城一裕

    情報処理学会研究報告(Web)   2018 ( MUS-119 )   2018.6

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    “Multi-Sounds Fish Call”: A sound stimulation device for sea fishing

  • Au clair de la lune on gramophone-for Édouard-Léon Scott and László Moholy-Nagy-(1860/1923/2015)

    Kazuhiro Jo

    12th International Conference on Tangible, Embedded, and Embodied Interaction, TEI 2018 TEI 2018 - Proceedings of the 12th International Conference on Tangible, Embedded, and Embodied Interaction   517 - 520   2018.3

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    "Au Clair de la Lune on Gramophone-For Édouard-Léon Scott and László Moholy-Nagy-(1860/1923/2015)" is a work that realizes the provocative idea of Moholy-Nagy, "a record without prior acoustic information" (1923), with the help of mature vinyl audio recording technology and current personal fabrication tools. In this paper, I explain the body, background, and characteristics of the work.

    DOI: 10.1145/3173225.3173300

  • The KOROGARU Park series Three features of the Park of the future

    Daiya Aida, Kiyoshi Suganuma, Kazuhiro Jo, Abe Kazunao

    16th International ACM Conference on Interaction Design and Children, IDC 2017 IDC 2017 - Proceedings of the 2017 ACM Conference on Interaction Design and Children   379 - 384   2017.6

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    This paper reports the findings made during the operation of the KOROGARU Park series, a series of temporary park facilities featuring media technologies launched by the Yamaguchi Center for Arts and Media located in Yamaguchi, Japan between 2012 and 2016. The KOROGARU Park series has three common features: (1) Physical forms, (2) Media mechanisms, and (3) Social sprouts. In this paper, we examine the three features in detail, including description and analysis, for the complete series of five parks. While the examination, we intend to depict the potential of media technology in fostering social growth and learning in parks.

    DOI: 10.1145/3078072.3079738

  • Practical Study of Open Sharing at Yamaguchi Center for Arts and Media [YCAM] Reviewed

    Yosuke Sakai, Takayuki Ito, Mitsuhito Ando, Keina Konno, Tsubasa Nishi, Kiyoshi Suganuma, Fumie Takahara, Kazuhiro Jo, Tomimatsu Kiyoshi

    International Journal of Asia Digital Art and Design Association   20 ( 4 )   85 - 93   2017

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    Yamaguchi Center for Arts and Media [YCAM] (herein after YCAM) is an art center focused on media technology. It produces artwork incorporating media technology, develops media technology, archives related information, and provides education. YCAM has open shared its works from some of its projects. To open share means to publish a work so that a third party can utilize it freely within certain conditions. In this paper, the introduction of open sharing at YCAM and the practice of implementing open sharing will be described and discussed.

    DOI: 10.20668/adada.20.4_85

  • Initial trials of ofxEpilog From real time operation to dynamic focus of epilog laser cutter

    Mitsuhito Ando, Chisaki Murakami, Takayuki Ito, Kazuhiro Jo

    29th Annual Symposium on User Interface Software and Technology, UIST 2016 UIST 2016 Adjunct - Proceedings of the 29th Annual Symposium on User Interface Software and Technology   175 - 176   2016.10

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    This paper describes ofxEpilog which enable people to control a laser cutter of Epilog in real time. ofxEpilog is an addon of openFrameworks, an open source C++ toolkit for creative coding. With the addon, people could directly send their image object to a laser cutter through Ethernet. By alternating the generation and transmission of the command of cutting, the addon could sequentially control a laser cutter in real time. This paper introduces our initial trials of ofxEpilog with a real time operation (A), dynamic focus (zaxis) control with a given 3D object (B), and a scanned 3D object (C). Technical limitations and our upcoming challenges are also discussed.

    DOI: 10.1145/2984751.2984756

  • GRP Contract Form – 成果のオープン化を実現する共同研究開発のための契約書ひながた – Reviewed

    坂井 洋右, 伊藤 隆之, 水野祐, 城 一裕, 富松 潔

    日本バーチャルリアリティ学会 論文誌   2016.3

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  • 《日常の行為とその周りの人々 - A-Z, a-zから考える》の分析

    北堀あすみ, 松井茂, 城 一裕

    日本認知科学会研究分科会「間合い―時空間インタラクション」第4回研究会予稿集   2016.3

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    本研究では,発表代表者による修士修了制作の映像作品《日常の行為とその周りの人々 - A-Z,a-zから考える》を対象に,日常の行為に基づく「接触によるコミュニケーション」という視点から分析を試みた.対象とした本映像作品は,発表代表者の日常を基盤とした28の単独行為を捉えた「A-Z」と,街頭の人々と発表代表者共が行った26の共同行為を捉えた「a-z」から構成されている.分析の前提として,ウィリアムスによるコミュニケーション形態の分類を踏まえ,「A-Z」を個人完結型,「a-z」を対人・小集団のコミュニケーションと位置づけている.行為直後に記した動機や感想等のコメンタリーを分析し,日常生活における触覚によるコミュニケーションの役割を考察した結果,接触を中心とした一人称のコミュニケーションが,ありえるかもしれない別の身体感を体験として理解したこと,および,接触を中心とした複数名によるコミュニケーションが自発的な行為と解放感を促したこと,が明らかとなった.

  • Dividual plays experimental lab - An installation derived from dividual plays

    Keina Konno, Richi Owaki, Yoshito Onishi, Ryo Kanda, Sheep, Akiko Takeshita, Tsubasa Nishi, Naoko Shiomi, Kyle McDonald, Satoru Higa, Motoi Shimizu, Yosuke Sakai, Yasuaki Kakehi, Kazuhiro Jo, Yoko Ando, Kazunao Abe, Takayuki Ito

    10th Anniversary Conference on Tangible Embedded and Embodied Interaction, TEI 2016 TEI 2016 - Proceedings of the 10th Anniversary Conference on Tangible Embedded and Embodied Interaction   647 - 652   2016.2

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    Dividual Plays Experimental Lab" is an extract from the dance piece "Dividual Plays". Dividual Plays was produced as the first research outcome of "Reactor for Awareness in Motion [RAM]", a research project we have been involved since 2010 (http://ram.ycam.jp/en/). Dividual Plays Experimental Lab consists of essential elements of Dividual Plays, virtual environments for dance "scenes", a programming toolkit "RAM Dance Toolkit", and a motion capture system "MOTIONER". With these systems, the lab allows the visitors to explore and create their own body movements correspond with the experience of the dancers in Dividual Plays.

    DOI: 10.1145/2839462.2856346

  • "KOTOBA SHINTAI" A workshop to explore the interconnectivity between words and body movements

    Kiyoshi Suganuma, Daiya Aida, Rie Okada, Satoshi Hama, Zan Yamashita, Takayuki Ito, Yosuke Sakai, Kazuhiro Jo

    SIGGRAPH Asia, SA 2015 SIGGRAPH Asia 2015 Symposium on Education, SA 2015   2015.11

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    Language:English   Publishing type:Research paper (other academic)  

    DOI: 10.1145/2818498.2818509

  • The Role of Mechanical Reproduction in (What Was Formerly Known as) the Record in the Age of Personal Fabrication Reviewed

    Kazuhiro Jo

    LEONARDO MUSIC JOURNAL   24   65 - 67   2014.12

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    Language:English   Publishing type:Research paper (scientific journal)  

    The author examines the role of mechanical reproduction in (what was formerly known as) analog records in the age of personal fabrication with an example from his recent project cutting record. He investigates the creation of records without inputting sound sources by utilizing a production technique and a variety of materials, in conjunction with a discussion of a performance and workshop extracted from the project.

    DOI: 10.1162/LMJ_a_00206

  • The role of mechanical reproduction in (what was formerly known as) the record in the age of personal fabrication Reviewed

    Kazuhiro Jo

    Leonardo Music Journal   24   65 - 67   2014.12

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    Language:English   Publishing type:Research paper (scientific journal)  

    The author examines the role of mechanical reproduction in (what was formerly known as) analog records in the age of personal fabrication with an example from his recent project cutting record. He investigates the creation of records without inputting sound sources by utilizing a production technique and a variety of materials, in conjunction with a discussion of a performance and workshop extracted from the project.

    DOI: 10.1162/LMJ_a_00206

  • "Toru" A game that reverses the wisdom of age using mosquito sound

    John Smith, Kazuhiro Jo

    1st ACM SIGCHI Annual Symposium on Computer-Human Interaction in Play, CHI PLAY 2014 CHI PLAY 2014 - Proceedings of the 2014 Annual Symposium on Computer-Human Interaction in Play   375 - 378   2014.10

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    Language:English   Publishing type:Research paper (other academic)  

    We propose "Toru," a game that reverses the game skills developed as a person ages using ultra-highfrequency (mosquito) sound. The game has its origin in the computer game Simon (1978), which we interpret from visual to auditory form using the mosquito sound (i.e., ultra-high-frequency sound) for its difficulty settings. Because of individual variations in hearing, the Toru game transforms its character from Mimicry (simulation) to Alea (chance), and provides an opportunity to reverse the wisdom of age (i.e., game skills advantage) developed by adults over the years.

    DOI: 10.1145/2658537.2662973

  • 鉄道などの狭い移動体空間を利用した VJ・デコレーション表現の提案 Reviewed

    青木 聖也, 平林 真実, 城 一裕, 金山 智子

    エンタテインメントコンピューティングシンポジウム2014論文集   ( 2014 )   155 - 157   2014.9

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    Language:Japanese  

    Proposal of VJ·decoration expression that utilizes a narrow space such as a moving train

  • Workshopping participation in music Reviewed

    Kazuhiro Jo, Adam Parkinson, Atau Tanaka

    Organised Sound   18 ( 3 )   282 - 291   2013.12

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    Language:English   Publishing type:Research paper (scientific journal)  

    This paper presents a process-based approach to considering workshops as a route to participation in collective creative musical practice. We evoke the notion of the Music One Participates In, which focuses on a shift from the listener-as-consumer to participant-actor actively engaged in sound perception and production. We look at the range of different methods that make up the term 'workshop', as well as emergent relationships between facilitator and participant in creative do-it-yourself activities to frame our discussion of participatory music practice. We then examine the nature of participation across a range of disciplines from social and cognitive science through human computer interaction to radical and contemporary art, and identify possible contradictions in horizontal utopian organisational models. With this conceptual frame as a backdrop, we present four types of workshop that we have conducted across time at different sites with diverse groups of participants. We apply concepts from the participation literature to analyse our music workshops, and attempt to reconcile the potentially diverging agendas of facilitator and participant to arrive at a process-based view of 'workshopping'. © 2013 Cambridge University Press.

