著者

中村 美亜

出版者

九州大学大学院芸術工学研究院

雑誌

芸術工学研究 (ISSN:13490915)

巻号頁・発行日

vol.21, pp.13-29, 2014-10-16

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Focusing on the Great East Japan Earthquake, the present study aims to deepen our understanding of the roles and effects of musical practice in the grief and recovery process from disaster damage. This particular article examines the discourse of "power of music", which was rather abruptly appeared after the Japan earthquake, and investigates the realities of post-quake musical practices, informed by constructionist perspectives of recent interdisciplinary studies of music (such as sociology of music, cultural studies, and ethnomusicology). The contents are as follows : the discourse of "power of music", the previous studies on music and disaster, the method of the present study, the interim reports of the newspaper and field research, and the conclusion. In particular, the newspaper research section presents an overview and discusses characteristics of the musical discourse and practices after the earthquake. The field research section then reports two musical events held in the cities of Fukushima and Sendai. The concluding section finally summarizes the findings and agendas of this ongoing research and suggests possibilities of the application for future cultural policy and arts management.

著者

矢向 正人

出版者

九州大学大学院芸術工学研究院

雑誌

芸術工学研究 (ISSN:13490915)

巻号頁・発行日

no.31, pp.19-40, 2019-10-01

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The first hand clapping that appeared in ancient Japanese literature is "Ama no Sakate" (the heavenly reverse clapping) that was described in the abdication of the deity in the Kojiki. "Ama no Sakate" was clapped when the god Kotoshironushi, having advised his father, Ōkuninushi, to cede the land to the Heavenly Grandchild, stamped his feet and overturned the boat, transformed it into a green twig fence, and concealed himself, which means that he left this world. However, there are many different interpretations about "Ama no Sakate," as to how to put his hands and clap at which position of the body, as well as how much resistance and cursing feelings there are in the reverse clapping. What Kotoshironushi intended with the reverse clapping also relates to the interpretation of the process and legitimacy in the abdication of the deity in the Kojiki, so it has been mentioned in books of various genres such as national literature, folklore, and historical archeology. The purpose of this paper is to outline how "Ama no Sakate" has been mentioned in various commentaries and research books on the Kojiki from the Kamakura period to the present, and add consideration to it.

著者

矢向 正人

出版者

九州大学大学院芸術工学研究院

雑誌

芸術工学研究 : 九州大学大学院芸術工学研究院紀要 (ISSN:13490915)

巻号頁・発行日

vol.24, pp.21-41, 2016

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The aim of this paper is to examine the origins of hand clapping mainly in Western ancient history. Firstly, whether human hand clapping is instinctive or acquired a posteriori is argued with several examples by infant and primate. Secondly, the relationship between hand clapping and music observed in the archaeological remains of the ancient Near East is surveyed. Thirdly, applause in the documents written in the ancient Greece is examined. In addition to the judgment of the right or wrong for applause by Plato's aesthetics and Epictetus philosophy, the Spartan election with acclamation is surveyed. Fourthly, based on these results, variety and organization of applause in the documents written in the ancient Roman age are discussed. Especially, custom of the applause in the audience with dictator or emperor, applauders in theater or courtroom, Cicero's view on the relationship between eloquence and applause, and the professional applauders with three cheerleading sections organized by Nero are chiefly examined. Finally, the examples of hand clapping described in the Old Testament are surveyed.

著者

馬 健 井上 朝雄

出版者

九州大学大学院芸術工学研究院

雑誌

芸術工学研究 (ISSN:13490915)

巻号頁・発行日

no.35, pp.1-20, 2021-10-01

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This paper focuses on the use of natural light in the exhibition rooms of contemporary art museums. Through daylight simulations, it examines the effects of daylighting methods on the illuminance of the exhibition rooms, and clarifies some of the possibilities of using natural light in exhibition spaces. First of all, in order to clarify the overall picture of daylighting methods, multivariate analysis was used to classify the daylighting methods of the exhibition rooms with top lights, and the characteristics of the results were discussed. Based on the results of the classification, daylight simulations are conducted for 11 representative cases, and the characteristics of natural light use in each case are discussed under the conditions of different season, time of day, etc. from the viewpoint of instantaneous illuminance values. In order to compare the results with the instantaneous illuminance values under ideal weather conditions, annual daylight simulations were conducted using meteorological data that can also consider the actual weather conditions of each case study. The characteristics of the light environment of the 11 cases were discussed in terms of spatial illuminance distribution, calculated values, appearance time of the specified range of illuminance, and climatic characteristics. Finally, by comparing the above simulation results with the design background of some case studies, the effects of the daylighting amethods were comprehensively discussed.

