第3回カラーデジタルアートx照明 国際シンポジウム 対談

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Henry Fuseli(1741-1825)'s works that have supernatural subjects such as ghosts, demons, or fairies, are often painted with very strong contrast of light and shade. But in his Lectures on Painting, he claimed that such are not legitimate chiaroscuro, and too strong beam or ray must be a "terror on the eye", because chiaroscuro is a method to compose art in literary unity, and the unity is "inseparable from legitimate chiaroscuro" for his "poetic imitation" theory. Some latter studies show us that Fuseli's paintings have visual elements of theatres and shows like magic lantern or . But, these observations are not enough to illustrate his method and context of phenomenon, because his art historical discipline that affected to his composition has not been well mentioned yet. Supernatural beings are often painted as forms in nearly "illegitimate chiaroscuro", which means, he painted them as superpictorial beings that alien to whole composition. His style of gothic horror was based on his meta-painting strategy and it was established by applying visual context of modern entertainment to his art historical discipline.

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本稿では、デジタルアートの遠隔シンポジウムと学生ワークショップを遠隔で開催する実証事例を紹介する。2020年12月から 2021年3月にかけ、芝浦工業大学。日本の色彩・コミュニケーションデザイン研究室とタイのアサンプション大学で遠隔シンポジウムとワークショップを共催した。ここでは、遠隔ワークショップにおいて、アートとテクノロジーをどのように融合させるかを扱う。ワークショップの全体テーマは、「ユビキタス照明」で、本ワークショップで制作された作品は、5月に開催されるBangkok Design Week 2021で展示される予定であった。遠隔シンポジウムでは、プロジェクションマッピングの専門家や、ジェネラティブ音楽アプリのインタラクティブ・プログラマーによる講演と対談が行われた。

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This research focuses primarily on the Taiwan Exhibition (1935) with particular reference to its archetype, the Great Exhibition (1851). Through these, this paper considers the concepts and appearance of world exhibitions. It also discusses how they became a spatial venue to show ″modernity″ and ″colonialism″ in the nineteenth and early twentieth centuries.
It starts with a description of the history and concepts of world exhibitions, and follows with a discussion of modernity and colonialism. Since the nineteenth century, world exhibitions have been regarded as the most meaningful invention of ″modernity″. These not only present the exhibition of commodities, but also reflect the turning point in industrialization. However, camouflaged by the cover of modernization, world exhibitions essentially revealed the ideologies of imperialism and colonialism.
Although postdating the Great Exhibition by almost eighty years, this essay will suggest that the Taiwan Exhibition, the greatest exhibition held in Japanese colonial territories, conveyed the same ideologies of modernity and colonialism. It seems that there are unexpected similarities between these two events in completely different times, 1851 and 1935, and places, the west and the east.

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The William Blake Archive is one of the finer achievements in digital reproduction and one of the best resources available online for any writer. The archive reproduces, amongst other things, copies of all of Blake's 19 illuminated works, with a comprehensive critical apparatus for the visual and literary contexts and sources of Blake's work. Advanced text-searching and image-searching tools offer new ways of accessing and exploring the work of this singular figure. Yet does Blake's work still have impact on contemporary poets, whether in its original form of illuminated book or in textual or digital reproduction? If so, in what way does this influence manifest itself? This is the question I wish to bring to bear on a discussion of the contemporary Irish poet, Thomas Kinsella, on whose poetry Blake is an acknowledged but so far little examined influence. Kinsella's first work, in Another September (1958) and Downstream (1962), emerged out of a blending of Audenesque forms and tone with Yeatsian magniloquence. Beneath both of these primary sources, however, beat an insistent mythopoeic drive that eventually issued in 'Nightwalker' (1968), a of modern Irish life, and Kinsella's creation of a secular myth of personal and social origins in Notes from the Land of the Dead (1972) and the continuing series of Peppercanister poems (1972〜). I will show how Blake's work sanctions and informs both Kinsella's drive toward the creation of a unified personal system of understanding and the ways in which this system gradually cedes to a poetics of indeterminacy and process, which mirrors the transformation in critical approaches to Blake fostered in part by the materiality emphasized by the nature of the William Blake Archive. I will be concerned not so much with how digital reproduction transforms our way of seeing Blake, but, beginning with the idea that, in Willard McCarty's words, digital reproduction has not so far 'contributed much to the interpretive operations that are central to the humanities', I will explore how Kinsella's sequence A Technical Supplement (1976) might inform academic engagement with the digitalization of the humanities, our new context which is fundamentally the old dilemma between task, tool, and the role of craftsmanship.

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Samuel Beckett's television play ...but the clouds... (1977) is a portrayal of the protagonist's inner images. This paper attempts to reveal that the intratextual structure of his recollection depicts the author's attitude towards his creative activities and life.

First, I verify the possibility that the play can be regarded as the protagonist's memory play; the voice (V) of the narrator is a representation of his inner monologue. Assuming the role of a theatre director, he manipulates several images, particularly a woman's vague figure (W), the appearance of which he longs for.