    DOI: 10.1017/S1355771813000253

  • Workshopping participation in music Reviewed

    Kazuhiro Jo, Adam Parkinson, Atau Tanaka

    Organised Sound   18 ( 3 )   282 - 291   2013.12

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    Language:English   Publishing type:Research paper (scientific journal)  

    This paper presents a process-based approach to considering workshops as a route to participation in collective creative musical practice. We evoke the notion of the Music One Participates In, which focuses on a shift from the listener-as-consumer to participant-actor actively engaged in sound perception and production. We look at the range of different methods that make up the term 'workshop', as well as emergent relationships between facilitator and participant in creative do-it-yourself activities to frame our discussion of participatory music practice. We then examine the nature of participation across a range of disciplines from social and cognitive science through human computer interaction to radical and contemporary art, and identify possible contradictions in horizontal utopian organisational models. With this conceptual frame as a backdrop, we present four types of workshop that we have conducted across time at different sites with diverse groups of participants. We apply concepts from the participation literature to analyse our music workshops, and attempt to reconcile the potentially diverging agendas of facilitator and participant to arrive at a process-based view of 'workshopping'.

    DOI: 10.1017/S1355771813000253

  • Laser cooking A novel culinary technique for dry heating using a laser cutter and vision technology

    Kentaro Fukuchi, Akifumi Tomiyama, Kazuhiro Jo, Shunsuke Takao

    ACM Multimedia 2012 4th Workshop on Multimedia for Cooking and Eating Activities, CEA 2012 CEA 2012 - Proceedings of the 2012 ACM Workshop on Multimedia for Cooking and Eating Activities, Co-located with ACM Multimedia 2012   55 - 58   2012.12

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    Language:English   Publishing type:Research paper (other academic)  

    We propose a novel cooking technology that uses a laser cutter as a dry-heating device. In general, dry-heat cooking heats the whole surface of an ingredient, while a laser cutter heats a small spot of the surface in a very short time. Our approach employs a computer-controlled laser cutter and a video image-processing technique to cook ingredients according to their shape and composition, allowing for new tastes, textures, decorations, and engraving unique identifiers to the ingredients. We introduce some examples of laser cooking. In addition, we propose a multi-layered 3D printing technique using powdered sugar to create edible sculpture.

    DOI: 10.1145/2390776.2390788

  • 2011-2012年の都市・建築・言葉 アンケート Invited

    城一裕

    10+1 web site   2012.1

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    Language:Japanese  

    2011-2012

  • Generative music workshop

    Tomotaro Kaneko, Kazuhiro Jo

    2011 2nd International Conference on Culture and Computing, Culture and Computing 2011 Proceedings - 2011 2nd International Conference on Culture and Computing, Culture and Computing 2011   179 - 180   2011.12

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    Language:English   Publishing type:Research paper (other academic)  

    In this paper, we present our practice of Generative Music Workshop (2010-). This workshop is a series of events that reproduce past masterpieces of generative music. The aim of the workshop is historical re-examination of generative works to contribute to recent musical practices with mobile computing devices. We regard that the organization of sounds with environmental elements would be a significant for music application of mobile computer. With this view, this workshop reflects past experimental music/sound art works as one of the practices that is conscious of the relationship between generativity and environment. This paper depicts the diversity of the way to organize sounds in three works: Steve Reich's Pendulum music, Alvin Lucier's Music on a long thin wire, and Richard Lehman's Travelon Gamelon.

    DOI: 10.1109/Culture-Computing.2011.54

  • 「いったい何がきこえているんだろう」展

    城一裕

    音響学会音響教育研究会   6 ( 1 )   51 - 56   2011.1

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    Language:Japanese   Publishing type:Research paper (scientific journal)  

    What Sounds Do We Hear?

  • ParticipArt Exploring participation in interactive art installations

    Giulio Jacucci, Mira Wagner, Ina Wagner, Elisa Giaccardi, Mauro Annunziato, Nell Breyer, Jonas Hansen, Kazuhiro Jo, Stijn Ossevoort, Alessandro Perini, Natacha Roussel, Susanne Schuricht

    9th IEEE International Symposium on Mixed and Augmented Reality 2010: Arts, Media, and Humanities, ISMAR-AMH 2010 9th IEEE International Symposium on Mixed and Augmented Reality 2010 Arts, Media, and Humanities, ISMAR-AMH 2010 - Proceedings   3 - 10   2010.12

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    Language:English   Publishing type:Research paper (other academic)  

    ParticipART is an initiative aimed at exploring participation in interactive works using ubiquitous computing and mixed reality. It supports and analyses work of artists and creative practitioners incorporating or reflecting on participatory processes to support new roles and forms of engagement for art participants. We aim at proposing a space for discussion that can enliven and enrich the dialogue between human-computer interaction and the creative practices. We present several works that have been exhibited and experienced. The works are used to reflect on the different participative strategies and the role of interaction technologies: enabling authorship, affording connectivity, interacting with artificial beings, reinterpreting the visitor world, and engaging in performative acts.

    DOI: 10.1109/ISMAR-AMH.2010.5643313

  • DIY (Do It Yourself), そして, DIWO (Do It with Others) への道り : Chiptune Marching Band の活動を通じて Reviewed

    城 一裕

    映像情報メディア学会誌 : 映像情報メディア = The journal of the Institute of Image Information and Television Engineers   64 ( 10 )   1465 - 1469   2010.10

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    Language:Japanese   Publishing type:Research paper (scientific journal)  

    The Way from DIY (Do It Yourself) to DIWO (Do It with Others) Thorough Chiptune Marching Band

    DOI: 10.3169/itej.64.1465

  • The way from DIY (do it yourself) to DIWO (do it with others) thorough chiptune marching band Reviewed

    Kazuhiro Jo

    Kyokai Joho Imeji Zasshi/Journal of the Institute of Image Information and Television Engineers   64 ( 10 )   1465 - 1469   2010.10

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    Language:English   Publishing type:Research paper (scientific journal)  

    DOI: 10.3169/itej.64.1465

  • Social inclusion through the digital economy Digital creative engagement and youth-led innovation

    Lalya Gaye, Atau Tanaka, Ranald Richardson, Kazuhiro Jo

    9th International Conference on Interaction Design and Children, IDC2010 Proceedings of IDC2010 The 9th International Conference on Interaction Design and Children   352 - 355   2010.7

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    Language:English   Publishing type:Research paper (other academic)  

    SIDE is a UK-based research project investigating the social benefits of digital technologies for marginalized social groups. The Creative Media Group works in particular with creative practices and young people, with a twofold research focus: the fostering of engagement through digital creativity, and the support of youth-led innovation with digital technologies. This paper describes the aims and objectives of the Creative Media Group in the SIDE project, as well as the first few months of its research.

    DOI: 10.1145/1810543.1810612

  • Designing interactive blimps as puppets

    Hideki Yoshimoto, Kazuhiro Jo, Koichi Hori

    8th International Conference on Entertainment Computing, ICEC 2009 Entertainment Computing - ICEC 2009 - 8th International Conference, Proceedings   204 - 209   2009.11

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    Language:English   Publishing type:Research paper (other academic)  

    In this paper we propose four models of unmanned blimps: Robots, Pets, Agents, and Puppets, according to whether they are autonomous or not and whether they are shown to people or not. Robots and Pets are autonomous and Agents and Puppets are not autonomous. Robots and Agents are shown to people and Pets and Puppets are not shown to people. Based on these models, we approach toward interactive blimps as puppets, which visualize performances from people to people with real time effects and motions. We implemented prototype applications where people could make performances through controls of the blimp's light effects and flight motions with voice via mobile phones and a physical controller. We organized observations of these prototypes at a laboratory experiment and demo exhibitions. We also discuss our models based on spectators' experience.

    DOI: 10.1007/978-3-642-04052-8_21

  • An ecology of practice Chiptune marching band

    Jamie Allen, Areti Galani, Kazuhiro Jo

    7th ACM SIGCHI Conference on Creativity and Cognition, C and C 2009 C and C 2009 - Proceedings of the 2009 ACM SIGCHI Conference on Creativity and Cognition   347 - 348   2009.10

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    Language:English   Publishing type:Research paper (other academic)  

    Chiptune Marching Band (CTMB) is a workshopperformance held in diverse public venues internationally (http://chiptunemarchingband.com/). The CTMB project proposes a contemporary form of dialogic art - an inclusive, participatory event designed to provide direct experience of resource, social and creative dynamics. In this poster we invoke the phrase "ecology of practice" to describe CTMB in terms of a number of interrelationships: amongst skills, with materials, in creativity and between participants. We also present our evaluative methods for 'participant' feedback within this type of event that are designed to be congruous with the overall intention.

    DOI: 10.1145/1640233.1640294

  • Toward entertainment blimps for everyone by everyone

    Hideki Yoshimoto, Kazuhiro Jo, Koichi Hori

    7th ACM SIGCHI Conference on Creativity and Cognition, C and C 2009 C and C 2009 - Proceedings of the 2009 ACM SIGCHI Conference on Creativity and Cognition   445 - 446   2009.10

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    Language:English   Publishing type:Research paper (other academic)  

    This paper describes our vision and approach toward "entertainment blimps for everyone by everyone" through DIY prototyping. Our vision of "entertainment blimps for everyone" is that operators, who control the blimps, and spectators, who observe the blimps, could share and enjoy the activities together. Our vision of "entertainment blimps by everyone" is that both of developers, who are skilled in electronics or computer programming, and users, who are not, could reproduce and modify their own entertainment blimp projects.

    DOI: 10.1145/1640233.1640344

  • Chiptune marching band A public workshop and performance

    Kazuhiro Jo, Jamie Allen, Areti Galani

    7th ACM SIGCHI Conference on Creativity and Cognition, C and C 2009 C and C 2009 - Proceedings of the 2009 ACM SIGCHI Conference on Creativity and Cognition   481 - 482   2009.10

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    Language:English   Publishing type:Research paper (other academic)  

    This paper proposes a public workshop and performance, "Chiptune Marching Band", where participants make a sensor-reactive sound instrument, powered by a localized power resource, and perform with their instrument as a band.