著者

古賀 徹 Koga Toru

出版者

九州大学大学院芸術工学研究院

雑誌

芸術工学研究 : 九州大学大学院芸術工学研究院紀要 (ISSN:13490915)

巻号頁・発行日

vol.18, pp.43-49, 2013

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In the field of design, concept plays a significant role in the constitution of a design object. As a concept designates a goal for a design process, it has to be deliberately defined in order to maximize the functionality of the object. In other words, the concept should play a mechanical and an organic role at the same time. In their writings What Is Philosophy? Gilles Deleuze and Félix Guattari define the concept as a mechanical component that consists of sensory elements, each of which is itself a concept. We transplant their thought to the field of design as a tool capable of evaluating the sensory quality of the design object.

著者

森宗 里沙 西田 紘子

出版者

九州大学大学院芸術工学研究院

雑誌

芸術工学研究 : 九州大学大学院芸術工学研究院紀要 (ISSN:13490915)

巻号頁・発行日

vol.23, pp.47-57, 2015

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This study examines the theatre placement of the band or musicians during early opera performances. This research is considered from the interdisciplinary points of view, for example, acoustic knowledge, and cultural customs of the time. Three countries, England, Italy, and France, where early operas were successful, are focused on. The arrangement of the bands or musicians is inferred based on various historical records such as plan views, libretti, scores, and spectator's diaries. As the results show, some similarities and differences exist between the three regions. For example, it was not the custom in early operas in the three regions to place the band or musicians in front of the stage. One can observe differences in the placement of the bands if they were not arranged in front of the stage. However, if they were positioned there, the pit was not set lower than the ground floor. From this research, the relation between acoustic knowledge and those of theatre construction and band placement could not be proved clearly. It is necessary to get more first historical sources to raise the estimated reliability in the future.

著者

脇山 真治

出版者

九州大学大学院芸術工学研究院

雑誌

芸術工学研究 (ISSN:13490915)

巻号頁・発行日

no.7, pp.1-16, 2007-03-30

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There is a method of dividing a screen into the expression technique of TVCM and showing it two or more images simultaneously. It is the so-called "Split-Screen." It is used for looking forward to the trial of graphic design with emphasis of the goods characteristic, extension of an image, a figurative expression, and so on. For the background according to which a split screen is introduced into TVCM, social and technical backgrounds, such as increase of the amount of information, improvement in the speed of action or thinking, and enlargement of the accuracy of a television set, can be considered. Furthermore, restrictions of the time given to TVCM and demands from a sponsor are also one of the reasons. Moreover it is also a fact that the environment of the work which can perform screen division and composition easily has been improved. However, a "Split-Screen" must not cause a audience's visual confusion, and it must carry out usage which considered the message and expressional adjustment, and the suitable effect of communication of TVCM.

著者

西田 紘子

出版者

九州大学大学院芸術工学研究院

雑誌

芸術工学研究 : 九州大学大学院芸術工学研究院紀要 (ISSN:13490915)

巻号頁・発行日

vol.15, pp.1-14, 2011

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This paper discusses the interpretations of Beetoven's "Ninth Symophony" by Richard Wargner, Hermann Kretzschmar, and Heinrich Schenker, eithin the framework of a musical narrative. First, foundamental problems in musical narratology are discussed in order to bridge between recent studies and the narrative acts in Schenker's time. Second, Schenker's work "Beethoven's NInth Symphony" (1912) can be regarded as the starting point of this examination, because it includes a detailed criticism of the interpretations by Wagner and Kretzschmer. Wagner modified Beetoven's own text in oeder to make the main melody clear and provided legitimacy to the voice and language in the finale through his meta-narrative of music history. Moreover, Kretzschmer applied Goethe's "Fausr" to the narrative of the finale. Both attempts were quite unacceptable to Schenker, who did not deviate from the authority of Beethoven's own text and the superiority of absolute music. Schenker's meta-narrative was so powerful thet he characterized the finales as a narrative of the victory pg absolute music and possibly of Beethoven's failure. Such persistance of music's autonomy and the identity of musacal interpretations can also be observed in recent musical narratology.

