メディア・アート
キーワード：メディア・アート，メディア考古学，パーソナル・ファブリケーション
2016.03.
| 城 一裕（じよう かずひろ） | データ更新日：2023.05.29 |
主な研究テーマ
研究業績
主要原著論文
主要学会発表等
| 1. | Kazuhiro JO, John Smith, “A record without (or with) prior acoustic information” and “Given: 1.Manet, 2.Coil - Oscillation from a minimum unit of speaker”, 5th Joint Meeting of the Acoustical Society of America and Acoustical Society of Japan, 2016.11, [URL], In this demonstration, we’d like to introduce two of our work, “A record without (or with) prior acoustic information” and “Given: 1.Manet, 2.Coil - Oscillation from a minimum unit of speaker”. The first one is a work in which we computationally draw a groove of a record as a vector graphic (with Adobe Illustrator or other tools) by calculating frequencies with a number of zigzags, and engrave the groove on diverse materials on diverse material include paper, wood, or acrylic with laser cutter or cutting plotter to produce sounds. Through the demonstration, we show a process of making the record with a cutting plotter on the spot. The result and other examples would be played on a standard analog record player. The second one is a work in which we split a unit of a speaker into a magnet and a coil. We demonstrate an example of the work by johnsmith as a cartilage conduction hearing with a set of neodymium magnets and a pair of coils with stereo mini jack. Through the demonstration, people could listen the sound from her/his portable audio player by directly vibrating her/his cartilages. Both of the work would present alternate embodiments of matured audio technologies (i.e. vinyl record and headphone) with a help of later technological developments. The demonstration shows basic principles of how audio technologies work. Through our practices at the intersection of media archeology and personal fabrication, we’d like to reconsider the ordinariness of acoustic media technologies.. |
| 2. | Kazuhiro JO, A study of “a record without prior acoustic information”, Sound Art Matters 2016, 2016.06, [URL], “I have suggested to change the gramophone from a reproductive instrument to a productive one, so that on a record without prior acoustic information, the acoustic information, the acoustic phenomenon itself originates by engraving the necessary Ritchriftreihen (etched grooves).” [Moholy-Nagy, 1923]. In this paper, we'd like to introduce our technique of “a record without (or with) prior acoustic information” to stimulate further understanding of record, recording, and reproduction at the crossing of media archeology and personal fabrication. The technique is a part of the Re-Inventing the wheel project which I’m co-organizing with colleagues 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 and Raby, 2013] nor imaginary media [Kluitenberg, 2007] by re-reading the history with our techniques. By utilizing the literature of media archeology [Hutamo, 2011] as our foothold, we apply our understanding of various media as a technique for diverse aesthetic practices in the era of personal fabrication [Gershenfeld, 2005]. Instead of depicting the future or excavating the past, we try to redefine the reality of our circumstances by producing the alternatives. In 1923 Bauhaus master László Moholy-Nagy made the above proposal to produce a record without inputting acoustic information. At the time, it was just a provocative idea. However, after 9 decades, I have realized the idea as a technique of “a record without prior acoustic information” on diverse material include paper, wood, or acrylic with the help of mature vinyl audio recording technology and current personal fabrication tools [Jo, 2014]. By using the technique, we produced several objects include “Au Clair de la Lune on Gramophone - For Édouard- Léon Scott and László Moholy-Nagy -(1860/1923/2015)” in which I reproduce a french folk song / the oldest recorded music by Léon Scott [Cowen, 2012], “Au Clair de la Lune”, with a form of record for a gramophone. Instead of using a recording of the music, I computationally draw a waveform with a conventional vector graphics application (i.e. Adobe Illustrator) by calculating frequencies of every note. After a thorough examination of materials to overcome the weight of soundbox of a gramophone, the result is horizontally engraved on a surface of lacquered anodized aluminum plate by a laser cutter. The outcome could be played on ordinary analog record players in 78 rpm include a traditional gramophone.. |
| 3. | Kazuhiro JO, Re-Inventing the Wheel: To Embody the Possible Presents, CHI 2016 CrossFAB workshop, 2016.05, [URL], 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. . |
学会活動
学会大会・会議・シンポジウム等における役割
2022.02.13～2022.02.16, ACM TEI(Tangible, Embedded and Embodied Interaction) 2022, Art and Performance chairs.
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, 文化庁メディア芸術祭, 2021.03.
Honorary Mentions, Digital Musics & Sound Art, Prix Ars Electronica, 2019.04.
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), 福岡市科学館, 2018.06.
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), 文化庁メディア芸術祭, 2018.01.
The Grant of the Saxon State Minister for Higher Education, Research and the Arts 2018, CYNETART Competition 2018, Germany, 2018.01.
研究資金
科学研究費補助金の採択状況(文部科学省、日本学術振興会)
2022年度～2024年度, 基盤研究(B), 分担, 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.
2023年度～2025年度, 基盤研究(B), 代表, 音響および映像における「忠実性(fidelity)」の再検討.
2012年度～2014年度, 挑戦的萌芽研究, 代表, 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.
2015年度～2016年度, 挑戦的萌芽研究, 代表, 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.
2019年度～2021年度, 基盤研究(B), 分担, 日本庭園の総合的アーカイヴの開発をめぐる研究.
2021年度～2023年度, 基盤研究(B), 分担, 自然存在との相互ケア的な関係性を築くコミュニケーションデザインの提案と実践的評価.
2021年度～2023年度, 基盤研究(B), 分担, 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.
2021年度～2023年度, 挑戦的研究（萌芽）, 分担, 東アジアにおけるモアザンヒューマン文化の研究調査とそのデザイン理論への接続.
2019年度～2021年度, 挑戦的研究（萌芽）, 代表, 二つの文化の接点としての音を聴取する体験の設計.
2017年度～2020年度, 若手研究(A), 代表, ポストデジタル以降の音を生み出す構造の構築.
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