    DOI: 10.1145/1640233.1640366

  • Transition of instruments in The SINE WAVE ORCHESTRA Reviewed

    K. Jo, K. Furudate, D. Ishida, N. Mizuki

    ACM Computers in Entertainment   6 ( 4 )   1 - 18   2008.12

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    Language:English   Publishing type:Research paper (scientific journal)  

    Transition of instruments in The SINE WAVE ORCHESTRA
    This article discusses the transition of instruments in The SINE WAVE ORCHESTRA (SWO), which is a participatory sound performance project. Its basic concept is that each participant plays a sine wave, to collectively create a sound representation. Although all SWO works use the same sound source (i.e., sine waves), each SWO work employs different instruments. The employment of various instruments results in different styles of collective sound representation. This article examines five of the instruments utilized in SWO works. In The SINE WAVE ORCHESTRA The Stairway, the participants played sine waves with light-sensitive instruments as well as other in- struments. In The SINE WAVE ORCHESTRA stay, participants accumulated sine waves in an echoless chamber. In The SINE WAVE ORCHESTRA nomadic, each participants played and ex- hibitied a sine wave with a Linux-installed Pod. At The SINE WAVE ORCHESTRA at ZeroOne San Jose/ISEA 2006, each participant played a sine wave with a hand-held plastic egg instrument; in The SINE WAVE ORCHESTRA mediate, participants extended the recursion of sine waves with eight sets of boards. In this article we discuss which elements of the instrument affect how people create collective sound representations and describe the participants’ experience with the instruments.

    DOI: 10.1145/1461999.1462004

  • Transition of instruments in the SINE WAVE ORCHESTRA Reviewed

    Kazuhiro Jo, Ken Furudate, Daisuke Ishida, Mizuki Noguchi

    Computers in Entertainment   6 ( 4 )   2008.12

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    Language:English   Publishing type:Research paper (scientific journal)  

    This article discusses the transition of instruments in The SINE WAVE ORCHESTRA (SWO), which is a participatory sound performance project. Its basic concept is that each participant plays a sine wave, to collectively create a sound representation. Although all SWO works use the same sound source (i.e., sine waves), each SWO work employs different instruments. The employment of various instruments results in different styles of collective sound representation. This article examines five of the instruments utilized in SWO works. In The SINE WAVE ORCHESTRA The Stairway, the participants played sine waves with light-sensitive instruments as well as other instruments. In The SINE WAVE ORCHESTRA stay, participants accumulated sine waves in an echoless chamber. In The SINE WAVE ORCHESTRA nomadic, each participants played and exhibitied a sine wave with a Linux-installed Pod. At The SINE WAVE ORCHESTRA at ZeroOne San Jose/ISEA 2006, each participant played a sine wave with a hand-held plastic egg instrument; in The SINE WAVE ORCHESTRA mediate, participants extended the recursion of sine waves with eight sets of boards. In this article we discuss which elements of the instrument affect how people create collective sound representations and describe the participants' experience with the instruments.

    DOI: 10.1145/1461999.1462004

  • Design of installation with interactive UAVs

    Hideki Yoshimoto, Kazuhiro Jo, Koichi Hori

    2008 International Conference on Advances in Computer Entertainment Technology, ACE 2008 Proceedings of the 2008 International Conference on Advances in Computer Entertainment Technology, ACE 2008   2008.12

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    Language:English   Publishing type:Research paper (other academic)  

    DOI: 10.1145/1501750.1501874

  • Audio Interface as a Device for Physical Computing Reviewed

    K. Jo

    Audio Mostly 2008 - a conference on Interaction with Sound   123 - 127   2008.10

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    Audio Interface as a Device for Physical Computing
    In this paper, we would like to describe the employment of audio interface as a device for physical computing. We <br />
    compare the audio interface with other devices and describe its characteristics. We also present examples of the employment with three different art works, Monalisa "shadow of the sound", The SINE WAVE ORCHESTRA stay amplified, and AEO. We explain<br />
    the implementation of each work with different physical components. Finally, we discuss some of the potential of the employment of audio interface for future implementation.

  • Monalisa: "see the sound, hear the image" Reviewed

    K. Jo, N. Nagano

    8th International Conference New Interface for Musical Expression. NIME '08   315 - 318   2008.6

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    Monalisa: "see the sound, hear the image"
    Monalisa is a software platform that enables to "see the sound, hear the image”. It consists of three software: Monalisa Application, Monalisa-Audio Unit, and Monalisa-Image Unit, and an installation: Monalisa “shadow of the sound”. In this paper, we describe the implementation of each software and installation with the explanation of the basic algorithms to treat the image data and the sound data transparently.

  • DrawSound A drawing instrument for sound performance

    Kazuhiro Jo

    2nd International Conference on Tangible and Embedded Interaction, TEI 2008 TEI'08 - Second International Conference on Tangible and Embedded Interaction - Conference Proceedings   59 - 62   2008.4

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    Language:English   Publishing type:Research paper (other academic)  

    DrawSound is a drawing instrument for sound performances that combines multi-touch input technology with the expressive character of drawing. The instrument is intended to be used in two different art projects, The SINE WAVE QUARTET, and aeo. In this paper, we describe the implementation of DrawSound with three different pens and show how we design the two different sound performances. We also explain our preliminarily observations about the unique characters of DrawSound.

    DOI: 10.1145/1347390.1347405

  • Audio interface as a device for physical computing

    Kazuhiro Jo

    2008 Audio Mostly Conference - A Conference on Interaction with Sound Proceedings of the Audio Mostly Conference - A Conference on Interaction with Sound   123 - 126   2008

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    Language:English   Publishing type:Research paper (other academic)  

    In this paper, we would like to describe the employment of audio interface as a device for physical computing. We compare the audio interface with other devices and describe its characteristics. We also present examples of the employment with three different art works, Monalisa "shadow of the sound", The SINE WAVE ORCHESTRA stay amplified, and AEO. We explain the implementation of each work with different physical components. Finally, we discuss some of the potential of the employment of audio interface for future implementation.

  • Audio interface as a device for physical computing

    Kazuhiro Jo

    2008 Audio Mostly Conference - A Conference on Interaction with Sound Proceedings of the Audio Mostly Conference - A Conference on Interaction with Sound   123 - 126   2008

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    Language:English   Publishing type:Research paper (other academic)  

    In this paper, we would like to describe the employment of audio interface as a device for physical computing. We compare the audio interface with other devices and describe its characteristics. We also present examples of the employment with three different art works, Monalisa "shadow of the sound", The SINE WAVE ORCHESTRA stay amplified, and AEO. We explain the implementation of each work with different physical components. Finally, we discuss some of the potential of the employment of audio interface for future implementation.

  • Reproducing and re-experiencing the writing process in Japanese calligraphy

    Kumiyo Nakakoji, Kazuhiro Jo, Yasuhiro Yamamoto, Yoshiyuki Nishinaka, Mitsuhiro Asada

    2nd Annual IEEE International Workshop on Horizontal Interactive Human-Computer Systems, Tabletop 2007 Tabletop 2007 - 2nd Annual IEEE International Workshop on Horizontal Interactive Human-Computer Systems   75 - 78   2007.12

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    Language:English   Publishing type:Research paper (other academic)  

    Japanese calligraphy is the art of brush writing where a person writes Japanese characters with a Chinese brush against a sheet of paper. We have implemented a mechanism to capture the process of producing Japanese calligraphy using MERL's DiamondTouch (DT) table. We add a very thin metal wire along the length of the brush to carry an electric signal from the writer's body through the brush tuft and ink to the table. As the brush tuft is touches a sheet of paper placed on the surface of the DT table, the ink in the tuft carries the signal from the users to DT. We capture the movement of the brush tuft to produce the visual and auditory representations of the writing process and for later replay.

    DOI: 10.1109/TABLETOP.2007.24

  • Transition of an instrument The AEO sound performance project Reviewed

    Kazuhiro Jo

    Leonardo Music Journal   17   46 - 48   2007.1

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    Language:English   Publishing type:Research paper (scientific journal)  

    DOI: 10.1162/lmj.2007.17.46b

  • CHI2006参加報告 Reviewed

    城 一裕

    情報処理学会研究報告   2006 ( 72 )   巻頭4p   2006.7

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    Language:Japanese  

  • The SINE WAVE ORCHESTRA stay

    Kazuhiro Jo, Ken Furudate, Daisuke Ishida, Mizuki Noguchi

    13th ACM International Conference on Multimedia, MM 2005 Proceedings of the 13th ACM International Conference on Multimedia, MM 2005   571 - 573   2005.12

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    Language:English   Publishing type:Research paper (other academic)  

    This is a report of creative and technical considerations in building a participatory sound performance The SINE WAVE ORCHESTRA stay. In this performance, the participants one by one leave their own sine wave in the performance space. These sine waves form a mutually interfering sound space while the sound field of a room changes during the performance.

    DOI: 10.1145/1101149.1101280

  • BUI(Breathed User Interface) を利用した時間軸情報の制御 Reviewed

    城 一裕, 堀尾 寛太, 松永 建

    情報処理学会研究報告. MUS,[音楽情報科学]   39 ( 16 )   101 - 104   2001.2

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    Language:Japanese  

    The control of time base information using BUI (Breathed User Interface)
    BUI(Breathed User Interface)is an interface using exhalation.In this paper, we describe the realization of the operational environment of time base information using BUI.The system consists of a vane wheel, which detects exhalation, a computer with MAX/msp.Image, CD, external input voice and audio file were projected as information on the time base.

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Books

  • ‘otonai (おとない)’ (Japanese)

    Jo K., Fujimoto M.

    A Sound Word Almanac  2023.12    ISBN:9798765109076, 9798765109052

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  • A Sound Word Almanac

    Kazuhiro Jo, Maho Fujimoto(Role:Joint author‘otonai (おとない)’ (Japanese), pp.64-66.)

