Readymade sculpture installation program has a simple administrative procedure: select appropriate sculpture from the catalogue, purchase it, and install it. Therefore, sculpture itself has no relationship to the site where it is installed, and the sculpture cannot obtain site specificity. This paper analyzed the first program of this kind in Nagano city initiated in 1973, similar program in Asahikawa city initiated during the same period, and the public sculpture program for Odori park in Yokohama city from 1978 to 1981. Here, Akira TAMURA's statements are important. In conclusion, these municipal administrations recognized readymade sculpture installation as a suitable way to obtain a collection of sculptures with diluted monumentality that is desirable for ideologically diverse society. After the cold war and the decline of bubble economy, however, these sculptures seem to be turned into a symbol of admiring prosperity and capitalism.

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When I was going to teach about figurative art made from close environment at my class, some students weren't interested in the subject. I thought that was because I haven't teached the necessity of it. So, I researched on the necessity of figurative activity that catabolize the close environment that is valuable to the society/individual, and the element to realize it by "The Gates" held in Central Park New York by Christ & Jean Claude. In recent years, efforts have been made to preform figurative activity in living environment in many cities and the countryside. In those kind of community, people care about the environment and perceive the meaning of the relationship of human and the environment by catabolizing the environment by figurative activity. But as Christ & Jean Claude's "The Gates" took 25 years to realize, much time and effort is needed to explain the effect of it to the people, and make them understand and cooperate because figurative activity that catabolize the environment may restraint daily life. It may be the same to make children to catabolize the environment in figurative activities. If they don't find out the necessity of catabolizing the close environment, they will not catabolize the environment independently. Therefore, I researched the necessity of catabolizing the environment from Christ & Jean Claude's "The Gates" in the point of "consistency", "intelligibility", "complexity" and "mystery". By this research, I will find out what kind of elements are needed for figurative activities. And develop a tuition made use of these elements.

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This paper describes how to use soap bubbles for a new art expression by introducing interactive art works between environment and human. Three interactive art works entitled "Toshi no sukima", "ephemeral melody" and "On the Wind" were made. A computer controls these works to create an interactive environment between an audience and the works. Therefore, these works finally work out when the audience participate in them. "Toshi no sukima" is an interactive artwork which generates soap bubbles in a public space in the city. This work is intended to produce a different time with soap bubbles into an usual day in the city. "ephemeral melody" creates a melody when bubbles hit copper pipes. This work attempts to express the transience of soap bubbles not only visually but also aurally. "On the Wind" is an installation that makes sounds with soap bubbles on the wind. This work is a developed form of the "ephemeral melody". This report introduces how to take an environmental factors such as the wind into an interactive art to make a new relationship between environment and human in the artwork.

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The AKARI ('Light') Art Project started under the following ideas. At first, the production and exhibition of art works that make explicitethe healing effect of the light can change the hospital atmosphereinto the comfortable one. Secondly, if so, it makes the art more essentially familiar to the environment like the hospital that is usually thought as the artless and negative place. The project underthese ideas proposed by the Gunma Prefectural Women's University was accepted by the Tsunoda Hospital, which exists as an only onemedical hospital in the same area, Tamamura-machi as our University, and until now has succeeded two Exhibitions and Tours, the latter of which were made to appreciate the works at night -"AKARI as Healing" which was held from 2006.6.20 to 7.3 and exhibited 12 works produced by 11 students, Tour performed on 6.24 and "AKARI Born Through Communication" from 2007.7.10 to 30 and 13 works by 9 students, Tour on 7.28- As the project is advanced, it invites the more active attitude of students and also deepens the collaborative relation through the art between our University and the Hospital. The continuation of this project will develop the recognition of both hospital participants and patients that it is possible and necessary to make the environment more beautiful and comfortable through art, in a word, the development of an affirmative attitude to art.

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As the gist of my discourse, my sculptures are the results of a continual aeration of my thoughts and practice in a continuing search for ways to relate the three elements of the flesh, the world and sculpture. Our corporeity serves as a subject as well as an object of demarcation with the external world and, at the same time, it is a medium that ties together both worlds. My "sculpture" is my attempt to seek out and give form to the ambiguity of the flesh and the world and the mutually interdependent relationships that develop immediately as this corporeity comes into contact with physical matter. When I am confronting the sculpture that will eventually surface from the materials, and subject of this relationship, my experience tells me that in creating sculptures, the role of positioning is extremely important. Positioning reflects the style of the artist in terms of the connections he creates between subject and the world, and The corporeity of the artist, as a subject of a sculpture, must enter into the sculpting materials and assume sculpting positions for the sculpture to function as a medium connecting the relationship between corporeity, the sculpture and the world. We should not examine the sculpture as an object from its exterior; rather we should strive to grasp the relationships that exist by looking inside the work. In fact, sculpture is what stands between the subjects and the world as a means for providing shape to material as an agency we call "medium" for the subjects and the world we call "medium". In conclusion, I have dealt with 5 of my works in terms of my sculpting position, the basis of the sculpture position, and detailed examples from the sculpting processes of these works. With regard to each of these frames of mind, my objectives, in brief, can be stated as follows: Through layers of molds of corporeity made from old clothes, latex, casts, and cardboard, I have tried to create sculptures that establish relationships between the inner and outer sides, corporeity and space, subjects and the world, as the viewer enters within each work.

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I am aimed for definition of a bodily sensation sculpture after having confirmed that I am effective to regain a space of the heart why the sensory sculpture which I wrestle with is brought into question in the modern society now. I take own work for an example and investigate how the act that a person feels for the five senses for molding thing acts on a heart and the body of people and inspect the importance and I can pick quarrel with a realistic problem and consider it. I dig down influence to a particularly important child in an effect of the experience that molding thing gives people by this report and pursue many problems and an effect of society to produce by a process installing a bodily sensation sculpture. In addition, I explain the effect that the bodily sensation sculpture gives by I give a concrete example, and showing it whether the meaning of own sculpture producing under the theme of water and the purpose feel it with a bodily sensation sculpture.

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