著者

菅原 浩

出版者

長岡造形大学

雑誌

長岡造形大学研究紀要 = Nagaoka Institute of Design Bulletin (ISSN:13499033)

巻号頁・発行日

vol.19, pp.30-35, 2022-03

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Here we discussed the significance of animism in haiku poetry. We focused the “monistic animism” suggested by Nakazawa Shinʼichi, which states that animism can capture the invisible realm that the modern Western culture have failed to think about. We argue that haiku poems aim to become “the thing itself,” thereby creating poetic language to open the “communication” to something fundamental beyond human perception. From this perspective we read animistic haiku poetry by various poets, arguing that animist haiku culminated in Natsuishi Banʼyaʼs Science of Giant Rocks and Trees.

著者

丹 洋祐 山下 秀之 曽宇 泰子

出版者

長岡造形大学

雑誌

長岡造形大学研究紀要 (ISSN:13499033)

巻号頁・発行日

vol.6, pp.68-81, 2009-03-31

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The tri-structure is a structural framwork that is analogous to a tree. To restore the aboudant seashore environment destroyed during the development of harbors and bays, I propose a system of artificial seaweed forests. In addition, tri-structure is made in a intertwist and disentangling design. This intertwist and disentangling design concept is one I discovered while studying the space geometry of seashore environments.

著者

姜 範熙

出版者

長岡造形大学

雑誌

長岡造形大学研究紀要 (ISSN:13499033)

巻号頁・発行日

vol.1, pp.28-30, 2004-03-19

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Peter Eisenman explains his design process through the development of a diagram. The first use of a diagram appeared in his Ph.D thesis in 1963 and the diagram has been used in his architectural designs consistently. With the fast development of digital computer technology, current social paradigm is shifting from analog paradigm to digital paradigm. Peter Eisenman is one of the famous architects who introduced digital paradigm in architectural design. The purpose of this study is to show the reason why Peter Eisenman uses digital design process for architectural design and the method being applied.

著者

三好 風太 小松 佳代子

出版者

長岡造形大学

雑誌

長岡造形大学研究紀要 = Nagaoka Institute of Design Bulletin (ISSN:13499033)

巻号頁・発行日

vol.19, pp.14-21, 2022-03

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This article clarified artistic intelligence, especially the way of grasping the world, by examining the knowledge that an illustrated encyclopedia represents. An illustrated encyclopedia aims to get a panoramic view of the world by reducing its complexity. Artmaking, like an encyclopedia, expresses the worldʼs multilayered quality while cutting of some aspects of it. By weaving some images allegorically, just as an illustrated encyclopedia does, artists are able to go beyond their own existing way of knowing to a new worldmaking and formation of themselves.

著者

菅原 浩

出版者

長岡造形大学

雑誌

長岡造形大学研究紀要 = Nagaoka Institute of Design Bulletin (ISSN:13499033)

巻号頁・発行日

vol.17, pp.21-26, 2020-03-01

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In traditional Qi-gong practice and internal martial arts like Taiji, it is assumed that mature practitioners can control someone else without touching, by qi power alone. Though such phenomena might be inconceivable by modern worldview, we argue that we can fully understand them by the philosophical paradigm of the Non-articulation and the Articulation, proposed by Izutsu Toshihiko, with a reinterpretation from the energy-centered viewpoint.

著者

菅原 浩

出版者

長岡造形大学

雑誌

長岡造形大学研究紀要 = Nagaoka Institute of Design Bulletin (ISSN:13499033)

巻号頁・発行日

vol.18, pp.20-25, 2021-03

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Following the previous paper, we made a further research with Izutsu Toshihiko’s philosophical framework of the Non-Articulation and the Articulation into the phenomena that some mature martial artists can control their opponents without any physical force. We discussed the idea of “subtle corporeity” in relation to the concept of “natural body,” how to merge one’s corporeity with that of someone else to achieve the “energetic fusion,” and the spiritual meaning of “central axis” in our corporeity.