    Bloomsbury Publishing  2023.12    ISBN:9798765109052

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  • 音のメディア考古学:「車輪の再発明」と「Life in the groove」の実践を通して,編:松村誠一郎,メディアテクノロジーシリーズ「サウンドデザイン」(出版予定)

    JO Kazuhiro

    コロナ社  2023 

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  • Dark Eden: Transdisciplinary Imaging

    Nobuhiro Masuda, Juppo Yokokawa, Kazuhiro Jo, Yosaku Matsutani(Role:Joint author“Living Images, Inert Humans: Vitality of the Images Appearing in Chromatophony and A Wave” pp. 165-171)

    Art + Australia, Victorian College of the Arts University of Melbourne  2022.8    ISBN:9780645544305

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  • “Naku”: A Performance with a Rapper in an Anechoic Chamber. In: Honorato, Dalila; Reichle, Ingeborg; Gonzalez Valerio, Maria Antonia; Giannakoulopoulos, Andreas (eds.) Taboo-Transgression-Transcendence in Art & Science 2020

    JO Kazuhiro

    Ionian University  2022    ISBN:9789607260703

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    Total pages:504  

    CiNii Research

  • Taboo-Transgression-Transcendence in Art & Science 2020

    KAZUHIRO JO, ROY TAMAKI, TAKUYA ISHIKAWA, TOMOYA MATSUURA(Role:Joint author“Naku”: A Performance with a Rapper in an Anechoic Chamber (pp.357-361))

    Corfu: Ionian University  2022    ISBN:9789607260703

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Presentations

  • Re-Inventing the Wheel: To Embody the Possible Presents International conference

    Kazuhiro JO

    CHI 2016 CrossFAB workshop  2016.5 

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    Event date: 2016.5

    Language:English   Presentation type:Symposium, workshop panel (public)  

    Venue:San Jose   Country:United States  

    Re-Inventing the Wheel is a project, which I’m organizing with colleagues (Ryota Kuwakubo, Akira Segawa, and Shigeru Matsui) and students at IAMAS (Institute of Advanced Media Arts and Sciences) since 2013. The aim of the project is to embody ”the possible presents” instead of the preferable futures [Dunne, Raby, 2013] by re-reading the history with practices. By utilizing the literature of media archeology [Huhtamo, 2011] as our foothold, we firstly deepen our understanding for the role and function of various media, especially in the field of audio and visual, before their stabilization in the history. Then, we apply each acquired notion as a technique for diverse aesthetic practices in the era of personal fabrication [Gershenfeld, 2008]. Instead of depicting the future or excavating the past, we try to redefine the reality of our circumstances by producing the alternatives.

    Other Link: http://crossfab-workshop.com/

  • Laser cooking A novel culinary technique for dry heating using a laser cutter and vision technology

    Kentaro Fukuchi, Akifumi Tomiyama, Kazuhiro Jo, Shunsuke Takao

    ACM Multimedia 2012 4th Workshop on Multimedia for Cooking and Eating Activities, CEA 2012  2012.12 

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    Event date: 2012.11

    Language:English  

    Venue:Nara   Country:Japan  

    We propose a novel cooking technology that uses a laser cutter as a dry-heating device. In general, dry-heat cooking heats the whole surface of an ingredient, while a laser cutter heats a small spot of the surface in a very short time. Our approach employs a computer-controlled laser cutter and a video image-processing technique to cook ingredients according to their shape and composition, allowing for new tastes, textures, decorations, and engraving unique identifiers to the ingredients. We introduce some examples of laser cooking. In addition, we propose a multi-layered 3D printing technique using powdered sugar to create edible sculpture.

  • Generative music workshop

    Tomotaro Kaneko, Kazuhiro Jo

    2011 2nd International Conference on Culture and Computing, Culture and Computing 2011  2011.12 

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    Event date: 2011.10

    Language:English  

    Venue:Kyoto   Country:Japan  

    In this paper, we present our practice of Generative Music Workshop (2010-). This workshop is a series of events that reproduce past masterpieces of generative music. The aim of the workshop is historical re-examination of generative works to contribute to recent musical practices with mobile computing devices. We regard that the organization of sounds with environmental elements would be a significant for music application of mobile computer. With this view, this workshop reflects past experimental music/sound art works as one of the practices that is conscious of the relationship between generativity and environment. This paper depicts the diversity of the way to organize sounds in three works: Steve Reich's Pendulum music, Alvin Lucier's Music on a long thin wire, and Richard Lehman's Travelon Gamelon.

  • ParticipArt Exploring participation in interactive art installations

    Giulio Jacucci, Mira Wagner, Ina Wagner, Elisa Giaccardi, Mauro Annunziato, Nell Breyer, Jonas Hansen, Kazuhiro Jo, Stijn Ossevoort, Alessandro Perini, Natacha Roussel, Susanne Schuricht

    9th IEEE International Symposium on Mixed and Augmented Reality 2010: Arts, Media, and Humanities, ISMAR-AMH 2010  2010.12 

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    Event date: 2010.10

    Language:English  

    Venue:Seoul   Country:Korea, Republic of  

    ParticipART is an initiative aimed at exploring participation in interactive works using ubiquitous computing and mixed reality. It supports and analyses work of artists and creative practitioners incorporating or reflecting on participatory processes to support new roles and forms of engagement for art participants. We aim at proposing a space for discussion that can enliven and enrich the dialogue between human-computer interaction and the creative practices. We present several works that have been exhibited and experienced. The works are used to reflect on the different participative strategies and the role of interaction technologies: enabling authorship, affording connectivity, interacting with artificial beings, reinterpreting the visitor world, and engaging in performative acts.

  • Social inclusion through the digital economy Digital creative engagement and youth-led innovation

    Lalya Gaye, Atau Tanaka, Ranald Richardson, Kazuhiro Jo

    9th International Conference on Interaction Design and Children, IDC2010  2010.7 

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    Event date: 2010.6

    Language:English  

    Venue:Barcelona   Country:Spain  

    SIDE is a UK-based research project investigating the social benefits of digital technologies for marginalized social groups. The Creative Media Group works in particular with creative practices and young people, with a twofold research focus: the fostering of engagement through digital creativity, and the support of youth-led innovation with digital technologies. This paper describes the aims and objectives of the Creative Media Group in the SIDE project, as well as the first few months of its research.

  • Chiptune Marching Band Presented simultaneously in Japanese and English

    Kazuhiro Jo, Jamie Allen

    ACM SIGGRAPH ASIA 2009 Courses, SIGGRAPH ASIA '09  2009.12 

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    Event date: 2009.12

    Language:English  

    Venue:Yokohama   Country:Japan  

    Chiptune Marching Band is an exploration of themes in resource use, creative culture, and ad-hoc community formation. It is a public workshop and performance for researchers, students, and the general public that has taken place in diverse international venues and events. In the workshop, participants are led through a presentation on concepts and basic knowledge of localized power resources and energy micro-generation approaches, technical knowledge of audio circuits, and participatory performance practice through performative "happening." Then they receive a kit of parts and some assistance with circuit building and instrument fabrication. With step-by-step instructions, they build a sensor-driven sound-making circuit powered by human and environmentally friendly resources. For instrument fabrication, they personalize their instruments in whatever way they choose with provided materials. Participants who finish the workshop discuss how to organize a public performance. Following the discussion, participants are organized into a "marching band" that parades through the streets as a public performance and spectacle. At the end of the march, participants take their instruments home.

  • An ecology of practice Chiptune marching band

    Jamie Allen, Areti Galani, Kazuhiro Jo

    7th ACM SIGCHI Conference on Creativity and Cognition, C and C 2009  2009.10 

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    Event date: 2009.10

    Language:English  

    Venue:Berkeley   Country:United States  

    Chiptune Marching Band (CTMB) is a workshopperformance held in diverse public venues internationally (http://chiptunemarchingband.com/). The CTMB project proposes a contemporary form of dialogic art - an inclusive, participatory event designed to provide direct experience of resource, social and creative dynamics. In this poster we invoke the phrase "ecology of practice" to describe CTMB in terms of a number of interrelationships: amongst skills, with materials, in creativity and between participants. We also present our evaluative methods for 'participant' feedback within this type of event that are designed to be congruous with the overall intention.

  • Toward entertainment blimps for everyone by everyone

    Hideki Yoshimoto, Kazuhiro Jo, Koichi Hori

    7th ACM SIGCHI Conference on Creativity and Cognition, C and C 2009  2009.10 

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    Event date: 2009.10

    Language:English  

    Venue:Berkeley   Country:United States  

    This paper describes our vision and approach toward "entertainment blimps for everyone by everyone" through DIY prototyping. Our vision of "entertainment blimps for everyone" is that operators, who control the blimps, and spectators, who observe the blimps, could share and enjoy the activities together. Our vision of "entertainment blimps by everyone" is that both of developers, who are skilled in electronics or computer programming, and users, who are not, could reproduce and modify their own entertainment blimp projects.

  • Chiptune marching band A public workshop and performance

    Kazuhiro Jo, Jamie Allen, Areti Galani

    7th ACM SIGCHI Conference on Creativity and Cognition, C and C 2009  2009.10 

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    Event date: 2009.10

    Language:English  

    Venue:Berkeley   Country:United States  

    This paper proposes a public workshop and performance, "Chiptune Marching Band", where participants make a sensor-reactive sound instrument, powered by a localized power resource, and perform with their instrument as a band.

  • Designing interactive blimps as puppets

    Hideki Yoshimoto, Kazuhiro Jo, Koichi Hori

    8th International Conference on Entertainment Computing, ICEC 2009  2009.11 

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    Event date: 2009.9

    Language:English  

    Venue:Paris   Country:France  

    In this paper we propose four models of unmanned blimps: Robots, Pets, Agents, and Puppets, according to whether they are autonomous or not and whether they are shown to people or not. Robots and Pets are autonomous and Agents and Puppets are not autonomous. Robots and Agents are shown to people and Pets and Puppets are not shown to people. Based on these models, we approach toward interactive blimps as puppets, which visualize performances from people to people with real time effects and motions. We implemented prototype applications where people could make performances through controls of the blimp's light effects and flight motions with voice via mobile phones and a physical controller. We organized observations of these prototypes at a laboratory experiment and demo exhibitions. We also discuss our models based on spectators' experience.

  • Design of installation with interactive UAVs

    Hideki Yoshimoto, Kazuhiro Jo, Koichi Hori

    2008 International Conference on Advances in Computer Entertainment Technology, ACE 2008  2008.12 

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    Event date: 2008.12

    Language:English  

    Venue:Yokohama   Country:Japan  

  • TSI (Teething ring Sound Instrument) A design of the sound instrument for the baby

    Naoko Kubo, Kazuhiro Jo, Ken Matsunaga

    Proceedings of the 14th Annual ACM Symposium on User Interface Software and Technology (UIST'01)  2001.12 

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    Event date: 2001.11

    Language:English  

    Venue:Orlando, FL   Country:United States  

    In this paper, we will describe the TSI (Teething ring Sound Instrument), a new sound instrument given to babies, which consists of a teething ring, a knob, an I-CubeX Digitizer and a computer which processes MIDI messages. The TSI is designed to bring music experience to baby with the movement of the babies reflex sucking motion. We provided the TSI to a baby and observed her action to the TSI and her reaction to the generated sound. This experiment showed the high potential of the TSI.

