九州大学 研究者情報
論文一覧
JAMIESON DARYL STEVEN(ぜみそん だりる すていーぶん) データ更新日:2021.06.22

助教 /  芸術工学研究院 コミュニケーションデザイン科学部門


原著論文
1. Daryl Jamieson, Field Recording and the Re-enchantment of the World: An Intercultural and Interdisciplinary Approach, The Journal of Aesthetics and Art Criticism, 10.1093/jaac/kpab001, 2021.02, Abstract
Nonfictional field recording is a genre of music (sound art) which offers a glimpse of art beyond our late-capitalist age. The ongoing ecocide which we, in a state of abject detachment, are witnessing and abetting calls out for artists to reconnect and reengage with the nonhuman world that has been deemed valueless by our civilization. Countering the disenchantment of nature wrought by scientism, human-centrism, and above all capitalism necessitates a dissolving of the barriers we set up between ourselves and our environment, a task which can be only accomplished via religion or art: an art—like field recording—which affords reconnecting its audience with the enchantment of the ignored world surrounding them. In this article, Toshiya Tsunoda’s exemplary Somashikiba (2016)—recorded in locations forgotten by civilization—will be examined via interpretive tools adapted from Ueda Shizuteru’s Kyoto School aesthetics and Takahashi Mutsuo’s poetics. Ueda’s philosophy offers a way of understanding perception which eliminates the subject-object division. Takahashi’s project of recovering the spirituality of place through poetry is a model of historically and politically engaged art. Looking, as these contemporary Japanese thinkers have done, to the precapitalist, pre-formalist past to rediscover (sound) art’s function as a medium which reconfigures the listener’s perception of reality, I argue for the urgency of sound art such as Tsunoda’s which aids in the re-enchantment of the world to a future beyond capitalist, humanist “civilization.”.
2. Daryl Jamieson, Field Recording and the Re-enchantment of the World: An Intercultural and Interdisciplinary Approach, The Journal of Aesthetics and Art Criticism, published by the American Society for Aesthetics, https://doi.org/10.1093/jaac/kpab001, 2021.02, Nonfictional field recording is a genre of music (sound art) which offers a glimpse of art beyond our late-capitalist age. The ongoing ecocide which we, in a state of abject detachment, are witnessing and abetting calls out for artists to reconnect and reengage with the nonhuman world that has been deemed valueless by our civilization. Countering the disenchantment of nature wrought by scientism, human-centrism, and above all capitalism necessitates a dissolving of the barriers we set up between ourselves and our environment, a task which can be only accomplished via religion or art: an art—like field recording—which affords reconnecting its audience with the enchantment of the ignored world surrounding them. In this article, Toshiya Tsunoda’s exemplary Somashikiba (2016)—recorded in locations forgotten by civilization—will be examined via interpretive tools adapted from Ueda Shizuteru’s Kyoto School aesthetics and Takahashi Mutsuo’s poetics. Ueda’s philosophy offers a way of understanding perception which eliminates the subject-object division. Takahashi’s project of recovering the spirituality of place through poetry is a model of historically and politically engaged art. Looking, as these contemporary Japanese thinkers have done, to the precapitalist, pre-formalist past to rediscover (sound) art’s function as a medium which reconfigures the listener’s perception of reality, I argue for the urgency of sound art such as Tsunoda’s which aids in the re-enchantment of the world to a future beyond capitalist, humanist “civilization.”.
3. Daryl Jamieson, Icelandic Kami, Nordlit, 10.7557/13.5473, 2020.12.
4. Jamieson, D., Hollow Sounds: Toward a Zen-Derived Aesthetics of Contemporary Music, Journal of Aesthetics and Art Criticism, 10.1111/jaac.12581, 76, 3, 331-340, 2018.08, [URL].
5. Jamieson, Daryl, Uncanny Movement through Virtual Spaces: Michael Pisaro’s fields have ears, MUSICultures, 45, 1-2, 238-254, 2019.03.
6. Jamieson, D., Marketing androgyny: The evolution of the Backstreet Boys, Popular Music, 10.1017/S0261143007001286, 26, 2, 245-245, 2007.05, [URL].

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