著者

小松 佳代子 橋本 大輔

出版者

長岡造形大学

雑誌

長岡造形大学研究紀要 = Nagaoka Institute of Design Bulletin (ISSN:13499033)

巻号頁・発行日

vol.16, pp.6-13, 2019-03-01

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The philosophical movement of the Speculative Realism together with New Materialism has deeply influenced on art in this decade. These theories criticized the correlationism and tried to consider the possibility of the world without human-beings. This article summarized this philosophical trend in relation to art, and examined the theoretical range of it. In response to these theories we tried to rethink the possibility of the inquiry in art.

著者

上野 裕治

出版者

長岡造形大学

雑誌

長岡造形大学研究紀要 (ISSN:13499033)

巻号頁・発行日

no.1, pp.巻頭1枚,1-112, 2010

著者

菅原 浩

出版者

長岡造形大学

雑誌

長岡造形大学研究紀要 (ISSN:13499033)

巻号頁・発行日

no.5, pp.49-55, 2007

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In the introductory philosophy class at Nagaoka Institute of Design, students are required to make philosophical experiments, one of which is a meditation of listening to the surrounding sounds very intently. Through it students can experinece various forms of nonordinary modes of experiencing the world. We can see the beginning steps ofphilosophical questions in those experineces. We also analyse them by applying the phenomenology of M. Merleau-Ponty and other theories.

著者

平山 育男

出版者

長岡造形大学

雑誌

長岡造形大学研究紀要 (ISSN:13499033)

巻号頁・発行日

vol.6, pp.47-56, 2009-03-31

著者

洪 起

出版者

長岡造形大学

雑誌

長岡造形大学研究紀要 (ISSN:13499033)

巻号頁・発行日

vol.6, pp.21-29, 2009-03-31

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It is of utmost importance that systems maintain the robustness in itself to reduce the influence of the uncertain factors resulting from the various external conditions on the reliability of systems. This private view proposes the diversity of elements composing systems as one of the robustness in systems and discusses the fundamental issues related to the diversity from the two viewpoints of probabilistic theory and information theory. It is hoped that such a private view will help to maintain the robustness in systems.

著者

飛田 範夫

出版者

長岡造形大学

雑誌

長岡造形大学研究紀要 (ISSN:13499033)

巻号頁・発行日

no.9, pp.69-76, 2011

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As Taihu stones(deformed limestones)were considered one of the symbols of China, so those were painted in Japanese paintings. Classifying by the way of placing the Taihu stones in old Japanese paintings, we can find the way to use the Taihu stones in Chinese garden as following. 1)Shinu -tu(仕女図) painted in the Tang-dynasty, 8th Century, shows they placed small stones in a garden, but we can see that the Taihu stones took place of the small stones from Japanese painting Torige-ritsujo-no-byobu(鳥毛立女屏風). I assume that they use bigger Taihu stones in their garden to enjoy watching from Qixian-tu(七賢図) painted in Chinese Tang-dynasty, 9th Century. 2)In the Bada-chunyun-tu(八達春遊図) painted in 10th Century, they place one huge Taihu stone in their garden. From the Japanese painting E-inga-kyo(絵因果経) in 8th Century, I guess they put a Taihu stone, which is as tall as a human, in the main place of the garden. 3)In Longchi-jingdu-tu(龍池競渡図) painted in the Yuan–dynasty, 14th Century, we can see big Taihu stones both left and right side of the palace. But it was imaged from the old palace of old paintings. From the Japanese paintings Kegon-shuso-eden(華厳宗祖師絵伝) and Toseiden-emaki(東征伝絵巻) painted in the 13th Century, we can see they placed a Taihu stone in front of the palace in Song Dynasty(960-279). I assume that they placed Taifu stones in their garden first and then they started to place the Taihu stones in front of their palace. 4)From Qianlongdi-ji-fei-guzhuang-xiang(乾隆帝及妃古装像) painted in Qing Dynasty,18th Century, we can see that they put Taihu stones in a pond of their garden. Sancai-tangwu(三彩堂屋), a miniature made in 8th Century, shows that they built a pond at the front of the building and placed big stones at the front of the mountain. In Genjo-sanzo-e(玄奘三蔵絵) painted in 13th Century in Japan, there is a big Taihu stone beside the pond built next to Xuanzang's father's house. It means it stared form Song - Dynasty to place the Taihu stones beside a pond.