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MISC

  • Microbial interaction between human skin and Nukadoko, a fermented rice bran bed for pickling vegetables

    Ryo Niwa, Dominique Chen, Young ah Seong, Kazuhiro Jo, Kohei Ito

    2023.8

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    Language:English   Publishing type:Internal/External technical report, pre-print, etc.   Publisher:Research Square Platform LLC  

    Abstract

    The skin microbiome, which varies widely between individuals, plays a crucial role in human health. It also interacts with the environment in various ways, including during the preparation of fermented food. Nukadokois a pickle and traditional fermented food in Japan that utilizes lactic acid bacteria to ferment vegetables. The microbial composition of Nukadoko contributes to the flavor of pickled products. However, the origin of the microbes present in the rice bran bed has yet to be determined and no studies have examined how the skin microbiome affects the quality of Nukadoko. In this study, the effects of interaction of microbes between Nukadoko and the human skin during Nukadokomaintenance were studied. Three participants were asked to stir commercially available late-stage Nukadoko for 14 days and not stir it for the remaining 14 days to examine microbial settlement and shedding. Microbiome analysis was performed on human skin and Nukadoko. We found that microorganisms from rice bran beds can temporarily settle on human skin but are shed quickly. Stirring rice bran beds by hand may have short-term effects on the skin microbiome. This study provides insights into the communication between human and food microbiomes in traditional Japanese fermented foods.

    DOI: 10.21203/rs.3.rs-2727974/v2

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    Other Link: https://www.researchsquare.com/article/rs-2727974/v2.html

  • Interaction that Fosters Mutual Care of Human and Microbes: Through the Design and Evaluation of the Nukabot

    チェン ドミニク, ソン ヨンア, 城 一裕, 小倉 ヒラク, 守屋 輝一, 三谷 悠人, 関谷 直任

    情報処理学会論文誌   64 ( 2 )   301 - 311   2023.2   ISSN:1882-7764

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    Language:Japanese   Publisher:情報処理学会  

    人間以外の自然存在をケアする倫理に関したポストヒューマニティーズの議論を参照しつつ,本研究では日本の伝統的な発酵食文化である糠床に生息する発酵微生物に対して,そのケアを行う人間の愛着を醸成するインタラクションデザインの可能性を探求する. 本稿では6人の実験参加者に10日間,音声対話機能を持つ糠床として設計したNukabotと過ごしてもらった.実験終了時にインタビューおよび音声入力データ分析を行い,日常的なメンテナンス,愛着の醸成,内発的な義務感という倫理的要素がどのように経験されたのかを論じる.最後にNukabotが持つデザイン上の意味とHCI領域への貢献について考察する.
    Referencing the posthumanist debate on the ethics of caring for more-than-human worlds, this study explores the possibility of interaction design that fosters human attachment to the fermenting microorganisms that inhabit the traditional Japanese fermented food, nukadoko. In this paper, six experimental participants spent 10 days with Nukabot, which was designed as a nukadoko with a voice interaction function. At the end of the experiment, interviews and voice input data analysis were conducted to discuss how the ethical elements of routine care, attachment building, and an intrinsic sense of obligation were experienced. Finally, we discuss the design implications of Nukabot and its contribution to the HCI field.

    DOI: 10.20729/00224244

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    CiNii Research

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  • “Naku”: A Performance with a Rapper in an Anechoic Chamber" Reviewed

    城 一裕

    The proceedings of TTT2020 (Interdisciplinary Conference TABOO - TRANSGRESSION - TRANSCENDENCE in Art & Science)   -   2022

Works

  • 「予め吹き込まれた音響のないレコード」(オンラインパフォーマンス)

    城 一裕

    2020.7

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    Work type:Artistic work   Location:DIY MUSIC on DESKTOP  

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  • 皿: 月の光に - エドアード・レオン・ スコットとモホイ=ナジ・ラースローへ - (1860 / 1923 / 2014-19)

    城一裕, 城雅典

    2020.1

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    Work type:Artistic work   Location:「おとない -Sound/Visit-」展(2020.1.15~1.19)福岡県立美術館  

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Professional Memberships

  • ACM

  • IPSJ

  • ASJ

  • JSSA

  • 日本音楽学会

  • ACM

  • ACM

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Committee Memberships

  • 日本音響学会九州支部   Organizer   Domestic

    2021.4 - 2023.3   

  • 日本音響学会九州支部   庶務幹事   Domestic

    2021.4 - 2023.3   

  • 先端芸術音楽創作学会   Steering committee member   Domestic

    2016.4 - Present   

  • JSSA: Japanese Society for Sonic Arts   運営委員  

    2015 - Present   

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    Committee type:Academic society

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Academic Activities

  • Art and Performance chairs International contribution

    ACM TEI(Tangible, Embedded and Embodied Interaction) 2022  ( KAIST Korea ) 2022.2

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    Type:Competition, symposium, etc. 

Research Projects

  • Re-examination of "fidelity" in sound and image

    Grant number:23K25288  2023.4 - 2026.3

    Grants-in-Aid for Scientific Research  Grant-in-Aid for Scientific Research (B)

    城 一裕, CHEN DOMINIQUE, 永田 康祐

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    Grant type:Scientific research funding

    本研究では、計算機の内部でサンプルないしはピクセルというデジタルデータ(情報)として処理されている音響と映像を、他の自然系における現象として生成する技法を具現化する。具現化に際しては、微生物の発酵(音響)と発光細菌(映像)をその対象とし、自然現象をそのままに観察するのではなく、その繁殖の過程に計算機を介入させることで、単なる自然現象を超えた音響と映像の表現を生み出す技法を検討する。

    CiNii Research

  • 特異な音響空間内における音を知覚する体験の設計とその配信技術の開発

    Grant number:23K17267  2023 - 2025

    Japan Society for the Promotion of Science  Grants-in-Aid for Scientific Research  Challenging Research(Pioneering)

    城 一裕, 石川 琢也, 伊藤 隆之, 中上 淳二, 安藤 充人, 牧野 豊

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    Authorship:Principal investigator  Grant type:Scientific research funding

    本研究では、自然界には存在しない人工空間としての無響室と残響室において、現代の作家との協働により音の知覚体験そのものを考察する作品を制作する。あわせて、聴衆の立ち合いが難しいこれらの音響空間における音の知覚体験を、配信という形で共有すべく、原音場の再現性に優れたアンビソニックスと、時間領域での再現性が極めて高いダイレクト・ストリーム・デジタル(以下DSD)とを組み合わせた技術を開発する。特異な音響空間を用いて、音を知覚する、ということの意味を問い直す作品の制作と、これまでの音響配信とは空間・時間的に次元の異なる本技術の実現により、音を知覚するという体験へのパラダイムシフトが期待される。

    CiNii Research

  • 音響および映像における「忠実性(fidelity)」の再検討

    Grant number:23H00591  2023 - 2025

    Japan Society for the Promotion of Science  Grants-in-Aid for Scientific Research  Grant-in-Aid for Scientific Research (B)

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    Authorship:Principal investigator  Grant type:Scientific research funding

  • 動態としての日本庭園の総合的デジタルアーカイヴとその持続的構築システムの研究開発

    Grant number:23K21898  2022.4 - 2025.3

    Grants-in-Aid for Scientific Research  Grant-in-Aid for Scientific Research (B)

    原 瑠璃彦, 津田 和俊, 高原 文江, BARNA GERGELYPETER, 城 一裕, MARES Emmanuel

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    Grant type:Scientific research funding

    本研究は、刻一刻と変化し続ける日本庭園について、3Dスキャンや高解像度撮影、立体録音、DNA解析など現代のテクノロジーを駆使することで、様々な要素を包括する総合的アーカイヴを研究開発し、主にウェブサイト上での公開を行うものである。これまでに開発・公開した新しい日本庭園のアーカイヴ「Incomplete Niwa Archives 終らない庭のアーカイヴ」を継承しつつ、1-数万平方メートル規模の池泉回遊式庭園のアーカイヴ制作、2-持続的なアーカイヴ構築のシステム、3- 庭園管理・保存における職人的経験知のアーカイヴ化、4-スマートフォン版総合的アーカイヴの開発による身体性の導入を目指す。

    CiNii Research

  • 動態としての日本庭園の総合的デジタルアーカイヴとその持続的構築システムの研究開発

    Grant number:22H00626  2022 - 2024

    Japan Society for the Promotion of Science  Grants-in-Aid for Scientific Research  Grant-in-Aid for Scientific Research (B)

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    Authorship:Coinvestigator(s)  Grant type:Scientific research funding

  • Proposal and practical evaluation of communication design that builds a mutually caring relationship with more than human beings

    Grant number:21H03768  2021 - 2023

    Japan Society for the Promotion of Science  Grants-in-Aid for Scientific Research  Grant-in-Aid for Scientific Research (B)

    CHEN DOMINIQUE, ソン ヨンア, 城 一裕

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    Authorship:Coinvestigator(s)  Grant type:Scientific research funding

    現代のグローバルな環境危機に対応するためのデザインの議論の中で,動植物,微生物,そして自然環境を含む「人間以外の自然存在」(more-than-human)に対するケアの視点を取り込んだ,脱人間中心的な倫理に基づいたデザイン理論の構築が要請されている.本研究では,思弁的倫理(speculative ethics)と呼ばれる理論的枠組みに沿って,不可視の微生物と人間の相互ケアの関係性を育むためのデザインの方法論を実践し,理論モデルの検証を行う.そのために,日本の伝統的な発酵食文化のプロダクトである糠床を技術的に拡張したデザインの実験評価を通して,人と発酵微生物の相互ケアの枠組みを明らかにする.

    CiNii Research

  • A research survey of more than human culture in East Asia and its connection to design theory

    Grant number:21K18344  2021 - 2023

    Japan Society for the Promotion of Science  Grants-in-Aid for Scientific Research  Challenging Research(Exploratory)

    CHEN DOMINIQUE, ソン ヨンア, 城 一裕

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    Authorship:Coinvestigator(s)  Grant type:Scientific research funding

    本研究は,アジア的な自然観,宗教的価値観,そして文化背景をモアザンヒューマン(環境哲学の議論で生まれた,人間以外の自然存在を「人間以上の存在」と捉える概念)の議論と接続するために,研究年度ごとに日本,韓国,台湾において現地調査を行い,得られた知見を情報技術のデザイン方法論と接続し,理論的な枠組みを確立することを目的とする.本研究提案は,工学研究の経験と多様なアジア文化を背景に持つ研究チームが,東アジアの発酵醸造文化における自然存在に対するケアの作法をデザインの対象として捉え,人新世時代において人間と自然存在がより調和的に共生するためのデザインと芸術表現の糸口をさぐるものである.

