| 1. |
Yutaka Higashiguchi, Can AR Technologies Have an Impact of the Definition of Art?, AM Journal of Art and Media Studies, http://dx.doi.org/10.25038/am.v0i20.331, 20, 97-103, 2019.10, AR seems to be one of the most advanced and near-future technologies that produce new experiences and values that have never been before. However, both AR and art have a common means of engaging the senses. Thus, the problem of where the borderline between AR and art exists should come into question. In order to consider how AR will have an influence on the definition and the significance of art, this study analyses real and fictional elements in AR and art. AR requires the physical field where sensory information mediated by computer is projected. Consequently, viewers perceive the mixed image of real things and those not existing before eyes, that is fiction. Art also needs a real environment where the fictional world is opened. Though art and AR have something in common, there are crucial differences between them. AR technologies include the firm aim of erasing fictional elements that remain as ever in spite of their accurate representation. On the other hand, art attempts to preserve a fictional area within the real world. From the comparison of AR and art, it will come to light that whether there is the frame or not plays an important role in deciding what is art or what is reality. While AR reduces fictionality from a multi-layered scene to enrich a real experience, art cuts fiction from a present scene to idealize the real world. In this way, they constitute a dialectical circle and mediate new reality through fictional images from the reverse direction.. |
| 2. |
Yutaka Higashiguchi, Can AR Technologies Have an Impact of the Definition of Art?, Proceedings of 21st International Congress of Aesthetics, 2019.07, In recent years AR technologies achieve a remarkable development and are spreading in our daily lives, quietly but steadily. They, for instance, make telediagnosis easier and offer new amusement experiances. AR technologies seem to be the most advanced and near-future technology because of these examples, but is it true? AR is to produce new experiences and values that have never been before, by superimposing artificial images on the real world. However, that is true of art as well. In addition, both AR and art have a common means of working on the senses. Thus the problem of where a boder line between AR and art exists should come into question with increasing development and penetration of AR technologies. In order to consider how AR will have an influence on the definition and the significance of art, this study analyse real and fictional elements in AR and art. AR, such as a head-mounted display or 3D Mapping, requires the physical field where sensory information mediated by computer is projected. Consequently, viewers perceive the overlapped image with real things and things not existing before eyes, that is fiction, and take it for the whole reality at the same time. These facts prove that AR is a hybrid experience of reality and fiction. However, AR technologies include the firm aim of erasing fictional elements that remain as ever in spite of their accurate representation, through making fictional images thoroughly similar to reality. Art is also a hybrid experience and needs a real environment where the fictional world is opened. Though art has something in common with AR, art is clearly different from AR in that art attempts to preserve a heterogeneous and fictional area within the real context. For this reason, the audience of the drama intentionally accepts fictional characters while living actors and actresses play in front of him. From the comparison of AR and art, it will come to light that viewer’s intentions as well as technologies and institutions play an important role in deciding what is art or what is reality. While AR reduce fictionality from a multi-layered scene to enrich a real experience, art cuts fiction from a present scene to idealize the real world. In this way, AR and art are human activities to mediate new reality through fictional images from the reverse direction.. |
| 3. |
On the "Silence" in Th. W. Adorno's Theory of Musical Language. |
| 4. |
On the unfortunate but productive Relationship between Cinema and German Idealism. |
| 5. |
Th. W. Adorno on Dissonance: A Study of his Philosophy of New Music.. |
| 6. |
Th.W.Adorno on "promesse du bonheur". |
| 7. |
Yutaka Higashiguchi, The Aesthetics of Periphery without Center
--A New foundation of the Aesthetics of Nature, International Yearbook of Aesthetics, Vol.5, pp.71-79, 2002.03. |
| 8. |
The Social Character and Autonomy of Music
--A Study of Th.W.Adorno's Sociology of Music. |
| 9. |
Th.W.Adorno on the Natural Character of Artworks. |
| 10. |
Negative Dialectics and Mimesis in Adorno. |
| 11. |
The Similarity between Nature and Music
--A Study on the Musical Thought of Th.W.Adorno. |
