| JAMIESON DARYL STEVEN（ぜみそん だりる すていーぶん） | データ更新日：2024.04.05 |
助教 ／
芸術工学研究院
音響設計部門
| 1. | Daryl Jamieson, Spirit of Place: Zeami’s Tōru and the Poetic Manifestation of Mugen, Japanese Studies, https://doi.org/10.1080/10371397.2022.2101991, 42, 2, 137-153, 2022.07, [URL], Zeami Motokiyo was one of nō’s most important theorists and practitioners, and mugen nō one of his most sophisticated innovations. Using the play Tōru as a model, this article explores how Zeami’s nō utilised waka theory and Buddhist aesthetics that were current in his time. I will particularly focus on his use of utamakura, a poetic device of intertextual allusion via place names. In the second part of the article I will analyse Tōru’s text and music through the lens of Kyoto School philosopher Ueda Shizuteru’s theory of language. In positioning poetic spirits of place on stage, Zeami shows the power of language to manifest something like conventional reality. When watching mugen nō, the music and poetry combine to create a place wherein the audience shares the aesthetic-spiritual experience of the spirit of place manifesting in our communal mind. His staging of the opening up of the hollow expanse is the beauty of Zeami’s art. 世阿弥元清は能の最も重要な理論家・実践家の一人であり、夢幻能は彼の最も洗練された革新の一つであった。本稿では、『融』を題材に、世阿弥の能が当時の和歌理論や仏教的美学をどのように活用していたかを探る。特に、歌枕という地名による相互引用の詩的装置に注目する。第二部では、京都学派の哲学者である上田閑照の言語理論のレンズを通して、『融』のテキストと音楽を分析することにする。世阿弥は、詩的な地霊を舞台上に配置することで、従来の現実のようなものを顕在化させる言語の力を示す。夢幻能を見るとき、音楽と詩が一体となって、観客が美的精神的な体験を共有し、共同体の心の中に場所の精神が顕在化する場を作り出す。空洞の広がりの演出は、世阿弥の芸術の美しさである。. |
| 2. | 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, 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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