    CiNii Research

  • 生命の物質化・物質の生命化に関する理論調査と制作実践

    Grant number:21H00495  2021 - 2023

    Japan Society for the Promotion of Science  Grants-in-Aid for Scientific Research  Grant-in-Aid for Scientific Research (B)

    増田 展大, 秋吉 康晴, 水野 勝仁, 高尾 俊介, 松谷 容作, 城 一裕, 横川 十帆

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    Authorship:Coinvestigator(s)  Grant type:Scientific research funding

    人文思想の分野では近年、「生命」および「物質」概念の再考が盛んに進められている。このことはポストインターネットとも呼ばれる近年のメディア環境に呼応すると同時に、人間を含めた動植物の生体組織やDNAを取り込んだバイオアートの実践や、物質の可塑的な特性を応用した3Dプリンタなどのデジタルファブリケーション技術の台頭とも無関係ではないと考えられる。このような観点から本研究では、生命と物質に関連する理論調査班と、ハード/ソフト/ウェットウェアに大別される制作実践班に分かれつつ、両者を効果的に接続することでメディアアートに関連する新たな表現形態を具体的に提出することを試みる。

    CiNii Research

  • 二つの文化の接点としての音を聴取する体験の設計

    Grant number:19K21615  2019 - 2021

    Japan Society for the Promotion of Science  Grants-in-Aid for Scientific Research  Challenging Research(Exploratory)

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    Authorship:Principal investigator  Grant type:Scientific research funding

  • 二つの文化の接点としての音を聴取する体験の設計

    Grant number:19K21615  2019 - 2021

    Japan Society for the Promotion of Science  Grants-in-Aid for Scientific Research  Challenging Research(Exploratory)

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    Authorship:Principal investigator  Grant type:Scientific research funding

  • 日本庭園の総合的アーカイヴの開発をめぐる研究

    Grant number:19H01225  2019 - 2021

    Japan Society for the Promotion of Science  Grants-in-Aid for Scientific Research  Grant-in-Aid for Scientific Research (B)

    原 瑠璃彦, 伊藤 隆之, 津田 和俊, 高原 文江, 城 一裕

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    Authorship:Coinvestigator(s)  Grant type:Scientific research funding

    本研究は、現代のテクノロジーを駆使した日本庭園の総合的アーカイヴのための研究開発を行い、将来的により多くの庭園に応用できるような、日本庭園の総合的アーカイヴのプロトタイプを提示することを目的とする。また、単なる技術開発にとどまらず、常に「文理融合」を意識し、日本庭園のアーカイヴをめぐるテクノロジーと人文知の対話を行い、そのアーカイヴによって新たに明らかになる日本庭園の諸相、またそれが生み出す日本庭園研究の新しい可能性について考究するものである。

    CiNii Research

  • ポストデジタル以降の音を生み出す構造の構築

    Grant number:17H04772  2017 - 2020

    Grants-in-Aid for Scientific Research  Grant-in-Aid for Young Scientists (A)

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    Authorship:Principal investigator  Grant type:Scientific research funding

  • ポストデジタル以降の音を生み出す構造の構築

    Grant number:17H04772  2017 - 2020

    Grants-in-Aid for Scientific Research  Grant-in-Aid for Young Scientists(A)or(B)

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    Authorship:Principal investigator  Grant type:Scientific research funding

  • パーソナル・ファブリケーション以降の芸術表現に向けた視聴覚メディアの系譜学

    Grant number:15K12842  2015 - 2016

    Grants-in-Aid for Scientific Research  Grant-in-Aid for challenging Exploratory Research

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    Authorship:Principal investigator  Grant type:Scientific research funding

  • 生成音楽の体系的理解に向けた音を生み出す構造の分析

    Grant number:24652029  2012 - 2014

    Grants-in-Aid for Scientific Research  Grant-in-Aid for challenging Exploratory Research

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    Authorship:Principal investigator  Grant type:Scientific research funding

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Class subject

  • 基礎造形Ⅳ

    2023.12 - 2024.2   Winter quarter

  • 応用音楽表現演習Ⅱ

    2023.12 - 2024.2   Winter quarter

  • 音楽・音響論

    2023.10 - 2024.3   Second semester

  • コンテンツ・クリエーティブデザイン特別演習Ⅱ(2021年度以前入学者)

    2023.10 - 2024.3   Second semester

  • 音響設計特別講話

    2023.10 - 2024.3   Second semester

  • 言語学特論

    2023.10 - 2024.3   Second semester

  • 芸術工学演習(音響設計コース)

    2023.10 - 2024.3   Second semester

  • 芸術工学特別研究Ⅳ(音響設計コース)

    2023.10 - 2024.3   Second semester

  • 芸術工学特別研究Ⅱ(音響設計コース)

    2023.10 - 2024.3   Second semester

  • 卒業研究Ⅱ

    2023.10 - 2024.3   Second semester

  • 卒業研究Ⅰ

    2023.10 - 2024.3   Second semester

  • 音響実験Ⅱ

    2023.10 - 2024.3   Second semester

  • 基礎造形Ⅳ

    2023.10 - 2023.12   Fall quarter

  • サウンドデザイン特論

    2023.10 - 2023.12   Fall quarter

  • メディアアート表現

    2023.10 - 2023.12   Fall quarter

  • スタジオプロジェクトⅢ-B(芸工生のための食とデザイン入門-食の地政学)

    2023.10 - 2023.12   Fall quarter

  • スタジオプロジェクトⅢ-A(芸工生のための食とデザイン入門-食の地政学)

    2023.10 - 2023.12   Fall quarter

  • 応用音楽表現演習Ⅰ

    2023.10 - 2023.12   Fall quarter

  • コース融合プロジェクトB(i. 芸工生のための食とデザイン入門-食の地政学)

    2023.10 - 2023.12   Fall quarter

  • コース融合プロジェクトA(i. 芸工生のための食とデザイン入門-食の地政学)

    2023.10 - 2023.12   Fall quarter

  • 基礎造形Ⅱ

    2023.6 - 2023.8   Summer quarter

  • スタジオプロジェクトⅡ-B(誤用の美学:3Dプリンターをハックする)

    2023.6 - 2023.8   Summer quarter

  • コース融合プロジェクトB(g. まちづくり映画制作)

    2023.6 - 2023.8   Summer quarter

  • コース融合プロジェクトA(g. まちづくり映画制作)

    2023.6 - 2023.8   Summer quarter

  • 音響生成演習

    2023.6 - 2023.8   Summer quarter

  • コース融合プロジェクトB(e. 誤用の美学:3Dプリンターをハックする)

    2023.6 - 2023.8   Summer quarter

  • コース融合プロジェクトA(e. 誤用の美学:3Dプリンターをハックする)

    2023.6 - 2023.8   Summer quarter

  • 基礎造形Ⅱ

    2023.6 - 2023.8   Summer quarter

  • 芸術学入門

    2023.4 - 2023.9   First semester

  • コンテンツ・クリエーティブデザイン特別演習Ⅰ(2021年度以前入学者)

    2023.4 - 2023.9   First semester

  • 輪講

    2023.4 - 2023.9   First semester

  • 芸術工学特別研究Ⅲ(音響設計コース)

    2023.4 - 2023.9   First semester

  • 芸術工学特別研究Ⅰ(音響設計コース)

    2023.4 - 2023.9   First semester

  • 卒業研究Ⅰ

    2023.4 - 2023.9   First semester

  • デザインリテラシー基礎

    2023.4 - 2023.6   Spring quarter

  • 音響芸術特論(旧:メディアアート特論)

    2023.4 - 2023.6   Spring quarter

  • 音響実験Ⅰ(2020年度以降入学者対象)

    2023.4 - 2023.6   Spring quarter

  • 基礎造形Ⅱ

    2023.4 - 2023.6   Spring quarter

  • 基礎造形Ⅱ

    2023.4 - 2023.6   Spring quarter

  • 基礎造形Ⅳ

    2022.12 - 2023.2   Winter quarter

  • 応用音楽表現演習Ⅱ

    2022.12 - 2023.2   Winter quarter

  • 応用音楽表現演習Ⅱ

    2022.12 - 2023.2   Winter quarter

  • 音楽・音響論

    2022.10 - 2023.3   Second semester

  • コンテンツ・クリエーティブデザイン特別演習Ⅱ(2021年度以前入学者)

    2022.10 - 2023.3   Second semester

  • 音響設計特別講話

    2022.10 - 2023.3   Second semester

  • 聴覚文化論特論

    2022.10 - 2023.3   Second semester

  • 芸術工学演習(音響設計コース)

    2022.10 - 2023.3   Second semester

  • 芸術工学特別研究Ⅱ(音響設計コース)

    2022.10 - 2023.3   Second semester

  • 音響実験Ⅱ

    2022.10 - 2023.3   Second semester

  • 音響実験Ⅱ

    2022.10 - 2023.3   Second semester

  • 卒業研究Ⅱ

    2022.10 - 2023.3   Second semester

  • 卒業研究Ⅰ

    2022.10 - 2023.3   Second semester

  • 基礎造形Ⅳ

    2022.10 - 2022.12   Fall quarter

  • サウンドデザイン特論

    2022.10 - 2022.12   Fall quarter

  • スタジオプロジェクトⅢ-B(音と光のパビリオン)

    2022.10 - 2022.12   Fall quarter

  • スタジオプロジェクトⅢ-B(音と光のパビリオン)

    2022.10 - 2022.12   Fall quarter

  • スタジオプロジェクトⅢ-A(音と光のパビリオン)

    2022.10 - 2022.12   Fall quarter

  • スタジオプロジェクトⅢ-A(音と光のパビリオン)

    2022.10 - 2022.12   Fall quarter

  • 応用音楽表現演習Ⅰ

    2022.10 - 2022.12   Fall quarter

  • 応用音楽表現演習Ⅰ

    2022.10 - 2022.12   Fall quarter

  • コース融合プロジェクトB(j. 芸工生のための食とデザイン(入門)

    2022.10 - 2022.12   Fall quarter

  • コース融合プロジェクトB(i. 音と光のパビリオン)

    2022.10 - 2022.12   Fall quarter

  • コース融合プロジェクトA(j. 芸工生のための食とデザイン(入門)

    2022.10 - 2022.12   Fall quarter

  • コース融合プロジェクトA(i. 音と光のパビリオン)