著者

中村 滋延

出版者

九州大学大学院芸術工学研究院

雑誌

芸術工学研究 (ISSN:13490915)

巻号頁・発行日

no.2, pp.25-36, 2004-11-25

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ビデオソフトがDVD 化されていることと関連しているのかどうか不明であるが,ここわずか数年の間にアート・アニメーションの名作がDVD ビデオとして次々と発売されている。短編が主流であるアート・アニメーションにおいては,ランダムアクセス可能なDVD ビデオはたしかに扱いやすいメディアであろう。アート・アニメーション先進国と言われるチェコや旧ソ連,カナダの名作を質の良い画像で, しかも手近で見ることができるのはまことにありがたい。アート・アニメーションの定義はあいまいである。アニメーション映画の中で,ディスニーや宮崎駿などに代表される商業映画アニメーションとは対極にあるものを指す。短編が主流で, 多くの作品が上映時間10 分から20分程度である。商品としての採算を無視して作られることが多いので,芸術表現上の新しい試みが行いやすく,アートとしての表現欲を満たすことのできる領域である。芸術表現上の新しい試みは映像表現のみならず,音表現においてもなされている。2002 年から箪者が収集した多くのDVD ビデオの中から,音表現において新しい試みがなされていると思われるアート・アニメーション作品を4つ取り上げて,それぞれについて音表現に焦点をしぼって論述する。作品名は; / 1. 久里洋二《G線上の悲劇》1969, 『久里洋二作品集』Pionner, PIBA-3036 / 2. コ・ホードマン《シュッシュッ》1972, 『NFB FilmWorks Co Hoedeman』Pioneer, PIBA-1343 / 3. ヤン・シュヴァンクマイエル《男のゲーム》1988,『シュヴァンクマイエルの不思議な世界』iMAGE FORUM VIDEO, DAD99001 / 4. イジー・バルタ《見捨てられたクラブ》1989, 『闇と光のラビリンス』iMAGE FORUM VIDEO, DAD0104 / であり,いずれもアート・アニメーションとしてよく知られた作品である。それぞれの作品についての論述の項目は以下のとおりである: / 1. 基本情報 / 2. 論述の焦点 / 3. 作品の分析 / 4. 分析結果に基づく考察 / 5. 考察のまとめ / なお,それぞれの評論は独立したものであり,本稿はいわば「評論集」である。

著者

坂口 将史

出版者

九州大学大学院芸術工学研究院

雑誌

芸術工学研究 (ISSN:13490915)

巻号頁・発行日

no.30, pp.13-24, 2019-03-20

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Tokusatsu is a filming technique that has become known as a unique aspect of Japanese culture in recent years. Ordinarily, it is thought that tokusatsu is produced by skillful artisans, but in the "Kumamoto Castle x Tokusatsu Special Effects Art Castle Revival Project" held at the Kumamoto Contemporary Art Museum from December 16, 2017 to March 18, 2018, the tokusatsu technique was used as an exhibition method for the purpose of recreating Kumamoto City as it was recovering from the earthquake. As a result, many amateurs of tokusatsu, namely, volunteers and visitors to the exhibition, participated and created tokusatsu. The application of tokusatsu in the exhibition enabled amateurs to participate in this creation, with the idea that creating and filming miniature models that looked real was more important than creating perfect models. In addition, amateurs created a realistic city in tokusatsu through the close observation of real or miniature cities and communication among themselves. In short, the peculiarity of tokusatsu is that everyone can participate in creative activities with physical things and have new experiences through this creation.

著者

長津 結一郎 髙坂 葉月 中村 美亜 尾本 章

出版者

九州大学大学院芸術工学研究院

雑誌

芸術工学研究 (ISSN:13490915)

巻号頁・発行日

vol.26, pp.65-78, 2018-01-22

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This paper examines the role of local radio in relation to inter-regional community development. Collaborative action research was conducted as a project based on a partnership between academia and local radio in Fukuoka, Japan. Research was undertaken in the following steps; 1) co-production of a radio program that invited local creative talent, and a participatory exhibition themed on the connection of urban and rural regions, 2) post-project interviews, 3) analysis and modeling of the two projects and the relationships between various actors. It was found that, some urban listeners built empathy for rural regional issues aired on the program, and spurred them to action, leading to the development of communities. Empathy for local issues, as felt by the radio host, emerged as an important factor influencing listener involvement. Through this research, the potentiality of radio was demonstrated as an affective medium for interregional community development.

