This paper presents a year-long collaboration between a cosmetics researcher and a painter that used pearlescent pigments—common in makeup—as a shared medium. Field visits to pearl-farming sites, fabrication and optical measurement of test pieces, and joint studio-lab experiments deepened our grasp of the pigment and probed its pictorial potential. Along the way, we found that our respective modes of material inquiry—empirical measurement versus tactile making—initially diverged yet gradually became internalised by each other. Dialoguing through a tangible substance let us recognise that, although our approaches differed, we were observing the same phenomena. This common ground yielded insights into parallels between painting and makeup and practical routes to enhance pearl-pigment chroma. By exhibiting both artworks and process documentation, we showed that art and science rest on a shared fundamental base.

Through a six years participant observation on "Community-Reactivating" activities and dialogues with their stake holders as the informants around Tatsuno Town (Nagano Pref.), differences of "Thought and Attitude" between the original local residents and the stake holders (e.g. typical active newcomers) who frequently broadcast about their activities through internet media are studied. While the original local residents tend to wish for "Improvement of Convenience", the newcomers from great cities tend to seek "Happiness inside Inconvenience" and their own identities built by themselves. So, they have a different vector on achieving the independent dreams. Not only the enhancing migration itself, increasing the "Relationship Population" may bring the economic effects, migrations and start-ups in the future. However, such polarization and segmentation will confuse the local autonomy. The author focused on an unique AIR program on-going in Tatsuno, and showed how to build a win-win relationship between local community and artists to be invited.

This paper analyzes three exhibitions curated by art critic Takuya Nakao (2022-2024) to explore how exhibition spaces structurally influence aesthetic experience. Through phenomenological analysis of "Liminal," "ANOTHER DIAGRAM," and "Maze," the study reveals Nakao's unique curatorial approach: designing physical environments to indirectly support viewers' aesthetic judgment rather than imposing conceptual frameworks. The paper proposes "fictive universal validity" as a descriptive concept for understanding how aesthetic judgments can be shared within the specific fictional framework of exhibitions. It also introduces "formative value" as a third evaluative axis for contemporary art, alongside market and institutional values, emphasizing art's role in developing autonomous judgment capacity. The research suggests that environmental support through exhibition design can make aesthetic experiences—traditionally considered dependent on individual talent or chance—more accessible, offering new possibilities for art's social significance in cultivating critical thinking and judgment skills.