I created works of Interactive Art with Web camera and ActionScript3.0 that skills for Web Design, and exhibited for local revitalization in Fukui City. First work was configured simple program. However it become clear that technique of these works have potential for local revitalization in consequence of adjustment and addition the program through creation. Therefore I report "SHIN-SAKAE Night Museum" that took place in 2011 and KAMIAJIMI YUKIMATSURI that took place in 2012. Then this report is outlined the program, visual expression and variation of viewers action.

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A reconstruction support through art activities of the Great East Japan Earthquake and Tsunami on March 11, 2011, <<Hand Tree Art Project>>, is reported. <<Hand Tree Art Project>> started as a project of the KOBE biennale 2011, which intended to connect the people of the devastated area of the Tohoku region with those of Kobe, who have revived their damaged city from the 1995 Great Hanshin Awaji earthquake. This project consisted of "workshop, exhibition, and information transmission by a homepage". A whole activity process from a drafting stage to how carrying out the project, reflecting rapidly shifting situation of the disaster stricken area, is presented. In addition, significance for adults and children of expressing their heart through a letter and drawing and assistant methods of their activities are examined. This project concludes that 'Art' is a quite effective measure in the mental health care process of disaster victims.

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Nowadays, people are constantly trying to revitalize their communities with different local events, one of the more promising being the local festivals. The mikoshi, the highlight of the festival, seems to play an important role in this revitalizing process. The author has previously collaborated with Takasaki Art Production Project QUALOE including young designers and artists. A company in Gunma prefecture commissioned the group to design and create a corporate mikoshi, so that they could start participating and contribute to the local festival. As the newcomer was first time in 10 years for this local festival, the expectations were extremely high. After a great deal of trial and error the group QUALOE succeeded in making a mikoshi with a high degree of perfection, possibly one of the best works of QUALOE. Moreover, when the mikoshi was carried around at the festival, it inspired much more excitement than we had anticipated. Since ancient times the designs of the mikoshi have been the reflection of people's feelings. While researching the formative designs of mikoshis, the author grabbed the idea of "emptiness." This concept has the power to revitalize people and the society. This is something we will keep within us and something that will continue into the future.

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I have considered environmental art & design through the thesis that experimental study to interpret and reconsider it entitled "Theatrical landscape of Environmental art" "The installation art to evoke landscape scenery". This both of thesis are expected that to define environmental art and to extend possibility artistic technique of environmental art. The purpose of this paper "environmental art as a juncture" is artistic report of three projects that were produced in 2012 entitled: <<Previous Landscape>> (hokkaido, 2012), <<Existent Landscape>> (tokushima, 2012), <<VIEW>> (hokkaido, 2012). This is an experimental paper to consider that the relationship and connection between environmental art and existing landscape through the concept 'Juncture' and similarity of art and design. Also this paper is expected that to explain a technique "Re intensify" to realize one of the emvironmental art.

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This production study report is on my exhibition/installation The Afterimage Garden, which was held at MA2 Gallery (Tokyo) from September 17 (Sat.) to 29 (Thu.), 2011. The exhibition venue, MA2 Gallery, was on the first and second floors of a four-story building, located on the corner of an intersection. The building with its large windows, through which the natural light streamed in, was quite impressive. On my first visit to the gallery, I found myself surrounded by large windows and white walls, the space in the rooms completely bathed in white. Regardless of being amid the bustle of the city, I felt as if I were in a non-daily space where time flowed peacefully. It was just like a familiar, natural space that closely reflected one's daily life. And though the venue was situated within the city, the spaces reminded one of a "Japanese garden," which functions as a welcoming communication junction between people and nature (the environment). In this report, I used the keyword "Japanese garden" in association with the site of the venue. My aim is to elucidate my thinking and production processes to show how I came up with the concept, and then constructed it for my installation work of light and colors that incorporates the natural environment.

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Is it possible to diagnosis pathology in the regional society and perform the rehabilitation treatment with the art sharing activity? Social art therapist creates therapeutic community culture by continuation program of various kind of art in community. He coordinates between and among civic, academic, business and government entitles for it. I define that is a purpose of his activity. Since 2009, as a social arts therapist, I have held the community art activities called "Rehabilitation is done by the art." and the art education activities called "Rehabilitation does the art", mainly for people who are related to art. The system of the rehabilitations work well in community can produce the place to unlearn art in daily life and construct therapeutic community. All of these new movements can be called "social art therapy".

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This paper discusses the variations and typology of subculture contents that is influencing on urban space. Generally, subculture contents as seen in fictions had been separated from the real world. These days, some people seems to overwrite realworld influenced by the fictional stories. As a result of such overwriting real world with fictional stories, we have statues, institutions, vehecles, and other forms of existance of various subculture contents in the real world. This implies that subculture is not only the leisure of spare time, but the subject of some sort of devotion.

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This paper discusses the differences between public art works and subculture-inspired art works such as anime and manga that have appeared in urban space. While public art in Japan started as an additional element of the urban landscape to improve urban aesthetics, many other aspects emerged such as providing cultural experience, improving urban real estate values, and revitalizing the downtown. On the contrary, the major purpose of introducing subculture-inspired artworks, such as manga and anime characters in the urban space is clear; to attract more visitors and to revitalize the area. However, subculture-inspired artworks are introduced into many different mediums; gigantic statues or museums for the attractive destinations, small statues and decorations along the street, vehicles and so on. These are all employed to help citizens to understand and sympathize the subculture characters and stories, that leads to the recognition of local identity, which is definitely far beyond the initial purpose. As a result, subculture-inspired art occupies an important position as local monuments, like conventional public artworks.

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The Central Education Council of the Ministry of Education says in 2008 "While seeking to enhance creativity by formative experience, encourage attitudes that will make life and the society plentiful and feel the work of modeling and art make life beautiful and plentiful". They demand art education to "Raise creativity" and "Raise attitudes that will make life and the society plentiful" and "Feel the work of modeling and art". On the other hand, the art projects aimed to activate the community which is helped at many places in Japan, environmental art that is made between the artists and the inhabitants are handled by the community to meditate the artists and the society. Therefore, we will research the educational effects and the tasks in introducing environmental art in art education of elementary school by analyzing how environmental arts appear in textbooks used in art classes at elementary schools.

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