The protagonist's behaviour is a reflection of the notion that each individual is enclosed in his/her own cocoon; he identifies her otherness with his inner projection. This identification which is an extension of his self-consciousness hinders W's actual arrival in his subconscious, except when the subject is totally ‘exhausted’ from repetitive recollection; however, the end of this repetition is not delineated clearly in the play.

The continuity through the play and ambiguity in the end mirrors the author's awareness of his senescence. This idea is reinforced in the title of this play which is a quote from W. B. Yeats' poem ‘The Tower’ which is an allegory for senescence. This play illustrates that the approaching of the point of exhaustion paradoxically signifies the dynamism of life, following the protagonist's will to affirm senescence.

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Based on an ethnographic study of a lay Buddhist organization in contemporary Malaysia called the Kuan-yin Contemplative Order (KYCO), this paper looks into the inclusive spiritualism KYCO engenders by situating the organization and the religious universalism from which it emerges in the cultural and historical context of "redemptive societies"—a religious tradition that was established during the late imperial era of China and exploded during the early twentieth century into the cities and spread to Southeast Asia. While the ongoing racial politics and simmering religious tensions in Malaysia limit what followers of KYCO can realistically hope to achieve in terms of realizing a more peaceful and equitable existence, these perennial issues and challenges do not stop them from pursuing the ideals of the Bodhisattva—one who out of compassion delays her/his own salvation until all others have been saved from suffering.

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This study examines the relationship between debates in the biological and evolutionary sciences in the late 19th and early 20th centuries and J. A. Schumpeter's theories of socio-economic dynamics. In the late 19th century, the idea that differences in individual ability had created the hierarchy of social classes was gradually accepted among conservatives, and traditional egalitarianism came to be rejected. Schumpeter's theories of socio-economic dynamics were also based on the idea that entrepreneurial success was to be attributed not to the possession of property, as assumed by Marx, but to entrepreneurs' innate ability to persistently accomplish their plans. Schumpeter's assumption that “the function of the entrepreneur itself cannot be inherited” is also investigated as the most important basis for refuting Marx’s view of class. The current study suggests that the idea Schumpeter employed in trying to challenge Marx's class theory has interesting similarities to Galton's idea of “regression.” However, although Schumpeter addressed the idea that entrepreneurial ability does not persist over generations, he did not propose any clear mechanism to explain why this ability cannot be inherited but only highlighted an observable tendency in his theory of economic development. The reason for his failure to offer a conclusive theory was derived from his strategy of using confusing biological assumptions about heredity. As a result, his explanation of the inheritance of entrepreneurial ability is quite confused. This weakened his counterargument to Marx's theory to some extent. The study also examines the ideology behind Schumpeter's vision. Although he denied the ordinary principle of equal chance, his ideology is considered as a variant of the concept of equality of opportunity based on a multigenerational perspective.

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The Castle of Otranto written by Horace Walpole in 1764 marks the dawn of a new era of Gothic literature in England. It corresponds with Hawthorne's The House of the Seven Gables published in 1851 in many respects ; for instance, in the plot of usurpation with the appearance of an obscure but legitimate successor, in the frequent happenings of weird events, especially of blood and revenge, and in the marriage of a new couple to atone for the crime of bygone days. The two are also alike in the setting. Hawthorne's dreary and sinister seven-gabled house can be compared to the old castle of the medieval Italy where ghosts haunted. At the outset Gothic romance element in The House of the Seven Gables shows the elevation in the middle of the first chapter where the unnatural death of Colonel Pyncheon causes the gruesome horror to the invited guests. Then follow many episodes of le roman noir until we come to the eighteenth chapter in which the sudden and fatal death of Judge Pyncheon, who is a second advent of old-time Colonel. But we must not overlook the other phase of this work of art, that is, the realistic novel element. The author delineates minutely the store and the private room of old Hepzibah and the picture scroll of ordinary life unfolded in the street of his home town of Salem. In one of his earlier tales "My Kinsman, Major Molineux," the last dialogue between young Robin and and a city gentleman indicates the possibility of the awaking to the realities of life at the midnight town full of overwhelming mood of Gothic romance. In The House of the Seven Gables, on the other hand, the practical, nice girl Phoebe appears early in the story as an incarnation of the creative and realistic element, and tries to exorcise the destructive gloom of Pyncheon family. Hawthorne enjoyed writing this work more than any other. It is probably because, while he was writing, he bore in mind his beloved wife Sophia, whose term of endearment was Phoebe itself. But I would not regard it as reasonable if he had been anxious to win her favor and brought about by personal feelings the sentimental ending. Moreover as Henry James suggested, he was not a realist in the strict sense of the word. His scenery sketches are generally superficial and fragmentary, and the characters of his story are often stereotyped or ambiguous. So far as this work is concerned, he should be remembered as an artist of Gothic romance tradition rather than of realistic tendency-as a follower of Horace Walpole with American history and climate for a material.

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