    2022.10 - 2022.12   Fall quarter

  • デザイン思考

    2022.6 - 2022.8   Summer quarter

  • 音響芸術特論(旧:メディアアート特論)

    2022.6 - 2022.8   Summer quarter

  • 生体模倣工学

    2022.6 - 2022.8   Summer quarter

  • 生体模倣工学

    2022.6 - 2022.8   Summer quarter

  • スタジオプロジェクトⅡ-B(セラミックラボ・アートウォール計画)

    2022.6 - 2022.8   Summer quarter

  • スタジオプロジェクトⅡ-B(セラミックラボ・アートウォール計画)

    2022.6 - 2022.8   Summer quarter

  • スタジオプロジェクトⅡ-A(セラミックラボ・アートウォール計画)

    2022.6 - 2022.8   Summer quarter

  • スタジオプロジェクトⅡ-A(セラミックラボ・アートウォール計画)

    2022.6 - 2022.8   Summer quarter

  • 音響生成演習

    2022.6 - 2022.8   Summer quarter

  • コース融合プロジェクトB(f. セラミックラボ・アートウォール計画)

    2022.6 - 2022.8   Summer quarter

  • コース融合プロジェクトB(d. 芸工生のための分子生物学入門)

    2022.6 - 2022.8   Summer quarter

  • コース融合プロジェクトB(c. 映画まちづくり)

    2022.6 - 2022.8   Summer quarter

  • コース融合プロジェクトA(f. セラミックラボ・アートウォール計画)

    2022.6 - 2022.8   Summer quarter

  • コース融合プロジェクトA(d. 芸工生のための分子生物学入門)

    2022.6 - 2022.8   Summer quarter

  • コース融合プロジェクトA(c. 映画まちづくり)

    2022.6 - 2022.8   Summer quarter

  • 基礎造形Ⅱ

    2022.6 - 2022.8   Summer quarter

  • 基礎造形Ⅱ

    2022.6 - 2022.8   Summer quarter

  • インターンシップ(学部/音響)Ⅰ

    2022.4 - 2023.3   Full year

  • 機能工学デザイン(2021年度以前入学者)

    2022.4 - 2023.3   Full year

  • 機能工学デザイン(2021年度以前入学者)

    2022.4 - 2023.3   Full year

  • インターンシップ(学部/音響)Ⅱ

    2022.4 - 2023.3   Full year

  • 芸術学入門

    2022.4 - 2022.9   First semester

  • コンテンツ・クリエーティブデザイン特別演習Ⅰ(2021年度以前入学者)

    2022.4 - 2022.9   First semester

  • 輪講

    2022.4 - 2022.9   First semester

  • 芸術工学特別研究Ⅰ(音響設計コース)

    2022.4 - 2022.9   First semester

  • 芸術工学特別研究Ⅰ(音響設計コース)

    2022.4 - 2022.9   First semester

  • 卒業研究Ⅱ

    2022.4 - 2022.9   First semester

  • 卒業研究Ⅰ

    2022.4 - 2022.9   First semester

  • 輪講

    2022.4 - 2022.9   First semester

  • デザイン思考

    2022.4 - 2022.6   Spring quarter

  • 音文化論

    2022.4 - 2022.6   Spring quarter

  • 基礎造形Ⅱ

    2022.4 - 2022.6   Spring quarter

  • 基礎造形Ⅱ

    2022.4 - 2022.6   Spring quarter

  • デザインリテラシー基礎

    2022.4 - 2022.6   Spring quarter

  • 基礎造形Ⅳ

    2021.12 - 2022.2   Winter quarter

  • 応用音楽表現演習Ⅱ

    2021.12 - 2022.2   Winter quarter

  • 基礎造形Ⅳ

    2021.12 - 2022.2   Winter quarter

  • 応用音楽表現演習Ⅱ

    2021.12 - 2022.2   Winter quarter

  • 音楽・音響論

    2021.10 - 2022.3   Second semester

  • 音楽・音響論

    2021.10 - 2022.3   Second semester

  • コンテンツ・クリエーティブデザイン特別研修

    2021.10 - 2022.3   Second semester

  • コンテンツ・クリエーティブデザインプロジェクト研究

    2021.10 - 2022.3   Second semester

  • コンテンツ・クリエーティブデザイン特別演習Ⅲ

    2021.10 - 2022.3   Second semester

  • コンテンツ・クリエーティブデザイン特別演習Ⅱ

    2021.10 - 2022.3   Second semester

  • インターンシップ(コンテンツ)

    2021.10 - 2022.3   Second semester

  • 卒業研究Ⅱ

    2021.10 - 2022.3   Second semester

  • 卒業研究Ⅰ

    2021.10 - 2022.3   Second semester

  • 音響実験Ⅱ

    2021.10 - 2022.3   Second semester

  • コンテンツ・クリエーティブデザイン特別研修

    2021.10 - 2022.3   Second semester

  • コンテンツ・クリエーティブデザインプロジェクト研究

    2021.10 - 2022.3   Second semester

  • コンテンツ・クリエーティブデザイン特別演習Ⅲ

    2021.10 - 2022.3   Second semester

  • コンテンツ・クリエーティブデザイン特別演習Ⅱ

    2021.10 - 2022.3   Second semester

  • インターンシップ(コンテンツ)

    2021.10 - 2022.3   Second semester

  • 卒業研究Ⅱ

    2021.10 - 2022.3   Second semester

  • 卒業研究Ⅰ

    2021.10 - 2022.3   Second semester

  • 音響実験Ⅱ

    2021.10 - 2022.3   Second semester

  • 基礎造形Ⅳ

    2021.10 - 2021.12   Fall quarter

  • 応用音楽表現演習Ⅰ

    2021.10 - 2021.12   Fall quarter

  • 基礎造形Ⅳ

    2021.10 - 2021.12   Fall quarter

  • 応用音楽表現演習Ⅰ

    2021.10 - 2021.12   Fall quarter

  • デザイン思考

    2021.6 - 2021.8   Summer quarter

  • 基礎造形Ⅱ

    2021.6 - 2021.8   Summer quarter

  • 基礎造形Ⅱ

    2021.6 - 2021.8   Summer quarter

  • 基礎造形Ⅱ

    2021.6 - 2021.8   Summer quarter

  • 基礎造形Ⅱ

    2021.6 - 2021.8   Summer quarter

  • 芸術学入門

    2021.4 - 2021.9   First semester

  • コンテンツ・クリエーティブデザイン特別研修

    2021.4 - 2021.9   First semester

  • コンテンツ・クリエーティブデザインプロジェクト研究

    2021.4 - 2021.9   First semester

  • コンテンツ・クリエーティブデザイン特別演習Ⅲ

    2021.4 - 2021.9   First semester

  • コンテンツ・クリエーティブデザイン特別演習Ⅰ

    2021.4 - 2021.9   First semester

  • インターンシップ(コンテンツ)

    2021.4 - 2021.9   First semester

  • デジタルコンテンツデザインプロジェクト

    2021.4 - 2021.9   First semester

  • プレゼンテーション特別演習

    2021.4 - 2021.9   First semester

  • メディアアート特論

    2021.4 - 2021.9   First semester

  • 卒業研究Ⅱ

    2021.4 - 2021.9   First semester

  • 卒業研究Ⅰ

    2021.4 - 2021.9   First semester

  • 輪講

    2021.4 - 2021.9   First semester

  • 音響実験Ⅰ

    2021.4 - 2021.9   First semester

  • 芸術学入門

    2021.4 - 2021.9   First semester

  • コンテンツ・クリエーティブデザイン特別研修

    2021.4 - 2021.9   First semester

  • コンテンツ・クリエーティブデザインプロジェクト研究

    2021.4 - 2021.9   First semester

  • コンテンツ・クリエーティブデザイン特別演習Ⅲ

    2021.4 - 2021.9   First semester

  • コンテンツ・クリエーティブデザイン特別演習Ⅰ

    2021.4 - 2021.9   First semester

  • インターンシップ(コンテンツ)

    2021.4 - 2021.9   First semester

  • デジタルコンテンツデザインプロジェクト

    2021.4 - 2021.9   First semester

  • プレゼンテーション特別演習

    2021.4 - 2021.9   First semester

  • メディアアート特論

    2021.4 - 2021.9   First semester

  • 卒業研究Ⅱ

    2021.4 - 2021.9   First semester

  • 卒業研究Ⅰ

    2021.4 - 2021.9   First semester

  • 輪講

    2021.4 - 2021.9   First semester

  • 音響実験Ⅰ

    2021.4 - 2021.9   First semester

  • デザイン思考

    2021.4 - 2021.6   Spring quarter

  • 音文化論

    2021.4 - 2021.6   Spring quarter

  • 基礎造形Ⅱ

    2021.4 - 2021.6   Spring quarter

  • 基礎造形Ⅱ

    2021.4 - 2021.6   Spring quarter

  • 音文化論

    2021.4 - 2021.6   Spring quarter

  • 基礎造形Ⅱ

    2021.4 - 2021.6   Spring quarter

  • 基礎造形Ⅱ

    2021.4 - 2021.6   Spring quarter

  • コンテンツ・クリエーティブデザイン特別演習Ⅱ

    2020.10 - 2021.3   Second semester

  • インターンシップ(コンテンツ)

    2020.10 - 2021.3   Second semester

  • 卒業研究Ⅱ

    2020.10 - 2021.3   Second semester

  • 音楽・音響論

    2020.10 - 2021.3   Second semester

  • 音楽構造基礎演習

    2020.10 - 2021.3   Second semester

  • 音響実験Ⅱ

    2020.10 - 2021.3   Second semester

  • 卒業研究Ⅰ

    2020.10 - 2021.3   Second semester

  • デジタルファブリケーション応用

    2020.10 - 2020.12   Fall quarter

  • デザイン・ケーススタディⅠ

    2020.6 - 2020.8   Summer quarter

  • デザイン思考

    2020.6 - 2020.8   Summer quarter

  • コンテンツ・クリエーティブデザイン特別演習Ⅰ

    2020.4 - 2020.9   First semester

  • 音響実験Ⅰ

    2020.4 - 2020.9   First semester

  • 卒業研究Ⅰ

    2020.4 - 2020.9   First semester

  • 卒業研究Ⅱ

    2020.4 - 2020.9   First semester

  • メディアアート特論

    2020.4 - 2020.9   First semester

  • プレゼンテーション特別演習

    2020.4 - 2020.9   First semester

  • インターンシップ(コンテンツ)