著者

高野 まり 釜山 大樹 山下 茂樹 Takano Mari Kamayama Daiki Yamashita Shigeki

出版者

九州大学大学院芸術工学研究院

雑誌

芸術工学研究 : 九州大学大学院芸術工学研究院紀要 (ISSN:13490915)

巻号頁・発行日

vol.18, pp.1-8, 2013

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The spectral sensitivity of the posterior median eye of the jumping spider, Hasarius adansoni, was investigated by recording electroretinograms. The spectral sensitivity curve had a maximum peak at about 340-360 nm and an additional small peak at about 480 nm. The effect of UV light on behavior was examined with freely walking spiders. The experimental arena was cylindrical, about 65 mm in diameter and 3 mm in height, and covered with a quartz glass sheet. When one half of the arena was illuminated with a 360 nm light and the other half was illuminated with a 540 nm light, spiders walked longer period preferentially under the 360 nm light than under the 540 nm light. When the posterior median eye was occluded with black paint, some spiders walked longer period under the 540 nm light than under the 360nm light. We conclude that the posterior median eye is a UV receptor.

著者

中村 滋延 Nakamura Shigenobu

出版者

九州大学大学院芸術工学研究院

雑誌

芸術工学研究 (ISSN:13490915)

巻号頁・発行日

vol.14, pp.37-44, 2011

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By analyzing the structures of the sound tracks of JUDOU, this thesis aims to reveal Zhang Yimou's high sensitivity and his cinematic expertise. The structural analysis of these sound tracks aims to explain the relationship between the sound tracks as the audio expression and the stroy itself. The audio component of this movie is characterized by its restrained usage―only two musical melodies and sound effects such as Chinese gongs, jingling of horse bells, running water, birds calling, and dying machines rattling. These sounds connote a certain meaning, similar to a leitmotif. Therefore, these sounds are not intended to only accompany the visual content but also narrate the story more clearly. JUDOU, despite its seemingly predictable plot, contains many bold experimental challenges in terms of its audio effects.

著者

中村 滋延

出版者

九州大学大学院芸術工学研究院

雑誌

芸術工学研究 : 九州大学大学院芸術工学研究院紀要 (ISSN:13490915)

巻号頁・発行日

vol.16, pp.19-26, 2012

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This paper is a discussion about how the sounds (sound effect or noise) that constitute the sound track characterize the story structure in the movie "Tokyo Story" directed by Yasujiro Ozu. "Tokyo Story" is based on the story structure as "Go and Return". An antinomy for "Here" and "There" exists in this structure. "Here" includes the concept of locality (Onomichi), elderly couple, dream, and death, and "There" includes the concept of central (Tokyo), children, reality, and life as an opposite axis. Each concept is characterized by the sounds. Furthermore, the story structure with "Go and Return" necessarily defines the composition on temporal axis as a cyclic form. Each part that constitutes the cyclic form is also characterized by the sounds.

著者

中村 滋延 川尻 大輔

出版者

九州大学大学院芸術工学研究院

雑誌

芸術工学研究 (ISSN:13490915)

巻号頁・発行日

vol.14, pp.17-24, 2011

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The talking film debuted in 1927, succeeding the silent film. Influenced by requests from theater operators, many directors began producing talking films. However, for Chaplin, who had already established an original style of expression in silent film, sound was superfluous. At last, Chaplin produced The Great Dictator as a full talking film in 1940. The Great Dictator was the result of continuous exploration of expressions unique to talking film, for over a decade. Its sound effects are replete with originality and ingenuity. In this paper, the sound effects unique to The Great Dictator are clarified by analysis as follows: (1) By hiding the sound source, it can be arbitrarily moved around spatially and temporally. (2) Sound can present to the vieweres a reality that is different from the reality in the film. (3) It is possible to convey messages with multiple meanings by making the type and the location of the sound source vague.