    2020.4 - 2020.9   First semester

  • デジタルコンテンツデザインプロジェクト

    2020.4 - 2020.9   First semester

  • デジタルファブリケーション

    2020.4 - 2020.6   Spring quarter

  • コンテンツ・クリエーティブデザイン特別演習Ⅱ

    2019.10 - 2020.3   Second semester

  • 音楽・音響論

    2019.10 - 2020.3   Second semester

  • 音楽構造基礎演習

    2019.10 - 2020.3   Second semester

  • デジタルファブリケーション応用

    2019.10 - 2019.12   Fall quarter

  • コンテンツ・クリエーティブデザイン特別演習Ⅰ

    2019.4 - 2019.9   First semester

  • 輪講

    2019.4 - 2019.9   First semester

  • メディアアート特論

    2019.4 - 2019.9   First semester

  • プレゼンテーション特別演習

    2019.4 - 2019.9   First semester

  • デジタルコンテンツデザインプロジェクト

    2019.4 - 2019.9   First semester

  • デジタルファブリケーション講義・演習

    2019.4 - 2019.6   Spring quarter

  • コンテンツ・クリエーティブデザイン特別演習Ⅱ

    2018.10 - 2019.3   Second semester

  • 音楽・音響論

    2018.10 - 2019.3   Second semester

  • 音楽構造基礎演習

    2018.10 - 2019.3   Second semester

  • インターンシップ(コンテンツ)

    2018.10 - 2019.3   Second semester

  • コンテンツ・クリエーティブデザイン特別演習Ⅰ

    2018.4 - 2018.9   First semester

  • メディアアート特論

    2018.4 - 2018.9   First semester

  • デジタルコンテンツデザインプロジェクト

    2018.4 - 2018.9   First semester

  • デジタルファブリケーション講義・演習

    2018.4 - 2018.9   First semester

  • プレゼンテーション特別演習

    2018.4 - 2018.9   First semester

  • インターンシップ(コンテンツ)

    2018.4 - 2018.9   First semester

  • コンテンツ・クリエーティブデザイン特別演習Ⅱ

    2017.10 - 2018.3   Second semester

  • 音楽・音響論

    2017.10 - 2018.3   Second semester

  • 音楽構造基礎演習

    2017.10 - 2018.3   Second semester

  • コンテンツ・クリエーティブデザイン特別演習Ⅰ

    2017.4 - 2017.9   First semester

  • デジタルファブリケーション講義・演習

    2017.4 - 2017.9   First semester

  • メディアアート特論

    2017.4 - 2017.9   First semester

  • デジタルコンテンツデザインプロジェクト

    2017.4 - 2017.9   First semester

  • プレゼンテーション特別演習

    2017.4 - 2017.9   First semester

  • デジタルファブリケーション 講義・演習

    2016.10 - 2017.3   Second semester

  • コンテンツ・クリエーティブデザイン特別演習Ⅱ

    2016.10 - 2017.3   Second semester

  • 音楽・音響論

    2016.10 - 2017.3   Second semester

  • 音楽構造基礎演習

    2016.10 - 2017.3   Second semester

  • 音楽系メディアアート特論

    2016.4 - 2016.9   First semester

  • コンテンツ・クリエーティブデザイン特別演習Ⅰ

    2016.4 - 2016.9   First semester

  • プレゼンテーション特別演習

    2016.4 - 2016.9   First semester

  • デジタルコンテンツデザインプロジェクト

    2016.4 - 2016.9   First semester

▼display all

FD Participation

  • 2020.11   Role:Speech   Title:デザイン思考を活用した科学技術イノベーション人材育成のためのデジタルファブリケーションによる次世代デザイン教育手法の開発

    Organizer:[Undergraduate school/graduate school/graduate faculty]

Participation in international educational events, etc.

  • 2016.9

    FAB FOUNDATION / The Center for Bits and Atom, MIT

    FAB12 Conference 2016

      More details

    Venue:中国・深セン

    Number of participants:1,000

Social Activities

  • DIY MUSIC for kids “Make Some Noise” — 音をつくってみようワークショップ—

    Maker Faire Tokyo 2021  Maker Faire Tokyo 2021  2021.10

     More details

    Audience:General, Scientific, Company, Civic organization, Governmental agency

    Type:Lecture

    DIY MUSIC for kids “Make Some Noise” — 音をつくってみようワークショップ—
    ゲストファシリテーター:宮内康乃(作曲家)
    企画・運営:The Breadboard Band / 城一裕
    オンライン舞台監督:イトウユウヤ

    これまでDIY MUSICと題して自分で作った楽器を演奏するステージイベントを開催してきました。今年は子ども向けイベントとして音(楽器)をつくってみんなでセッションするワークショップをオンラインで開催します。私たちが公開する身近なものから鳴るノイズや電子音などのレシピから楽器をつくり、自分たちの耳にしたがって「演奏」することで、これも「音楽」だ!と感じる体験を目指します。

  • パネルディスカッション 「メイカーに生まれて」

    Maker Faire Tokyo 2020  Maker Faire Tokyo 2020  2020.10

     More details

    Audience:General, Scientific, Company, Civic organization, Governmental agency

    Type:Lecture

    パネルディスカッション 「メイカーに生まれて」
    久保田晃弘 (多摩美術大学 情報デザイン学科)
    城一裕 (九州大学大学院芸術工学研究院/山口情報芸術センター[YCAM])
    今江望 (今江科学)
    原田直樹 (denha’s channel)
    北村満 (ヒゲキタ)

    アーカイブ動画あり
    いわゆる“メイカームーブメント”以前から、自らの楽しみのためにジャンルを超えてモノを作る人たち(メイカー)は存在していました。本セッションでは、そんな“生まれついてのメイカー”の方々に登壇していただき、そのルーツや日々の生活、作り続けることで見えてきたものについて詳しく話を聞き、モノを作ることが私たちにどのような意味を持っているのかを考えていきます。

  • 糸島国際芸術祭「糸島芸農」2016スペシャルトークセッション 「発酵から学ぶコモンズ(共有財)ーこれからの生の価値とアート」

    糸島国際芸術祭「糸島芸農」実行委員会  松末権九郎稲荷(糸島市二丈松末923−9)  2016.10

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    Audience:General, Scientific, Company, Civic organization, Governmental agency

    Type:Lecture

    糸島芸農では、起業家・情報学研究者のドミニク・チェン氏を迎え、「発酵」という切り口から、人工知能の発達が著しい時代における、人間にとっての生の価値、表現方法、コミュニティのあ り方について、平場で語り合うトークセッションを開催します。

    ドミニク氏は、「醸され紀行:発酵食はクリエイティヴ・コモンズである!!」において、人間の情報摂取は、「食物の味を感じ取り、消化し、その栄養素を抽出しながらも不要なものを排出する、 という栄養摂取のパターンと相似する」と語っています。また、食べ物だけではなく、衣・ 住・街の発酵や、「人と人の関係を醸す」メディアのあり方にも想いを馳せます。

    あふれかえる情報の中から何を選択し、何と何を組み合わせ、そこから何を創造することが、人間にとって良い発酵となるのでしょうか? 人を排除しない情報、アート、コミュニティとは、どういうものでしょうか?
    糸島に根づくさまざまな発酵文化を振り返りながら、これからの発酵について考えていきます。
    ※ゲストトークは、ドミニク氏と親交の深い城一裕氏(アーティスト、研究者)とのクロストークの形でおこなわれます。

  • 【公開講座】デジタルファブリケーションとペーパーコンピューティング

    九州大学芸術工学部  九州大学大橋キャンパス(福岡市南区塩原4-9-1)  2016.9

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    Audience:General, Scientific, Company, Civic organization, Governmental agency

    Type:Lecture

     大学のデジタルファブリケーション設備を公開講座により市民に公開して、デジタルファブリケーションの概要や機器の基本操作を学ぶこと
    を目的とします。具体的にはthingiverseやGitHubなどオープンソースを使ったデザインの方法を学び、そのあと実際にレーザーカッターや、
    3Dプリンターの使い方を学び、ペーパーコンピューティングの課題制作に取り組みます。なお、第1回目から第3回目までは、9月下旬開講の「デジタルファ
    ブリケーションとIoTデザインプロトタイピング」の最初の3回と同じプログラムです。両方の講座を受講する方はご了解ください。

  • 安野光雅のふしぎな絵本展 遊び×芸術×科学 九州大学芸術工学研究院連携企画 トークイベント(1)  日時:2016年7月22日(金) 18:30〜 講師:馬定延(ま・じょんよん/研究者) トークイベント(2)  日時:2016年8月8日(月) 18:30〜 講師:八木良太(アーティスト) トークイベント(3)  日時:2016年8月19日(金) 18:30〜 講師:クワクボリョウタ(アーティスト) 聞き手:城一裕(九州大学芸術工学研究院准教授) http://artium.jp/nandr/event/20160611_5038/

    九州大学芸術工学研究院・三菱地所アルティアム  solid&liquid TENJIN(福岡市天神イムズ4F)  2016.7

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    Audience:General, Scientific, Company, Civic organization, Governmental agency

    Type:Lecture

    安野光雅作品に見られる、だまし絵、錯視といった表現は、美術のみならず科学・数学などの幅広い学識に下支えされています。本イベントでは、その事実を出発点に、芸術と科学を融合させた作品で国際的に活躍しているアーティスト、研究者を招き、最新の取り組みを紹介します。
    安野の作品から現代の作家までをつないで見ようとする背景には、科学と芸術の境界にある創作活動を研究し、執筆・展覧会の企画、さらには後進の育成をおこなってきた坂根厳夫の存在があります。メディア表現を専門とする教育機関、情報科学芸術大学院大学[IAMAS]の名誉学長である坂根は、その半世紀にわたる活動を通じて、芸術、科学、そして遊びをフラットな目線で見つめ、安野の「ふしぎな」作品たちを研究対象として度々取り上げてきました。また、安野もその盟友として坂根の代表的な著作の装幀を数多く手がけています。
    この坂根の活動に直接的・間接的な恩恵を受けたアーティスト、研究者をゲストに迎える今回のイベントでは、その一人である九州大学芸術工学研究院 城一裕 准教授を聞き手に、第一線で科学と芸術の境界にある創作を担う彼らの取り組みから、芸術×科学について改めて考えます。芸術×科学の融合によって生まれる「ふしぎな」遊びは、古典的な手法であれ、新しい手法であれ、今でも変わらず鑑賞者たちを楽しませてくれます。その世界の一端をトークイベントで是非体感してみてください。

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